The next day they visited the Gobelin Tapestries. There was but one word to express the wonderful work exhibited—and that was “Exquisite.” Some of these tapestries are “worth a crown.”
“It doesn’t seem possible that anyone could weave such delicate lace-like patterns with mere threads and human hands,” said Polly.
“And such colorings, too! Did you ever see such green velvety lichen as seems growing on those old grey monoliths?” added Eleanor.
“See the tiny dash of red that is necessary, given by the pigeon berry growing in that lichen,” remarked Polly.
The others said nothing, because they were so impressed by the beauty of the complete picture that the details failed to reach them. Then Mr. Fabian told the history of the Gobelins.
“In its foundation year there were two hundred and fifty weavers engaged in weaving these marvellous tapestries. But that number has dwindled, today, to sixty. And there used to be an annual appropriation of two hundred thousand francs that today has dwindled, also; to fifty thousand francs.
“The famous old Gobelins owned by the State, and exhibited at the Museums and at public buildings in Paris, are today worth fortunes. Few are owned by the Trade and such as are are the more modern pieces that date back to Napoleon III.
“Many pieces of rare Gobelins were sold because of royal vicissitudes previous to 1870, but since then no tapestries have been available to the public. This enhances the value of any Gobelin that was sold to assist the Treasury in 1852.
“One of the most famous series ever produced, known as ‘Portières of the Gods,’ consists of eight pieces, representing the four seasons and the four elements. Each design is personified by one of the gods or goddesses of Olympus. This series has been repeated until there are two hundred and thirty-seven sets that left the looms.
“When one of these portières of the gods appear in a sale there is most lively bidding for it, and prices soar higher than any other Gobelin usually brings.