It is thought that the 1750s were amongst the finest period at Aubusson as new energy and ideas led to elaborate pastoral designs and landscapes with animals. Mythological subjects were not as popular during the sixteenth century, however have appeared in Aubusson pieces as popular stories. Producing local tapestry meant they were often used in practical house furnishings and could be manufactured relatively cheaply, and these were coarser in nature. The area was predominately Calvinist Plain Fabric and therefore many families who might have purchased the work left the country. The Aubusson mark was abbreviated to MRD meaning Manufacture Royal Daubusson and was woven into each tapestry. When Henry IV came to the throne his priority was to recover the large amount of debt incurred through war and conflict.Developing Luxurious TapestriesDuring the sixteenth century wars and religious conflict had a negative impact on the Aubusson Factory and business slowed.

Local ProductionThe distance between the Flemish and Parisian Tapestry Works and the craftsmen at Aubusson meant that production was limited to clients in the local area. Some religious subjects were also in demand as the factory flourished. This included a National School of Decorative Arts being established in the area to ensure new ideas and creative thought was continuing to be developed. Work became more sophisticated and detailed and was carried out in the family workrooms.With recognition that the Aubusson Factory was at risk of closing, a painter was finally appointed and following a number of successive appointments eventually led to a drawing school being established at Aubusson to grow talent locally. Figurative panels such as the Story of Don Quixote or the well known verdures the Dessins de Flandres are among the most prolific of the designs to emerge from this increasingly vibrant and specialist environment.

The Chinese Scenes were another renowned Aubusson production, reflecting the increasing curiosity and interest in oriental matters at the Royal Court and a potential for diverse ideas in the decorative arts field. This included a limit on imports to France and as this prevented Flemish tapestries from entering the country, Aubusson saw the opportunity to develop their product and increase their former prosperity. The elaborate verdure designs continued with country scenes and very typically large flowered or large leaved plants such as poppies or tobacco plants. Once the instability was over the workers sought to redevelop and grow the expertise at Aubusson. Work such as three panels depicting the Life of St Saturnin was designed for the church of Saint Mainboeuf in Angers. A factory continues today in the town of Aubusson where local tradition and tapestry craft work continues. Customs and excise duties were lifted on Aubusson tapestries when entering Paris which enabled the workers of Limousin to compete with the Paris workshops.The Growth of Local TalentIn 1665 the Aubusson Works was finally granted an official charter effectively giving them royal status.

Tapestries produced here tended to feature a lot of verdure or greenery, mythological and religious subjects and were exquisitely detailed in a flat weave technique. Flowing rivers, hunting scenes, foxes, falcons retained their popularity with many of the nobility.Situated in the Limousin region of France on the banks of the River Creuse, the Aubusson Tapestry Works are some of the best of their kind in the world.The weavers began to seek new development opportunities and became travelling salesmen, offering wares and bringing in lucrative commissions for the factory.The French Revolution saw a number of tapestry factories close as the desire for elaborate design declined. Designs were taken from engravings and sometimes adapted on to paper and transposed to the loom.A limitation to the Aubusson work was the lack of a painter and dyer, and sometimes designs were known to have been copied from the Gobelins factory. Colours were usually selected by the craftsman, and in this way the factory flourished with the advances in expanding commerce. Achilles and Coriolanus were themes appearing frequently in some of the designs. The need for a competent painter persisted and combined with the political move concerning the Revocation of the Edict of Nantes led to instability at the factory. Most families in the area were Calvinist and chose to migrate. The factory originated in the fourteenth century probably through Flemish weavers developing the craft both at Aubusson and nearby Felletin. The intention to plagiarise was not intended, more a need to diversify and offer a wide selection of designs. Finely woven they continued to delight and grace many wealthy homes and palaces