arpets was established by Colbert in 1664), are _tapis ras_ or
non-piled carpets, being of tapestry-weaving, as also are those made by
old-established firms at Aubusson and at Felletin, where the manufacture
was flourishing, at the former place in 1732 and at the latter in 1737.

Returning now to England, there are evidences towards the end of the
17th century, if not earlier, that Walloon and Flemish makers of Turkey
pile carpets had settled and set up works in different parts of the
country. A protective charter, for instance, was granted in 1701 by
William III. to weavers in Axminster and Wilton. The ultimate celebrity
of the pile carpet industry at Wilton was due mainly to the interest
taken in it during the earlier part of the 18th century by Henry, earl
of Pembroke and Montgomery, who in the course of his travels abroad
collected certain French and Walloon carpet-makers to work for him in
Wiltshire--over them he put two Frenchmen, Antoine Dufossy and Pierre
Jemale. More notable, however, than these is Pere Norbert, who
naturalized himself as an Englishman, changed his name to Parisot, and
started a manufactory of pile carpets and a training school in the craft
at Fulham about 1751. In 1753 he wrote and published "An account of the
new manufactory of Tapestry after the manner of that at the Gobelins,
and of carpets after the manner of that at Chaillot (i.e. Savonnerie)
now undertaken at Fulham by Mr Peter Parisot." Two refugee French
carpet-makers from the Savonnerie had arrived in London in 1750, and
started weaving a specimen carpet in Westminster. Parisot, having found
them out, induced the duke of Cumberland to furnish funds for their
removal to better workrooms at Paddington. The carpet when finished was
presented by the duke to the princess dowager of Wales. Parisot
quarrelled with his two employees, enticed others to come over, and then
removed the carpet works from Paddington to Fulham. A worker, J.
Baptiste Grignon, writing to "Mr Parisot in Foulleme Manufactory,"
mentions the marked preference "shown by the English court for velvet,"
and how much a "chair-back he had worked in the manner of the Savonnerie
had been admired." Correspondence published in the _Nouvelles Archives
de l'art francais_ (1878) largely relates to the efforts of the French
government to stop the emigration to England of workers from the
Gobelins and the Savonnerie. Parisot's Fulham works were sold up in
1755. He then tried to start a