protests after 1790, culminating in the failed "Radical War" of 1820. Overproduction, the collapse of the shawl market and a general depression in the textile industry led to technical changes that reduced the importance of weavers. Politically the mill owners remained in control of the town. Origins of Paisley Shawls By the mid-19th century weaving had become the town's principal industry. The Paisley weavers' most famous products were the shawls, which bore the Paisley Pattern made fashionable after being worn by a young Queen Victoria. Despite being of a Kashmiri design and manufactured in other parts of Europe, the teardrop-like pattern soon became known by Paisley's name across the western world. Although the shawls dropped out of fashion in the 1870s, the Paisley pattern remains an important symbol of the town: the Paisley Museum maintains a significant collection of the original shawls in this design, and it has been used, for example, in the modern logo of Renfrewshire Council, the local authority. According to Monique Lévi-Strauss, information on the history of Kashmir shawls' weaving techniques had been described in books, but in a very unintelligible language. John Irwin published a book named Shawls, a Study in Indo-European Influences, in 1955, in which he relates the Kashmir shawl's history and how these shawls spread on the European market during the 19th century. The book showed images of shawls woven in India and also fifteen images of shawls woven in United Kingdom, amongst which is one assigned to a Paisley manufacture, circa 1850. But according to Monique Lévi-Strauss, it resembles by many details a shawl designed by a French designer named Antony Berrus, born in 1815 at Nîmes-France and died in 1883. The designer studied at the drawing School of Nîmes, before settling in Paris and opening in the French capital his own successful design studio, which employed 200 designers. His textile drawings were sold to Lyon in France, in Scotland, in England, in Austria and also in Kashmir. The fact that shawl patterns drawings were made in Europe, sold there and also to India, made the research work extremely difficult, in order to give a precise location of manufacture. Therefore, in 1973, John Irwin published an update of his book, named as The Kashmir Shawl, in which he removed all the images of the shawls related to a European manufacturing. Monique Lévi-Strauss clearly states that her research led her to focus