est ▁car p ets ▁of ▁Pers ia , ▁Ott oman ▁Turkey ▁and ▁M ug hal ▁India ▁reflect ▁very ▁closely ▁develop ments ▁in ▁style ▁found ▁in ▁other ▁media ▁such ▁as ▁Ott oman ▁ill um ination , ▁and ▁it ▁is ▁usually ▁assumed ▁that ▁designs ▁were ▁sent ▁to ▁the ▁we a vers ▁from ▁the ▁court . ▁ ▁The ▁same ▁process ▁can ▁be ▁better ▁documented ▁in ▁ 1 7 th ▁century ▁France , ▁where ▁the ▁court ▁painter ▁Charles ▁Le ▁Brun ▁was ▁director ▁of ▁the ▁royal ▁G ob el ins ▁Man uf actory , ▁then ▁producing ▁far ▁more ▁than ▁just ▁t apest ries , ▁and ▁also ▁designed ▁the ▁royal ▁comm issions ▁from ▁the ▁private ▁Sav on ner ie ▁man uf actory ▁of ▁car p ets . ▁ ▁Le ▁Brun ▁domin ated , ▁and ▁largely ▁created , ▁the ▁style ▁found ▁throughout ▁Louis ▁XIV ' s ▁pal aces , ▁which ▁was ▁then ▁h ug ely ▁influ ential ▁in ▁France ▁and ▁throughout ▁Europe . ▁ ▁Women ▁court ▁artists ▁A ▁number ▁of ▁women ▁pain ters ▁were ▁successful ▁in ▁obtain ing ▁court ▁comm issions , ▁though ▁few ▁gained ▁the ▁top ▁positions . ▁ ▁Some , ▁like ▁Sof on is ba ▁An gu iss ola , ▁one ▁of ▁the ▁most ▁successful , ▁were ▁specifically ▁in ▁the ▁service ▁of ▁the ▁queen ▁rather ▁than ▁the ▁king , ▁and ▁appointed ▁lady - in - wait ing . ▁ ▁Elisabeth ▁of ▁Val ois , ▁the ▁third ▁queen ▁of ▁Philip ▁II ▁of ▁Spain , ▁was ▁a ▁keen ▁amateur ▁painter , ▁and ▁it ▁was ▁considered ▁easier ▁in ▁terms ▁of ▁court