a scene
like a painting representing an incident from the adventure of the
humorously pathetic Spanish wanderer; and this was surrounded with so
much of refined decoration as to make it appear but a medallion on
the whole surface. This set was so important as to be repeated many
times and occupied the factory of the Gobelins from 1718 to 1794.
Charles Coypel was but twenty when he composed the first design for
this suite. Each year thereafter he added a new design, not supplying
the last one until 1751. But, while all honour is due Coypel, Audran
and Le Maire and their collaborators must be remembered as having
composed the borders, the pure decorative work which expresses the
tender style of transition, the suggestive period of early spring that
later matured into the fulsome Rococo. America is enriched by five of
these exquisite pieces through Mr. Morgan's recent purchase.

But while artists were producing purity in art, those in political
power were, with ever-increasing effect, plunging morals into the mud.
Philippe, the Regent, died, the corrupt Duke of Bourbon took the place
of minister, and poor Louis XV was still but thirteen years old, and
unavoidably influenced by the lives of those around him. Even the
Gobelins was under the hand of the shallow Duke d'Antin. Yet even when
the king matured and became himself a power for corruption, the
artists of the Gobelins reflected only beauty and light. It is to
their credit.

It is an ungrateful task to pick flaws with a period so firmly
enthroned in the affections as that of the regence and the early years
of the reign of Louis XV. The beauties of its pure decoration lead us
into Elysian fields that are but reluctantly left behind. But the
designs and tapestry weavers of that time left us two distinct
classes of production, and to be learned in such matters, the amateur
contemplates both. This second style is ungrateful because it trains
us away from art, delicate and ingenious, and plants us before
enormous woven paintings.

Now it never had been the intention of tapestry to replace painting.
Whenever it leaned that way a deterioration was evident. It was by the
lure of this fallacy that Brussels lost her pre-eminence. It was
through this that the number of tones was increased from the twenty or
more of Arras to the twenty thousand of the Gobelins. It was through
this that the true mission of tapestry was lost, which was the mission
of supplying a soft, undulating