The piece is one of a set of five verdures, most of which have hunting scenes. While there is no signature, and there are no records on them, the character of the foliage and of the floreation makes it almost certain that these are of Beauvais manufacture. While in some details they resemble contemporary Aubusson tapestries, the quality of the color is rather different. They are a particularly deep and quiet type of verdure, an excellent background for fine furnishings. The quality of the greens is uncommonly fine. [Sidenote: 51] BEAUVAIS, BEGINNING OF XVIII CENTURY [Sidenote: _Wool and Silk._ H. 10 _ft._ 9 _in._ W. 13 _ft._ 3 _in._ ] VERDURE WITH DANCING NYMPHS: _In a wooded dell are four nymphs dancing. Beyond is a glimpse of an open pasture with cows._ [Sidenote: Lent by _Dikran K. Kelekian_.] The strong and brilliant trees throw into sharp contrast the delicate perfection of the bit of landscape beyond. The nymphs are probably after Noël Coypel. The use of the red to relieve the general tone of green is especially successful. [Sidenote: 52] BEAUVAIS, 1685-1711 [Sidenote: _Wool, Silk, Gold._ H. 15 _ft._ 8 _in._ W. 11 _ft._ 10 _in._ ] THE CONQUEST OF LOUIS THE GREAT: _Louis XIV on horseback with two attendants points with his cane to the siege of a city whose defenses are surrounded by water. In the upper border appear the arms of Count Bruhl of Saxony. The piece is one of a set of seven._ [Sidenote: Formerly in the Lord Amherst Collection.] [Sidenote: Illustrated: _Badin, La Manufacture de la Tapisserie de Beauvais_, opp. p. 4.] This is a very rare example from one of the earliest sets woven at Beauvais when the factory was under the direction of Behagle. The cartoon was designed either by Van der Meulen or his greatest pupil, Jean-Baptiste Martin, later called Martin of the Battles, because of a famous series of cartoons which he made for the Beauvais works illustrating the victories of Sweden over Denmark. The richness of the king's group stands out brilliantly against the clear, cool color and sharp geometrical lines of the background. The city with its canals and buildings is exquisitely rendered, an interesting anticipation of an aeroplane view. [Sidenote: Lent by _P. W. French & Company_.] Adam Frans Van der Meulen (1632-1690) was a native of Brussels and studied there under Peter Snayers, but on recommendation of Le Brun was invited by Colbert to Paris, where he was pensioned by the king and given apartments in the Gobelins. In 1673 be was received into the Academy. He collaborated with Le Brun in making designs for the Gobelins, notably for the series of _The History of the King_. [Sidenote: 53-56] BRUSSELS, BEGINNING XVIII CENTURY [Sidenote: _Wool._ No. 53: H. 10 _ft._ 7 _in._ W. 29 _ft._ No. 54: H. 10 _ft._ 4 _in._ W. 9 _ft._ 4 _in._ No. 55: H. 10 _ft._ 3½ _in._ W. 7 _ft._ 2 _in._