The question as to whether the brothers Martin themselves painted their fans, or to what extent they were indebted to outside assistance, opens up an interesting field of inquiry. The order of their production, also, presents considerable difficulties. In some cases, as that of the bridal-fan of the Duke of Burgundy, the event itself determines the date; in the majority of instances, however, the subject affords no clue, and any conclusions formed are necessarily more or less speculative and problematical. The natural order of decorative development is from simplicity to complexity in both arrangement and detail; it is therefore reasonable to assume that the earlier examples are those displaying a certain severity and reticence of style and method, and a simple arrangement of either one or but few subjects, and that the later fans are those exhibiting a profusion of medallions of various sizes, divided by gold bands. The variety in the style, manner, and handling, of the subjects depicted on these fans, to say nothing of the number extant, of itself disposes of the theory that they were all the work of the brothers, but in any case they must be credited with the original conception of a style and method of decoration which, although it will scarcely bear searching analysis if judged from the standpoint of strict decorative principles, is fresh, piquant, and unique. [Illustration: Belshazzar’s Feast, ‘Vernis Martin.’ Metropolitan Museum, New York.] To return to pleated fans. In the Franks collection appeared an example with the leaf of paper finely painted in gouache, with the betrothal of Louis XV. with Marie Leczinska, and on the reverse a pastoral scene. The brins and panaches are of white pearl, richly ornamented with carved medallions of figures, portraits, heraldry, and scroll-work in different coloured gold foils. This fan belonged to Marie, queen of Louis XV. The bridal-fan of Marie Leczinska has a skin mount, the subject representing the king and his bride elect, attended by Cardinal Fleury in lay habit, bringing offerings of flowers to the altar of Hymen; a dog (emblem of fidelity) sits beside the king. In the foreground on either side are groups in rural character; on the reverse, which is of paper, is a pastorelle in which the royal couple again appear. The brins and panaches are of mother-of-pearl, richly carved with a centre medallion representing the queen as Venus descending from her chariot, receiving the homage of Mars. Cupids, heraldic devices, fleurs de lys, and a small medallion of Louis XIV. complete the design, which is enriched with variegated gilding.