[Illustration: GOBELINS TAPESTRY. TIME OF LOUIS XV] In this exquisite period, which might be called the adolescence of the style Louis XV, Audran and his collaborators produced another marvellous and inspired set of portieres. These were executed for the Grand Dauphin, to decorate his room in the chateau at Meudon, and were called the _Grotesque Months in Bands_. The most self-sufficient of pens would falter at a description of design so exquisite, which is arranged in three panels with a deity in each, a composition of extraordinary grace above and below them, and a bordering band of losenge or diaper, on which is set the royal double L and the significant dolphin who gave his name to kings' sons. The exquisite art of Audran and of the regence cannot be better seen than in this set of tapestries which was woven but once at the royal factory, although repeated many times elsewhere with the border altered, Audran's being too personal for other chambers than that of the prince for whom it was composed. Recently copies have been made without border. The name of the artist, Charles Coypel, must not be overlooked, for it was he who composed the celebrated suite of _Don Quixote_. Twenty-eight pieces composed the series, and they were drawn with that exquisite combination of romantic scenes and fields of pure decorative design that characterised the charm of the regence. In the centre of each piece (small pieces compared to those of Louis XIV) was 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.