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In 1686, weaving was begun at the Royal Gobelins Manufactory of two new sets of tapestries, called, in contemporary documents, Divers Sujets de Julie Romain (or Les Amours de Psiché) and Divers Sujets de Raphaël.1 The unusual circumstances that accompanied the creation of these tentures are known, and the part that they played in the Colbert-Louvois quarrel and in the attempt made to dislodge LeBrun from his high position has been frequently recorded (Fenaille, 11, pp. 247, 248).2 But a detailed study of the reasons why they were made and of their designs throws some light on the state of painting in France in the last quarter of the seventeenth century and enables some works by secondary artists of the period to be identified. It also illustrates the difference in spirit between the Italian High Renaissance and the Grand Siècle. Giulio Romano and Raphael, when translated by the artists of the Academy and the weavers of the Gobelins, undergo a very strange metamorphosis indeed.
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