ABSTRACT
In the winter of 1949–50 an exhibition on “Landscape in French Art” was held at the Royal Academy; many little known French works from British collections were selected and catalogued by Anthony Blunt for this exhibition, amongst them a hitherto unknown drawing (IX, a) depicting a “Water F ête; Combat, Assault on an Island” which had been unearthed by E. K. Waterhouse in the National Gallery of Scotland at Edinburgh. The catalogue attributed the drawing to Antoine Caron on the ground of its stylistic likeness to his designs for the “Histoire d’Arth émise” and pointed out that it is a “study for a tapestry in the Uffizi... in which, however, large figures have been added in the foreground” 1 . This was the first inkling which those interested in the Valois Tapestries had of their connection with Caron.
