Aristocrats in France began building collections of Chinese art before 1700. The Dauphin Louis de France (1661-1711) set up two apartments at the chateau de Meudon with Chinese decor, art and ornaments. Philippe de France (1640-1701), the king's brother, kept his Chinese ceramics at the chateau de Saint-Cloud. His son, Philippe d'Orleans, Regent of France (1674-1723), inherited his interests, and his collection comprised countless pieces of custom-made Chinese porcelain, including vases, cups and plates painted with the 'arms of Orleans'. From 1720 onward, trade between southern China and France flourished. Exhibit9 is a large punch bowl showing the French factory in Canton behind the white flag of the French monarchy. Ships of the French Company sailed from the ports of Brittany - principally Nantes, Saint-Malo and Lorient. As Sino-French trade prospered, wealthy merchants and prominent families soon followed the royal taste for Chinese art. Among the staggering quantities of imported goods were armorial services, often for Breton aristocrats. On the occasion of marriages, armorial services comprising between 200 and 400 pieces, were produced and adorned with the coats of arms of the two families. Exhibit59 belongs to such a set commemorating the marriage of Philippe Vincent Roger de la Mouchetiere to Rose-Eulalie Mautaudoin. Daniel Marot (1661-1752), the Parisian architect and decorator, was considerably influential in Europe. He brought in notable changes in the criteria of taste in appointing of interiors and the display of Asia collections that were decorating wealthy abodes in Europe. His albums of engravings were the inspiration for various decorative wall arrangements for Chinese porcelain. The fashion for Chinese painted wallpaper reached its peak across western Europe in the latter half of the 18th century with demand exceeding supply for the luxury products. Such papers formed continuous wall friezes and were mostly hand-painted. The design, occasionally based on patterns sent from Europe, was outlined in black ink or printed and then filled in with colour. Men of letters and art lovers, Edmond (1822-1896) and Jules de Goncourt (1830-1870) established themselves as upholders of 'French taste'. Following the neo-classical interlude, which between 1790 and 1830 'forgot' China, they incorporated the art of China and Japan in their 18th-century interiors. In their eyes, Chinese porcelain was the perfect expression of good taste. Their high appreciation indicated that the impact of Chinese aesthetics had extended beyond high society to the literati. Since the late 19th century, the study of sinology made considerable progress among French academia. In Paris, the museums of Asian arts, including the Musee Guimet, were entertaining large audiences.