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+Project Gutenberg's The Spanish Royal Tapestries, by Albert F. Calvert
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: The Spanish Royal Tapestries
+
+Author: Albert F. Calvert
+
+Release Date: November 26, 2019 [EBook #60790]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SPANISH ROYAL TAPESTRIES ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+
+
+
+                          THE SPANISH SERIES
+
+
+                           THE SPANISH ROYAL
+                              TAPESTRIES
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                        GOYA
+                        TOLEDO
+                        MADRID
+                        SEVILLE
+                        MURILLO
+                        CORDOVA
+                        EL GRECO
+                        VELASQUEZ
+                        THE PRADO
+                        THE ESCORIAL
+                        SCULPTURE IN SPAIN
+                        MURCIA AND VALENCIA
+                        ROYAL PALACES OF SPAIN
+                        SPANISH ARMS AND ARMOUR
+                        GRANADA AND ALHAMBRA
+                        LEON, BURGOS AND SALAMANCA
+                        TAPESTRIES OF THE ROYAL PALACE
+                        CATALONIA AND BALEARIC ISLANDS
+                        VALLADOLID, OVIEDO, SEGOVIA
+                        ZAMORA, AVILA AND ZARAGOZA
+
+
+                                LONDON
+                      JOHN LANE, THE BODLEY HEAD
+
+
+
+
+                           THE SPANISH ROYAL
+                              TAPESTRIES
+
+                         BY ALBERT F. CALVERT
+                        WITH 277 ILLUSTRATIONS
+
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+                  NEW YORK: JOHN LANE COMPANY MCMXXI
+
+
+
+                     H. & K., Ltd., London, S.E. 1
+
+
+
+
+PREFACE
+
+
+In point of size, scope and general interest, this little book is
+perhaps the least considerable of the score of volumes comprised in The
+Spanish Series, but the collection would have lacked something of the
+completeness I have endeavoured to secure for it, if the subject of
+which it treats had not been included. As is inevitable in a series of
+this kind, many of the books are devoted to aspects and monuments of
+Spanish history and achievement, which have served the purpose of
+writers in all ages, but which could not, on that account, be omitted,
+while others have an imperative claim to inclusion on the ground that,
+though of secondary importance, they have never been dealt with
+elsewhere.
+
+The Tapestries which are here reproduced in greater number and variety
+than has hitherto been attempted are known to students and connoisseurs
+the world over, but the measure of that knowledge is limited. Many of
+the pieces in the possession of the Spanish Crown were acquired by
+purchase or inheritance, and others were woven in the Netherlands to the
+command of its Burgundian rulers, Margaret of Austria and Mary of
+Hungary. The fabrics designed by Goya owed their existence to the
+extraordinary interest displayed in the products of the looms by Charles
+III., while the famous Tunis Tapestries were designed and woven by Jan
+Vermay or Vermeyen, the Court painter and Wilhelm Pannemaker, the
+celebrated Flemish weaver, under the personal direction of the Emperor
+Charles V. Vermeyen accompanied the expedition which was launched
+against Tunis by Charles in 1535 and made his sketches on the spot; the
+contract given to Pannemaker by his Imperial patron stipulated the
+amount and quality of the silk and the number and value of the gold and
+silver threads to be employed; and both designs and finished pieces had
+to be submitted to the Emperor’s scrutiny and approval before the
+purchase price was paid.
+
+The Tunis Series was completed in 1554. The Tapestries were displayed in
+England on the occasion of the marriage of Philip and Mary in that year,
+and were not seen again in this country until 360 years later. They
+subsequently figured in all the great functions of the Spanish Court,
+and it was due to the Emperor’s fear that constant usage would injure
+the fabrics that a duplicate set, but on a smaller scale, was woven. The
+twelve pieces were again reproduced, on the same scale as the original
+frames, in 1740 by order of Philip V. A third copy is preserved in the
+Museum at Vienna, and a fourth, woven by Pannemaker, was found by the
+Maréchal de Contades in a castle near Mecklin during the Seven Years
+War.
+
+This collection of Spanish Royal Tapestries has been steadily
+accumulating since the thirteenth century, but the practice of weaving
+was not introduced into Spain until the first quarter of the seventeenth
+century when a little colony of Flemish weavers, subsidised by the King
+of Spain, settled at Pastrau in New Castile. A century later, at the
+invitation of Philip V., Jacques Van Der Goten and his four sons,
+established themselves in an _atalier_ in Madrid, and in 1776 Goya drew
+the first of the forty-five designs for Tapestries which, in the
+following fifteen years, were woven in the Royal workshops of Santa
+Barbara in Madrid.
+
+Although this wonderful collection has been added to by successive
+Spanish sovereigns over a period of six centuries, no effort was made to
+arrange, classify, or catalogue the fabrics until the work was put in
+hand at the instigation of Alfonso XII., and carried to completion by
+the late Queen Isabella. In 1903 an album of photographic reproductions
+of many of the finest specimens was published with historical and
+descriptive notes by Count Valencia de Don Juan, and this remained the
+only volume on the subject until 1914, when I prepared an illustrated
+handbook of the Tunis Series which, by gracious permission of King
+Alfonso, were displayed at the Anglo-Spanish Exhibition in London. The
+present book is the first attempt that has been made to present in
+English a record of the most valuable and interesting examples in the
+Royal Collection.
+
+                                                    ALBERT. F. CALVERT.
+
+“ROYSTON,”
+
+  ETON AVENUE,
+
+    LONDON.
+
+
+
+
+CONTENTS
+
+
+CHAP.                                                               PAGE
+
+  I. HISTORY OF THE ART OF TAPESTRY WEAVING                            1
+
+ II. THE FOUNDATION OF THE SPANISH ROYAL COLLECTION                   14
+
+III. THE GOTHIC TAPESTRIES--SACRED PIECES                             18
+
+ IV. TAPESTRIES OF THE GOTHIC-RENAISSANCE TRANSITION                  24
+
+  V. RENAISSANCE TAPESTRIES                                           55
+
+
+
+
+ILLUSTRATIONS
+
+
+SUBJECT             PLATE
+
+THE STORY OF THE VIRGIN. CARTOONS BY VAN EYCK.
+
+1. Jesus with His Mother                                               1
+
+2. The Virgin praying                                                  2
+
+3. The Adoration of the Magi                                           3
+
+4. The presentation of Jesus in the Temple                             4
+
+
+THE STORY OF DAVID AND BATHSHEBA.
+
+1. David sees Bathsheba                                                5
+
+2. Bathsheba consents to the love of David                             6
+
+3. Nathan reproaches David with his sin                                7
+
+
+THE STORY OF ST. JOHN THE BAPTIST.
+
+1. Zacharius recovering his speech                                     8
+
+2. The child John devotes himself to God                               9
+
+3. St. John preaching in the wilderness                               10
+
+4. The baptism of our Lord                                            11
+
+
+THE PASSION OF OUR LORD. CARTOON BY VAN DE WEYDEN.
+
+In the garden of Olives                                               12
+
+The Crucifixion                                                       13
+
+The descent from the Cross                                            14
+
+
+VICES AND VIRTUES.
+
+1. God rewards worship                                                15
+
+2. Virtue punishes vice                                               16
+
+3. Fortune distributes roses                                          17
+
+4. God rewards those who are devout                                   18
+
+5. Virtue rewards her votaries                                        19
+
+6. God distributes honours                                            20
+
+7. Prudence is commended                                              21
+
+8. The faithful gain renown                                           22
+
+9. Infamy is punished                                                 23
+
+10. The law giver delivers judgment                                   24
+
+
+THE FOUNDATIONS OF ROME.
+
+1. Romulus and Remus are found                                        25
+
+2. Remus taken captive                                                26
+
+3. Romulus becomes King                                               27
+
+4. Romulus dictates the laws                                          28
+
+5. Romulus institutes the Feast of Neptune                            29
+
+6. Romulus gives the laws to the people                               30
+
+7. Hersilia is presented to Romulus                                   31
+
+
+CONQUEST OF TUNIS. CARTOONS BY VERMEYEN.
+
+Plan of the campaign                                                  32
+
+Review of the Army                                                    33
+
+Review of the Army (part of)                                          34
+
+Disembarkation at Goletta                                             35
+
+The attack on Goletta                                                 36
+
+Fight under Goletta                                                   37
+
+The sortie from Goletta                                               38
+
+The capture of Goletta                                                39
+
+The capture of Tunis                                                  40
+
+The sacking of Tunis                                                  41
+
+The re-embarkation at Goletta                                         42
+
+The Army camping at Pada                                              43
+
+
+THE STORY OF ABRAHAM.
+
+1. Three Angels announce to Abraham that Sarah
+will have a son                                                       44
+
+2. Abraham offering sacrifice                                         45
+
+SCENES FROM THE REVELATIONS.
+
+1. The Angel throws the beast into the Abyss                          46
+
+2. The three horsemen                                                 47
+
+3. St. John and the seven churches of Asia                            48
+
+4. St. John and the Temple of God                                     49
+
+5. Condemnation of the prostitute                                     50
+
+6. The Angel carrying the Gospel                                      51
+
+7. The crowd adore the lamb                                           52
+
+8. The four Angels of Euphrates                                       53
+
+9. Combat between good and evil spirits                               54
+
+
+THE SEVEN DEADLY SINS.
+
+1. Luxury                                                             55
+
+2. Greediness                                                         56
+
+3. Envy                                                               57
+
+4. Anger                                                              58
+
+
+ACTS OF THE APOSTLES.   CARTOONS BY RAPHAEL.
+
+1. The miraculous draught of fishes                                   59
+
+2. The miraculous draught of fishes                                   60
+
+3. The miracle of the paralytic                                       61
+
+4. The death of Ananias                                               62
+
+5. The martyrdom of St. Stephen                                       63
+
+6. The martyrdom of St. Stephen                                       64
+
+7. The conversion of St. Paul                                         65
+
+8. The blindness of Elymas                                            66
+
+9. St Paul at Lystria                                                 67
+
+10. St. Paul in the Temple                                            68
+
+11. St. Paul at Ephesus                                               69
+
+12. St. Paul at Ephesus                                               70
+
+13. St. Paul preaching in Athens                                      71
+
+14. Christ appears to His Disciples                                   72
+
+15. Christ choosing St. Peter                                         73
+
+16. The paralytic                                                     74
+
+17. Death of Ananias                                                  75
+
+18. Conversion of St. Paul                                            76
+
+19. The blind man Elymas                                              77
+
+20. St. Paul and St. Barnabas at Lystria                              78
+
+
+THE STORY OF VERTUMNUS AND POMONA.
+
+1. Vertumnus transformed into a husbandman                            79
+
+2. Vertumnus takes a fishing rod                                      80
+
+3. Vertumnus transformed into an agriculturist                        81
+
+4. Vertumnus transferred into a gardener                              82
+
+5. Vertumnus transformed into a reaper                                83
+
+6. Vertumnus at the harvest                                           84
+
+7. Pomona upbraids Vertumnus                                          85
+
+8. Vertumnus disguised kisses Pomona                                  86
+
+9. Vertumnus regains his natural form                                 87
+
+
+THE STORY OF SCIPIO AFRICANUS.
+
+1. The capture of Carthage                                            88
+
+2. Scipio saves his father                                            89
+
+3. Carthage sends Ambassadors                                         90
+
+4. The triumph of Scipio                                              91
+
+5. The banquet                                                        92
+
+6. Scipio gives up his betrothed                                      93
+
+7. Scipio gives up his betrothed (section)                            94
+
+8. Scipio delivers judgment                                           95
+
+9. The triumph                                                        96
+
+10. Scipio and Hannibal                                               97
+
+11. The triumph of Scipio                                             98
+
+
+THE STORY OF CYRUS.
+
+1. Cyrus takes Astyage prisoner                                       99
+
+2. Cyrus is recognised by Astyage                                    100
+
+3. Meeting of Cyrus and the Queen                                    101
+
+4. Cyrus sends a messenger                                           102
+
+5. Cyrus unites the Medes and Persians                               103
+
+6. Cyrus saves Croesus from the Stake                                104
+
+7. The Queen and Cyrus                                               105
+
+8. Cyrus takes Croesus prisoner                                      106
+
+9. Cyrus and the Lydians                                             107
+
+10. Cyrus releases the Hebrews                                       108
+
+11. Cyrus is entrusted to a Shepherd                                 109
+
+12. Hystaspe and Amenophis                                           110
+
+
+THE STORY OF DIANA.
+
+1. Birth of Diana                                                    111
+
+2. Diana resting                                                     112
+
+3. Diana and Jupiter                                                 113
+
+
+THE SPHERES.
+
+1. Hercules supports the sky                                         114
+
+2. Atlas supports the world                                          115
+
+
+THE STORY OF DECIUS.
+
+1. Decius raises his country                                         116
+
+2. Decius sends lictors to Manlius                                   117
+
+3. Decius bids farewell to the lictors                               118
+
+4. Decius departs to fight the Latins                                119
+
+5. Decius dedicates himself to the Legions                           120
+
+6. Valerius and Decius                                               121
+
+7. The vision of Decius                                              122
+
+8. Death of Decius                                                   123
+
+9. Funeral of Decius                                                 124
+
+
+THE STORY OF VENUS.
+
+1. Offerings to Venus                                                125
+
+2. The challenge of Cupid and Venus                                  126
+
+
+STORY OF THE CREATION OF MAN.
+
+1. God creates man                                                   127
+
+2. Cain kills his brother Abel                                       128
+
+3. God curses Cain                                                   129
+
+4. The tree of good and evil                                         130
+
+THE STORY OF TOBIAS.
+
+1. Sarah marries Tobias                                              131
+
+2. The return of Tobias and Sarah                                    132
+
+
+THE SEASONS.
+
+1. Summer                                                            133
+
+2. Winter                                                            134
+
+
+THE STORY OF SOLOMON.
+
+1. Solomon is annointed King                                         135
+
+2. Solomon marries an Egyptian Princess                              136
+
+3. Solomon and the Queen of Sheba                                    137
+
+
+HISTORY OF A MAN’S LIFE.
+
+1. Divinity advocates Temperance to Man                              138
+
+2. The Vices repulse Temperance                                      139
+
+3. Time surrounds him with Prudence                                  140
+
+4. Virtue triumphant                                                 141
+
+5. Patience humiliates Fortune                                       142
+
+6. Fortune fights avarice                                            143
+
+7. Blind Fortune bestows good and evil                               144
+
+8. Two ancient philosophers                                          145
+
+9. Divinity reveals Temperance                                       146
+
+10. Vice repulses Temperance                                         147
+
+
+STORY OF ANTHONY AND CLEOPATRA.
+
+1. Anthony leaves Rome                                               148
+
+2. Anthony receives homage                                           149
+
+3. Anthony disposes of Egypt’s treasures                             150
+
+4. Cleopatra mocks Anthony’s weakness                                151
+
+
+THE STORY OF ALEXANDER THE GREAT.
+
+1. Alexander and his Doctor Philip                                   152
+
+2. The battle of Issus                                               153
+
+3. The siege of Tyre                                                 154
+
+4. Alexander in Carmonia                                             155
+
+5. Surrender of the Kings of Cyprus and Phœnicia                     156
+
+6. Alexander in Asia Minor                                           157
+
+THE TRIUMPH OF LOVE                                                  158
+
+THE TRIUMPH OF DEATH                                                 159
+
+THE TRIUMPH OF CHASTITY                                              160
+
+
+THE STORY OF TOLEMACHUS.
+
+1. The young Tolemachus                                              161
+
+2. Neptune wrecking Ulysses’ ship                                    162
+
+
+THE STORY OF PAUL.
+
+1. St. Paul in the Temple                                            163
+
+2. St. Paul before Agrippa                                           164
+
+3. St. Paul executed at Rome                                         165
+
+
+TEMPTATION OF ST. ANTHONY.
+
+1. St. Anthony departs for the Retreat                               166
+
+2. St. Anthony tempted by the Devil                                  167
+
+3. Paradise, Purgatory and Hell                                      168
+
+
+STORY OF THE EMPEROR OCTAVIUS.
+
+1. Julius Cæsar adopts Octavius                                      169
+
+2. The battle of Phillippi                                           170
+
+3. Octavius closes the Temple of War                                 171
+
+4. Death of Cleopatra                                                172
+
+
+THE STORY OF MOSES.
+
+1. Moses and Aaron before Pharoah                                    173
+
+2. God chooses Moses to deliver Israel                               174
+
+3. Moses comes from Mt. Sinai                                        175
+
+BATTLES OF THE ARCHDUKE ALBERT.
+
+1. Surrender of Hulst                                                176
+
+2. Ardres surprised by a night attack                                177
+
+3. Hulst besieged                                                    178
+
+4. Taking of Calais                                                  179
+
+5. The return of the garrison                                        180
+
+
+THE STORY OF THESEUS.
+
+1. Theseus leaves for Crete                                          181
+
+2. Theseus receives the sword of Ægeus                               182
+
+3. Ægeus recognises his son                                          183
+
+4. Theseus armed with the Mace                                       184
+
+5. Bacchus marries Ariadne                                           185
+
+6. Theseus receives the ring of Minos                                186
+
+7. Theseus leads the bull of Marathon                                187
+
+8. Theseus and the head of Minotaurus                                188
+
+THE FUNERAL OF KING TURMUS                                           189
+
+DIDO AND THE PORTRAIT OF ÆNEAS                                       190
+
+
+THE STORY OF SAMPSON.
+
+1. Sampson propounds his riddle                                      191
+
+2. Sampson is betrayed by Delilah                                    192
+
+
+THE STORY OF NOAH.
+
+1. Noah building the Ark                                             193
+
+2. Noah leaving the Ark                                              194
+
+
+THE WAY OF HONOUR.
+
+1. Grace accords immortal crowns                                     195
+
+2. Virtue accords honour                                             196
+
+3. Merit receives reward                                             197
+
+
+STORY OF ZENOBIA.
+
+1. Nuptial banquet of Zenobia and Odenat                             198
+
+2. Zenobia is taken prisoner                                         199
+
+3. Zenobia led captive                                               200
+
+STORY OF DON QUIXOTE.
+
+1. Departure of Don Quixote                                          201
+
+2. Don Quixote and the three Peasant Women                           202
+
+3. Princess Micomicona                                               203
+
+4. Don Quixote is beaten by the Merchants                            204
+
+5. Don Quixote is enclosed in a cage                                 205
+
+6. The Muleteer meets Don Quixote                                    206
+
+7. Sancho marches to Toboso                                          207
+
+8. Repetitions of preceding pictures                                 208
+
+
+STORY OF PHAETON.
+
+1. Phœbus allows Phaeton to drive the chariot of
+the sun                                                              209
+
+2. Phaeton drives the chariot of the sun                             210
+
+3. Jupiter confounds Phaeton                                         211
+
+4. The body of Phaeton is recovered                                  212
+
+CHASTITY PUTS CUPID TO FLIGHT                                        213
+
+RUSTIC SCENES AFTER GOYA AND BAYEU                                   214
+
+PANELS AFTER GOYA                                                    215
+
+QUARREL IN AN INN, AFTER GOYA                                        216
+
+PANELS AFTER TENIERS                                                 217
+
+PANELS AFTER TENIERS                                                 218
+
+PANELS AFTER TENIERS                                                 219
+
+VILLAGE DANCE AFTER TENIERS                                          220
+
+PANELS AFTER TENIERS                                                 221
+
+DESCENT FROM THE CROSS                                               222
+
+CHRIST ON THE CROSS                                                  223
+
+THE CRUCIFIXION, BY VAN DER WEYDEN                                   224
+
+OUR LORD APPEARING TO THE HOLY WOMEN                                 225
+
+ST. JEROME IN THE DESERT                                             226
+
+THE ETERNAL FATHER                                                   227
+
+OUR LORD AND ST. VERONICA                                            228
+
+MARY ANNOINTING THE FEET OF THE SAVIOUR                              229
+
+THE CONFUSION OF TONGUES                                             230
+
+THE LAST SUPPER                                                      231
+
+THE ADORATION OF THE MAGI                                            232
+
+NEOPTOLEMY SACRIFICES POLYZEMA                                       233
+
+TIME AND TEMPERANCE RESTRAIN CUPID                                   234
+
+ULYSSES ACCEPTS THE PRESENTS OF ALCINOUS                             235
+
+PENELOPE RECOGNISES ULYSSES                                          236
+
+COURTIERS PRESENTING THEMSELVES BEFORE A KING                        237
+
+CHILDREN PLAYING--XVITH CENTURY                                      238
+
+DEATH OF CLEOPATRA                                                   239
+
+PORTRAIT OF A WOMAN                                                  240
+
+CALCHAS OF AGAMEMNON                                                 241
+
+A GROVE                                                              242
+
+ON THE BANKS OF A RIVER                                              243
+
+PRINCE BALTAZAR CARLOS                                               244
+
+ALLEGORY OF THE TIBER AND ROME                                       245
+
+IMPERIAL FUNERAL BED OF STATE                                        246
+
+ROYAL ARMS OF PHILIP V.                                              247
+
+PANELS                                                               248
+
+A FRIEZE                                                             249
+
+BORDERS OF TAPESTRIES                                                250
+
+THE PASSION OF OUR LORD                                              251
+
+DEATH OF ABSALOM                                                     252
+
+THE BIRTH OF CHRIST                                                  253
+
+DESCENT FROM THE CROSS                                               254
+
+ST. GREGORY’S MASS                                                   255
+
+TRIUMPH OF JOSEPH                                                    256
+
+KING CHARLES III.                                                    257
+
+QUEEN AMELIA AND SAXONY                                              258
+
+MYTHOLOGICAL SUBJECT                                                 259
+
+AFTER THE VICTORY                                                    260
+
+THE TEMPLE                                                           261
+
+THE COLONNADE                                                        262
+
+THE PALACE                                                           263
+
+FRAGMENTS                                                            264
+
+PANELS                                                               265
+
+PANELS AFTER ANDRES DE AGUIRRE                                       266
+
+PANELS AFTER TENIERS                                                 267
+
+FRAGMENTS AFTER TENIERS                                              268
+
+FRAGMENTS AFTER TENIERS                                              269
+
+PANELS AFTER TENIERS                                                 270
+
+FRAGMENTS AFTER TENIERS                                              271
+
+FRAGMENTS AFTER TENIERS                                              272
+
+CHILDREN PLAYING, AFTER GOYA                                         273
+
+PANELS AFTER GOYA                                                    274
+
+PANELS AFTER GOYA AND BAYEU                                          275
+
+PANELS AFTER GOYA AND BAYEU                                          276
+
+CORIOLANUS AND HIS MOTHER                                            277
+
+
+
+
+THE SPANISH ROYAL TAPESTRIES
+
+
+
+
+CHAPTER I
+
+HISTORY OF THE ART OF TAPESTRY WEAVING
+
+
+The term tapestry is often applied to any hangings of mediæval
+workmanship whether woven on a frame or not. This use of the word is
+incorrect. Tapestry is a fabric woven with coloured wools on to warp
+threads in a loom or frame, in which the weft completely conceals the
+warp. It is woven all in one piece. This distinguishes it from
+embroidery or other needlework to which stitches are added after the
+groundwork of the fabric has been detached from the frame. The worker
+weaves directly from a design or cartoon which is supplied to him.
+
+Tapestry frames are of two kinds. In the first the warp threads are
+arranged in a perpendicular frame, and the weaver sits before his work.
+This is known as high-warp (_haute lisse_) weaving, and is the method
+in use at the celebrated manufactory at Gobelins in France. In the other
+method the warp threads are stretched horizontally, and the weaver must
+bend over his work. This is known as low-warp (_basse lisse_) weaving,
+and is the process followed at Beauvais. On the whole the high warp
+weaving gives a fabric of firmer and finer texture.
+
+The rest of the process is precisely similar. The weft threads of
+different colours, each attached to a separate bobbin or shuttle, are
+passed alternately behind and in front of the warp threads, leaving a
+little dot of colour behind. The second thread will, of course, take up
+the warp thread the first has passed over, and pass in front of that
+which the first one has passed behind. The two threads are then pushed
+together with a comb until they fall into one straight line. The warp is
+now completely concealed.
+
+Tapestry weaving is an art that stands alone. Like furniture, tapestry
+was of utilitarian origin, and cannot, therefore, be judged by the
+standards applied to painting and the purely decorative arts. As
+originally used in ancient buildings, it was hung some feet from the
+walls to serve as a draught screen, or was suspended between pillars to
+shut off one apartment from another. It was generally hung, therefore,
+in undulating folds, the stiff panels and upholsteries of later
+workmanship being a spurious growth.
+
+The decorative value of such hangings was, of course, seized on at once
+by the wealthy, who alone could afford them, and from the earliest times
+tapestries became things of beauty. But in estimating their artistic
+value we have to remember their original use. A tapestry curtain woven
+with a symmetrical central design would appear quite distorted when
+pushed aside by some one entering a room. Central unity, therefore, the
+great merit of painting, is in tapestry artistically bad. The designs
+that are most suitable are duplicated or repeated designs, with a
+crowded background. These will secure a certain uniformity in the
+suspended fabric. For this reason, therefore, such panels as Raphael’s
+_Acts of the Apostles_, though fine specimens of pictorial art, are, as
+tapestries, artistically faulty, beautiful though they are when
+considered merely as works of art.
+
+Its first utilitarian purpose being fulfilled, tapestry becomes a
+decorative art designed only to please and rest the eye. Tragic
+subjects, therefore, such as the _Descent from the Cross_ and the
+_Passion of Our Lord_, are unsuitable, though they constantly tempted
+the mediæval _tapissier_. Much finer are those works that depict
+stirring historical scenes, the _Triumphs of Cæsar_ or the _Conquest of
+Tunis_, or those which deal with light mythological subjects with their
+pleasantly crowded backgrounds of fruit, flowers, and cupids. Dull and
+sombre colourings are also bad. The richest dyes, enriched with metallic
+threads of gold and silver, should glow against the background of the
+cold stone pillars. All these æsthetic rules, however, were constantly
+violated by the mediæval artificers, who could not rid themselves of the
+idea that art in any form should be didactic, and subserve the purposes
+of the Church and morality.
+
+Tapestry weaving is certainly one of the most ancient of all the arts.
+Fragments have been left behind by all the early civilizations to bear
+witness to their skill. The art was practised by the early Egyptians,
+the Babylonians, Chinese, and Peruvians, while the Greeks and Romans
+brought it to a high state of perfection. It is noticeable that from the
+very beginning the texture of the fabric has scarcely altered, while the
+modern tapestry looms are but the natural development of the primitive
+frames used by the ancient Egyptians.
+
+The earliest specimen of weaving that has been discovered was found in
+one of the Swiss lake dwellings, and can only be a relic of the later
+Stone Age. Fragments somewhat similar have come to light in stone
+coffins found in Yorkshire, while at Thornton, near Kolding, in Jutland,
+whole costumes have been discovered that must have belonged to the Age
+of Bronze.
+
+The first historic references to the art come to us from early Egypt.
+Here the weavers were probably women. The Beni Hassan wall-paintings,
+which date from about 1600 B.C., depict weavers squatting at horizontal
+low-warp frames. There are three fragments of this early tapestry
+preserved in the Museum of Egyptian Antiquities at Cairo. Their
+uniformly fine workmanship proves that the weaving of tapestries had
+been carried to a high degree of excellence in the reign of Thothmes
+III. The texture of the fabric is very fine, and the pattern is
+identical on both sides. Some elasticity of pattern has been achieved by
+the occasional slackening of warp threads. This points to a loom where
+the threads were weighted, but not fastened to a cylinder.
+
+A Greek vase found at Chiusi shows Penelope weaving at a high-warp frame
+while she holds her suitors at bay. This belongs to the fifth century
+B.C., and the loom depicted is very like those used in Scandinavian
+countries.
+
+Catullus speaks of tapestries that showed the adventures of Theseus and
+Ariadne. The figures of Britons were constantly being reproduced in
+Roman tapestries. In Rome there were organized societies of weavers
+known as _collegii opificum_. The fabrics that have been preserved are
+woven in coloured woollens and linen threads. They show a wealth of
+floral and leaf adornment, and figures of ducks and fishes. One shows a
+child riding a white horse; another portrays Hermes with his caduceus.
+These date from the second or third centuries A.D.
+
+The growth of Christianity, and the breaking up of Roman civilization,
+drove the art of tapestry weaving into monasteries and convents, or to
+the royal courts. It was not until the eleventh century that
+associations of free craftsmen--as against the early organizations of
+slaves--began to be formed in different countries. The movement started
+in England, Flanders, and Brabant, and afterwards spread to France,
+where this particular form of art was to find so congenial a home.
+
+The Golden Age of mediæval tapestry opened, however, in the thirteenth
+century when Raphael began his cartoons. This introduction of realism,
+the widening of the whole artistic range, was rendered more feasible by
+the discovery of new dyes which added richer and more glowing tints to
+the fabrics. The borders, which had previously been simple, grew wider
+and more elaborate in design. From this ever-increasing elaboration of
+the borders, indeed, it is often possible to fix the date of an
+otherwise dubious specimen.
+
+In the following century Arras became the centre of the industry. So
+closely was the tapestry associated with its place of manufacture that
+in England the name of the town became synonymous for the name of the
+fabric, and the arras became a recognized decoration of luxurious rooms.
+From early times there are references in Spanish inventories to _pan de
+raz_. This supremacy remained unchallenged until the fifteenth century
+when Brussels and Bruges achieved fame as tapestry centres. In the
+sixteenth and seventeenth centuries the industry took root at
+Middleburg, Delft, and Paris, and Mortlake in England became a famous
+centre in the seventeenth century.
+
+It was not until the late seventeenth century that tapestry weaving
+really became established in Spain. Before that the Spanish kings and
+nobles had been content to acquire masterpieces of foreign workmanship,
+chiefly from the Low Countries. There are, however, traces of a feeble
+industry to be found as far back as the late fourteenth century when one
+man seems to have followed the craft of _tapissier_ in Catalonia. It is
+possible--but not certain--that two _tapissiers_ of Navarre, who
+flourished about 1411--Llucia Barthomew and Juan Noyan--may have been
+Spaniards. Another Barthomew is spoken of a few years later in connexion
+with two tapestries, namely, those of the _Resurrection_ and _St.
+Anthony_.
+
+A panel of Spanish tapestry, obviously intended for altar decoration,
+has recently been discovered that dates from the early fifteenth
+century. The centre is occupied by the figure of John the Baptist
+bearing the Paschal Lamb, flanked by St. Martin of Tours in the dress of
+a bishop, and by St. Hugh of Grenoble. Gold and silver threads are
+employed, and the arms are shown of Martin of Aragon and of his wife,
+Maria de Luna, who died in 1407. This king appears to have interested
+himself in tapestries, and we read that the walls of the royal palace at
+Saragossa were adorned with these costly fabrics at his coronation in
+1398. King John of Aragon before him had introduced, we read in a
+document dated 1388, a company of “brobadors de Brabant.”
+
+From the fifteenth century onward the costliest tapestries were much
+sought after in Spain, and magnificent displays were made on the
+occasions of State banquets or royal weddings. Towards the end of the
+fifteenth century a special official was appointed by the king to take
+charge of the royal collection, which was already considerable. This
+official, Pedro Entierrez by name, was himself a weaver. He made
+strenuous efforts to develop the industry in the Spanish capital, but
+apparently without much success. At any rate, a letter of his is
+preserved among the records of the Spanish Academy of History, in which
+he complains bitterly of the treatment meted out to himself and his
+fellow-workers. He was accused by his enemies of being ambitious,
+unskilled, and slow. These aspersions he proceeds very fully to refute.
+He complains that his supplies of raw material were limited, and that he
+was not allowed to set up his heavier instruments in Madrid.
+
+It was not, however, until 1624 that the attempt to graft the weaving of
+tapestry on to Spanish art really succeeded. In this year a small colony
+of Flemish weavers settled in the little town of Pastran in New Castile,
+being directly subsidized by the king. Five thousand ducats were paid to
+them in the first year, and in the following year they received a
+further seven thousand ducats.
+
+Meantime the unfortunate Pedro Entierrez had found a rival in a certain
+Antonio Ceron who had set up looms at Santa Isabel. Here he established
+four workshops, and instructed eight apprentices in the art of weaving
+tapestry. It is probably one of these ateliers that has been
+immortalized by Velazquez in _Las Hilanderas_. This painting shows in
+the background a tapestry of mythological inspiration, while in the
+foreground women are seen unwinding skeins of wool.
+
+For some time the poverty of the Spanish Crown held the industry in
+check. But by 1720 a family of Spanish weavers from Antwerp, consisting
+of one Jacques Van der Goten and his four sons, came over on the
+invitation of Philip V and established an atelier in Madrid, where
+tapestry was produced on low-warp frames. A few years later high-warp
+looms were introduced from France, and the industry spread to Seville.
+Some famous pieces were wrought in Spain at this time. Jacques Van der
+Goten produced the _Virgin with the Pearl_ from a cartoon by Raphael,
+while the famous series representing the _Conquest of Tunis_, and the
+_History of Telemachus_, were reproduced by a well-known weaver called
+Andrea Procaccini. Cartoons were also designed by Procaccini for a
+“History of Don Quixote,” which have been constantly reproduced in
+tapestry.
+
+The fashion changed, and for a time the demand was all for Dutch
+tapestries. Van der Goten set his workmen to copy the cartoons of
+Solimena Teniers and the other Dutch cartoonists. But at the same time
+original designs were not neglected, and by the end of the eighteenth
+century the industry had become quite considerable, employing
+permanently no less than fifteen workmen. The last of the Van der Goten
+brothers died in 1786, and the direction of the Santa Barbara atelier
+passed to a nephew.
+
+The culmination of the prosperity of the Spanish _tapissiers_ was marked
+by the execution of the celebrated Goya tapestries. These cartoons, to
+the number of forty-five, were designed for the decoration of the
+apartments of the Prince of Asturias in the Prado. Some of them,
+however, are to be found on the walls of the Escorial, and many,
+unhappily, have been lost. Goya brought to his task his own peculiar
+talents. Hitherto the designers of cartoons had been content to find
+their inspiration in ancient Bible stories or in the myths of Greece or
+Rome. They had depicted incidents from the life of Christ and the
+Virgin Mary; they had painted moralities, virtues, and vices. Goya did
+none of these things. When he was summoned from Rome to Madrid by
+Raphael Mengs, then the director of the workrooms of the Spanish
+capital, he decided to portray in tapestry the actual life of the people
+around him. In place of the stilted, conventional figures of his
+predecessors he produced cartoons instinct with life and vivid movement.
+The enthralling realism of the bull-fight, village fairs and festivals,
+the romantic loves of Andalusian peasants, the popular excitement of
+kite-flying--these were the subjects treated by this most realistic of
+artists.
+
+Goya achieved an immediate success. Time after time his cartoons were
+reproduced by the Spanish weavers. The King, pleased at the distinction
+with which the artist invested his Court, spent enormous sums upon
+tapestries, and encouraged his household to do the same. In the four
+years from 1776 to 1780 the sum of 817,956 _reales_ was expended at the
+Court on the purchase of tapestries and cartoons. Other well-known
+artists contributed cartoons to the Madrid workshops, among whom we find
+the names of Van Loo, Conrado, Giaquinto, Mengs, Jose de Castillo,
+Antonio Gonzalez, Mariano Nani, Andres Gines, Antonio Barbaza, and Jose
+de Salas.
+
+The French invasion caused the closing down of the workshops of Santa
+Barbara in 1808. Some years later they were reopened by the son of St.
+Ferdinand’s weaver, and once again beautiful fabrics were woven from the
+designs of Goya. The death of Ferdinand VII in 1833 gave a severe blow
+to the industry, but there are still looms in Santa Barbara where
+exquisite tapestries are executed under the direction of a descendant of
+Jacques Van der Goten.
+
+
+
+
+CHAPTER II
+
+THE FOUNDATION OF THE SPANISH ROYAL COLLECTION
+
+
+In order to understand how the finest collection of Renaissance
+tapestries in the world came to be in the royal palace at Madrid, it is
+necessary to know something of the complicated history of the
+Netherlands during the later fifteenth and sixteenth centuries, when the
+Flemish tapestry weaving industry was at the height of its reputation.
+
+During the earlier decades of the fifteenth century the Dukes of
+Burgundy were employed in the consolidation of their power by the
+acquisition of province after province in the Low Countries. By 1443
+these territories included, in addition to the French duchy of Burgundy,
+Flanders, Artois, Namur, Holland, Zeeland, Friesland, Brabant, Limbourg,
+and the duchy of Luxembourg, and Burgundy had to be reckoned with as a
+great European power. The Court of Philip the Good was, indeed, the most
+luxurious in Europe, enriched with the finest paintings, the rarest
+books, and the most beautiful tapestries. Charles the Bold added Liége
+and Gelderland to the territories inherited from his father. On his
+death in 1477, Burgundy, Franche Comté, and Artois reverted to France.
+The rest of Charles’s dominions passed to his daughter Mary, who married
+Maximilian of Austria. On Maximilian’s election as Emperor, he made his
+son, Philip the Handsome, ruler of the Netherlands. The marriage of
+Philip with Joanna of Aragon secured to their son Charles the kingdoms
+of Aragon and Castile. On Charles’s election as Emperor in 1519, in
+succession to his grandfather Maximilian, he united the sovereignties of
+Spain and of the Netherlands.
+
+Margaret of Austria had already been appointed by Maximilian as ruler of
+the Netherlands. In this position the new Emperor left her, showing
+therein great wisdom, as Margaret proved a popular ruler. On her death
+he appointed his widowed sister, Mary of Hungary, as her successor.
+Under the beneficent rule of these two Burgundian ladies, the industry
+of tapestry weaving flourished and reached its height. The Netherlands
+enjoyed a long term of peace and prosperity. Both Margaret of Austria
+and Mary of Hungary were enthusiastic patrons of the art, and many
+well-known series of tapestries were woven at their command. These
+pieces passed, almost without exception, into the hands of Charles V and
+Philip II on the death of their original owners. During the long and
+bitter struggle against the Catholic Philip, the industry, as was
+inevitable, languished and never again recovered its ancient vigour.
+
+It has been asserted that the Spanish kings used their power in the
+Netherlands to extort from the weavers the finest products of their
+looms by blackmail, or even torture. There seems to be little
+foundation, if any, for this charge. With one exception, where the
+origin of the tapestries is known, they were acquired by inheritance or
+purchase, or were made, as in the case of the _Conquest of Tunis_,
+directly to the royal command.
+
+Besides the tapestries dealt with in the following pages the Spanish
+royal collection contains an even greater number of pieces of less
+importance and artistic value, disposed upon the walls of the palace.
+These also are almost entirely of Flemish origin, except those which
+were the product, at a later date, of the Spanish looms established by
+the much persecuted Van der Goten. A large number of the tapestries here
+described were shown at the Paris Exhibition of 1900, when, for the
+first time, the world became aware of the artistic wealth so long hidden
+in the Royal Palace of Madrid.
+
+The accumulated treasures of the Spanish Court had remained for many
+years neglected and uncatalogued, their history and origin uncertain or
+unknown. It was King Alfonso XII who first conceived the idea of
+arranging the royal tapestries, studying their history, discovering,
+where possible, their designers and makers, and classifying them into
+groups and series, and making photographs of the whole collection. This
+work was subsequently completed by the late Queen Isabella of Spain.
+
+In 1903 an excellent series of photographic plates representing the
+finest of the tapestries was published in book form, accompanied by
+critical and historical notes from one of the finest art critics of
+Spain--the Count Valencia de Don Juan. It is to this learned and
+discerning writer that I am most indebted for the explanatory notes
+which accompany the reproductions included in this volume. The
+tapestries are, as far as possible, treated in groups connected by
+similarity of subject except where several pieces form a continuous
+series.
+
+
+
+
+CHAPTER III
+
+THE GOTHIC TAPESTRIES--SACRED PIECES
+
+
+It is a notable fact that the earlier Gothic tapestries--those of the
+thirteenth and fourteenth centuries and earlier--nearly all deal with
+religious subjects. From this we are apt to acquire an exaggerated idea
+of the part played by religion in mediæval life. The true explanation is
+that in the cockpit of Europe during these fierce and warlike times art
+in any form found itself unable to exist. Only in the monasteries could
+it find refuge, and these became the centres, not only of the fine arts,
+but also of textile arts like tapestry-weaving. The effects of this
+monopoly were unfortunate. The imagination of the designers of cartoons
+was stunted. They came to believe that the duty of tapestry was not to
+delight the eye, but to preach trite little sermons. Hence the endless
+series of pictures extolling the practice of vices. The chief beauty of
+the earlier Gothic tapestries lay in the brilliance and richness of the
+dyes. But as the times became less barbarous, and art began to flourish
+outside the monastery and the cathedral close, the Gothic tapestries
+gained a new vigour and beauty. The religious inspiration remained,
+giving, indeed, an atmosphere of chastened restraint that to many people
+denotes the high-water mark of the art. But the incursions of the outer
+world could no longer be restrained, and we get the delightful posies of
+spring flowers, the bluebells, daisies, lilies, and primroses--the
+_millefleurs_--all utterly irrelevant and charming, that intrude into
+fierce battle scenes and into the mystic visions of the Apocalypse.
+
+All the Gothic tapestries in the Spanish royal collection are of Flemish
+workmanship.
+
+
+GROUP 1, including _The Birth of Christ_ and _The Mass of St. Gregory
+the Great_
+
+_The Birth of Christ_ is probably one of the oldest pieces of the whole
+collection. It is mentioned for the first time as forming part of the
+collection left by Juana the Mad, who died at Tordesillas in 1555.
+Neither the designer nor the weaver can be identified. “The Gothic
+architecture of the buildings in the background,” says the Count
+Valencia de Don Juan, “the attitude of the persons, the singularity and
+richness of their costumes, and, above all, the drawing, recalls the
+tapestries which were made at Arras in the fifteenth century.”
+
+The tapestry represents the birth of Christ in fulfilment of the
+prophecies of the Prophets Isaiah and Micah, and of Aaron the High
+Priest of the Israelites. The scroll to the left by the figure of Micah
+bears the legend (translated into English), “And thou, Bethlehem
+Ephrata, art small among the cities of Judah, nevertheless out of thee
+shall come forth He that is to be the Ruler in Israel” (Micah v. 2).
+That to the right bears the (translated) inscription, “For a child is
+born to us, and a Son is given to us, and the Government is upon His
+shoulder; and His name shall be called Wonderful, Counsellor, God ...”
+etc. (Isaiah ix. 6).
+
+This tapestry is made of silk and wool interwoven with gold threads. It
+was probably used as an altar piece. Two pieces of red and gold brocade,
+of much later workmanship, have been added.
+
+_The Mass of St. Gregory the Great._ Neither the designer of the cartoon
+nor the town where this tapestry was woven is known. It is of Flemish
+origin, and the Gothic arches, each enclosing a scene in the life of
+Christ, point to Bruges as its place of origin. It is mentioned by
+Ferdinand V of Aragon in the Act of Discharge of Juan Valazquez (1555)
+as a gift from the Princess Juana to her mother, Queen Isabel the
+Catholic.
+
+The tapestry shows the celebration of Mass by St. Gregory the Great in
+the presence of King David and St. Augustine. The scroll to the left
+bears the (translated) inscription, “Man shall eat the bread of angels.”
+That on the right reads, “The sacrament is the outward visible form of
+the invisible Grace.”
+
+This tapestry is woven in silks and wool enriched by threads of gold and
+silver.
+
+
+GROUP 2. _The Story of the Holy Virgin_
+
+_1st Series._ Consists of four pieces which once bore in the corner as a
+heraldic mark a small lion embroidered in gold on a black ground.
+Cartoons said to be by Van Eyck. Of Flemish origin, probably belonging
+to the Bruges atelier.
+
+These tapestries belonged to Philip the Handsome and Juana the Mad.
+Transferred by Charles V to the monastery of Yuste, and again removed by
+Philip II to the monastery of the Escorial, they were in constant use
+for the religious ceremonies attended by the Royal Household owing to
+their unusual beauty.
+
+The first piece represents God commanding the Archangel Gabriel to
+announce her destiny to the Virgin Mary.
+
+The second piece represents the Annunciation.
+
+The third piece represents the Birth of Christ.
+
+The fourth piece represents the Coronation of the Holy Virgin.
+
+_2nd Series._ In spite of the similarity of the borders the two
+tapestries here treated do not form a continuous series with those
+previously described. They probably came from workrooms of Brussels.
+Designer and weaver unknown, but resemblance has been noted between the
+figures of Adam and Eve and similar figures on a triptych designed by
+the brothers Van Eyck.
+
+The subjects of these two tapestries are obscure. They appear, however,
+to refer--
+
+First, to the fulfilment of the prophecies as to the birth of the Son of
+God;
+
+Secondly, to the presentation of Jesus in the Temple.
+
+All these tapestries are of extraordinary beauty. They are woven of silk
+and wool enriched with gold and silver threads.
+
+
+GROUP 3. _The Story of David and Bathsheba_ (10 Tapestries)
+
+Three of these tapestries are mentioned in the _Inventaire des Rois
+Catholiques_ under the heading “Bed,” having evidently formed part of
+the draperies of a bed belonging to some royal personage. These are of
+Flemish origin and date from the end of the fifteenth century. They are
+woven in silk, wool, and gold thread.
+
+To these were later added seven bed canopies of Gothic design. The
+subjects of the tapestries are as follows:
+
+(1) David surprises Bathsheba in her bath and falls in love with her
+beauty. For the sake of modesty, however, the artist has represented
+Bathsheba fully clothed, washing her hands at a small fountain.
+
+(2) The Marriage of David and Bathsheba. David, from being a
+smooth-faced boy, has become a bearded man.
+
+(3) The prophet Nathan reproaches David with his evil ways.
+
+The remaining seven tapestries apparently represent some sylvan festival
+in which courtiers make offerings of fruit and flowers to ladies. The
+playing-cards are worth noticing.
+
+
+
+
+CHAPTER IV
+
+TAPESTRIES OF THE GOTHIC-RENAISSANCE TRANSITION
+
+
+The fifteenth century saw Gothic tapestries carried to their highest
+point of perfection. Bruges had become a centre of pictorial art next
+only to Italy. Memling, the Van Eycks, and Bernard Van Orley were giving
+life, freedom, and originality to the old stilted Gothic forms in
+painting, and it was to them that the art of tapestry weaving owed its
+greatest debt.
+
+But to the Flemish weavers themselves no small part of the artistic
+merit of the Gothic tapestries is to be ascribed. The master-weaver was
+an artist, not a craftsman. To him the designer left many details of
+design; he was at liberty to alter cartoons that could not be
+satisfactorily translated into tapestry, to choose colourings, even to
+introduce new figures into the picture. In the fifteenth century the
+_tapissiers_ were still conscientious, refusing to hurry their work to
+the detriment of its quality. Artist and _tapissier_ alike, now perfect
+masters of the art, spent their time perfecting the methods that had
+made the name of Flemish tapestry in the preceding century. The
+tapestries described in the following pages belong to this period, just
+before the spirit of the Italian Renaissance completely banished the old
+native forms of art from the north of Europe. The first cartoons of
+Raphael were still to come to the Flemish workshops, but already men
+were talking of the wonders of Italy, and certain signs of transition
+are strongly marked in the tapestries with which we are dealing. In many
+the Gothic architecture of the background has given way to Renaissance,
+and the sky-line has been lowered. Or sometimes while the background
+remains under the Gothic inspiration, the treatment of the figures, more
+especially of the robes, shows the Renaissance influence. The chief
+characteristics that distinguish these tapestries from the earlier
+Gothic are the greater freedom in the attitudes of the figures, the
+perfection of detail, and the absence of exaggeration, particularly in
+the patterns of fabrics and of dress ornaments.
+
+
+GROUP 4. _The Story of St. John the Baptist_
+
+Date and origin uncertain, but evidently belong to the transition
+period. The figures show the realism and elegance of the Italian
+painters, while the buildings in the background are Gothic. The
+tapestries show different episodes in the life of the Saint. The
+similarity of their exquisitely woven borders suggests that they belong
+to the same series. They are woven in fine wool, silk, gold, and silver.
+The subjects are as follows:
+
+(1) Visit of the Holy Virgin to her cousin Elizabeth. Zaccharius
+recovers his speech.
+
+(2) The child John asks permission to devote himself to God.
+
+(3) St. John, asked by the Pharisee if he is the Christ, replies:
+“Behold the Lamb of God.”
+
+(4) He baptizes Jesus and many others. End of the reign of the Jews.
+
+
+GROUP 5. _The Passion of Our Lord_ (2 Episodes)
+
+These two tapestries, richly woven in gold, silk, and wool, were made by
+command of Princess Margaret of Austria, the Regent of the Netherlands.
+These were inherited by her nephew Charles V. They are mentioned in an
+inventory that Margaret caused to be made in 1525, five years before her
+death.
+
+The designer of the cartoons is unknown. The background is Gothic, but
+the figures show Italian influence.
+
+_Tapestry No. 1._ Christ bearing the Cross on His way to Calvary meets
+St. Veronica, who receives the sacred imprint on her handkerchief.
+
+_Tapestry No. 2._ The Descent from the Cross.
+
+
+GROUP 6. _Moralities_ (4 Tapestries)
+
+These belong to the end of the fifteenth or the beginning of the
+sixteenth century, and were inspired by the preaching of the Reformers.
+
+The first three tapestries of the group are the sole remaining pieces
+from an older series executed during the transition from the older
+Gothic style to the new style of the Italian Renaissance. Their exact
+date is unknown. They were bought by the Princess Marie of Portugal as
+part of her dowry on her marriage with Philip II. They are enriched by
+gold threads.
+
+The fourth tapestry in this group is the only surviving specimen of
+another older series.
+
+
+_St. Jerome_
+
+Dates from the middle of the sixteenth century. Woven in gold, silk, and
+wool on high warp. In possession of Philip II of Spain when inventory
+was made in 1598. The plate represents the penance of St. Jerome.
+
+
+GROUP 7. _Dais of Emperor Charles V_ (3 Tapestries)
+
+These tapestries of silk, gold, and wool were made by command of the
+Regent Margaret of Austria, at Brussels, under the direction of Pierre
+Pannemaker, the most famous _tapissier_ of the time. The cartoons were
+probably by the aged painter Quintin Metoys. The tapestries were begun
+in 1523, and passed to the Emperor on the death of Margaret.
+
+_Tapestry No. 1._ The bed canopy represents the Eternal Father and the
+Holy Ghost surrounded by Seraphim.
+
+_Tapestry No. 2._ The Redemption of mankind from the taint of original
+sin.
+
+_Tapestry No. 3._ Formed the lower part of the dais, and depicts St.
+Luke xxiv. 50, 51.
+
+
+GROUP 8. _The Passion of Our Lord_ (4 Tapestries)
+
+These four tapestries were woven by Pierre Pannemaker from the designs
+of Quintin Metoys at the command of Margaret of Austria. They are good
+examples of the transition style, and some fine effects of tinting have
+been obtained by means of hatching (i.e. the use of vertical lines to
+give thickness to the figures). The influence of Roger Van der Weyden is
+plain.
+
+These tapestries were inherited by Charles V from Margaret of Austria,
+and have been much used for State functions.
+
+_Tapestry No. 1._ Represents the prayer on the Mount of Olives.
+
+_Tapestry No. 2._ Meeting between Our Lord and the Virgin on the road to
+Calvary.
+
+_Tapestry No. 3._ The Crucifixion.
+
+_Tapestry No. 4._ The Descent from the Cross.
+
+
+GROUP 9. _Vices and Virtues_ (9 Tapestries)
+
+These tapestries were probably executed at Brussels in the first half of
+the sixteenth century. They are woven in silk, gold thread, and wool,
+cover a surface of 400 square metres, and include a thousand figures.
+
+Though much in the style of Bernard van Orley, the absence of the rich
+Renaissance architecture in which that painter delighted suggests that
+either Jean Gossaert or Quintin Metoys was more likely the designer.
+There is no weaver’s mark on the tapestry. A reproduction must have been
+made in wool and silk, as one piece representing the Punishment of Vice
+was exhibited in Bruges by the Prince of Aremberg. The series is
+mentioned in the inventory of Charles V, dated Brussels, 1544, and was
+alleged to have been purchased in Seville.
+
+The excellence of the tapestries is mostly due to the _tapissiers_. The
+overcrowded canvases, the painfully didactic and tortuous morals, do not
+rank the designs very high. That labelled “Infamy” gives a key to the
+complicated moral problem. The beholder is urged in a pompous and wordy
+harangue to follow reason and the philosophers, so shall no evil befall
+him. The different pieces represent respectively, Faith, Honour, Renown,
+Nobility, Fortune, Infancy, Prudence, Vice, and Justice.
+
+
+GROUP 10. _The Foundation of Rome_ (6 Tapestries)
+
+A fine example of Flemish tapestry probably executed from cartoons by
+Bernard van Orley, the pupil of Raphael. The Italian influence is
+strong, yet the tapestry is hardly pure Renaissance. There is no
+weaver’s mark, so the series must date prior to 1528. The tapestries are
+remarkable for their fine landscapes, the magnificence of the buildings,
+and the elegance of the costumes. The borders are of beautiful design
+and workmanship.
+
+_Tapestry No. 1._ Shows Romulus and Remus thrown into the Tiber. They
+are suckled by a she-wolf and grow up to be clever hunters and cunning
+thieves.
+
+_Tapestry No. 2._ Remus, taken captive, is presented to Amielius, who is
+killed by the brothers. Numitor is placed on the throne.
+
+_Tapestry No. 3._ The brothers trace out the foundations of Rome with a
+plough. Romulus becomes king, gives his name to the city, and kills his
+brother.
+
+_Tapestry No. 4._ Romulus proclaims a fête to Neptune, to attract young
+girls from neighbouring districts.
+
+_Tapestry No. 5._ The rape of the Sabine women. Hersilia is presented to
+Romulus. The Sabine parents retire disconsolate.
+
+_Tapestry No. 6._ Romulus gives laws to the people. He establishes the
+twelve lictors, summons the Senate, and builds a temple.
+
+
+GROUP II. _The Conquest of Tunis_ (12 Tapestries)
+
+This series of tapestries, besides being of peculiar historical
+importance, is one of the very finest examples of the perfected
+Gothic-Renaissance school, and is worth noticing in much fuller detail
+than any others of the collection. Designed by Jan Vermay, or Vermeyen,
+and woven by Wilhelm Pannemaker, it was directly inspired by Charles
+himself, who determined to leave to posterity this magnificent record of
+an expedition of the success of which he can have felt no doubt.
+Vermeyen was commanded to accompany the Emperor, so that on the actual
+battlefield he might reproduce in pencil the stirring scenes that passed
+before his eyes.
+
+Detailed instructions were given to the artist as to the manner in which
+his cartoons were to be designed. He bound himself to submit small
+sketches for Charles’ approval, to carry out any alterations and
+suggestions made by his patron, and finally to reproduce them “in the
+best and most vivid colours,” in the size that was required for the
+actual tapestries. The Emperor agreed to pay for them the sum of 1800
+florins, a considerable amount according to the standards of the time.
+
+To Wilhelm Pannemaker, the famous Flemish weaver, was entrusted the
+weaving of the tapestries. Determined that neither poverty of material
+nor careless workmanship should spoil the precious webs, Charles and his
+sister Mary of Hungary bound Pannemaker by a stringent contract, wherein
+the amount and quality of silk, and the number and value of the gold and
+silver threads were distinctly specified. The gold was to come from
+Milan, the silk from Granada. The finest wool was also commanded and the
+richest dyes. In order that the slow process of tapestry weaving might
+be expedited as much as possible, Pannemaker was to have seven men
+working at each tapestry. Each piece as it was finished was to be
+scrutinized by experts, whose corrections Pannemaker bound himself to
+follow, even if it should necessitate remaking the whole piece. The
+dyeing of the silk and wool required was specially undertaken in an
+unusual range of colours. We find a certain Louis Chausset, complaining
+that he had lost 160 pounds of fine silk that were spoilt while being
+tinted blue.
+
+After the last alterations had been made the tapestries were declared
+definitely to be completed on April 21, 1554. They were sent to England
+to be exhibited at the wedding of Philip and Mary, and afterwards
+conducted with the utmost care back to Spain. For some time they were
+shown constantly at all great Court functions till the Emperor, fearful
+of the result of such constant wear, ordered a smaller set to be
+prepared. In 1740 Philip V had another reproduction made of the same
+size as the originals. Yet another copy exists in the Museum at Vienna.
+This was made by the Austrians who, when they succeeded the Spaniards,
+discovered the first ten cartoons and purchased them. Another tapestry
+was woven by Pannemaker that combined the subjects of Nos. 7 and 8 in
+this series. This was found by the Maréchal de Contades in a castle near
+Mechlin during the Seven Years’ War between France and Germany.
+
+
+THE EXPEDITION AGAINST TUNIS
+
+On the death of Mohammed the Hafsite in 1525, Khain-ad-Din Barbarossa
+took advantage of a dispute over the succession, to occupy Algiers in
+the name of the Sultan of Constantinople. The wars in Italy gave him the
+opportunity of consolidating his territories in the north of Africa,
+where he succeeded in establishing his dominion firmly, making Algiers
+his capital. At the end of the second Italian war Barbarossa swooped
+down on a small island in the possession of the Spaniards, and connected
+it with the mainland. From this stronghold he planned a series of
+brilliant coups that made him a serious menace to the kingdom of Naples
+and Sicily. He attacked and overthrew the native Tunisian dynasty under
+the pretence of restoring the rightful ruler, made himself master of
+this city as he had done of Algiers, and pushed his successes far into
+the interior. The menace was not lost upon Charles V. Availing himself
+of the plea for help urged by Al-Hasan, the son of Mohammed, the Emperor
+decided upon the conquest of Tunis and set sail from Barcelona on May
+30, 1535.
+
+Never was any expedition more popular. The Spanish people swarmed into
+Barcelona to bid God-speed to the departing fleet. At Cagliari Charles
+was joined by Doria with a company of German and Italian troops, galleys
+from Sicily and southern Italy, and a number of Knights Hospitallers
+enrolled to attack the infidel.
+
+Goletta was selected as the first point of attack, so that the way might
+be cleared to Tunis. After a desperate siege the fortress fell into
+Charles’s hands, together with the whole corsair fleet of eighty-two
+galleys. Still the attack on Tunis seemed fraught with too much danger,
+and much against his will Charles decided to re-embark. At the last
+moment, however, bolder counsels prevailed. The army was hastily formed
+into advance-guard and rear-guard and started on its twelve-mile march
+to Tunis.
+
+Charles’s army certainly laboured under grave disadvantages. Their guns
+had all to be dragged by hand; there were provisions for only five days.
+Between olive groves and the lagoons they moved with a front of but one
+thousand paces. The groves gave cover to the corsair chief as he moved
+to outflank the Emperor’s troops. But in appalling heat the Spaniards
+marched steadily forward. Barbarossa made two desperate attacks, but the
+Spanish troops stood their ground. The second encounter resulted in
+total defeat for the Moors and Turks, who recoiled before the deadly
+fire of the Christians. Turning to re-enter the fortress of Tunis,
+Barbarossa found it held by the Christian slaves who had risen against
+him. Tunis was captured, and a heavy blow struck at the power and
+prestige of the Turk.
+
+A projected attack on Algiers had to be abandoned owing to the advancing
+season. Bona and Biserta, however, were secured, and these together with
+Goletta were retained by the Spaniards. Tunis itself Charles restored to
+its one-time ruler, Al-Hassan, who had joined his army in time for the
+march to the capital.
+
+The result of this expedition was peculiarly fortunate for Charles. His
+reputation as a daring and successful soldier was established; Naples
+and Sicily looked on him as their saviour. All Europe admired the skill
+with which he had disposed of the natural ally of the French and
+checkmated Francis before that astute sovereign’s plans of attack had
+matured.
+
+Jan Vermay, or Vermeyen, the Flemish painter, chosen by Charles to
+accompany him on his expedition to Tunis, was one of the best-known
+artists of the first half of the sixteenth century. As Court painter
+under Margaret of Austria he executed portraits of the Emperor and of
+every one of importance at the Court, which were sent as gifts to the
+different sovereigns of Europe. Later he became the special protégé of
+Mary of Hungary, and afterwards of Charles himself.
+
+
+THE TAPESTRIES
+
+Each tapestry has an explanatory legend in Spanish at the top, and a
+supplementary legend in Latin underneath. Translations of these have
+been made for the first time by the Conde Valencia de Don Juan.
+
+_Tapestry No. 1._ Shows a map of the shore of the Mediterranean, where
+Charles embarked his army, and the opposite coasts of Africa. The
+translation of the upper legend reads: “The Conqueror, wishing to
+overcome the infidel armies of the Turk and the warrior who, obeying the
+orders of Soliman, raises cruel wars against the realms of Spain,
+Charles, the fifth of that name, with the blessing of heaven, gathers
+together the armies and fleets of Spain and Italy to threaten the
+African troops. He who knows not the meaning of delay, sails with his
+loyal companions.” On the right the figure of Vermeyen upholds a chart
+bearing the following curious inscription: “The conquest of Charles,
+Emperor of the Romans, the fifth of that name, and first of the kings
+of Spain, in Africa in 1535 had serious causes that the chronicles of
+the time recount more fully in their histories. These causes being left
+on one side, to this work is represented as exactly as possible the
+course of events.” Since for a clear understanding it is necessary to
+know the country where the events took place and what preparations had
+been made, the action is treated in this tapestry according to nature
+(all that concerns the cosmography leaving nothing to be desired). In
+the distance the coasts of Africa (like those of Europe and its
+boundaries) are seen with their chief ports, their broad gulfs, their
+islands, their winds at exactly the same distances at which they really
+lie (the author having taken much more care over their precise situation
+than over the accuracy of the painting). As all has been done--as also
+with the countries--in strict accordance with cosmography, and the
+painter has observed the canons of his art, considering that the
+spectator views it from Barcelona, where the embarkation for Tunis
+began. This last town lies between the spectator and the Midi, leaving
+the north behind, above the right shoulder. Accuracy being thus
+established, the peculiarities of the other tapestries can be better
+understood.
+
+_Tapestry No. 2._ The upper legend declares that this piece represents
+“the arrival of the Emperor at Barcelona with his army: the magnificence
+of his brilliant body-guard, formed of gentlemen of his household and of
+his Court, who accompanied him to share the dangers of the campaign:
+included in his company are the Infante Louis, his half-brother, and
+many other Portuguese gentlemen who formed part of the troops for the
+expedition.”
+
+The lower scroll bears the following inscription: “The Conqueror leaves
+the outskirts of Madrid and the dwelling of his ancestors, and halts in
+the smiling county of Barcelona. He reviews the army and singles out the
+noblemen and knights. He vows at the moment of embarkation that in
+crossing the ocean (leaving behind him the waves of the Balearic and
+Sardinian Seas) that the fleet can come together in the place commanded.
+He embarks with him the Germans, the Italian army, and the battalions of
+Spanish veterans, and lands them on the African coast.”
+
+_Tapestry No. 3._ According to the upper scroll this tapestry treats of
+“the arrival of the Emperor and his galleys at old Carthage, and the
+reconnaissance of Goletta (where several cannon shots were fired). On
+June 16 the Conqueror disembarks with his body-guard and 12,000
+infantry, and takes three positions. He attacks the towers of Water and
+of Salt; the Spanish arquebusiers, under the order of the Marquis del
+Vasto, draw on the enemy, who lose several men.”
+
+The lower inscription reads: “Here they enter the port of Utica; ancient
+Carthage receives them in her ruins. The fleet sails along the coast.
+Thence the Conqueror goes with a small body-guard to explore Goletta and
+to spy out its fortifications and situation. After having given the
+order to the troops to disembark they light-heartedly attack the enemy,
+who retreat. They pitch the camp beside the walls of what was once
+Carthage the illustrious, and is to-day a village of poor cottages.” A
+further inscription in the border reads: “This third piece must be
+looked at from the place where the fleet is cruising along the coasts
+from Porto Farina to the head of the promontory of Carthage; the north
+is to the left side above the right shoulder.”
+
+_Tapestry No. 4._ The upper inscription explains that “during the
+landing of the rest of the army several skirmishes take place until the
+Emperor orders the body of the army to descend into the plain to besiege
+Goletta.” The Marquis del Vasto sends reinforcements with which they try
+(without success) to surprise the enemy. The whole army being reunited,
+the Turks, a few days after, try to gain an advantage from a violent
+wind which arose, throwing sand with shovels and other instruments to
+blind their enemies. But the wind suddenly falling, the Turks surrounded
+by our arquebusiers were obliged to fall back to Goletta.
+
+The Latin inscription at the foot reads: “Charles strikes the camp, and
+when the army is already on the march the enemy attack the rear-guard
+and harass their movements. The army faces round, and the enemy nearly
+surrounded in a dangerous place, retreat. A violent wind arises, raising
+whirlwinds of sand; our men are blinded by the dust. The enemy, full of
+craft, appear again, throwing sand at our soldiers, and thus fighting as
+much with dust as with arms; but when the wind falls they are repulsed.”
+
+The inscription in the right-hand border instructs us to look from the
+promontory to the camp and stop at the Water Tower, leaving the lagoon
+on the right-hand and taking the north, on the same side.
+
+_Tapestry No. 5._ The upper inscription describes “a sortie of Turks
+from Goletta, and the killing of several Italian soldiers; a new sortie
+of the Turks killing the Marquis de Final, an Italian colonel: the
+arrival of Muley Hassan, King of Tunis, with 400 cavalry: the serious
+skirmish in which the Marquis de Mondejas receives a blow from a lance:
+the help brought by the Emperor: the flight of the enemy, losing part of
+their artillery.”
+
+The lower inscription reads: “The Turks make a sortie and repulse the
+Italian advance-guard, whose leader is made prisoner; they take the
+_tranchées_, but repulsed by the Spanish, they retire. Finally, counting
+on the darkness of the night, they attack the Spaniards and force them
+to abandon their _tranchées_; attacked in their turn, they are forced to
+retire again. The king Hassan arrives, followed by a small body-guard.
+The Marquis Louis, wounded, retires from the combat. Charles V arrives
+with help when the soldiers are already in distress; he repulses the
+enemy and takes their artillery.”
+
+We are instructed to look at this tapestry “as though we were at the
+towers of Water and of Salt opposite Goletta, having the sea and the
+north on the left-hand, and the lagoon on the right.”
+
+_Tapestry No. 7._ Represents the taking of Goletta: “Twenty thousand
+Turks charge to take the tower of the promontory of Carthage, defended
+by 26,000 Spaniards, protected by the Emperor with the Germans and new
+Spanish troops. On land Goletta fights with 11 cannons; by sea 9
+galleys, commanded by the Prince Doria, are supported by the galleon and
+the carabels of the Portuguese, commanded by the Infante Louis. Goletta
+is defended by 6000 Turks and 2000 Moors, with more than 400 guns. At
+the attack, directed from the sea, there are 4000 soldiers of the
+battalions of Spanish veterans, and in that, directed from the coast of
+the lagoon, as many Italians and 2000 Germans. At the assault of
+Goletta, 2000 Turks and Moors are killed, and about 100 of our men, dead
+or wounded, are put out of action. The fleet commanded by Barbarossa is
+taken also.”
+
+The Latin text relates that “the garrison defending the Cape finds
+itself threatened by an attack of the Africans. The Conqueror comes to
+the rescue and repulses the assailants. Goletta is attacked by land and
+sea; the enemy fights with arrows. Part of the wall, already undermined,
+falls where the fight is fiercest. The Spanish troops enter first into
+the breach; this being taken, they slay or put to flight the defenders,
+while Charles deals with another section of the enemy.”
+
+This piece is to be regarded “from the lagoon, with Tunis on the left
+hand, the promontory of Carthage on the right, and the north behind to
+the right.”
+
+_Tapestry No. 8._ The original of this tapestry was lost during the
+eighteenth century, shortly after the reproduction of the Tunis series
+was undertaken at the command of Philip V. This represented the march
+against Tunis of the Emperor and his troops, and the victory gained at
+Los over Barbarossa, where 600 of the enemy were slain.
+
+_Tapestry No. 9._ The upper inscription of this tapestry reads: “After
+having scattered the enemy’s army and put to flight the captain,
+Barbarossa, the Emperor, with his troops, advances on Tunis and occupies
+the outskirts of the town. The Christians, held captive in the fortress,
+rise and demand aid from the Marquis de Vasto. The place is taken and
+the Emperor allows it to be sacked.” The Latin legend adds the following
+details about the slaves: “Undermining the walls and breaking down the
+doors, they have, with God’s help, abandoned their prison. Having
+defeated the garrison they make themselves masters of the citadel and
+implore help from the avenger, Charles. Haradin flies the town.”
+
+The inscription in the border directs us that “we are looking towards
+the lagoon, with Tunis in front, Goletta and the north behind.”
+
+_Tapestry No. 10._ This represents “the sack of Tunis, hostilities
+against those who offer resistance, and the imprisonment of a great
+number of the enemy. The Conqueror delivers over the town to the King of
+Tunis, who remains a vassal of the Emperor.”
+
+The Latin text reads: “The troops sent against the outskirts of the town
+lay siege to and take them, slaughter the enemy’s army, take the houses
+and spare the inhabitants; as to the remainder, they use the rights of
+conquest. More than 20,000 captives recover their liberty and salute,
+with cries of gratitude, Charles the avenger. The Conqueror
+re-establishes on the throne of his ancestors the unfortunate Hassan,
+though he hardly merited this, since he had promised much and performed
+little.”
+
+_Tapestry No. 11._ This tapestry shared the fate of No. 8, being lost
+during the eighteenth century. From the reproduction we find that it
+represented the return of the army to Rada after the occupation of
+Tunis, which lasted eight days. “The Emperor orders the Moors to bring
+back their wives and children, and to bring the clothes taken by the
+soldiers during the sack. In order to be recognized they are to carry on
+their heads branches of olive. He also orders them to furnish the
+Christians with the recovered vessels, so that they may return to their
+respective countries.”
+
+_Tapestry No. 12._ According to the upper inscription this deals with
+“the return of the Emperor from Rada to Goletta: the encamping of the
+army in the old place: the arrival of the King of Tunis to sign the
+capitulation forcing him to be a tributary of the Emperor and his
+successors: Goletta which he wishes to fortify, over which he sets
+Bernardin de Mendoza as ruler, with 1000 Spaniards: the embarking of the
+army towards the middle of the month of August: the departure of the
+Infante Louis with the Portuguese fleet: that of the Marquis de
+Mondejer: the vessels that accompanied him: departure of Don Alvano de
+Bazan with the Spanish galleys: that of the Germans and the Italians for
+their respective countries, and finally that of the Emperor with the
+galleys of the Prince Doria.”
+
+The Latin inscription is merely a résumé of the Spanish one.
+
+This tapestry is to be looked at with Goletta and the Cape of Carthage
+in front, Tunis on the left hand, the sea and the north to the right.
+
+
+GROUP 12. _The Last Supper_ (1 Tapestry)
+
+Woven from a design almost certainly of Bernard van Orley, the pupil of
+Raphael, by Pierre Pannemaker at Brussels, in wool, silk, gold, and
+silver. Purchased by Charles V at 38 florins--a higher price than that
+generally paid for the same class of work. The tapestry was given by the
+Emperor to his wife, and is considered one of the finest religious
+pieces in the royal collection. It is used on Holy Thursdays to decorate
+the famous Hall of Columns in the Palace, when the ceremony of the
+Washing of Feet and the dinner to the poor take place.
+
+
+GROUP 13. _The Descent of the Holy Ghost_ (1 Tapestry)
+
+This tapestry is woven in silk and wool enriched with gold and silver
+threads. Neither the designer nor the _tapissier_ are known, but from
+the type of features represented, Count Valencia de Don Juan conjectures
+that the artist was of Flemish blood. It is first mentioned in the
+inventory made on the death of Charles II. The subject of the piece is
+taken from Acts ii. 1-4
+
+
+GROUP 14. _The Adoration of the Kings_ (1 Tapestry)
+
+This is one of the finest of the religious tapestries in the collection
+and was a particular favourite of the Emperor Charles V, who took it
+with him on his retirement to Yuste. Both the design and workmanship are
+Flemish, but the influence of the Italian school is perceptible. The
+usual materials are employed--silk, wool, gold, and silver threads.
+
+The border is particularly fine with its wealth of flowers, birds, and
+fruits. At each corner is shown a medallion representing a scene from
+the life of Christ.
+
+
+GROUP 15. _The Story of Abraham_ (7 Tapestries)
+
+These tapestries are attributed by Wauters to Wilhelm Pannemaker. Though
+modified by Italian ideas the design is in the Flemish style. Woven in
+silk and wool they were the property of the Princess Juana, the daughter
+of Charles V. They show the characteristic determination of Gothic
+_tapissiers_ to “tell the story” from beginning to end, from the time
+that Abraham first leaves his country to journey into the land of
+Canaan, to his death.
+
+
+GROUP 16. _The Apocalypse_ (8 Tapestries)
+
+The Revelations of St. John were a favourite subject with the mediæval
+_tapissier_, yet strange to say there are few complete series remaining.
+In the Cathedral at Angers is a series of sixty-seven pieces made in
+1377 by Nicolas Bataille for Louis I of Anjou. A little later two other
+series on the same subject were executed at Arras, one being destined
+for Philip the Good. In time this came into the possession of Charles V,
+and is mentioned in the Inventory of 1536. No further mention, however,
+is made of this tapestry in any Spanish documents, and Pinchart
+conjectures that it was probably lost in the fire that destroyed the
+Palace of Brussels in 1731.
+
+The series included in this collection was made by Wilhelm Pannemaker,
+and purchased by Philip II. We find the following paragraph in the
+discharge of the Treasurer-General in the year 1562:
+
+“To Wilhelm Pannemaker, tapestry maker, who came from Flanders to bring
+the Tapestry of the Apocalypse made for the service of H.M., sixty
+thousand _maravedi_ which H.M. pays him all at once for the expenses of
+his journey (from his own country whither he returns), as witness the
+command of H.M., the 31st December, 1561. The said tapestry maker has
+received the money the 31st of the said month.”
+
+The tapestries are fine specimens woven in silk, wool, and gold thread.
+M. Ouiffrey attributes the cartoons to Albert Dürer, but the Count
+Valencia de Don Juan prefers to regard them as by an unknown artist
+working under the influence of Dürer and Jean de Bruges. The designs are
+very beautiful, more especially the borders, which are little
+masterpieces of grace and elegance. The plates are explained by short
+Latin legends in the middle of the upper border.
+
+_Tapestry No. 1._ “St. John writes a true description of his vision to
+the Bishop of the Seven Churches of Asia. He moralizes and instructs
+them.”
+
+_Tapestry No. 2._ “This great mystery illuminated by Divine Grace and
+manifested in Christ the Saviour of Mankind. Those who have been made
+pure by His Blood shall remain strong and shall not be turned from the
+Holy way by the whirlwind.”
+
+_Tapestry No. 3._ “The Gospel spreads through the world as to the sound
+of trumpets. The Apostolic dogma and holy doctrine resounds in the
+Temple, drives back sin, and plants a true love of the faith in every
+spirit.”
+
+_Tapestry No. 4._ “The fruits of virtue, precious for their works,
+encourage the multitude of the elect; that which is watched over by the
+jealous enemy is destroyed by the help of angels.”
+
+_Tapestry No. 5._ “Jealousy never attains the peace of virtue;
+nevertheless the latter shall be oppressed till the end of the world.
+Certain hope and the faith of the strong never fail, though the ungodly
+mock those who live in the fear of God.”
+
+_Tapestry No. 6._ “Anger shall be turned against the reproved, and the
+anger of God shall oppress sinners. Those who repent not shall suffer
+death and eternal fire as a punishment for their wickedness.”
+
+_Tapestry No. 7._ “The day of Antichrist shall come and shall provoke
+the last war against faith. Babylon shall be conquered and destroyed,
+and her lost sons shall suffer eternal punishment with her.”
+
+_Tapestry No. 8._ “On the day of the Last Judgment, the devil shall be
+shut up in the abyss, and the choir of saints shall sing praises unto
+God. The victorious Church shall receive her just reward, and filled
+with gladness shall enjoy for ever the Kingdom of Heaven.”
+
+
+GROUP 17. _The Seven Deadly Sins_ (2 Series)
+
+This favourite mediæval subject is depicted in two series of tapestries
+in the possession of Philip II of Spain. Both series are woven in silk
+and wool, picked out with gold and silver threads. Neither, however,
+remains complete. The name of the designer of the cartoons is not known.
+It may probably have been Bernard van Orley. The general design is
+markedly Flemish, but the Renaissance influence is evident in the
+treatment of some of the figures, and more particularly in the borders.
+These show delicate imagination, exquisite workmanship, and exuberance
+of detail, and are adorned with a wealth of flowers and fruits, and tiny
+elves.
+
+
+_1st Series_ (6 Tapestries)
+
+This series was probably made either for Margaret of Austria or Mary of
+Hungary. It was used to decorate the monastery of Guadelupe, at the
+interview in 1575 between Philip II and Sebastian of Portugal. Each
+tapestry is explained by a Latin text on the upper border. The sins
+represented are Avarice, Luxury, Anger, Greed, Envy, and Laziness.
+
+
+_2nd Series_ (4 Tapestries)
+
+These tapestries are attributed to Pannemaker. Pinchart states that they
+were taken from the Count of Egmont’s collection and sent to the Spanish
+Court by the Duke of Alba, when the first-mentioned nobleman was
+sentenced to death as a rebel in 1567.
+
+The pieces now remaining represent Pride, Luxury, Greed, and Laziness.
+The other three tapestries were still in existence in 1660 and were used
+at the marriage of the Infanta Maria-Theresa and Louis XIV.
+
+
+
+
+CHAPTER V
+
+RENAISSANCE TAPESTRIES
+
+
+The date of the beginning of the Renaissance tapestries is well defined.
+In 1515 came the order to Brussels to execute tapestries of _The Acts of
+the Apostles_ from the cartoons of Raphael. The Pope required them for
+the Sistine Chapel. This was the beginning of the decline of the art of
+Flemish tapestry weaving.
+
+Raphael was not accustomed to designing cartoons for tapestry. His
+methods were unsuitable for translation into fabric. He set the
+_tapissiere_ problems to solve in paint. Only the wonderful skill of the
+Flemish workmen enabled them to produce tapestries that astonished
+Europe. But a new method had to be adopted. Raphael had planned out both
+his cartoons and his borders in every detail. Nothing was left to the
+_tapissier_ but to copy with the minutest care every line, every shade
+of colour expressed by the painter. The artist _tapissier_ became under
+this new fashion only a master craftsman. The most pleasing feature of
+the Gothic tapestries disappear--the riot of _millefleurs_, and the
+spasmodic intrusion of fascinating little dogs and wild animals.
+
+But if there were losses there were compensating gains. The whole art of
+the Italian cartoonist was freer, more vital and less stilted than that
+of his northern neighbour. The crowded figures disappeared and their
+place was taken by one group accompanied only by a few subordinate
+figures, but the central figures were perfect in their form. The Gothic
+buildings of the background gave way to a rich Renaissance architecture.
+The old woodland flowers were replaced by the luxuriant and exotic
+verdure of the south. That the methods introduced by Raphael should
+degenerate in the hands of artists of less genius was inevitable, and in
+course of time the _tapissier_ was no longer capable of improving the
+original design.
+
+
+GROUP 18. _The Acts of the Apostles_ (10 Tapestries)
+
+These tapestries are not the original ones woven for Pope Leo X, but are
+reproductions which (from the absence of any tapestry mark) must have
+been woven from the original cartoons within a very short space of time.
+These cartoons, as has been said, were the work of Raphael Santi
+assisted by his pupils. The original tapestries were executed by Pierre
+van Aelst in gold, silk, and wool, under the supervision of Bernard van
+Orley, who had been the pupil of the great Italian painter. They were
+painted in 1519. Pierre van Aelst had been tapestry maker to Philip le
+Bel and Charles V., and was probably the foremost weaver of his time in
+Brussels. More than one reproduction was made, and it is probable that
+one fell into the hands of the Emperor Charles. They are not mentioned,
+however, before the inventories made by Philip II. The tenth piece in
+the original series is not found in this collection on account of its
+size, and may not have been included in the reproduction. A similar
+series was in the possession of Henry VIII. of England and was bought at
+the sale of Charles I.’s effects by Marquis del Carpio. It was inherited
+by the house of Alba in 1662, and sold in 1823 to the English Consul in
+Catalonia. George IV. refused to purchase it and it finally reached the
+Berlin Museum.
+
+For a time the cartoons of Raphael were lost. Seven of them, however,
+were purchased by Charles I. on the advice of Rubens and ordered to be
+reproduced at Mortlake. The cartoons are now in the South Kensington
+Museum.
+
+The tapestries represent the following subjects:
+
+_Tapestry No. 1._ The miraculous draught of fishes.
+
+_Tapestry No. 2._ St. Peter chosen by Christ as the head of the Church.
+
+_Tapestry No. 3._ The miracle of the paralytic.
+
+_Tapestry No. 4._ The death of Ananias.
+
+_Tapestry No. 5._ The death of St. Stephen.
+
+_Tapestry No. 6._ The conversion of St. Paul.
+
+_Tapestry No. 7._ The blindness of Elymas.
+
+_Tapestry No. 8._ St. Paul and St. Barnabas at Lystra.
+
+_Tapestry No. 9._ St. Paul preaches at the Areopagus in Athens.
+
+
+GROUP 19. _Vertumnus and Pomona_ (6 Tapestries)
+
+Despite an occasional lapse in drawing, this series of tapestries is one
+of the finest examples of pure Renaissance workmanship to be found in
+the Spanish royal collection. The story, of course, is taken from Ovid,
+and was a favourite one with the Flemish weavers. The tapestries show
+the true Renaissance love of the open country and lovely gardens with a
+wealth of flowers and foliage. They are purely decorative in intention,
+and the figures are merely accessory.
+
+No less than four copies of this series are in the Madrid collection.
+The series reproduced in this volume was woven at Brussels and purchased
+by the Emperor Charles V. at Anvers in 1546. It is in silk and wool,
+heavily enriched with gold, and was the original from which the others
+were copied.
+
+Two other copies, also woven in gold, were made by Pannemaker at the
+command of Philip II. These are hung in the State dining-hall of the
+palace. The fourth copy, in silk and wool only, was made for John of
+Austria, and by him bequeathed to Philip II.
+
+
+_The Story of Scipio Africanus_ (6 Tapestries)
+
+This fine series of tapestries offers an interesting contrast with the
+other historical series already described, _The Conquest of Tunis_. The
+story of Scipio is in pure Renaissance style, and though the designer of
+the cartoons is unknown, they show very strongly the influence of Giulio
+Romano, and may even have proceeded from his pencil. Only one piece of
+the tapestry bears a weaver’s mark, which has not been deciphered. They
+were inherited by Charles V. from his sister, Mary of Hungary, on her
+death in 1558.
+
+The tapestries represent incidents in the life of Publius Cornelius
+Scipio, the elder, surnamed Africanus from his triumphs against the
+Carthaginians. Scipio was one of Rome’s greatest generals, and also a
+man of very considerable culture, who wrote his own memoirs in Greek. He
+was also an accomplished orator and was popularly supposed to hold
+direct communication with the gods.
+
+The tapestries deal mostly with Scipio’s campaigns in Spain and Africa.
+The year after his father’s death he had offered himself for the command
+in Spain. In spite of his youth he was unanimously elected. He had
+previously fought at the disastrous battles of Ticinus, the Trebia, and
+Cannæ.
+
+All Spain south of the Ebro was in the hands of the Carthaginians, but
+the three great Punic generals were preoccupied with revolts in Africa
+and were in disagreement amongst themselves. Taking advantage of this,
+Scipio unexpectedly attacked and captured New Carthage, a large supply
+of war materials falling into his hands. This victory he followed up in
+209 B.C. by driving Hasdrubal from Barcelona and the upper Guadalquivir.
+
+After further victories in Spain Scipio returned to Rome and was elected
+Consul for Sicily. In 204 B.C. he again sailed for Africa and landed
+near Utica. He destroyed two combined armies of the Carthaginians and
+the Numidians, and after peace negotiations were finally broken off
+gained a crushing victory over Hannibal near Zama. This gained him the
+surname of Africanus.
+
+Some years later Scipio was charged together with his brother with
+peculation. On the day of his trial, however, by reminding the people
+that this was the anniversary of Zama he was acquitted amid great
+acclamations. He then retired into private life.
+
+The tapestries represent:
+
+_Tapestry No. 1._ Siege and assault of Carthage by Scipio Africanus.
+
+_Tapestry No. 2._ Scipio gives up his betrothed.
+
+_Tapestry No. 3._ The Romans penetrate into the camp of Hasdrubal.
+
+_Tapestry No. 4._ Battle of Zama and defeat of Hannibal.
+
+_Tapestry No. 5._ The triumph of Scipio.
+
+_Tapestry No. 6._ The banquet.
+
+
+_Monkeys or Grotesque Figures_ (10 Tapestries)
+
+These fine Flemish tapestries were added to the royal collection at
+Madrid by Philip II. They are of exquisite workmanship and are heavily
+enriched with threads of gold. There are ten pieces in the series, four
+of which being hung on the walls of the palace cannot be here
+reproduced.
+
+These grotesque figures form an ideal tapestry design. “In the centre of
+each tapestry,” says the Count Valencia de Don Juan, “there is a light
+and elegant bower of trellis-work, formed by arches, scrolls, and
+caryatids; the ribbon surrounding it is formed of flowers, fruit, and
+animals, amongst which frolic monkeys and dogs.” The borders are
+enriched with mythological figures.
+
+The tapestries were woven by Hector Vuyens, who made his own designs.
+
+
+GROUP 20. _The Story of Cyrus the Great_ (8 Tapestries)
+
+These tapestries, especially remarkable for their beautiful borders,
+were woven probably by Nicolas Leiniers, a well-known _tapissier_ of the
+sixteenth century. They bear the Brussels mark, but the designer of the
+cartoons is unknown. They are carried out in silk and wool, enriched
+with gold and silver thread. The tapestries passed into the possession
+of Philip II., and are known to have been used in the funeral ceremonies
+of Francis II. of France. There is in existence the account which was
+rendered by Philip’s tapestry maker to his master for the transportation
+of the tapestries from Madrid to Toledo, where the funeral took place.
+
+The tapestries represent episodes in the life of the great Persian
+conqueror, and certain of the legends that were current about his
+parentage. The designer of the cartoons seems to have followed the
+Thucedidean account of the delivering of the boy Cyrus to a shepherd,
+and his subsequent recognition by Astyages. Cyrus’s wars against the
+people of Lydia and his capture of Crœsus are, of course, historic.
+There is a legend related by some of the early historians that Cyrus
+desired to put Crœsus to death at the stake, a proceeding which would
+have been directly contrary to the principles of the Zoroastrian
+religion. The designer of the tapestries appears to have got hold of a
+distorted form of this story in the fifth panel of this series.
+
+The ghastly end imagined by the cartoonist for the conqueror is wholly
+fictitious. It is probable that Cyrus was killed actually on the field
+of battle.
+
+
+GROUP 21. _The Story of Diana or Artemis_ (7 Tapestries)
+
+It is under this name that this series of tapestries is classed in the
+inventories. On the plates of the pieces themselves, however, only the
+name, Diana, is employed. The series is the only one of French origin in
+the Spanish royal collection. It is from the Gobelins looms, which were
+established in 1603 by Van der Planken and Mare de Comano by contract
+with Henry IV. on the settlement of the Civil Wars.
+
+The life of Diana was a favourite subject of the French tapestry weavers
+from this time onward, and the pieces were eagerly purchased by the
+ladies who enjoyed the favour of the Navarrois king. Guiffrey gives a
+detailed account of all these series in his large _Histoire de la
+Tapisserie en France_.
+
+The designer of the series in the royal collection is unknown. It is a
+fine example of the florid art of the Renaissance. The borders are
+especially fine, containing medallions supported by nymphs and satyrs
+garlanded with fruit and flowers. In the orders of two of the plates
+are monograms of silk and gold similar to that in _Les Noces de
+l’Empereur Otton_ in the National Museum at Munich. Coats-of-arms are
+seen on the scrolls that surmount the panels. In the centre are the arms
+of Colonna with a ducal crown; to the right a chequered shield with
+argent and purple squares; to the left an escutcheon carrying two
+wolves.
+
+The subjects of the different tapestries are as follow:
+
+(1) Latona changing the labourers into frogs.
+
+(2) Diana surrounded by dogs.
+
+(3) Diana with nymphs resting in a wood.
+
+(4) Diana begs from Jupiter eternal maidenhood.
+
+(5) Niobe dissuades the people from sacrificing to Latona.
+
+(6) Diana and Apollo slay the children of Niobe.
+
+(7) Diana approves Meleager’s design of offering a boar’s head to
+Alithea.
+
+There is another plate referring to the same subject which represents
+the birth of Diana.
+
+
+GROUP 22. _Tapestries of the Chamber of Charles III._ (2 Tapestries)
+
+On the completion of the new palace of Madrid in 1764, Charles III.
+ordered his bedroom to be decorated with tapestries to the number of
+seventy-seven pieces. These, of which the two plates reproduced here are
+a fair example, were specially woven at the royal factory at Madrid.
+They are all of rich materials and fine workmanship, and were used, as
+well for hangings as for the covering of chairs and couches. The
+tapestries were designed by Antoine Anglois. The two here reproduced are
+woven in silk and gold. They were used as a curtain to the balcony of
+the King’s bedroom and as a counterpane and bolster-cover for the royal
+bed.
+
+It was owing to the interest taken by this monarch in the art of
+tapestry weaving that the factory at Madrid was placed under the
+supervision of that fine artist, Raphael Menos.
+
+
+GROUP 23. _The Spheres_
+
+This boldly planned and finely executed series is composed of three
+tapestries. The name of the designer of the cartoons is unknown, but he
+was evidently inspired by the Italian Renaissance. The figures are
+anatomically correct, and many of them were copied from well-known
+pictures.
+
+No. 1 shows Hercules upholding the world, and bears the inscription,
+_Magna Virtus sed Alienæ obnoxia_.
+
+No. 2 represents Atlas bearing the Universe on his shoulders.
+
+No. 3 represents Ferdinand and Isabella enthroned as monarchs of the
+whole world.
+
+[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
+
+PLATE 1.
+
+1. JESUS WITH HIS MOTHER]
+
+[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
+
+PLATE 2
+
+2. THE VIRGIN PRAYING]
+
+[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
+
+PLATE 3
+
+3. THE ADORATION OF THE MAGI]
+
+[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
+
+PLATE 4
+
+4. THE PRESENTATION OF JESUS IN THE TEMPLE]
+
+[Illustration: THE STORY OF DAVID AND BATHSHEBA
+
+PLATE 5
+
+1. DAVID SEES BATHSHEBA]
+
+[Illustration: THE STORY OF DAVID AND BATHSHEBA
+
+PLATE 6
+
+2. BATHSHEBA CONSENTS TO THE LOVE OF DAVID]
+
+[Illustration: THE STORY OF DAVID AND BATHSHEBA
+
+PLATE 7
+
+3. NATHAN REPROACHES DAVID WITH HIS SIN]
+
+[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
+
+PLATE 8
+
+1. ZACHARIUS RECOVERING HIS SPEECH]
+
+[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
+
+PLATE 9
+
+2. THE CHILD JOHN ASKS PERMISSION TO DEVOTE HIMSELF TO GOD]
+
+[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
+
+PLATE 10
+
+3. ST. JOHN PREACHING IN THE WILDERNESS]
+
+[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
+
+PLATE 11
+
+4. THE BAPTISM OF OUR LORD]
+
+[Illustration: PLATE 12
+
+THE PASSION OF OUR LORD
+
+IN THE GARDEN OF OLIVES]
+
+[Illustration: PLATE 13
+
+THE PASSION OF OUR LORD. BY VAN DER WEYDEN
+
+THE CRUCIFIXION]
+
+[Illustration: PLATE 14
+
+THE PASSION OF OUR LORD
+
+THE DESCENT FROM THE CROSS]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 15
+
+1. GOD REWARDS WORSHIP]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 16
+
+2. VIRTUE PUNISHES VICE]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 17
+
+3. FORTUNE DISTRIBUTES ROSES]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 18
+
+4. GOD REWARDS THE DEVOUT]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 19
+
+5. VIRTUE REWARDS HER VOTARIES]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 20
+
+6. GOD DISTRIBUTES HONOURS]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 21
+
+7. PRUDENCE IS COMMENDED]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 22
+
+8. THE FAITHFUL GAIN RENOWN]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 23
+
+9. INFAMY IS PUNISHED]
+
+[Illustration: PLATE 24
+
+VICES AND VIRTUES
+
+10. THE LAWGIVER DELIVERS JUDGMENT]
+
+[Illustration: PLATE 25
+
+THE FOUNDATION OF ROME
+
+1. ROMULUS AND REMUS ARE FOUND]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 26
+
+2. REMUS TAKEN CAPTIVE]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 27
+
+3. ROMULUS BECOMES KING]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 28
+
+4. ROMULUS DICTATING THE LAWS]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 29
+
+5. ROMULUS INSTITUTES THE FEAST OF NEPTUNE]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 30
+
+6. ROMULUS GIVES THE LAWS TO THE PEOPLE]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 31
+
+7. AFTER THE CAPTURE OF THE SABINES, HERSILIA IS PRESENTED TO ROMULUS]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 32
+
+PLAN OF THE CAMPAIGN]
+
+[Illustration: PLATE 33
+
+CONQUEST OF TUNIS BY CHARLES V. BY J. VERMEYEN
+
+REVIEW OF THE ARMY]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 34
+
+REVIEW OF THE ARMY (PART OF)]
+
+[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 35
+
+DISEMBARKING AT GOLETTA]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 36
+
+ATTACK ON GOLETTA]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 37
+
+FIGHT UNDER GOLETTA]
+
+[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 38
+
+SORTIE OF THE ENEMY FROM GOLETTA]
+
+[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 39
+
+THE CAPTURE OF GOLETTA]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 40
+
+THE CAPTURE OF TUNIS]
+
+[Illustration: PLATE 41
+
+THE CONQUEST OF TUNIS BY CHARLES V
+
+THE SACKING OF TUNIS]
+
+[Illustration: PLATE 42
+
+CONQUEST OF TUNIS BY CHARLES V
+
+THE ARMY RE-EMBARKS AFTER RETURNING FROM GOLETTA]
+
+[Illustration: PLATE 43
+
+CONQUEST OF TUNIS BY CHARLES V. BY J. VERMEYEN
+
+THE ARMY CAMPING AT PADA]
+
+[Illustration: PLATE 44
+
+STORY OF ABRAHAM
+
+1. THREE ANGELS ANNOUNCE TO ABRAHAM THAT SARAH WILL HAVE A SON]
+
+[Illustration: PLATE 45
+
+THE STORY OF ABRAHAM
+
+2. ABRAHAM OFFERING SACRIFICE]
+
+[Illustration: PLATE 46
+
+SCENES FROM REVELATIONS
+
+1. THE ANGEL THROWS THE BEAST INTO THE ABYSS]
+
+[Illustration: PLATE 47
+
+SCENES FROM REVELATIONS
+
+2. THE THREE HORSEMEN]
+
+[Illustration: PLATE 48
+
+SCENES FROM REVELATIONS
+
+3. ST. JOHN AND THE SEVEN CHURCHES OF ASIA]
+
+[Illustration: PLATE 49
+
+SCENES FROM REVELATIONS
+
+4. ST. JOHN RECEIVES THE ORDER TO MEASURE THE TEMPLE OF GOD]
+
+[Illustration: PLATE 50
+
+SCENES FROM REVELATIONS
+
+5. CONDEMNATION OF THE PROSTITUTE]
+
+[Illustration: PLATE 51
+
+SCENES FROM REVELATIONS
+
+6. THE ANGEL CARRYING THE GOSPEL]
+
+[Illustration: PLATE 52
+
+SCENES FROM REVELATIONS
+
+7. THE CROWD ADORE THE LAMB]
+
+[Illustration: PLATE 53
+
+SCENES FROM REVELATIONS
+
+8. THE FOUR ANGELS OF EUPHRATES]
+
+[Illustration: PLATE 54
+
+SCENES FROM REVELATIONS
+
+9. COMBAT BETWEEN GOOD AND EVIL SPIRITS]
+
+[Illustration: PLATE 55
+
+THE SEVEN DEADLY SINS
+
+1. LUXURY]
+
+[Illustration: THE SEVEN DEADLY SINS
+
+PLATE 56
+
+2. GREEDINESS]
+
+[Illustration: PLATE 57
+
+THE SEVEN DEADLY SINS
+
+3. ENVY]
+
+[Illustration: PLATE 58
+
+THE SEVEN DEADLY SINS
+
+4. ANGER]
+
+[Illustration: PLATE 59
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+1. THE MIRACULOUS DRAUGHT OF FISHES]
+
+[Illustration: PLATE 60
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+2. THE MIRACULOUS DRAUGHT OF FISHES]
+
+[Illustration: PLATE 61
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+3. THE MIRACLE OF THE PARALYTIC]
+
+[Illustration: PLATE 62
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+4. THE DEATH OF ANANIAS]
+
+[Illustration: PLATE 63
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+5. THE MARTYRDOM OF ST. STEPHEN]
+
+[Illustration: PLATE 64
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+6. MARTYRDOM OF ST. STEPHEN]
+
+[Illustration: PLATE 65
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+7. THE CONVERSION OF ST. PAUL]
+
+[Illustration: PLATE 66
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+8. THE BLINDNESS OF ELYMAS]
+
+[Illustration: PLATE 67
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+9. ST. PAUL AT LYSTRA]
+
+[Illustration: PLATE 68
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+10. ST. PAUL IN THE TEMPLE]
+
+[Illustration: PLATE 69
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+11. ST. PAUL AT EPHESUS]
+
+[Illustration: PLATE 70
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+12. ST. PAUL AT EPHESUS]
+
+[Illustration: PLATE 71
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+13. ST. PAUL PREACHING IN ATHENS]
+
+[Illustration: PLATE 72
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+14. CHRIST APPEARS TO HIS DISCIPLES]
+
+[Illustration: PLATE 73
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+15. CHRIST CHOOSING ST. PETER]
+
+[Illustration: PLATE 74
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+16. THE PARALYTIC]
+
+[Illustration: PLATE 75
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+17. DEATH OF ANANIAS]
+
+[Illustration: PLATE 76
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+18. CONVERSION OF ST. PAUL]
+
+[Illustration: PLATE 77
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+19. THE BLIND MAN ELYMAS]
+
+[Illustration: PLATE 78
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+20. ST. PAUL AND ST. BARNABAS AT LYSTRA]
+
+[Illustration: PLATE 70
+
+VERTUMNUS AND POMONA
+
+1. VERTUMNUS TRANSFORMED INTO A HUSBANDMAN]
+
+[Illustration: PLATE 80
+
+VERTUMNUS AND POMONA
+
+2. VERTUMNUS TAKES A FISHING ROD]
+
+[Illustration: PLATE 81
+
+VERTUMNUS AND POMONA
+
+3. VERTUMNUS TRANSFORMED INTO AN AGRICULTURIST]
+
+[Illustration: PLATE 82
+
+VERTUMNUS AND POMONA
+
+4. VERTUMNUS TRANSFORMED INTO A GARDENER]
+
+[Illustration: PLATE 83
+
+VERTUMNUS AND POMONA
+
+5. VERTUMNUS TRANSFORMED INTO A REAPER]
+
+[Illustration: PLATE 84
+
+VERTUMNUS AND POMONA
+
+6. VERTUMNUS AT THE HARVEST]
+
+[Illustration: PLATE 85
+
+VERTUMNUS AND POMONA
+
+7. POMONA UPBRAIDS VERTUMNUS]
+
+[Illustration: PLATE 86
+
+VERTUMNUS AND POMONA
+
+8. VERTUMNUS, DISGUISED, KISSES POMONA]
+
+[Illustration: PLATE 87
+
+VERTUMNUS AND POMONA
+
+9. VERTUMNUS REGAINS HIS NATURAL FORM]
+
+[Illustration: PLATE 88
+
+THE STORY OF SCIPIO AFRICANUS
+
+1. THE CAPTURE OF CARTHAGE]
+
+[Illustration: PLATE 89
+
+THE STORY OF SCIPIO AFRICANUS
+
+2. SCIPIO SAVES HIS FATHER AT THE BATTLE OF TESIN]
+
+[Illustration: PLATE 90
+
+THE STORY OF SCIPIO AFRICANUS
+
+3. CARTHAGE SENDS AMBASSADORS TO SCIPIO AFTER THE BATTLE OF ZAMA]
+
+[Illustration: PLATE 91
+
+THE STORY OF SCIPIO AFRICANUS
+
+4. THE TRIUMPH OF SCIPIO]
+
+[Illustration: PLATE 92
+
+THE STORY OF SCIPIO AFRICANUS
+
+5. THE BANQUET]
+
+[Illustration: PLATE 93
+
+THE STORY OF SCIPIO AFRICANUS
+
+6. SCIPIO GIVES UP HIS BETROTHED]
+
+[Illustration: PLATE 94
+
+THE STORY OF SCIPIO AFRICANUS
+
+7. SCIPIO GIVES UP HIS BETROTHED (SECTION OF TAPESTRY)]
+
+[Illustration: PLATE 95
+
+THE STORY OF SCIPIO AFRICANUS
+
+8. SCIPIO DELIVERS JUDGMENT]
+
+[Illustration: PLATE 96
+
+THE STORY OF SCIPIO AFRICANUS
+
+9. THE TRIUMPH OF SCIPIO]
+
+[Illustration: PLATE 97
+
+THE STORY OF SCIPIO AFRICANUS
+
+10. INTERVIEW BETWEEN SCIPIO AND HANNIBAL]
+
+[Illustration: PLATE 98
+
+THE STORY OF SCIPIO AFRICANUS
+
+10. THE TRIUMPH OF SCIPIO]
+
+[Illustration: PLATE 99
+
+THE STORY OF CYRUS
+
+1. CYRUS TAKES ASTYAGE PRISONER]
+
+[Illustration: PLATE 100
+
+THE STORY OF CYRUS
+
+2. CYRUS IS RECOGNIZED BY ASTYAGE]
+
+[Illustration: PLATE 101
+
+THE STORY OF CYRUS
+
+3. MEETING OF CYRUS AND THE QUEEN]
+
+[Illustration: PLATE 102
+
+THE STORY OF CYRUS
+
+4. CYRUS SENDS A MESSENGER]
+
+[Illustration: PLATE 108
+
+THE STORY OF CYRUS
+
+5. CYRUS UNITES THE MEDES AND PERSIANS]
+
+[Illustration: PLATE 104
+
+THE STORY OF CYRUS
+
+6. CYRUS SAVES CRŒSUS FROM THE STAKE]
+
+[Illustration: PLATE 105
+
+THE STORY OF CYRUS
+
+7. THE QUEEN AND CYRUS]
+
+[Illustration: PLATE 106
+
+THE STORY OF CYRUS
+
+8. CYRUS TAKES CRŒSUS PRISONER]
+
+[Illustration: THE STORY OF CYRUS
+
+PLATE 107
+
+9. CYRUS AND THE LYDIANS]
+
+[Illustration: THE STORY OF CYRUS
+
+PLATE 108
+
+10. CYRUS RELEASES THE HEBREWS]
+
+[Illustration: STORY OF CYRUS
+
+PLATE 109
+
+11. CYRUS IS ENTRUSTED TO A SHEPHERD]
+
+[Illustration: STORY OF CYRUS
+
+PLATE 110
+
+12. HYSTASPE AND AMENOPHIS]
+
+[Illustration: STORY OF DIANA
+
+PLATE 111
+
+1. THE BIRTH OF DIANA]
+
+[Illustration: STORY OF DIANA
+
+PLATE 112
+
+2. DIANA RESTING]
+
+[Illustration: STORY OF DIANA
+
+PLATE 113
+
+3. DIANA AND JUPITER]
+
+[Illustration: PLATE 114
+
+THE SPHERES
+
+1. HERCULES SUPPORTS THE SKY]
+
+[Illustration: THE SPHERES
+
+PLATE 115
+
+2. ATLAS SUPPORTS THE WORLD]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 116
+
+1. DECIUS RAISES HIS COUNTRY]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 117
+
+2. DECIUS SENDS THE LICTORS TO MANLIUS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 118
+
+3. DECIUS BIDS FAREWELL TO THE LICTORS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 119
+
+4. DECIUS DEPARTS TO FIGHT THE LATINS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 120
+
+5. DECIUS DEDICATES HIMSELF TO THE LEGIONS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 121
+
+6. VALERIUS AND DECIUS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 122
+
+7. THE VISION OF DECIUS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 123
+
+8. DEATH OF DECIUS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 124
+
+9. FUNERAL OF DECIUS]
+
+[Illustration: STORY OF VENUS
+
+PLATE 125
+
+1. OFFERINGS TO VENUS]
+
+[Illustration: STORY OF VENUS
+
+PLATE 126
+
+2. THE CHALLENGE OF CUPID AND VENUS]
+
+[Illustration: STORY OF THE CREATION OF MAN
+
+PLATE 127
+
+1. GOD CREATES MAN]
+
+[Illustration: STORY OF THE CREATION OF MAN
+
+PLATE 128
+
+2. CAIN KILLS HIS BROTHER ABEL]
+
+[Illustration: STORY OF THE CREATION OF MAN
+
+PLATE 129
+
+3. GOD CURSES CAIN]
+
+[Illustration: STORY OF THE CREATION OF MAN
+
+PLATE 130
+
+THE TREE OF GOOD AND EVIL]
+
+[Illustration: THE STORY OF TOBIAS
+
+PLATE 131
+
+1. SARAH MARRIES TOBIAS]
+
+[Illustration: THE STORY OF TOBIAS
+
+PLATE 132
+
+2. RETURN OF TOBIAS AND SARAH]
+
+[Illustration: PLATE 133
+
+THE SEASONS
+
+1. SUMMER]
+
+[Illustration: PLATE 134
+
+THE SEASONS
+
+2. WINTER]
+
+[Illustration: STORY OF SOLOMON
+
+PLATE 135
+
+1. SOLOMON IS ANOINTED KING]
+
+[Illustration: PLATE 136
+
+STORY OF SOLOMON
+
+2. SOLOMON MARRIES AN EGYPTIAN PRINCESS]
+
+[Illustration: PLATE 137
+
+STORY OF SOLOMON
+
+3. SOLOMON AND THE QUEEN OF SHEBA]
+
+[Illustration: PLATE 138
+
+HISTORY OF MAN’S LIFE
+
+1. DIVINITY ADVOCATES TEMPERANCE TO MAN]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 139
+
+2. THE VICES REPULSE TEMPERANCE]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 140
+
+3. TIME SURROUNDS HIM WITH PRUDENCE]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 141
+
+4. VIRTUE TRIUMPHANT]
+
+[Illustration: PLATE 142
+
+HISTORY OF MAN’S LIFE
+
+5. PATIENCE HUMILIATES FORTUNE]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 143
+
+6. FORTUNE FIGHTS AVARICE]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 144
+
+7. BLIND FORTUNE BESTOWS GOOD AND EVIL]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 145
+
+8. TWO ANCIENT PHILOSOPHERS]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 146
+
+9. DIVINITY REVEALS TEMPERANCE]
+
+[Illustration: PLATE 147
+
+HISTORY OF MAN’S LIFE
+
+10. VICE REPULSES TEMPERANCE]
+
+[Illustration: STORY OF ANTHONY AND CLEOPATRA
+
+PLATE 148
+
+1. ANTHONY LEAVES ROME]
+
+[Illustration: PLATE 149
+
+STORY OF ANTHONY AND CLEOPATRA
+
+2. ANTHONY RECEIVES HOMAGE]
+
+[Illustration: PLATE 150
+
+STORY OF ANTHONY AND CLEOPATRA
+
+3. ANTHONY DISPOSES OF THE TREASURES OF EGYPT]
+
+[Illustration: STORY OF ANTHONY AND CLEOPATRA
+
+PLATE 151
+
+CLEOPATRA MOCKS ANTHONY’S WEAKNESS]
+
+[Illustration: PLATE 152
+
+STORY OF ALEXANDER THE GREAT
+
+1. ALEXANDER AND HIS DOCTOR PHILIP]
+
+[Illustration: STORY OF ALEXANDER THE GREAT
+
+PLATE 153
+
+2. BATTLE OF ISSUS]
+
+[Illustration: PLATE 154
+
+STORY OF ALEXANDER THE GREAT
+
+3. THE SIEGE OF TYRE]
+
+[Illustration: STORY OF ALEXANDER THE GREAT
+
+PLATE 155
+
+4. ALEXANDER IN CARMONIA]
+
+[Illustration: STORY OF ALEXANDER THE GREAT
+
+PLATE 156
+
+5. SURRENDER OF THE KING OF CYPRUS AND PHŒNICIA]
+
+[Illustration: STORY OF ALEXANDER THE GREAT
+
+PLATE 157
+
+6. ALEXANDER IN ASIA MINOR]
+
+[Illustration: PLATE 158
+
+THE TRIUMPH OF LOVE]
+
+[Illustration: PLATE 159
+
+THE TRIUMPH OF DEATH]
+
+[Illustration: PLATE 160
+
+THE TRIUMPH OF CHASTITY]
+
+[Illustration: PLATE 161
+
+STORY OF TELEMACHUS
+
+1. YOUNG TELEMACHUS]
+
+[Illustration: STORY OF TELEMACHUS
+
+PLATE 162
+
+2. NEPTUNE WRECKING ULYSSES’ SHIP]
+
+[Illustration: STORY OF ST. PAUL
+
+PLATE 163
+
+1. ST. PAUL IN THE TEMPLE]
+
+[Illustration: STORY OF ST. PAUL
+
+PLATE 164
+
+2. ST. PAUL BEFORE AGRIPPA]
+
+[Illustration: STORY OF ST. PAUL
+
+PLATE 165
+
+ST. PAUL EXECUTED AT ROME]
+
+[Illustration: TEMPTATIONS OF ST. ANTHONY
+
+PLATE 166
+
+1. DEPARTURE OF ST. ANTHONY FOR THE RETREAT]
+
+[Illustration: TEMPTATIONS OF ST. ANTHONY
+
+PLATE 167
+
+2. ST. ANTHONY TEMPTED BY THE DEVIL]
+
+[Illustration: TEMPTATIONS OF ST. ANTHONY
+
+PLATE 168
+
+PARADISE, PURGATORY AND HELL]
+
+[Illustration: STORY OF THE EMPEROR OCTAVIUS
+
+PLATE 169
+
+1. JULIUS CÆSAR ADOPTS OCTAVIUS]
+
+[Illustration: STORY OF THE EMPEROR OCTAVIUS
+
+PLATE 170
+
+2. BATTLE OF PHILIPPI]
+
+[Illustration: PLATE 171
+
+STORY OF THE EMPEROR OCTAVIUS
+
+3. OCTAVIUS CLOSES THE TEMPLE OF WAR]
+
+[Illustration: STORY OF OCTAVIUS
+
+PLATE 172
+
+4. DEATH OF CLEOPATRA]
+
+[Illustration: STORY OF MOSES
+
+PLATE 173
+
+1. MOSES AND AARON BEFORE PHAROAH]
+
+[Illustration: STORY OF MOSES
+
+PLATE 174
+
+2. GOD CHOOSES MOSES TO DELIVER ISRAEL]
+
+[Illustration: STORY OF MOSES
+
+PLATE 175
+
+2. MOSES COMES FROM MOUNT SINAI]
+
+[Illustration: BATTLES OF THE ARCHDUKE ALBERT
+
+PLATE 176
+
+SURRENDER OF HULST]
+
+[Illustration: BATTLES OF THE ARCHDUKE ALBERT
+
+PLATE 177
+
+2. ARDRES IS SURPRISED BY A NIGHT ATTACK]
+
+[Illustration: BATTLES OF THE ARCHDUKE ALBERT
+
+PLATE 178
+
+3. HULST BESIEGED]
+
+[Illustration: BATTLES OF THE ARCHDUKE ALBERT
+
+PLATE 179
+
+4. TAKING OF CALAIS]
+
+[Illustration: PLATE 180
+
+BATTLES OF THE ARCHDUKE ALBERT
+
+5. THE RETURN OF THE GARRISON]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 181
+
+1. THESEUS LEAVES FOR CRETE]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 182
+
+2. THESEUS RECEIVES THE SWORD OF ÆGEUS]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 183
+
+3. ÆGEUS RECOGNISES HIS SON]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 184
+
+4. THESEUS ARMED WITH THE MACE]
+
+[Illustration: PLATE 185
+
+5. BACCHUS MARRIES ARIADNE]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 186
+
+6. THESEUS RECEIVES THE RING OF MINOS]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 187
+
+7. THESEUS LEADS THE BULL OF MARATHON]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 188
+
+8. THESEUS AND THE HEAD OF MINOTAURUS]
+
+[Illustration: PLATE 189
+
+THE FUNERAL OF KING TURNUS]
+
+[Illustration: PLATE 190
+
+DIDO CONTEMPLATES ÆNEAS’ PORTRAIT]
+
+[Illustration: STORY OF SAMSON
+
+PLATE 191
+
+1. SAMSON PROPOUNDS HIS RIDDLE]
+
+[Illustration: STORY OF SAMSON
+
+PLATE 192
+
+2. SAMSON IS BETRAYED BY DELILAH]
+
+[Illustration: STORY OF NOAH
+
+PLATE 193
+
+1. NOAH BUILDING THE ARK]
+
+[Illustration: STORY OF NOAH
+
+PLATE 194
+
+2. NOAH LEAVING THE ARK]
+
+[Illustration: THE WAY OF HONOUR
+
+PLATE 195
+
+1. GRACE ACCORDS IMMORTAL CROWNS]
+
+[Illustration: THE WAY OF HONOUR
+
+PLATE 196
+
+2. VIRTUE ACCORDS HONOURS]
+
+[Illustration: THE WAY OF HONOUR
+
+PLATE 197
+
+3. MERIT RECEIVES REWARDS]
+
+[Illustration: STORY OF ZENOBIA
+
+PLATE 198
+
+1. NUPTIAL BANQUET OF ZENOBIA AND ODENAT]
+
+[Illustration: STORY OF ZENOBIA
+
+PLATE 199
+
+2. ZENOBIA IS TAKEN PRISONER]
+
+[Illustration: STORY OF ZENOBIA
+
+PLATE 200
+
+3. ZENOBIA LED CAPTIVE]
+
+[Illustration: STORY OF DON QUIXOTE
+
+PLATE 201
+
+1. DEPARTURE OF DON QUIXOTE]
+
+[Illustration: PLATE 202
+
+STORY OF DON QUIXOTE
+
+2. DON QUIXOTE AND THE THREE PEASANT WOMEN]
+
+[Illustration: STORY OF DON QUIXOTE
+
+PLATE 203
+
+3. PRINCESS MICOMICONA]
+
+[Illustration: PLATE 204
+
+STORY OF DON QUIXOTE
+
+4. DON QUIXOTE IS BEATEN BY THE MERCHANTS]
+
+[Illustration: PLATE 205
+
+STORY OF DON QUIXOTE
+
+5. DON QUIXOTE IS ENCLOSED IN A CAGE]
+
+[Illustration: PLATE 206
+
+STORY OF DON QUIXOTE
+
+6. THE MULETEER MEETS DON QUIXOTE]
+
+[Illustration: PLATE 207
+
+STORY OF DON QUIXOTE
+
+7. SANCHO MARCHES TO TOBOSO]
+
+[Illustration: PLATE 208
+
+STORY OF DON QUIXOTE
+
+8. REPETITIONS OF PRECEDING PICTURES]
+
+[Illustration: PLATE 209
+
+STORY OF PHAETON
+
+1. PHŒBUS ALLOWS PHAETON TO DRIVE THE CHARIOT OF THE SUN]
+
+[Illustration: PLATE 210
+
+STORY OF PHAETON
+
+2. PHAETON DRIVES THE CHARIOT OF THE SUN]
+
+[Illustration: PLATE 211
+
+STORY OF PHAETON
+
+3. JUPITER CONFOUNDS PHAETON]
+
+[Illustration: PLATE 212
+
+STORY OF PHAETON
+
+4. THE BODY OF PHAETON IS RECOVERED]
+
+[Illustration: PLATE 213
+
+CHASTITY PUTS CUPID TO FLIGHT]
+
+[Illustration: PLATE 214
+
+RUSTIC SCENES AFTER GOYA AND BAYEU]
+
+[Illustration: PLATE 215
+
+PANELS AFTER GOYA]
+
+[Illustration: PLATE 216
+
+QUARREL IN AN INN. AFTER GOYA]
+
+[Illustration: PLATE 217
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 218
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 219
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 220
+
+A VILLAGE DANCE AFTER TENIERS]
+
+[Illustration: PLATE 221
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 222
+
+DESCENT FROM THE CROSS]
+
+[Illustration: PLATE 223
+
+CHRIST ON THE CROSS]
+
+[Illustration: PLATE 224
+
+THE CRUCIFIXION. BY VAN DER WEYDEN]
+
+[Illustration: PLATE 225
+
+OUR LORD APPEARING TO THE HOLY WOMEN]
+
+[Illustration: PLATE 226
+
+ST. JEROME IN THE DESERT]
+
+[Illustration: PLATE 227
+
+THE ETERNAL FATHER]
+
+[Illustration: PLATE 228
+
+OUR LORD AND ST. VERONICA]
+
+[Illustration: PLATE 229
+
+MARY ANOINTING THE FEET OF THE SAVIOUR]
+
+[Illustration: PLATE 230
+
+THE CONFUSION OF TONGUES]
+
+[Illustration: PLATE 231
+
+THE LAST SUPPER]
+
+[Illustration: PLATE 232
+
+THE ADORATION OF THE MAGI]
+
+[Illustration: PLATE 233
+
+NEOPTOLEMY SACRIFICES POLYZENA]
+
+[Illustration: PLATE 234
+
+TIME AND TEMPERANCE RESTRAIN CUPID]
+
+[Illustration: PLATE 235
+
+ULYSSES ACCEPTS THE PRESENTS OF ALCINOUS]
+
+[Illustration: PLATE 236
+
+PENELOPE RECOGNISES ULYSSES]
+
+[Illustration: PLATE 237
+
+COURTIERS PRESENTING THEMSELVES BEFORE A KING]
+
+[Illustration: PLATE 238
+
+CHILDREN PLAYING. 16TH CENTURY]
+
+[Illustration: PLATE 239
+
+THE DEATH OF CLEOPATRA]
+
+[Illustration: PLATE 240
+
+PORTRAIT OF A WOMAN]
+
+[Illustration: PLATE 241
+
+CALCHAS AND AGAMEMNON]
+
+[Illustration: PLATE 242
+
+A GROVE]
+
+[Illustration: PLATE 243
+
+ON THE BANKS OF A RIVER]
+
+[Illustration: PLATE 244
+
+PRINCE BALTAZAR CARLOS]
+
+[Illustration: PLATE 245
+
+ALLEGORY OF THE TIBER AND ROME]
+
+[Illustration: PLATE 246
+
+IMPERIAL FUNERAL BED OF STATE]
+
+[Illustration: PLATE 247
+
+ROYAL ARMS OF PHILIP V]
+
+[Illustration: PLATE 248
+
+PANELS]
+
+[Illustration: PLATE 249
+
+A FRIEZE]
+
+[Illustration: PLATE 250
+
+BORDERS OF TAPESTRIES]
+
+[Illustration: PLATE 251
+
+THE PASSION OF OUR LORD]
+
+[Illustration: PLATE 252
+
+DEATH OF ABSALOM]
+
+[Illustration: PLATE 253
+
+THE BIRTH OF CHRIST]
+
+[Illustration: PLATE 254
+
+DESCENT FROM THE CROSS]
+
+[Illustration: PLATE 255
+
+ST. GREGORY’S MASS]
+
+[Illustration: PLATE 256
+
+TRIUMPH OF JOSEPH]
+
+[Illustration: PLATE 257
+
+KING CHARLES III]
+
+[Illustration: PLATE 258
+
+QUEEN AMELIA OF SAXONY]
+
+[Illustration: PLATE 259
+
+MYTHOLOGICAL SUBJECT]
+
+[Illustration: PLATE 260
+
+AFTER THE VICTORY]
+
+[Illustration: PLATE 261
+
+THE TEMPLE]
+
+[Illustration: PLATE 262
+
+THE COLONNADE]
+
+[Illustration: PLATE 263
+
+THE PALACE]
+
+[Illustration: PLATE 264
+
+FRAGMENTS]
+
+[Illustration: PLATE 265
+
+PANELS]
+
+[Illustration: PLATE 266
+
+PANELS AFTER ANDRES DE AGUIRRE]
+
+[Illustration: PLATE 267
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 268
+
+FRAGMENTS AFTER TENIERS]
+
+[Illustration: PLATE 269
+
+FRAGMENTS AFTER TENIERS]
+
+[Illustration: PLATE 270
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 271
+
+FRAGMENTS AFTER TENIERS]
+
+[Illustration: PLATE 272
+
+FRAGMENTS AFTER TENIERS]
+
+[Illustration: PLATE 273
+
+CHILDREN PLAYING. AFTER GOYA]
+
+[Illustration: PLATE 274
+
+PANELS AFTER GOYA]
+
+[Illustration: PLATE 275
+
+PANELS AFTER GOYA AND BAYEU]
+
+[Illustration: PLATE 276
+
+PANELS AFTER GOYA AND BAYEU]
+
+[Illustration: PLATE 277
+
+CORIOLANUS AND HIS MOTHER]
+
+       *       *       *       *       *
+
+HISTORIC PARIS
+
+     By JETTA S. WOLFF, author of “The Story of the Paris Churches.”
+     Illustrated. Crown 8vo. 10s. 6d. net.
+
+In this most attractive volume we have the ideal guide-book, for,
+besides fulfilling all the functions of a guide, Miss Wolff has a fine
+literary style and considerable historical knowledge, as well as a very
+intimate knowledge of all the historical sites and buildings of Paris.
+Her interesting text is pleasantly aided by numerous drawings in line.
+
+
+WHAT PICTURES TO SEE IN EUROPE
+
+     By LORINDA M. BRYANT. With numerous Illustrations. Crown 8vo. 7s.
+     6d. net.
+
+
+WHAT SCULPTURE TO SEE IN EUROPE
+
+     By LORINDA M. BRYANT, author of “American Pictures and their
+     Painters.” With numerous Illustrations. Crown 8vo. 7s. 6d. net.
+
+These books have found so wide a circle of readers in America that it
+has been thought advisable to issue on this side editions which have
+been enlarged and brought up to date for the convenience of the
+thousands of tourists who, now that foreign travel is permitted, will
+find the need of a comprehensive and adequate guide to the art treasures
+of Europe. The “stay-at-home,” no less than the tourist, will find
+entertainment and information within its pages.
+
+
+MACEDONIA: A Plea for the Primitive
+
+     By A. GOFF and DR. HUGH A. FAWCETT. With Drawings in colour, pencil
+     and line. Demy 8vo. £1 1s. net.
+
+_Times._--“A pleasant surprise--it will bring pleasure to the reader
+delighted at last to find a work which leaves soldier-work and policies
+on one side and devotes itself to the discussion of what is nice in
+Macedonia instead of labouring to expose once again that which is
+nasty.”
+
+
+JOHN LANE, THE BODLEY HEAD, VIGO ST., W.1 “_The most thrilling volume
+of the year._”--DAILY MAIL.
+
+SOME EXPERIENCES OF A NEW GUINEA RESIDENT MAGISTRATE
+
+     By Captain C. A. W. MONCKTON, F.R.G.S., F.Z.S., F.R.A.I. With
+     numerous Illustrations. Fourth Edition. Demy 8vo. £1 1s. net.
+
+Robert Lynd in the _Daily News_.--“Captain Monckton has a lively pen. He
+has enjoyed his life among savages ... and his book is written with the
+zest of a schoolboy ... a frank and cheerful book.”
+
+_Times Literary Supplement._--“Mr. Monckton has written a boys’ book for
+men. In it something happens on every page.... It is a long book, though
+not a page too long.”
+
+_Daily Mail._--“A book of entrancing interest for boys and their
+fathers. It is a plain and a true one, and is stranger than fiction. The
+most remarkable book of travel and exploration since Stanley’s ‘Darkest
+Africa.’”
+
+
+UNCONDUCTED WANDERERS
+
+     By ROSITA FORBES. With over 70 Illustrations from photographs by
+     the Author and others. Demy 8vo. 12s. 6d. net.
+
+“Unconducted Wanderers” is a very amusing travel book of the best sort.
+After a spell of war work the author and a woman friend went to America,
+and thence to the South Seas, to Java, the Malay States, Siam, Cambodia,
+China and Korea. The book is extremely lively in tone and fresh in
+feeling, and the observations and experiences of the travellers,
+particularly in China during the Rebellion, are of quite unusual
+interest.
+
+_Evening Standard._--“Those in search of the perfect companion for a
+lazy afternoon in a hammock will find their wants admirably supplied by
+‘Unconducted Wanderers.’ Their Adventures are retailed with an unfailing
+humorous touch, and the scenery and occupants of these far foreign
+strands are painted in descriptive language which is always vivid, and
+at times beautiful.”
+
+
+JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
+
+
+TOPEE AND TURBAN, or Here and There, in India
+
+     By Lieut.-Colonel H. A. NEWELL, I.A., With Illustrations from
+     photographs. Demy 8vo. £1 1s. net.
+
+_Daily News._--“An excellent book.... Colonel Newell has a quick eye for
+things seen, and a happy interest in history that makes the book
+something more than a motorist’s guide-book.... Fully illustrated with
+photographs of great interest and variety.”
+
+_Daily Mail._--“Everyone ought to know more about India, and a pleasant
+way of informing oneself is offered by Colonel Newell’s ‘Topee and
+Turban in India.’”
+
+_Times._-“A record of several motor trips in India, abundantly
+illustrated, and discursive to just the appropriate length.”
+
+_Westminster Gazette._--“In this book Colonel Newell shows that he has
+been a close student and observer of many things in India and Indian
+life.”
+
+
+JAPANESE IMPRESSIONS
+
+     By PAUL LOUIS COUCHOUD. Translated from the French “Sages et Poètes
+     d’Asie,” by FRANCES RUMSEY, with a specially written Preface by
+     ANATOLE FRANCE. Demy 8vo. 7s. 6d. net.
+
+This book consists of the impressions of Japan of a keen observer, a
+scholar, and a remarkable master of language. “The charm of M.
+Couchoud,” says Monsieur Anatole France, “lies in that rare power to
+evoke ancient or distant facts which is the faculty of a Renan and a
+Ferrero, and which touches history with the interest of a living
+spectacle.” The book contains a long and highly characteristic
+introduction by Monsieur Anatole France, which has never been printed in
+French.
+
+
+ART AND I
+
+By C. LEWIS HIND. Crown 8vo. 10s. 6d. net.
+
+
+JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
+
+
+A DWELLER IN MESOPOTAMIA
+
+     By DONALD MAXWELL, author of “The Last Crusade,” etc. With numerous
+     Illustrations by the Author in colour, half-tone, and line. Crown
+     4to. £1 5s. net.
+
+_Morning Post._--“The sketches are particularly attractive, both in
+subject and expression, and all are faithfully reproduced.... Altogether
+this is a delightful volume, chastely bound in green and brown-toned
+linen.”
+
+_Evening Standard._--“A delightful sketch book.... His adventures are
+told in breezy, unofficial style.”
+
+_Observer._--“Mr. Maxwell’s receptive eye and delicate hand.”
+
+_Outlook._--“His illustrations are eloquent of the fascinations of the
+ancient East ... makes interesting reading.”
+
+_Daily Telegraph._--“Mr. Donald Maxwell’s previous book, ‘The Last
+Crusade,’ was a happy mixture of art and literature dealing with
+Palestine, and his new volume, ‘A Dweller in Mesopotamia,’ is, we think,
+even a happier combination, for while the art is as true and as
+excellent as ever, the descriptions of the people he met and the
+adventures he experienced are more vivid, varied, and entertaining....
+The book will be treasured by those who value good artistic work and
+racy description.”
+
+
+A PAINTER IN PALESTINE
+
+     Being a story of an impromptu pilgrimage through the Holy Land with
+     Bible and Sketch Book. By DONALD MAXWELL, author of “Adventures
+     with a Sketch-Book,” etc. With an Introduction by the Dean of
+     Rochester. Illustrated by the Author. Crown 8vo. 5s. net.
+
+
+JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
+
+
+
+
+
+End of Project Gutenberg's The Spanish Royal Tapestries, by Albert F. Calvert
+
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+<pre>
+
+Project Gutenberg's The Spanish Royal Tapestries, by Albert F. Calvert
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: The Spanish Royal Tapestries
+
+Author: Albert F. Calvert
+
+Release Date: November 26, 2019 [EBook #60790]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SPANISH ROYAL TAPESTRIES ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<p class="figcenter">
+<img src="images/cover.jpg" alt="[Image of
+the book's cover unavailable.]" />
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td class="tc">
+<a href="#CONTENTS">Contents.</a><br />
+<a href="#ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span><br />
+
+(etext transcriber's note)</td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span></p>
+
+<p class="c">THE SPANISH SERIES<br /><br /><br />
+THE SPANISH ROYAL<br />
+TAPESTRIES
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span></p>
+
+<div class="bbox">
+<p class="c">THE SPANISH SERIES<br /><br />
+<i>EDITED BY ALBERT F. CALVERT</i></p>
+
+<p class="nind">
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Velasquez</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Sculpture in Spain</span><br />
+<span class="smcap">Murcia and Valencia</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Granada and Alhambra</span><br />
+<span class="smcap">Leon, Burgos and Salamanca</span><br />
+<span class="smcap">Tapestries of the Royal Palace</span><br />
+<span class="smcap">Catalonia and Balearic Islands</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia</span><br />
+<span class="smcap">Zamora, Avila and Zaragoza</span><br />
+</p>
+
+<hr />
+
+<p class="c">
+<span class="smcap"><small>London</small></span><br />
+JOHN LANE, THE BODLEY HEAD<br /></p>
+
+</div>
+
+<p><span class="pagenum"><a name="page_v" id="page_v">{v}</a></span></p>
+
+<h1>
+THE SPANISH ROYAL<br />
+TAPESTRIES</h1>
+<p class="c">BY ALBERT F. CALVERT<br />
+WITH 277 ILLUSTRATIONS<br />
+<br />
+<br />
+LONDON: JOHN LANE, THE BODLEY HEAD<br />
+NEW YORK: JOHN LANE COMPANY MCMXXI<br />
+<span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span><br />
+<br />
+<br /><small>
+H. &amp; K., Ltd., London, S.E. 1<br /></small>
+<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span></p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p class="nind"><span class="smcap">In</span> point of size, scope and general interest, this little book is
+perhaps the least considerable of the score of volumes comprised in The
+Spanish Series, but the collection would have lacked something of the
+completeness I have endeavoured to secure for it, if the subject of
+which it treats had not been included. As is inevitable in a series of
+this kind, many of the books are devoted to aspects and monuments of
+Spanish history and achievement, which have served the purpose of
+writers in all ages, but which could not, on that account, be omitted,
+while others have an imperative claim to inclusion on the ground that,
+though of secondary importance, they have never been dealt with
+elsewhere.</p>
+
+<p>The Tapestries which are here reproduced in greater number and variety
+than has hitherto been attempted are known to students and connoisseurs
+the world over, but the measure of that knowledge is limited. Many of
+the pieces in the possession of the Spanish Crown were acquired by
+purchase or inheritance, and others were woven in the Netherlands to the
+command of its Burgundian rulers,<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span> Margaret of Austria and Mary of
+Hungary. The fabrics designed by Goya owed their existence to the
+extraordinary interest displayed in the products of the looms by Charles
+III., while the famous Tunis Tapestries were designed and woven by Jan
+Vermay or Vermeyen, the Court painter and Wilhelm Pannemaker, the
+celebrated Flemish weaver, under the personal direction of the Emperor
+Charles V. Vermeyen accompanied the expedition which was launched
+against Tunis by Charles in 1535 and made his sketches on the spot; the
+contract given to Pannemaker by his Imperial patron stipulated the
+amount and quality of the silk and the number and value of the gold and
+silver threads to be employed; and both designs and finished pieces had
+to be submitted to the Emperor’s scrutiny and approval before the
+purchase price was paid.</p>
+
+<p>The Tunis Series was completed in 1554. The Tapestries were displayed in
+England on the occasion of the marriage of Philip and Mary in that year,
+and were not seen again in this country until 360 years later. They
+subsequently figured in all the great functions of the Spanish Court,
+and it was due to the Emperor’s fear that constant usage would injure
+the fabrics that a duplicate set, but on a smaller scale, was woven. The
+twelve pieces were again reproduced, on the same scale as the original
+frames, in 1740 by order of Philip V. A third copy is preserved in the
+Museum at Vienna, and a fourth, woven<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span> by Pannemaker, was found by the
+Maréchal de Contades in a castle near Mecklin during the Seven Years
+War.</p>
+
+<p>This collection of Spanish Royal Tapestries has been steadily
+accumulating since the thirteenth century, but the practice of weaving
+was not introduced into Spain until the first quarter of the seventeenth
+century when a little colony of Flemish weavers, subsidised by the King
+of Spain, settled at Pastrau in New Castile. A century later, at the
+invitation of Philip V., Jacques Van Der Goten and his four sons,
+established themselves in an <i>atalier</i> in Madrid, and in 1776 Goya drew
+the first of the forty-five designs for Tapestries which, in the
+following fifteen years, were woven in the Royal workshops of Santa
+Barbara in Madrid.</p>
+
+<p>Although this wonderful collection has been added to by successive
+Spanish sovereigns over a period of six centuries, no effort was made to
+arrange, classify, or catalogue the fabrics until the work was put in
+hand at the instigation of Alfonso XII., and carried to completion by
+the late Queen Isabella. In 1903 an album of photographic reproductions
+of many of the finest specimens was published with historical and
+descriptive notes by Count Valencia de Don Juan, and this remained the
+only volume on the subject until 1914, when I prepared an illustrated
+handbook of the Tunis Series which, by gracious permission of King
+Alfonso, were displayed at the<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span> Anglo-Spanish Exhibition in London. The
+present book is the first attempt that has been made to present in
+English a record of the most valuable and interesting examples in the
+Royal Collection.</p>
+
+<p class="r">
+ALBERT. F. CALVERT.<br />
+</p>
+
+<p class="hang">
+<span class="smcap">“Royston,”<br />
+Eton Avenue,<br />
+&nbsp; &nbsp; &nbsp; London.</span><br />
+<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr><td><small>CHAP.</small></td><td>&nbsp;</td>
+<td><small>PAGE</small></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#CHAPTER_I">I.</a></td><td valign="top" class="smcap"><a href="#CHAPTER_I">History of the Art of Tapestry Weaving</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#CHAPTER_II">II.</a></td><td valign="top" class="smcap"><a href="#CHAPTER_II">The Foundation of the Spanish Royal Collection</a></td><td class="rt" valign="bottom"><a href="#page_14">14</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#CHAPTER_III">III.</a></td><td valign="top" class="smcap"><a href="#CHAPTER_III">The Gothic Tapestries&mdash;Sacred Pieces</a></td><td class="rt" valign="bottom"><a href="#page_18">18</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#CHAPTER_IV">IV.</a></td><td valign="top" class="smcap"><a href="#CHAPTER_IV">Tapestries of the Gothic-Renaissance Transition</a></td><td class="rt" valign="bottom"><a href="#page_24">24</a></td></tr>
+
+<tr><td valign="top" class="rt"><a href="#CHAPTER_V">V.</a></td><td valign="top" class="smcap"><a href="#CHAPTER_V">Renaissance Tapestries</a></td><td class="rt" valign="bottom"><a href="#page_55">55</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></p>
+
+<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+
+<tr><td><small>SUBJECT</small></td><td>&nbsp;</td>
+<td class="rt"><small>PLATE</small></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of the Virgin. Cartoons by Van Eyck.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_001">1. Jesus with His Mother</a></td><td class="rt" valign="bottom"><a href="#plt_001">1</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_002">2. The Virgin praying</a></td><td class="rt" valign="bottom"><a href="#plt_002">2</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_003">3. The Adoration of the Magi</a></td><td class="rt" valign="bottom"><a href="#plt_003">3</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_004">4. The presentation of Jesus in the Temple</a></td><td class="rt" valign="bottom"><a href="#plt_004">4</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of David and Bathsheba.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_005">1. David sees Bathsheba</a></td><td class="rt" valign="bottom"><a href="#plt_005">5</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_006">2. Bathsheba consents to the love of David</a></td><td class="rt" valign="bottom"><a href="#plt_006">6</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_007">3. Nathan reproaches David with his sin</a></td><td class="rt" valign="bottom"><a href="#plt_007">7</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of St. John the Baptist.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_008">1. Zacharius recovering his speech</a></td><td class="rt" valign="bottom"><a href="#plt_008">8</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_009">2. The child John devotes himself to God</a></td><td class="rt" valign="bottom"><a href="#plt_009">9</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_010">3. St. John preaching in the wilderness</a></td><td class="rt" valign="bottom"><a href="#plt_010">10</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_011">4. The baptism of our Lord</a></td><td class="rt" valign="bottom"><a href="#plt_011">11</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Passion of our Lord. Cartoon by Van de Weyden.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_012">In the garden of Olives</a></td><td class="rt" valign="bottom"><a href="#plt_012">12</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_013">The Crucifixion</a></td><td class="rt" valign="bottom"><a href="#plt_013">13</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_014">The descent from the Cross</a></td><td class="rt" valign="bottom"><a href="#plt_014">14</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Vices and Virtues.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_015">1. God rewards worship</a></td><td class="rt" valign="bottom"><a href="#plt_015">15</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_016">2. Virtue punishes vice</a></td><td class="rt" valign="bottom"><a href="#plt_016">16</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_017">3. Fortune distributes roses</a></td><td class="rt" valign="bottom"><a href="#plt_017">17</a></td></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span><a href="#plt_018">4. God rewards those who are devout</a></td><td class="rt" valign="bottom"><a href="#plt_018">18</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_019">5. Virtue rewards her votaries</a></td><td class="rt" valign="bottom"><a href="#plt_019">19</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_020">6. God distributes honours</a></td><td class="rt" valign="bottom"><a href="#plt_020">20</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_021">7. Prudence is commended</a></td><td class="rt" valign="bottom"><a href="#plt_021">21</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_022">8. The faithful gain renown</a></td><td class="rt" valign="bottom"><a href="#plt_022">22</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_023">9. Infamy is punished</a></td><td class="rt" valign="bottom"><a href="#plt_023">23</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_024">10. The law giver delivers judgment</a></td><td class="rt" valign="bottom"><a href="#plt_024">24</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Foundations of Rome.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_025">1. Romulus and Remus are found</a></td><td class="rt" valign="bottom"><a href="#plt_025">25</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_026">2. Remus taken captive</a></td><td class="rt" valign="bottom"><a href="#plt_026">26</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_027">3. Romulus becomes King</a></td><td class="rt" valign="bottom"><a href="#plt_027">27</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_028">4. Romulus dictates the laws</a></td><td class="rt" valign="bottom"><a href="#plt_028">28</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_029">5. Romulus institutes the Feast of Neptune</a></td><td class="rt" valign="bottom"><a href="#plt_029">29</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_030">6. Romulus gives the laws to the people</a></td><td class="rt" valign="bottom"><a href="#plt_030">30</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_031">7. Hersilia is presented to Romulus</a></td><td class="rt" valign="bottom"><a href="#plt_031">31</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Conquest of Tunis. Cartoons by Vermeyen.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_032">Plan of the campaign</a></td><td class="rt" valign="bottom"><a href="#plt_032">32</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_033">Review of the Army</a></td><td class="rt" valign="bottom"><a href="#plt_033">33</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_034">Review of the Army (part of)</a></td><td class="rt" valign="bottom"><a href="#plt_034">34</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_035">Disembarkation at Goletta</a></td><td class="rt" valign="bottom"><a href="#plt_035">35</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_036">The attack on Goletta</a></td><td class="rt" valign="bottom"><a href="#plt_036">36</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_037">Fight under Goletta</a></td><td class="rt" valign="bottom"><a href="#plt_037">37</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_038">The sortie from Goletta</a></td><td class="rt" valign="bottom"><a href="#plt_038">38</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_039">The capture of Goletta</a></td><td class="rt" valign="bottom"><a href="#plt_039">39</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_040">The capture of Tunis</a></td><td class="rt" valign="bottom"><a href="#plt_040">40</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_041">The sacking of Tunis</a></td><td class="rt" valign="bottom"><a href="#plt_041">41</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_042">The re-embarkation at Goletta</a></td><td class="rt" valign="bottom"><a href="#plt_042">42</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_043">The Army camping at Pada</a></td><td class="rt" valign="bottom"><a href="#plt_043">43</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Abraham.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span><a href="#plt_044">1. Three Angels announce to Abraham that Sarah will have a son</a></td><td class="rt" valign="bottom"><a href="#plt_044">44</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_045">2. Abraham offering sacrifice</a></td><td class="rt" valign="bottom"><a href="#plt_045">45</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Scenes from the Revelations.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_046">1. The Angel throws the beast into the Abyss</a></td><td class="rt" valign="bottom"><a href="#plt_046">46</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_047">2. The three horsemen</a></td><td class="rt" valign="bottom"><a href="#plt_047">47</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_048">3. St. John and the seven churches of Asia</a></td><td class="rt" valign="bottom"><a href="#plt_048">48</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_049">4. St. John and the Temple of God</a></td><td class="rt" valign="bottom"><a href="#plt_049">49</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_050">5. Condemnation of the prostitute</a></td><td class="rt" valign="bottom"><a href="#plt_050">50</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_051">6. The Angel carrying the Gospel</a></td><td class="rt" valign="bottom"><a href="#plt_051">51</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_052">7. The crowd adore the lamb</a></td><td class="rt" valign="bottom"><a href="#plt_052">52</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_053">8. The four Angels of Euphrates</a></td><td class="rt" valign="bottom"><a href="#plt_053">53</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_054">9. Combat between good and evil spirits</a></td><td class="rt" valign="bottom"><a href="#plt_054">54</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Seven Deadly Sins.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_055">1. Luxury</a></td><td class="rt" valign="bottom"><a href="#plt_055">55</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_056">2. Greediness</a></td><td class="rt" valign="bottom"><a href="#plt_056">56</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_057">3. Envy</a></td><td class="rt" valign="bottom"><a href="#plt_057">57</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_058">4. Anger</a></td><td class="rt" valign="bottom"><a href="#plt_058">58</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Acts of the Apostles.   Cartoons by Raphael.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_059">1. The miraculous draught of fishes</a></td><td class="rt" valign="bottom"><a href="#plt_059">59</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_060">2. The miraculous draught of fishes</a></td><td class="rt" valign="bottom"><a href="#plt_060">60</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_061">3. The miracle of the paralytic</a></td><td class="rt" valign="bottom"><a href="#plt_061">61</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_062">4. The death of Ananias</a></td><td class="rt" valign="bottom"><a href="#plt_062">62</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_063">5. The martyrdom of St. Stephen</a></td><td class="rt" valign="bottom"><a href="#plt_063">63</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_064">6. The martyrdom of St. Stephen</a></td><td class="rt" valign="bottom"><a href="#plt_064">64</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_065">7. The conversion of St. Paul</a></td><td class="rt" valign="bottom"><a href="#plt_065">65</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_066">8. The blindness of Elymas</a></td><td class="rt" valign="bottom"><a href="#plt_066">66</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_067">9. St Paul at Lystria</a></td><td class="rt" valign="bottom"><a href="#plt_067">67</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_068">10. St. Paul in the Temple</a></td><td class="rt" valign="bottom"><a href="#plt_068">68</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_069">11. St. Paul at Ephesus</a></td><td class="rt" valign="bottom"><a href="#plt_069">69</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_070">12. St. Paul at Ephesus</a></td><td class="rt" valign="bottom"><a href="#plt_070">70</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_071">13. St. Paul preaching in Athens</a></td><td class="rt" valign="bottom"><a href="#plt_071">71</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_072">14. Christ appears to His Disciples</a></td><td class="rt" valign="bottom"><a href="#plt_072">72</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_073">15. Christ choosing St. Peter</a></td><td class="rt" valign="bottom"><a href="#plt_073">73</a></td></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span><a href="#plt_074">16. The paralytic</a></td><td class="rt" valign="bottom"><a href="#plt_074">74</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_075">17. Death of Ananias</a></td><td class="rt" valign="bottom"><a href="#plt_075">75</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_076">18. Conversion of St. Paul</a></td><td class="rt" valign="bottom"><a href="#plt_076">76</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_077">19. The blind man Elymas</a></td><td class="rt" valign="bottom"><a href="#plt_077">77</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_078">20. St. Paul and St. Barnabas at Lystria</a></td><td class="rt" valign="bottom"><a href="#plt_078">78</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Vertumnus and Pomona.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_079">1. Vertumnus transformed into a husbandman</a></td><td class="rt" valign="bottom"><a href="#plt_079">79</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_080">2. Vertumnus takes a fishing rod</a></td><td class="rt" valign="bottom"><a href="#plt_080">80</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_081">3. Vertumnus transformed into an agriculturist</a></td><td class="rt" valign="bottom"><a href="#plt_081">81</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_082">4. Vertumnus transferred into a gardener</a></td><td class="rt" valign="bottom"><a href="#plt_082">82</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_083">5. Vertumnus transformed into a reaper</a></td><td class="rt" valign="bottom"><a href="#plt_083">83</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_084">6. Vertumnus at the harvest</a></td><td class="rt" valign="bottom"><a href="#plt_084">84</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_085">7. Pomona upbraids Vertumnus</a></td><td class="rt" valign="bottom"><a href="#plt_085">85</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_086">8. Vertumnus disguised kisses Pomona</a></td><td class="rt" valign="bottom"><a href="#plt_086">86</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_087">9. Vertumnus regains his natural form</a></td><td class="rt" valign="bottom"><a href="#plt_087">87</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Scipio Africanus.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_088">1. The capture of Carthage</a></td><td class="rt" valign="bottom"><a href="#plt_088">88</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_089">2. Scipio saves his father</a></td><td class="rt" valign="bottom"><a href="#plt_089">89</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_090">3. Carthage sends Ambassadors</a></td><td class="rt" valign="bottom"><a href="#plt_090">90</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_091">4. The triumph of Scipio</a></td><td class="rt" valign="bottom"><a href="#plt_091">91</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_092">5. The banquet</a></td><td class="rt" valign="bottom"><a href="#plt_092">92</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_093">6. Scipio gives up his betrothed</a></td><td class="rt" valign="bottom"><a href="#plt_093">93</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_094">7. Scipio gives up his betrothed (section)</a></td><td class="rt" valign="bottom"><a href="#plt_094">94</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_095">8. Scipio delivers judgment</a></td><td class="rt" valign="bottom"><a href="#plt_095">95</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_096">9. The triumph</a></td><td class="rt" valign="bottom"><a href="#plt_096">96</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_097">10. Scipio and Hannibal</a></td><td class="rt" valign="bottom"><a href="#plt_097">97</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_098">11. The triumph of Scipio</a></td><td class="rt" valign="bottom"><a href="#plt_098">98</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Cyrus.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_099">1. Cyrus takes Astyage prisoner</a></td><td class="rt" valign="bottom"><a href="#plt_099">99</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_100">2. Cyrus is recognised by Astyage</a></td><td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_101">3. Meeting of Cyrus and the Queen</a></td><td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_102">4. Cyrus sends a messenger</a></td><td class="rt" valign="bottom"><a href="#plt_102">102</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_103">5. Cyrus unites the Medes and Persians</a></td><td class="rt" valign="bottom"><a href="#plt_103">103</a></td></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span><a href="#plt_104">6. Cyrus saves Croesus from the Stake</a></td><td class="rt" valign="bottom"><a href="#plt_104">104</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_105">7. The Queen and Cyrus</a></td><td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_106">8. Cyrus takes Croesus prisoner</a></td><td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_107">9. Cyrus and the Lydians</a></td><td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_108">10. Cyrus releases the Hebrews</a></td><td class="rt" valign="bottom"><a href="#plt_108">108</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_109">11. Cyrus is entrusted to a Shepherd</a></td><td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_110">12. Hystaspe and Amenophis</a></td><td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Diana.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_111">1. Birth of Diana</a></td><td class="rt" valign="bottom"><a href="#plt_111">111</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_112">2. Diana resting</a></td><td class="rt" valign="bottom"><a href="#plt_112">112</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_113">3. Diana and Jupiter</a></td><td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Spheres.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_114">1. Hercules supports the sky</a></td><td class="rt" valign="bottom"><a href="#plt_114">114</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_115">2. Atlas supports the world</a></td><td class="rt" valign="bottom"><a href="#plt_115">115</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Decius.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_116">1. Decius raises his country</a></td><td class="rt" valign="bottom"><a href="#plt_116">116</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_117">2. Decius sends lictors to Manlius</a></td><td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_118">3. Decius bids farewell to the lictors</a></td><td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_119">4. Decius departs to fight the Latins</a></td><td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_120">5. Decius dedicates himself to the Legions</a></td><td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_121">6. Valerius and Decius</a></td><td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_122">7. The vision of Decius</a></td><td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_123">8. Death of Decius</a></td><td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_124">9. Funeral of Decius</a></td><td class="rt" valign="bottom"><a href="#plt_124">124</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Venus.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_125">1. Offerings to Venus</a></td><td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_126">2. The challenge of Cupid and Venus</a></td><td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Story of the Creation of Man.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_127">1. God creates man</a></td><td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_128">2. Cain kills his brother Abel</a></td><td class="rt" valign="bottom"><a href="#plt_128">128</a></td></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span><a href="#plt_129">3. God curses Cain</a></td><td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_130">4. The tree of good and evil</a></td><td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Tobias.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_131">1. Sarah marries Tobias</a></td><td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_132">2. The return of Tobias and Sarah</a></td><td class="rt" valign="bottom"><a href="#plt_132">132</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Seasons.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_133">1. Summer</a></td><td class="rt" valign="bottom"><a href="#plt_133">133</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_134">2. Winter</a></td><td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Solomon.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_135">1. Solomon is annointed King</a></td><td class="rt" valign="bottom"><a href="#plt_135">135</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_136">2. Solomon marries an Egyptian Princess</a></td><td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_137">3. Solomon and the Queen of Sheba</a></td><td class="rt" valign="bottom"><a href="#plt_137">137</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">History of a Man’s Life.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_138">1. Divinity advocates Temperance to Man</a></td><td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_139">2. The Vices repulse Temperance</a></td><td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_140">3. Time surrounds him with Prudence</a></td><td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_141">4. Virtue triumphant</a></td><td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_142">5. Patience humiliates Fortune</a></td><td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_143">6. Fortune fights avarice</a></td><td class="rt" valign="bottom"><a href="#plt_143">143</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_144">7. Blind Fortune bestows good and evil</a></td><td class="rt" valign="bottom"><a href="#plt_144">144</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_145">8. Two ancient philosophers</a></td><td class="rt" valign="bottom"><a href="#plt_145">145</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_146">9. Divinity reveals Temperance</a></td><td class="rt" valign="bottom"><a href="#plt_146">146</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_147">10. Vice repulses Temperance</a></td><td class="rt" valign="bottom"><a href="#plt_147">147</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Story of Anthony and Cleopatra.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_148">1. Anthony leaves Rome</a></td><td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_149">2. Anthony receives homage</a></td><td class="rt" valign="bottom"><a href="#plt_149">149</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_150">3. Anthony disposes of Egypt’s treasures</a></td><td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_151">4. Cleopatra mocks Anthony’s weakness</a></td><td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Alexander the Great.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span><a href="#plt_152">1. Alexander and his Doctor Philip</a></td><td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_153">2. The battle of Issus</a></td><td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_154">3. The siege of Tyre</a></td><td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_155">4. Alexander in Carmonia</a></td><td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_156">5. Surrender of the Kings of Cyprus and Phœnicia</a></td><td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_157">6. Alexander in Asia Minor</a></td><td class="rt" valign="bottom"><a href="#plt_157">157</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_158">The Triumph of Love</a></td><td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_159">The Triumph of Death</a></td><td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_160">The Triumph of Chastity</a></td><td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Tolemachus.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_161">1. The young Tolemachus</a></td><td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_162">2. Neptune wrecking Ulysses’ ship</a></td><td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Paul.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_163">1. St. Paul in the Temple</a></td><td class="rt" valign="bottom"><a href="#plt_163">163</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_164">2. St. Paul before Agrippa</a></td><td class="rt" valign="bottom"><a href="#plt_164">164</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_165">3. St. Paul executed at Rome</a></td><td class="rt" valign="bottom"><a href="#plt_165">165</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Temptation of St. Anthony.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_166">1. St. Anthony departs for the Retreat</a></td><td class="rt" valign="bottom"><a href="#plt_166">166</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_167">2. St. Anthony tempted by the Devil</a></td><td class="rt" valign="bottom"><a href="#plt_167">167</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_168">3. Paradise, Purgatory and Hell</a></td><td class="rt" valign="bottom"><a href="#plt_168">168</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Story of the Emperor Octavius.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_169">1. Julius Cæsar adopts Octavius</a></td><td class="rt" valign="bottom"><a href="#plt_169">169</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_170">2. The battle of Phillippi</a></td><td class="rt" valign="bottom"><a href="#plt_170">170</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_171">3. Octavius closes the Temple of War</a></td><td class="rt" valign="bottom"><a href="#plt_171">171</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_172">4. Death of Cleopatra</a></td><td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Moses.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_173">1. Moses and Aaron before Pharoah</a></td><td class="rt" valign="bottom"><a href="#plt_173">173</a></td></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span><a href="#plt_174">2. God chooses Moses to deliver Israel</a></td><td class="rt" valign="bottom"><a href="#plt_174">174</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_175">3. Moses comes from Mt. Sinai</a></td><td class="rt" valign="bottom"><a href="#plt_175">175</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Battles of the Archduke Albert.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_176">1. Surrender of Hulst</a></td><td class="rt" valign="bottom"><a href="#plt_176">176</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_177">2. Ardres surprised by a night attack</a></td><td class="rt" valign="bottom"><a href="#plt_177">177</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_178">3. Hulst besieged</a></td><td class="rt" valign="bottom"><a href="#plt_178">178</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_179">4. Taking of Calais</a></td><td class="rt" valign="bottom"><a href="#plt_179">179</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_180">5. The return of the garrison</a></td><td class="rt" valign="bottom"><a href="#plt_180">180</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Theseus.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_181">1. Theseus leaves for Crete</a></td><td class="rt" valign="bottom"><a href="#plt_181">181</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_182">2. Theseus receives the sword of Ægeus</a></td><td class="rt" valign="bottom"><a href="#plt_182">182</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_183">3. Ægeus recognises his son</a></td><td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_184">4. Theseus armed with the Mace</a></td><td class="rt" valign="bottom"><a href="#plt_184">184</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_185">5. Bacchus marries Ariadne</a></td><td class="rt" valign="bottom"><a href="#plt_185">185</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_186">6. Theseus receives the ring of Minos</a></td><td class="rt" valign="bottom"><a href="#plt_186">186</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_187">7. Theseus leads the bull of Marathon</a></td><td class="rt" valign="bottom"><a href="#plt_187">187</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_188">8. Theseus and the head of Minotaurus</a></td><td class="rt" valign="bottom"><a href="#plt_188">188</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_189">The Funeral of King Turmus</a></td><td class="rt" valign="bottom"><a href="#plt_189">189</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_190">Dido and the Portrait of Æneas</a></td><td class="rt" valign="bottom"><a href="#plt_190">190</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Sampson.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_191">1. Sampson propounds his riddle</a></td><td class="rt" valign="bottom"><a href="#plt_191">191</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_192">2. Sampson is betrayed by Delilah</a></td><td class="rt" valign="bottom"><a href="#plt_192">192</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Story of Noah.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_193">1. Noah building the Ark</a></td><td class="rt" valign="bottom"><a href="#plt_193">193</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_194">2. Noah leaving the Ark</a></td><td class="rt" valign="bottom"><a href="#plt_194">194</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">The Way of Honour.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_195">1. Grace accords immortal crowns</a></td><td class="rt" valign="bottom"><a href="#plt_195">195</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_196">2. Virtue accords honour</a></td><td class="rt" valign="bottom"><a href="#plt_196">196</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_197">3. Merit receives reward</a></td><td class="rt" valign="bottom"><a href="#plt_197">197</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Story of Zenobia.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_198">1. Nuptial banquet of Zenobia and Odenat</a></td><td class="rt" valign="bottom"><a href="#plt_198">198</a></td></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span><a href="#plt_199">2. Zenobia is taken prisoner</a></td><td class="rt" valign="bottom"><a href="#plt_199">199</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_200">3. Zenobia led captive</a></td><td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Story of Don Quixote.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_201">1. Departure of Don Quixote</a></td><td class="rt" valign="bottom"><a href="#plt_201">201</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_202">2. Don Quixote and the three Peasant Women</a></td><td class="rt" valign="bottom"><a href="#plt_202">202</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_203">3. Princess Micomicona</a></td><td class="rt" valign="bottom"><a href="#plt_203">203</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_204">4. Don Quixote is beaten by the Merchants</a></td><td class="rt" valign="bottom"><a href="#plt_204">204</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_205">5. Don Quixote is enclosed in a cage</a></td><td class="rt" valign="bottom"><a href="#plt_205">205</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_206">6. The Muleteer meets Don Quixote</a></td><td class="rt" valign="bottom"><a href="#plt_206">206</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_207">7. Sancho marches to Toboso</a></td><td class="rt" valign="bottom"><a href="#plt_207">207</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_208">8. Repetitions of preceding pictures</a></td><td class="rt" valign="bottom"><a href="#plt_208">208</a></td></tr>
+
+<tr><th colspan="2"><span class="smcap">Story of Phaeton.</span></th></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_209">1. Phœbus allows Phaeton to drive the chariot of the sun</a></td><td class="rt" valign="bottom"><a href="#plt_209">209</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_210">2. Phaeton drives the chariot of the sun</a></td><td class="rt" valign="bottom"><a href="#plt_210">210</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_211">3. Jupiter confounds Phaeton</a></td><td class="rt" valign="bottom"><a href="#plt_211">211</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_212">4. The body of Phaeton is recovered</a></td><td class="rt" valign="bottom"><a href="#plt_212">212</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_213">Chastity puts Cupid to Flight</a></td><td class="rt" valign="bottom"><a href="#plt_213">213</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_214">Rustic Scenes after Goya and Bayeu</a></td><td class="rt" valign="bottom"><a href="#plt_214">214</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_215">Panels after Goya</a></td><td class="rt" valign="bottom"><a href="#plt_215">215</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_216">Quarrel in an Inn, after Goya</a></td><td class="rt" valign="bottom"><a href="#plt_216">216</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_217">Panels after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_217">217</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_218">Panels after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_218">218</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_219">Panels after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_219">219</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_220">Village Dance after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_220">220</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_221">Panels after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_221">221</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_222">Descent from the Cross</a></td><td class="rt" valign="bottom"><a href="#plt_222">222</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_223">Christ on the Cross</a></td><td class="rt" valign="bottom"><a href="#plt_223">223</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_224">The Crucifixion, by Van der Weyden</a></td><td class="rt" valign="bottom"><a href="#plt_224">224</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_225">Our Lord appearing to the Holy Women</a></td><td class="rt" valign="bottom"><a href="#plt_225">225</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_226">St. Jerome in the Desert</a></td><td class="rt" valign="bottom"><a href="#plt_226">226</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_227">The Eternal Father</a></td><td class="rt" valign="bottom"><a href="#plt_227">227</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_228">Our Lord and St. Veronica</a></td><td class="rt" valign="bottom"><a href="#plt_228">228</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_229">Mary Annointing the Feet of the Saviour</a></td><td class="rt" valign="bottom"><a href="#plt_229">229</a></td></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xxii" id="page_xxii">{xxii}</a></span><a href="#plt_230">The Confusion of Tongues</a></td><td class="rt" valign="bottom"><a href="#plt_230">230</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_231">The Last Supper</a></td><td class="rt" valign="bottom"><a href="#plt_231">231</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_232">The Adoration of the Magi</a></td><td class="rt" valign="bottom"><a href="#plt_232">232</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_233">Neoptolemy sacrifices Polyzema</a></td><td class="rt" valign="bottom"><a href="#plt_233">233</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_234">Time and Temperance restrain Cupid</a></td><td class="rt" valign="bottom"><a href="#plt_234">234</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_235">Ulysses accepts the presents of Alcinous</a></td><td class="rt" valign="bottom"><a href="#plt_235">235</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_236">Penelope recognises Ulysses</a></td><td class="rt" valign="bottom"><a href="#plt_236">236</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_237">Courtiers presenting themselves before a King</a></td><td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_238">Children playing&mdash;XVIth century</a></td><td class="rt" valign="bottom"><a href="#plt_238">238</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_239">Death of Cleopatra</a></td><td class="rt" valign="bottom"><a href="#plt_239">239</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_240">Portrait of a Woman</a></td><td class="rt" valign="bottom"><a href="#plt_240">240</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_241">Calchas of Agamemnon</a></td><td class="rt" valign="bottom"><a href="#plt_241">241</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_242">A Grove</a></td><td class="rt" valign="bottom"><a href="#plt_242">242</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_243">On the banks of a river</a></td><td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_244">Prince Baltazar Carlos</a></td><td class="rt" valign="bottom"><a href="#plt_244">244</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_245">Allegory of the Tiber and Rome</a></td><td class="rt" valign="bottom"><a href="#plt_245">245</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_246">Imperial funeral bed of State</a></td><td class="rt" valign="bottom"><a href="#plt_246">246</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_247">Royal Arms of Philip V.</a></td><td class="rt" valign="bottom"><a href="#plt_247">247</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_248">Panels</a></td><td class="rt" valign="bottom"><a href="#plt_248">248</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_249">A Frieze</a></td><td class="rt" valign="bottom"><a href="#plt_249">249</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_250">Borders of tapestries</a></td><td class="rt" valign="bottom"><a href="#plt_250">250</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_251">The Passion of our Lord</a></td><td class="rt" valign="bottom"><a href="#plt_251">251</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_252">Death of Absalom</a></td><td class="rt" valign="bottom"><a href="#plt_252">252</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_253">The Birth of Christ</a></td><td class="rt" valign="bottom"><a href="#plt_253">253</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_254">Descent from the Cross</a></td><td class="rt" valign="bottom"><a href="#plt_254">254</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_255">St. Gregory’s Mass</a></td><td class="rt" valign="bottom"><a href="#plt_255">255</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_256">Triumph of Joseph</a></td><td class="rt" valign="bottom"><a href="#plt_256">256</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_257">King Charles III.</a></td><td class="rt" valign="bottom"><a href="#plt_257">257</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_258">Queen Amelia and Saxony</a></td><td class="rt" valign="bottom"><a href="#plt_258">258</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_259">Mythological subject</a></td><td class="rt" valign="bottom"><a href="#plt_259">259</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_260">After the Victory</a></td><td class="rt" valign="bottom"><a href="#plt_260">260</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_261">The Temple</a></td><td class="rt" valign="bottom"><a href="#plt_261">261</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_262">The Colonnade</a></td><td class="rt" valign="bottom"><a href="#plt_262">262</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_263">The Palace</a></td><td class="rt" valign="bottom"><a href="#plt_263">263</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_264">Fragments</a></td><td class="rt" valign="bottom"><a href="#plt_264">264</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_265">Panels</a></td><td class="rt" valign="bottom"><a href="#plt_265">265</a></td></tr>
+
+<tr><td valign="top" class="smcap"><span class="pagenum"><a name="page_xxiii" id="page_xxiii">{xxiii}</a></span><a href="#plt_266">Panels after Andres de Aguirre</a></td><td class="rt" valign="bottom"><a href="#plt_266">266</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_267">Panels after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_267">267</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_268">Fragments after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_268">268</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_269">Fragments after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_269">269</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_270">Panels after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_270">270</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_271">Fragments after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_271">271</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_272">Fragments after Teniers</a></td><td class="rt" valign="bottom"><a href="#plt_272">272</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_273">Children playing, after Goya</a></td><td class="rt" valign="bottom"><a href="#plt_273">273</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_274">Panels after Goya</a></td><td class="rt" valign="bottom"><a href="#plt_274">274</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_275">Panels after Goya and Bayeu</a></td><td class="rt" valign="bottom"><a href="#plt_275">275</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_276">Panels after Goya and Bayeu</a></td><td class="rt" valign="bottom"><a href="#plt_276">276</a></td></tr>
+
+<tr><td valign="top" class="smcap"><a href="#plt_277">Coriolanus and his Mother</a></td><td class="rt" valign="bottom"><a href="#plt_277">277</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xxiv" id="page_xxiv">{xxiv}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<h2>THE SPANISH ROYAL<br /> TAPESTRIES</h2>
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<br /><br />
+HISTORY OF THE ART OF TAPESTRY WEAVING</h2>
+
+<p class="nind"><span class="letra">T</span>HE term tapestry is often applied to any hangings of mediæval
+workmanship whether woven on a frame or not. This use of the word is
+incorrect. Tapestry is a fabric woven with coloured wools on to warp
+threads in a loom or frame, in which the weft completely conceals the
+warp. It is woven all in one piece. This distinguishes it from
+embroidery or other needlework to which stitches are added after the
+groundwork of the fabric has been detached from the frame. The worker
+weaves directly from a design or cartoon which is supplied to him.</p>
+
+<p>Tapestry frames are of two kinds. In the first the warp threads are
+arranged in a perpendicular frame, and the weaver sits before his work.
+This is known as high-warp (<i>haute lisse</i>) weaving, and<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> is the method
+in use at the celebrated manufactory at Gobelins in France. In the other
+method the warp threads are stretched horizontally, and the weaver must
+bend over his work. This is known as low-warp (<i>basse lisse</i>) weaving,
+and is the process followed at Beauvais. On the whole the high warp
+weaving gives a fabric of firmer and finer texture.</p>
+
+<p>The rest of the process is precisely similar. The weft threads of
+different colours, each attached to a separate bobbin or shuttle, are
+passed alternately behind and in front of the warp threads, leaving a
+little dot of colour behind. The second thread will, of course, take up
+the warp thread the first has passed over, and pass in front of that
+which the first one has passed behind. The two threads are then pushed
+together with a comb until they fall into one straight line. The warp is
+now completely concealed.</p>
+
+<p>Tapestry weaving is an art that stands alone. Like furniture, tapestry
+was of utilitarian origin, and cannot, therefore, be judged by the
+standards applied to painting and the purely decorative arts. As
+originally used in ancient buildings, it was hung some feet from the
+walls to serve as a draught screen, or was suspended between pillars to
+shut off one apartment from another. It was<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> generally hung, therefore,
+in undulating folds, the stiff panels and upholsteries of later
+workmanship being a spurious growth.</p>
+
+<p>The decorative value of such hangings was, of course, seized on at once
+by the wealthy, who alone could afford them, and from the earliest times
+tapestries became things of beauty. But in estimating their artistic
+value we have to remember their original use. A tapestry curtain woven
+with a symmetrical central design would appear quite distorted when
+pushed aside by some one entering a room. Central unity, therefore, the
+great merit of painting, is in tapestry artistically bad. The designs
+that are most suitable are duplicated or repeated designs, with a
+crowded background. These will secure a certain uniformity in the
+suspended fabric. For this reason, therefore, such panels as Raphael’s
+<i>Acts of the Apostles</i>, though fine specimens of pictorial art, are, as
+tapestries, artistically faulty, beautiful though they are when
+considered merely as works of art.</p>
+
+<p>Its first utilitarian purpose being fulfilled, tapestry becomes a
+decorative art designed only to please and rest the eye. Tragic
+subjects, therefore, such as the <i>Descent from the Cross</i> and the
+<i>Passion of Our Lord</i>, are unsuitable, though<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> they constantly tempted
+the mediæval <i>tapissier</i>. Much finer are those works that depict
+stirring historical scenes, the <i>Triumphs of Cæsar</i> or the <i>Conquest of
+Tunis</i>, or those which deal with light mythological subjects with their
+pleasantly crowded backgrounds of fruit, flowers, and cupids. Dull and
+sombre colourings are also bad. The richest dyes, enriched with metallic
+threads of gold and silver, should glow against the background of the
+cold stone pillars. All these æsthetic rules, however, were constantly
+violated by the mediæval artificers, who could not rid themselves of the
+idea that art in any form should be didactic, and subserve the purposes
+of the Church and morality.</p>
+
+<p>Tapestry weaving is certainly one of the most ancient of all the arts.
+Fragments have been left behind by all the early civilizations to bear
+witness to their skill. The art was practised by the early Egyptians,
+the Babylonians, Chinese, and Peruvians, while the Greeks and Romans
+brought it to a high state of perfection. It is noticeable that from the
+very beginning the texture of the fabric has scarcely altered, while the
+modern tapestry looms are but the natural development of the primitive
+frames used by the ancient Egyptians.<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p>
+
+<p>The earliest specimen of weaving that has been discovered was found in
+one of the Swiss lake dwellings, and can only be a relic of the later
+Stone Age. Fragments somewhat similar have come to light in stone
+coffins found in Yorkshire, while at Thornton, near Kolding, in Jutland,
+whole costumes have been discovered that must have belonged to the Age
+of Bronze.</p>
+
+<p>The first historic references to the art come to us from early Egypt.
+Here the weavers were probably women. The Beni Hassan wall-paintings,
+which date from about 1600 <small>B.C.</small>, depict weavers squatting at horizontal
+low-warp frames. There are three fragments of this early tapestry
+preserved in the Museum of Egyptian Antiquities at Cairo. Their
+uniformly fine workmanship proves that the weaving of tapestries had
+been carried to a high degree of excellence in the reign of Thothmes
+III. The texture of the fabric is very fine, and the pattern is
+identical on both sides. Some elasticity of pattern has been achieved by
+the occasional slackening of warp threads. This points to a loom where
+the threads were weighted, but not fastened to a cylinder.</p>
+
+<p>A Greek vase found at Chiusi shows Penelope weaving at a high-warp frame
+while she holds her suitors at bay. This belongs to the fifth<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> century
+<small>B.C.</small>, and the loom depicted is very like those used in Scandinavian
+countries.</p>
+
+<p>Catullus speaks of tapestries that showed the adventures of Theseus and
+Ariadne. The figures of Britons were constantly being reproduced in
+Roman tapestries. In Rome there were organized societies of weavers
+known as <i>collegii opificum</i>. The fabrics that have been preserved are
+woven in coloured woollens and linen threads. They show a wealth of
+floral and leaf adornment, and figures of ducks and fishes. One shows a
+child riding a white horse; another portrays Hermes with his caduceus.
+These date from the second or third centuries <small>A.D.</small></p>
+
+<p>The growth of Christianity, and the breaking up of Roman civilization,
+drove the art of tapestry weaving into monasteries and convents, or to
+the royal courts. It was not until the eleventh century that
+associations of free craftsmen&mdash;as against the early organizations of
+slaves&mdash;began to be formed in different countries. The movement started
+in England, Flanders, and Brabant, and afterwards spread to France,
+where this particular form of art was to find so congenial a home.</p>
+
+<p>The Golden Age of mediæval tapestry opened, however, in the thirteenth
+century when Raphael began his cartoons. This introduction of realism,<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span>
+the widening of the whole artistic range, was rendered more feasible by
+the discovery of new dyes which added richer and more glowing tints to
+the fabrics. The borders, which had previously been simple, grew wider
+and more elaborate in design. From this ever-increasing elaboration of
+the borders, indeed, it is often possible to fix the date of an
+otherwise dubious specimen.</p>
+
+<p>In the following century Arras became the centre of the industry. So
+closely was the tapestry associated with its place of manufacture that
+in England the name of the town became synonymous for the name of the
+fabric, and the arras became a recognized decoration of luxurious rooms.
+From early times there are references in Spanish inventories to <i>pan de
+raz</i>. This supremacy remained unchallenged until the fifteenth century
+when Brussels and Bruges achieved fame as tapestry centres. In the
+sixteenth and seventeenth centuries the industry took root at
+Middleburg, Delft, and Paris, and Mortlake in England became a famous
+centre in the seventeenth century.</p>
+
+<p>It was not until the late seventeenth century that tapestry weaving
+really became established in Spain. Before that the Spanish kings and
+nobles had been content to acquire masterpieces<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> of foreign workmanship,
+chiefly from the Low Countries. There are, however, traces of a feeble
+industry to be found as far back as the late fourteenth century when one
+man seems to have followed the craft of <i>tapissier</i> in Catalonia. It is
+possible&mdash;but not certain&mdash;that two <i>tapissiers</i> of Navarre, who
+flourished about 1411&mdash;Llucia Barthomew and Juan Noyan&mdash;may have been
+Spaniards. Another Barthomew is spoken of a few years later in connexion
+with two tapestries, namely, those of the <i>Resurrection</i> and <i>St.
+Anthony</i>.</p>
+
+<p>A panel of Spanish tapestry, obviously intended for altar decoration,
+has recently been discovered that dates from the early fifteenth
+century. The centre is occupied by the figure of John the Baptist
+bearing the Paschal Lamb, flanked by St. Martin of Tours in the dress of
+a bishop, and by St. Hugh of Grenoble. Gold and silver threads are
+employed, and the arms are shown of Martin of Aragon and of his wife,
+Maria de Luna, who died in 1407. This king appears to have interested
+himself in tapestries, and we read that the walls of the royal palace at
+Saragossa were adorned with these costly fabrics at his coronation in
+1398. King John of Aragon before him had introduced, we read in a
+document dated 1388, a company of “brobadors de Brabant.<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>”</p>
+
+<p>From the fifteenth century onward the costliest tapestries were much
+sought after in Spain, and magnificent displays were made on the
+occasions of State banquets or royal weddings. Towards the end of the
+fifteenth century a special official was appointed by the king to take
+charge of the royal collection, which was already considerable. This
+official, Pedro Entierrez by name, was himself a weaver. He made
+strenuous efforts to develop the industry in the Spanish capital, but
+apparently without much success. At any rate, a letter of his is
+preserved among the records of the Spanish Academy of History, in which
+he complains bitterly of the treatment meted out to himself and his
+fellow-workers. He was accused by his enemies of being ambitious,
+unskilled, and slow. These aspersions he proceeds very fully to refute.
+He complains that his supplies of raw material were limited, and that he
+was not allowed to set up his heavier instruments in Madrid.</p>
+
+<p>It was not, however, until 1624 that the attempt to graft the weaving of
+tapestry on to Spanish art really succeeded. In this year a small colony
+of Flemish weavers settled in the little town of Pastran in New Castile,
+being directly subsidized by the king. Five thousand ducats were paid to
+them in the first year, and in the follow<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span>ing year they received a
+further seven thousand ducats.</p>
+
+<p>Meantime the unfortunate Pedro Entierrez had found a rival in a certain
+Antonio Ceron who had set up looms at Santa Isabel. Here he established
+four workshops, and instructed eight apprentices in the art of weaving
+tapestry. It is probably one of these ateliers that has been
+immortalized by Velazquez in <i>Las Hilanderas</i>. This painting shows in
+the background a tapestry of mythological inspiration, while in the
+foreground women are seen unwinding skeins of wool.</p>
+
+<p>For some time the poverty of the Spanish Crown held the industry in
+check. But by 1720 a family of Spanish weavers from Antwerp, consisting
+of one Jacques Van der Goten and his four sons, came over on the
+invitation of Philip V and established an atelier in Madrid, where
+tapestry was produced on low-warp frames. A few years later high-warp
+looms were introduced from France, and the industry spread to Seville.
+Some famous pieces were wrought in Spain at this time. Jacques Van der
+Goten produced the <i>Virgin with the Pearl</i> from a cartoon by Raphael,
+while the famous series representing the <i>Conquest of Tunis</i>, and the
+<i>History of Telemachus</i>, were reproduced by a well-known weaver called
+Andrea Procaccini.<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> Cartoons were also designed by Procaccini for a
+“History of Don Quixote,” which have been constantly reproduced in
+tapestry.</p>
+
+<p>The fashion changed, and for a time the demand was all for Dutch
+tapestries. Van der Goten set his workmen to copy the cartoons of
+Solimena Teniers and the other Dutch cartoonists. But at the same time
+original designs were not neglected, and by the end of the eighteenth
+century the industry had become quite considerable, employing
+permanently no less than fifteen workmen. The last of the Van der Goten
+brothers died in 1786, and the direction of the Santa Barbara atelier
+passed to a nephew.</p>
+
+<p>The culmination of the prosperity of the Spanish <i>tapissiers</i> was marked
+by the execution of the celebrated Goya tapestries. These cartoons, to
+the number of forty-five, were designed for the decoration of the
+apartments of the Prince of Asturias in the Prado. Some of them,
+however, are to be found on the walls of the Escorial, and many,
+unhappily, have been lost. Goya brought to his task his own peculiar
+talents. Hitherto the designers of cartoons had been content to find
+their inspiration in ancient Bible stories or in the myths of Greece or
+Rome. They had depicted incidents from the life of Christ and the<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span>
+Virgin Mary; they had painted moralities, virtues, and vices. Goya did
+none of these things. When he was summoned from Rome to Madrid by
+Raphael Mengs, then the director of the workrooms of the Spanish
+capital, he decided to portray in tapestry the actual life of the people
+around him. In place of the stilted, conventional figures of his
+predecessors he produced cartoons instinct with life and vivid movement.
+The enthralling realism of the bull-fight, village fairs and festivals,
+the romantic loves of Andalusian peasants, the popular excitement of
+kite-flying&mdash;these were the subjects treated by this most realistic of
+artists.</p>
+
+<p>Goya achieved an immediate success. Time after time his cartoons were
+reproduced by the Spanish weavers. The King, pleased at the distinction
+with which the artist invested his Court, spent enormous sums upon
+tapestries, and encouraged his household to do the same. In the four
+years from 1776 to 1780 the sum of 817,956 <i>reales</i> was expended at the
+Court on the purchase of tapestries and cartoons. Other well-known
+artists contributed cartoons to the Madrid workshops, among whom we find
+the names of Van Loo, Conrado, Giaquinto, Mengs, Jose de Castillo,
+Antonio Gonzalez, Mariano Nani, Andres Gines, Antonio Barbaza, and Jose
+de Salas.<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p>
+
+<p>The French invasion caused the closing down of the workshops of Santa
+Barbara in 1808. Some years later they were reopened by the son of St.
+Ferdinand’s weaver, and once again beautiful fabrics were woven from the
+designs of Goya. The death of Ferdinand VII in 1833 gave a severe blow
+to the industry, but there are still looms in Santa Barbara where
+exquisite tapestries are executed under the direction of a descendant of
+Jacques Van der Goten.<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p>
+
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<br /><br />
+THE FOUNDATION OF THE SPANISH ROYAL COLLECTION</h2>
+
+<p class="nind"><span class="letra">I</span>N order to understand how the finest collection of Renaissance
+tapestries in the world came to be in the royal palace at Madrid, it is
+necessary to know something of the complicated history of the
+Netherlands during the later fifteenth and sixteenth centuries, when the
+Flemish tapestry weaving industry was at the height of its reputation.</p>
+
+<p>During the earlier decades of the fifteenth century the Dukes of
+Burgundy were employed in the consolidation of their power by the
+acquisition of province after province in the Low Countries. By 1443
+these territories included, in addition to the French duchy of Burgundy,
+Flanders, Artois, Namur, Holland, Zeeland, Friesland, Brabant, Limbourg,
+and the duchy of Luxembourg, and Burgundy had to be reckoned with as a
+great European power. The Court of Philip the Good was, indeed, the most
+luxurious in Europe, enriched<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> with the finest paintings, the rarest
+books, and the most beautiful tapestries. Charles the Bold added Liége
+and Gelderland to the territories inherited from his father. On his
+death in 1477, Burgundy, Franche Comté, and Artois reverted to France.
+The rest of Charles’s dominions passed to his daughter Mary, who married
+Maximilian of Austria. On Maximilian’s election as Emperor, he made his
+son, Philip the Handsome, ruler of the Netherlands. The marriage of
+Philip with Joanna of Aragon secured to their son Charles the kingdoms
+of Aragon and Castile. On Charles’s election as Emperor in 1519, in
+succession to his grandfather Maximilian, he united the sovereignties of
+Spain and of the Netherlands.</p>
+
+<p>Margaret of Austria had already been appointed by Maximilian as ruler of
+the Netherlands. In this position the new Emperor left her, showing
+therein great wisdom, as Margaret proved a popular ruler. On her death
+he appointed his widowed sister, Mary of Hungary, as her successor.
+Under the beneficent rule of these two Burgundian ladies, the industry
+of tapestry weaving flourished and reached its height. The Netherlands
+enjoyed a long term of peace and prosperity. Both Margaret of Austria
+and Mary of Hungary were enthusiastic patrons of the art, and many<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span>
+well-known series of tapestries were woven at their command. These
+pieces passed, almost without exception, into the hands of Charles V and
+Philip II on the death of their original owners. During the long and
+bitter struggle against the Catholic Philip, the industry, as was
+inevitable, languished and never again recovered its ancient vigour.</p>
+
+<p>It has been asserted that the Spanish kings used their power in the
+Netherlands to extort from the weavers the finest products of their
+looms by blackmail, or even torture. There seems to be little
+foundation, if any, for this charge. With one exception, where the
+origin of the tapestries is known, they were acquired by inheritance or
+purchase, or were made, as in the case of the <i>Conquest of Tunis</i>,
+directly to the royal command.</p>
+
+<p>Besides the tapestries dealt with in the following pages the Spanish
+royal collection contains an even greater number of pieces of less
+importance and artistic value, disposed upon the walls of the palace.
+These also are almost entirely of Flemish origin, except those which
+were the product, at a later date, of the Spanish looms established by
+the much persecuted Van der Goten. A large number of the tapestries here
+described were shown at the Paris Exhibition of 1900, when,<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> for the
+first time, the world became aware of the artistic wealth so long hidden
+in the Royal Palace of Madrid.</p>
+
+<p>The accumulated treasures of the Spanish Court had remained for many
+years neglected and uncatalogued, their history and origin uncertain or
+unknown. It was King Alfonso XII who first conceived the idea of
+arranging the royal tapestries, studying their history, discovering,
+where possible, their designers and makers, and classifying them into
+groups and series, and making photographs of the whole collection. This
+work was subsequently completed by the late Queen Isabella of Spain.</p>
+
+<p>In 1903 an excellent series of photographic plates representing the
+finest of the tapestries was published in book form, accompanied by
+critical and historical notes from one of the finest art critics of
+Spain&mdash;the Count Valencia de Don Juan. It is to this learned and
+discerning writer that I am most indebted for the explanatory notes
+which accompany the reproductions included in this volume. The
+tapestries are, as far as possible, treated in groups connected by
+similarity of subject except where several pieces form a continuous
+series.<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p>
+
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<br /><br />
+THE GOTHIC TAPESTRIES&mdash;SACRED PIECES</h2>
+
+<p class="nind"><span class="letra">I</span>T is a notable fact that the earlier Gothic tapestries&mdash;those of the
+thirteenth and fourteenth centuries and earlier&mdash;nearly all deal with
+religious subjects. From this we are apt to acquire an exaggerated idea
+of the part played by religion in mediæval life. The true explanation is
+that in the cockpit of Europe during these fierce and warlike times art
+in any form found itself unable to exist. Only in the monasteries could
+it find refuge, and these became the centres, not only of the fine arts,
+but also of textile arts like tapestry-weaving. The effects of this
+monopoly were unfortunate. The imagination of the designers of cartoons
+was stunted. They came to believe that the duty of tapestry was not to
+delight the eye, but to preach trite little sermons. Hence the endless
+series of pictures extolling the practice of vices. The chief beauty of
+the earlier Gothic tapestries lay in the brilliance and richness of<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> the
+dyes. But as the times became less barbarous, and art began to flourish
+outside the monastery and the cathedral close, the Gothic tapestries
+gained a new vigour and beauty. The religious inspiration remained,
+giving, indeed, an atmosphere of chastened restraint that to many people
+denotes the high-water mark of the art. But the incursions of the outer
+world could no longer be restrained, and we get the delightful posies of
+spring flowers, the bluebells, daisies, lilies, and primroses&mdash;the
+<i>millefleurs</i>&mdash;all utterly irrelevant and charming, that intrude into
+fierce battle scenes and into the mystic visions of the Apocalypse.</p>
+
+<p>All the Gothic tapestries in the Spanish royal collection are of Flemish
+workmanship.</p>
+
+<p class="grp"><span class="smcap">Group 1</span>, including <i>The Birth of Christ</i> and <i>The Mass of St. Gregory
+the Great</i></p>
+
+<p><i>The Birth of Christ</i> is probably one of the oldest pieces of the whole
+collection. It is mentioned for the first time as forming part of the
+collection left by Juana the Mad, who died at Tordesillas in 1555.
+Neither the designer nor the weaver can be identified. “The Gothic
+architecture of the buildings in the background,” says the Count<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span>
+Valencia de Don Juan, “the attitude of the persons, the singularity and
+richness of their costumes, and, above all, the drawing, recalls the
+tapestries which were made at Arras in the fifteenth century.”</p>
+
+<p>The tapestry represents the birth of Christ in fulfilment of the
+prophecies of the Prophets Isaiah and Micah, and of Aaron the High
+Priest of the Israelites. The scroll to the left by the figure of Micah
+bears the legend (translated into English), “And thou, Bethlehem
+Ephrata, art small among the cities of Judah, nevertheless out of thee
+shall come forth He that is to be the Ruler in Israel” (Micah v. 2).
+That to the right bears the (translated) inscription, “For a child is
+born to us, and a Son is given to us, and the Government is upon His
+shoulder; and His name shall be called Wonderful, Counsellor, God ...”
+etc. (Isaiah ix. 6).</p>
+
+<p>This tapestry is made of silk and wool interwoven with gold threads. It
+was probably used as an altar piece. Two pieces of red and gold brocade,
+of much later workmanship, have been added.</p>
+
+<p><i>The Mass of St. Gregory the Great.</i> Neither the designer of the cartoon
+nor the town where this tapestry was woven is known. It is of Flemish<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span>
+origin, and the Gothic arches, each enclosing a scene in the life of
+Christ, point to Bruges as its place of origin. It is mentioned by
+Ferdinand V of Aragon in the Act of Discharge of Juan Valazquez (1555)
+as a gift from the Princess Juana to her mother, Queen Isabel the
+Catholic.</p>
+
+<p>The tapestry shows the celebration of Mass by St. Gregory the Great in
+the presence of King David and St. Augustine. The scroll to the left
+bears the (translated) inscription, “Man shall eat the bread of angels.”
+That on the right reads, “The sacrament is the outward visible form of
+the invisible Grace.”</p>
+
+<p>This tapestry is woven in silks and wool enriched by threads of gold and
+silver.</p>
+
+<p class="grp"><span class="smcap">Group 2.</span> <i>The Story of the Holy Virgin</i></p>
+
+<p><i>1st Series.</i> Consists of four pieces which once bore in the corner as a
+heraldic mark a small lion embroidered in gold on a black ground.
+Cartoons said to be by Van Eyck. Of Flemish origin, probably belonging
+to the Bruges atelier.</p>
+
+<p>These tapestries belonged to Philip the Handsome and Juana the Mad.
+Transferred by Charles V to the monastery of Yuste, and again removed by
+Philip II to the monastery of the Escorial,<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> they were in constant use
+for the religious ceremonies attended by the Royal Household owing to
+their unusual beauty.</p>
+
+<p>The first piece represents God commanding the Archangel Gabriel to
+announce her destiny to the Virgin Mary.</p>
+
+<p>The second piece represents the Annunciation.</p>
+
+<p>The third piece represents the Birth of Christ.</p>
+
+<p>The fourth piece represents the Coronation of the Holy Virgin.</p>
+
+<p><i>2nd Series.</i> In spite of the similarity of the borders the two
+tapestries here treated do not form a continuous series with those
+previously described. They probably came from workrooms of Brussels.
+Designer and weaver unknown, but resemblance has been noted between the
+figures of Adam and Eve and similar figures on a triptych designed by
+the brothers Van Eyck.</p>
+
+<p>The subjects of these two tapestries are obscure. They appear, however,
+to refer&mdash;</p>
+
+<p>First, to the fulfilment of the prophecies as to the birth of the Son of
+God;</p>
+
+<p>Secondly, to the presentation of Jesus in the Temple.</p>
+
+<p>All these tapestries are of extraordinary beauty. They are woven of silk
+and wool enriched with gold and silver threads.<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p>
+
+<p class="grp"><span class="smcap">Group 3.</span> <i>The Story of David and Bathsheba</i> (10 Tapestries)</p>
+
+<p>Three of these tapestries are mentioned in the <i>Inventaire des Rois
+Catholiques</i> under the heading “Bed,” having evidently formed part of
+the draperies of a bed belonging to some royal personage. These are of
+Flemish origin and date from the end of the fifteenth century. They are
+woven in silk, wool, and gold thread.</p>
+
+<p>To these were later added seven bed canopies of Gothic design. The
+subjects of the tapestries are as follows:</p>
+
+<p>(1) David surprises Bathsheba in her bath and falls in love with her
+beauty. For the sake of modesty, however, the artist has represented
+Bathsheba fully clothed, washing her hands at a small fountain.</p>
+
+<p>(2) The Marriage of David and Bathsheba. David, from being a
+smooth-faced boy, has become a bearded man.</p>
+
+<p>(3) The prophet Nathan reproaches David with his evil ways.</p>
+
+<p>The remaining seven tapestries apparently represent some sylvan festival
+in which courtiers make offerings of fruit and flowers to ladies. The
+playing-cards are worth noticing.<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p>
+
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<br /><br />
+TAPESTRIES OF THE GOTHIC-RENAISSANCE TRANSITION</h2>
+
+<p class="nind"><span class="letra">T</span>HE fifteenth century saw Gothic tapestries carried to their highest
+point of perfection. Bruges had become a centre of pictorial art next
+only to Italy. Memling, the Van Eycks, and Bernard Van Orley were giving
+life, freedom, and originality to the old stilted Gothic forms in
+painting, and it was to them that the art of tapestry weaving owed its
+greatest debt.</p>
+
+<p>But to the Flemish weavers themselves no small part of the artistic
+merit of the Gothic tapestries is to be ascribed. The master-weaver was
+an artist, not a craftsman. To him the designer left many details of
+design; he was at liberty to alter cartoons that could not be
+satisfactorily translated into tapestry, to choose colourings, even to
+introduce new figures into the picture. In the fifteenth century the
+<i>tapissiers</i> were still conscientious, refusing to hurry their<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> work to
+the detriment of its quality. Artist and <i>tapissier</i> alike, now perfect
+masters of the art, spent their time perfecting the methods that had
+made the name of Flemish tapestry in the preceding century. The
+tapestries described in the following pages belong to this period, just
+before the spirit of the Italian Renaissance completely banished the old
+native forms of art from the north of Europe. The first cartoons of
+Raphael were still to come to the Flemish workshops, but already men
+were talking of the wonders of Italy, and certain signs of transition
+are strongly marked in the tapestries with which we are dealing. In many
+the Gothic architecture of the background has given way to Renaissance,
+and the sky-line has been lowered. Or sometimes while the background
+remains under the Gothic inspiration, the treatment of the figures, more
+especially of the robes, shows the Renaissance influence. The chief
+characteristics that distinguish these tapestries from the earlier
+Gothic are the greater freedom in the attitudes of the figures, the
+perfection of detail, and the absence of exaggeration, particularly in
+the patterns of fabrics and of dress ornaments.<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p>
+
+<p class="grp"><span class="smcap">Group 4.</span> <i>The Story of St. John the Baptist</i></p>
+
+<p>Date and origin uncertain, but evidently belong to the transition
+period. The figures show the realism and elegance of the Italian
+painters, while the buildings in the background are Gothic. The
+tapestries show different episodes in the life of the Saint. The
+similarity of their exquisitely woven borders suggests that they belong
+to the same series. They are woven in fine wool, silk, gold, and silver.
+The subjects are as follows:</p>
+
+<p>(1) Visit of the Holy Virgin to her cousin Elizabeth. Zaccharius
+recovers his speech.</p>
+
+<p>(2) The child John asks permission to devote himself to God.</p>
+
+<p>(3) St. John, asked by the Pharisee if he is the Christ, replies:
+“Behold the Lamb of God.”</p>
+
+<p>(4) He baptizes Jesus and many others. End of the reign of the Jews.</p>
+
+<p class="grp"><span class="smcap">Group 5.</span> <i>The Passion of Our Lord</i> (2 Episodes)</p>
+
+<p>These two tapestries, richly woven in gold, silk, and wool, were made by
+command of Princess Margaret of Austria, the Regent of the Netherlands.
+These were inherited by her nephew<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> Charles V. They are mentioned in an
+inventory that Margaret caused to be made in 1525, five years before her
+death.</p>
+
+<p>The designer of the cartoons is unknown. The background is Gothic, but
+the figures show Italian influence.</p>
+
+<p><i>Tapestry No. 1.</i> Christ bearing the Cross on His way to Calvary meets
+St. Veronica, who receives the sacred imprint on her handkerchief.</p>
+
+<p><i>Tapestry No. 2.</i> The Descent from the Cross.</p>
+
+<p class="grp"><span class="smcap">Group 6.</span> <i>Moralities</i> (4 Tapestries)</p>
+
+<p>These belong to the end of the fifteenth or the beginning of the
+sixteenth century, and were inspired by the preaching of the Reformers.</p>
+
+<p>The first three tapestries of the group are the sole remaining pieces
+from an older series executed during the transition from the older
+Gothic style to the new style of the Italian Renaissance. Their exact
+date is unknown. They were bought by the Princess Marie of Portugal as
+part of her dowry on her marriage with Philip II. They are enriched by
+gold threads.</p>
+
+<p>The fourth tapestry in this group is the only surviving specimen of
+another older series.<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p>
+
+<p class="grp"><i>St. Jerome</i></p>
+
+<p>Dates from the middle of the sixteenth century. Woven in gold, silk, and
+wool on high warp. In possession of Philip II of Spain when inventory
+was made in 1598. The plate represents the penance of St. Jerome.</p>
+
+<p class="grp"><span class="smcap">Group 7.</span> <i>Dais of Emperor Charles V</i> (3 Tapestries)</p>
+
+<p>These tapestries of silk, gold, and wool were made by command of the
+Regent Margaret of Austria, at Brussels, under the direction of Pierre
+Pannemaker, the most famous <i>tapissier</i> of the time. The cartoons were
+probably by the aged painter Quintin Metoys. The tapestries were begun
+in 1523, and passed to the Emperor on the death of Margaret.</p>
+
+<p><i>Tapestry No. 1.</i> The bed canopy represents the Eternal Father and the
+Holy Ghost surrounded by Seraphim.</p>
+
+<p><i>Tapestry No. 2.</i> The Redemption of mankind from the taint of original
+sin.</p>
+
+<p><i>Tapestry No. 3.</i> Formed the lower part of the dais, and depicts St.
+Luke xxiv. 50, 51.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p>
+
+<p class="grp"><span class="smcap">Group 8.</span> <i>The Passion of Our Lord</i> (4 Tapestries)</p>
+
+<p>These four tapestries were woven by Pierre Pannemaker from the designs
+of Quintin Metoys at the command of Margaret of Austria. They are good
+examples of the transition style, and some fine effects of tinting have
+been obtained by means of hatching (i.e. the use of vertical lines to
+give thickness to the figures). The influence of Roger Van der Weyden is
+plain.</p>
+
+<p>These tapestries were inherited by Charles V from Margaret of Austria,
+and have been much used for State functions.</p>
+
+<p><i>Tapestry No. 1.</i> Represents the prayer on the Mount of Olives.</p>
+
+<p><i>Tapestry No. 2.</i> Meeting between Our Lord and the Virgin on the road to
+Calvary.</p>
+
+<p><i>Tapestry No. 3.</i> The Crucifixion.</p>
+
+<p><i>Tapestry No. 4.</i> The Descent from the Cross.</p>
+
+<p class="grp"><span class="smcap">Group 9.</span> <i>Vices and Virtues</i> (9 Tapestries)</p>
+
+<p>These tapestries were probably executed at Brussels in the first half of
+the sixteenth century. They are woven in silk, gold thread, and wool,<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span>
+cover a surface of 400 square metres, and include a thousand figures.</p>
+
+<p>Though much in the style of Bernard van Orley, the absence of the rich
+Renaissance architecture in which that painter delighted suggests that
+either Jean Gossaert or Quintin Metoys was more likely the designer.
+There is no weaver’s mark on the tapestry. A reproduction must have been
+made in wool and silk, as one piece representing the Punishment of Vice
+was exhibited in Bruges by the Prince of Aremberg. The series is
+mentioned in the inventory of Charles V, dated Brussels, 1544, and was
+alleged to have been purchased in Seville.</p>
+
+<p>The excellence of the tapestries is mostly due to the <i>tapissiers</i>. The
+overcrowded canvases, the painfully didactic and tortuous morals, do not
+rank the designs very high. That labelled “Infamy” gives a key to the
+complicated moral problem. The beholder is urged in a pompous and wordy
+harangue to follow reason and the philosophers, so shall no evil befall
+him. The different pieces represent respectively, Faith, Honour, Renown,
+Nobility, Fortune, Infancy, Prudence, Vice, and Justice.<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p>
+
+<p class="grp"><span class="smcap">Group 10.</span> <i>The Foundation of Rome</i> (6 Tapestries)</p>
+
+<p>A fine example of Flemish tapestry probably executed from cartoons by
+Bernard van Orley, the pupil of Raphael. The Italian influence is
+strong, yet the tapestry is hardly pure Renaissance. There is no
+weaver’s mark, so the series must date prior to 1528. The tapestries are
+remarkable for their fine landscapes, the magnificence of the buildings,
+and the elegance of the costumes. The borders are of beautiful design
+and workmanship.</p>
+
+<p><i>Tapestry No. 1.</i> Shows Romulus and Remus thrown into the Tiber. They
+are suckled by a she-wolf and grow up to be clever hunters and cunning
+thieves.</p>
+
+<p><i>Tapestry No. 2.</i> Remus, taken captive, is presented to Amielius, who is
+killed by the brothers. Numitor is placed on the throne.</p>
+
+<p><i>Tapestry No. 3.</i> The brothers trace out the foundations of Rome with a
+plough. Romulus becomes king, gives his name to the city, and kills his
+brother.</p>
+
+<p><i>Tapestry No. 4.</i> Romulus proclaims a fête to Neptune, to attract young
+girls from neighbouring districts.<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span></p>
+
+<p><i>Tapestry No. 5.</i> The rape of the Sabine women. Hersilia is presented to
+Romulus. The Sabine parents retire disconsolate.</p>
+
+<p><i>Tapestry No. 6.</i> Romulus gives laws to the people. He establishes the
+twelve lictors, summons the Senate, and builds a temple.</p>
+
+<p class="grp"><span class="smcap">Group II.</span> <i>The Conquest of Tunis</i> (12 Tapestries)</p>
+
+<p>This series of tapestries, besides being of peculiar historical
+importance, is one of the very finest examples of the perfected
+Gothic-Renaissance school, and is worth noticing in much fuller detail
+than any others of the collection. Designed by Jan Vermay, or Vermeyen,
+and woven by Wilhelm Pannemaker, it was directly inspired by Charles
+himself, who determined to leave to posterity this magnificent record of
+an expedition of the success of which he can have felt no doubt.
+Vermeyen was commanded to accompany the Emperor, so that on the actual
+battlefield he might reproduce in pencil the stirring scenes that passed
+before his eyes.</p>
+
+<p>Detailed instructions were given to the artist as to the manner in which
+his cartoons were to be designed. He bound himself to submit small<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span>
+sketches for Charles’ approval, to carry out any alterations and
+suggestions made by his patron, and finally to reproduce them “in the
+best and most vivid colours,” in the size that was required for the
+actual tapestries. The Emperor agreed to pay for them the sum of 1800
+florins, a considerable amount according to the standards of the time.</p>
+
+<p>To Wilhelm Pannemaker, the famous Flemish weaver, was entrusted the
+weaving of the tapestries. Determined that neither poverty of material
+nor careless workmanship should spoil the precious webs, Charles and his
+sister Mary of Hungary bound Pannemaker by a stringent contract, wherein
+the amount and quality of silk, and the number and value of the gold and
+silver threads were distinctly specified. The gold was to come from
+Milan, the silk from Granada. The finest wool was also commanded and the
+richest dyes. In order that the slow process of tapestry weaving might
+be expedited as much as possible, Pannemaker was to have seven men
+working at each tapestry. Each piece as it was finished was to be
+scrutinized by experts, whose corrections Pannemaker bound himself to
+follow, even if it should necessitate remaking the whole piece. The
+dyeing of the silk and wool required was specially under<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span>taken in an
+unusual range of colours. We find a certain Louis Chausset, complaining
+that he had lost 160 pounds of fine silk that were spoilt while being
+tinted blue.</p>
+
+<p>After the last alterations had been made the tapestries were declared
+definitely to be completed on April 21, 1554. They were sent to England
+to be exhibited at the wedding of Philip and Mary, and afterwards
+conducted with the utmost care back to Spain. For some time they were
+shown constantly at all great Court functions till the Emperor, fearful
+of the result of such constant wear, ordered a smaller set to be
+prepared. In 1740 Philip V had another reproduction made of the same
+size as the originals. Yet another copy exists in the Museum at Vienna.
+This was made by the Austrians who, when they succeeded the Spaniards,
+discovered the first ten cartoons and purchased them. Another tapestry
+was woven by Pannemaker that combined the subjects of Nos. 7 and 8 in
+this series. This was found by the Maréchal de Contades in a castle near
+Mechlin during the Seven Years’ War between France and Germany.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p>
+
+<p class="grp"><span class="smcap">The Expedition Against Tunis</span></p>
+
+<p>On the death of Mohammed the Hafsite in 1525, Khain-ad-Din Barbarossa
+took advantage of a dispute over the succession, to occupy Algiers in
+the name of the Sultan of Constantinople. The wars in Italy gave him the
+opportunity of consolidating his territories in the north of Africa,
+where he succeeded in establishing his dominion firmly, making Algiers
+his capital. At the end of the second Italian war Barbarossa swooped
+down on a small island in the possession of the Spaniards, and connected
+it with the mainland. From this stronghold he planned a series of
+brilliant coups that made him a serious menace to the kingdom of Naples
+and Sicily. He attacked and overthrew the native Tunisian dynasty under
+the pretence of restoring the rightful ruler, made himself master of
+this city as he had done of Algiers, and pushed his successes far into
+the interior. The menace was not lost upon Charles V. Availing himself
+of the plea for help urged by Al-Hasan, the son of Mohammed, the Emperor
+decided upon the conquest of Tunis and set sail from Barcelona on May
+30, 1535.</p>
+
+<p>Never was any expedition more popular. The Spanish people swarmed into
+Barcelona to bid<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> God-speed to the departing fleet. At Cagliari Charles
+was joined by Doria with a company of German and Italian troops, galleys
+from Sicily and southern Italy, and a number of Knights Hospitallers
+enrolled to attack the infidel.</p>
+
+<p>Goletta was selected as the first point of attack, so that the way might
+be cleared to Tunis. After a desperate siege the fortress fell into
+Charles’s hands, together with the whole corsair fleet of eighty-two
+galleys. Still the attack on Tunis seemed fraught with too much danger,
+and much against his will Charles decided to re-embark. At the last
+moment, however, bolder counsels prevailed. The army was hastily formed
+into advance-guard and rear-guard and started on its twelve-mile march
+to Tunis.</p>
+
+<p>Charles’s army certainly laboured under grave disadvantages. Their guns
+had all to be dragged by hand; there were provisions for only five days.
+Between olive groves and the lagoons they moved with a front of but one
+thousand paces. The groves gave cover to the corsair chief as he moved
+to outflank the Emperor’s troops. But in appalling heat the Spaniards
+marched steadily forward. Barbarossa made two desperate attacks, but the
+Spanish troops stood their ground. The second encounter resulted in
+total defeat for the<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> Moors and Turks, who recoiled before the deadly
+fire of the Christians. Turning to re-enter the fortress of Tunis,
+Barbarossa found it held by the Christian slaves who had risen against
+him. Tunis was captured, and a heavy blow struck at the power and
+prestige of the Turk.</p>
+
+<p>A projected attack on Algiers had to be abandoned owing to the advancing
+season. Bona and Biserta, however, were secured, and these together with
+Goletta were retained by the Spaniards. Tunis itself Charles restored to
+its one-time ruler, Al-Hassan, who had joined his army in time for the
+march to the capital.</p>
+
+<p>The result of this expedition was peculiarly fortunate for Charles. His
+reputation as a daring and successful soldier was established; Naples
+and Sicily looked on him as their saviour. All Europe admired the skill
+with which he had disposed of the natural ally of the French and
+checkmated Francis before that astute sovereign’s plans of attack had
+matured.</p>
+
+<p>Jan Vermay, or Vermeyen, the Flemish painter, chosen by Charles to
+accompany him on his expedition to Tunis, was one of the best-known
+artists of the first half of the sixteenth century. As Court painter
+under Margaret of Austria he executed portraits of the Emperor and of
+every<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> one of importance at the Court, which were sent as gifts to the
+different sovereigns of Europe. Later he became the special protégé of
+Mary of Hungary, and afterwards of Charles himself.</p>
+
+<p class="grp"><span class="smcap">The Tapestries</span></p>
+
+<p>Each tapestry has an explanatory legend in Spanish at the top, and a
+supplementary legend in Latin underneath. Translations of these have
+been made for the first time by the Conde Valencia de Don Juan.</p>
+
+<p><i>Tapestry No. 1.</i> Shows a map of the shore of the Mediterranean, where
+Charles embarked his army, and the opposite coasts of Africa. The
+translation of the upper legend reads: “The Conqueror, wishing to
+overcome the infidel armies of the Turk and the warrior who, obeying the
+orders of Soliman, raises cruel wars against the realms of Spain,
+Charles, the fifth of that name, with the blessing of heaven, gathers
+together the armies and fleets of Spain and Italy to threaten the
+African troops. He who knows not the meaning of delay, sails with his
+loyal companions.” On the right the figure of Vermeyen upholds a chart
+bearing the following curious inscription: “The conquest of Charles,
+Emperor of the<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> Romans, the fifth of that name, and first of the kings
+of Spain, in Africa in 1535 had serious causes that the chronicles of
+the time recount more fully in their histories. These causes being left
+on one side, to this work is represented as exactly as possible the
+course of events.” Since for a clear understanding it is necessary to
+know the country where the events took place and what preparations had
+been made, the action is treated in this tapestry according to nature
+(all that concerns the cosmography leaving nothing to be desired). In
+the distance the coasts of Africa (like those of Europe and its
+boundaries) are seen with their chief ports, their broad gulfs, their
+islands, their winds at exactly the same distances at which they really
+lie (the author having taken much more care over their precise situation
+than over the accuracy of the painting). As all has been done&mdash;as also
+with the countries&mdash;in strict accordance with cosmography, and the
+painter has observed the canons of his art, considering that the
+spectator views it from Barcelona, where the embarkation for Tunis
+began. This last town lies between the spectator and the Midi, leaving
+the north behind, above the right shoulder. Accuracy being thus
+established, the peculiarities of the other tapestries can be better
+understood.<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p>
+
+<p><i>Tapestry No. 2.</i> The upper legend declares that this piece represents
+“the arrival of the Emperor at Barcelona with his army: the magnificence
+of his brilliant body-guard, formed of gentlemen of his household and of
+his Court, who accompanied him to share the dangers of the campaign:
+included in his company are the Infante Louis, his half-brother, and
+many other Portuguese gentlemen who formed part of the troops for the
+expedition.”</p>
+
+<p>The lower scroll bears the following inscription: “The Conqueror leaves
+the outskirts of Madrid and the dwelling of his ancestors, and halts in
+the smiling county of Barcelona. He reviews the army and singles out the
+noblemen and knights. He vows at the moment of embarkation that in
+crossing the ocean (leaving behind him the waves of the Balearic and
+Sardinian Seas) that the fleet can come together in the place commanded.
+He embarks with him the Germans, the Italian army, and the battalions of
+Spanish veterans, and lands them on the African coast.”</p>
+
+<p><i>Tapestry No. 3.</i> According to the upper scroll this tapestry treats of
+“the arrival of the Emperor and his galleys at old Carthage, and the
+reconnaissance of Goletta (where several cannon shots were fired). On
+June 16 the Conqueror dis<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span>embarks with his body-guard and 12,000
+infantry, and takes three positions. He attacks the towers of Water and
+of Salt; the Spanish arquebusiers, under the order of the Marquis del
+Vasto, draw on the enemy, who lose several men.”</p>
+
+<p>The lower inscription reads: “Here they enter the port of Utica; ancient
+Carthage receives them in her ruins. The fleet sails along the coast.
+Thence the Conqueror goes with a small body-guard to explore Goletta and
+to spy out its fortifications and situation. After having given the
+order to the troops to disembark they light-heartedly attack the enemy,
+who retreat. They pitch the camp beside the walls of what was once
+Carthage the illustrious, and is to-day a village of poor cottages.” A
+further inscription in the border reads: “This third piece must be
+looked at from the place where the fleet is cruising along the coasts
+from Porto Farina to the head of the promontory of Carthage; the north
+is to the left side above the right shoulder.”</p>
+
+<p><i>Tapestry No. 4.</i> The upper inscription explains that “during the
+landing of the rest of the army several skirmishes take place until the
+Emperor orders the body of the army to descend into the plain to besiege
+Goletta.” The Marquis del Vasto sends reinforcements with which they try
+(without<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> success) to surprise the enemy. The whole army being reunited,
+the Turks, a few days after, try to gain an advantage from a violent
+wind which arose, throwing sand with shovels and other instruments to
+blind their enemies. But the wind suddenly falling, the Turks surrounded
+by our arquebusiers were obliged to fall back to Goletta.</p>
+
+<p>The Latin inscription at the foot reads: “Charles strikes the camp, and
+when the army is already on the march the enemy attack the rear-guard
+and harass their movements. The army faces round, and the enemy nearly
+surrounded in a dangerous place, retreat. A violent wind arises, raising
+whirlwinds of sand; our men are blinded by the dust. The enemy, full of
+craft, appear again, throwing sand at our soldiers, and thus fighting as
+much with dust as with arms; but when the wind falls they are repulsed.”</p>
+
+<p>The inscription in the right-hand border instructs us to look from the
+promontory to the camp and stop at the Water Tower, leaving the lagoon
+on the right-hand and taking the north, on the same side.</p>
+
+<p><i>Tapestry No. 5.</i> The upper inscription describes “a sortie of Turks
+from Goletta, and the killing of several Italian soldiers; a new sortie
+of the Turks killing the Marquis de Final, an Italian<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> colonel: the
+arrival of Muley Hassan, King of Tunis, with 400 cavalry: the serious
+skirmish in which the Marquis de Mondejas receives a blow from a lance:
+the help brought by the Emperor: the flight of the enemy, losing part of
+their artillery.”</p>
+
+<p>The lower inscription reads: “The Turks make a sortie and repulse the
+Italian advance-guard, whose leader is made prisoner; they take the
+<i>tranchées</i>, but repulsed by the Spanish, they retire. Finally, counting
+on the darkness of the night, they attack the Spaniards and force them
+to abandon their <i>tranchées</i>; attacked in their turn, they are forced to
+retire again. The king Hassan arrives, followed by a small body-guard.
+The Marquis Louis, wounded, retires from the combat. Charles V arrives
+with help when the soldiers are already in distress; he repulses the
+enemy and takes their artillery.”</p>
+
+<p>We are instructed to look at this tapestry “as though we were at the
+towers of Water and of Salt opposite Goletta, having the sea and the
+north on the left-hand, and the lagoon on the right.”</p>
+
+<p><i>Tapestry No. 7.</i> Represents the taking of Goletta: “Twenty thousand
+Turks charge to take the tower of the promontory of Carthage, defended<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span>
+by 26,000 Spaniards, protected by the Emperor with the Germans and new
+Spanish troops. On land Goletta fights with 11 cannons; by sea 9
+galleys, commanded by the Prince Doria, are supported by the galleon and
+the carabels of the Portuguese, commanded by the Infante Louis. Goletta
+is defended by 6000 Turks and 2000 Moors, with more than 400 guns. At
+the attack, directed from the sea, there are 4000 soldiers of the
+battalions of Spanish veterans, and in that, directed from the coast of
+the lagoon, as many Italians and 2000 Germans. At the assault of
+Goletta, 2000 Turks and Moors are killed, and about 100 of our men, dead
+or wounded, are put out of action. The fleet commanded by Barbarossa is
+taken also.”</p>
+
+<p>The Latin text relates that “the garrison defending the Cape finds
+itself threatened by an attack of the Africans. The Conqueror comes to
+the rescue and repulses the assailants. Goletta is attacked by land and
+sea; the enemy fights with arrows. Part of the wall, already undermined,
+falls where the fight is fiercest. The Spanish troops enter first into
+the breach; this being taken, they slay or put to flight the defenders,
+while Charles deals with another section of the enemy.<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>”</p>
+
+<p>This piece is to be regarded “from the lagoon, with Tunis on the left
+hand, the promontory of Carthage on the right, and the north behind to
+the right.”</p>
+
+<p><i>Tapestry No. 8.</i> The original of this tapestry was lost during the
+eighteenth century, shortly after the reproduction of the Tunis series
+was undertaken at the command of Philip V. This represented the march
+against Tunis of the Emperor and his troops, and the victory gained at
+Los over Barbarossa, where 600 of the enemy were slain.</p>
+
+<p><i>Tapestry No. 9.</i> The upper inscription of this tapestry reads: “After
+having scattered the enemy’s army and put to flight the captain,
+Barbarossa, the Emperor, with his troops, advances on Tunis and occupies
+the outskirts of the town. The Christians, held captive in the fortress,
+rise and demand aid from the Marquis de Vasto. The place is taken and
+the Emperor allows it to be sacked.” The Latin legend adds the following
+details about the slaves: “Undermining the walls and breaking down the
+doors, they have, with God’s help, abandoned their prison. Having
+defeated the garrison they make themselves masters of the citadel and
+implore help from the avenger, Charles. Haradin flies the town.<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span>”</p>
+
+<p>The inscription in the border directs us that “we are looking towards
+the lagoon, with Tunis in front, Goletta and the north behind.”</p>
+
+<p><i>Tapestry No. 10.</i> This represents “the sack of Tunis, hostilities
+against those who offer resistance, and the imprisonment of a great
+number of the enemy. The Conqueror delivers over the town to the King of
+Tunis, who remains a vassal of the Emperor.”</p>
+
+<p>The Latin text reads: “The troops sent against the outskirts of the town
+lay siege to and take them, slaughter the enemy’s army, take the houses
+and spare the inhabitants; as to the remainder, they use the rights of
+conquest. More than 20,000 captives recover their liberty and salute,
+with cries of gratitude, Charles the avenger. The Conqueror
+re-establishes on the throne of his ancestors the unfortunate Hassan,
+though he hardly merited this, since he had promised much and performed
+little.”</p>
+
+<p><i>Tapestry No. 11.</i> This tapestry shared the fate of No. 8, being lost
+during the eighteenth century. From the reproduction we find that it
+represented the return of the army to Rada after the occupation of
+Tunis, which lasted eight days. “The Emperor orders the Moors to bring
+back their wives and children, and to bring the clothes<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> taken by the
+soldiers during the sack. In order to be recognized they are to carry on
+their heads branches of olive. He also orders them to furnish the
+Christians with the recovered vessels, so that they may return to their
+respective countries.”</p>
+
+<p><i>Tapestry No. 12.</i> According to the upper inscription this deals with
+“the return of the Emperor from Rada to Goletta: the encamping of the
+army in the old place: the arrival of the King of Tunis to sign the
+capitulation forcing him to be a tributary of the Emperor and his
+successors: Goletta which he wishes to fortify, over which he sets
+Bernardin de Mendoza as ruler, with 1000 Spaniards: the embarking of the
+army towards the middle of the month of August: the departure of the
+Infante Louis with the Portuguese fleet: that of the Marquis de
+Mondejer: the vessels that accompanied him: departure of Don Alvano de
+Bazan with the Spanish galleys: that of the Germans and the Italians for
+their respective countries, and finally that of the Emperor with the
+galleys of the Prince Doria.”</p>
+
+<p>The Latin inscription is merely a résumé of the Spanish one.</p>
+
+<p>This tapestry is to be looked at with Goletta and the Cape of Carthage
+in front, Tunis on the left hand, the sea and the north to the right.<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span></p>
+
+<p class="grp"><span class="smcap">Group 12.</span> <i>The Last Supper</i> (1 Tapestry)</p>
+
+<p>Woven from a design almost certainly of Bernard van Orley, the pupil of
+Raphael, by Pierre Pannemaker at Brussels, in wool, silk, gold, and
+silver. Purchased by Charles V at 38 florins&mdash;a higher price than that
+generally paid for the same class of work. The tapestry was given by the
+Emperor to his wife, and is considered one of the finest religious
+pieces in the royal collection. It is used on Holy Thursdays to decorate
+the famous Hall of Columns in the Palace, when the ceremony of the
+Washing of Feet and the dinner to the poor take place.</p>
+
+<p class="grp"><span class="smcap">Group 13.</span> <i>The Descent of the Holy Ghost</i> (1 Tapestry)</p>
+
+<p>This tapestry is woven in silk and wool enriched with gold and silver
+threads. Neither the designer nor the <i>tapissier</i> are known, but from
+the type of features represented, Count Valencia de Don Juan conjectures
+that the artist was of Flemish blood. It is first mentioned in the
+inventory made on the death of Charles II. The subject of the piece is
+taken from Acts ii. 1-4<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p>
+
+<p class="grp"><span class="smcap">Group 14.</span> <i>The Adoration of the Kings</i> (1 Tapestry)</p>
+
+<p>This is one of the finest of the religious tapestries in the collection
+and was a particular favourite of the Emperor Charles V, who took it
+with him on his retirement to Yuste. Both the design and workmanship are
+Flemish, but the influence of the Italian school is perceptible. The
+usual materials are employed&mdash;silk, wool, gold, and silver threads.</p>
+
+<p>The border is particularly fine with its wealth of flowers, birds, and
+fruits. At each corner is shown a medallion representing a scene from
+the life of Christ.</p>
+
+<p class="grp"><span class="smcap">Group 15.</span> <i>The Story of Abraham</i> (7 Tapestries)</p>
+
+<p>These tapestries are attributed by Wauters to Wilhelm Pannemaker. Though
+modified by Italian ideas the design is in the Flemish style. Woven in
+silk and wool they were the property of the Princess Juana, the daughter
+of Charles V. They show the characteristic determination of Gothic
+<i>tapissiers</i> to “tell the story” from beginning to end, from the time
+that Abraham first<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> leaves his country to journey into the land of
+Canaan, to his death.</p>
+
+<p class="grp"><span class="smcap">Group 16.</span> <i>The Apocalypse</i> (8 Tapestries)</p>
+
+<p>The Revelations of St. John were a favourite subject with the mediæval
+<i>tapissier</i>, yet strange to say there are few complete series remaining.
+In the Cathedral at Angers is a series of sixty-seven pieces made in
+1377 by Nicolas Bataille for Louis I of Anjou. A little later two other
+series on the same subject were executed at Arras, one being destined
+for Philip the Good. In time this came into the possession of Charles V,
+and is mentioned in the Inventory of 1536. No further mention, however,
+is made of this tapestry in any Spanish documents, and Pinchart
+conjectures that it was probably lost in the fire that destroyed the
+Palace of Brussels in 1731.</p>
+
+<p>The series included in this collection was made by Wilhelm Pannemaker,
+and purchased by Philip II. We find the following paragraph in the
+discharge of the Treasurer-General in the year 1562:</p>
+
+<p>“To Wilhelm Pannemaker, tapestry maker, who came from Flanders to bring
+the Tapestry of the Apocalypse made for the service of H.M.,<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> sixty
+thousand <i>maravedi</i> which H.M. pays him all at once for the expenses of
+his journey (from his own country whither he returns), as witness the
+command of H.M., the 31st December, 1561. The said tapestry maker has
+received the money the 31st of the said month.”</p>
+
+<p>The tapestries are fine specimens woven in silk, wool, and gold thread.
+M. Ouiffrey attributes the cartoons to Albert Dürer, but the Count
+Valencia de Don Juan prefers to regard them as by an unknown artist
+working under the influence of Dürer and Jean de Bruges. The designs are
+very beautiful, more especially the borders, which are little
+masterpieces of grace and elegance. The plates are explained by short
+Latin legends in the middle of the upper border.</p>
+
+<p><i>Tapestry No. 1.</i> “St. John writes a true description of his vision to
+the Bishop of the Seven Churches of Asia. He moralizes and instructs
+them.”</p>
+
+<p><i>Tapestry No. 2.</i> “This great mystery illuminated by Divine Grace and
+manifested in Christ the Saviour of Mankind. Those who have been made
+pure by His Blood shall remain strong and shall not be turned from the
+Holy way by the whirlwind.”</p>
+
+<p><i>Tapestry No. 3.</i> “The Gospel spreads through<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> the world as to the sound
+of trumpets. The Apostolic dogma and holy doctrine resounds in the
+Temple, drives back sin, and plants a true love of the faith in every
+spirit.”</p>
+
+<p><i>Tapestry No. 4.</i> “The fruits of virtue, precious for their works,
+encourage the multitude of the elect; that which is watched over by the
+jealous enemy is destroyed by the help of angels.”</p>
+
+<p><i>Tapestry No. 5.</i> “Jealousy never attains the peace of virtue;
+nevertheless the latter shall be oppressed till the end of the world.
+Certain hope and the faith of the strong never fail, though the ungodly
+mock those who live in the fear of God.”</p>
+
+<p><i>Tapestry No. 6.</i> “Anger shall be turned against the reproved, and the
+anger of God shall oppress sinners. Those who repent not shall suffer
+death and eternal fire as a punishment for their wickedness.”</p>
+
+<p><i>Tapestry No. 7.</i> “The day of Antichrist shall come and shall provoke
+the last war against faith. Babylon shall be conquered and destroyed,
+and her lost sons shall suffer eternal punishment with her.”</p>
+
+<p><i>Tapestry No. 8.</i> “On the day of the Last Judgment, the devil shall be
+shut up in the abyss, and the choir of saints shall sing praises unto
+God. The victorious Church shall receive<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> her just reward, and filled
+with gladness shall enjoy for ever the Kingdom of Heaven.”</p>
+
+<p class="grp"><span class="smcap">Group 17.</span> <i>The Seven Deadly Sins</i> (2 Series)</p>
+
+<p>This favourite mediæval subject is depicted in two series of tapestries
+in the possession of Philip II of Spain. Both series are woven in silk
+and wool, picked out with gold and silver threads. Neither, however,
+remains complete. The name of the designer of the cartoons is not known.
+It may probably have been Bernard van Orley. The general design is
+markedly Flemish, but the Renaissance influence is evident in the
+treatment of some of the figures, and more particularly in the borders.
+These show delicate imagination, exquisite workmanship, and exuberance
+of detail, and are adorned with a wealth of flowers and fruits, and tiny
+elves.</p>
+
+<p class="grp"><i>1st Series</i> (6 Tapestries)</p>
+
+<p>This series was probably made either for Margaret of Austria or Mary of
+Hungary. It was used to decorate the monastery of Guadelupe, at the
+interview in 1575 between Philip II and Sebastian of Portugal. Each
+tapestry is explained<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> by a Latin text on the upper border. The sins
+represented are Avarice, Luxury, Anger, Greed, Envy, and Laziness.</p>
+
+<p class="grp"><i>2nd Series</i> (4 Tapestries)</p>
+
+<p>These tapestries are attributed to Pannemaker. Pinchart states that they
+were taken from the Count of Egmont’s collection and sent to the Spanish
+Court by the Duke of Alba, when the first-mentioned nobleman was
+sentenced to death as a rebel in 1567.</p>
+
+<p>The pieces now remaining represent Pride, Luxury, Greed, and Laziness.
+The other three tapestries were still in existence in 1660 and were used
+at the marriage of the Infanta Maria-Theresa and Louis XIV.<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p>
+
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<br /><br />
+RENAISSANCE TAPESTRIES</h2>
+
+<p class="nind"><span class="letra">T</span>HE date of the beginning of the Renaissance tapestries is well defined.
+In 1515 came the order to Brussels to execute tapestries of <i>The Acts of
+the Apostles</i> from the cartoons of Raphael. The Pope required them for
+the Sistine Chapel. This was the beginning of the decline of the art of
+Flemish tapestry weaving.</p>
+
+<p>Raphael was not accustomed to designing cartoons for tapestry. His
+methods were unsuitable for translation into fabric. He set the
+<i>tapissiere</i> problems to solve in paint. Only the wonderful skill of the
+Flemish workmen enabled them to produce tapestries that astonished
+Europe. But a new method had to be adopted. Raphael had planned out both
+his cartoons and his borders in every detail. Nothing was left to the
+<i>tapissier</i> but to copy with the minutest care every line, every shade
+of colour expressed by the painter. The artist <i>tapissier</i> became under
+this new fashion<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> only a master craftsman. The most pleasing feature of
+the Gothic tapestries disappear&mdash;the riot of <i>millefleurs</i>, and the
+spasmodic intrusion of fascinating little dogs and wild animals.</p>
+
+<p>But if there were losses there were compensating gains. The whole art of
+the Italian cartoonist was freer, more vital and less stilted than that
+of his northern neighbour. The crowded figures disappeared and their
+place was taken by one group accompanied only by a few subordinate
+figures, but the central figures were perfect in their form. The Gothic
+buildings of the background gave way to a rich Renaissance architecture.
+The old woodland flowers were replaced by the luxuriant and exotic
+verdure of the south. That the methods introduced by Raphael should
+degenerate in the hands of artists of less genius was inevitable, and in
+course of time the <i>tapissier</i> was no longer capable of improving the
+original design.</p>
+
+<p class="grp"><span class="smcap">Group 18.</span> <i>The Acts of the Apostles</i> (10 Tapestries)</p>
+
+<p>These tapestries are not the original ones woven for Pope Leo X, but are
+reproductions which (from the absence of any tapestry mark) must<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> have
+been woven from the original cartoons within a very short space of time.
+These cartoons, as has been said, were the work of Raphael Santi
+assisted by his pupils. The original tapestries were executed by Pierre
+van Aelst in gold, silk, and wool, under the supervision of Bernard van
+Orley, who had been the pupil of the great Italian painter. They were
+painted in 1519. Pierre van Aelst had been tapestry maker to Philip le
+Bel and Charles V., and was probably the foremost weaver of his time in
+Brussels. More than one reproduction was made, and it is probable that
+one fell into the hands of the Emperor Charles. They are not mentioned,
+however, before the inventories made by Philip II. The tenth piece in
+the original series is not found in this collection on account of its
+size, and may not have been included in the reproduction. A similar
+series was in the possession of Henry VIII. of England and was bought at
+the sale of Charles I.’s effects by Marquis del Carpio. It was inherited
+by the house of Alba in 1662, and sold in 1823 to the English Consul in
+Catalonia. George IV. refused to purchase it and it finally reached the
+Berlin Museum.</p>
+
+<p>For a time the cartoons of Raphael were lost. Seven of them, however,
+were purchased by<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> Charles I. on the advice of Rubens and ordered to be
+reproduced at Mortlake. The cartoons are now in the South Kensington
+Museum.</p>
+
+<p>The tapestries represent the following subjects:</p>
+
+<p><i>Tapestry No. 1.</i> The miraculous draught of fishes.</p>
+
+<p><i>Tapestry No. 2.</i> St. Peter chosen by Christ as the head of the Church.</p>
+
+<p><i>Tapestry No. 3.</i> The miracle of the paralytic.</p>
+
+<p><i>Tapestry No. 4.</i> The death of Ananias.</p>
+
+<p><i>Tapestry No. 5.</i> The death of St. Stephen.</p>
+
+<p><i>Tapestry No. 6.</i> The conversion of St. Paul.</p>
+
+<p><i>Tapestry No. 7.</i> The blindness of Elymas.</p>
+
+<p><i>Tapestry No. 8.</i> St. Paul and St. Barnabas at Lystra.</p>
+
+<p><i>Tapestry No. 9.</i> St. Paul preaches at the Areopagus in Athens.</p>
+
+<p class="grp"><span class="smcap">Group 19.</span> <i>Vertumnus and Pomona</i> (6 Tapestries)</p>
+
+<p>Despite an occasional lapse in drawing, this series of tapestries is one
+of the finest examples of pure Renaissance workmanship to be found in
+the Spanish royal collection. The story, of course, is taken from Ovid,
+and was a favourite one with the Flemish weavers. The tapestries show
+the<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span> true Renaissance love of the open country and lovely gardens with a
+wealth of flowers and foliage. They are purely decorative in intention,
+and the figures are merely accessory.</p>
+
+<p>No less than four copies of this series are in the Madrid collection.
+The series reproduced in this volume was woven at Brussels and purchased
+by the Emperor Charles V. at Anvers in 1546. It is in silk and wool,
+heavily enriched with gold, and was the original from which the others
+were copied.</p>
+
+<p>Two other copies, also woven in gold, were made by Pannemaker at the
+command of Philip II. These are hung in the State dining-hall of the
+palace. The fourth copy, in silk and wool only, was made for John of
+Austria, and by him bequeathed to Philip II.</p>
+
+<p class="grp"><i>The Story of Scipio Africanus</i> (6 Tapestries)</p>
+
+<p>This fine series of tapestries offers an interesting contrast with the
+other historical series already described, <i>The Conquest of Tunis</i>. The
+story of Scipio is in pure Renaissance style, and though the designer of
+the cartoons is unknown, they show very strongly the influence of Giulio
+Romano, and may even have proceeded from his pencil.<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> Only one piece of
+the tapestry bears a weaver’s mark, which has not been deciphered. They
+were inherited by Charles V. from his sister, Mary of Hungary, on her
+death in 1558.</p>
+
+<p>The tapestries represent incidents in the life of Publius Cornelius
+Scipio, the elder, surnamed Africanus from his triumphs against the
+Carthaginians. Scipio was one of Rome’s greatest generals, and also a
+man of very considerable culture, who wrote his own memoirs in Greek. He
+was also an accomplished orator and was popularly supposed to hold
+direct communication with the gods.</p>
+
+<p>The tapestries deal mostly with Scipio’s campaigns in Spain and Africa.
+The year after his father’s death he had offered himself for the command
+in Spain. In spite of his youth he was unanimously elected. He had
+previously fought at the disastrous battles of Ticinus, the Trebia, and
+Cannæ.</p>
+
+<p>All Spain south of the Ebro was in the hands of the Carthaginians, but
+the three great Punic generals were preoccupied with revolts in Africa
+and were in disagreement amongst themselves. Taking advantage of this,
+Scipio unexpectedly attacked and captured New Carthage, a large supply
+of war materials falling into his hands.<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> This victory he followed up in
+209 <small>B.C.</small> by driving Hasdrubal from Barcelona and the upper Guadalquivir.</p>
+
+<p>After further victories in Spain Scipio returned to Rome and was elected
+Consul for Sicily. In 204 <small>B.C.</small> he again sailed for Africa and landed
+near Utica. He destroyed two combined armies of the Carthaginians and
+the Numidians, and after peace negotiations were finally broken off
+gained a crushing victory over Hannibal near Zama. This gained him the
+surname of Africanus.</p>
+
+<p>Some years later Scipio was charged together with his brother with
+peculation. On the day of his trial, however, by reminding the people
+that this was the anniversary of Zama he was acquitted amid great
+acclamations. He then retired into private life.</p>
+
+<p>The tapestries represent:</p>
+
+<p><i>Tapestry No. 1.</i> Siege and assault of Carthage by Scipio Africanus.</p>
+
+<p><i>Tapestry No. 2.</i> Scipio gives up his betrothed.</p>
+
+<p><i>Tapestry No. 3.</i> The Romans penetrate into the camp of Hasdrubal.</p>
+
+<p><i>Tapestry No. 4.</i> Battle of Zama and defeat of Hannibal.</p>
+
+<p><i>Tapestry No. 5.</i> The triumph of Scipio.</p>
+
+<p><i>Tapestry No. 6.</i> The banquet.<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p>
+
+<p class="grp"><i>Monkeys or Grotesque Figures</i> (10 Tapestries)</p>
+
+<p>These fine Flemish tapestries were added to the royal collection at
+Madrid by Philip II. They are of exquisite workmanship and are heavily
+enriched with threads of gold. There are ten pieces in the series, four
+of which being hung on the walls of the palace cannot be here
+reproduced.</p>
+
+<p>These grotesque figures form an ideal tapestry design. “In the centre of
+each tapestry,” says the Count Valencia de Don Juan, “there is a light
+and elegant bower of trellis-work, formed by arches, scrolls, and
+caryatids; the ribbon surrounding it is formed of flowers, fruit, and
+animals, amongst which frolic monkeys and dogs.” The borders are
+enriched with mythological figures.</p>
+
+<p>The tapestries were woven by Hector Vuyens, who made his own designs.</p>
+
+<p class="grp"><span class="smcap">Group 20.</span> <i>The Story of Cyrus the Great</i> (8 Tapestries)</p>
+
+<p>These tapestries, especially remarkable for their beautiful borders,
+were woven probably by Nicolas Leiniers, a well-known <i>tapissier</i> of the
+sixteenth century. They bear the Brussels mark, but the designer of the
+cartoons is unknown. They are<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> carried out in silk and wool, enriched
+with gold and silver thread. The tapestries passed into the possession
+of Philip II., and are known to have been used in the funeral ceremonies
+of Francis II. of France. There is in existence the account which was
+rendered by Philip’s tapestry maker to his master for the transportation
+of the tapestries from Madrid to Toledo, where the funeral took place.</p>
+
+<p>The tapestries represent episodes in the life of the great Persian
+conqueror, and certain of the legends that were current about his
+parentage. The designer of the cartoons seems to have followed the
+Thucedidean account of the delivering of the boy Cyrus to a shepherd,
+and his subsequent recognition by Astyages. Cyrus’s wars against the
+people of Lydia and his capture of Crœsus are, of course, historic.
+There is a legend related by some of the early historians that Cyrus
+desired to put Crœsus to death at the stake, a proceeding which would
+have been directly contrary to the principles of the Zoroastrian
+religion. The designer of the tapestries appears to have got hold of a
+distorted form of this story in the fifth panel of this series.</p>
+
+<p>The ghastly end imagined by the cartoonist for the conqueror is wholly
+fictitious. It is prob<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span>able that Cyrus was killed actually on the field
+of battle.</p>
+
+<p class="grp"><span class="smcap">Group 21.</span> <i>The Story of Diana or Artemis</i> (7 Tapestries)</p>
+
+<p>It is under this name that this series of tapestries is classed in the
+inventories. On the plates of the pieces themselves, however, only the
+name, Diana, is employed. The series is the only one of French origin in
+the Spanish royal collection. It is from the Gobelins looms, which were
+established in 1603 by Van der Planken and Mare de Comano by contract
+with Henry IV. on the settlement of the Civil Wars.</p>
+
+<p>The life of Diana was a favourite subject of the French tapestry weavers
+from this time onward, and the pieces were eagerly purchased by the
+ladies who enjoyed the favour of the Navarrois king. Guiffrey gives a
+detailed account of all these series in his large <i>Histoire de la
+Tapisserie en France</i>.</p>
+
+<p>The designer of the series in the royal collection is unknown. It is a
+fine example of the florid art of the Renaissance. The borders are
+especially fine, containing medallions supported by nymphs and satyrs
+garlanded with fruit and flowers. In<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> the orders of two of the plates
+are monograms of silk and gold similar to that in <i>Les Noces de
+l’Empereur Otton</i> in the National Museum at Munich. Coats-of-arms are
+seen on the scrolls that surmount the panels. In the centre are the arms
+of Colonna with a ducal crown; to the right a chequered shield with
+argent and purple squares; to the left an escutcheon carrying two
+wolves.</p>
+
+<p>The subjects of the different tapestries are as follow:</p>
+
+<p>(1) Latona changing the labourers into frogs.</p>
+
+<p>(2) Diana surrounded by dogs.</p>
+
+<p>(3) Diana with nymphs resting in a wood.</p>
+
+<p>(4) Diana begs from Jupiter eternal maidenhood.</p>
+
+<p>(5) Niobe dissuades the people from sacrificing to Latona.</p>
+
+<p>(6) Diana and Apollo slay the children of Niobe.</p>
+
+<p>(7) Diana approves Meleager’s design of offering a boar’s head to
+Alithea.</p>
+
+<p>There is another plate referring to the same subject which represents
+the birth of Diana.<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p>
+
+<p class="grp"><span class="smcap">Group 22.</span> <i>Tapestries of the Chamber of Charles III.</i> (2 Tapestries)</p>
+
+<p>On the completion of the new palace of Madrid in 1764, Charles III.
+ordered his bedroom to be decorated with tapestries to the number of
+seventy-seven pieces. These, of which the two plates reproduced here are
+a fair example, were specially woven at the royal factory at Madrid.
+They are all of rich materials and fine workmanship, and were used, as
+well for hangings as for the covering of chairs and couches. The
+tapestries were designed by Antoine Anglois. The two here reproduced are
+woven in silk and gold. They were used as a curtain to the balcony of
+the King’s bedroom and as a counterpane and bolster-cover for the royal
+bed.</p>
+
+<p>It was owing to the interest taken by this monarch in the art of
+tapestry weaving that the factory at Madrid was placed under the
+supervision of that fine artist, Raphael Menos.</p>
+
+<p class="grp"><span class="smcap">Group 23.</span> <i>The Spheres</i></p>
+
+<p>This boldly planned and finely executed series is composed of three
+tapestries. The name of the designer of the cartoons is unknown, but he<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span>
+was evidently inspired by the Italian Renaissance. The figures are
+anatomically correct, and many of them were copied from well-known
+pictures.</p>
+
+<p>No. 1 shows Hercules upholding the world, and bears the inscription,
+<i>Magna Virtus sed Alienæ obnoxia</i>.</p>
+
+<p>No. 2 represents Atlas bearing the Universe on his shoulders.</p>
+
+<p>No. 3 represents Ferdinand and Isabella enthroned as monarchs of the
+whole world.<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span><span class="pagenum"><a name="page_68" id="page_68">{68}</a></span>&nbsp; </p>
+
+<div class="figcenter">
+<span class="captionb">STORY OF THE HOLY VIRGIN. BY VAN EYCK</span>
+<a name="plt_001" id="plt_001"></a>
+<div class="caption">PLATE 1</div>
+<a href="images/plt_001_lg.jpg">
+<img src="images/plt_001_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. JESUS WITH HIS MOTHER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE HOLY VIRGIN. BY VAN EYCK</span>
+<a name="plt_002" id="plt_002"></a>
+<div class="caption">PLATE 2</div>
+<a href="images/plt_002_lg.jpg">
+<img src="images/plt_002_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. THE VIRGIN PRAYING</p>
+</div>
+
+<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE HOLY VIRGIN. BY VAN EYCK</span>
+<a name="plt_003" id="plt_003"></a>
+<div class="caption">PLATE 3</div>
+<a href="images/plt_003_lg.jpg">
+<img src="images/plt_003_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. THE ADORATION OF THE MAGI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_72" id="page_72">{72}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE HOLY VIRGIN. BY VAN EYCK</span>
+<a name="plt_004" id="plt_004"></a>
+<div class="caption">PLATE 4</div>
+<a href="images/plt_004_lg.jpg">
+<img src="images/plt_004_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. THE PRESENTATION OF JESUS IN THE TEMPLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_73" id="page_73">{73}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE STORY OF DAVID AND BATHSHEBA</span>
+<a name="plt_005" id="plt_005"></a>
+<div class="caption">PLATE 5</div>
+<a href="images/plt_005_lg.jpg">
+<img src="images/plt_005_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. DAVID SEES BATHSHEBA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE STORY OF DAVID AND BATHSHEBA</span>
+<a name="plt_006" id="plt_006"></a>
+<div class="caption">PLATE 6</div>
+<a href="images/plt_006_lg.jpg">
+<img src="images/plt_006_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. BATHSHEBA CONSENTS TO THE LOVE OF DAVID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_75" id="page_75">{75}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE STORY OF DAVID AND BATHSHEBA</span>
+<a name="plt_007" id="plt_007"></a>
+<div class="caption">PLATE 7</div>
+<a href="images/plt_007_lg.jpg">
+<img src="images/plt_007_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. NATHAN REPROACHES DAVID WITH HIS SIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_76" id="page_76">{76}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF JOHN THE BAPTIST. BY VAN EYCK</span>
+<a name="plt_008" id="plt_008"></a>
+<div class="caption">PLATE 8</div>
+<a href="images/plt_008_lg.jpg">
+<img src="images/plt_008_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. ZACHARIUS RECOVERING HIS SPEECH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF JOHN THE BAPTIST. BY VAN EYCK</span>
+<a name="plt_009" id="plt_009"></a>
+<div class="caption">PLATE 9</div>
+<a href="images/plt_009_lg.jpg">
+<img src="images/plt_009_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. THE CHILD JOHN ASKS PERMISSION TO DEVOTE HIMSELF TO GOD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_78" id="page_78">{78}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF JOHN THE BAPTIST. BY VAN EYCK</span>
+<a name="plt_010" id="plt_010"></a>
+<div class="caption">PLATE 10</div>
+<a href="images/plt_010_lg.jpg">
+<img src="images/plt_010_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. ST. JOHN PREACHING IN THE WILDERNESS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF JOHN THE BAPTIST. BY VAN EYCK</span>
+<a name="plt_011" id="plt_011"></a>
+<div class="caption">PLATE 11</div>
+<a href="images/plt_011_lg.jpg">
+<img src="images/plt_011_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. THE BAPTISM OF OUR LORD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_80" id="page_80">{80}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE PASSION OF OUR LORD</p>
+
+<a name="plt_012" id="plt_012"></a>
+<div class="caption">PLATE 12</div>
+<a href="images/plt_012_lg.jpg">
+<img src="images/plt_012_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">IN THE GARDEN OF OLIVES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_81" id="page_81">{81}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE PASSION OF OUR LORD. BY VAN DER WEYDEN</p>
+
+<a name="plt_013" id="plt_013"></a>
+<div class="caption">PLATE 13</div>
+<a href="images/plt_013_lg.jpg">
+<img src="images/plt_013_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">THE CRUCIFIXION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_82" id="page_82">{82}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE PASSION OF OUR LORD</p>
+
+<a name="plt_014" id="plt_014"></a>
+<div class="caption">PLATE 14</div>
+<a href="images/plt_014_lg.jpg">
+<img src="images/plt_014_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">THE DESCENT FROM THE CROSS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_015" id="plt_015"></a>
+<div class="caption">PLATE 15</div>
+<a href="images/plt_015_lg.jpg">
+<img src="images/plt_015_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. GOD REWARDS WORSHIP</p>
+</div>
+
+<p><span class="pagenum"><a name="page_84" id="page_84">{84}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_016" id="plt_016"></a>
+<div class="caption">PLATE 16</div>
+<a href="images/plt_016_lg.jpg">
+<img src="images/plt_016_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. VIRTUE PUNISHES VICE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_85" id="page_85">{85}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_017" id="plt_017"></a>
+<div class="caption">PLATE 17</div>
+<a href="images/plt_017_lg.jpg">
+<img src="images/plt_017_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. FORTUNE DISTRIBUTES ROSES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_018" id="plt_018"></a>
+<div class="caption">PLATE 18</div>
+<a href="images/plt_018_lg.jpg">
+<img src="images/plt_018_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. GOD REWARDS THE DEVOUT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_87" id="page_87">{87}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_019" id="plt_019"></a>
+<div class="caption">PLATE 19</div>
+<a href="images/plt_019_lg.jpg">
+<img src="images/plt_019_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">5. VIRTUE REWARDS HER VOTARIES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_88" id="page_88">{88}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_020" id="plt_020"></a>
+<div class="caption">PLATE 20</div>
+<a href="images/plt_020_lg.jpg">
+<img src="images/plt_020_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">6. GOD DISTRIBUTES HONOURS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_89" id="page_89">{89}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_021" id="plt_021"></a>
+<div class="caption">PLATE 21</div>
+<a href="images/plt_021_lg.jpg">
+<img src="images/plt_021_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">7. PRUDENCE IS COMMENDED</p>
+</div>
+
+<p><span class="pagenum"><a name="page_90" id="page_90">{90}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_022" id="plt_022"></a>
+<div class="caption">PLATE 22</div>
+<a href="images/plt_022_lg.jpg">
+<img src="images/plt_022_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">8. THE FAITHFUL GAIN RENOWN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_91" id="page_91">{91}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">VICES AND VIRTUES</span>
+<a name="plt_023" id="plt_023"></a>
+<div class="caption">PLATE 23</div>
+<a href="images/plt_023_lg.jpg">
+<img src="images/plt_023_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">9. INFAMY IS PUNISHED</p>
+</div>
+
+<p><span class="pagenum"><a name="page_92" id="page_92">{92}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VICES AND VIRTUES</p>
+
+<a name="plt_024" id="plt_024"></a>
+<div class="caption">PLATE 24</div>
+<a href="images/plt_024_lg.jpg">
+<img src="images/plt_024_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">10. THE LAWGIVER DELIVERS JUDGMENT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_93" id="page_93">{93}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE FOUNDATION OF ROME</p>
+
+<a name="plt_025" id="plt_025"></a>
+<div class="caption">PLATE 25</div>
+<a href="images/plt_025_lg.jpg">
+<img src="images/plt_025_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. ROMULUS AND REMUS ARE FOUND</p>
+</div>
+
+<p><span class="pagenum"><a name="page_94" id="page_94">{94}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE FOUNDATION OF ROME</span>
+<a name="plt_026" id="plt_026"></a>
+<div class="caption">PLATE 26</div>
+<a href="images/plt_026_lg.jpg">
+<img src="images/plt_026_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. REMUS TAKEN CAPTIVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_95" id="page_95">{95}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE FOUNDATION OF ROME</span>
+<a name="plt_027" id="plt_027"></a>
+<div class="caption">PLATE 27</div>
+<a href="images/plt_027_lg.jpg">
+<img src="images/plt_027_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. ROMULUS BECOMES KING</p>
+</div>
+
+<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE FOUNDATION OF ROME</span>
+<a name="plt_028" id="plt_028"></a>
+<div class="caption">PLATE 28</div>
+<a href="images/plt_028_lg.jpg">
+<img src="images/plt_028_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. ROMULUS DICTATING THE LAWS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE FOUNDATION OF ROME</span>
+<a name="plt_029" id="plt_029"></a>
+<div class="caption">PLATE 29</div>
+<a href="images/plt_029_lg.jpg">
+<img src="images/plt_029_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">5. ROMULUS INSTITUTES THE FEAST OF NEPTUNE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE FOUNDATION OF ROME</span>
+<a name="plt_030" id="plt_030"></a>
+<div class="caption">PLATE 30</div>
+<a href="images/plt_030_lg.jpg">
+<img src="images/plt_030_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">6. ROMULUS GIVES THE LAWS TO THE PEOPLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE FOUNDATION OF ROME</span>
+<a name="plt_031" id="plt_031"></a>
+<div class="caption">PLATE 31</div>
+<a href="images/plt_031_lg.jpg">
+<img src="images/plt_031_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">7. AFTER THE CAPTURE OF THE SABINES, HERSILIA IS PRESENTED TO ROMULUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_100" id="page_100">{100}</a></span>&nbsp; </p>
+
+<div class="figcenter">
+<span class="captionb">CONQUEST OF TUNIS BY CHARLES V</span><br />
+<a name="plt_032" id="plt_032"></a>
+<div class="caption">PLATE 32</div>
+<a href="images/plt_032_lg.jpg">
+<img src="images/plt_032_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PLAN OF THE CAMPAIGN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
+
+<div class="figcenter">
+<p class="captionb">CONQUEST OF TUNIS BY CHARLES V. BY J. VERMEYEN</p>
+<a name="plt_033" id="plt_033"></a>
+<div class="caption">PLATE 33</div>
+<a href="images/plt_033_lg.jpg">
+<img src="images/plt_033_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">REVIEW OF THE ARMY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span>&nbsp; </p>
+
+<div class="figcenter">
+<span class="captionb">CONQUEST OF TUNIS BY CHARLES V</span><br />
+<a name="plt_034" id="plt_034"></a>
+<div class="caption">PLATE 34</div>
+<a href="images/plt_034_lg.jpg">
+<img src="images/plt_034_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">REVIEW OF THE ARMY (PART OF)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE CONQUEST OF TUNIS BY CHARLES V</span><br />
+<a name="plt_035" id="plt_035"></a>
+<div class="caption">PLATE 35</div>
+<a href="images/plt_035_lg.jpg">
+<img src="images/plt_035_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">DISEMBARKING AT GOLETTA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_104" id="page_104">{104}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">CONQUEST OF TUNIS BY CHARLES V</span><br />
+<a name="plt_036" id="plt_036"></a>
+<div class="caption">PLATE 36</div>
+<a href="images/plt_036_lg.jpg">
+<img src="images/plt_036_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">ATTACK ON GOLETTA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_105" id="page_105">{105}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">CONQUEST OF TUNIS BY CHARLES V</span><br />
+<a name="plt_037" id="plt_037"></a>
+<div class="caption">PLATE 37</div>
+<a href="images/plt_037_lg.jpg">
+<img src="images/plt_037_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">FIGHT UNDER GOLETTA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE CONQUEST OF TUNIS BY CHARLES V</span><br />
+<a name="plt_038" id="plt_038"></a>
+<div class="caption">PLATE 38</div>
+<a href="images/plt_038_lg.jpg">
+<img src="images/plt_038_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">SORTIE OF THE ENEMY FROM GOLETTA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_107" id="page_107">{107}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE CONQUEST OF TUNIS BY CHARLES V</span><br />
+<a name="plt_039" id="plt_039"></a>
+<div class="caption">PLATE 39</div>
+<a href="images/plt_039_lg.jpg">
+<img src="images/plt_039_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE CAPTURE OF GOLETTA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">CONQUEST OF TUNIS BY CHARLES V</span><br />
+<a name="plt_040" id="plt_040"></a>
+<div class="caption">PLATE 40</div>
+<a href="images/plt_040_lg.jpg">
+<img src="images/plt_040_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE CAPTURE OF TUNIS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p>
+
+<div class="figcenter">
+<p class="captionc">THE CONQUEST OF TUNIS BY CHARLES V</p>
+
+<a name="plt_041" id="plt_041"></a>
+<div class="caption">PLATE 41</div>
+<a href="images/plt_041_lg.jpg">
+<img src="images/plt_041_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">THE SACKING OF TUNIS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
+
+<div class="figcenter">
+<p class="captionc">CONQUEST OF TUNIS BY CHARLES V</p>
+
+<a name="plt_042" id="plt_042"></a>
+<div class="caption">PLATE 42</div>
+<a href="images/plt_042_lg.jpg">
+<img src="images/plt_042_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">THE ARMY RE-EMBARKS AFTER RETURNING FROM GOLETTA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_111" id="page_111">{111}</a></span></p>
+
+<div class="figcenter">
+<p class="captionc">CONQUEST OF TUNIS BY CHARLES V. BY J. VERMEYEN</p>
+
+<a name="plt_043" id="plt_043"></a>
+<div class="caption">PLATE 43</div>
+<a href="images/plt_043_lg.jpg">
+<img src="images/plt_043_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">THE ARMY CAMPING AT PADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF ABRAHAM</p>
+
+<a name="plt_044" id="plt_044"></a>
+<div class="caption">PLATE 44</div>
+<a href="images/plt_044_lg.jpg">
+<img src="images/plt_044_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. THREE ANGELS ANNOUNCE TO ABRAHAM THAT SARAH WILL HAVE A SON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF ABRAHAM</p>
+
+<a name="plt_045" id="plt_045"></a>
+<div class="caption">PLATE 45</div>
+<a href="images/plt_045_lg.jpg">
+<img src="images/plt_045_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. ABRAHAM OFFERING SACRIFICE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_046" id="plt_046"></a>
+<div class="caption">PLATE 46</div>
+<a href="images/plt_046_lg.jpg">
+<img src="images/plt_046_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. THE ANGEL THROWS THE BEAST INTO THE ABYSS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_047" id="plt_047"></a>
+<div class="caption">PLATE 47</div>
+<a href="images/plt_047_lg.jpg">
+<img src="images/plt_047_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. THE THREE HORSEMEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_048" id="plt_048"></a>
+<div class="caption">PLATE 48</div>
+<a href="images/plt_048_lg.jpg">
+<img src="images/plt_048_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. ST. JOHN AND THE SEVEN CHURCHES OF ASIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_049" id="plt_049"></a>
+<div class="caption">PLATE 49</div>
+<a href="images/plt_049_lg.jpg">
+<img src="images/plt_049_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">4. ST. JOHN RECEIVES THE ORDER TO MEASURE THE TEMPLE OF GOD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_050" id="plt_050"></a>
+<div class="caption">PLATE 50</div>
+<a href="images/plt_050_lg.jpg">
+<img src="images/plt_050_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">5. CONDEMNATION OF THE PROSTITUTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_051" id="plt_051"></a>
+<div class="caption">PLATE 51</div>
+<a href="images/plt_051_lg.jpg">
+<img src="images/plt_051_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">6. THE ANGEL CARRYING THE GOSPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_052" id="plt_052"></a>
+<div class="caption">PLATE 52</div>
+<a href="images/plt_052_lg.jpg">
+<img src="images/plt_052_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">7. THE CROWD ADORE THE LAMB</p>
+</div>
+
+<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_053" id="plt_053"></a>
+<div class="caption">PLATE 53</div>
+<a href="images/plt_053_lg.jpg">
+<img src="images/plt_053_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">8. THE FOUR ANGELS OF EUPHRATES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
+
+<div class="figcenter"><p class="captionc">SCENES FROM REVELATIONS</p>
+
+<a name="plt_054" id="plt_054"></a>
+<div class="caption">PLATE 54</div>
+<a href="images/plt_054_lg.jpg">
+<img src="images/plt_054_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">9. COMBAT BETWEEN GOOD AND EVIL SPIRITS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE SEVEN DEADLY SINS</p>
+
+<a name="plt_055" id="plt_055"></a>
+<div class="caption">PLATE 55</div>
+<a href="images/plt_055_lg.jpg">
+<img src="images/plt_055_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. LUXURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE SEVEN DEADLY SINS</span>
+<a name="plt_056" id="plt_056"></a>
+<div class="caption">PLATE 56</div>
+<a href="images/plt_056_lg.jpg">
+<img src="images/plt_056_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. GREEDINESS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE SEVEN DEADLY SINS</p>
+
+<a name="plt_057" id="plt_057"></a>
+<div class="caption">PLATE 57</div>
+<a href="images/plt_057_lg.jpg">
+<img src="images/plt_057_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. ENVY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE SEVEN DEADLY SINS</p>
+
+<a name="plt_058" id="plt_058"></a>
+<div class="caption">PLATE 58</div>
+<a href="images/plt_058_lg.jpg">
+<img src="images/plt_058_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">4. ANGER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_059" id="plt_059"></a>
+<div class="caption">PLATE 59</div>
+<a href="images/plt_059_lg.jpg">
+<img src="images/plt_059_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. THE MIRACULOUS DRAUGHT OF FISHES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_060" id="plt_060"></a>
+<div class="caption">PLATE 60</div>
+<a href="images/plt_060_lg.jpg">
+<img src="images/plt_060_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. THE MIRACULOUS DRAUGHT OF FISHES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_061" id="plt_061"></a>
+<div class="caption">PLATE 61</div>
+<a href="images/plt_061_lg.jpg">
+<img src="images/plt_061_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. THE MIRACLE OF THE PARALYTIC</p>
+</div>
+
+<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_062" id="plt_062"></a>
+<div class="caption">PLATE 62</div>
+<a href="images/plt_062_lg.jpg">
+<img src="images/plt_062_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">4. THE DEATH OF ANANIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_063" id="plt_063"></a>
+<div class="caption">PLATE 63</div>
+<a href="images/plt_063_lg.jpg">
+<img src="images/plt_063_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">5. THE MARTYRDOM OF ST. STEPHEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_132" id="page_132">{132}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_064" id="plt_064"></a>
+<div class="caption">PLATE 64</div>
+<a href="images/plt_064_lg.jpg">
+<img src="images/plt_064_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">6. MARTYRDOM OF ST. STEPHEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_065" id="plt_065"></a>
+<div class="caption">PLATE 65</div>
+<a href="images/plt_065_lg.jpg">
+<img src="images/plt_065_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">7. THE CONVERSION OF ST. PAUL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_066" id="plt_066"></a>
+<div class="caption">PLATE 66</div>
+<a href="images/plt_066_lg.jpg">
+<img src="images/plt_066_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">8. THE BLINDNESS OF ELYMAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_067" id="plt_067"></a>
+<div class="caption">PLATE 67</div>
+<a href="images/plt_067_lg.jpg">
+<img src="images/plt_067_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">9. ST. PAUL AT LYSTRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_068" id="plt_068"></a>
+<div class="caption">PLATE 68</div>
+<a href="images/plt_068_lg.jpg">
+<img src="images/plt_068_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">10. ST. PAUL IN THE TEMPLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_069" id="plt_069"></a>
+<div class="caption">PLATE 69</div>
+<a href="images/plt_069_lg.jpg">
+<img src="images/plt_069_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">11. ST. PAUL AT EPHESUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_138" id="page_138">{138}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_070" id="plt_070"></a>
+<div class="caption">PLATE 70</div>
+<a href="images/plt_070_lg.jpg">
+<img src="images/plt_070_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">12. ST. PAUL AT EPHESUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_071" id="plt_071"></a>
+<div class="caption">PLATE 71</div>
+<a href="images/plt_071_lg.jpg">
+<img src="images/plt_071_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">13. ST. PAUL PREACHING IN ATHENS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_072" id="plt_072"></a>
+<div class="caption">PLATE 72</div>
+<a href="images/plt_072_lg.jpg">
+<img src="images/plt_072_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">14. CHRIST APPEARS TO HIS DISCIPLES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_073" id="plt_073"></a>
+<div class="caption">PLATE 73</div>
+<a href="images/plt_073_lg.jpg">
+<img src="images/plt_073_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">15. CHRIST CHOOSING ST. PETER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_074" id="plt_074"></a>
+<div class="caption">PLATE 74</div>
+<a href="images/plt_074_lg.jpg">
+<img src="images/plt_074_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">16. THE PARALYTIC</p>
+</div>
+
+<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_075" id="plt_075"></a>
+<div class="caption">PLATE 75</div>
+<a href="images/plt_075_lg.jpg">
+<img src="images/plt_075_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">17. DEATH OF ANANIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_076" id="plt_076"></a>
+<div class="caption">PLATE 76</div>
+<a href="images/plt_076_lg.jpg">
+<img src="images/plt_076_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">18. CONVERSION OF ST. PAUL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_077" id="plt_077"></a>
+<div class="caption">PLATE 77</div>
+<a href="images/plt_077_lg.jpg">
+<img src="images/plt_077_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">19. THE BLIND MAN ELYMAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span></p>
+
+<div class="figcenter"><p class="captionc">ACTS OF THE APOSTLES. BY RAPHAEL</p>
+
+<a name="plt_078" id="plt_078"></a>
+<div class="caption">PLATE 78</div>
+<a href="images/plt_078_lg.jpg">
+<img src="images/plt_078_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">20. ST. PAUL AND ST. BARNABAS AT LYSTRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_079" id="plt_079"></a>
+<div class="caption">PLATE 79</div>
+<a href="images/plt_079_lg.jpg">
+<img src="images/plt_079_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. VERTUMNUS TRANSFORMED INTO A HUSBANDMAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_080" id="plt_080"></a>
+<div class="caption">PLATE 80</div>
+<a href="images/plt_080_lg.jpg">
+<img src="images/plt_080_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. VERTUMNUS TAKES A FISHING ROD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_081" id="plt_081"></a>
+<div class="caption">PLATE 81</div>
+<a href="images/plt_081_lg.jpg">
+<img src="images/plt_081_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. VERTUMNUS TRANSFORMED INTO AN AGRICULTURIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_082" id="plt_082"></a>
+<div class="caption">PLATE 82</div>
+<a href="images/plt_082_lg.jpg">
+<img src="images/plt_082_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">4. VERTUMNUS TRANSFORMED INTO A GARDENER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_083" id="plt_083"></a>
+<div class="caption">PLATE 83</div>
+<a href="images/plt_083_lg.jpg">
+<img src="images/plt_083_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">5. VERTUMNUS TRANSFORMED INTO A REAPER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_084" id="plt_084"></a>
+<div class="caption">PLATE 84</div>
+<a href="images/plt_084_lg.jpg">
+<img src="images/plt_084_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">6. VERTUMNUS AT THE HARVEST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_085" id="plt_085"></a>
+<div class="caption">PLATE 85</div>
+<a href="images/plt_085_lg.jpg">
+<img src="images/plt_085_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">7. POMONA UPBRAIDS VERTUMNUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_086" id="plt_086"></a>
+<div class="caption">PLATE 86</div>
+<a href="images/plt_086_lg.jpg">
+<img src="images/plt_086_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">8. VERTUMNUS, DISGUISED, KISSES POMONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
+
+<div class="figcenter"><p class="captionc">VERTUMNUS AND POMONA</p>
+
+<a name="plt_087" id="plt_087"></a>
+<div class="caption">PLATE 87</div>
+<a href="images/plt_087_lg.jpg">
+<img src="images/plt_087_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">9. VERTUMNUS REGAINS HIS NATURAL FORM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_088" id="plt_088"></a>
+<div class="caption">PLATE 88</div>
+<a href="images/plt_088_lg.jpg">
+<img src="images/plt_088_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. THE CAPTURE OF CARTHAGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_089" id="plt_089"></a>
+<div class="caption">PLATE 89</div>
+<a href="images/plt_089_lg.jpg">
+<img src="images/plt_089_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. SCIPIO SAVES HIS FATHER AT THE BATTLE OF TESIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_090" id="plt_090"></a>
+<div class="caption">PLATE 90</div>
+<a href="images/plt_090_lg.jpg">
+<img src="images/plt_090_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. CARTHAGE SENDS AMBASSADORS TO SCIPIO AFTER THE BATTLE OF ZAMA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_091" id="plt_091"></a>
+<div class="caption">PLATE 91</div>
+<a href="images/plt_091_lg.jpg">
+<img src="images/plt_091_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">4. THE TRIUMPH OF SCIPIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_092" id="plt_092"></a>
+<div class="caption">PLATE 92</div>
+<a href="images/plt_092_lg.jpg">
+<img src="images/plt_092_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">5. THE BANQUET</p>
+</div>
+
+<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_093" id="plt_093"></a>
+<div class="caption">PLATE 93</div>
+<a href="images/plt_093_lg.jpg">
+<img src="images/plt_093_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">6. SCIPIO GIVES UP HIS BETROTHED</p>
+</div>
+
+<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_094" id="plt_094"></a>
+<div class="caption">PLATE 94</div>
+<a href="images/plt_094_lg.jpg">
+<img src="images/plt_094_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">7. SCIPIO GIVES UP HIS BETROTHED (SECTION OF TAPESTRY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_095" id="plt_095"></a>
+<div class="caption">PLATE 95</div>
+<a href="images/plt_095_lg.jpg">
+<img src="images/plt_095_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">8. SCIPIO DELIVERS JUDGMENT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_096" id="plt_096"></a>
+<div class="caption">PLATE 96</div>
+<a href="images/plt_096_lg.jpg">
+<img src="images/plt_096_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">9. THE TRIUMPH OF SCIPIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_097" id="plt_097"></a>
+<div class="caption">PLATE 97</div>
+<a href="images/plt_097_lg.jpg">
+<img src="images/plt_097_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">10. INTERVIEW BETWEEN SCIPIO AND HANNIBAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF SCIPIO AFRICANUS</p>
+
+<a name="plt_098" id="plt_098"></a>
+<div class="caption">PLATE 98</div>
+<a href="images/plt_098_lg.jpg">
+<img src="images/plt_098_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">10. THE TRIUMPH OF SCIPIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF CYRUS</p>
+
+<a name="plt_099" id="plt_099"></a>
+<div class="caption">PLATE 99</div>
+<a href="images/plt_099_lg.jpg">
+<img src="images/plt_099_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. CYRUS TAKES ASTYAGE PRISONER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF CYRUS</p>
+
+<a name="plt_100" id="plt_100"></a>
+<div class="caption">PLATE 100</div>
+<a href="images/plt_100_lg.jpg">
+<img src="images/plt_100_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. CYRUS IS RECOGNIZED BY ASTYAGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF CYRUS</p>
+
+<a name="plt_101" id="plt_101"></a>
+<div class="caption">PLATE 101</div>
+<a href="images/plt_101_lg.jpg">
+<img src="images/plt_101_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. MEETING OF CYRUS AND THE QUEEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF CYRUS</p>
+
+<a name="plt_102" id="plt_102"></a>
+<div class="caption">PLATE 102</div>
+<a href="images/plt_102_lg.jpg">
+<img src="images/plt_102_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">4. CYRUS SENDS A MESSENGER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF CYRUS</p>
+
+<a name="plt_103" id="plt_103"></a>
+<div class="caption">PLATE 103</div>
+<a href="images/plt_103_lg.jpg">
+<img src="images/plt_103_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">5. CYRUS UNITES THE MEDES AND PERSIANS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF CYRUS</p>
+
+<a name="plt_104" id="plt_104"></a>
+<div class="caption">PLATE 104</div>
+<a href="images/plt_104_lg.jpg">
+<img src="images/plt_104_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">6. CYRUS SAVES CRŒSUS FROM THE STAKE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF CYRUS</p>
+
+<a name="plt_105" id="plt_105"></a>
+<div class="caption">PLATE 105</div>
+<a href="images/plt_105_lg.jpg">
+<img src="images/plt_105_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">7. THE QUEEN AND CYRUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE STORY OF CYRUS</p>
+
+<a name="plt_106" id="plt_106"></a>
+<div class="caption">PLATE 106</div>
+<a href="images/plt_106_lg.jpg">
+<img src="images/plt_106_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">8. CYRUS TAKES CRŒSUS PRISONER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE STORY OF CYRUS</span>
+<a name="plt_107" id="plt_107"></a>
+<div class="caption">PLATE 107</div>
+<a href="images/plt_107_lg.jpg">
+<img src="images/plt_107_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">9. CYRUS AND THE LYDIANS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE STORY OF CYRUS</span>
+<a name="plt_108" id="plt_108"></a>
+<div class="caption">PLATE 108</div>
+<a href="images/plt_108_lg.jpg">
+<img src="images/plt_108_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">10. CYRUS RELEASES THE HEBREWS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF CYRUS</span>
+<a name="plt_109" id="plt_109"></a>
+<div class="caption">PLATE 109</div>
+<a href="images/plt_109_lg.jpg">
+<img src="images/plt_109_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">11. CYRUS IS ENTRUSTED TO A SHEPHERD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF CYRUS</span>
+<a name="plt_110" id="plt_110"></a>
+<div class="caption">PLATE 110</div>
+<a href="images/plt_110_lg.jpg">
+<img src="images/plt_110_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">12. HYSTASPE AND AMENOPHIS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DIANA</span>
+<a name="plt_111" id="plt_111"></a>
+<div class="caption">PLATE 111</div>
+<a href="images/plt_111_lg.jpg">
+<img src="images/plt_111_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. THE BIRTH OF DIANA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DIANA</span>
+<a name="plt_112" id="plt_112"></a>
+<div class="caption">PLATE 112</div>
+<a href="images/plt_112_lg.jpg">
+<img src="images/plt_112_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. DIANA RESTING</p>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DIANA</span>
+<a name="plt_113" id="plt_113"></a>
+<div class="caption">PLATE 113</div>
+<a href="images/plt_113_lg.jpg">
+<img src="images/plt_113_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. DIANA AND JUPITER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE SPHERES</p>
+
+<a name="plt_114" id="plt_114"></a>
+<div class="caption">PLATE 114</div>
+<a href="images/plt_114_lg.jpg">
+<img src="images/plt_114_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. HERCULES SUPPORTS THE SKY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE SPHERES</span>
+<a name="plt_115" id="plt_115"></a>
+<div class="caption">PLATE 115</div>
+<a href="images/plt_115_lg.jpg">
+<img src="images/plt_115_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. ATLAS SUPPORTS THE WORLD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_116" id="plt_116"></a>
+<div class="caption">PLATE 116</div>
+<a href="images/plt_116_lg.jpg">
+<img src="images/plt_116_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. DECIUS RAISES HIS COUNTRY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_117" id="plt_117"></a>
+<div class="caption">PLATE 117</div>
+<a href="images/plt_117_lg.jpg">
+<img src="images/plt_117_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. DECIUS SENDS THE LICTORS TO MANLIUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_118" id="plt_118"></a>
+<div class="caption">PLATE 118</div>
+<a href="images/plt_118_lg.jpg">
+<img src="images/plt_118_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. DECIUS BIDS FAREWELL TO THE LICTORS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_119" id="plt_119"></a>
+<div class="caption">PLATE 119</div>
+<a href="images/plt_119_lg.jpg">
+<img src="images/plt_119_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. DECIUS DEPARTS TO FIGHT THE LATINS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_120" id="plt_120"></a>
+<div class="caption">PLATE 120</div>
+<a href="images/plt_120_lg.jpg">
+<img src="images/plt_120_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">5. DECIUS DEDICATES HIMSELF TO THE LEGIONS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_121" id="plt_121"></a>
+<div class="caption">PLATE 121</div>
+<a href="images/plt_121_lg.jpg">
+<img src="images/plt_121_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">6. VALERIUS AND DECIUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_122" id="plt_122"></a>
+<div class="caption">PLATE 122</div>
+<a href="images/plt_122_lg.jpg">
+<img src="images/plt_122_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">7. THE VISION OF DECIUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_123" id="plt_123"></a>
+<div class="caption">PLATE 123</div>
+<a href="images/plt_123_lg.jpg">
+<img src="images/plt_123_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">8. DEATH OF DECIUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DECIUS</span>
+<a name="plt_124" id="plt_124"></a>
+<div class="caption">PLATE 124</div>
+<a href="images/plt_124_lg.jpg">
+<img src="images/plt_124_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">9. FUNERAL OF DECIUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF VENUS</span>
+<a name="plt_125" id="plt_125"></a>
+<div class="caption">PLATE 125</div>
+<a href="images/plt_125_lg.jpg">
+<img src="images/plt_125_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. OFFERINGS TO VENUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF VENUS</span>
+<a name="plt_126" id="plt_126"></a>
+<div class="caption">PLATE 126</div>
+<a href="images/plt_126_lg.jpg">
+<img src="images/plt_126_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. THE CHALLENGE OF CUPID AND VENUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE CREATION OF MAN</span>
+<a name="plt_127" id="plt_127"></a>
+<div class="caption">PLATE 127</div>
+<a href="images/plt_127_lg.jpg">
+<img src="images/plt_127_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. GOD CREATES MAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE CREATION OF MAN</span>
+<a name="plt_128" id="plt_128"></a>
+<div class="caption">PLATE 128</div>
+<a href="images/plt_128_lg.jpg">
+<img src="images/plt_128_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. CAIN KILLS HIS BROTHER ABEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE CREATION OF MAN</span>
+<a name="plt_129" id="plt_129"></a>
+<div class="caption">PLATE 129</div>
+<a href="images/plt_129_lg.jpg">
+<img src="images/plt_129_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. GOD CURSES CAIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE CREATION OF MAN</span>
+<a name="plt_130" id="plt_130"></a>
+<div class="caption">PLATE 130</div>
+<a href="images/plt_130_lg.jpg">
+<img src="images/plt_130_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE TREE OF GOOD AND EVIL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE STORY OF TOBIAS</span>
+<a name="plt_131" id="plt_131"></a>
+<div class="caption">PLATE 131</div>
+<a href="images/plt_131_lg.jpg">
+<img src="images/plt_131_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. SARAH MARRIES TOBIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE STORY OF TOBIAS</span>
+<a name="plt_132" id="plt_132"></a>
+<div class="caption">PLATE 132</div>
+<a href="images/plt_132_lg.jpg">
+<img src="images/plt_132_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. RETURN OF TOBIAS AND SARAH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter"><p class="captionc">THE SEASONS</p>
+
+<a name="plt_133" id="plt_133"></a>
+<div class="caption">PLATE 133</div>
+<a href="images/plt_133_lg.jpg">
+<img src="images/plt_133_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<span class="captionb">1. SUMMER</span>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span>&nbsp; </p>
+
+<div class="figcenter"><p class="captionc">THE SEASONS</p>
+
+<a name="plt_134" id="plt_134"></a>
+<div class="caption">PLATE 134</div>
+<a href="images/plt_134_lg.jpg">
+<img src="images/plt_134_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. WINTER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF SOLOMON</span>
+<a name="plt_135" id="plt_135"></a>
+<div class="caption">PLATE 135</div>
+<a href="images/plt_135_lg.jpg">
+<img src="images/plt_135_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. SOLOMON IS ANOINTED KING</p>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF SOLOMON</p>
+
+<a name="plt_136" id="plt_136"></a>
+<div class="caption">PLATE 136</div>
+<a href="images/plt_136_lg.jpg">
+<img src="images/plt_136_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. SOLOMON MARRIES AN EGYPTIAN PRINCESS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF SOLOMON</p>
+
+<a name="plt_137" id="plt_137"></a>
+<div class="caption">PLATE 137</div>
+<a href="images/plt_137_lg.jpg">
+<img src="images/plt_137_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. SOLOMON AND THE QUEEN OF SHEBA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter"><p class="captionc">HISTORY OF MAN’S LIFE</p>
+
+<a name="plt_138" id="plt_138"></a>
+<div class="caption">PLATE 138</div>
+<a href="images/plt_138_lg.jpg">
+<img src="images/plt_138_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. DIVINITY ADVOCATES TEMPERANCE TO MAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">HISTORY OF MAN’S LIFE</span>
+<a name="plt_139" id="plt_139"></a>
+<div class="caption">PLATE 139</div>
+<a href="images/plt_139_lg.jpg">
+<img src="images/plt_139_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. THE VICES REPULSE TEMPERANCE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">HISTORY OF MAN’S LIFE</span>
+<a name="plt_140" id="plt_140"></a>
+<div class="caption">PLATE 140</div>
+<a href="images/plt_140_lg.jpg">
+<img src="images/plt_140_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. TIME SURROUNDS HIM WITH PRUDENCE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">HISTORY OF MAN’S LIFE</span>
+<a name="plt_141" id="plt_141"></a>
+<div class="caption">PLATE 141</div>
+<a href="images/plt_141_lg.jpg">
+<img src="images/plt_141_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. VIRTUE TRIUMPHANT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<div class="figcenter"><p class="captionc">HISTORY OF MAN’S LIFE</p>
+
+<a name="plt_142" id="plt_142"></a>
+<div class="caption">PLATE 142</div>
+<a href="images/plt_142_lg.jpg">
+<img src="images/plt_142_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">5. PATIENCE HUMILIATES FORTUNE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">HISTORY OF MAN’S LIFE</span>
+<a name="plt_143" id="plt_143"></a>
+<div class="caption">PLATE 143</div>
+<a href="images/plt_143_lg.jpg">
+<img src="images/plt_143_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">6. FORTUNE FIGHTS AVARICE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">HISTORY OF MAN’S LIFE</span>
+<a name="plt_144" id="plt_144"></a>
+<div class="caption">PLATE 144</div>
+<a href="images/plt_144_lg.jpg">
+<img src="images/plt_144_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">7. BLIND FORTUNE BESTOWS GOOD AND EVIL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">HISTORY OF MAN’S LIFE</span>
+<a name="plt_145" id="plt_145"></a>
+<div class="caption">PLATE 145</div>
+<a href="images/plt_145_lg.jpg">
+<img src="images/plt_145_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">8. TWO ANCIENT PHILOSOPHERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">HISTORY OF MAN’S LIFE</span>
+<a name="plt_146" id="plt_146"></a>
+<div class="caption">PLATE 146</div>
+<a href="images/plt_146_lg.jpg">
+<img src="images/plt_146_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">9. DIVINITY REVEALS TEMPERANCE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter"><p class="captionc">HISTORY OF MAN’S LIFE</p>
+
+<a name="plt_147" id="plt_147"></a>
+<div class="caption">PLATE 147</div>
+<a href="images/plt_147_lg.jpg">
+<img src="images/plt_147_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">10. VICE REPULSES TEMPERANCE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ANTHONY AND CLEOPATRA</span>
+<a name="plt_148" id="plt_148"></a>
+<div class="caption">PLATE 148</div>
+<a href="images/plt_148_lg.jpg">
+<img src="images/plt_148_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. ANTHONY LEAVES ROME</p>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF ANTHONY AND CLEOPATRA</p>
+
+<a name="plt_149" id="plt_149"></a>
+<div class="caption">PLATE 149</div>
+<a href="images/plt_149_lg.jpg">
+<img src="images/plt_149_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. ANTHONY RECEIVES HOMAGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF ANTHONY AND CLEOPATRA</p>
+
+<a name="plt_150" id="plt_150"></a>
+<div class="caption">PLATE 150</div>
+<a href="images/plt_150_lg.jpg">
+<img src="images/plt_150_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. ANTHONY DISPOSES OF THE TREASURES OF EGYPT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ANTHONY AND CLEOPATRA</span>
+<a name="plt_151" id="plt_151"></a>
+<div class="caption">PLATE 151</div>
+<a href="images/plt_151_lg.jpg">
+<img src="images/plt_151_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">CLEOPATRA MOCKS ANTHONY’S WEAKNESS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF ALEXANDER THE GREAT</p>
+
+<a name="plt_152" id="plt_152"></a>
+<div class="caption">PLATE 152</div>
+<a href="images/plt_152_lg.jpg">
+<img src="images/plt_152_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. ALEXANDER AND HIS DOCTOR PHILIP</p>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ALEXANDER THE GREAT</span>
+<a name="plt_153" id="plt_153"></a>
+<div class="caption">PLATE 153</div>
+<a href="images/plt_153_lg.jpg">
+<img src="images/plt_153_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. BATTLE OF ISSUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF ALEXANDER THE GREAT</p>
+
+<a name="plt_154" id="plt_154"></a>
+<div class="caption">PLATE 154</div>
+<a href="images/plt_154_lg.jpg">
+<img src="images/plt_154_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. THE SIEGE OF TYRE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ALEXANDER THE GREAT</span>
+<a name="plt_155" id="plt_155"></a>
+<div class="caption">PLATE 155</div>
+<a href="images/plt_155_lg.jpg">
+<img src="images/plt_155_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. ALEXANDER IN CARMONIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ALEXANDER THE GREAT</span>
+<a name="plt_156" id="plt_156"></a>
+<div class="caption">PLATE 156</div>
+<a href="images/plt_156_lg.jpg">
+<img src="images/plt_156_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">5. SURRENDER OF THE KING OF CYPRUS AND PHŒNICIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ALEXANDER THE GREAT</span>
+<a name="plt_157" id="plt_157"></a>
+<div class="caption">PLATE 157</div>
+<a href="images/plt_157_lg.jpg">
+<img src="images/plt_157_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">6. ALEXANDER IN ASIA MINOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_158" id="plt_158"></a>
+<div class="caption">PLATE 158</div>
+<a href="images/plt_158_lg.jpg">
+<img src="images/plt_158_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE TRIUMPH OF LOVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_159" id="plt_159"></a>
+<div class="caption">PLATE 159</div>
+<a href="images/plt_159_lg.jpg">
+<img src="images/plt_159_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE TRIUMPH OF DEATH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_160" id="plt_160"></a>
+<div class="caption">PLATE 160</div>
+<a href="images/plt_160_lg.jpg">
+<img src="images/plt_160_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE TRIUMPH OF CHASTITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF TELEMACHUS</p>
+
+<a name="plt_161" id="plt_161"></a>
+<div class="caption">PLATE 161</div>
+<a href="images/plt_161_lg.jpg">
+<img src="images/plt_161_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. YOUNG TELEMACHUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF TELEMACHUS</span>
+<a name="plt_162" id="plt_162"></a>
+<div class="caption">PLATE 162</div>
+<a href="images/plt_162_lg.jpg">
+<img src="images/plt_162_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. NEPTUNE WRECKING ULYSSES’ SHIP</p>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ST. PAUL</span>
+<a name="plt_163" id="plt_163"></a>
+<div class="caption">PLATE 163</div>
+<a href="images/plt_163_lg.jpg">
+<img src="images/plt_163_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. ST. PAUL IN THE TEMPLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ST. PAUL</span>
+<a name="plt_164" id="plt_164"></a>
+<div class="caption">PLATE 164</div>
+<a href="images/plt_164_lg.jpg">
+<img src="images/plt_164_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. ST. PAUL BEFORE AGRIPPA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ST. PAUL</span>
+<a name="plt_165" id="plt_165"></a>
+<div class="caption">PLATE 165</div>
+<a href="images/plt_165_lg.jpg">
+<img src="images/plt_165_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">ST. PAUL EXECUTED AT ROME</p>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">TEMPTATIONS OF ST. ANTHONY</span>
+<a name="plt_166" id="plt_166"></a>
+<div class="caption">PLATE 166</div>
+<a href="images/plt_166_lg.jpg">
+<img src="images/plt_166_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. DEPARTURE OF ST. ANTHONY FOR THE RETREAT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">TEMPTATIONS OF ST. ANTHONY</span>
+<a name="plt_167" id="plt_167"></a>
+<div class="caption">PLATE 167</div>
+<a href="images/plt_167_lg.jpg">
+<img src="images/plt_167_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. ST. ANTHONY TEMPTED BY THE DEVIL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">TEMPTATIONS OF ST. ANTHONY</span>
+<a name="plt_168" id="plt_168"></a>
+<div class="caption">PLATE 168</div>
+<a href="images/plt_168_lg.jpg">
+<img src="images/plt_168_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PARADISE, PURGATORY AND HELL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE EMPEROR OCTAVIUS</span>
+<a name="plt_169" id="plt_169"></a>
+<div class="caption">PLATE 169</div>
+<a href="images/plt_169_lg.jpg">
+<img src="images/plt_169_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. JULIUS CÆSAR ADOPTS OCTAVIUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THE EMPEROR OCTAVIUS</span>
+<a name="plt_170" id="plt_170"></a>
+<div class="caption">PLATE 170</div>
+<a href="images/plt_170_lg.jpg">
+<img src="images/plt_170_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. BATTLE OF PHILIPPI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF THE EMPEROR OCTAVIUS</p>
+
+<a name="plt_171" id="plt_171"></a>
+<div class="caption">PLATE 171</div>
+<a href="images/plt_171_lg.jpg">
+<img src="images/plt_171_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. OCTAVIUS CLOSES THE TEMPLE OF WAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF OCTAVIUS</span>
+<a name="plt_172" id="plt_172"></a>
+<div class="caption">PLATE 172</div>
+<a href="images/plt_172_lg.jpg">
+<img src="images/plt_172_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. DEATH OF CLEOPATRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF MOSES</span>
+<a name="plt_173" id="plt_173"></a>
+<div class="caption">PLATE 173</div>
+<a href="images/plt_173_lg.jpg">
+<img src="images/plt_173_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. MOSES AND AARON BEFORE PHAROAH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF MOSES</span>
+<a name="plt_174" id="plt_174"></a>
+<div class="caption">PLATE 174</div>
+<a href="images/plt_174_lg.jpg">
+<img src="images/plt_174_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. GOD CHOOSES MOSES TO DELIVER ISRAEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF MOSES</span>
+<a name="plt_175" id="plt_175"></a>
+<div class="caption">PLATE 175</div>
+<a href="images/plt_175_lg.jpg">
+<img src="images/plt_175_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. MOSES COMES FROM MOUNT SINAI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">BATTLES OF THE ARCHDUKE ALBERT</span>
+<a name="plt_176" id="plt_176"></a>
+<div class="caption">PLATE 176</div>
+<a href="images/plt_176_lg.jpg">
+<img src="images/plt_176_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">SURRENDER OF HULST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">BATTLES OF THE ARCHDUKE ALBERT</span>
+<a name="plt_177" id="plt_177"></a>
+<div class="caption">PLATE 177</div>
+<a href="images/plt_177_lg.jpg">
+<img src="images/plt_177_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. ARDRES IS SURPRISED BY A NIGHT ATTACK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">BATTLES OF THE ARCHDUKE ALBERT</span>
+<a name="plt_178" id="plt_178"></a>
+<div class="caption">PLATE 178</div>
+<a href="images/plt_178_lg.jpg">
+<img src="images/plt_178_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. HULST BESIEGED</p>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">BATTLES OF THE ARCHDUKE ALBERT</span>
+<a name="plt_179" id="plt_179"></a>
+<div class="caption">PLATE 179</div>
+<a href="images/plt_179_lg.jpg">
+<img src="images/plt_179_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. TAKING OF CALAIS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter"><p class="captionc">BATTLES OF THE ARCHDUKE ALBERT</p>
+
+<a name="plt_180" id="plt_180"></a>
+<div class="caption">PLATE 180</div>
+<a href="images/plt_180_lg.jpg">
+<img src="images/plt_180_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">5. THE RETURN OF THE GARRISON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THESEUS</span>
+<a name="plt_181" id="plt_181"></a>
+<div class="caption">PLATE 181</div>
+<a href="images/plt_181_lg.jpg">
+<img src="images/plt_181_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. THESEUS LEAVES FOR CRETE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THESEUS</span>
+<a name="plt_182" id="plt_182"></a>
+<div class="caption">PLATE 182</div>
+<a href="images/plt_182_lg.jpg">
+<img src="images/plt_182_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. THESEUS RECEIVES THE SWORD OF ÆGEUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THESEUS</span>
+<a name="plt_183" id="plt_183"></a>
+<div class="caption">PLATE 183</div>
+<a href="images/plt_183_lg.jpg">
+<img src="images/plt_183_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. ÆGEUS RECOGNISES HIS SON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THESEUS</span>
+<a name="plt_184" id="plt_184"></a>
+<div class="caption">PLATE 184</div>
+<a href="images/plt_184_lg.jpg">
+<img src="images/plt_184_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">4. THESEUS ARMED WITH THE MACE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_185" id="plt_185"></a>
+<div class="caption">PLATE 185</div>
+<a href="images/plt_185_lg.jpg">
+<img src="images/plt_185_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">5. BACCHUS MARRIES ARIADNE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THESEUS</span>
+<a name="plt_186" id="plt_186"></a>
+<div class="caption">PLATE 186</div>
+<a href="images/plt_186_lg.jpg">
+<img src="images/plt_186_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">6. THESEUS RECEIVES THE RING OF MINOS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THESEUS</span>
+<a name="plt_187" id="plt_187"></a>
+<div class="caption">PLATE 187</div>
+<a href="images/plt_187_lg.jpg">
+<img src="images/plt_187_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">7. THESEUS LEADS THE BULL OF MARATHON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF THESEUS</span>
+<a name="plt_188" id="plt_188"></a>
+<div class="caption">PLATE 188</div>
+<a href="images/plt_188_lg.jpg">
+<img src="images/plt_188_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">8. THESEUS AND THE HEAD OF MINOTAURUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_189" id="plt_189"></a>
+<div class="caption">PLATE 189</div>
+<a href="images/plt_189_lg.jpg">
+<img src="images/plt_189_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE FUNERAL OF KING TURNUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_190" id="plt_190"></a>
+<div class="caption">PLATE 190</div>
+<a href="images/plt_190_lg.jpg">
+<img src="images/plt_190_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">DIDO CONTEMPLATES ÆNEAS’ PORTRAIT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF SAMSON</span>
+<a name="plt_191" id="plt_191"></a>
+<div class="caption">PLATE 191</div>
+<a href="images/plt_191_lg.jpg">
+<img src="images/plt_191_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. SAMSON PROPOUNDS HIS RIDDLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF SAMSON</span>
+<a name="plt_192" id="plt_192"></a>
+<div class="caption">PLATE 192</div>
+<a href="images/plt_192_lg.jpg">
+<img src="images/plt_192_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. SAMSON IS BETRAYED BY DELILAH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF NOAH</span>
+<a name="plt_193" id="plt_193"></a>
+<div class="caption">PLATE 193</div>
+<a href="images/plt_193_lg.jpg">
+<img src="images/plt_193_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. NOAH BUILDING THE ARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF NOAH</span>
+<a name="plt_194" id="plt_194"></a>
+<div class="caption">PLATE 194</div>
+<a href="images/plt_194_lg.jpg">
+<img src="images/plt_194_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. NOAH LEAVING THE ARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE WAY OF HONOUR</span>
+<a name="plt_195" id="plt_195"></a>
+<div class="caption">PLATE 195</div>
+<a href="images/plt_195_lg.jpg">
+<img src="images/plt_195_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. GRACE ACCORDS IMMORTAL CROWNS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE WAY OF HONOUR</span>
+<a name="plt_196" id="plt_196"></a>
+<div class="caption">PLATE 196</div>
+<a href="images/plt_196_lg.jpg">
+<img src="images/plt_196_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. VIRTUE ACCORDS HONOURS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">THE WAY OF HONOUR</span>
+<a name="plt_197" id="plt_197"></a>
+<div class="caption">PLATE 197</div>
+<a href="images/plt_197_lg.jpg">
+<img src="images/plt_197_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. MERIT RECEIVES REWARDS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ZENOBIA</span>
+<a name="plt_198" id="plt_198"></a>
+<div class="caption">PLATE 198</div>
+<a href="images/plt_198_lg.jpg">
+<img src="images/plt_198_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. NUPTIAL BANQUET OF ZENOBIA AND ODENAT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ZENOBIA</span>
+<a name="plt_199" id="plt_199"></a>
+<div class="caption">PLATE 199</div>
+<a href="images/plt_199_lg.jpg">
+<img src="images/plt_199_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">2. ZENOBIA IS TAKEN PRISONER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF ZENOBIA</span>
+<a name="plt_200" id="plt_200"></a>
+<div class="caption">PLATE 200</div>
+<a href="images/plt_200_lg.jpg">
+<img src="images/plt_200_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. ZENOBIA LED CAPTIVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DON QUIXOTE</span>
+<a name="plt_201" id="plt_201"></a>
+<div class="caption">PLATE 201</div>
+<a href="images/plt_201_lg.jpg">
+<img src="images/plt_201_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">1. DEPARTURE OF DON QUIXOTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF DON QUIXOTE</p>
+
+<a name="plt_202" id="plt_202"></a>
+<div class="caption">PLATE 202</div>
+<a href="images/plt_202_lg.jpg">
+<img src="images/plt_202_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. DON QUIXOTE AND THE THREE PEASANT WOMEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span>&nbsp; </p>
+
+<div class="figcenter"><span class="captionb">STORY OF DON QUIXOTE</span>
+<a name="plt_203" id="plt_203"></a>
+<div class="caption">PLATE 203</div>
+<a href="images/plt_203_lg.jpg">
+<img src="images/plt_203_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">3. PRINCESS MICOMICONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF DON QUIXOTE</p>
+
+<a name="plt_204" id="plt_204"></a>
+<div class="caption">PLATE 204</div>
+<a href="images/plt_204_lg.jpg">
+<img src="images/plt_204_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">4. DON QUIXOTE IS BEATEN BY THE MERCHANTS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF DON QUIXOTE</p>
+
+<a name="plt_205" id="plt_205"></a>
+<div class="caption">PLATE 205</div>
+<a href="images/plt_205_lg.jpg">
+<img src="images/plt_205_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">5. DON QUIXOTE IS ENCLOSED IN A CAGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF DON QUIXOTE</p>
+
+<a name="plt_206" id="plt_206"></a>
+<div class="caption">PLATE 206</div>
+<a href="images/plt_206_lg.jpg">
+<img src="images/plt_206_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">6. THE MULETEER MEETS DON QUIXOTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF DON QUIXOTE</p>
+
+<a name="plt_207" id="plt_207"></a>
+<div class="caption">PLATE 207</div>
+<a href="images/plt_207_lg.jpg">
+<img src="images/plt_207_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">7. SANCHO MARCHES TO TOBOSO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF DON QUIXOTE</p>
+
+<a name="plt_208" id="plt_208"></a>
+<div class="caption">PLATE 208</div>
+<a href="images/plt_208_lg.jpg">
+<img src="images/plt_208_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">8. REPETITIONS OF PRECEDING PICTURES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF PHAETON</p>
+
+<a name="plt_209" id="plt_209"></a>
+<div class="caption">PLATE 209</div>
+<a href="images/plt_209_lg.jpg">
+<img src="images/plt_209_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">1. PHŒBUS ALLOWS PHAETON TO DRIVE THE CHARIOT OF THE SUN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF PHAETON</p>
+
+<a name="plt_210" id="plt_210"></a>
+<div class="caption">PLATE 210</div>
+<a href="images/plt_210_lg.jpg">
+<img src="images/plt_210_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">2. PHAETON DRIVES THE CHARIOT OF THE SUN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF PHAETON</p>
+
+<a name="plt_211" id="plt_211"></a>
+<div class="caption">PLATE 211</div>
+<a href="images/plt_211_lg.jpg">
+<img src="images/plt_211_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">3. JUPITER CONFOUNDS PHAETON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter"><p class="captionc">STORY OF PHAETON</p>
+
+<a name="plt_212" id="plt_212"></a>
+<div class="caption">PLATE 212</div>
+<a href="images/plt_212_lg.jpg">
+<img src="images/plt_212_sml.jpg"
+alt="[Image unavailable.]" /></a>
+
+<p class="captionc">4. THE BODY OF PHAETON IS RECOVERED</p>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_213" id="plt_213"></a>
+<div class="caption">PLATE 213</div>
+<a href="images/plt_213_lg.jpg">
+<img src="images/plt_213_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">CHASTITY PUTS CUPID TO FLIGHT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_214" id="plt_214"></a>
+<div class="caption">PLATE 214</div>
+<a href="images/plt_214_lg.jpg">
+<img src="images/plt_214_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">RUSTIC SCENES AFTER GOYA AND BAYEU</p>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_215" id="plt_215"></a>
+<div class="caption">PLATE 215</div>
+<a href="images/plt_215_lg.jpg">
+<img src="images/plt_215_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER GOYA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_216" id="plt_216"></a>
+<div class="caption">PLATE 216</div>
+<a href="images/plt_216_lg.jpg">
+<img src="images/plt_216_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">QUARREL IN AN INN. AFTER GOYA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_217" id="plt_217"></a>
+<div class="caption">PLATE 217</div>
+<a href="images/plt_217_lg.jpg">
+<img src="images/plt_217_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_218" id="plt_218"></a>
+<div class="caption">PLATE 218</div>
+<a href="images/plt_218_lg.jpg">
+<img src="images/plt_218_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_219" id="plt_219"></a>
+<div class="caption">PLATE 219</div>
+<a href="images/plt_219_lg.jpg">
+<img src="images/plt_219_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_220" id="plt_220"></a>
+<div class="caption">PLATE 220</div>
+<a href="images/plt_220_lg.jpg">
+<img src="images/plt_220_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">A VILLAGE DANCE AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_221" id="plt_221"></a>
+<div class="caption">PLATE 221</div>
+<a href="images/plt_221_lg.jpg">
+<img src="images/plt_221_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_222" id="plt_222"></a>
+<div class="caption">PLATE 222</div>
+<a href="images/plt_222_lg.jpg">
+<img src="images/plt_222_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">DESCENT FROM THE CROSS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_223" id="plt_223"></a>
+<div class="caption">PLATE 223</div>
+<a href="images/plt_223_lg.jpg">
+<img src="images/plt_223_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">CHRIST ON THE CROSS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_224" id="plt_224"></a>
+<div class="caption">PLATE 224</div>
+<a href="images/plt_224_lg.jpg">
+<img src="images/plt_224_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE CRUCIFIXION. BY VAN DER WEYDEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_225" id="plt_225"></a>
+<div class="caption">PLATE 225</div>
+<a href="images/plt_225_lg.jpg">
+<img src="images/plt_225_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">OUR LORD APPEARING TO THE HOLY WOMEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_226" id="plt_226"></a>
+<div class="caption">PLATE 226</div>
+<a href="images/plt_226_lg.jpg">
+<img src="images/plt_226_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">ST. JEROME IN THE DESERT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_227" id="plt_227"></a>
+<div class="caption">PLATE 227</div>
+<a href="images/plt_227_lg.jpg">
+<img src="images/plt_227_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE ETERNAL FATHER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_228" id="plt_228"></a>
+<div class="caption">PLATE 228</div>
+<a href="images/plt_228_lg.jpg">
+<img src="images/plt_228_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">OUR LORD AND ST. VERONICA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_229" id="plt_229"></a>
+<div class="caption">PLATE 229</div>
+<a href="images/plt_229_lg.jpg">
+<img src="images/plt_229_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">MARY ANOINTING THE FEET OF THE SAVIOUR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_230" id="plt_230"></a>
+<div class="caption">PLATE 230</div>
+<a href="images/plt_230_lg.jpg">
+<img src="images/plt_230_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE CONFUSION OF TONGUES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_231" id="plt_231"></a>
+<div class="caption">PLATE 231</div>
+<a href="images/plt_231_lg.jpg">
+<img src="images/plt_231_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE LAST SUPPER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_232" id="plt_232"></a>
+<div class="caption">PLATE 232</div>
+<a href="images/plt_232_lg.jpg">
+<img src="images/plt_232_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE ADORATION OF THE MAGI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_233" id="plt_233"></a>
+<div class="caption">PLATE 233</div>
+<a href="images/plt_233_lg.jpg">
+<img src="images/plt_233_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">NEOPTOLEMY SACRIFICES POLYZENA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_234" id="plt_234"></a>
+<div class="caption">PLATE 234</div>
+<a href="images/plt_234_lg.jpg">
+<img src="images/plt_234_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">TIME AND TEMPERANCE RESTRAIN CUPID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_235" id="plt_235"></a>
+<div class="caption">PLATE 235</div>
+<a href="images/plt_235_lg.jpg">
+<img src="images/plt_235_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">ULYSSES ACCEPTS THE PRESENTS OF ALCINOUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_236" id="plt_236"></a>
+<div class="caption">PLATE 236</div>
+<a href="images/plt_236_lg.jpg">
+<img src="images/plt_236_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PENELOPE RECOGNISES ULYSSES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_237" id="plt_237"></a>
+<div class="caption">PLATE 237</div>
+<a href="images/plt_237_lg.jpg">
+<img src="images/plt_237_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">COURTIERS PRESENTING THEMSELVES BEFORE A KING</p>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_238" id="plt_238"></a>
+<div class="caption">PLATE 238</div>
+<a href="images/plt_238_lg.jpg">
+<img src="images/plt_238_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">CHILDREN PLAYING. 16TH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_239" id="plt_239"></a>
+<div class="caption">PLATE 239</div>
+<a href="images/plt_239_lg.jpg">
+<img src="images/plt_239_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE DEATH OF CLEOPATRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_240" id="plt_240"></a>
+<div class="caption">PLATE 240</div>
+<a href="images/plt_240_lg.jpg">
+<img src="images/plt_240_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PORTRAIT OF A WOMAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_241" id="plt_241"></a>
+<div class="caption">PLATE 241</div>
+<a href="images/plt_241_lg.jpg">
+<img src="images/plt_241_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">CALCHAS AND AGAMEMNON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_242" id="plt_242"></a>
+<div class="caption">PLATE 242</div>
+<a href="images/plt_242_lg.jpg">
+<img src="images/plt_242_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">A GROVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_243" id="plt_243"></a>
+<div class="caption">PLATE 243</div>
+<a href="images/plt_243_lg.jpg">
+<img src="images/plt_243_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">ON THE BANKS OF A RIVER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_244" id="plt_244"></a>
+<div class="caption">PLATE 244</div>
+<a href="images/plt_244_lg.jpg">
+<img src="images/plt_244_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PRINCE BALTAZAR CARLOS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_245" id="plt_245"></a>
+<div class="caption">PLATE 245</div>
+<a href="images/plt_245_lg.jpg">
+<img src="images/plt_245_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">ALLEGORY OF THE TIBER AND ROME</p>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_246" id="plt_246"></a>
+<div class="caption">PLATE 246</div>
+<a href="images/plt_246_lg.jpg">
+<img src="images/plt_246_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">IMPERIAL FUNERAL BED OF STATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_247" id="plt_247"></a>
+<div class="caption">PLATE 247</div>
+<a href="images/plt_247_lg.jpg">
+<img src="images/plt_247_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">ROYAL ARMS OF PHILIP V</p>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_248" id="plt_248"></a>
+<div class="caption">PLATE 248</div>
+<a href="images/plt_248_lg.jpg">
+<img src="images/plt_248_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_249" id="plt_249"></a>
+<div class="caption">PLATE 249</div>
+<a href="images/plt_249_lg.jpg">
+<img src="images/plt_249_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">A FRIEZE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_250" id="plt_250"></a>
+<div class="caption">PLATE 250</div>
+<a href="images/plt_250_lg.jpg">
+<img src="images/plt_250_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">BORDERS OF TAPESTRIES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_251" id="plt_251"></a>
+<div class="caption">PLATE 251</div>
+<a href="images/plt_251_lg.jpg">
+<img src="images/plt_251_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE PASSION OF OUR LORD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_252" id="plt_252"></a>
+<div class="caption">PLATE 252</div>
+<a href="images/plt_252_lg.jpg">
+<img src="images/plt_252_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">DEATH OF ABSALOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_253" id="plt_253"></a>
+<div class="caption">PLATE 253</div>
+<a href="images/plt_253_lg.jpg">
+<img src="images/plt_253_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE BIRTH OF CHRIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_254" id="plt_254"></a>
+<div class="caption">PLATE 254</div>
+<a href="images/plt_254_lg.jpg">
+<img src="images/plt_254_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">DESCENT FROM THE CROSS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_255" id="plt_255"></a>
+<div class="caption">PLATE 255</div>
+<a href="images/plt_255_lg.jpg">
+<img src="images/plt_255_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">ST. GREGORY’S MASS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_256" id="plt_256"></a>
+<div class="caption">PLATE 256</div>
+<a href="images/plt_256_lg.jpg">
+<img src="images/plt_256_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">TRIUMPH OF JOSEPH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_257" id="plt_257"></a>
+<div class="caption">PLATE 257</div>
+<a href="images/plt_257_lg.jpg">
+<img src="images/plt_257_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">KING CHARLES III</p>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_258" id="plt_258"></a>
+<div class="caption">PLATE 258</div>
+<a href="images/plt_258_lg.jpg">
+<img src="images/plt_258_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">QUEEN AMELIA OF SAXONY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_259" id="plt_259"></a>
+<div class="caption">PLATE 259</div>
+<a href="images/plt_259_lg.jpg">
+<img src="images/plt_259_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">MYTHOLOGICAL SUBJECT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_260" id="plt_260"></a>
+<div class="caption">PLATE 260</div>
+<a href="images/plt_260_lg.jpg">
+<img src="images/plt_260_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">AFTER THE VICTORY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_261" id="plt_261"></a>
+<div class="caption">PLATE 261</div>
+<a href="images/plt_261_lg.jpg">
+<img src="images/plt_261_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE TEMPLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_262" id="plt_262"></a>
+<div class="caption">PLATE 262</div>
+<a href="images/plt_262_lg.jpg">
+<img src="images/plt_262_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE COLONNADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_263" id="plt_263"></a>
+<div class="caption">PLATE 263</div>
+<a href="images/plt_263_lg.jpg">
+<img src="images/plt_263_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">THE PALACE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_264" id="plt_264"></a>
+<div class="caption">PLATE 264</div>
+<a href="images/plt_264_lg.jpg">
+<img src="images/plt_264_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">FRAGMENTS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_265" id="plt_265"></a>
+<div class="caption">PLATE 265</div>
+<a href="images/plt_265_lg.jpg">
+<img src="images/plt_265_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_266" id="plt_266"></a>
+<div class="caption">PLATE 266</div>
+<a href="images/plt_266_lg.jpg">
+<img src="images/plt_266_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER ANDRES DE AGUIRRE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_267" id="plt_267"></a>
+<div class="caption">PLATE 267</div>
+<a href="images/plt_267_lg.jpg">
+<img src="images/plt_267_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_268" id="plt_268"></a>
+<div class="caption">PLATE 268</div>
+<a href="images/plt_268_lg.jpg">
+<img src="images/plt_268_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">FRAGMENTS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_269" id="plt_269"></a>
+<div class="caption">PLATE 269</div>
+<a href="images/plt_269_lg.jpg">
+<img src="images/plt_269_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">FRAGMENTS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_270" id="plt_270"></a>
+<div class="caption">PLATE 270</div>
+<a href="images/plt_270_lg.jpg">
+<img src="images/plt_270_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_271" id="plt_271"></a>
+<div class="caption">PLATE 271</div>
+<a href="images/plt_271_lg.jpg">
+<img src="images/plt_271_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">FRAGMENTS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_272" id="plt_272"></a>
+<div class="caption">PLATE 272</div>
+<a href="images/plt_272_lg.jpg">
+<img src="images/plt_272_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">FRAGMENTS AFTER TENIERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_273" id="plt_273"></a>
+<div class="caption">PLATE 273</div>
+<a href="images/plt_273_lg.jpg">
+<img src="images/plt_273_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">CHILDREN PLAYING. AFTER GOYA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_274" id="plt_274"></a>
+<div class="caption">PLATE 274</div>
+<a href="images/plt_274_lg.jpg">
+<img src="images/plt_274_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER GOYA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_275" id="plt_275"></a>
+<div class="caption">PLATE 275</div>
+<a href="images/plt_275_lg.jpg">
+<img src="images/plt_275_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER GOYA AND BAYEU</p>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_276" id="plt_276"></a>
+<div class="caption">PLATE 276</div>
+<a href="images/plt_276_lg.jpg">
+<img src="images/plt_276_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">PANELS AFTER GOYA AND BAYEU</p>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter">
+<a name="plt_277" id="plt_277"></a>
+<div class="caption">PLATE 277</div>
+<a href="images/plt_277_lg.jpg">
+<img src="images/plt_277_sml.jpg"
+alt="[Image unavailable.]" /></a>
+<p class="captionc">CORIOLANUS AND HIS MOTHER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<hr />
+
+<p class="cig">HISTORIC PARIS</p>
+
+<div class="blockquot"><p>By <span class="smcap">Jetta S. Wolff</span>, author of “The Story of the Paris Churches.”
+Illustrated. Crown 8vo. 10s. 6d. net. </p></div>
+
+<p>In this most attractive volume we have the ideal guide-book, for,
+besides fulfilling all the functions of a guide, Miss Wolff has a fine
+literary style and considerable historical knowledge, as well as a very
+intimate knowledge of all the historical sites and buildings of Paris.
+Her interesting text is pleasantly aided by numerous drawings in line.</p>
+
+<p class="cig">WHAT PICTURES TO SEE IN EUROPE</p>
+
+<div class="blockquot"><p>By <span class="smcap">Lorinda M. Bryant</span>. With numerous Illustrations. Crown 8vo. 7s.
+6d. net. </p></div>
+
+<p class="cig">WHAT SCULPTURE TO SEE IN EUROPE</p>
+
+<div class="blockquot"><p>By <span class="smcap">Lorinda M. Bryant</span>, author of “American Pictures and their
+Painters.” With numerous Illustrations. Crown 8vo. 7s. 6d. net. </p></div>
+
+<p>These books have found so wide a circle of readers in America that it
+has been thought advisable to issue on this side editions which have
+been enlarged and brought up to date for the convenience of the
+thousands of tourists who, now that foreign travel is permitted, will
+find the need of a comprehensive and adequate guide to the art treasures
+of Europe. The “stay-at-home,” no less than the tourist, will find
+entertainment and information within its pages.</p>
+
+<p class="cig">MACEDONIA: A Plea for the Primitive</p>
+
+<div class="blockquot"><p>By <span class="smcap">A. Goff</span> and <span class="smcap">Dr. Hugh A. Fawcett</span>. With Drawings in colour, pencil
+and line. Demy 8vo. £1 1s. net. </p></div>
+
+<p><i>Times.</i>&mdash;“A pleasant surprise&mdash;it will bring pleasure to the reader
+delighted at last to find a work which leaves soldier-work and policies
+on one side and devotes itself to the discussion of what is nice in
+Macedonia instead of labouring to expose once again that which is
+nasty.”</p>
+
+<p class="c">JOHN LANE, <span class="smcap">The Bodley Head, Vigo St.</span>, W.1<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span> “<i>The most thrilling volume
+of the year.</i>”&mdash;<span class="smcap">Daily Mail.</span></p>
+
+<p class="cig">SOME EXPERIENCES OF A NEW GUINEA RESIDENT MAGISTRATE</p>
+
+<div class="blockquot"><p>By Captain <span class="smcap">C. A. W. Monckton</span>, F.R.G.S., F.Z.S., F.R.A.I. With
+numerous Illustrations. Fourth Edition. Demy 8vo. £1 1s. net. </p></div>
+
+<p>Robert Lynd in the <i>Daily News</i>.&mdash;“Captain Monckton has a lively pen. He
+has enjoyed his life among savages ... and his book is written with the
+zest of a schoolboy ... a frank and cheerful book.”</p>
+
+<p><i>Times Literary Supplement.</i>&mdash;“Mr. Monckton has written a boys’ book for
+men. In it something happens on every page.... It is a long book, though
+not a page too long.”</p>
+
+<p><i>Daily Mail.</i>&mdash;“A book of entrancing interest for boys and their
+fathers. It is a plain and a true one, and is stranger than fiction. The
+most remarkable book of travel and exploration since Stanley’s ‘Darkest
+Africa.’”</p>
+
+<p class="cig">UNCONDUCTED WANDERERS</p>
+
+<div class="blockquot"><p>By <span class="smcap">Rosita Forbes</span>. With over 70 Illustrations from photographs by
+the Author and others. Demy 8vo. 12s. 6d. net. </p></div>
+
+<p>“Unconducted Wanderers” is a very amusing travel book of the best sort.
+After a spell of war work the author and a woman friend went to America,
+and thence to the South Seas, to Java, the Malay States, Siam, Cambodia,
+China and Korea. The book is extremely lively in tone and fresh in
+feeling, and the observations and experiences of the travellers,
+particularly in China during the Rebellion, are of quite unusual
+interest.</p>
+
+<p><i>Evening Standard.</i>&mdash;“Those in search of the perfect companion for a
+lazy afternoon in a hammock will find their wants admirably supplied by
+‘Unconducted Wanderers.’ Their Adventures are retailed with an unfailing
+humorous touch, and the scenery and occupants of these far foreign
+strands are painted in descriptive language which is always vivid, and
+at times beautiful.”</p>
+
+<p class="c"><span class="smcap">JOHN LANE, The Bodley Head, Vigo St.,</span> W. 1
+<span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
+
+<p class="cig">TOPEE AND TURBAN, or Here and There, in India</p>
+
+<div class="blockquot"><p>By Lieut.-Colonel <span class="smcap">H. A. Newell</span>, I.A., With Illustrations from
+photographs. Demy 8vo. £1 1s. net. </p></div>
+
+<p><i>Daily News.</i>&mdash;“An excellent book.... Colonel Newell has a quick eye for
+things seen, and a happy interest in history that makes the book
+something more than a motorist’s guide-book.... Fully illustrated with
+photographs of great interest and variety.”</p>
+
+<p><i>Daily Mail.</i>&mdash;“Everyone ought to know more about India, and a pleasant
+way of informing oneself is offered by Colonel Newell’s ‘Topee and
+Turban in India.’”</p>
+
+<p><i>Times.</i>-“A record of several motor trips in India, abundantly
+illustrated, and discursive to just the appropriate length.”</p>
+
+<p><i>Westminster Gazette.</i>&mdash;“In this book Colonel Newell shows that he has
+been a close student and observer of many things in India and Indian
+life.”</p>
+
+<p class="cig">JAPANESE IMPRESSIONS</p>
+
+<div class="blockquot"><p>By <span class="smcap">Paul Louis Couchoud</span>. Translated from the French “Sages et Poètes
+d’Asie,” by <span class="smcap">Frances Rumsey</span>, with a specially written Preface by
+<span class="smcap">Anatole France</span>. Demy 8vo. 7s. 6d. net. </p></div>
+
+<p>This book consists of the impressions of Japan of a keen observer, a
+scholar, and a remarkable master of language. “The charm of M.
+Couchoud,” says Monsieur Anatole France, “lies in that rare power to
+evoke ancient or distant facts which is the faculty of a Renan and a
+Ferrero, and which touches history with the interest of a living
+spectacle.” The book contains a long and highly characteristic
+introduction by Monsieur Anatole France, which has never been printed in
+French.</p>
+
+<p class="cig">ART AND I</p>
+
+<p class="cig">By <span class="smcap">C. Lewis Hind</span>. Crown 8vo. 10s. 6d. net.</p>
+
+<p class="c"><span class="smcap">JOHN LANE, The Bodley Head, VIGO ST., W. 1<span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></span></p>
+
+<p class="cig">A DWELLER IN MESOPOTAMIA</p>
+
+<div class="blockquot"><p>By <span class="smcap">Donald Maxwell</span>, author of “The Last Crusade,” etc. With numerous
+Illustrations by the Author in colour, half-tone, and line. Crown
+4to. £1 5s. net. </p></div>
+
+<p><i>Morning Post.</i>&mdash;“The sketches are particularly attractive, both in
+subject and expression, and all are faithfully reproduced.... Altogether
+this is a delightful volume, chastely bound in green and brown-toned
+linen.”</p>
+
+<p><i>Evening Standard.</i>&mdash;“A delightful sketch book.... His adventures are
+told in breezy, unofficial style.”</p>
+
+<p><i>Observer.</i>&mdash;“Mr. Maxwell’s receptive eye and delicate hand.”</p>
+
+<p><i>Outlook.</i>&mdash;“His illustrations are eloquent of the fascinations of the
+ancient East ... makes interesting reading.”</p>
+
+<p><i>Daily Telegraph.</i>&mdash;“Mr. Donald Maxwell’s previous book, ‘The Last
+Crusade,’ was a happy mixture of art and literature dealing with
+Palestine, and his new volume, ‘A Dweller in Mesopotamia,’ is, we think,
+even a happier combination, for while the art is as true and as
+excellent as ever, the descriptions of the people he met and the
+adventures he experienced are more vivid, varied, and entertaining....
+The book will be treasured by those who value good artistic work and
+racy description.”</p>
+
+<p class="cig">A PAINTER IN PALESTINE</p>
+
+<div class="blockquot"><p>Being a story of an impromptu pilgrimage through the Holy Land with
+Bible and Sketch Book. By <span class="smcap">Donald Maxwell</span>, author of “Adventures
+with a Sketch-Book,” etc. With an Introduction by the Dean of
+Rochester. Illustrated by the Author. Crown 8vo. 5s. net. </p></div>
+
+<p class="c"><span class="smcap">John Lane, The Bodley Head, Vigo St., W. 1</span></p>
+
+<div class="figcenter">
+<img src="images/back.jpg" width="327" height="500" alt="" />
+</div>
+
+<hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Spanish Royal Tapestries, by Albert F. Calvert
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE SPANISH ROYAL TAPESTRIES ***
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+</body>
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