_In the second_ (_No._ 27) _Thomyris has the head of Cyrus offered as a human sacrifice_. _An attendant is placing the head in a gold basin and soldiers standing about draw back in horror. In the background a battle wages._ [Sidenote: Illustrated: _Hauser y Menet, Los Tapices de la Corona de España_, vol. 2, pls. 119, 121.] These two pieces, showing the moment of greatest triumph and the ultimate defeat of Cyrus, the great world conqueror, are from a famous set that has been woven several times. One of these sets, belonging to the royal family of France, was used in the funeral service of Francis II. Another group from the series is in the Royal Spanish Collection. The only set known with a weaver's signature bears the mark of Nicolas Leyniers, and it is entirely probable that all of the examples, including these two, are from those looms. [Sidenote: Lent by _Mr. & Mrs. Daniel C. Jackling_.] They are very fine examples of a type of design perfected in the first half of the XVIth century in Brussels. The fullness of details in the background serves to keep the textile rich and interesting and to throw into sharp silhouette the dominant figures. The intricate and decorative borders that are used on these pieces well illustrate one of the most important contributions of the Renaissance to tapestry design. [Sidenote: 28] BRUSSELS, XVI CENTURY [Sidenote: _Wool and Silk._ H. 8 _ft._ 10 _in._ W. 7 _ft._ 2 _in._ ] THE PENTECOST: _The Apostles and the members of the Early Church are gathered together. The tongues of fire descend upon them, and the Holy Ghost appears like a dove between the figures of God and Jesus revealed above. A wide border of scroll with inset medallions of biblical scenes. In the upper border a papal coat of arms._ [Sidenote: Lent by _William Baumgarten & Company_.] Renaissance tapestries in so intimate a scale that yet are not miniature occur rather seldom. The piece has great clarity and brilliance and carries forcefully the religious feeling of the episode. In the selvage the Brussels city mark and the weaver's initials, C. S. The mark is unidentified. [Sidenote: 29] BRUSSELS, XVI CENTURY [Sidenote: _Wool and Silk._ H. 6 _ft._ 9 _in._ W. 13 _ft._ 8 _in._ ] JUDITH DEPARTS FOR THE ENEMY'S CAMP: _Judith accompanied by her maid takes leave of her mother. Attendants await to lead her away and a slave awaits in the background holding two camels. Wide border of fruits and flowers._ [Sidenote: Lent by _William Baumgarten & Company_.] This is one of a very famous set of the _Story of Judith and Holofernes_, examples of which are in a number of famous collections. The tapestry bears on the selvage the Brussels city mark and the weaver's monogram, N. X. The mark is unidentified. This piece is a strong example of a set that combines characteristic Renaissance stateliness with a less customary direct charm. [Sidenote: 30] BRUSSELS, MIDDLE XVI CENTURY [Sidenote: