Verdures of this type were very much in demand in the Renaissance period. They are typical of the decorative manner of the time and one of its finest inventions. [Sidenote: Lent by _Dikran K. Kelekian_.] The heavy, simple leaves are often too obvious and too readily explored for the best tapestry decoration; but in this piece the beautifully drawn birds provide delicacy and interest of detail. [Sidenote: 34] BRUGES, MIDDLE XVI CENTURY (1556) [Sidenote: _Wool and Silk._ H. 9 _ft._ 1 _in._ W. 8 _ft._ 9 _in._ ] ARMORIAL: _Two amorini support a shield. Above, crossed banners; below, dolphins. Six flags radiate from the shield, each bearing the initial P surmounted by a crown. Border of scrolls and classic figures._ _In cartouches in the side and lower borders the initials F_, _G_, _and X respectively_, _and in the corresponding cartouche of the top border the date_, 1556. _On the right lower selvage is the city mark of Bruges, with the weaver's monogram, A. F._[26] [Sidenote: Lent by _P. W. French & Company_.] This tapestry is very interesting, not only because it is a clear, strong example of a Renaissance heraldic hanging, but because very few pieces of the period can be ascribed definitely to Bruges although it is known that important looms flourished there. The weaver's monogram has not been identified. The coat of arms, which is also unidentified, seems to be Spanish, and judging by the coronet evidently belonged to a family of high station. The amorini are after a follower of Giulio Romano, if not by Romano himself. The relief effect of the design is quite extraordinary. [Sidenote: 35] BRUSSELS, XVI CENTURY (1574) [Sidenote: _Wool, Silk, Gold._ H. with frame, 4 _ft._ W. with frame, 3 _ft._ 9 _in._ ] THE CRUCIFIXION: _Christ and the two thieves on the crosses. In the foreground, right, the Roman soldiers; left, the sorrowing Marys. Floral border._ _Dated in cartouche in the border_, 1574. This is one of a number of small tapestries in silk and gold of religious subjects, most of which have been attributed to Bernard Van Orley, who probably designed this piece also. They are all of them very exact reproductions of paintings, remarkable in weave and very beautiful in color. The type was first woven in the first quarter of the XVIth century, and continued to be produced in very limited numbers until well into the XVIIth century. They were undoubtedly woven only for special orders--probably for private chapels. The piece is a very brilliant example of one of the richest types of tapestry that has ever been woven. [Sidenote: Lent by _P. W. French & Company_.]