This tapestry, the last of a series illustrating the _Passion_ of Our Lord, was designed in the studio of Bernard Van Orley, and may be the work of Van Orley himself, though there were some of his students and followers who in purity of conception and elevation and sensitiveness of feeling were superior at times to the master himself. The weaving, unsurpassable in technical perfection, may be the work of the Pannemaker looms. The quality of the design and weaving and the lavish use of gold all indicate that this series was made for a great church or a noble family. [Sidenote: Formerly in the Collection of the Duc d'Albe.] The weavers at this period had attained complete mastery of the shuttle. This absolute technical control made possible the exact translation into tapestry of the intricate Renaissance patterns. The finish and elegance of the goldsmith's art which characterized so much of Renaissance design is perfectly rendered. However, while the weaving was fitted to the requirements of the Renaissance at this time, it had not yet sacrificed any of its qualities as tapestry. Nor did the designs of Bernard Van Orley force the weavers out of their proper limitations. For though he was Italian trained and saturated with Renaissance influences, he was still close to the technical problems of the weaver's art and he adjusted the new manner in painting to them. So this piece is rich in jewel-like detail that enriches without crowding the whole surface. The drawing of the flowers and the birds is exquisite. The figures also, in spite of their dramatic force, keep the aloof poise that decorative art demands. Finally, by means of a dispersion of substantial tones, the brilliant suffusion of golden light which the Renaissance loved is fully achieved. Such a scene as this is, in short, one of the last great monuments of the perfection of Gothic tapestry, reinspired by the new insights of the Renaissance before the ostentation and mistaken conventions of Raphael misguided the entire art. [Sidenote: Lent by _Mrs. William H. Crocker_.] Nor is it merely a technical triumph. It is the direct expression of a profound religious emotion which shines through the material beauty, elevates it above earthly things, and sets it apart in glory. Easter has scarce had a lovelier celebration. [Sidenote: 76] BRUSSELS, XVI CENTURY [Sidenote: _Wool and Silk._ H. 15 _ft._ W. 19 _ft._ ] THE TRIUMPH OF WISDOM: _Wisdom with her two herons rides in a chariot drawn by mythological beasts. In the upper right are Perseus and Pegasus. Before the chariot are Ahasuerus, Abigail, David, and Saba. Cassandra walks beside, while Titus and his soldiers, Rachel, and Judith with the head of Holofernes bring up the rear. In the upper left Prometheus, in the lower Cadmus, contending with the dragons._