"After the Christmas celebrations were over, the Pope exposed in his chapel seven tapestries (the eighth not being finished) executed in the West (in Flanders). They were considered by every one the most beautiful specimens of the weaver's art ever executed. And this in spite of the celebrity attained by other tapestries--those in the antechamber of Pope Julius II, those made for the Marchese of Mantua after the cartoons of Mantegna, and those made for the King of Naples. They were designed by Raphael of Urbino, an excellent painter, who received from the Pope 100 ducats for each cartoon. They contain much gold, silver and silk, and the weaving cost 1,500 ducats apiece--a total of 16,000 ducats ($160,000) for the set--as the Pope himself says, though rumor would put the cost at 20,000 golden ducats." Even this account gives evidence that it was not because of their rarity, but on account of their unique quality that the Sistine tapestries were so much admired. As a matter of fact, most of the ruling court families of Italy ordered tapestries for themselves that have since become famous and most of these were made in France and in the Netherlands. There is absolutely no doubt left now that this is the period when the best tapestries ever made were woven. George Leland Hunter in his "Tapestries, Their Origin, History and Renaissance" [Footnote 12] says that the Golden Age of tapestries was the Gothic Renaissance Transition--the last half of the fifteenth century and the first half of the sixteenth century--the hundred years during which Renaissance tapestries began and Gothic tapestries ceased to be woven, while many of the greatest tapestries were of mixed style like the story of the Virgin at Rheims. There are sets woven at various times during this period which are among the greatest tapestry treasures of the world. The largest of all these sets is the story of St. Rémi in the church of the same name at Rheims--sixteen feet high with a combined width of 165 feet. When exhibited at the Paris Exhibition in 1900, one of them, wrong side out in order to display the richness and solidity of the ancient unfaded colors, attracted the attention of amateurs from all over the world. The story of St. Étienne in nine pieces at the Cluny Museum {110} at Paris was presented to the Cathedral of Auxerre in 1502. [Footnote 12: John Lane Co., New York, 1912. pp. 33.]