It is in a great measure to this fact, as well as to the intense love for, and appreciation of, art which distinguished this period, that we owe the wonderful treasures which have enriched the later world. They belong no longer to princes and prelates, but to governments and museums, and are object lessons to the student and the artisan, and an inheritance for both rich and poor of all mankind. Except in the light of these treasures of art, it would be difficult to understand how far-reaching and comprehensive was the greed of beauty which possessed and distinguished the centers of tapestry production. The museums of the world are made up of what remains of them. The pictures and tapestries, the weavings and embroideries, the carvings and metal work which the world is studying, belonged to the daily life of those past centuries. The stamp of thought and the seal of art were set upon the simplest conveniences of life. The very keys of the locks and hinges of the doors were designed, not by mere workers in metal, but by sculptors and artists who were pre-eminent for genius. It was in the spirit of this period that Benvenuto Cellini modeled saltcellars as well as statues, and his compeers designed carvings and gildings for state carriages, and painted pictures upon the panels. Painters of divine pictures designed cartoons and borders for tapestries, and wreaths and garlands for ceiling pilasters. Among the names of painters who designed cartoons for tapestries, we find those of Leonardo da Vinci, Raphael, Titian, Guido and Giulio Romano, Albert Duerer, Rubens and Van Dyck. Indeed, there is hardly a great name among the painters of the sixteenth and seventeenth centuries which has not contributed to the value of the tapestries dating from those times. Among them all none have a greater share of glory than the series known as "The Acts of the Apostles," designed by Raphael for Pope Leo X, in the year 1515. The history of these cartoons is full of interest. After the weaving of the first set of these tapestries, which was hung in the Sistine Chapel and regarded as among the greatest treasures of the world, the cartoons remained for more than a hundred years in the manufactory at Brussels. During this period one or more sets must have been woven from them, but in 1630 seven were transferred to the Mortlake Tapestry works near London, having been purchased by Charles I, who was advised of their existence by Rubens. The Mortlake tapestry had been established by James I, who was greatly aided by the interest of the then Prince of Wales, and the Duke of Buckingham. It is charming to think of "Baby Charles" and "Steenie" busying themselves with the encouragement of art in the way of the production of tapestry pictures, and after the accession of the Prince, to follow the progress of this taste in the purchase of the famous cartoons, and the employment of no less a genius than Van Dyck in the composition of new and more elaborate borders for them.