For some time the poverty of the Spanish Crown held the industry in check. But by 1720 a family of Spanish weavers from Antwerp, consisting of one Jacques Van der Goten and his four sons, came over on the invitation of Philip V and established an atelier in Madrid, where tapestry was produced on low-warp frames. A few years later high-warp looms were introduced from France, and the industry spread to Seville. Some famous pieces were wrought in Spain at this time. Jacques Van der Goten produced the _Virgin with the Pearl_ from a cartoon by Raphael, while the famous series representing the _Conquest of Tunis_, and the _History of Telemachus_, were reproduced by a well-known weaver called Andrea Procaccini. Cartoons were also designed by Procaccini for a “History of Don Quixote,” which have been constantly reproduced in tapestry. The fashion changed, and for a time the demand was all for Dutch tapestries. Van der Goten set his workmen to copy the cartoons of Solimena Teniers and the other Dutch cartoonists. But at the same time original designs were not neglected, and by the end of the eighteenth century the industry had become quite considerable, employing permanently no less than fifteen workmen. The last of the Van der Goten brothers died in 1786, and the direction of the Santa Barbara atelier passed to a nephew. The culmination of the prosperity of the Spanish _tapissiers_ was marked by the execution of the celebrated Goya tapestries. These cartoons, to the number of forty-five, were designed for the decoration of the apartments of the Prince of Asturias in the Prado. Some of them, however, are to be found on the walls of the Escorial, and many, unhappily, have been lost. Goya brought to his task his own peculiar talents. Hitherto the designers of cartoons had been content to find their inspiration in ancient Bible stories or in the myths of Greece or Rome. They had depicted incidents from the life of Christ and the Virgin Mary; they had painted moralities, virtues, and vices. Goya did none of these things. When he was summoned from Rome to Madrid by Raphael Mengs, then the director of the workrooms of the Spanish capital, he decided to portray in tapestry the actual life of the people around him. In place of the stilted, conventional figures of his predecessors he produced cartoons instinct with life and vivid movement. The enthralling realism of the bull-fight, village fairs and festivals, the romantic loves of Andalusian peasants, the popular excitement of kite-flying--these were the subjects treated by this most realistic of artists.