These four tapestries were woven by Pierre Pannemaker from the designs of Quintin Metoys at the command of Margaret of Austria. They are good examples of the transition style, and some fine effects of tinting have been obtained by means of hatching (i.e. the use of vertical lines to give thickness to the figures). The influence of Roger Van der Weyden is plain. These tapestries were inherited by Charles V from Margaret of Austria, and have been much used for State functions. _Tapestry No. 1._ Represents the prayer on the Mount of Olives. _Tapestry No. 2._ Meeting between Our Lord and the Virgin on the road to Calvary. _Tapestry No. 3._ The Crucifixion. _Tapestry No. 4._ The Descent from the Cross. GROUP 9. _Vices and Virtues_ (9 Tapestries) These tapestries were probably executed at Brussels in the first half of the sixteenth century. They are woven in silk, gold thread, and wool, cover a surface of 400 square metres, and include a thousand figures. Though much in the style of Bernard van Orley, the absence of the rich Renaissance architecture in which that painter delighted suggests that either Jean Gossaert or Quintin Metoys was more likely the designer. There is no weaver’s mark on the tapestry. A reproduction must have been made in wool and silk, as one piece representing the Punishment of Vice was exhibited in Bruges by the Prince of Aremberg. The series is mentioned in the inventory of Charles V, dated Brussels, 1544, and was alleged to have been purchased in Seville. The excellence of the tapestries is mostly due to the _tapissiers_. The overcrowded canvases, the painfully didactic and tortuous morals, do not rank the designs very high. That labelled “Infamy” gives a key to the complicated moral problem. The beholder is urged in a pompous and wordy harangue to follow reason and the philosophers, so shall no evil befall him. The different pieces represent respectively, Faith, Honour, Renown, Nobility, Fortune, Infancy, Prudence, Vice, and Justice. GROUP 10. _The Foundation of Rome_ (6 Tapestries) A fine example of Flemish tapestry probably executed from cartoons by Bernard van Orley, the pupil of Raphael. The Italian influence is strong, yet the tapestry is hardly pure Renaissance. There is no weaver’s mark, so the series must date prior to 1528. The tapestries are remarkable for their fine landscapes, the magnificence of the buildings, and the elegance of the costumes. The borders are of beautiful design and workmanship. _Tapestry No. 1._ Shows Romulus and Remus thrown into the Tiber. They are suckled by a she-wolf and grow up to be clever hunters and cunning thieves. _Tapestry No. 2._ Remus, taken captive, is presented to Amielius, who is killed by the brothers. Numitor is placed on the throne. _Tapestry No. 3._ The brothers trace out the foundations of Rome with a plough. Romulus becomes king, gives his name to the city, and kills his brother.