_Tapestry No. 4._ Romulus proclaims a fête to Neptune, to attract young girls from neighbouring districts. _Tapestry No. 5._ The rape of the Sabine women. Hersilia is presented to Romulus. The Sabine parents retire disconsolate. _Tapestry No. 6._ Romulus gives laws to the people. He establishes the twelve lictors, summons the Senate, and builds a temple. GROUP II. _The Conquest of Tunis_ (12 Tapestries) This series of tapestries, besides being of peculiar historical importance, is one of the very finest examples of the perfected Gothic-Renaissance school, and is worth noticing in much fuller detail than any others of the collection. Designed by Jan Vermay, or Vermeyen, and woven by Wilhelm Pannemaker, it was directly inspired by Charles himself, who determined to leave to posterity this magnificent record of an expedition of the success of which he can have felt no doubt. Vermeyen was commanded to accompany the Emperor, so that on the actual battlefield he might reproduce in pencil the stirring scenes that passed before his eyes. Detailed instructions were given to the artist as to the manner in which his cartoons were to be designed. He bound himself to submit small sketches for Charles’ approval, to carry out any alterations and suggestions made by his patron, and finally to reproduce them “in the best and most vivid colours,” in the size that was required for the actual tapestries. The Emperor agreed to pay for them the sum of 1800 florins, a considerable amount according to the standards of the time. To Wilhelm Pannemaker, the famous Flemish weaver, was entrusted the weaving of the tapestries. Determined that neither poverty of material nor careless workmanship should spoil the precious webs, Charles and his sister Mary of Hungary bound Pannemaker by a stringent contract, wherein the amount and quality of silk, and the number and value of the gold and silver threads were distinctly specified. The gold was to come from Milan, the silk from Granada. The finest wool was also commanded and the richest dyes. In order that the slow process of tapestry weaving might be expedited as much as possible, Pannemaker was to have seven men working at each tapestry. Each piece as it was finished was to be scrutinized by experts, whose corrections Pannemaker bound himself to follow, even if it should necessitate remaking the whole piece. The dyeing of the silk and wool required was specially undertaken in an unusual range of colours. We find a certain Louis Chausset, complaining that he had lost 160 pounds of fine silk that were spoilt while being tinted blue.