During the Spanish occupation of the Netherlands, many tapestries were taken to Spain, where the finest in existence today are to be found. They may be seen in the churches and draping the balconies over the streets of a fête day. King Alfonso owns seven miles of gold and silver thread hangings. But these are only the remnant of what Spanish royalty formerly possessed. Charles V, Philip II, and many others of the ruling house were indefatigable collectors. The famous Conquest of Tunis, in twelve pieces, was woven by Willem de Pannemaker, the most noted of the master-weavers, for Charles V. The cartoons for this set are in the Imperial Museum in Vienna and the tapestries in the royal palace in Madrid. "Many pieces that formerly belonged to the kings of Spain have been destroyed by fire; others have been worn out by long and frequent use. For these tapestries did not remain in a fixed place: they were hung in halls and apartments on festive occasions; they were taken down and rolled up when they had done service; they were used on journeys to furnish the lodgings en route; they were packed with the campaign-baggage to garnish the tents; they decorated the jousting lists and the streets and squares when the sovereigns made their entries." Tapestries can also be found in Russia in palaces and museums, for Peter the Great sent for weavers from Flanders. England, too, was dependent upon the Flemings, for the noted weaver, Philip de Maecht, came from the atelier of Comans and Planche to become head of the works at Mortlake. [Illustration: DIANA TAPESTRY.] In 1376, the Court of Savoy ordered many tapestries from the great manufacturer, Nicolas Bataille, but later factories were opened in Italy. About 1455, Renard de Marncourt, another Flemish weaver, made in Rome for Pope Nicholas V the marvelous set of the Creation of the World. There were also tapestry works at Ferrara with prominent Flemings at their head. Nicholas and Jean Karcher were employed there by Duke Hercules II. Jean Roost, of Brussels, was head of a factory at Florence, in which work was continued for over two hundred years. Cardinal Francisco Barberini, after his visit to France in 1633, when he became interested in the works of Comans and Planche, started another factory in Rome. Nicholas Poussin and Pietro de Cortona supplied designs, the art director was Jean François Romanelli, and the manager Jacopo della Riviera.