Among our own tapestries, the Diana set of eight pieces came from the Barberini collection. The cartoons of these were done by du Breuil. This series possesses remarkable decorative qualities and is of great historical importance. The panels were woven in Brussels at the close of the sixteenth or the beginning of the seventeenth century, in the ateliers of Jacques Geubles and Jean Raes, who were among the most famous weavers of their time. The mark of Brussels and Brabant is woven in the bottom galon of every one of the pieces, and the monograms of the authors, that of Raes in the upper part and that of Geubles in the lower part, although it is most unusual to find all the panels signed by the artists collaborating in their production. The original linings of these tapestries bore the stamped monogram of Cardinal Francisco Barberini and also that of Cardinal Antonio Barberini. In MSS. XLVIII of Vol. 141, preserved in the Barberini library, these tapestries are mentioned as having been "presented by the most Christian King Louis XIII of France to Cardinal Barberini, Legate to France, 1625." Cardinal Francisco Barberini, when he visited the Court of France in 1625, went as Legate of his uncle, Pope Urban VIII, to settle upon terms of peace for Europe. These hangings then became part of the collection owned by the princely Barberini of Rome, which in time came to be renowned and was regarded as one of the most splendid in the world. The subjects seem to be allegorical representations of the Loves of Henry of France and Diana of Poictiers, as has been agreed by some of the most important authorities who have studied them, for the faces in the tapestries show a distinct resemblance to portraits of the King and his favourite. Engravings of the heads of Henry and Diana, as can be seen in the Gazette des Beaux Arts, exhibit striking likenesses to those on the woven fabric. In the Gazette there is an illustration which shows the château of Anet, with gardens such as are represented in the tapestries, with a fountain, and Diana standing with the crescent in her hair, her bow in her hand and a quiver at her back, wearing a costume similar in style and character. Montaiglon writes of the château of Anet, that the altars were destroyed and the statues torn from their bases and carried off in pieces, as is suggested in one panel which represents a rushing river sweeping away columns and statues from their foundations. Mythology teaches that the legendary Diana punished mothers who deserted their children, and succoured their offspring, as is again suggested in this same panel of Diana of Poictiers, who did more, history relates, to bring up the children of the King than did the Queen. The beautiful Madame d'Estampes and her coterie did everything in their power to destroy Diana; pasquinades and libelous brochures were levied against her. The dragon in one panel represents jealousy, spite and vindictiveness in its flaming eyes, scaly hide and protruding