pestry
production. The series was woven for Charles I when he was Prince of
Wales, from cartoons by Francis Cleyn, and woven by the master, Philip
de Maecht. The borders are especially interesting, and carry the
emblematic three feathers of the prince, as well as his monogram, in
Mrs. von Zedlitz's example, _The Expulsion of Vulcan_. (Coloured plate
facing page 170.)

It was this same series of _Vulcan_ that was used as a text by Crane's
enemy to prove to the king, in 1630, that Crane was profiting unduly
and dishonestly from the land grants given him in payment for arrears.
The plaintiff speaks of this set as being "the foundation of all good
tapestries in England." We are fortunate in having pieces from it in
America.

Only by actual contact with the tapestry itself can the beauty of the
colour and the work be known. We well believe the superior quality of
the English wool when it lies before us in smooth expanse of subtle
colour. And as for even weaving, it is there unsurpassed. Every inch
declares the talent and patience of the craftsman. As for colour, it
is on a low scale that makes blues seem like remembrance of the sea,
and reds like faint flushings planned in warm contrast, while over all
is thrown a veil of delicate mist that may be of years, or may have
been done with intent, but is there to give poetic value to the whole
of the artist's scheme.

[Illustration: THE EXPULSION OF VULCAN FROM OLYMPUS]

Sir Francis Crane died in 1636, and Captain Richard Crane succeeded
him. And then began the decline of a factory which should have lived
to save us deep regret. This second Crane could not carry on the work,
and besought the king to relieve him by taking over the factory, which
was thenceforth known as King's Works.

But civil wars came on in 1642 and other matters were more urgent than
the production of works of art. So evil days fell upon the weavers.

Then came the black day when Charles was beheaded. The Commonwealth,
to do it justice, tried to keep alive the industry. They put at its
head a nobleman, Sir Gilbert Pickering, and, to inspire the workers,
brought a new model for design.

They went to Hampton Court and took from there _The Triumph of Caesar_,
by Mantegna, to serve as new models. Some hope, too, lay in the
weavers of the hour, clever Hollanders taken prisoners in the war; and
all this while Cleyn directed.

But there were too many circumstances in the way, too many hard knocks
of fate.