cy what the scene must have been when Pope Leo
X summoned his gorgeous guard and cardinals around him in this chapel
enriched also with the splendour of these unparalleled hangings.

And thus it came that Italy held the first place--almost the only
place--in design, and Brussels led in manufacture.

In 1528 appeared a mark on Brussels' tapestries which distinguished
them from that time on. Prior to that their works, except in certain
authenticated instances, are not always distinguishable from those of
other looms--of which many existed in many towns. The mark alluded to
is the famous one of two large B's on either side of a shield or
scutcheon. This was woven into a plain band on the border, and the
penalty for its misuse was the no small one of the loss of the right
hand--the death of the culprit as a weaver. This mark and its laws
were intended to discourage fraud, to promote perfection and to
conserve a high reputation for weavers as well as for dealers.

CHAPTER VII

RENAISSANCE TO RUBENS

When the Raphael cartoons first came to Brussels the new method was a
little difficult for the tapissier. His hand had been accustomed to
another manner. He had, too, been allowed much liberty in his
translations--if one may so call the art of reproducing a painted
model on the loom. He might change at will the colour of a drapery,
even the position of a figure, and, most interesting fact, he had on
hand a supply of stock figures that he might use at will, making for
himself suitable combination. The figures of Adam and Eve gave a
certain cachet to hangings not entirely secular and these were slipped
in when a space needed filling. There were also certain lovely ladies
who might at one time play the role of attendant at a feast _al
fresco_, at another time a character in an allegory. The weaver's hand
was a little conventional when he began to execute the Raphael
cartoons, but during the three years required for their execution he
lost all restriction and was ready for the freer manner.

[Illustration: VERTUMNUS AND POMONA

First half of Sixteenth Century. Royal Collection of Madrid]

[Illustration: VERTUMNUS AND POMONA

First half of Sixteenth Century. Royal Collection of Madrid]

It must not be supposed the Flemish artists were content to let the
Italians entirely usurp them in the drawing of cartoons. The lovely
refinement of the Bruges school having been thrust aside, the Fleming
tried his hand