ers had won a fame that thrills
even at this distance. Unfortunately, a great client was considered as
important as a weaver, and it was often his arbitrary sign that was
woven. And sometimes a dealer, wishing glory through his dealings,
ordered his sign in the galloon. And thus comes a long array of signs
which are not identifiable always. In general, one or two initials
were introduced into these symbols, which were fanciful designs that
any idle pencil might draw, but in the lapse of years it is not
possible to know which able weaver or what great purveyor to royalty
the letter A or B or C may have signified.

Happily the light of Wilhelm de Pannemaker could not be hid even by
piling centuries upon it. His works were of such a nature that, like
those of Van Aelst, who had no mark, they would always be known for
their historic association. In illustration, there is his set of the
_Conquest of Tunis_ (plate facing page 62), woven under circumstances
of interest. Even without a mark, it would still be known that the
master weaver of Brussels (whom all acknowledged Pannemaker to be) set
up his looms, so many that it must have seemed to the folk of Granada
that a new industry had come to live among them. And it is a matter of
Spanish history that the great Emperor Charles V carried in his train
the court artist, Van Orley, that his exploits be pictured for the
gratification of himself and posterity.

But Wilhelm de Pannemaker lived and worked in the time of marks, so
his tapestries bear his sign in addition to the Brussels mark. Of
symbols he had as many as nine or ten, but all of the same general
character, taking as their main motive the W and the P of his name.

[Illustration: WILHELM DE PANNEMAKER]

Incorporated into his sign, as into many others of the period, was a
mark resembling a figure 4. Tradition has it that when this four was
reversed, the tapestry was not for a private client, but for a dealer.
One set of the _Vertumnus and Pomona_ at Madrid (plates facing pages
72, 73, 74, 75) bears De Pannemaker's mark, while others have a
conglomerate pencilling.

The sign of Jacques Geubels is, like W. de Pannemaker's, made up of
his initials combined with fantastic lines which doubtless were full
of meaning to their inventor, little as they convey to us. The example
of Jacques Geubels' weaving given in the plate is from the Chicago
Institute of Art. His time was late Sixteenth Century.

The _Acts of the Apostle