THE fifteenth century saw Gothic tapestries carried to their highest point of perfection. Bruges had become a centre of pictorial art next only to Italy. Memling, the Van Eycks, and Bernard Van Orley were giving life, freedom, and originality to the old stilted Gothic forms in painting, and it was to them that the art of tapestry weaving owed its greatest debt.

But to the Flemish weavers themselves no small part of the artistic merit of the Gothic tapestries is to be ascribed. The master-weaver was an artist, not a craftsman. To him the designer left many details of design; he was at liberty to alter cartoons that could not be satisfactorily translated into tapestry, to choose colourings, even to introduce new figures into the picture. In the fifteenth century the tapissiers were still conscientious, refusing to hurry their work to the detriment of its quality. Artist and tapissier alike, now perfect masters of the art, spent their time perfecting the methods that had made the name of Flemish tapestry in the preceding century. The tapestries described in the following pages belong to this period, just before the spirit of the Italian Renaissance completely banished the old native forms of art from the north of Europe. The first cartoons of Raphael were still to come to the Flemish workshops, but already men were talking of the wonders of Italy, and certain signs of transition are strongly marked in the tapestries with which we are dealing. In many the Gothic architecture of the background has given way to Renaissance, and the sky-line has been lowered. Or sometimes while the background remains under the Gothic inspiration, the treatment of the figures, more especially of the robes, shows the Renaissance influence. The chief characteristics that distinguish these tapestries from the earlier Gothic are the greater freedom in the attitudes of the figures, the perfection of detail, and the absence of exaggeration, particularly in the patterns of fabrics and of dress ornaments.

Group 4. The Story of St. John the Baptist

Date and origin uncertain, but evidently belong to the transition period. The figures show the realism and elegance of the Italian painters, while the buildings in the background are Gothic. The tapestries show different episodes in the life of the Saint. The similarity of their exquisitely woven borders suggests that they belong to the same series. They are woven in fine wool, silk, gold, and silver. The subjects are as follows:

(1) Visit of the Holy Virgin to her cousin Elizabeth. Zaccharius recovers his speech.

(2) The child John asks permission to devote himself to God.

(3) St. John, asked by the Pharisee if he is the Christ, replies: “Behold the Lamb of God.”

(4) He baptizes Jesus and many others. End of the reign of the Jews.

Group 5. The Passion of Our Lord (2 Episodes)

These two tapestries, richly woven in gold, silk, and wool, were made by command of Princess Margaret of Austria, the Regent of the Netherlands. These were inherited by her nephew Charles V. They are mentioned in an inventory that Margaret caused to be made in 1525, five years before her death.

The designer of the cartoons is unknown. The background is Gothic, but the figures show Italian influence.

Tapestry No. 1. Christ bearing the Cross on His way to Calvary meets St. Veronica, who receives the sacred imprint on her handkerchief.

Tapestry No. 2. The Descent from the Cross.

Group 6. Moralities (4 Tapestries)

These belong to the end of the fifteenth or the beginning of the sixteenth century, and were inspired by the preaching of the Reformers.

The first three tapestries of the group are the sole remaining pieces from an older series executed during the transition from the older Gothic style to the new style of the Italian Renaissance. Their exact date is unknown. They were bought by the Princess Marie of Portugal as part of her dowry on her marriage with Philip II. They are enriched by gold threads.

The fourth tapestry in this group is the only surviving specimen of another older series.

St. Jerome

Dates from the middle of the sixteenth century. Woven in gold, silk, and wool on high warp. In possession of Philip II of Spain when inventory was made in 1598. The plate represents the penance of St. Jerome.

Group 7. Dais of Emperor Charles V (3 Tapestries)

These tapestries of silk, gold, and wool were made by command of the Regent Margaret of Austria, at Brussels, under the direction of Pierre Pannemaker, the most famous tapissier of the time. The cartoons were probably by the aged painter Quintin Metoys. The tapestries were begun in 1523, and passed to the Emperor on the death of Margaret.

Tapestry No. 1. The bed canopy represents the Eternal Father and the Holy Ghost surrounded by Seraphim.

Tapestry No. 2. The Redemption of mankind from the taint of original sin.

Tapestry No. 3. Formed the lower part of the dais, and depicts St. Luke xxiv. 50, 51.

Group 8. The Passion of Our Lord (4 Tapestries)

These four tapestries were woven by Pierre Pannemaker from the designs of Quintin Metoys at the command of Margaret of Austria. They are good examples of the transition style, and some fine effects of tinting have been obtained by means of hatching (i.e. the use of vertical lines to give thickness to the figures). The influence of Roger Van der Weyden is plain.

These tapestries were inherited by Charles V from Margaret of Austria, and have been much used for State functions.

Tapestry No. 1. Represents the prayer on the Mount of Olives.

Tapestry No. 2. Meeting between Our Lord and the Virgin on the road to Calvary.

Tapestry No. 3. The Crucifixion.

Tapestry No. 4. The Descent from the Cross.

Group 9. Vices and Virtues (9 Tapestries)

These tapestries were probably executed at Brussels in the first half of the sixteenth century. They are woven in silk, gold thread, and wool, cover a surface of 400 square metres, and include a thousand figures.

Though much in the style of Bernard van Orley, the absence of the rich Renaissance architecture in which that painter delighted suggests that either Jean Gossaert or Quintin Metoys was more likely the designer. There is no weaver’s mark on the tapestry. A reproduction must have been made in wool and silk, as one piece representing the Punishment of Vice was exhibited in Bruges by the Prince of Aremberg. The series is mentioned in the inventory of Charles V, dated Brussels, 1544, and was alleged to have been purchased in Seville.

The excellence of the tapestries is mostly due to the tapissiers. The overcrowded canvases, the painfully didactic and tortuous morals, do not rank the designs very high. That labelled “Infamy” gives a key to the complicated moral problem. The beholder is urged in a pompous and wordy harangue to follow reason and the philosophers, so shall no evil befall him. The different pieces represent respectively, Faith, Honour, Renown, Nobility, Fortune, Infancy, Prudence, Vice, and Justice.

Group 10. The Foundation of Rome (6 Tapestries)

A fine example of Flemish tapestry probably executed from cartoons by Bernard van Orley, the pupil of Raphael. The Italian influence is strong, yet the tapestry is hardly pure Renaissance. There is no weaver’s mark, so the series must date prior to 1528. The tapestries are remarkable for their fine landscapes, the magnificence of the buildings, and the elegance of the costumes. The borders are of beautiful design and workmanship.

Tapestry No. 1. Shows Romulus and Remus thrown into the Tiber. They are suckled by a she-wolf and grow up to be clever hunters and cunning thieves.

Tapestry No. 2. Remus, taken captive, is presented to Amielius, who is killed by the brothers. Numitor is placed on the throne.

Tapestry No. 3. The brothers trace out the foundations of Rome with a plough. Romulus becomes king, gives his name to the city, and kills his brother.

Tapestry No. 4. Romulus proclaims a fÊte to Neptune, to attract young girls from neighbouring districts.

Tapestry No. 5. The rape of the Sabine women. Hersilia is presented to Romulus. The Sabine parents retire disconsolate.

Tapestry No. 6. Romulus gives laws to the people. He establishes the twelve lictors, summons the Senate, and builds a temple.

Group II. The Conquest of Tunis (12 Tapestries)

This series of tapestries, besides being of peculiar historical importance, is one of the very finest examples of the perfected Gothic-Renaissance school, and is worth noticing in much fuller detail than any others of the collection. Designed by Jan Vermay, or Vermeyen, and woven by Wilhelm Pannemaker, it was directly inspired by Charles himself, who determined to leave to posterity this magnificent record of an expedition of the success of which he can have felt no doubt. Vermeyen was commanded to accompany the Emperor, so that on the actual battlefield he might reproduce in pencil the stirring scenes that passed before his eyes.

Detailed instructions were given to the artist as to the manner in which his cartoons were to be designed. He bound himself to submit small sketches for Charles’ approval, to carry out any alterations and suggestions made by his patron, and finally to reproduce them “in the best and most vivid colours,” in the size that was required for the actual tapestries. The Emperor agreed to pay for them the sum of 1800 florins, a considerable amount according to the standards of the time.

To Wilhelm Pannemaker, the famous Flemish weaver, was entrusted the weaving of the tapestries. Determined that neither poverty of material nor careless workmanship should spoil the precious webs, Charles and his sister Mary of Hungary bound Pannemaker by a stringent contract, wherein the amount and quality of silk, and the number and value of the gold and silver threads were distinctly specified. The gold was to come from Milan, the silk from Granada. The finest wool was also commanded and the richest dyes. In order that the slow process of tapestry weaving might be expedited as much as possible, Pannemaker was to have seven men working at each tapestry. Each piece as it was finished was to be scrutinized by experts, whose corrections Pannemaker bound himself to follow, even if it should necessitate remaking the whole piece. The dyeing of the silk and wool required was specially undertaken in an unusual range of colours. We find a certain Louis Chausset, complaining that he had lost 160 pounds of fine silk that were spoilt while being tinted blue.

After the last alterations had been made the tapestries were declared definitely to be completed on April 21, 1554. They were sent to England to be exhibited at the wedding of Philip and Mary, and afterwards conducted with the utmost care back to Spain. For some time they were shown constantly at all great Court functions till the Emperor, fearful of the result of such constant wear, ordered a smaller set to be prepared. In 1740 Philip V had another reproduction made of the same size as the originals. Yet another copy exists in the Museum at Vienna. This was made by the Austrians who, when they succeeded the Spaniards, discovered the first ten cartoons and purchased them. Another tapestry was woven by Pannemaker that combined the subjects of Nos. 7 and 8 in this series. This was found by the MarÉchal de Contades in a castle near Mechlin during the Seven Years’ War between France and Germany.

The Expedition Against Tunis

On the death of Mohammed the Hafsite in 1525, Khain-ad-Din Barbarossa took advantage of a dispute over the succession, to occupy Algiers in the name of the Sultan of Constantinople. The wars in Italy gave him the opportunity of consolidating his territories in the north of Africa, where he succeeded in establishing his dominion firmly, making Algiers his capital. At the end of the second Italian war Barbarossa swooped down on a small island in the possession of the Spaniards, and connected it with the mainland. From this stronghold he planned a series of brilliant coups that made him a serious menace to the kingdom of Naples and Sicily. He attacked and overthrew the native Tunisian dynasty under the pretence of restoring the rightful ruler, made himself master of this city as he had done of Algiers, and pushed his successes far into the interior. The menace was not lost upon Charles V. Availing himself of the plea for help urged by Al-Hasan, the son of Mohammed, the Emperor decided upon the conquest of Tunis and set sail from Barcelona on May 30, 1535.

Never was any expedition more popular. The Spanish people swarmed into Barcelona to bid God-speed to the departing fleet. At Cagliari Charles was joined by Doria with a company of German and Italian troops, galleys from Sicily and southern Italy, and a number of Knights Hospitallers enrolled to attack the infidel.

Goletta was selected as the first point of attack, so that the way might be cleared to Tunis. After a desperate siege the fortress fell into Charles’s hands, together with the whole corsair fleet of eighty-two galleys. Still the attack on Tunis seemed fraught with too much danger, and much against his will Charles decided to re-embark. At the last moment, however, bolder counsels prevailed. The army was hastily formed into advance-guard and rear-guard and started on its twelve-mile march to Tunis.

Charles’s army certainly laboured under grave disadvantages. Their guns had all to be dragged by hand; there were provisions for only five days. Between olive groves and the lagoons they moved with a front of but one thousand paces. The groves gave cover to the corsair chief as he moved to outflank the Emperor’s troops. But in appalling heat the Spaniards marched steadily forward. Barbarossa made two desperate attacks, but the Spanish troops stood their ground. The second encounter resulted in total defeat for the Moors and Turks, who recoiled before the deadly fire of the Christians. Turning to re-enter the fortress of Tunis, Barbarossa found it held by the Christian slaves who had risen against him. Tunis was captured, and a heavy blow struck at the power and prestige of the Turk.

A projected attack on Algiers had to be abandoned owing to the advancing season. Bona and Biserta, however, were secured, and these together with Goletta were retained by the Spaniards. Tunis itself Charles restored to its one-time ruler, Al-Hassan, who had joined his army in time for the march to the capital.

The result of this expedition was peculiarly fortunate for Charles. His reputation as a daring and successful soldier was established; Naples and Sicily looked on him as their saviour. All Europe admired the skill with which he had disposed of the natural ally of the French and checkmated Francis before that astute sovereign’s plans of attack had matured.

Jan Vermay, or Vermeyen, the Flemish painter, chosen by Charles to accompany him on his expedition to Tunis, was one of the best-known artists of the first half of the sixteenth century. As Court painter under Margaret of Austria he executed portraits of the Emperor and of every one of importance at the Court, which were sent as gifts to the different sovereigns of Europe. Later he became the special protÉgÉ of Mary of Hungary, and afterwards of Charles himself.

The Tapestries

Each tapestry has an explanatory legend in Spanish at the top, and a supplementary legend in Latin underneath. Translations of these have been made for the first time by the Conde Valencia de Don Juan.

Tapestry No. 1. Shows a map of the shore of the Mediterranean, where Charles embarked his army, and the opposite coasts of Africa. The translation of the upper legend reads: “The Conqueror, wishing to overcome the infidel armies of the Turk and the warrior who, obeying the orders of Soliman, raises cruel wars against the realms of Spain, Charles, the fifth of that name, with the blessing of heaven, gathers together the armies and fleets of Spain and Italy to threaten the African troops. He who knows not the meaning of delay, sails with his loyal companions.” On the right the figure of Vermeyen upholds a chart bearing the following curious inscription: “The conquest of Charles, Emperor of the Romans, the fifth of that name, and first of the kings of Spain, in Africa in 1535 had serious causes that the chronicles of the time recount more fully in their histories. These causes being left on one side, to this work is represented as exactly as possible the course of events.” Since for a clear understanding it is necessary to know the country where the events took place and what preparations had been made, the action is treated in this tapestry according to nature (all that concerns the cosmography leaving nothing to be desired). In the distance the coasts of Africa (like those of Europe and its boundaries) are seen with their chief ports, their broad gulfs, their islands, their winds at exactly the same distances at which they really lie (the author having taken much more care over their precise situation than over the accuracy of the painting). As all has been done—as also with the countries—in strict accordance with cosmography, and the painter has observed the canons of his art, considering that the spectator views it from Barcelona, where the embarkation for Tunis began. This last town lies between the spectator and the Midi, leaving the north behind, above the right shoulder. Accuracy being thus established, the peculiarities of the other tapestries can be better understood.

Tapestry No. 2. The upper legend declares that this piece represents “the arrival of the Emperor at Barcelona with his army: the magnificence of his brilliant body-guard, formed of gentlemen of his household and of his Court, who accompanied him to share the dangers of the campaign: included in his company are the Infante Louis, his half-brother, and many other Portuguese gentlemen who formed part of the troops for the expedition.”

The lower scroll bears the following inscription: “The Conqueror leaves the outskirts of Madrid and the dwelling of his ancestors, and halts in the smiling county of Barcelona. He reviews the army and singles out the noblemen and knights. He vows at the moment of embarkation that in crossing the ocean (leaving behind him the waves of the Balearic and Sardinian Seas) that the fleet can come together in the place commanded. He embarks with him the Germans, the Italian army, and the battalions of Spanish veterans, and lands them on the African coast.”

Tapestry No. 3. According to the upper scroll this tapestry treats of “the arrival of the Emperor and his galleys at old Carthage, and the reconnaissance of Goletta (where several cannon shots were fired). On June 16 the Conqueror disembarks with his body-guard and 12,000 infantry, and takes three positions. He attacks the towers of Water and of Salt; the Spanish arquebusiers, under the order of the Marquis del Vasto, draw on the enemy, who lose several men.”

The lower inscription reads: “Here they enter the port of Utica; ancient Carthage receives them in her ruins. The fleet sails along the coast. Thence the Conqueror goes with a small body-guard to explore Goletta and to spy out its fortifications and situation. After having given the order to the troops to disembark they light-heartedly attack the enemy, who retreat. They pitch the camp beside the walls of what was once Carthage the illustrious, and is to-day a village of poor cottages.” A further inscription in the border reads: “This third piece must be looked at from the place where the fleet is cruising along the coasts from Porto Farina to the head of the promontory of Carthage; the north is to the left side above the right shoulder.”

Tapestry No. 4. The upper inscription explains that “during the landing of the rest of the army several skirmishes take place until the Emperor orders the body of the army to descend into the plain to besiege Goletta.” The Marquis del Vasto sends reinforcements with which they try (without success) to surprise the enemy. The whole army being reunited, the Turks, a few days after, try to gain an advantage from a violent wind which arose, throwing sand with shovels and other instruments to blind their enemies. But the wind suddenly falling, the Turks surrounded by our arquebusiers were obliged to fall back to Goletta.

The Latin inscription at the foot reads: “Charles strikes the camp, and when the army is already on the march the enemy attack the rear-guard and harass their movements. The army faces round, and the enemy nearly surrounded in a dangerous place, retreat. A violent wind arises, raising whirlwinds of sand; our men are blinded by the dust. The enemy, full of craft, appear again, throwing sand at our soldiers, and thus fighting as much with dust as with arms; but when the wind falls they are repulsed.”

The inscription in the right-hand border instructs us to look from the promontory to the camp and stop at the Water Tower, leaving the lagoon on the right-hand and taking the north, on the same side.

Tapestry No. 5. The upper inscription describes “a sortie of Turks from Goletta, and the killing of several Italian soldiers; a new sortie of the Turks killing the Marquis de Final, an Italian colonel: the arrival of Muley Hassan, King of Tunis, with 400 cavalry: the serious skirmish in which the Marquis de Mondejas receives a blow from a lance: the help brought by the Emperor: the flight of the enemy, losing part of their artillery.”

The lower inscription reads: “The Turks make a sortie and repulse the Italian advance-guard, whose leader is made prisoner; they take the tranchÉes, but repulsed by the Spanish, they retire. Finally, counting on the darkness of the night, they attack the Spaniards and force them to abandon their tranchÉes; attacked in their turn, they are forced to retire again. The king Hassan arrives, followed by a small body-guard. The Marquis Louis, wounded, retires from the combat. Charles V arrives with help when the soldiers are already in distress; he repulses the enemy and takes their artillery.”

We are instructed to look at this tapestry “as though we were at the towers of Water and of Salt opposite Goletta, having the sea and the north on the left-hand, and the lagoon on the right.”

Tapestry No. 7. Represents the taking of Goletta: “Twenty thousand Turks charge to take the tower of the promontory of Carthage, defended by 26,000 Spaniards, protected by the Emperor with the Germans and new Spanish troops. On land Goletta fights with 11 cannons; by sea 9 galleys, commanded by the Prince Doria, are supported by the galleon and the carabels of the Portuguese, commanded by the Infante Louis. Goletta is defended by 6000 Turks and 2000 Moors, with more than 400 guns. At the attack, directed from the sea, there are 4000 soldiers of the battalions of Spanish veterans, and in that, directed from the coast of the lagoon, as many Italians and 2000 Germans. At the assault of Goletta, 2000 Turks and Moors are killed, and about 100 of our men, dead or wounded, are put out of action. The fleet commanded by Barbarossa is taken also.”

The Latin text relates that “the garrison defending the Cape finds itself threatened by an attack of the Africans. The Conqueror comes to the rescue and repulses the assailants. Goletta is attacked by land and sea; the enemy fights with arrows. Part of the wall, already undermined, falls where the fight is fiercest. The Spanish troops enter first into the breach; this being taken, they slay or put to flight the defenders, while Charles deals with another section of the enemy.”

This piece is to be regarded “from the lagoon, with Tunis on the left hand, the promontory of Carthage on the right, and the north behind to the right.”

Tapestry No. 8. The original of this tapestry was lost during the eighteenth century, shortly after the reproduction of the Tunis series was undertaken at the command of Philip V. This represented the march against Tunis of the Emperor and his troops, and the victory gained at Los over Barbarossa, where 600 of the enemy were slain.

Tapestry No. 9. The upper inscription of this tapestry reads: “After having scattered the enemy’s army and put to flight the captain, Barbarossa, the Emperor, with his troops, advances on Tunis and occupies the outskirts of the town. The Christians, held captive in the fortress, rise and demand aid from the Marquis de Vasto. The place is taken and the Emperor allows it to be sacked.” The Latin legend adds the following details about the slaves: “Undermining the walls and breaking down the doors, they have, with God’s help, abandoned their prison. Having defeated the garrison they make themselves masters of the citadel and implore help from the avenger, Charles. Haradin flies the town.”

The inscription in the border directs us that “we are looking towards the lagoon, with Tunis in front, Goletta and the north behind.”

Tapestry No. 10. This represents “the sack of Tunis, hostilities against those who offer resistance, and the imprisonment of a great number of the enemy. The Conqueror delivers over the town to the King of Tunis, who remains a vassal of the Emperor.”

The Latin text reads: “The troops sent against the outskirts of the town lay siege to and take them, slaughter the enemy’s army, take the houses and spare the inhabitants; as to the remainder, they use the rights of conquest. More than 20,000 captives recover their liberty and salute, with cries of gratitude, Charles the avenger. The Conqueror re-establishes on the throne of his ancestors the unfortunate Hassan, though he hardly merited this, since he had promised much and performed little.”

Tapestry No. 11. This tapestry shared the fate of No. 8, being lost during the eighteenth century. From the reproduction we find that it represented the return of the army to Rada after the occupation of Tunis, which lasted eight days. “The Emperor orders the Moors to bring back their wives and children, and to bring the clothes taken by the soldiers during the sack. In order to be recognized they are to carry on their heads branches of olive. He also orders them to furnish the Christians with the recovered vessels, so that they may return to their respective countries.”

Tapestry No. 12. According to the upper inscription this deals with “the return of the Emperor from Rada to Goletta: the encamping of the army in the old place: the arrival of the King of Tunis to sign the capitulation forcing him to be a tributary of the Emperor and his successors: Goletta which he wishes to fortify, over which he sets Bernardin de Mendoza as ruler, with 1000 Spaniards: the embarking of the army towards the middle of the month of August: the departure of the Infante Louis with the Portuguese fleet: that of the Marquis de Mondejer: the vessels that accompanied him: departure of Don Alvano de Bazan with the Spanish galleys: that of the Germans and the Italians for their respective countries, and finally that of the Emperor with the galleys of the Prince Doria.”

The Latin inscription is merely a rÉsumÉ of the Spanish one.

This tapestry is to be looked at with Goletta and the Cape of Carthage in front, Tunis on the left hand, the sea and the north to the right.

Group 12. The Last Supper (1 Tapestry)

Woven from a design almost certainly of Bernard van Orley, the pupil of Raphael, by Pierre Pannemaker at Brussels, in wool, silk, gold, and silver. Purchased by Charles V at 38 florins—a higher price than that generally paid for the same class of work. The tapestry was given by the Emperor to his wife, and is considered one of the finest religious pieces in the royal collection. It is used on Holy Thursdays to decorate the famous Hall of Columns in the Palace, when the ceremony of the Washing of Feet and the dinner to the poor take place.

Group 13. The Descent of the Holy Ghost (1 Tapestry)

This tapestry is woven in silk and wool enriched with gold and silver threads. Neither the designer nor the tapissier are known, but from the type of features represented, Count Valencia de Don Juan conjectures that the artist was of Flemish blood. It is first mentioned in the inventory made on the death of Charles II. The subject of the piece is taken from Acts ii. 1-4

Group 14. The Adoration of the Kings (1 Tapestry)

This is one of the finest of the religious tapestries in the collection and was a particular favourite of the Emperor Charles V, who took it with him on his retirement to Yuste. Both the design and workmanship are Flemish, but the influence of the Italian school is perceptible. The usual materials are employed—silk, wool, gold, and silver threads.

The border is particularly fine with its wealth of flowers, birds, and fruits. At each corner is shown a medallion representing a scene from the life of Christ.

Group 15. The Story of Abraham (7 Tapestries)

These tapestries are attributed by Wauters to Wilhelm Pannemaker. Though modified by Italian ideas the design is in the Flemish style. Woven in silk and wool they were the property of the Princess Juana, the daughter of Charles V. They show the characteristic determination of Gothic tapissiers to “tell the story” from beginning to end, from the time that Abraham first leaves his country to journey into the land of Canaan, to his death.

Group 16. The Apocalypse (8 Tapestries)

The Revelations of St. John were a favourite subject with the mediÆval tapissier, yet strange to say there are few complete series remaining. In the Cathedral at Angers is a series of sixty-seven pieces made in 1377 by Nicolas Bataille for Louis I of Anjou. A little later two other series on the same subject were executed at Arras, one being destined for Philip the Good. In time this came into the possession of Charles V, and is mentioned in the Inventory of 1536. No further mention, however, is made of this tapestry in any Spanish documents, and Pinchart conjectures that it was probably lost in the fire that destroyed the Palace of Brussels in 1731.

The series included in this collection was made by Wilhelm Pannemaker, and purchased by Philip II. We find the following paragraph in the discharge of the Treasurer-General in the year 1562:

“To Wilhelm Pannemaker, tapestry maker, who came from Flanders to bring the Tapestry of the Apocalypse made for the service of H.M., sixty thousand maravedi which H.M. pays him all at once for the expenses of his journey (from his own country whither he returns), as witness the command of H.M., the 31st December, 1561. The said tapestry maker has received the money the 31st of the said month.”

The tapestries are fine specimens woven in silk, wool, and gold thread. M. Ouiffrey attributes the cartoons to Albert DÜrer, but the Count Valencia de Don Juan prefers to regard them as by an unknown artist working under the influence of DÜrer and Jean de Bruges. The designs are very beautiful, more especially the borders, which are little masterpieces of grace and elegance. The plates are explained by short Latin legends in the middle of the upper border.

Tapestry No. 1. “St. John writes a true description of his vision to the Bishop of the Seven Churches of Asia. He moralizes and instructs them.”

Tapestry No. 2. “This great mystery illuminated by Divine Grace and manifested in Christ the Saviour of Mankind. Those who have been made pure by His Blood shall remain strong and shall not be turned from the Holy way by the whirlwind.”

Tapestry No. 3. “The Gospel spreads through the world as to the sound of trumpets. The Apostolic dogma and holy doctrine resounds in the Temple, drives back sin, and plants a true love of the faith in every spirit.”

Tapestry No. 4. “The fruits of virtue, precious for their works, encourage the multitude of the elect; that which is watched over by the jealous enemy is destroyed by the help of angels.”

Tapestry No. 5. “Jealousy never attains the peace of virtue; nevertheless the latter shall be oppressed till the end of the world. Certain hope and the faith of the strong never fail, though the ungodly mock those who live in the fear of God.”

Tapestry No. 6. “Anger shall be turned against the reproved, and the anger of God shall oppress sinners. Those who repent not shall suffer death and eternal fire as a punishment for their wickedness.”

Tapestry No. 7. “The day of Antichrist shall come and shall provoke the last war against faith. Babylon shall be conquered and destroyed, and her lost sons shall suffer eternal punishment with her.”

Tapestry No. 8. “On the day of the Last Judgment, the devil shall be shut up in the abyss, and the choir of saints shall sing praises unto God. The victorious Church shall receive her just reward, and filled with gladness shall enjoy for ever the Kingdom of Heaven.”

Group 17. The Seven Deadly Sins (2 Series)

This favourite mediÆval subject is depicted in two series of tapestries in the possession of Philip II of Spain. Both series are woven in silk and wool, picked out with gold and silver threads. Neither, however, remains complete. The name of the designer of the cartoons is not known. It may probably have been Bernard van Orley. The general design is markedly Flemish, but the Renaissance influence is evident in the treatment of some of the figures, and more particularly in the borders. These show delicate imagination, exquisite workmanship, and exuberance of detail, and are adorned with a wealth of flowers and fruits, and tiny elves.

1st Series (6 Tapestries)

This series was probably made either for Margaret of Austria or Mary of Hungary. It was used to decorate the monastery of Guadelupe, at the interview in 1575 between Philip II and Sebastian of Portugal. Each tapestry is explained by a Latin text on the upper border. The sins represented are Avarice, Luxury, Anger, Greed, Envy, and Laziness.

2nd Series (4 Tapestries)

These tapestries are attributed to Pannemaker. Pinchart states that they were taken from the Count of Egmont’s collection and sent to the Spanish Court by the Duke of Alba, when the first-mentioned nobleman was sentenced to death as a rebel in 1567.

The pieces now remaining represent Pride, Luxury, Greed, and Laziness. The other three tapestries were still in existence in 1660 and were used at the marriage of the Infanta Maria-Theresa and Louis XIV.