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But, such trifles apart, the Flemish examples of this style that have come to us are thrilling in their beauty of colour, and borders such as this are an infinite joy. This tapestry was woven about the last quarter of the Sixteenth Century by a weaver named Jacques Geubels of Brussels, who was employed by Carlier, a merchant of Antwerp.
A tapestry belonging to the Institute of Art in Chicago well represents this hybrid expression of drawing. Blumenthal's collection, or the Vertumnus and Pomona series, but there the artist stopped and wandered off into his traditional Flemish landscape with proper Flemings in the background dressed in the fashion of the artist's day. Weaver, Jacques Geubels. Brussels Tapestry.
Tradition has it that when this four was reversed, the tapestry was not for a private client, but for a dealer. 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 Apostles of Raphael, the first set, was woven by Peter van Aelst without a mark, but the set at Madrid bears the marks of several Brussels weavers, some attributed to Nicolas Leyniers.
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