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Updated: May 26, 2025
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.
In three years, by the help of eighty workmen, Pannemaker completed his colossal task. Such was the master-weaver of the Sixteenth Century. Cartoon by Jan Vermeyen. Woven by Pannemaker.
Two of these were found in Spain the country which has ever hoarded her stores of marvellous tapestries. They represent the story of Mercury. But if the artist is not yet certainly identified, the name of the weaver is certain, for on the galloon he has left his sign. It is none other than the celebrated Wilhelm de Pannemaker.
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. Incorporated into his sign, as into many others of the period, was a mark resembling a figure 4.
I got a capable artist to copy the picture; Pannemaker, the engraver of Doré's books, engraved it for me, and I have the pleasure of laying it before the reader in this volume.
And it was about this time and later that the celebrated family of weavers named Pannemaker came into prominence through the talent of Wilhelm de Pannemaker, he who accompanied the Emperor Charles V on his expedition to Tunis. This expedition flaunts itself in the set of tapestries now in Madrid.
And if the art of tapestry weaving is almost a lost one to-day, at least the weavers can find in history much matter for pride. It is no mean ambition to follow the profession of conscientious Nicolas Bataille, of the able Pannemaker, of La Planche and Comans, of Tessier, Cozette, and a hundred others of family and fame. Much preparation is necessary before the loom can be set going.
I got a capable artist to copy the picture; Pannemaker, the engraver of Doré's books, engraved it for me, and I have the pleasure of laying it before the reader in this volume.
There was his special artist on the spot, Jan Vermeyen, to draw the superb cartoons, and accompanying him was Wilhelm de Pannemaker, the ablest weaver of his day, to set the loom and thrust the shuttle. Granada was the place selected for the weaving, and the finest of wool was set aside for it, besides lavish amounts of silk, and pounds of silver and gold.
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