THREE PIECES FROM A SERIES ILLUSTRATING THE CREED: _This series of scenes illustrating the Creed begins_ (_No._ 14) _with the Creation of the World_. _The designer, evidently with some allegorical poem in mind, includes in the scene Sapientia, Potencia, and Benignitas, depicted, in characteristic medieval form, as three richly dressed women. In the center scene these three offer the world to God. On the right, Gubernacio, Redempcio, and Caritas stand under the throne of the Trinity._ _In the second piece_ (_No._ 15) _the series continues with the Life of Christ_, _beginning with the Annunciation_, _the Nativity_, _and the Adoration of the Kings_. _Reverting to the older tradition of the XIVth century that had been almost displaced during the XVth century_, _all the events of Christ's public life are omitted_, _and the third piece_ (_No._ 16) _depicts the scenes of the Passion_, _including the popular interpolation of Christ's farewell to his Mother_, _with the Apostles in the background_, _the Resurrection_, _and finally Christ taking his place at the right hand of God while the angels sing hosannas_. _Below, throughout the series, is the set of the Apostles facing Prophets, symbolic of the parallelism of the Old and New Testaments, each with a scroll bearing his speech in the conventional responses depicted in so many works of art of the period. So Peter (No. 14), says, "I believe in God the Father Omnipotent," and Jeremiah, who faces him, replies, "You invoke the Father who made the earth and builded the heavens."_ _Next_ (_No._ 15) _comes Andrew_, _who originally faced David_, _a figure now missing_. _The next pair, John and Daniel, is also missing._ _There follow_ (_No._ 16) _Thomas_, _who originally faced Hosea_, _and John the Lesser_, _who is opposite Amos_. _Above_, _on either side of the Nativity_ (_No._ 15), _is introduced another pair_, _John the Greater and Isaiah_. The complete piece, of which number 16 is the right-hand end, was formerly in the Toledo Cathedral, then in the collection of Asher Wertheimer, of London. The present owner is unknown.[9] Another rendition was in the Vatican, but disappeared in the middle of the XIXth century.[10] Tapestries illustrating the Creed were common throughout the Middle Ages. They appear frequently in XIVth-century inventories, and a number of examples from the XVth and early XVIth century are left to us. The Apostles and Prophets arranged in pairs are a common feature of this type of tapestry. [Sidenote: Formerly in Evora Palace, Portugal.]