Gothic verdures are in reality coloured drawings in flat outline of trees and flowers with birds and animals. Renaissance verdures have more heavily shaded leaves and look more true to nature. The majority of Gothic tapestries are anonymous as regards both maker and designer. With the Renaissance began the custom in Brussels and other Flemish cities of weaving the mark of the city into the bottom selvage, and the monogram of the weaver into the side selvage on the right. This custom was established by a city ordinance of Brussels in 1528. An edict of Charles V made it uniform, in 1544, for the whole of the Netherlands. After another century, weavers began to sign their full names or their initials in Roman letters, and monograms were discarded. When the weavers of Arras took refuge in other countries, after the capture of that town by Louis XI, they went by thousands to England and France. In this way the French looms at Gobelins, Beauvais, and Aubusson were started, and those at Mortlake, in England. As early as the fourteenth century, there was at least one eminent master weaver in Paris, Nicolas Bataille, in whose factory part of the remarkable Apocalypse set of the cathedral of Angers was woven. But even in the fifteenth and sixteenth centuries, French tapestries were far from equaling those of Flanders. In 1667, Colbert "established in the buildings of the Gobelins the furniture factory of the Crown under the direction of Charles Lebrun." The great establishment of "Les Gobelins," by the way, has an interesting history. Jean and Philibert Gobelin built a dyehouse in the fifteenth century by the little stream of the Bièvre, in the Faubourg, whose waters had peculiar qualities that gave special excellence to their dyes. The family found dyeing so profitable that they were able to become bankers, and at the beginning of the seventeenth century they sold the establishment, which, however, still kept their name. Here Comans and Planche, tapestry weavers from Flanders, opened a factory in 1601. The edict of Henri Quatre by which they were incorporated gave them important privileges, but also obliged them to train apprentices and to establish the craft in the provinces.