The Unicorn
Tapestries
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The Unicorn Tapestries are displayed at the
Cloisters at the Metropolitan Museum of Art in Fort Tryon park in Manhattan, New York
City. They are a series of 7 hangings depicting the hunt and capture of a unicorn.
The tapestries are mostly wool with some silk
and metallic threads. The many colours have all been derived from just 3 dye plants,
madder (reds), weld (yellows), and woad (blues). The tapestries remain a mystery in many
ways. No one is certain when they were actually woven but the general thought is
around 1500. The idea for the tapestries was conceived during a time when Christianity and
fantasy were in great recognition. They were thought to have been designed in France and
made in Brussels, apparently to celebrate a royal French or Flemish wedding. The subject
is richly allegorical : the capture death and restoration of the unicorn was thought to
recapitulate the incarnation, death and resurrection of Jesus and at the same time many of
the motifs had well defined meanings related to courtship, marriage and fertility. The
many plants depicted are so accurately rendered that 85% of over 100 species shown have
been identified. The 1st and 7th tapestries have a stylised millefleurs background
(thousand flowers).Some
clues to the recipient of the tapestries are in the tapestries themselves. The initials A
and a reversed E joined together with a bow were the insignia of Anne of Brittany, twice
Queen of France. The lovers shown in the 6th tapestry were thought to have been Anne and
LouisX11. An inventory of 1680 records that the tapestries belonged to Francois V1, duc de
la Rochefoucauld. A theory that the Rochefoucauld family were the original owners grew
from the fact that in the 3rd tapestry, the initials F and R are sewn into the sky. Also
the A and E initials can be linked to Antoinnette of Ambrose, the wife of Francois la
Rochefoucauld. In
1793, during the Revolution, the tapestries were taken from the family's chateaux at
Verteuil and thereafter apparently used by peasants to protect their trees and vegetables.
They were recovered in 1850 and by then were in a very bad state, especially the 5th of
which only 2 small fragments now remain. They were purchased by John D Rockerfeller in
1922 and donated to the Metropolitan Museum in 1937.
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The
Cloisters |
The
Tapestry Room
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Tapestry
One.
The Start of the Hunt
The first tapestry shows the Lord, who is
apparently leading the hunt, and 2 other noblemen dressed in clothing of rich colours and
textures, not dressed to hunt. They are accompanied by 2 hound keepers each holding the
leashes of 2 dogs. A page in one corner appears to be signalling the others to follow.
Like the other tapestries this sparkles with colours and thousands of plants and flowers -
millefleurs, daisies, violets,strawberries and periwinkles. A cherry tree is shown, which
is considered to be one of the trees in Paradise and its abundance of fruit is a symbol of
eternal life. |
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Tapestry
Two. The
Unicorn at the Fountain
The unicorn is seen kneeling by the fountain
and dipping his horn in the water to remove the snakes venom. It is here that the theory
begins that the unicorn is a symbol of Jesus. Here the unicorn, Christ, saves all from the
snakes poison, Satan. Several more hunters with hounds have joined the party and seem to
be awed by this act.
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Tapestry
Three. The
Unicorn Leaps the Stream
This 3rd tapestry is the exact same setting as
the 2nd except the mood has changed from calm to a highly charged action scene. The dogs
are loose and the expressions of the hunters have changed to a more malicious look with
their spears poised to attack. This symbolises the persecutors of Jesus.
The unicorn is illustrated leaping the stream in an attempt to avoid capture.
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Tapestry
Four. The
Unicorn Defends Himself
Here the hunters are attacking the unicorn
with spears and the dogs are trying to take him down. The unicorn becomes savage,
defending himself he thrusts his heels at one of the hunters and his horn at one of the
hounds. The lord and other noblemen, not dressed to hunt , are seen standing back from the
action. There is a newcomer in this tapestry, set aside from everything else. This figure
is supposed to represent the angel Gabriel.
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Tapestry
Five. The
Unicorn is Captured by the Maiden
Unfortunately there are only 2 small pieces of
this tapestry surviving. It can be seen that the huntsmen found in the previous tapestries
are no longer present. According to tradition, the unicorn can only be trapped by a
virginal maiden. The arm of a woman can be seen stroking the unicorns mane. The enclosed
garden they are in was a medieval symbol of chastity and the apple tree in the centre is a
reminder of the fall of Adam and Eve. There is another lady present who is signalling off
into the woods, possibly to the hunters.
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Tapestry
Six. The
Unicorn is Killed and Brought to the Castle
The 6th tapestry is wrought with emotion. In
the upper left corner it shows the huntsmen violently killing the unicorn in the forest.
The central part of the tapestry shows the dead unicorn being brought back to the castle.
Outside the castle the Lord and Lady are waiting to recieve the prize of the hunt. The
unicorn has a wreath of oak branches intertwined with holly and hawthorn. This symbolises
the crown of thorns Christ wore when he was crucified
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Tapestry
Seven. The
Unicorn in Captivity
This is the most famous of all the Unicorn
Tapestries. In this tapestry the unicorn is alive again and chained to a tree within a
fenced garden. The risen unicorn is symbolic of the risen Christ. This tapestry is filled
with millions of colourful flowers and there are no people. There is some confusion as to
the symbolism of the chain. One theory is that the chain around his neck is thought to be
a 'chaine d'amor' or love chain, which is to illustrate mans eternal devotion to a woman.
Another theory is that like Jesus Christ, the unicorn is linked to life and humanity
forever.
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