The Unicorn Tapestries: Metropolitan Museum Of Art Bulletin, V. 32, No. 1 (1973-74).pdf

I stood in the Maytime meadows
By roses circled round
Where many a fragile blossom
Was bright upon the ground;
And as though the roses called them
And their wild hearts understood,
The little birds were singing
In the shadows of the wood.
The nightingale among them
Sang sweet and loud and long,
Until a greater voice than hers
Rang out above her song.
For suddenly between the crags,
Along a narrow vale
The echoes of a hunting horn
Came clear along the gale.
The hunter stood beside me
Who blew that mighty horn,
I saw that he was hunting
The noble unicorn.
The unicorn is noble;
He keeps him safe and high
Upon a narrow path and steep
Climbing to the sky;
And there no man can take him;
He scorns the hunter's dart
And only a virgin's magic power
Shall tame his haughty heart.
From a medieval German folksong
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Front cover: Of the seven Unicorn
Tapestries belonging to The
Cloisters it is the last, The Unicorn
in Captivity, that is the great
pu.blic favorite and perhaps one of
the most beloved tapestries in
the world.
Inside front cover: This young
man in the third tapestry sounds a
piercing blast upon his bright red
horn to herald the hunt of the
unicorn, an event filled with great
drama that is the theme of the
Cloisters tapestries.
Inside back cover: Illustrated here
is a section of the castle from the
background of the sixth tapestry.
Back cover: Three courtly ladies
from the sixth tapestry are part
of the crowd that has assembled to
witness the arrival of the dead
unicorn at the castle of their lord
and lady.
Each of the Unicorn Tapestries is
12 feet 1 inch high except for the
fragmentary fifth hanging: its
height is approximately 5 feet
9 inches. Gift of John D. Rocke-
feller, Jr., 37.80.1-6, and The
Cloisters Collection, 38.51.1,2.
Colorphotographs: Malcolm
Varon
Within a flowering glade at the edge of a forest, one of the greatest adven-
tures ever portrayed in the history of art is about to begin. It is a medieval
hunt, but no ordinary one: the hunters in the first of seven splendid
tapestries are setting forth to capture the legendary unicorn. Of all the
fabulous creatures recorded in ancient bestiaries,
from the two-headed
amphisboena
to the black yale with flexible horns, the one most familiar to
the modern world is the unicorn, which has never ceased to fascinate
mankind. The Cloisters tapestries have undoubtedly contributed to keeping
the unicorn image as alive today as it was when the set was woven about
1 SOO.
Then everyone believed in the existence of this marvelous creature.
The mastermind
who conceived the tapestries, in a stroke of genius,
decided to integrate the unicorn story with the procedures of the medieval
stag hunt. This concept was subsequently executed with monumentality,
incredible detail, technical brilliance, and subtle coloring in some of the
finest tapestries produced during the Middle Ages. The pictorial eSect of
these hangings is enhanced by their symbolic content: personalities,
flora, fauna, and particularly
the unicorn himself have both religious and
secular meaning.
The first tapestry shows three noblemen about to begin their search for
the unicorn. Instead of protective leather leggings and other practical
accouterment,
they wear sumptuous outfits and feathered hats. Unsuitably
dressy as they may be for pursuing game, these costumes add immensely
to the richness and color of the tapestry. The chief participant
in the chase
is the young seigneur
or lord (second from left) . Accompanying him
and his two dignified companions are the hound keepers and a page placed
in the upper right corner, who is probably signaling that the unicorn has
been sighted. Strapped over the lord's shoulder is a hunting horn; each of
the hound keepers has one too. They hold their charges on leashes, await-
ing the start of the chase.
rhe Unicorn Tapestries reveal an abundance of trees, flowers, and
shrubbery: in the entire series there are more than one hundred species,
about eighty-five per cent identifiable.
The first tapestry and the last
are particularly
rich in flora; both strikingly diflTerent
in design from the
rest, they have what is called a millefleurs
background
- scores of plants
in a highly stylized "fantasy" setting reminiscent of the flowery meadows
that so delighted people of the Middle Ages. The other tapestries show
plants growing in their natural habitats: by a stream, in an orchard, a field,
or along a garden fence. It is interesting to note that the human figures in
the first tapestry are depicted with a certain stifliness
that diflTerentiates
them from the more naturalistic
characters
in the other tapestries.
In spite of their attention to botanical accuracy, the designers and
weavers ignored the seasons by juxtaposing
plants in flower that ordinarily
bloom at diSerent times of the year. For example, a cherry tree laden
with midsummer
fruit appears here with springtime daSodils. Thus each
plant is revealed in its prime, producing an enchanting ensemble of the
best that nature has to oflTer.