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York, seven late Gothic tapestries portray the Hunt of the Unicorn. Like the unicorn himself, they are one of the marvels of the world, for in no other work of art anywhere is the pursuit and capture of this magical creature presented in such astonishing detail, with such command of pictorial verisimilitude and symbolic intention. In a duality not rare in the late Middle Ages, the imagery is both secular and religious. The references to love, matrimonial fidelity, and desire for progeny are understandable in an ensemble that may have celebrated a marriage. But the unicorn, at the same time, is Christ, and the compositions reflect the Incarnation, the Passion, and the Resurrection. Gabriel, the angel of the Annunciation, is one of the hunters: the unicorn loses his fierceness in the lap of the Virgin Mary; a thorny crown encircles his horn and neck when he is slain; and then the glorious creature is miraculously alive again and chained to a pomegranate tree, simultaneously an image of the risen Christ and of the lover-bridegroom secured by his adored lady. What patron conceived the extraordinary plan for these hangings, whose earliest record places them in the Paris grande chambre of Duke François VI de La Rochefoucauld in 1680? What artist or artists elaborated the designs to incorporate the many identifiable birds and animals, flowering plants and trees, whose visual charm and implicit meanings make these woven "murals" endlessly fascinating? What workshop, around 1500, had the craftsmen needed to produce such superb hangings? The author, who was a curator at The Cloisters, answers these questions as completely as they may now be answered. In a pleasantly informative style, she conveys all that is known or can be reasonably believed about the commissioning and the manufacture, all that can safely be conjectured about the original owners. The principal indications of the latter are the tapestries' mysterious AE and FR monograms and the small coat of arms that survives when, seemingly, more conspicuous emblems of royalty or nobility long ago disappeared. As for the unknown designers, they are at least partially identified through the author's study of the poses, facial expressions, costumes, and coiffures in the hangings. Illustrating close parallels in Parisian prints and miniature painting of the time, Miss Freeman persuades one that the designers were French or resident in France. The weaving, on the other hand, she narrows to Brussels on the basis of its technical features and high quality. Comprehensive color photography of the tapestries was done especially for this publication, and 44 of the color images are of details essential to the author's discussion, ranging from dramatic figure compositions to studies of the rarer plants. This story of the Hunt of the Unicorn is certain to interest anyone who has visited the tapestries and been struck by their unique beauty. Equally, it should prompt others—unicorn-lovers generally and devotees of medieval art in particular—to look forward to this experience."/><link rel="manifest" href="/manifest.webmanifest" crossorigin="use-credentials"/><meta property="og:title" content="The Unicorn Tapestries - The Metropolitan Museum of Art"/><meta property="og:description" content="On permanent exhibition at The Cloisters, in New York, seven late Gothic tapestries portray the Hunt of the Unicorn. Like the unicorn himself, they are one of the marvels of the world, for in no other work of art anywhere is the pursuit and capture of this magical creature presented in such astonishing detail, with such command of pictorial verisimilitude and symbolic intention. In a duality not rare in the late Middle Ages, the imagery is both secular and religious. The references to love, matrimonial fidelity, and desire for progeny are understandable in an ensemble that may have celebrated a marriage. But the unicorn, at the same time, is Christ, and the compositions reflect the Incarnation, the Passion, and the Resurrection. Gabriel, the angel of the Annunciation, is one of the hunters: the unicorn loses his fierceness in the lap of the Virgin Mary; a thorny crown encircles his horn and neck when he is slain; and then the glorious creature is miraculously alive again and chained to a pomegranate tree, simultaneously an image of the risen Christ and of the lover-bridegroom secured by his adored lady. What patron conceived the extraordinary plan for these hangings, whose earliest record places them in the Paris grande chambre of Duke François VI de La Rochefoucauld in 1680? What artist or artists elaborated the designs to incorporate the many identifiable birds and animals, flowering plants and trees, whose visual charm and implicit meanings make these woven "murals" endlessly fascinating? What workshop, around 1500, had the craftsmen needed to produce such superb hangings? The author, who was a curator at The Cloisters, answers these questions as completely as they may now be answered. In a pleasantly informative style, she conveys all that is known or can be reasonably believed about the commissioning and the manufacture, all that can safely be conjectured about the original owners. The principal indications of the latter are the tapestries' mysterious AE and FR monograms and the small coat of arms that survives when, seemingly, more conspicuous emblems of royalty or nobility long ago disappeared. As for the unknown designers, they are at least partially identified through the author's study of the poses, facial expressions, costumes, and coiffures in the hangings. Illustrating close parallels in Parisian prints and miniature painting of the time, Miss Freeman persuades one that the designers were French or resident in France. The weaving, on the other hand, she narrows to Brussels on the basis of its technical features and high quality. Comprehensive color photography of the tapestries was done especially for this publication, and 44 of the color images are of details essential to the author's discussion, ranging from dramatic figure compositions to studies of the rarer plants. This story of the Hunt of the Unicorn is certain to interest anyone who has visited the tapestries and been struck by their unique beauty. Equally, it should prompt others—unicorn-lovers generally and devotees of medieval art in particular—to look forward to this experience."/><meta property="og:image" content="https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=600&q=75&auto=format"/><meta name="twitter:card" content="summary_large_image"/><meta name="twitter:title" content="The Unicorn Tapestries - The Metropolitan Museum of Art"/><meta name="twitter:description" content="On permanent exhibition at The Cloisters, in New York, seven late Gothic tapestries portray the Hunt of the Unicorn. Like the unicorn himself, they are one of the marvels of the world, for in no other work of art anywhere is the pursuit and capture of this magical creature presented in such astonishing detail, with such command of pictorial verisimilitude and symbolic intention. In a duality not rare in the late Middle Ages, the imagery is both secular and religious. The references to love, matrimonial fidelity, and desire for progeny are understandable in an ensemble that may have celebrated a marriage. But the unicorn, at the same time, is Christ, and the compositions reflect the Incarnation, the Passion, and the Resurrection. Gabriel, the angel of the Annunciation, is one of the hunters: the unicorn loses his fierceness in the lap of the Virgin Mary; a thorny crown encircles his horn and neck when he is slain; and then the glorious creature is miraculously alive again and chained to a pomegranate tree, simultaneously an image of the risen Christ and of the lover-bridegroom secured by his adored lady. What patron conceived the extraordinary plan for these hangings, whose earliest record places them in the Paris grande chambre of Duke François VI de La Rochefoucauld in 1680? What artist or artists elaborated the designs to incorporate the many identifiable birds and animals, flowering plants and trees, whose visual charm and implicit meanings make these woven "murals" endlessly fascinating? What workshop, around 1500, had the craftsmen needed to produce such superb hangings? The author, who was a curator at The Cloisters, answers these questions as completely as they may now be answered. In a pleasantly informative style, she conveys all that is known or can be reasonably believed about the commissioning and the manufacture, all that can safely be conjectured about the original owners. The principal indications of the latter are the tapestries' mysterious AE and FR monograms and the small coat of arms that survives when, seemingly, more conspicuous emblems of royalty or nobility long ago disappeared. As for the unknown designers, they are at least partially identified through the author's study of the poses, facial expressions, costumes, and coiffures in the hangings. Illustrating close parallels in Parisian prints and miniature painting of the time, Miss Freeman persuades one that the designers were French or resident in France. The weaving, on the other hand, she narrows to Brussels on the basis of its technical features and high quality. Comprehensive color photography of the tapestries was done especially for this publication, and 44 of the color images are of details essential to the author's discussion, ranging from dramatic figure compositions to studies of the rarer plants. This story of the Hunt of the Unicorn is certain to interest anyone who has visited the tapestries and been struck by their unique beauty. Equally, it should prompt others—unicorn-lovers generally and devotees of medieval art in particular—to look forward to this experience."/><meta name="twitter:image" content="https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=600&q=75&auto=format"/><link rel="icon" href="/icon?53898477bfbcb539" type="image/png" sizes="256x256"/><link rel="apple-touch-icon" href="/apple-icon?caf747e317587ad6" type="image/png"/><meta name="next-size-adjust"/><script src="/_next/static/chunks/polyfills-42372ed130431b0a.js" noModule=""></script></head><body><button class="skip-to-main-content_skipToMainContent__tnLhe button secondary" id="skip-to-main-content-button" data-sentry-component="SkipToMainContent" data-sentry-source-file="index.jsx">Skip to main content</button><header class="masthead"><div class="masthead__wrap"><a title="Homepage" class="masthead__logo-link" href="/"><span class="masthead__logo"><svg xmlns="http://www.w3.org/2000/svg" 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class="publication-details-box_imageWrapper__B32n6"><div class="publication-details-box_imageBox__z_LSG"><img alt="The Unicorn Tapestries" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" fetchPriority="high" width="250" height="313" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-details-box_image__RhW7c" style="color:transparent;max-width:100%;height:auto;--img-bg-color:#cab9a3;--img-color:#000" sizes="(max-width: 960px) 85vw, 30vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/e6419008a76dd36a8d826eed3181bbf78c946c70-250x313.jpg?w=3840&q=75&fit=clip&auto=format"/></div></div><div class="publication-details-box_publicationText__CwWiF"><h1 style="margin:0"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The Unicorn Tapestries</span></h1><div class="publication-details-box_authorText__WeZg9">Freeman, Margaret B.</div><div class="publication-details-box_authorText__WeZg9">1976</div><div class="publication-details-box_additionalDetails__tJaHx"><div>244 pages</div><div>306 illustrations</div><div>9.5 x 12 in</div></div><div class="library-and-store-links_container__uZIAB" data-sentry-component="LibraryAndStoreLinks" data-sentry-source-file="index.jsx"><div class="library-and-store-links_printStatusMessage__wCYGV">This title is out of print.</div><div style="--grid-gap:var(--spacing-micro);--grid-columns:2" class="grid_gridByColumnCount__TeDpp grid_grid__Z8NYn " data-sentry-element="Element" data-sentry-source-file="index.jsx" data-sentry-component="GridContainer"><div class="dropdown-navigation_container__umkPG" data-sentry-component="DropdownNavigation" data-sentry-source-file="index.tsx"><button class="dropdown-navigation_button__Wy6bS secondary" data-sentry-element="Button" data-sentry-source-file="index.jsx" data-sentry-component="Button">Find in a library<svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 48 48" class="undefined undefined" data-sentry-element="ChevronDown" data-sentry-source-file="index.tsx"><path fill="currentColor" stroke="currentColor" stroke-width="0.5" d="m40.277 13.5 2.223 2.077L24.489 34.5 6.5 15.579 8.723 13.5l15.813 16.888z"></path></svg></button></div><a class="button secondary" href="https://cdn.sanity.io/files/cctd4ker/production/6b57d3ba235db0b1faa95bab9162bbeda26abb11.pdf">Download PDF (86.07 MB)</a><a class="button secondary" href="http://books.google.com/books?id=ATbO6lv4LsMC&printsec=frontcover">Read online</a></div></div></div></div></section><section class="page-section_wrapper__mFtQK" data-sentry-element="PageSection" data-sentry-source-file="index.jsx" data-sentry-component="PageSection"><div class="tab-drawer_wrapper__Go80z undefined" data-sentry-component="TabDrawers" data-sentry-source-file="index.tsx"><div class="tabs_wrapper__xVpUT undefined" data-sentry-component="Tabs" data-sentry-source-file="index.jsx"><fieldset class="tabs_fieldset__NRtDM"><legend data-sentry-element="Element" data-sentry-source-file="index.jsx" class="screen-reader-only_text__226tQ" data-sentry-component="ScreenReaderOnly">View More Publication Info</legend><div class="tabs_tab__shByP"><input type="radio" id="Description-tab-id" class="tabs_input__mwg3g" name="publications-tabs" checked="" value="Description"/><label for="Description-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">Description</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="Table of contents-tab-id" class="tabs_input__mwg3g" name="publications-tabs" value="Table of contents"/><label for="Table of contents-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">Table of contents</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="About the authors-tab-id" class="tabs_input__mwg3g" name="publications-tabs" value="About the authors"/><label for="About the authors-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">About the authors</div></label></div></fieldset></div><div class="tab-drawer_bodyWrapper__qg8iy tab-drawer_divider__uAZwv"><p>On permanent exhibition at The Cloisters, in New York, seven late Gothic tapestries portray the Hunt of the Unicorn. Like the unicorn himself, they are one of the marvels of the world, for in no other work of art anywhere is the pursuit and capture of this magical creature presented in such astonishing detail, with such command of pictorial verisimilitude and symbolic intention.</p><p>In a duality not rare in the late Middle Ages, the imagery is both secular and religious. The references to love, matrimonial fidelity, and desire for progeny are understandable in an ensemble that may have celebrated a marriage. But the unicorn, at the same time, is Christ, and the compositions reflect the Incarnation, the Passion, and the Resurrection. Gabriel, the angel of the Annunciation, is one of the hunters: the unicorn loses his fierceness in the lap of the Virgin Mary; a thorny crown encircles his horn and neck when he is slain; and then the glorious creature is miraculously alive again and chained to a pomegranate tree, simultaneously an image of the risen Christ and of the lover-bridegroom secured by his adored lady.</p><p>What patron conceived the extraordinary plan for these hangings, whose earliest record places them in the Paris <em>grande chambre</em> of Duke François VI de La Rochefoucauld in 1680? What artist or artists elaborated the designs to incorporate the many identifiable birds and animals, flowering plants and trees, whose visual charm and implicit meanings make these woven "murals" endlessly fascinating? What workshop, around 1500, had the craftsmen needed to produce such superb hangings?</p><p>The author, who was a curator at The Cloisters, answers these questions as completely as they may now be answered. In a pleasantly informative style, she conveys all that is known or can be reasonably believed about the commissioning and the manufacture, all that can safely be conjectured about the original owners. The principal indications of the latter are the tapestries' mysterious AE and FR monograms and the small coat of arms that survives when, seemingly, more conspicuous emblems of royalty or nobility long ago disappeared. As for the unknown designers, they are at least partially identified through the author's study of the poses, facial expressions, costumes, and coiffures in the hangings. Illustrating close parallels in Parisian prints and miniature painting of the time, Miss Freeman persuades one that the designers were French or resident in France. The weaving, on the other hand, she narrows to Brussels on the basis of its technical features and high quality.</p><p>Comprehensive color photography of the tapestries was done especially for this publication, and 44 of the color images are of details essential to the author's discussion, ranging from dramatic figure compositions to studies of the rarer plants. This story of the Hunt of the Unicorn is certain to interest anyone who has visited the tapestries and been struck by their unique beauty. Equally, it should prompt others—unicorn-lovers generally and devotees of medieval art in particular—to look forward to this experience.</p></div></div></section><section id="met-art-in-publication" class="page-section_clampedWidthWrapper__kBLdL" data-sentry-component="PageSection" data-sentry-source-file="index.jsx"><div class="component-header_wrapper__kS6_W" data-sentry-component="ComponentHeader" data-sentry-source-file="index.jsx"><div class="component-header_titleAndLinkWrapper__mDA0q"><div><h2><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Met Art in Publication</span></h2></div></div><p class="component-header_description__yxN6Q"></p></div><section class="object-grid_grid__hKKqs"><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/467637"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/467637/940921/main-image" alt="The Hunters Enter the Woods (from the Unicorn Tapestries), Wool warp, wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Hunters Enter the Woods (from the Unicorn Tapestries)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/467637">The Hunters Enter the Woods (from the Unicorn Tapestries)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French (cartoon)/South Netherlandish (woven)</div><div>1495–1505</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/467638"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/467638/940923/main-image" alt="The Unicorn Purifies Water (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Unicorn Purifies Water (from the Unicorn Tapestries)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/467638">The Unicorn Purifies Water (from the Unicorn Tapestries)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French (cartoon)/South Netherlandish (woven)</div><div>1495–1505</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/467639"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/467639/940925/main-image" alt="The Unicorn Crosses a Stream (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Unicorn Crosses a Stream (from the Unicorn Tapestries)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/467639">The Unicorn Crosses a Stream (from the Unicorn Tapestries)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French (cartoon)/South Netherlandish (woven)</div><div>1495–1505</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/467640"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/467640/940927/main-image" alt="The Unicorn Defends Himself (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Unicorn Defends Himself (from the Unicorn Tapestries)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/467640">The Unicorn Defends Himself (from the Unicorn Tapestries)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French (cartoon)/South Netherlandish (woven)</div><div>1495–1505</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/467653"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/467653/946355/main-image" alt="The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/467653">The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French (cartoon)/South Netherlandish (woven)</div><div>1495–1505</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/467654"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/467654/946356/main-image" alt="The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, South Netherlandish"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/467654">The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">South Netherlandish</div><div>1495–1505</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/467641"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/467641/940929/main-image" alt="The Hunters Return to the Castle (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Hunters Return to the Castle (from the Unicorn Tapestries)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/467641">The Hunters Return to the Castle (from the Unicorn Tapestries)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French (cartoon)/South Netherlandish (woven)</div><div>1495–1505</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/467642"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/467642/940931/main-image" alt="The Unicorn Rests in a Garden (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Unicorn Rests in a Garden (from the Unicorn Tapestries)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/467642">The Unicorn Rests in a Garden (from the Unicorn Tapestries)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French (cartoon)/South Netherlandish (woven)</div><div>1495–1505</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/338300"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/338300/784435/main-image" alt="Peregrinatio in terram sanctam., Bernhard von Breydenbach German, Woodcuts"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Peregrinatio in terram sanctam." rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/338300">Peregrinatio in terram sanctam.</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">Multiple artists/makers</div><div>1486</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/471316"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/471316/960556/main-image" alt="Unicorn Doorway, Volcanic stone, French"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Unicorn Doorway" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/471316">Unicorn Doorway</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French</div><div>early 16th century</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/436052"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/436052/1987214/main-image" alt="Madonna and Child, Carlo Crivelli Italian, Tempera and gold on wood"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Madonna and Child" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/436052">Madonna and Child</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Carlo Crivelli</div></div><div>ca. 1480</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/338304"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/338304/780042/main-image" alt="Horae, B.M.V. use of Rome, Thielman Kerver , Paris French, Printed on paper"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Horae, B.M.V. use of Rome" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/338304">Horae, B.M.V. use of Rome</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Thielman Kerver</div></div><div>August 6, 1504</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/437892"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/437892/2004251/main-image" alt="Madonna and Child, Andrea del Verrocchio Italian, Tempera and gold on wood"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Madonna and Child" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/437892">Madonna and Child</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Andrea del Verrocchio</div></div><div>ca. 1470</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/436988"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/436988/797315/main-image" alt="Ameto's Discovery of the Nymphs, Master of 1416 Italian, Tempera on wood"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Ameto's Discovery of the Nymphs" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/436988">Ameto's Discovery of the Nymphs</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Master of 1416</div></div><div>ca. 1410</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/468558"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/468558/945469/main-image" alt="Honor Making a Chaplet of Roses, Wool warp, wool wefts, South Netherlandish"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Honor Making a Chaplet of Roses" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/468558">Honor Making a Chaplet of Roses</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">South Netherlandish</div><div>ca. 1410–20</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/463684"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/463684/1948865/main-image" alt="The Christ Child Pressing the Wine of the Eucharist, Linen warp; wool, silk, and gilt weft yarns, South Netherlandish"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Christ Child Pressing the Wine of the Eucharist" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/463684">The Christ Child Pressing the Wine of the Eucharist</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">South Netherlandish</div><div>ca. 1500</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/471417"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/471417/1768086/main-image" alt="Panel with Christ Crowned with Thorns, Oak, French"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Panel with Christ Crowned with Thorns" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/471417">Panel with Christ Crowned with Thorns</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French</div><div>early 16th century</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/437059"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/437059/2004958/main-image" alt="Young Woman with a Pink, Hans Memling and Workshop Netherlandish, Oil on wood"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Young Woman with a Pink" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/437059">Young Woman with a Pink</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Hans Memling</div></div><div>ca. 1485–90</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/437490"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/437490/801164/main-image" alt="The Annunciation, Hans Memling Netherlandish, Oil on wood"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Annunciation" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/437490">The Annunciation</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Hans Memling</div></div><div>ca. 1465–70</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/471840"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/471840/977620/main-image" alt="The Annunciation from the Hours of Charles of France, Master of Charles of France French, Tempera, ink, and gold on parchment, French"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Annunciation from the Hours of Charles of France" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/471840">The Annunciation from the Hours of Charles of France</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Master of Charles of France</div></div><div>1465</div></div></figcaption></figure></section><div class="load-more-wrapper_controls__jvvRg"><div 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Many of the other plants represented here, such as wild orchid, bistort, and thistle, echo this theme of marriage and procreation: they were acclaimed in the Middle Ages as fertility aids for both men and women. Even the little frog, nestled among the violets at the lower right, was cited by medieval writers for its noisy mating.38:T6da,This manuscript painting presents the Annunciation as a bustling tableau in elegant and refined surroundings. The double-page illumination was originally part of an unfinished book of hours, made for Charles of France. This picture shows his coat of arms while he was duke of Normandy.\u003cbr/\u003e\u003cbr/\u003eThe ceremonial aspects of the scene are emphasized by its extended treatment on two manuscript leaves. The kneeling angel Gabriel, bearing his scepter as herald of God, is placed inside a gilded portico on one page facing the golden-haired Virgin seated on a brocaded cushion beneath an elaborate octagonal structure representing the Temple. Gabriel is accompanied by a procession of angels, some playing musical instruments. His words of greeting, \"Hail, full of grace, the Lord is with thee,\" are written in gold, while above, the dove of the Holy Spirit flies toward the Virgin, emanating rays of light. In the church interior extending behind the Virgin, Mass is bei"])</script><script>self.__next_f.push([1,"ng celebrated, attended by a fashionably dressed lady and two gentlemen. Also depicted are sculpted figures of prophets and the sibyl who foretold the coming of the Savior. Adam, too, whose sin made necessary the advent of a Redeemer, appears. This juxtaposition places the Annunciation within its theological, rather than narrative, context.\u003cbr/\u003e\u003cbr/\u003eThe compositional innovations are enhanced by the virtuoso illusionism. Not only are the sculpted architectural elements and decoration captured in superb naturalism, but the lush representation of the French countryside contains a princely château that can be identified as Mehun-sur-Yèvre. Now in ruins, the château was one of the favorite residences of Jean, duc de Berry, and a place where Charles spent a great part of his youth.39:T60a,Scenes from The Story of the Trojan War: The Battle with the Sagittary and the Conference at Achilles' Tent; Andromache and Priam Urging Hector Not to Go to War, 1470–1490\u003cbr/\u003eSouth Netherlands, probably produced through Pasquier Grenier of Tournai (fl. 1447–93)\u003cbr/\u003eWool warp; wool wefts with a few silk wefts; 52.69: 14 ft. 6 1/2 in. x 13 ft. 1 in. (4.43 m x 3.99 m); 39.74: 15 ft. x 10 in. x 8 ft. 8 in. 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The Museum's pieces, while probably not part of the original set made for Charles, were likely woven after the same series of cartoons. They are formidable examples of the types of ambitious tapestries produced for the Burgundian court in the Netherlands.3a:T480,The daughter of Emperor Maximilian I, Margaret of Austria was betrothed at the age of three to the infant dauphin Charles, the future Charles VIII, and served briefly as \"queen of France\" from 1483 to 1491. She is shown here around the age of ten, one year before she was repudiated by her intended husband. The initials C and M within the border of Margaret's collar (backwards C in the left border) probably signify their union. The chain of gold shells on her headdress may be part of the armorial insignia of the Bourbon dynasty with which she was then associated. 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New York: Metropolitan museum of art E.P. Dutton.\",\"_key\":\"16c5322740602\"}]}],\"pdf\":{\"size\":90250942,\"url\":\"https://cdn.sanity.io/files/cctd4ker/production/6b57d3ba235db0b1faa95bab9162bbeda26abb11.pdf\"},\"tableOfContents\":null,\"exhibition\":null,\"journalAuthors\":null,\"_id\":\"mdZvo9aKskEkWbSNid3Wh8\",\"description\":[{\"markDefs\":[],\"children\":[{\"marks\":[],\"text\":\"On permanent exhibition at The Cloisters, in New York, seven late Gothic tapestries portray the Hunt of the Unicorn. Like the unicorn himself, they are one of the marvels of the world, for in no other work of art anywhere is the pursuit and capture of this magical creature presented in such astonishing detail, with such command of pictorial verisimilitude and symbolic intention.\",\"_key\":\"2cf2fcbb9f1f0\",\"_type\":\"span\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"2cf2fcbb9f1f\"},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"1ac2cd3d52e1\",\"markDefs\":[],\"children\":[{\"text\":\"In a duality not rare in the late Middle Ages, the imagery is both secular and religious. The references to love, matrimonial fidelity, and desire for progeny are understandable in an ensemble that may have celebrated a marriage. But the unicorn, at the same time, is Christ, and the compositions reflect the Incarnation, the Passion, and the Resurrection. Gabriel, the angel of the Annunciation, is one of the hunters: the unicorn loses his fierceness in the lap of the Virgin Mary; a thorny crown encircles his horn and neck when he is slain; and then the glorious creature is miraculously alive again and chained to a pomegranate tree, simultaneously an image of the risen Christ and of the lover-bridegroom secured by his adored lady.\",\"_key\":\"1ac2cd3d52e10\",\"_type\":\"span\",\"marks\":[]}]},{\"style\":\"normal\",\"_key\":\"808497ec4f15\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"What patron conceived the extraordinary plan for these hangings, whose earliest record places them in the Paris \",\"_key\":\"808497ec4f150\"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"grande chambre\",\"_key\":\"808497ec4f151\"},{\"_type\":\"span\",\"marks\":[],\"text\":\" of Duke François VI de La Rochefoucauld in 1680? What artist or artists elaborated the designs to incorporate the many identifiable birds and animals, flowering plants and trees, whose visual charm and implicit meanings make these woven \\\"murals\\\" endlessly fascinating? What workshop, around 1500, had the craftsmen needed to produce such superb hangings?\",\"_key\":\"808497ec4f152\"}],\"_type\":\"block\"},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"2ec8a1ff32ba\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"The author, who was a curator at The Cloisters, answers these questions as completely as they may now be answered. In a pleasantly informative style, she conveys all that is known or can be reasonably believed about the commissioning and the manufacture, all that can safely be conjectured about the original owners. The principal indications of the latter are the tapestries' mysterious AE and FR monograms and the small coat of arms that survives when, seemingly, more conspicuous emblems of royalty or nobility long ago disappeared. As for the unknown designers, they are at least partially identified through the author's study of the poses, facial expressions, costumes, and coiffures in the hangings. Illustrating close parallels in Parisian prints and miniature painting of the time, Miss Freeman persuades one that the designers were French or resident in France. The weaving, on the other hand, she narrows to Brussels on the basis of its technical features and high quality.\",\"_key\":\"2ec8a1ff32ba0\"}]},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"6f12e0c847ee\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Comprehensive color photography of the tapestries was done especially for this publication, and 44 of the color images are of details essential to the author's discussion, ranging from dramatic figure compositions to studies of the rarer plants. This story of the Hunt of the Unicorn is certain to interest anyone who has visited the tapestries and been struck by their unique beauty. Equally, it should prompt others—unicorn-lovers generally and devotees of medieval art in particular—to look forward to this experience.\",\"_key\":\"6f12e0c847ee0\"}]}],\"relatedMedia\":null,\"title\":\"The Unicorn Tapestries\",\"departments\":[{\"_ref\":\"323ebd2e-541f-45f3-82f8-147d9ded4b1b\",\"_type\":\"reference\",\"_key\":\"JqS7eXBOuGy32XwKQJBpC\"}],\"isbn\":\"0870991477\",\"relatedEssays\":[{\"slug\":{\"current\":\"animals-in-medieval-art\"},\"title\":\"Animals in Medieval Art\",\"code\":\"best\",\"_id\":\"TgiiugtzZ9w5wYLiuu3Lj0\"},{\"slug\":{\"current\":\"burgundian-netherlands-private-life\"},\"title\":\"Burgundian Netherlands: Private Life\",\"code\":\"bnpr\",\"_id\":\"6LNDOt4qLgMZX3ESwalbrK\"},{\"slug\":{\"current\":\"burgundian-netherlands-court-life-and-patronage\"},\"title\":\"Burgundian Netherlands: Court Life and Patronage\",\"code\":\"bnpu\",\"_id\":\"6LNDOt4qLgMZX3ESwalbgo\"},{\"slug\":{\"current\":\"gothic-art\"},\"title\":\"Gothic Art\",\"code\":\"mgot\",\"_id\":\"6LNDOt4qLgMZX3ESwalm7Y\"},{\"slug\":{\"current\":\"how-medieval-and-renaissance-tapestries-were-made\"},\"title\":\"How Medieval and Renaissance Tapestries Were Made\",\"code\":\"tapm\",\"_id\":\"6LNDOt4qLgMZX3ESwali5n\"}],\"coverImage\":\"$30\",\"datePublished\":\"1976-01-01\",\"tableOfContentsFreeForm\":[{\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Foreword\\nAcknowledgments\",\"_key\":\"8b800568b0830\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"8b800568b083\",\"markDefs\":[]},{\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"1. 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Gabriel, the angel of the Annunciation, is one of the hunters: the unicorn loses his fierceness in the lap of the Virgin Mary; a thorny crown encircles his horn and neck when he is slain; and then the glorious creature is miraculously alive again and chained to a pomegranate tree, simultaneously an image of the risen Christ and of the lover-bridegroom secured by his adored lady.\"]}],[\"$\",\"p\",null,{\"children\":[\"What patron conceived the extraordinary plan for these hangings, whose earliest record places them in the Paris \",[\"$\",\"em\",null,{\"children\":[\"grande chambre\"]}],\" of Duke François VI de La Rochefoucauld in 1680? What artist or artists elaborated the designs to incorporate the many identifiable birds and animals, flowering plants and trees, whose visual charm and implicit meanings make these woven \\\"murals\\\" endlessly fascinating? What workshop, around 1500, had the craftsmen needed to produce such superb hangings?\"]}],[\"$\",\"p\",null,{\"children\":[\"The author, who was a curator at The Cloisters, answers these questions as completely as they may now be answered. In a pleasantly informative style, she conveys all that is known or can be reasonably believed about the commissioning and the manufacture, all that can safely be conjectured about the original owners. The principal indications of the latter are the tapestries' mysterious AE and FR monograms and the small coat of arms that survives when, seemingly, more conspicuous emblems of royalty or nobility long ago disappeared. As for the unknown designers, they are at least partially identified through the author's study of the poses, facial expressions, costumes, and coiffures in the hangings. Illustrating close parallels in Parisian prints and miniature painting of the time, Miss Freeman persuades one that the designers were French or resident in France. The weaving, on the other hand, she narrows to Brussels on the basis of its technical features and high quality.\"]}],[\"$\",\"p\",null,{\"children\":[\"Comprehensive color photography of the tapestries was done especially for this publication, and 44 of the color images are of details essential to the author's discussion, ranging from dramatic figure compositions to studies of the rarer plants. This story of the Hunt of the Unicorn is certain to interest anyone who has visited the tapestries and been struck by their unique beauty. Equally, it should prompt others—unicorn-lovers generally and devotees of medieval art in particular—to look forward to this experience.\"]}]]},{\"name\":\"Table of contents\",\"body\":[[\"$\",\"p\",null,{\"children\":[\"Foreword\",[\"$\",\"br\",null,{}],\"Acknowledgments\"]}],[\"$\",\"p\",null,{\"children\":[\"1. The Unicorn in Ancient and Medieval Texts\"]}],[\"$\",\"p\",null,{\"children\":[\"2. The Unicorn in Medieval and Early Renaissance Art\"]}],[\"$\",\"p\",null,{\"children\":[\"3. The Birds and the Beasts of the Tapestries\"]}],[\"$\",\"p\",null,{\"children\":[\"4. The Hunt\"]}],[\"$\",\"p\",null,{\"children\":[\"5. The Groves of Trees, the Flowery Fields, and the Gardens\"]}],[\"$\",\"p\",null,{\"children\":[\"6. The AE the FR and Other Problems Relating to the Original Ownership of the Tapestries\"]}],[\"$\",\"p\",null,{\"children\":[\"7. The Making of the Tapestries\"]}],[\"$\",\"p\",null,{\"children\":[\"8. The Tapestries in the Inventories, Their Treatment During the French Revolution, and Their History in Later Years\"]}],[\"$\",\"p\",null,{\"children\":[\"Envoi\"]}],[\"$\",\"p\",null,{\"children\":[\"Notes\",[\"$\",\"br\",null,{}],\"Index\"]}]]},{\"name\":\"About the authors\",\"body\":[\"$\",\"$L34\",null,{\"maxLines\":50,\"children\":[\"$\",\"div\",null,{\"style\":{\"display\":\"flex\",\"flexDirection\":\"column\",\"flexWrap\":\"nowrap\",\"gap\":\"var(--spacing-xs)\"},\"data-sentry-element\":\"Element\",\"data-sentry-component\":\"FlexContainer\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"svg\",null,{\"xmlns\":\"http://www.w3.org/2000/svg\",\"width\":\"1em\",\"height\":\"1em\",\"fill\":\"none\",\"viewBox\":\"0 0 118 157\",\"className\":\"person-card_noImage__fMiMk\",\"children\":[\"$\",\"path\",null,{\"fill\":\"#E3E3E3\",\"fillRule\":\"evenodd\",\"d\":\"M22 37.5C22 58.21 38.79 75 59.5 75S97 58.21 97 37.5 80.21 0 59.5 0 22 16.79 22 37.5M59 75c-32.585 0-59 36.713-59 82h118c0-45.287-26.415-82-59-82\",\"clipRule\":\"evenodd\"}]}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Margaret B. 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(368.3 x 315cm)\",\"creditLine\":\"Gift of John D. Rockefeller Jr., 1937\",\"accessionNumber\":\"37.80.1\",\"webLabel\":\"$36\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":467637,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/467637/940921/main-image\",\"altText\":\"The Hunters Enter the Woods (from the Unicorn Tapestries), Wool warp, wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)\"}}},{\"__typename\":\"Object\",\"id\":467638,\"objectID\":467638,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Unicorn Purifies Water (from the Unicorn Tapestries)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"1495–1505\",\"culture\":\"French (cartoon)/South Netherlandish (woven)\",\"medium\":\"Wool warp with wool, silk, silver, and gilt wefts\",\"dimensions\":\"Overall: 145 x 149in. (368.3 x 378.5cm)\",\"creditLine\":\"Gift of John D. Rockefeller Jr., 1937\",\"accessionNumber\":\"37.80.2\",\"webLabel\":\"In this tapestry the unicorn kneels before a tall white fountain that has a pair of pheasants and a pair of goldfinches perched on its edge. Other animals both exotic and native to Europe lounge about, while twelve hunters in the back of the scene discuss the discovery of their quarry. Flora and fauna play a significant role in the narratives of the Unicorn Tapestries. Plants prescribed in medieval herbals as antidotes to poisoning, such as sage, pot marigolds, and orange, are positioned near the stream, which is being purified by the unicorn's magic horn.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":467638,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/467638/940923/main-image\",\"altText\":\"The Unicorn Purifies Water (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)\"}}},{\"__typename\":\"Object\",\"id\":467639,\"objectID\":467639,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Unicorn Crosses a Stream (from the Unicorn Tapestries)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"1495–1505\",\"culture\":\"French (cartoon)/South Netherlandish (woven)\",\"medium\":\"Wool warp with wool, silk, silver, and gilt wefts\",\"dimensions\":\"Overall: 145 x 168in. (368.3 x 426.7cm)\",\"creditLine\":\"Gift of John D. Rockefeller Jr., 1937\",\"accessionNumber\":\"37.80.3\",\"webLabel\":\"According to tradition, the unicorn cannot be disturbed while performing a magical act. The attack by the hunters thus presumably begins soon after the action depicted in The Unicorn Is Found, and the scene is one filled with chaos and commotion. The ferocity of the battle is conveyed by the converging lances aimed at the animal, the sounding of the hunting horns, and the menacing hounds. Already wounded on his back, the unicorn leaps across a stream in a desperate attempt to escape his encircling enemies.\u003cbr/\u003e\u003cbr/\u003eThe use of hounds to scout, chase, and eventually attack the quarry was typical practice in medieval stag hunts, and the palatial buildings in the background might be a further allusion to the hunt as a royal or aristocratic pastime. Unlike The Hunters Enter the Woods and The Unicorn in Captivity, this and the other hangings are set in realistic landscapes that enhance the drama of the hunt.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":467639,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/467639/940925/main-image\",\"altText\":\"The Unicorn Crosses a Stream (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)\"}}},{\"__typename\":\"Object\",\"id\":467640,\"objectID\":467640,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Unicorn Defends Himself (from the Unicorn Tapestries)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"1495–1505\",\"culture\":\"French (cartoon)/South Netherlandish (woven)\",\"medium\":\"Wool warp with wool, silk, silver, and gilt wefts\",\"dimensions\":\"Overall: 145 x 158 in. (368.3 x 401.3cm)\",\"creditLine\":\"Gift of John D. Rockefeller Jr., 1937\",\"accessionNumber\":\"37.80.4\",\"webLabel\":\"With the help of their dogs, the hunters have surrounded the unicorn. As the men prepare to spear him, and dogs bite at his haunch, the unicorn kicks out in anger, at the same time stabbing a dog with his horn. The hunting dogs are portrayed with remarkable precision, as are the waterfowl in the foreground.\u003cbr/\u003e\u003cbr/\u003eThis tapestry is one of seven at The Cloisters devoted to the legendary Unicorn (acc. nos. 37.80.1–.6 and 38.51.1, .2).\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":467640,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/467640/940927/main-image\",\"altText\":\"The Unicorn Defends Himself (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)\"}}},{\"__typename\":\"Object\",\"id\":467653,\"objectID\":467653,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"1495–1505\",\"culture\":\"French (cartoon)/South Netherlandish (woven)\",\"medium\":\"Wool warp with wool, silk, silver, and gilt wefts\",\"dimensions\":\"Overall: 66 1/2 x 25 1/2 in. (168.9 x 64.8 cm)\",\"creditLine\":\"Gift of John D. Rockefeller Jr., 1938\",\"accessionNumber\":\"38.51.1\",\"webLabel\":\"In these two fragments of a single tapestry (see also 38.51.2), the unicorn appears to have been tamed. He seems so docile, in fact, that he is oblivious to the dog licking the wound on his back and stares loving at the maiden who must have subdued him. Most of her figure is missing, the result of damage incurred after the tapestries were looted in 1793. The remaining traces include the maiden's right arm, clothed in red velvet and visible between the beard and throat of the unicorn, and her fingers, seen gently caressing the bottom of the animal's mane. She sits in an enclosed garden (hortus conclusus), often a metaphor for the purity of a maiden. The more complete female figure may be signaling to the hunter outside the garden, who in turn sounds the horn to summon the others.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":467653,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/467653/946355/main-image\",\"altText\":\"The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)\"}}},{\"__typename\":\"Object\",\"id\":467654,\"objectID\":467654,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"1495–1505\",\"culture\":\"South Netherlandish\",\"medium\":\"Wool warp with wool, silk, silver, and gilt wefts\",\"dimensions\":\"Overall: 78 x 25 1/2 in. (198.1 x 64.8 cm)\",\"creditLine\":\"Gift of John D. Rockefeller Jr., 1938\",\"accessionNumber\":\"38.51.2\",\"webLabel\":\"In these two fragments of a single tapestry (see also 38.51.1), the unicorn appears to have been tamed. He seems so docile, in fact, that he is oblivious to the dog licking the wound on his back and stares loving at the maiden who must have subdued him. Most of her figure is missing, the result of damage incurred after the tapestries were looted in 1793. The remaining traces include the maiden's right arm, clothed in red velvet and visible between the beard and throat of the unicorn, and her fingers, seen gently caressing the bottom of the animal's mane. She sits in an enclosed garden (hortus conclusus), often a metaphor for the purity of a maiden. The more complete female figure may be signaling to the hunter outside the garden, who in turn sounds the horn to summon the others.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":467654,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/467654/946356/main-image\",\"altText\":\"The Unicorn Surrenders to a Maiden (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, South Netherlandish\"}}},{\"__typename\":\"Object\",\"id\":467641,\"objectID\":467641,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Hunters Return to the Castle (from the Unicorn Tapestries)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"1495–1505\",\"culture\":\"French (cartoon)/South Netherlandish (woven)\",\"medium\":\"Wool warp with wool, silk, silver, and gilt wefts\",\"dimensions\":\"Overall: 145 x 153in. (368.3 x 388.6cm)\",\"creditLine\":\"Gift of John D. Rockefeller Jr., 1937\",\"accessionNumber\":\"37.80.5\",\"webLabel\":\"Two episodes of the hunt narrative are brought together in this hanging. At left, two hunters drive their lances into the neck and chest of the unicorn, as a third delivers the coup de grâce from the back. In some contexts, the unicorn is an allegory for Christ; the large holly tree (often a symbol of Christ's Passion) rising from behind his head may conceivably be linked to this association. In the other episode, at right, a lord and a lady receive the body of the unicorn in front of their castle. They are surrounded by their attendants, with more curious onlookers peering through windows of the turret behind them. The dead animal is slung on the back of a horse, his horn already cut off but still entangled in thorny oak branches—perhaps an allusion to the Crown of Thorns.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":467641,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/467641/940929/main-image\",\"altText\":\"The Hunters Return to the Castle (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)\"}}},{\"__typename\":\"Object\",\"id\":467642,\"objectID\":467642,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Unicorn Rests in a Garden (from the Unicorn Tapestries)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"1495–1505\",\"culture\":\"French (cartoon)/South Netherlandish (woven)\",\"medium\":\"Wool warp with wool, silk, silver, and gilt wefts\",\"dimensions\":\"Overall: 144 7/8 x 99 in. (368 x 251.5 cm)\",\"creditLine\":\"Gift of John D. Rockefeller Jr., 1937\",\"accessionNumber\":\"37.80.6\",\"webLabel\":\"$37\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":467642,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/467642/940931/main-image\",\"altText\":\"The Unicorn Rests in a Garden (from the Unicorn Tapestries), Wool warp with wool, silk, silver, and gilt wefts, French (cartoon)/South Netherlandish (woven)\"}}},{\"__typename\":\"Object\",\"id\":338300,\"objectID\":338300,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Peregrinatio in terram sanctam.\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Bernhard von Breydenbach\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Bernhard von Breydenbach\"},{\"__typename\":\"Artist\",\"displayName\":\"Erhard Reuwich\"},{\"__typename\":\"Artist\",\"displayName\":\"Peter Schöffer the Elder\"}]},\"period\":null,\"date\":\"1486\",\"culture\":\"\",\"medium\":\"Woodcuts\",\"dimensions\":\"12 5/8 x 9 1/16 x 1 3/8 in. (32 x 23 x 3.5 cm)\",\"creditLine\":\"Rogers Fund, 1919\",\"accessionNumber\":\"19.49.3\",\"webLabel\":\"\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":338300,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/338300/784435/main-image\",\"altText\":\"Peregrinatio in terram sanctam., Bernhard von Breydenbach German, Woodcuts\"}}},{\"__typename\":\"Object\",\"id\":471316,\"objectID\":471316,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Unicorn Doorway\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"early 16th century\",\"culture\":\"French\",\"medium\":\"Volcanic stone\",\"dimensions\":\"Overall: 126 x 65 in. (320 x 165.1 cm)\",\"creditLine\":\"The Cloisters Collection, 1948\",\"accessionNumber\":\"48.28\",\"webLabel\":\"The dark fine-grained volcanic stone typical of the Auvergne region is well suited to the images of a pair of sleek unicorns that support an unidentified coat of arms. In the late fifteenth century, the house belonged to the Knights Hospitaller, a Crusader order with both a military and a charitable mission.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":471316,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/471316/960556/main-image\",\"altText\":\"Unicorn Doorway, Volcanic stone, French\"}}},{\"__typename\":\"Object\",\"id\":436052,\"objectID\":436052,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Madonna and Child\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Carlo Crivelli\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Carlo Crivelli\"}]},\"period\":\"\",\"date\":\"ca. 1480\",\"culture\":\"\",\"medium\":\"Tempera and gold on wood\",\"dimensions\":\"Overall 14 7/8 x 10 in. (37.8 x 25.4 cm); painted surface 14 3/8 x 9 1/4 in. (36.5 x 23.5 cm)\",\"creditLine\":\"The Jules Bache Collection, 1949\",\"accessionNumber\":\"49.7.5\",\"webLabel\":\"Symbols of good and evil appear throughout this exquisitely rendered painting. While the apples and fly symbolize sin, the cucumber and goldfinch reference redemption and the soul. Flemish art may have inspired the precisely detailed style of this work, one of Crivelli’s most refined pictures. It also showcases his talent for visual tricks: viewers might be tempted to brush away the fly that appears to have landed on the painting. In the distance, the landscape is populated with turbaned figures, possibly Mamluks who in the 1480s controlled the holy city of Jerusalem.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":436052,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/436052/1987214/main-image\",\"altText\":\"Madonna and Child, Carlo Crivelli Italian, Tempera and gold on wood\"}}},{\"__typename\":\"Object\",\"id\":338304,\"objectID\":338304,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Horae, B.M.V. use of Rome\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Thielman Kerver\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Thielman Kerver\"}]},\"period\":null,\"date\":\"August 6, 1504\",\"culture\":\"\",\"medium\":\"Printed on paper\",\"dimensions\":\"8vo (168 x 102 mm)\",\"creditLine\":\"Rogers Fund, 1920\",\"accessionNumber\":\"20.53.3\",\"webLabel\":\"\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":338304,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/338304/780042/main-image\",\"altText\":\"Horae, B.M.V. use of Rome, Thielman Kerver , Paris French, Printed on paper\"}}},{\"__typename\":\"Object\",\"id\":437892,\"objectID\":437892,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Madonna and Child\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Andrea del Verrocchio\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Andrea del Verrocchio\"}]},\"period\":\"\",\"date\":\"ca. 1470\",\"culture\":\"\",\"medium\":\"Tempera and gold on wood\",\"dimensions\":\"26 x 19 in. (66 x 48.3 cm)\",\"creditLine\":\"Bequest of Benjamin Altman, 1913\",\"accessionNumber\":\"14.40.647\",\"webLabel\":\"\u003cbr/\u003eThis graceful picture is based on a design by Verrocchio, the great sculptor, painter, and draftsman who ran the most prestigious workshop of the last third of the fifteenth century in Florence (Botticelli and the young Leonardo da Vinci were among those associated with the shop). The painting would have originally hung in a home, where images of the Madonna and infant Christ were favored for private devotion, in part because they provided ideal models for women and children. Although the left side of the Madonna’s face is badly damaged, passages such as the child’s head convey the striking original quality of the painting.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":437892,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/437892/2004251/main-image\",\"altText\":\"Madonna and Child, Andrea del Verrocchio Italian, Tempera and gold on wood\"}}},{\"__typename\":\"Object\",\"id\":436988,\"objectID\":436988,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Ameto's Discovery of the Nymphs\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Master of 1416\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Master of 1416\"}]},\"period\":\"\",\"date\":\"ca. 1410\",\"culture\":\"\",\"medium\":\"Tempera on wood\",\"dimensions\":\"Twelve-sided, 21 1/8 x 22 1/8 in. (53.7 x 56.2 cm)\",\"creditLine\":\"Rogers Fund, 1926\",\"accessionNumber\":\"26.287.2\",\"webLabel\":\"This panel and its companion originally formed the front and back of a birth tray (\u003ci\u003edesco da parto\u003c/i\u003e). The story they illustrate is from Giovanni Boccaccio's \u003ci\u003eComedia delle ninfe fiorentine\u003c/i\u003e, written about 1342. The hunter Ameto, dressed in red, peers over a hill and then approaches some nymphs, attracted by the singing of Lia. In the background they hunt. The nymphs instruct Ameto in the meaning of love in a later episode of the story. In the other panel Ameto and two nymphs judge a musical competition between the shepherds Alcesto and Acaten. The escutcheon at the right appears to be that of the Di Lupo Parra family of Pisa. The tray dates from about 1410.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":436988,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/436988/797315/main-image\",\"altText\":\"Ameto's Discovery of the Nymphs, Master of 1416 Italian, Tempera on wood\"}}},{\"__typename\":\"Object\",\"id\":468558,\"objectID\":468558,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Honor Making a Chaplet of Roses\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"ca. 1410–20\",\"culture\":\"South Netherlandish\",\"medium\":\"Wool warp, wool wefts\",\"dimensions\":\"93 x 108 in. (236.2 x 274.3 cm)\",\"creditLine\":\"The Cloisters Collection, 1959\",\"accessionNumber\":\"59.85\",\"webLabel\":\"The French inscription below Honor may be translated: \\\"I am Honor who makes chaplets for my children who are beautiful.\\\" Repairs make it impossible to decipher the other inscriptions with certainty. The young girl is probably saying: \\\"To please my friend better, I shall put on this pretty hat.\\\" The inscription above the courtier at the right identifies him as Detuit (\\\"Pleasure\\\"). The gentleman at the left may be saying: \\\"Homage to my good lady, my protectress.\\\" Essentially an allegory of courtly love, this fragmentary tapestry hanging was inspired by romances of the thirteenth and fourteenth centuries.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":468558,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/468558/945469/main-image\",\"altText\":\"Honor Making a Chaplet of Roses, Wool warp, wool wefts, South Netherlandish\"}}},{\"__typename\":\"Object\",\"id\":463684,\"objectID\":463684,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Christ Child Pressing the Wine of the Eucharist\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"ca. 1500\",\"culture\":\"South Netherlandish\",\"medium\":\"Linen warp; wool, silk, and gilt weft yarns\",\"dimensions\":\"Overall: 19 7/8 x 18 1/4in. (50.5 x 46.4cm)\u003cbr/\u003eFramed: 22 1/16 x 21 x 2 1/2 in. (56 x 53.3 x 6.4 cm)\",\"creditLine\":\"Bequest of Benjamin Altman, 1913\",\"accessionNumber\":\"14.40.709a\",\"webLabel\":\"\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":463684,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/463684/1948865/main-image\",\"altText\":\"The Christ Child Pressing the Wine of the Eucharist, Linen warp; wool, silk, and gilt weft yarns, South Netherlandish\"}}},{\"__typename\":\"Object\",\"id\":471417,\"objectID\":471417,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Panel with Christ Crowned with Thorns\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"early 16th century\",\"culture\":\"French\",\"medium\":\"Oak\",\"dimensions\":\"Overall: 35 1/2 x 10 1/2 in. (90.2 x 26.7 cm)\",\"creditLine\":\"The Cloisters Collection, 1950\",\"accessionNumber\":\"50.147.31\",\"webLabel\":\"Until 1950 this panel lined the Great Hall of Highcliffe Castle in southern England. Constructed in the 1830s for Lord Stuart de Rothesay, the castle was furnished in part with stonework acquired form the ruined royal abbey at Jumièges in Normandy, where the panels might also have originated. In all likelihood they once decorated the backs of choir stalls ordered in 1501 by the abbot of Jumièges. \u003cbr/\u003e\u003cbr/\u003e Carved on The Cloisters' thirty-five oak panels (50.147.1–38) are scenes from the lives of the Virgin and Christ, each set under an elaborate canopy of single or double arches. The exuberant latticework surrounding the arches provides an almost encyclopedic display of pinnacles, crockets, spirals and other fanciful decorations. As in many late medieval works, the figures are foreshortened within their inhabited surroundings, adding depth and drama to the composition.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":471417,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/471417/1768086/main-image\",\"altText\":\"Panel with Christ Crowned with Thorns, Oak, French\"}}},{\"__typename\":\"Object\",\"id\":437059,\"objectID\":437059,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Young Woman with a Pink\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Hans Memling\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Hans Memling\"}]},\"period\":\"\",\"date\":\"ca. 1485–90\",\"culture\":\"\",\"medium\":\"Oil on wood\",\"dimensions\":\"Overall 17 x 7 3/8 in. (43.2 x 18.7 cm); painted surface 17 x 6 7/8 in. (43.2 x 17.5 cm)\",\"creditLine\":\"The Jules Bache Collection, 1949\",\"accessionNumber\":\"49.7.23\",\"webLabel\":\"\u003cbr/\u003eWhile once thought to be a portrait, this fragment depicts an idealized rather than specific woman. Her high forehead conforms to period norms of female beauty, and her costume derives from Burgundian court styles of around 1470, which were somewhat outdated by the time the painting was made. It likely once formed the outer left wing of a triptych. When the triptych was closed, the outer wings portrayed an allegory of courtly love and virtue.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":437059,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/437059/2004958/main-image\",\"altText\":\"Young Woman with a Pink, Hans Memling and Workshop Netherlandish, Oil on wood\"}}},{\"__typename\":\"Object\",\"id\":437490,\"objectID\":437490,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Annunciation\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Hans Memling\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Hans Memling\"}]},\"period\":\"\",\"date\":\"ca. 1465–70\",\"culture\":\"\",\"medium\":\"Oil on wood\",\"dimensions\":\"73 1/4 x 45 1/4 in. (186.1 x 114.9 cm)\",\"creditLine\":\"Gift of J. Pierpont Morgan, 1917\",\"accessionNumber\":\"17.190.7\",\"webLabel\":\"One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-Lazare cathedral at Autun and lavishly decorated it with artworks, probably including this panel. The composition is based on a design by Rogier van der Weyden. Possibly commissioned before his death in 1464, it was painted by Memling, who, technical evidence suggests, was a journeyman in Rogier’s Brussels workshop before establishing himself in Bruges in 1465.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":437490,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/437490/801164/main-image\",\"altText\":\"The Annunciation, Hans Memling Netherlandish, Oil on wood\"}}},{\"__typename\":\"Object\",\"id\":471840,\"objectID\":471840,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Annunciation from the Hours of Charles of France\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Master of Charles of France\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Master of Charles of France\"}]},\"period\":\"\",\"date\":\"1465\",\"culture\":\"French\",\"medium\":\"Tempera, ink, and gold on parchment\",\"dimensions\":\"Overall (a-Angel of Annunciation): 6 13/16 x 4 15/16 in. (17.3 x 12.5 cm)\u003cbr/\u003eOverall (b-Virgin of Annunciation): 6 3/4 x 4 13/16 in. (17.2 x 12.3 cm)\",\"creditLine\":\"The Cloisters Collection, 1958\",\"accessionNumber\":\"58.71a, b\",\"webLabel\":\"$38\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":471840,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/471840/977620/main-image\",\"altText\":\"The Annunciation from the Hours of Charles of France, Master of Charles of France French, Tempera, ink, and gold on parchment, French\"}}},{\"__typename\":\"Object\",\"id\":467680,\"objectID\":467680,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Andromache and Priam Urging Hector Not to Go to War (from Scenes from the Story of the Trojan War)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Pasquier Grenier of Tournai\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Pasquier Grenier of Tournai\"}]},\"period\":\"\",\"date\":\"ca. 1470–90\",\"culture\":\"South Netherlandish\",\"medium\":\"Wool warp, wool wefts with a few silk wefts.\",\"dimensions\":\"Overall: 190 x 104in. 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But the unicorn, at the same time, is Christ, and the compositions reflect the Incarnation, the Passion, and the Resurrection. Gabriel, the angel of the Annunciation, is one of the hunters: the unicorn loses his fierceness in the lap of the Virgin Mary; a thorny crown encircles his horn and neck when he is slain; and then the glorious creature is miraculously alive again and chained to a pomegranate tree, simultaneously an image of the risen Christ and of the lover-bridegroom secured by his adored lady.\n\nWhat patron conceived the extraordinary plan for these hangings, whose earliest record places them in the Paris grande chambre of Duke François VI de La Rochefoucauld in 1680? What artist or artists elaborated the designs to incorporate the many identifiable birds and animals, flowering plants and trees, whose visual charm and implicit meanings make these woven \"murals\" endlessly fascinating? What workshop, around 1500, had the craftsmen needed to produce such superb hangings?\n\nThe author, who was a curator at The Cloisters, answers these questions as completely as they may now be answered. In a pleasantly informative style, she conveys all that is known or can be reasonably believed about the commissioning and the manufacture, all that can safely be conjectured about the original owners. The principal indications of the latter are the tapestries' mysterious AE and FR monograms and the small coat of arms that survives when, seemingly, more conspicuous emblems of royalty or nobility long ago disappeared. As for the unknown designers, they are at least partially identified through the author's study of the poses, facial expressions, costumes, and coiffures in the hangings. Illustrating close parallels in Parisian prints and miniature painting of the time, Miss Freeman persuades one that the designers were French or resident in France. The weaving, on the other hand, she narrows to Brussels on the basis of its technical features and high quality.\n\nComprehensive color photography of the tapestries was done especially for this publication, and 44 of the color images are of details essential to the author's discussion, ranging from dramatic figure compositions to studies of the rarer plants. This story of the Hunt of the Unicorn is certain to interest anyone who has visited the tapestries and been struck by their unique beauty. Equally, it should prompt others—unicorn-lovers generally and devotees of medieval art in particular—to look forward to this experience."])</script><script>self.__next_f.push([1,"44:Tc2e,"])</script><script>self.__next_f.push([1,"On permanent exhibition at The Cloisters, in New York, seven late Gothic tapestries portray the Hunt of the Unicorn. 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