Medieval Beauty: The Lady and the Unicorn Tapestries
David Burr

Of all medieval tapestry collections, perhaps none is more
mysterious and thought-provoking than the Lady and the Unicorn
series. Very little is known about the origins of the original
tapestry set, which is currently on display at Cluny Museum in
Paris, France. Throughout the ages, many different
interpretations have been extracted from these complex
tapestries. Yet no one can seem to agree on the precise breadth
and depth of their meaning.

Striking Medieval

Art Each one of these artistic wonders offers a striking
portrayal of a unicorn interacting with a woman. In medieval
times, a unicorn was often seen as a representation of Christ,
with the horn being a symbol of the unity between Christ and God.
In each of the six tapestries in the Lady and the Unicorn series,
unicorns are used to aide in the representation of human senses.
These are defined as sight, smell, touch, sound, taste and love.

Unicorns have been a mysterious and fascinating force throughout
history. While the actual existence of these creatures has never
been conclusively proven in modern times, many people still
believe in these mythical creatures. In fact, the faithful have
looked to other mammals, such as the giraffe and the ostrich, as
proof that unicorns could have existed at one point in time. In
essence, true believers are not at all hesitant to embrace the
unicorn as something of divine significance that existed at some
point in time. Some even believe unicorns may still exist in
remote regions of the world.

The Myth of the Unicorn

The unicorn was said to have possessed magical powers. The horn,
in particular, was widely regarded in ancient cultures as having
the ability to recognize and extinguish poisons. The horn was
often depicted as a perfect spiral. If a piece of the horn was
placed in poisoned water, the water would bubble up. And if bits
of the horn were sprinkled on food that was believed to be
poisoned, the horn would act as an antidote to the poison. The
ancient Chinese believed that unicorns were a good omen that only
made their presence known to humans in rare cases. It was thought
that these appearances were a positive sign of the times, of good
things to come.

In medieval times, the unicorn became a symbol of Christianity.
The popular belief was that a unicorn could never be lured or
tamed, except by the scent of a pure virgin.

The Lady: Putting the Pieces Together

The purity and spiritual invincibility of Christ meant that only
the purity of a sweet virgin could attract a creature
representing these attributes. The Lady and the Unicorn
tapestries have frequently been interpreted as symbolic of a
woman renouncing everything in the physical world (i.e. physical
human senses) for the greater significance of the spiritual
world. Some believe the tapestries allude to a woman's seduction
of the unicorn. Some even believe these tapestries depict the
Virgin Mary with Christ.

Perhaps this purity of spirit and the tranquility that the
tapestries represent explains the widespread appeal of these
classic art works. People have a strong desire to believe in that
which is good and righteous in our world. We have a deep need to
be reassured that there is a greater purpose to our existence:
the notion that ultimately good and peace will prevail. When we
embrace the visual aspects of these tapestries, perhaps we are
embracing the symbolic concepts within each of our hearts.

Where Did the Lady and the Unicorn Tapestries Come From?

Symbolism aside, what also remains a bit of a mystery is exactly
how these tapestries came into existence. What we do know is that
the set was made for the family of Jean Le Viste, a wealthy
aristocrat who was a member of the French nobility during the
15th century. The family's coat of arms can be seen throughout
the tapestry series, although it is unclear for which family
member the tapestries were made.

Based on the style of the clothing worn by the ladies in the
tapestries and a number of other artistic indicators, many
experts believe the tapestries were designed around the end of
the 15th century. They may have possibly been designed for Jean
Le Viste himself in recognition of his promotion to the French
Court in 1489. However, we do not know specifically who designed
the tapestries.

The tapestries were likely passed on through the family after
Jean Le Viste's death, although their exact whereabouts were
unknown for nearly 200 years. They reappeared in 1841 when they
were discovered by a French government inspector of historical
monuments. Noting the relatively poor condition of the tapestries
at that time, the inspector recommended that the government
purchase the works and attempt to restore them. Eventually, the
French government purchased them in 1882 and donated them to the
Cluny Museum.

The Mystery Continues...

Very few historical records exist that explain the origins of the
Lady and the Unicorn tapestry series. At best, scholars have been
only able to offer speculation based on the limited information
and clues within the tapestries themselves. Perhaps it is this
mystique that ultimately adds to the appeal of the pieces.
Regardless, the original tapestries are open to viewings by the
public in a specially-designed oval chamber within the Cluny
Museum. They have undergone restorative processes several times
since the 19th century and can now be seen as their original
artists intended.




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This is Free-Reprint article from The Tapestry House. David Burr
writes on a number of subjects for the Tapestry
House including unicorn art.
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