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Tapestr Basedona studyoftheUnicornTapestries byMargaret B.Freeman,Curator Emeritus of TheCloisters. Adaptation byLindaSipress,staffwriter. Thispublication hasbeenassistedby a generousgrantfromthe NationalEndowment fortheHumanities I stoodin the Maytimemeadows By rosescircledround Wheremanya fragileblossom Was brightuponthe ground; Andas thoughthe rosescalled them Andtheirwild heartsunderstood, The little birdswere singing In the shadowsof the wood. The nightingaleamongthem Sangsweet andloud and long, Until a greatervoice thanhers Rangout aboveher song. For suddenlybetweenthe crags, Alonga narrowvale The echoesof a huntinghorn Cameclearalongthe gale. The hunterstoodbesideme Whoblew that mightyhorn, I saw thathe was hunting The nobleunicorn. The unicornis noble; He keepshim safe andhigh Upon a narrowpath and steep Climbingto the sky; Andthereno mancan takehim; He scornsthe hunter'sdart Andonly a virgin'smagicpower Shalltamehis haughtyheart. Froma medievalGermanfolksong

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The FirstTapestry: The Startof the Hunt

Frontcover:Of the seven Unicorn Tapestriesbelongingto The Cloistersit is the last,The Unicorn in Captivity,thatis the great pu.blicfavoriteandperhapsone of the mostbelovedtapestriesin the world. Insidefrontcover:Thisyoung manin the thirdtapestrysoundsa piercingblastupon his brightred hornto heraldthe huntof the unicorn,an eventfilledwith great dramathat is the themeof the Cloisterstapestries. Insidebackcover:Illustratedhere is a sectionof the castlefromthe backgroundof the sixthtapestry. Backcover:Threecourtlyladies fromthe sixthtapestryarepart of the crowdthat has assembledto witnessthe arrivalof the dead unicornat the castleof theirlord and lady. Each of the UnicornTapestriesis 12feet 1 inch high exceptfor the fragmentaryfifthhanging:its heightis approximately5 feet 9 inches.Giftof JohnD. Rockefeller,Jr.,37.80.1-6,andThe CloistersCollection,38.51.1,2. Colorphotographs:Malcolm Varon

Withina floweringgladeattheedgeof a forest,oneof thegreatestadventureseverportrayedin the historyof artis aboutto begin.It is a medieval hunt,but no ordinaryone: the huntersin the firstof sevensplendid tapestriesaresettingforthto capturethe legendaryunicorn.Of all the fabulouscreaturesrecordedin ancientbestiaries, fromthetwo-headed amphisboena to theblackyalewithflexiblehorns,theonemostfamiliarto themodernworldis theunicorn,whichhasneverceasedto fascinate mankind.The Cloisterstapestrieshaveundoubtedlycontributedto keeping theunicornimageasalivetodayasit waswhenthesetwaswovenabout 1SOO. Theneveryonebelievedin theexistenceof thismarvelouscreature. The mastermind who conceivedthetapestries, in a strokeof genius, decidedto integratetheunicornstorywiththeproceduresof themedieval staghunt.Thisconceptwassubsequently executedwithmonumentality, incredibledetail,technicalbrilliance,andsubtlecoloringin someof the finesttapestries producedduringtheMiddleAges.The pictorialeSect of thesehangingsis enhancedby theirsymboliccontent:personalities, flora,fauna,andparticularly theunicornhimselfhavebothreligiousand secularmeaning. The firsttapestryshowsthreenoblemenaboutto begintheirsearchfor theunicorn.Insteadof protectiveleatherleggingsandotherpractical accouterment, theywearsumptuous outfitsandfeatheredhats.Unsuitably dressyastheymaybefor pursuinggame,thesecostumesaddimmensely to therichnessandcolorof thetapestry.The chiefparticipant in thechase is theyoungseigneur orlord (secondfromleft) . Accompanyinghim andhistwo dignifiedcompanions arethehoundkeepersandapageplaced in theupperrightcorner,who isprobablysignalingthattheunicornhas beensighted.Strappedoverthelord'sshoulderis ahuntinghorn;eachof thehoundkeepershasonetoo.They holdtheirchargeson leashes,awaitingthestartof thechase. rhe UnicornTapestriesrevealanabundance of trees,flowers,and shrubbery:in theentireseriestherearemorethanonehundredspecies, abouteighty-fivepercentidentifiable. The firsttapestryandthelast areparticularly richin flora;bothstrikinglydiflTerent in designfromthe rest,they havewhatis calledamillefleurs background - scoresof plants in a highlystylized"fantasy"settingreminiscent of theflowerymeadows thatso delightedpeopleof theMiddleAges.The othertapestries show plantsgrowingin theirnaturalhabitats:by a stream,in anorchard,afield, oralonga gardenfence.It is interestingto notethatthehumanfiguresin thefirsttapestryaredepictedwitha certainstifliness thatdiflTerentiates themfromthemorenaturalistic characters in theothertapestries. Inspiteof theirattentionto botanicalaccuracy,thedesignersand weaversignoredtheseasonsby juxtaposing plantsin flowerthatordinarily bloomatdiSerenttimesof theyear.Forexample,acherrytreeladen withmidsummer fruitappearsherewithspringtimedaSodils.Thuseach plantisrevealedin itsprime,producinganenchantingensembleof the bestthatnaturehasto oflTer.

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Left: In The Startof the Hunt the cherrytree is prominentlydisplayed nearthe seigneur and his fellow huntsmen.The cherryis often consideredto be one of the treesin Paradiseand also,becauseof the abundanceof its fruit, a symbolof eternallife. Cherrytreesare sometimesassociatedwith the Virgin Mary:a popularmedievallegend recountshow in the cold of wintera cherrytree miraculouslyblossomed andborefruitwhen MaryandJoseph passedby it on theirway to Bethlehem beforethe birthof Christ.On the otherhand,the cherryhas secular, even erotlc,slgnlecance,smcem muchmedievalartthe tree adorns scenesof love andrevelry.Here it is likelythat the tree standsforboth celestialrewardsand earthlydelights. The seigneur- fromhis striped breechesto his jauntyhat- is surelya pictureof medievalfashionat its mostup-to-date,as is his elegantcompanion,who has a spearin one hand and a swordat his side. *

Right:Dogs are shownin nearlyall the Cloisterstapestries.They were not only essentialto the hunt,but also symbolizedfidelitybecauseof their devotionto theirmasters.According to fourteenth-century writerand huntingexpertGastonIII, Countof Foix,two kindsof houndswere used: greyhounds,alwaysreadyto run"as swift as a fowl in flight,"andrunning houndsthat,says Gaston,"huntall the day questingand makinggreat melodyin theirlanguageand saying greatvillainyand scoldingthe beasts thatthey chase."Bothkindsof dog arepresentin the firsttapestry:in the foregroundis a pairof greyhounds whose keen sightmadethemindispensablein the hunt;abovethemare two runninghounds,one sniffingthe air,the otherthe ground.( Thebrownish areaat the bottomis restored.)

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Especiallybeautifulin The Startof the Hunt arefragrantsweet violets ( lowerleft ), amongthe mostcherishedflowersof medievaltimes.Early writerstell how Adamand Eve walkedin the Gardenof Eden where violets androsesand lilies grew;one poet describesthe virginmartyrs wanderingthroughfreshfieldsof Paradise,"Gatheringrosesred for the Passion,lilies and violetsfor love." The violet was frequentlyassociated with the VirginMaryandwith humility, one of her mostadmiredvirtues. Thisflowerappearsin differenthues in all the UnicornTapestriesexcept the fifth. Here the simple, schematic, slightlyrigidblossomsfromthe first tapestryare comparedwith violets fromthe sixth ( above), whichhave a greaternaturalnessandthree-dimensionalitycharacteristicof that tapestryas a whole.

The shadygrovewithirlwhich the "signaler" standsincludesa walnut tree, a linden,an aspen,andprobably a blue plum.Decorativegroveswere extremelypopularon fifteenthcenturyestates,but mostof the trees heremayhave been selectedfor theirspecialsymbolismin additionto the aestheticeffectproducedby the varietyand patterningof theirleaves. Take,for instance,the walnut:its nut has been considereda symbolof Christ,the outersheathrepresenting humanflesh,the wood the crosson which he suffered,andthe innercore his hiddendivinity.Also,like all nuts, the walnutcontainingits ripekernel was a sign of fruitfulness. The mysteriousinsigniaAE ( the E reversed) tied with twistedrope occursfive timesin this tapestryand repeatedlyin all the others.Its meaning will be mentionedlaterin a discussionof the tapestries'ownership.

Shownaboveis the periwinkle,"joy of the ground,"not only effective protectionagainst"snakesand wild beastsand poisonsand spite,"but able to "cureany discordbetween manand wife."Carriedon one'sperson, accordingto the herbals,it promotesprosperity,causesimmunity fromthe devil'sinfluence,and ensures freedomfromterror.

TheSecondTapestry: TheUnicornat the Fountain

thefabulousunicornis tapestries Hereforthefirsttimein theCloisters - fromthetipof his handsome He isextremely thefocusof allattention. tail.Thehuntsmen plumed exquisitely and beard curly his to horn spiraled nearacastle.Inthecentera theirquarryinafloweryclearing surround watchesinawe Theentirecompany intoaquietstream. fountainoverflows the rivulet. into horn his tO dip kneels creature asthemilky-white themagic hornpossesses aunicorn's tradition, tomedieval According birdsandbeastsof venomfromwater,enabling powertoremoveserpent's toquench inthistapestry, theforest,suchastheoneswaitingpatiently the beastrenders theirthirstsafely.Comingtotherescue,thewondrous connotation: Theacthasaclearlyreligious curseineffective. serpent's theserpentisthedevilwhobroughtthepoisonof sinintotheworld,and mankind. theunicornisChristwhoredeemed asChristthe theunicornisindeedfunctioning Inthesecondtapestry forthemoodof serenitythatdominates explanation aprobable Redeemer, scene.Theseigneur, ostrichplumeinhishatandhandupthispoignant seemsto orderthegroupto pauseandwitnessanoble,holygesture. raised, reason:therulesof thehuntrequire foranother Thishaltisimperative chase thepartyto holdbackuntilthequarrystartsto run,foraharrowing isechoedin Theoveralltranquility challenge. paramount isthehunter's Theuprightshaftof thefountainandthehoricomposition. thetapestry's formstrong,stablelines.Thecurvesof the zontaldesignof thestream above, bandof hunters inthesemicircular ovalfountainbasin,repeated providelinesof repose. havenowjoinedtheseigneur. Themostimmoreparticipants Several attheleft,pointingauthoritatively isthelymererstanding addition portant attheunicorn.Thisfellowsetoutwellaheadof therest:hisjobisto and trackdownwithhislymer,orscentingdog,cluessuchasfootprints thatleadto thegame.He hasastubbleof beardonhischin, droppings hastilywithout anddeparted thathearoseatdaybreak indicating perhaps histaskand toshave.Theproudlymererhasaccomplished stopping lair.Lookingrathercontempulto theunicorn's broughthiscompanions ouslyathimisayoungblondman.Rightabovethemahard-working, holdsfourdogsinleash.Neartheseigneur aregrooms, intensehuntsman doltishyokelbesidehim suchasthestringy-haired, pages,andassistants, anda whoiS contentto carryhismasters spear.Two pairsof greyhounds chase The attentively. waiting are and unleashed been singleonehave willsoonbegin. erasaysthattheunicornissoferocious A writerof theearlyChristian thatno huntercanpossiblycapturehim.Onlyby leadinga virginmaiden intoherlap byher,theunicornsprings to himcanhebetaken.Charmed killedby the heisthentrapped, her.Tamedanddistracted, andembraces tonote andbroughttothepalaceof theking.Itisimportant huntsmen, symbolic enormous have tapestries in the capture and hunt thattheunicorn significance.On one levelthe symbolismis religious:the huntandcaptureby a virginarethemesthatcanbeinterpretedasthewholedivineplan throughhisbirthto the forman'sRedemption- Christ'sincarnation hisdeathon thecross,and enemies, his him by of pursuit VirginMary,the of thelive whichcoincideswiththereappearance finallyhisresurrection, unicornin the lasttapestry.On the otherhandthe symbolismis secular: manypeoplebelievethattheUnicornTapestriesweremadeto celebrate

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awedding,theirstoryrepresenting anallegoryof courtship andmarriage. Afterthefourteenth centurytheunicornsoughtbyhunters andthen beguiled bythevirginmaidpersonified thevaliantmedieval loverundergoinggreatdangerandsuffering togaintheacceptance of hisbeloved. Themixingof religious andsecular symbolism inasingleworkwasnot unusual duringthelateMiddleAges,whenpeopledidnotconsider the Godof heavenandgodof loveincompatible. Thiscombination ismanifest notonlyintheunicornhimselfandintheflorathroughout theCloisters series,butalsointhemanyremarkably lifelikebirdsandbeastsassembled beforethefountain.

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Above:The mostappealingbirdsin the secondtapestryarethe paired pheasantson the fountain'sedge, the malefascinatedby his reflection.The fountainfilledwith clearwatermay symbolize"themirrorwithoutblemish,"a simileappliedto the Virgin and also to the loved one on earth. Right:Thenthereis thisperky little rabbit.Renownedforits fertility,the animalis appropriatein a tapestrysupposedlywoven for a marriage,particularlyfor a medieval marriagein which two people were wed partlyfor the purposeof producing heirsto carryon the familyname.

Above: Fertilityis also a characteristic of the goldfinch.Two arein the centerof the tapestry:an adultstands on the rimof the fountain,a fledgling, wings outspread,is nearby.According to Pliny,the first-centurywriter and authorityon naturalhistory,"the goldfinch,thougha very smallbird, producesa dozenlittle ones."Its diet of thornsand thistleseeds associated it with the crownof thorns,and thus Christ'sPassionand man'sRedemption. Peoplein the MiddleAges had a specialaffectionforthe elegantlittle goldfinch;they lovedwatchingit fly wild andfree in the woods or even tamingit to keep as a householdpet.

Overleaf:Amongthe animalslining the banksit a regallion and lioness. Courageousand mercifulto his flock, the king of beasts is, like the unicorn, a symbolof Christ.He also standsfor fidelityin love, makingit morethan coincidentalthat the lion in the tapestryhas his matebeside him. At the rightis a stag,killerof serpents and hererepresentingChristin his specialrole as destroyerof evil. The stag mayalsobe includedbecause of his popularityas an animalof the chase.The pantherin the centerof the groupstandsfor both Christand the loverbecauseof his beauty and good temper.The smallcreatureto

hisrightis perhapsa genet,whose long,lithebodyandringedtailwere surelyvisuallyappealingto the designer.Thegenetis sometimes confusedwiththeweasel,which mightbethecasehere:theweasel, and,likethe likehim,is courageous deer,anenemyof serpents.He turns hisheadin surpriseat a hideous hyena,reputedin bestiariestobe fierceandfilthy.Itspresenceamong thevirtuousanimalsis notstrange, formedievalartistsoftenplaceddianextto those bolicalcreatures man'sfinerqualities. symbolizing birdpoisedona Theinconspicuous bushattheleftof thefountainis fromwhose probablya nightingale, smalldrabbodyringsoutthefamed andglorioussong.Thefemalewas supposedto singasshewarmedher eggsthroughsleeplessnights,a model forthepoorbuthonestworking womanwholightenedhertroubles by singing.Butmorepertinentto the tapestry,perhaps,is thenightingale's withspringtime, longassociation earth,andlovers. theburgeoning Thelushnoraformsa lovely, restfulambience.Theorangetreeat asareall thelowerrightis associated, fruittrees,withfertility.It is also directlyrelatedto theunicornridding thestreamof venom,sincepeoplein theMiddleAgesbelievedthatby drinkinga concoctionof citrusseeds, hotwater,andwine,onebecomes immunetopoison.Appropriately, existsformuch thissameassociation of theotherflora,probablyto underof the linethereligioussymbolism purification of thestream:thefruitof themedlartreeto theleftof theunicorn,thefloweringsageplantatthe rightof thefountain,andthebright nearthehyenayellowmarigolds allresistpoison whenconsumed, eitheraloneorcombinedwithother Thewildpansiesatthe ingredients. Iymerer's feethavepetalsof three colors;forthisreasonin theMiddle AgestheflowersignifiedtheHoly Trinity.Thewordpansyin Frenchis thought,implying pensee meaning thoughtof thebelovedin thelanguageof love.

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The ThirdTapestry: The UnicornLeapsthe Stream

changed. hassuddenly of thefirsttwotapestries Thesereneatmosphere Thissceneis highlychargedwithaction,thehuntwellunderway.Many writersonhunting trail;mostmedieval dogsarenowontheunicorn's arepositioned, agreedthatthemorehoundsthebetterthechase.Huntsmen thattheunicornnimbly alongthebanksof thestream spears upraised, leapsinavaliantefforttoeludehisattackers. ina occurrence isnotanunusual intoastream plunging Theanimal's he wearyandoverheated, staghunt:whenastagbecomes medieval by himselfinacoolrivertorelaxandalsoto confusehispursuers refreshes for the unicorn. histracks.But,alas,thisploydoesnotwork concealing ononesideofthebrook Headheldhigh,hecanonlymovefromthehunters to thosewaitingontheother. from isquitedifferent of thehunters thecharacterization Inthistapestry thatinthefirsttwo.Therearemanycruelanduglyfaces;particularly abouttostabthequarrywith characters arethreevillainous conspicuous of Christwhocaptured theenemies Theymayrepresent theirspears. him. andcondemned Theunicornis composition. bythetapestry's isintensified Thedrama of the hisflight.Theviolentdiagonals to emphasize placedoff-center hornprovideafeelingof movement thebrook,andtheunicorn's spears, strongverticalof theoak madeevenmoreevidentbythecontrasting inallbutthelastof the atthefront.Anoakisincluded treeplacedcentrally andlongevity,to of itsstrength admired because tapestries; Cloisters of love of faith,whileinthelanguage firmness it signified manytheologians relationships. enduring itsymbolized SewnontotheskyarethelettersF andR joinedwithacord:possibly lateron. theywillbediscussed osvnership, keytothetapestries' another

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Left:Themanwearinga brocaded cloakmaybe theseigneur; he seems to listento advice*om thewidb eyedcompanion athisside.The youngmanat theleftvigorously blowshishuntinghorn.It wasimportantforhuntersto be familiarwith thecallsdesignating differentstages of thechase.Theonegivenhere probablywarnsthatthequarryhas takento theriver. Especiallysinisteris thefellowat therightabouttoplungehisspear intotheunicorn.Hisfaceexudes cruelty:browscurlingdiabolically andpointedchinsharplyjutting forward. Right:Ahuntsman unleashesa fresh pairof greyhounds sotheycanjoin therestof thepack;noticetheAE insigniaononedog'scollar.Inthe shallowbrookjustbelowappearsa bittern,a rusty-breasted littlebird. Tothenghtof himis a pomegranate tree.Itslusciousripefruit,filledwith a multitudeof seeds,is frequently usedby artistsasa symbolof fertility. According to sometheologians the pomegranate standsforChristhimself:justasonemustcutdeeplyinto thefruitto extractitspreciousjuice, somustonepenetratetheinnermost suffering of Christto comprehend the sacrificeof hisblood.

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Opposite:Paddlingthroughthe stream,gaze intentuponhis prey,is this scentinghoundwith floppy ears,flatmuzzle,and collaradomed with fleurs-de-lis.He seemstotally obliviousof the mallardheadingtowardthe waterwhereanotherduck, a white one, has alreadysettled.Silhouettedagainstthe unicorn'sbody is an exquisitehawthorntreein flower. Manypeople in the MiddleAges believed Christ'scrownof thornswas madeof pricklyhawthombranches. The hawthornwas also connected with MayDay festivitiesandwith the joysof springtimeandlove. In Chaucer'sThe Knight'sTale,the courtly loverArcita,"todo reverenceto May," hastensto a grove"tomakehim there the garlandthat one weaves of woodbine . . . and greenhawthomleaves." The primrosesjustto the rightof the hawthomwere often called"keys of heaven"or"St.Peter'skeys."Among the earliestspringflowers,they too were associatedwith the merrycelebrationsof May.A medievalherbalist wrotethat distilledprimrosewater is a calminginfluencefor maddogs. Thefielddaisiesbloomingat the bank nearthe duckshave roundgolden centersof such clarityand brilliance thatpeople in medievaltimessometimescalledthe flower"eyeof Christ." Theywere used as a curefor "devil's love,"or excessivesexualdesirethat leadsto infidelityin marriage.The long sharpleaves of the yellow flagto the righthave been comparedto swords,and indeed the floweris alternativelycalled swordlily. In the tapestryperhapsthey relateto the huntsmen'sspears.Medicinally,yellow flagis supposedlyan effective cureforthe achesandpainsof pregnancy.

Above:These plumppartridges, quietlyvigilant,mighthave suggested severalmeaningsto the medieval observer.Bestiariescalled them lustful, saidthey often stole otherbirds' eggs, and associatedthem with the devil. In this sense they mayalludeto the evil huntsmenchargingthe unicorn.Partridgeshave alwaysbeen renownedfor theircleverness:they use dust and shrubsas protective camouflageand coaxpeople away fromtheirnests by scuttlingoff with a feigned injury.Surroundingthem in the tapestryaremarigoldsat the left and claryto the right,a flowering herbthoughtto be an aphrodisiac, an aid in pluckingout thornsfrom flesh,and,when mixedwith honey, an antidoteto poison.

TheFourthTapestry: TheUnicornDefendsHimself Thefrenziedpaceof thehuntreaches itspeakinthisscenewheretheunicorn,nearlyovertaken by hispursuers, violentlydefendshimself.Ctesias, a Greekphysician wholivedaround 400B.C.,wasthefirsttowriteabout theunicorn.Inhisdescription of thebeasthesays:"Theyfightwith thrustsof horn;theykick,bite,andstrikewithwounding forcebothhorses andhunters." Inthistapestry theunicorn,withthesamesavagery, gores agreyhound andalmosttopplesahunterwitha kickfrombothhindlegs. Betweenthishunter's feetisthefeverfew,aplantthatcan"bringbroken bonestogetherandhealthem." Addingto theturmoilarethehuntsmen, lungingattheunicornwith pointedspears,andthecurly-tailed hounds- someleapingtowardhim, otherscrouching readyto spring.Oneelegantgreyhound isrestrained by hismaster who,quiteunderstandably, doesnotwanthisfavoritehound wounded. Thistimethestrongcentralmotif- anorangetree- issetfar back,notsubduing orinterfering withthetumult. Thecharacters donotallactivelyparticipate intheattack.Thegentlemanintheplumedhatistheseigneur. Unliketheothers,hisfaceissensitive andcompassionate ashequietlywatchesthefearsome spectacle. To the leftaretwopeasants, anagedmancarrying refreshments andawoodsman whohasjustcutdownatree.Theyarenewcomers tothegroup,asisthe figureblowinghishornwhopersonifies theangelGabriel. Anolder,gray-haired huntsman, furryhattiedunderhischin,iscourageousenoughto comewithintouchingdistance of theunicorn's head.A hunterpointinghisspearstandsbesidetheseigneur, abitapprehensive and keepingacautious distance fromthecombat.Theothersmoveinfor thekillasif theybelievetheirtargetisanordinary stag.Theyseemnotto realizethattheunicorncannotbetakenby forcebutonlybyguile,his capture possible onlyafterheistamedbyamaiden.

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Opposite:This imposingfigure, cheekspuffedout as he soundshis horn,representsGabriel,angel of the Annunciation.The scabbardof his swordbearsthe LatininscriptionAve ReginaC[oelorum],"Hail, Queenof the Heavens."To be sure, in the biblicalaccountGabriel greetedthe VirginMarywith the familiar,"HailMary,full of grace"; but the "AveReginaCoelorum" was a popularhymnto the Virginin the MiddleAges andwould have been understoodas a substitute. Gabrielalone amongthe hunters fully comprehendsthe meaningof this vehementpursuit.As messenger of Godhe now comesto proclaim thatthe unicornis Christand that the animal'seventualsubmissionto the virginmaidis an allegoryof the Annunciationand Incarnation. Nearthe left tasselof the AE in-

signiais a clusterof forget-me-nots. The verynameof the flower- in old Frenchne m'oubliezmye or "donot forgetme"- indicatesits significance for lovers.One fifteenth-century poet asksit "togreetfor me with God in heart,the one who is my love." Forget-me-notsareusuallyblue, in the MiddleAges the colorof fidelity: accordingly,a Germanpoet describesthe blossomas one "whose colorshinesin steadfastness." Below,left: The old mancarriesa flaskin one handandoverhis hunched shoulderis a bundlewrappedin clothfastenedto a staff.He is, in all likelihood,supplyingfood and drink forthe huntsmento enjoyat the end of the strenuouschase. The woodsmanbeside him clutches an ax;he has justfelled a beech tree,highlyprizedfor its timberthat

quicklykindlesinto a blazingfire. He may be preparingfirewood,a traditionalrewardfor the huntsman who successfullytrackedthe stag to his lair.One medievalwriterdescribinga royalhunt says thatwhen the king askswho discoveredthe stag the masterhuntsmanreplies,"A manwho is mostvaluablefor sport . . . he requiresan arpentof wood." The king then commands,"Give him three."Behindthe two rusticfellows stretchesan extensivevistaof grasslands,trees, a lake, and in the distancea buildingwith spires. Below,right:The birdwith the long pointed bill hoveringnervouslyover the streamis a woodcock.Bothhe and the mallardduckfranticallyflapping his wings arevisiblyalarmedat the commotionand contributeto the flurryof excitementall aboutthem.

Onthebank,in ironiccontrastto the intenseactivity,a statelyheronstands calmandmotionless ononeleg.He seemsentirelyunconcerned aboutthe hecticgoings-onof thehunt.It is saidthatherons,notedfortheirlofty flight,fearstormsandsoarabove them;thustheyarea kindof weather vane,signalingthepossibilityof rain.In a religioussense,thesebirds oftensignifythe"soulsof theelect." Fearingtheterrestrial deedsof the devil,theyseekonhigh"theserenity of heavenwheretheymaybehold foreverthecountenance of God." Attherightis a peachtree,its succulentfruitconsidered anaphrodisiac andeffectivein inducingpassionin "menthatareimpotentbecauseof a coldnature." Thecattailacrossthe streamwasthoughtby someto be the reedthesoldiersforcedChristto carryasa scepterwhentheywere mockinghim.Justbehindthewoodcockis a thistleplant,alwaysrelated to thecrownof thorns;in artand literature it is oftena symbolic"defender"of maidenhood.

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Fragments fromthe FifthTapestry: TheUnicornIsCapturedby the Maiden Althoughonlytwofragments remain fromthefifthtapestryX it isobvious fromthemthatthehuntsmen nolongertryto capture theirquarry by forceandhaveresorted totheruseof thevirginmaid.Allthatisvisibleof themaidenisabitof herbrocaded sleeveandherhanddelicately caressingtheunicorn's mane.Herpertladycompanion beckonsX apparently to thehunterblowinghishornX to signalthattheunicornmaynowbe taken.Itisimpossible toreconstruct thesceneasawholeX butitsatmosphere wasundoubtedly oneof quietandpeace. Themaidenandtheunicornarewithinthebortusconclusus, agarden surrounded byafence.IntheMiddleAgessuchanenclosure wasconsideredasymbolof chastity.Inthesefragments therectangular gardenis boundedby woodenrailings anda hedgeof rosesplentifullysupplied withthorns. Oneof thetreesinthefragments isahollywithbrightredberries. Holly wasusedforChristmas decorationsX asit istodayX andwasassociated with theNativityandtheyuletideseason. Thereisalsoanappletree.Itwas probably inthecenterof thegarden; itsfruit,unlikeanyotherinthe tapestriesX isenriched withsilver-gilt threadsX indicating aspecialimportance.Onewritercallstheshadeof theappletreetheHolySpiritthat overshadowed MaryattheAnnunciation. Thisinterpretation makesit appropriate forthecomingof theunicorntothemaidX orX symbolicallyX of ChristtotheVirginX to takeplaceunderanappletree.Theappleisalso richineroticsymbolism. Sincetheunicornbeguiled bythemaidenrepresentedthelovercaptivated byhisbeloved,theappletreeintheCloisters tapestrymaywellsuggestthesweetness of worldlylove.Sincetheapple wasconsidered theforbidden fruitof theGardenof Edenandtheholly withitssharpleavesa symbolof Christ's PassionX thetwo togethermay signifythewholedrama of theFallandRedemption.

Below: Illustratedhere is one of a famedseriesof tapestries,The Lady with the Unicorn,in the ClunyMuseum in Paris.The set describesthe five senses,and this particulartapestrythe senseof sight.A lovely lady holds a mirrorbeforethe unicorn who admireshimselfwith obvious satisfaction.The workyscomposition may approximatethat of the nowfragmentaryCloisterstapestry:the positionof the lady'shand and arm, her elegantlybrocadeddress,and the angle of the unicorn'shead and horn arequite similarto corresponding featuresremainingin the Cloisters fragment.

Photograph: Reunion des Musees Nationaux

Roseswereprobablythebest-loved of allmedievalflowers- fortheir andsymbolism. beauty,fragrance, enclosed Aroundthetapestry's gardengrowsa profusionof roses, bothwhiteandred. withroses Medievalassociations rosesgrewin aremyriad.Supposedly theGardenof Edenwithoutthorns untilafterthe sinof AdamandEve; virginsin heavenwerethoughtto spendleisuretimegatheringthem.In thethirdcentury,St.Cyprianexto diefortheirfaith hortedChristians andwinthe"redcrownof roses." Sincethentheredrosehasalways symbol.Theflower beena martyr's woundsby wasrelatedto Christ's who of Clairvaux themysticBernard said:"Lookathisfeetandhishands; was Bernard doyounotseeroses?" one of the firstto attributethe rose totheVirgin:"Mary, particularly therose,waswhitethroughhervirginity,redthroughhercharity. . . whiteby herloveof God,andredby forthosewhoare hercompassion nearher." Theroseassymbolof thebeloved orof sensualpleasurewasused repeatedlyby medievalpoetsand Athirteenthwritersofloveallegories. wrote scholar" century"wandering tohislady: Takethouthisrose,O rose, Sincelove'sownfiowerit is, Andby thatrose Thylovercaptiveis.

Thisintriguingly seductivedamsel is anunusualadditionto thescene: rarelywasa womanattendant depictedattheunicorn's capture. Thisgirl'sslyexpression mayhint at theunicorn's betrayal.

TheSixthTapestry: TheUnicornIs KilledandBroughtto the Castle

of theunicornlegendoccur.Each Inthistapestry twoimportant episodes differsfromtheotherinlocale,content,andmood.At theupperleftin a woodlandsetting,huntsmen killtheanimalin a powerfullydramatic staghuntthedeathof thedeer expression of brutality. Inthetraditional wasalwaysheralded on thehuntinghorn.Herethefigureof thehunter betweenthebloody whosoundsthesignalorprise, formsatransition andhoundsescorting theslain killingandthesolemncortegeof hunters seigneur unicorn.Astheentourage arrives atthecastlegate,thedignified grasping theunicorn's horn, waitsarminarmwithhislady.A huntsman, poweristheprize pointstothemasif tosay,"Thishornwithitsmiraculous Thetwoareready of thehuntandit belongsto thismanandwoman." whilethelady, toreceivethedeadbeast:thelordlooksquietandconfident Shegazessadlyintothe ontheotherhand,hasanairof melancholy. distance asdoesaboyplayingwithhisdog.Surelyawareof thereligious significance of thedeadunicorn,theladyfingersarosarysuspended fromhersashandwearsanecklace withapendentcross. andgossiping. A crowdof onlookers ispresentmanybusychattering window,andtwofellows Onecouplepeersoutfrombehindabarred observetheprocession fromahightower.Thesolidmassof peopleatthe rightandthesturdymasonry abovebringto ahalttheactionof thisand thepreceding tapestries likethefinalchordof asymphony.

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theseigneur, whois notrepresented amongthoseslayingtheunicorn, andhislady.Shedoesnotappearto havewitnessedthekillingeither, she eventhoughit wasconceivably whocharmedthebeastso thathe couldbe taken:herdressis of the samecolorandbrocadedfabricas thebitof sleeveseenonthemaiden's armin thefragmentwhereshe theunicorn.Usuallyin embraces medievalarttheunicornis slainwhile he liesin thelapof thevirginmaid. In thistapestrythekillingtakesplace in a separatescenewelloutof the ladis sight. Thecastle,withitspicturesque buildingsandwalls,itsmulticolored anditstower(reallytoo stonework, themenwatchsmalltoaccommodate ingontheparapet), seemsmore thanreal.Inthemoatswim decorative a fewswans,a frequentsightaround medievalcastles.Thesebirdsare signsof goodluck,andbestiariessay thattheswansingsbeautifullybecauseof hislongcurvedneckthrough which"therichmusicgoesround androundthroughthelengthybend."

In a hazelnuttreesitsanenchanting squirrel,bushytailcurvedoverhis back.Thesquirrelis supposedtoknow dangerlurksonthegroundandso inhabitsthetreetops;onemoralizing writersaidthatmanin hiswayshould emulatethishabitand"keepabove in theloftyplacesof heavenlymeditations" in ordertobe "secured from thehungrychasingsofthetreacherous devil."Squirrels areeasilytamed andwerefashionable petsformedievalladies. Ofthehazelnut,it wasbelieved thatif "abranchortwigissplitlengthwiseandthetwopieceslaidclose together,theywillbecomejoinedby magicasif thewoodhasthespiritof lifeinit."Thislegendaryqualityof thetreeexplainsitsassociation with union,regeneration, andimmortality. Ablackberry vinewithnettlesand whiteflowerstwistsaroundthe hazelnut's trunk.Sometheologians thoughtthebushMosessawwasa blackberry burningsteadilybutnever consumed by theblaze;subsequently theblackberry becamea symbolof "theblessedVirginwhowasilluminatedbythefireof theHolySpirit, yetwasnotviolatedbytheflameof *

concuplscence.

Thetallflowersto therightderive theirnamefromIris,the Greekgoddesswhowasmessenger of thegods to men.Thepurpleiriswasgreatly admired bythenobilityandwasoften equatedwiththefleur-de-lis, a frequentmotifoncoatsof arms,particularlythoseof the Frenchroyal house.Theiristoowascompared to theMotherof God,andfourteenthcenturySt. Birgittaof Swedengives severalreasons:justastheirissurpassesmostflowersin height,Mary "reaches aboveallheights,forthe greatlyblessedQueenof Heavenexcelsallothercreatures inmajesty andmight."Thetwosharpedgesof theirisleafhavetheirownmeanings associated withMary:oneis "the griefof herheartoverthesuffering of herson"andtheotherher"unflinchingdefenseagainstallcraftiness andpowerof thedevil."

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Left:Theslayingof theunicorn occupiesa relativelysmallportionof thetapestry-almostasif thedesignerfoundit unbearable to expand thiseventsofilledwithpathosinto a largercomposition. Thesceneis depictedwithimmenserealism,and thereis noattemptto minimizethe stlffering of thedyinganimal.Two huntsmenwoundthe animalin the throatandflank,whileayoung noblemanis aboutto dealthecoup de gracewithhissword.

Below:Symbolof thecrucified Christ,thedeadunicornwears aroundhisnecka wreaththatseems to consistof oakbranchesintermingledwithhawthornandholly. Thepricklyboughsmayreferto the Saviour's crownof thorns,theoakto thestrengthanddurability of the Christian faithaswellasto theconstancyof lovers.In antiquityoak leaveswereusedto makeciviccrowns - accordingto Pliny,"themost gloriousrewardthatcanbe bestowed onmilitaryvalor"- suggestinghere theunicorn's bravery. Thehorsecarryingtheunicornis magnificent. IntheMiddleAgesfine, spiritedhorses,essentialto knights, wereoftenvaluedaboveallelse,even wives!Theywerereputedto exult in combatandbe totallydevotedto theirmasters.Onebestiarynotes: "Whentheirmasteris deadordying, horsesshedtears- fortheysaythat onlythehorsecanweepformanand feeltheemotionof sorrow."

The SeventhTapestry: The Unicornin Captivity

cometo lifeagain,rests theunicorn,miraculously Inthelasttapestry backmillefleurs adazzling setagainst woodenenclosure withinacircular groundthatissurelyoneof theloveliestandmostcolorfulinexistence. "Inthe Decameron: of acastlegardeninBoccaccio's Itrecallsadescription else, thananything middleof thisgarden,whatseemedmoredelightful witha thegrassof adeepgreen,spangled wasaplotof landlikeameadow; exquisite Justlookingattheseventhtapestry's flowers." different thousand of flowersmusthaveliftedtheheartsof peoplewearyof winter spread Filled andlongingforthesightsandsmellsof springandearlysummer. morethantheothers,signifies thistapestry, symbolism, withbotanical earthlyloveandfruitfulmarriage. astherisenChristinthemidstof a Heretheunicornmaybeinterpreted toatreehe andchained garden.However,sinceheiscollared Paradise atlastsecuredbyhisadoredladyX isalsoanimageof thelover-bridegroom, staghunt, hisbride.Thissceneisnotrelatedinanywaytothemedieval poets bymedieval lovehuntdescribed butisthefinaletotheallegorical andwriters.

or love chain The chuzned'amour that attachesthe unicornto the treeis frequentlymentionedin medieval poetryto illustratethe gentleman's devotionto his lady andhis complete subjectionto herwill. The tree itself itis sheerfantasy,reis extraordinary: semblingno tree on earth,thoughits fruitsare clearlypomegranates.Some are so ripe they have burstopen, displayingtheirabundantseeds.The pomegranateis not only a symbol of the afterlifebut, as said earlier,of fertility;thusit is significantthat someof the seeds with theirred juice have spilledonto the unicorn'smilkwhite body. Silhouettedagainstthe animal's torsoarebluebellblossomsand, placedin a spotwhereit is especially noticeable,a tall wild orchid.Supposedlywhen a bluebellis suspended abovethe threshold,"allevil things will flee therefrom."The orchidhad uniquepowers:medievalherbalists say "ifa maneats the largestpart of the roothe will beget a male child," and if "thelesserpart"he will produce a daughter.

The carnationwas oftenplantedin medievalgardensbecauseof its delicate beautyand aromaticclove-like fragrance.In a Clunytapestry( detail,farright) carnationsaresingled out to representthe senseof smell. Here the lady is fashioninga crown of red andwhite carnationswhile herhandmaidenholdsa goldenplatterwith morefreshblossoms. Duringthe fifteenthcenturythe carnationbecamepopularas an emblem of betrothaland marriage and as a sign of Christor the Virgin. It aIsosymbolizesthe nailsdriven into Christ'shandsand feet because of the similarityof its fragranceto the nail-shapedclove. A clusterof crimsonandwhite carnations( near right) appearsprominentlyat the frontof the enclosurein the seventh Cloisterstapestry.Abovethem fluttersa white butterfly,a tiny black spoton each wing. His presence hereis appropriatesincehe is a traditionalsymbolof love and fertility. Below: Almosthiddenamidstthe floraabovethe AE in the lowerright corneris this minisculefrog.He faces a white blossomand couldeasilybe mistakenfor a flower.It is interesting that apartfromthe unicornand a few insects,he is the only othersign of animallife in this tapestry.

Photograph: Reunion des Musees Nationaux

Someof themostbeautifulflowers in thelasttapestryareillustrated below.Includedis thecuckoopint (topleft) thatPlinyclaimscanrepel "serpents, especiallyasps,ormake themsotipsythattheyarefoundin a stateof torpor." It also"drivesaway melancholy andmakespeoplehappy in theirhearts." Differentnamesweregiventhe Englishdaisy(lowerleft) duringthe MiddleAges:in Franceit wascalled paquerette,signifyingthejoyof Easter,andinmedievalGelmanyit wasMassliebeormeasureof love, suggesting thateventhengirlsplucked thepetalssaying,"Helovesme,he lovesmenot." TheVirginMaryis oftencalledthe

"lilyof chastity," andthesweetsmellingMadonnalily (topcenter) is namedespeciallyforher.Inthe seculardomaintheflower'swhiteness relatesto thebeloved'spurity,its beautyandfragrance to thesweetnessof love. Sodelectableis thefruitof the floweringwildstrawberry plant (lowercenter)thatit wascalled"food fortheblessed,"and,accordingto cookbooks, strawberry tartswerea favoritemedievaldessert.Medicinallytheplantwasthoughtto curb theeffectsof cholera,"evilsof the spleen,"andstomachdisorders. Belowright:Attheleftin this pictureis a massof redwallflowers. Theywereusedforcurativepur-

poses,primarily to easethepainof childbirth and,in distilledform, to "makea womanfruitful." Justbeneaththemanda bitto therightis columbine. Itsnameis derivedfrom theLatincolumbaordove,and sincetheflowersuggestsa dovein shape,it wasa symbolof theHoly Spirit.Thecolumbinewasthoughtto preventimpotenceandwasusedby sorcerers "fortheircrafts." Nearthecenterof thispictureis a plantwiththornyleavestoppedwith a whiteflower.Thisis theSt.Mary's thistle,anothersymbolof theVirgin's chastity.It mayalsoservehereasa reminder of thedifflcultroadthatthe unicorn-lover hashadto endureto gainthe acceptanceof hisbeloved.

the Creationof the UnicornTapestries cannot theUnicornTapestries of creating Thesuperbaccomplishment conceived who person the was Firstthere to oneindividual. beattributed of ideasforsubjectmatteranddetails.Thentherewerethedesigner to follow;the forweavers cartoons of full-scale andthepainter sketches andthosewho colorfulsilkandwoolthreads, dyersof thesplendidly the allusedasweftsformakingthedesigns; metallicstrands, prepared whosetuploomswithheavy,undyedwoolenwarps;andfinally workmen themanyweavers. wasinvolved, butnotcertainthatmorethanonedesigner Itisprobable betweentheratherstatic atheorybasedonstylisticdifferences works. rendered andthefivemorenaturalistically milleNeurs hangings oneisthat havebeensetforthto explainthedissimilarities: Otherreasons partof thesameensemble; werenotoriginally thefirstandlasttapestries atalaterdateandaddedto isthattheywerecompleted suggestion another serieswasfashioned unicorn the that theset;thereisalsoahypothesis asbedfittingsandtheothersas themillelQeurs tapestries forabedroom, wallhangings. especially seemsto reflectFrenchinfluence, Thedesignof thetapestries printedin Parisinthelatefifteenth thatof certainwoodcutsandmetalcuts werewoven however,thatthetapestries century.Itishighlyprobable, whichwasthegreatcenter mostlikelyaround1500inBrussels, inFlanders, in the of tapestryweavingof theperiod.The skilledworkmanship finequalityof theweavtheextremely particularly UnicornTapestries, looms. onBrussels worksof artproduced ing,istypicalof theremarkable inthefinished loomsweresetupsothatthewarpthreads Medieval andfromthe workedsideways Theweavers runhorizontally. tapestry wove severalpersons aslargeastheUnicornTapestries back.Inexamples very and twisted tightly threads, warp The togetheratthesameloom. thatcreatethedesign.The strong,werecoveredbythefinerweftthreads thinribs(aboutsixteentoeighteen warpsarevisibleonlyasextremely perinch). tempoandmood,yettheentire hasadistinctive tapestry EachCloisters motifssuchastheunicorn,thehunters, groupisunifiedby recurring theirstylistic them,whatever thebrook,andthecastle.Whoeverdesigned and masterworks undoubtedly are theUnicornTapestries heritage, evermade. amongtheloveliesttapestries

Above:These detailsshowthat the backof the tapestry( lowerpictures) is practicallythe sameas the front, in reverse,even down to the eyes and strandsof hair.This is a phenomenon peculiarto the tapestry-weaving technique,in whichweft threadsof each colorarewoven only overthe exactareawhere the designrequires them,andthe loose ends,thin and tightlywrappedaroundthe warp threads,arehidden.

Right:A barelydecipherableinscriptionon a huntinghornin the secondtapestrycouldbe a key to the nameof the tapestries'designer: someof the lettersmayformthe name Jean,and an isolated"e"maybe part of the Latinfecitor "madeby."

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The disparitiesin designand weaving between the firstandlast of the series- the millefeurs tapestries- and the otherscan be seen by comparing details.As mentionedbefore,the contrastis quite obviousin the treatmentof flowersandtrees;the most conspicuousinstanceis the treein the seventhtapestrythathas fruitsrecognizable as pomegranates,though the tree itself is totallyimaginary, whereasin the thirdtapestryboth pomegranatefruitand shrubare correctlydepicted.The samecontrast can alsobe seen in the design of figures:comparethe huntsmanfrom the firsttapestry( right),stiffas a woodenmannequin,with the spontaneousmen-realistically portrayedin the sixth ( left).

TheOriginalOwnership of the UnicornTapestries

Itisstillnotknownforwhomthetapestries werewoven,buttheomnilowerleft)may present A andreversed E joinedwithabow (opposite, to Anneof eventually provideaclue.Onetheorylinkstheinsignia thefirstand Brittany, twicequeenof France,claiming thatit represents - aropewith lastlettersof hername,unitedbyheremblem, thecordeliere tightknotsspacedatintervals. Thecord,however,isnotatruecordeliere, alolcorsimpleknot, forit lacksthecharacteristic tightknotsandisinstead apopular medieval device. thedead Thesametheorysuggests thatthelordandladyreceiving Louis unicorninthesixthtapestry(opposite)areAnneandherhusband XII,andthatthetapestries werecommissioned fortheirweddingin 1499. thelady Althoughthelordvaguelyresembles Louisincertainportraits, Anne doesnotresemble anyknownlikenessof thequeen.Furthermore, wastwenty-twowhenshemarried Louis,andthewomandepictedhere seemsolderthanthat.Manyotherexplanations fortheAEhavebeen remains amystery. proposed, butnonecanbeproven;thecipher's meaning skyinthethird TheinitialsF andR sewnontothepartially restored tapestry(lowercenter)associate theunicornserieswiththenobleLa ownersof the Rochefoucauld familythat,to thisday,believestheoriginal andhiswife tapestries wereitsancestors JeanIIdeLaRochefoucauld Marguerite deBarbezieux. Jeandiedaround1471,andsincethestyleof the inhislifetime.Itis tapestries islater,theycouldnothavebeencompleted forthecouple'sson morelikelythatthesetmayhavebeencommissioned andhistwo FranSois. Thereseemtobenoexistingportraits of FranSois wivesso anycomparison of themwiththelordandladyof thesixth tapestry isimpossible. Hisfirstmarriage, in 1470,wastoLouisedeCrussol, whoborehimsixchildren beforeshediedatanunknowndate.The head.Butthe crestof herfamilyseal,interestingly enough,wasaunicorn's coupleinthetapestryisnolongeryoung,andthusmightrepresent Francoois andhissecondwife,BarbeduBois;in thiscasethesmallboy pettinghisdogcouldbeoneof Francoois's sonsby hisfirstwife.It is remotelypossible thatthesableliononthebanner(lowerright)flying fromarooftopof thecastlebehindtheseigneur andhisladymightbethe coatof armsof thefamilyof BarbeduBois. It isalsopossiblethatthereis a connection betweentheAE andthe LaRochefoucauld house.Thoselettersarethefirstandlastof Antoine,the of Amboise. nameof FranSois's son,andof hiswife,Antoinette for Sinceit istheFRmonogram, however,thatislargelyresponsible itisessential toknow thebeliefthatthetapestries werewovenforFranSois, analysis of if theinitialswereoriginally partof theunicornset.Careful arefinerthanthose thesuperimposed lettersrevealsthattheirwarpthreads incomposition. inthetapestries andtheirmetallic weftthreads different basedon the Thereis,nonetheless, anotherideaworthyof consideration, ensemble, the possibilit^,r thattheunicornserieswasdesigned asabedroom backgrounds fivehuntingscenesforthewalls,thetsvowithmilleNeurs canopy.If themilleforthebackof thebed,asacoverlet,oranoverhead tapestries werein factdesignedfor abed,theFR monogrammay the havebeenincludedin a separatenarrowcornicebandsurrounding canopy,andcouldhavebeenwovenon a smallloomwithwarpthreads finerthanthosein the largerhangings.And so, althoughnot verifiable,the ideathattheFRmonogramwaspartof theoriginalsetcannotbediscounted. fleurs

The Historyof the UnicornTapestries: 1680 to the Present

Beginning inthelateseventeenth century,thehistoryof theUnicorn A listof the Tapestries isbasedonhardfactsratherthanonguesswork. possessions of Franvois VI deLaRochefoucauld madewhenhe diedin 1680includes"tapestries representing a huntof theunicornin seven pieces." Theseadorned thebedroom of histownhouse inParis. in Aninventory of 1728recordsthatthetapestries werethenhanging theLaRochefoucauld chateau atVerteuil,about250milessouthof Paris, wheretheyremained untiltheFrenchRevolution. In 1793village usedthem peasants absconded withthem,andit issaidtheirdescendants "toprotectfromfreezingthepotatoes intheirbarns." tapestries were Itwasnotuntilthemid-1850sthattheseverelydamaged located,restored, andthenreinstalled attheVerteuilcastleafterabizarre andfortuitous incident:a peasant's wifetoldthewifeof CountHippolyte usedin his deLaRochefoucauld aboutsome"oldcurtains" herhusband barnto covervegetables. Theoldcurtains turnedouttobetheUnicorn . apestrles.

Stillin theLaRochefoucauld familyin 1922,thesixlargetapestries whereJohnD. weresentthatyeartoNew Yorkforagalleryexhibition, Rockefeller sawthemandwasoverwhelmed. Lookingbackontheexperiencehelaterwrote:"Imerelylingeredfiveminutesto satisfymy eye withthebeautyandrichness of theircoloranddesignandboughtthem for forthwith." Theroomhecreatedin hisNew YorkCityresidence thetapestries becameMr.Rockefeller's favoriteretreat. Impressed withtheplansworkedoutbyJamesRorimer(laterDirector medieval branch of theMetropolitan) forThe Cloisters, theMuseum's inFortTryonPark,Mr.Rockefeller agreedin 1935to presenthissix tapestries toTheCloisters. Cleaning, restoration, andextensive research beganapace.In 1936the fragments of thefifthtapestry werefoundinthePariscollectionof Count GabrieldeLaRochefoucauld. At firstunwillingto partwiththem,he soldthefragments twoyearslatertotheMetropolitan. TheCloisters openedin 1938withtheentireunicornseriesonviewin alonggallerythatdidnotpleaseMr.Rockefeller. He wantedthetapestries the complemented byasettingthatwouldenablethepublicto experience samethrillhehadfeltwhenhefirstsawthesetreasures. It wassubsequently room decidedthatthetapestries shouldhangonallfourwallsof anintimate Completed in constructed andfurnished likeonein a medieval chateau. whenever he 1949,thenewroomdelighted Mr.Rockefeller. Thereafter cameto meetingsatThe Cloisters hewouldneverleavebeforeasking, "AndnowmayI seetheUnicornTapestries? "

MUSEUM METROPOLITAN

THE OF

ART

BULLETIN

INDEX

1-5,1973/1974 Numbers XXXII Series, Vollime New

AncientNearEasternart.FromtheI,andsof theScythians, 34-35,51,74-75,97-99,108,116,128 Armsanclarmor Artof ChixZalry,57-104 I;romtheLandsof thcScythians44-45,48-51,53,90-91, 99, 102,112,123,128 II. Nickc1,58-104 Artof Chivalry, Artsof AncicntChina,M.Hcarn,t. Fong,231-278

EarlyCulturesof the Landsof the Scythians,B. Piotrovsky, 12-25

Egyptianart.Fromthe Landsof the Scythians,107 ExcavationsandDiscoveriesin ScythianLands,B. Piotrovsky, 26-31

Exhibitions Arts of AncientChina,229-280 Fromthe Landsof the Scythians,1-160 Impressionism:A CentenaryExhibition,1-56 Masterpiecesof Tapestryfromthe Fourteenthto the SixteenthCentury,173-176,225-228

B Battlcarmor.Artof Chivalry,68-75 Find.Fromthe Bothmer, Dictrichvon,TheVettersfelde I (Intls of thcScythians,153-155

FarEasternart.Artsof AncientChina,229-280 Artsof AncientChina,234-243,246-249,254-255,262-267, Farkas,Ann, Introduction.Fromthe Landsof the Scythians,

13ron%c

8-9

271,277-278,280 I;romtheLandsof theScythians,33-35,42,46-47,63? 82-83,97-106,112-115,122-127 T3eltldllist art.Artsof AncientChina,264-271

Fong,Wen. The Artsof AncientChina,231-280 Freeman,MargaretB. The UnicornTapestries,177-222 FrenchImpressionism.ImpressionistBrush,1-56

G Gold Artsof AncientChina,278 Fromthe Landsof the Scythians,1-160 GreekandRomanart.Fromthe Landsof the Scythians, 48-62,64-71,88-96,105,107-113, 125-128,157-159

C (cramlcs Artsof AncicntChina,231-233,256-261,272-277 Fromtllc Landsof the Scythians,103,113,123 Cc%annc, Paul. ImpressionistBrush Noir? 46-47 Cllsltcavl Gulf of MarscillesSeenfromL'Estaque,37-38 lIousc of tllc HangedMan,Auvers,26-27 40-41 M.lelamcCczanncin the Conservatory, Still Lifc, 17 Ch'indynasty.Artsof AncientChina,254 Cllivalricorders.Art of Chivalry,102-104 Chivalry 57-104 Art of ChivalryX Fromthe Lanelsof the Scythians,150-152 Choudynasty.Artsof AncientChina,243-253 Crusaders'armor.Art of Chivalry,62-67 .

H Han dynasty.Artsof AncientChina,254,257-263 Harper,PrudenceOliver,"TheMailiopTreasure."Fromthe Landsof the Scythians,156-160 Hearn,Maxwell.The Artsof AncientChina,231-280 Herodotus:On the Scythians.Fromthe Landsof the Scythians,129-149 Horsearmor.Art of Chivalry,69,71-72,78-79,88-89,96-97 Hoving,Thomas Art of Chivalry,57 Artsof AncientChina,229 Fromthe Landsof the Scythians,1-2 ImpressionistBrush,l UnicornTapestries,173

D Dawnof Chivalry,H. Nickel.Fromthe Landsof the Scythians, 150-152

Decorativearts Artsof AncientChina,231-263,278-280 Fromthe Landsof the Scythians,1-160 UnicornTapestries,173-228 Degas,Edgar.ImpressionistBrush BellelliFamily,5 Dancers,48-49 DancingClass,22-23 8-9 Womanwith Chrysanthemums, Delaune,Etienne (armorer'ssketch). Art of Chivalry,100

I ImpressionistBrush,J. Rewald,2-56

J Jade.Artsof AncientChina,244-245,250-251

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

L Lacquerwork.Artsof AncientChina,253

"MaikopTreasure,"P. O. Harper.Fromthe Landsof the Scythians,156-'60 Manet,F.douard.ImpressionistBrush Artists'sGarden,Versailles,cover,31 Balcony,10-11 Boating,Argenteuil,30-31 MademoiselleVictorinein the Costumeof an Espada,6-7 Medievalart.UnicornTapestries,173-228 Monet,Claude.ImpressionistBrush AppleTreesin Bloom,Argenteuil,2S Boulevarddes Capucines,Paris,28 LaGrenouillere,21 RouenCathedral,42-43 Sunflowers,56, backcover WaterLilies,52-53 Womenin the Garden,14

Nudein the Sun,32-33 Pont des Arts,Paris,15 TillaDurieux,50-51 Rewald,John.The ImpressionistBrush,2-56

S Sarmatianart.Fromthe Landsof the Scythians,125 Sculpture.Artsof AncientChina,234-235,253,256-261, 264-277 Scythianart.Fromthe Landsof the Scythians,1-160 Shangdynasty.Artsof AncientChina,234-244 Siberianart.Fromthe Landsof the Scythians,72-83,115-124 Silver Artsof AncientChina,277 Fromthe Landsof the Scythians,38-39,63,86-89, 97,99, 101, 116,127 Sisley,Alfred,ImpressionistBrush EarlySnowat Louveciennes,18-19 E0lood at Port-Marly,29 Souchal,Genevieve,texts fromthe catalogueof Masterpieces exhibition.UnicornTapestries,174-176, of Tapestry 225-228 Sui dynasty.Artsof AncientChina,268,277

N Negroli,Philippode. Art of Chivalry,backcover Neolithicpottery.Artsof AncientChina,232 Nickel,Helmut Art of Chivalry,58-104 Dawnof Chivalry.FromtheLandsof the Scythians,150-152 NorthernCh'idynasty.Artsof AncientChina,268-269 NorthernWei dynasty.Artsof AncientChina,265,276-277

p Paintings.ImpressionistBrush,1-56 Paradearmor.Art of Chivalry,89-101 Peffenhauser,Anthoni.Art of Chivalry,80 Piotrovsky,Boris EarlyCulturesof the Landsof the Scythians,12-25 ExcavationsandDiscoveriesin ScythianLands,26-31 Pissarro,Camille.ImpressionistBrush Hermitageat Pontoise,12-13 Landscapewith FloodedFields,insidefrontcover,56 Old Marketandthe Rue de L'Epicerie,Rouen,44-45 Orchardin Bloom,Louveciennes,24 River-Early Morning:Ile Lacroix,Rouen,39 Still Life,16

T T'angdynasty.Artsof AncientChina,270-278 Tapestries.UnicornTapestries Allegoryof the Ephemeral( Cleveland), 225 AngelsBearingthe Instrumentsof the Passion( Chateau d'Angers), 226 Apocalypse( Chateaud'Angers), 174 DavidandBathsheba( Paris), 228 Ladywith the Unicorn( Paris), 176,201,213 Legendof Notre-Damedu Sablon( Leningrad), 227 ThreeWingedStags(Rouen), 175 Unicorn(TheCloisters), 177-222 Textiles Fromthe Landsof the Scythians,76-78,80,118-119 UnicornTapestries,172-228 Tournamentarmor.Art of Chivalry,76-87

U UnicornTapestries,M. B. Freeman,177-222

V VettersfeldeFind,D. von Bothmer.Fromthe Landsof the Scythians,153-155 Renoir,Pierre.ImpressionistBrush By the Seashore,Guernsey,36-37 Dancingat the Moulinde la Galette,34-35 La Grenouillere,21 MadameCharpentierandHer Children,56,insideback cover

W Woodcarvings.Fromthe Landsof the Scythians,79,81, 116-119,121-122

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