Showing posts with label tapestries. Show all posts
Showing posts with label tapestries. Show all posts

Wednesday, 19 October 2016

Château de Verteuil, Charente ~ myth & history

The Château de Verteuil is a historical building in Charente, France. It dates back to 1080 as the property of the Lord of La Rochefoucauld and has since been extensively rebuilt, although 12th-century walls remain. The château has always been in the property of the La Rochefoucauld family.

The castle is in a strategic position, dominating the village of Verteuil-sur-Charente and the Charente valley. In the past it controlled the road from Limoges to La Rochelle, on the route between the courts of France and Spain. The word "Verteuil" was often used in the Middle Ages to designate a fortified place. Jean Froissart (c. 1337–1405) described it as "un meult fort chasteau en Poictou sur les marches du Limousin et de la Saintonge" (a strong castle in Poitou on the borders of Limousin and Saintonge). The château, a few miles north of Angoulême and in fact in Angoumois, was later used as the country seat of the La Rochefoucauld family.

During the Hundred Years' War (1337–1453) the château was occupied several times by the English. It was demolished in 1442 but was soon rebuilt using the original stones.

The present château, designed on a triangular plan, has five conical towers and a watchtower capped by slate roofs. Archaeologists have uncovered traces of the older buildings on the site dating back to the 11th century. The architect Frantz Jourdain renovated the interior of the 14th-century tower as a library for the Rochefoucault family in 1893. The Hunt of the Unicorn tapestries of the building, which hung in the master bedroom, were rediscovered in 1850; they were later sold to John D. Rockefeller, Jr. in 1923.
Rochefoucauld Wappen coat of arms
The title of Duke de La Rochefoucauld was a French peerage belonging to one of the most famous families of the French nobility, whose origins go back to lord Rochefoucauld in Charente (department) in the 10th and 11th centuries (with official evidence of nobility in 1019). It became Rochefoucauld in the 13th Century.

Authors have advanced, but without evidence, that the first member of this family, Adémar, known as Amaury or Esmerin, by Viscounty of Limoges, or the son of the lord Hugh I of Lusignan. This last hypothesis could renforced by the armorial bearings of the family. Work of André Debord make it leave house of Montbron to the 12th century.

The seigniory of La Roche was originally a barony in the 13th century. The descendants of Foucauld I de La Roche and of Jarsande, united their name Foucauld.

Hugh I (fl. early tenth century), called Venator (Latin for the Hunter), was the first Lord of Lusignan. He is mentioned in the Chronicle of Saint-Maixent. It has been hypothesised that he was the huntsman, ('Le Veneur' in his native French), of the Count of Poitou or the Bishop of Poitiers on the basis of his epithet. He was succeeded by his son, Hugh II Carus, who built the Castle of Lusignan.
The title of Count of Poitiers (or Poitou, in what is now France but in the Middle Ages became part of Aquitaine). In the Middle Ages Aquitaine was a kingdom and a duchy, whose boundaries fluctuated considerably, and was an administrative region of France until 1 January 2016. It is now part of the new region New Aquitaine.
A widespread belief that Basque society was originally matriarchal is at odds with the current, clearly patrilineal kinship system and inheritance structures. Some scholars and commentators have attempted to reconcile these points by assuming that patrilineal kinship represents an innovation. In any case, the social position of women in both traditional and modern Basque society is somewhat better than in neighbouring cultures, and women have a substantial influence in decisions about the domestic economy. In the past, some women participated in collective magical ceremonies. They were key participants in a rich folklore, today largely forgotten.
Matriarchy  - "form of social organisation in which the mother or oldest female is the head of the family, and descent and relationship are reckoned through the female line; government or rule by a woman or women."

The mythology of the ancient Basques largely did not survive the arrival of Christianity in the Basque Country between the 4th and 12th century AD. Most of what is known about elements of this original belief system is based on the analysis of legends, the study of place names and scant historical references to pagan rituals practised by the Basques.

One main figure of this belief system was the female character of Mari. According to legends collected in the area of Ataun, the other main figure was her consort Sugaar. However, due to the scarcity of the material it is difficult to say if this would have been the "central pair" of the Basque pantheon. Based on the attributes ascribed to these mythological creatures, this would be considered a chthonic religion as all its characters dwell on earth or below it, with the sky seen mostly as an empty corridor through which the divinities pass.

It is believed that Mari is a modification of Emari (gift) or Amari (mother + the suffix of profession) by losing the first vowel. The closeness in names between Mary and Mari may have helped pagans adapt their worship of Mari to undertake Christian veneration of the Virgin Mary. The first known written citation of the "Dame of Amboto" was made by Charles V's chronicler Esteban de Garibay Zamalloa in his Memorial histórico español.

Mari lives underground, normally in a cave in a high mountain, where she and her consort Sugaar meet every Friday (the night of the Akelarre or witch-meeting) to conceive the storms that will bring fertility (and sometimes disgrace) to the land and the people. Mari is served by a court of sorginak (witches), and is said to feed "on the negation and affirmation" (that is, on falsehood).

Occasionally the figure of Mari is linked to the kidnapping or theft of cows. The presence of Christian priests in those myths may indicate that they are Christian fabrications or distortions of original material.

In various legends, Mari is said to have sons or daughters, but their number and character fluctuate. The two most well-known were her two sons, Atxular and Mikelatz. Atxular represents largely the Christianized Basque soul, becoming a priest after having learned from the Devil in a church in Salamanca and then having escaped. Mikelatz seems to have a more negative or wild character ; he is sometimes assimilated into the spirit of storms, Hodei, or embodied as a young red bull.

Another legend presents Mari as wife to the Lord of Biscay, Diego López I de Haro. This marriage may symbolize the legitimacy of the dynasty, much in the style of the Irish goddess marrying the kings of that island as a religious act of legitimacy. In any case, the condition that Mari imposes on her husband is that, while he could keep his Christian faith, he was obliged to keep it outside the home.

Other legends are more simple. For example, there is a legend that when one is lost in the wild, one only has to cry Mari's name loudly three times to have her appear over one's head to help the person find his or her way.

In Zeanuri, Biscay, they say that she would stay seven years in Anboto, then the next seven in a cave in Oiz called Supelegor. A similar legend in Olaeta, Biscay substitutes Gorbea for Supelegor.

Oiz is one of the most important places of the history of Biscay and the Basque Country. During the prehistory it was inhabited by shepherds that left an important legacy of megalithic monuments. Later they moved to the valleys where they left the necropolis of San Juan de Momoitio.

Oiz is one of the "Hornblower Mountains" from where the assembly of the Lordship of Biscay was gathered in the Middle Ages. This gathering was done by lighting fires and blowing into horns.

Gorbea - In 1899, Pope Leo XIII ordered crosses built on the highest Christian mountains as a sign of the new century. Due to the importance of Catholicism in the Basque Country the crosses were built.

Therefore, the commission of the Basque Country directed by Ceánuri decided to build the cross on the highest mountain of the Basque Country, Gorbea.

A legend from Otxandio, Biscay tells that Mari was born in Lazkao, Gipuzkoa, and that she was the evil sister of a Roman Catholic priest. In other legends, the priest is her cousin Juanito Chistu, rather than a brother, and is a great hunter. She was said to take a distaff by the middle and walk along spinning and leaving storms in her wake.

In Elorrieta, Biscay, it was said that she would be in her cave, combing her hair, and not even a shepherd could draw near to her. It was also said that her malign power did not extend to those who were innocent of sin.

Folklorist Resurrección María de Azkue ties Mari Urraca to a legend about a princess of the Kingdom of Navarre, originally the Kingdom of Pamplona, was a Basque-based kingdom that occupied lands on either side of the western Pyrenees, alongside the Atlantic Ocean between present-day Spain and France. A widow of a 12th-century nobleman who lived in the Tower of Muncharaz in the valley known as the Merindad de Durango. She vanished at the time of his death and was said to have headed for the cave of Anboto. According to Azkue, Iturriza tells this story in his Historia de Vizcaya. Labayru in her Historia de Vizcaya doubts it.

Mari was regarded as the protectress of senators and the executive branch. She is depicted as riding through the sky in a chariot pulled by horses or rams. Her idols usually feature a full moon behind her head.

Mari is the main character of Basque mythology, having, unlike other creatures that share the same spiritual environment, a god-like nature. Mari is often witnessed as a woman dressed in red. She is also seen as a woman of fire, woman-tree and as thunderbolt. Additionally, she is identified with red animals (cow, ram, horse), and with the black he-goat.

Santa Marina, a saint revered in the Basque Country, is a Christianized version of Mari. Basque women still invoke Santa Marina's protection against curses and for aid in childbirth.

The most accepted syncretism is with the Virgin Mary; she is widely venerated by modern Christian Basques.

In Basque mythology, Sugaar (also Sugar, Sugoi, Suarra, Maju) is the male half of a pre-Christian Basque deity associated with storms and thunder. He is normally imagined as a dragon or serpent. Unlike his female consort, Mari, there are very few remaining legends about Sugaar. The basic purpose of his existence is to periodically join with Mari in the mountains to generate the storms.
In one myth Sugaar seduces a Scottish princess in the village of Mundaka to father the mythical first Lord of Biscay, Jaun Zuria. This legend is believed to be a fabrication made to legitimize the Lordship of Biscay as a separate state from Navarre, because there is no historical account of such a lord. Only the fact that the delegates of Mundaka were attributed with the formal privilege of being the first to vote in the Biltzar (Parliament) of the province may look as unlikely indication of the partial veracity of this legend.

Mundaka is known as one of the most important places of the Lordship of Biscay, it was the birthplace of Jaun Zuria, the first Lord of Biscay, son of the Scottish princess who arrived in Mundaka escaping from an English King. The name of the town has Danish origin, it has been proven that the Vikings arrived there 900 years ago. According to the history of the Lordship, Mundaka has the oldest temple of Biscay, as a result, it has the first seat of the General Parliament.

It has been suggested that Jaun Zuria might have the same origin or be the same mythical figure as Olaf the White, an Irish Viking sea-king from the 9th Century.

The Basque chronicler Lope García de Salazar (1399-1476) mentions the Jaun Zuria on his Bienandanzas e Fortunas, book that he begins to write in 1471. He speaks of the daughter of a Scottish king, who arrives by ship to Mundaka and gives birth to a son in the village. Afterward, both mother and son move to Busturia, where the boy spends most of his childhood. When the son is 22 years old, the Biscayans choose him to be captain of their troops to stop the progress of the army of a Leonese king's son. He is chosen because of his royal blood, as it had been a requirement of the Leonese prince, in order to engage in a formal battle. The Leonese prince and his army are defeated in Arrigorriaga on the Battle of Padura or Arrigorriaga. Thus, the Biscayans choose him to be the first Lord of Biscay and Lord of Durangaldea, and give him the Basque name of Jaun Zuria, that is the White Lord, because of the whiteness of his skin and hair.
Heraldry - Mundaka
Shield: The coat of arms of Mundaka is formed by an oak in a gold farm with a wolf, surrounded by a chess game.
Flag: Red silk with gold thread embroidery.

There is a well-known legend that attributes the name "Mundaca" to the Latin phrase "munda aqua" ('clean water'). This legend appears in the Chronicle of Biscay written by Lope García de Salazar in the 15th century. According to this story, a ship from Scotland carrying a princess who had been banished from her homeland arrived on the coast of Mundaka. The Scots called the place "in their Latin language" (sic) "Munda aqua" since there they had found a source of very clean water that contrasted with the murky waters of the estuary of Urdaibai. This princess would have a son who would come to be called Jaun Zuria and would become, according to legend, the first Lordship of Vizcaya. This legend may also explain why Mundaca is ranked "first" among the anteiglesias of Biscay.
Apart from legendary explanations, the etymology of Mundaka is uncertain. The first written mention of Mundaka dates from 1070, when it was referred to as "Mondaka".

Ego Mome Nunnuç placuit in animis meis mitto in Sancti Johannis de Orioli de Aragone uno monasterio in Bickaga (Vizcaga) in locum quae dicitur Mondaka (Mondacha)

Some have sought a Norse origin for the name, based on the likely presence of a medieval Viking settlement in the area. In Danish, "mund" means "mouth", and "haka" means "promontory, cape". Mundaka lies precisely at the mouth of the estuary of the same Oka river .

Others have related the name "Mundaca" to a stock of Basque toponyms with the endings "-aka", "-eka", "-ika", which are especially abundant in Biscay and which can be linked with the Celto-Italic suffix "-aka". To some the origin of the name would be much older and it could be traced back to an era in which Vizcaya could have been populated by a Celtic people.

Traditionally the name was written as "'Mundaca"', but nowadays it is more commonly written as "'Mundaka"', which is an adaptation to the modern rules of spelling of the Basque language.

Mundaca, like Munitibar (Munditibar), stem Munio, Mundio (Muniozguren, Munitiz) which means Hill, hillock. Aka is a suffix known as slope, slope, as also is Ika and Eka. And seeing where Mundaca is located this is very logical: slope of the entangled or the Hill. Note the similarity of Mundi and Mendi, as well meaning a hill and a mountain.

The area has been populated since the lower Paleolithic, as attest the caves of Santimamiñe on the other side of the estuary and deposits found in Portuondo.

There are speculations with the arrival in the area of Vikings, who according to some authors justify the presence of blond types of blue eyes on the Basque coast, unlike the Basque type of interior.Anton Erkoreka asserts its presence in the 9th century based on Arabic chronicles, medieval stories and other anthropological data, while Jon Juaristi believed to have actually been a few exiled Saxons dethroned by the Vikings. Before them, the Romans arrived attracted by the marble of Ereño and whose presence bears witness to a branch of Roman roads in Balmaseda that reaches Bermeo.

The primeval Kingdom of Pamplona was formed when the native chieftain Íñigo Arista was elected or declared King in Pamplona (traditionally in 824), and led a revolt against the regional Frankish authority.The kingdom of Pamplona and then Navarre formed part of the traditional territory of the Vascones, a pre-Roman tribe who occupied the southern slope of the western Pyrenees and part of the shore of the Bay of Biscay. The area was completely conquered by the Romans by 74 BC.

Íñigo Arista (Basque: Eneko "my little (love)", Arabic: Wannaqo, c. 790 – 851 or 852) was a Basque leader, considered the first King of Pamplona. He is thought to have risen to prominence after the defeat of local Frankish partisans in 816, and his rule is usually dated from shortly after the defeat of a Carolingian army in 824.
He is first attested by chroniclers as a rebel against the Emirate of Córdoba from 840 until his death a decade later. Remembered as the nation's founder, he would be referred to as early as the 10th century by the nickname "Arista", coming either from Basque Aritza (Haritza/Aiza, literally 'the oak', meaning 'the resilient') or Latin Aresta ('the considerable').

The origin of Íñigo Arista is obscure. There is even disagreement regarding the name of his father. A charter preserved at Leyre describes him as Enneco ... filius Simeonis (Íñigo son of Jimeno) and another Leyre document reports the obituary of Enneco Garceanes, que fuit vulgariter vocas Areista (Íñigo Garcés [son of García], who is commonly called Arista). Many later historians have followed one or the other of these, but the reliability of both are questioned due to the possibility of later corruption or forgery.

It has been speculated that he was kinsman of García Jiménez, who in the late 8th century succeeded his father Jimeno 'the Strong' in resisting Carolingian expansion into Vasconia. A second dynasty of Pamplona monarchs that would supplant his, the Jimena, are usually made to be related to him.

The name of Íñigo's mother is unknown (she is sometimes called Onneca, without foundation).The name of the wife (or wives) of Íñigo is not reported in contemporary records, although sources from centuries later assign her the name of Toda or Onneca. There is also scholarly debate regarding her derivation, some hypothesizing that she was daughter of Velasco, lord of Pamplona (killed 816), and others making her kinswoman of Aznar I Galíndez.

The dynasty founded by Íñigo reigned for about 80 years, being supplanted by a rival dynasty in 905. However, due to intermarriages, subsequent kings of Navarre descended from Íñigo, and some accounts even wrongly showed them to descend from Íñigo in the direct male line. He is remembered as the founder of the nation of Navarre.

Ancient history

There are traces of human settlement by prehistoric peoples, especially in the Périgord, but the earliest attested inhabitants in the south-west were the Aquitani, who were not proper Celtic people, but more akin to the Iberians (see Gallia Aquitania). Although a number of different languages and dialects were in use in the area during ancient times, it is most likely that the prevailing language of Aquitaine during the late pre-historic to Roman period was an early form of the Basque language.

Whether this Aquitanian language (Proto-Basque) was a remnant of a Vasconic language group that once extended much farther, or whether it was generally limited to the Aquitaine/Basque region is not known. One reason the language of Aquitaine is important is because Basque is the last surviving non-Indo-European language in western Europe and it has had some effect on the languages around it, including Spanish and, to a lesser extent, French.

The original Aquitania (named after the inhabitants) at the time of Caesar's conquest of Gaul included the area bounded by the Garonne River, the Pyrenees and the Atlantic Ocean.
The Roman Aquitania Tertia remained in place as Novempopulania, where a duke was appointed to hold a grip over the Basques (Vascones/Wascones, rendered Gascons in English). These dukes were quite detached from central Frankish overlordship, sometimes governing as independent rulers with strong ties to their kinsmen south of the Pyrenees. As of 660, the foundations for an independent Aquitaine/Vasconia polity were established by the duke Felix of Aquitaine, a magnate (potente(m)) from Toulouse, probably of Gallo-Roman stock. Despite its nominal submission to the Merovingians, the ethnic make-up of new realm Aquitaine wasn't Frankish, but Gallo-Roman north of the Garonne and main towns and Basque, especially south of the Garonne.

In 781, Charlemagne decided to proclaim his son Louis King of Aquitaine within the Carolingian Empire, ruling over a realm comprising the Duchy of Aquitaine and the Duchy of Vasconia[3] He suppressed various Basque (Gascon) uprisings.

Aquitaine passed to France in 1137 when the duchess Eleanor of Aquitaine married Louis VII of France, but their marriage was annulled in 1152. When Eleanor's new husband became King Henry II of England in 1154, the area became an English possession, and the cornerstone of the so-called Angevin Empire. Aquitaine remained English until the end of the Hundred Years’ War in 1453, when it was annexed by France. From the 13th century until the French Revolution, Aquitaine was usually known as Guyenne.

The Basques are an indigenous ethnic group characterised by the Basque language, a common Basque culture and shared ancestry to the ancient Vascones and Aquitanians. Basques are indigenous to and primarily inhabit an area traditionally known as the Basque Country (Basque: Euskal Herria), a region that is located around the western end of the Pyrenees on the coast of the Bay of Biscay and straddles parts of north-central Spain and south-western France.

Some scholars have suggested a Celtic etymology based on bhar-s-, meaning "summit", "point" or "leaves", according to which barscunes may have meant "the mountain people", "the tall ones" or "the proud ones". In Basque, the people call themselves the euskaldunak, singular euskaldun, formed from euskal- (i.e. "Basque (language)") and -dun (i.e. "one who has"); euskaldun literally means a Basque speaker.  Euskara would literally mean "way of saying", "way of speaking".

In the 19th century, the Basque nationalist activist Sabino Arana posited an original root euzko which, he thought, came from eguzkiko ("of the sun", related to the assumption of an original solar religion). On the basis of this putative root, Arana proposed the name Euzkadi for an independent Basque nation, composed of seven Basque historical territories.

Since the Basque language is unrelated to Indo-European, it has long been thought to represent the people or culture that occupied Europe before the spread of Indo-European languages there. A comprehensive analysis of Basque genetic patterns has shown that Basque genetic uniqueness predates the arrival of agriculture in the Iberian Peninsula, about 7,000 years ago.

Pre-Indo-European languages - South West Europe, Basque

Pre-Indo-European languages are any of several old languages, not necessarily related to one another, that existed in prehistoric Europe and South Asia before the arrival of speakers of Indo-European languages. The oldest Indo-European language texts date from 19th century BCE in Kültepe in modern-day Turkey, and while estimates vary widely, spoken Indo-European languages are believed to have developed at the latest by the third millennium BCE (see Proto-Indo-European Urheimat hypotheses). Thus the Pre-Indo-European languages must have developed earlier than, or in some cases alongside, the Indo-European languages.

A handful of these languages still survive. Some of the pre-Indo-European languages are attested only as linguistic substrates in Indo-European languages; however, some others (like Etruscan, Minoan, Iberian etc.) are also attested from inscriptions.

Seven of The Hunt of the Unicorn tapestries were recorded in a 1680 inventory of the Paris possessions of Duke Francois VI. From various symbolic motifs the tapestries seem to have been made to celebrate a marriage, probably that of Anne of Brittany (1477–1514) and Louis XII of France (1462–1515). The royal arms of Louis and Anne would have once decorated the sky in most of the tapestries. The 1728 inventory recorded five of The Hunt of the Unicorn tapestries hanging in the château's master bedroom. The tapestries, which were well over two hundred years old, were almost half worn out. Two more of the tapestries were in "a large lower hall near the chapel, presently serving as a storage place for furniture." They were described as "two pieces of tapestry of the Unicorn, torn in various places."

During the French Revolution Ruffec's Comité de Surveillance ruled that the old tapestries of the château could be preserved since they bore no royal insignia. It seems that the insignia had been cut out so the tapestries would not be destroyed by the mob when the château was looted in 1793. They were taken by peasants who used them to protect their potatoes from freezing and to cover their Espalier trees. Count Hippolyte rediscovered the Unicorn tapestries of the château in the 1850s, being used by a peasant to cover vegetables in his barn. After being restored they were hung in a salon of the château in 1856. Xavier Barbier de Montault saw the tapestries at Verteuil in the 1880s, and said that although "somewhat restored, [they] are of a freshness and of an incomparable grace".

Love and light,
Trace
xoxo

Tuesday, 18 October 2016

Unicorn Tapestries ~ The Lady and the Unicorn

The Lady and the Unicorn (French: La Dame à la licorne) is the modern title given to a series of six tapestries woven in Flanders from wool and silk, from designs ("cartoons") drawn in Paris around 1500. The set, on display in the Musée national du Moyen Âge (former Musée de Cluny) in Paris, is often considered one of the greatest works of art of the Middle Ages in Europe.
Five of the tapestries are commonly interpreted as depicting the five senses – taste, hearing, sight, smell, and touch. The sixth displays the words "À mon seul désir". The tapestry's meaning is obscure but has been interpreted as representing love or understanding. Each of the six tapestries depicts a noble lady with the unicorn on her left and a lion on her right; some include a monkey in the scene. The pennants, as well as the armour of the Unicorn and Lion in the tapestry, bear the arms of the sponsor, Jean Le Viste, a powerful nobleman in the court of King Charles VII. However, a very recent study of the heraldry appears to lend credence to another hypothesis - previously dismissed - that the real sponsor of the tapestry is Antoine II Le Viste (1470-1534), a descendant of the younger branch of the Le Viste family and an important figure at the court of Charles VIII, Louis XII and François I.

The tapestries are created in the style of millefleurs (meaning: "thousand flowers").

The tapestries were rediscovered in 1841 by Prosper Mérimée in Boussac castle (owned at the time by the subprefect of the Creuse) where they had been suffering damage from their storage conditions. In 1844 the novelist George Sand saw them and brought public attention to the tapestries in her works at the time (most notably in her novel Jeanne), in which she correctly dated them to the end of the fifteenth century, using the ladies' costumes for reference. Nevertheless, the artefacts continued to be threatened by damp and mould until 1863, when they were brought to the Thermes du Cluny in Paris. Careful conservation has restored them nearly to their former glory. They are presently on display in the Musée de Cluny (Musée du Moyen-Âge), Paris.

More HERE

The tapestries
Touch
The lady stands with one hand touching the unicorn's horn, and the other holding up the pennant. The lion sits to the side and looks on.
Taste
The lady is taking sweets from a dish held by a maidservant. Her eyes are on a parakeet on her upheld left hand. The lion and the unicorn are both standing on their hind legs reaching up to pennants that frame the lady on either side. The monkey is at her feet, eating one of the sweetmeats.
Smell
The lady stands, making a wreath of flowers. Her maidservant holds a basket of flowers within her easy reach. Again, the lion and unicorn frame the lady while holding onto the pennants. The monkey has stolen a flower which he is smelling, providing the key to the allegory.
Hearing
The lady plays a portative organ on top of a table covered with an Oriental rug. Her maidservant stands to the opposite side and operates the bellows. The lion and unicorn once again frame the scene holding up the pennants. Just as on all the other tapestries, the unicorn is to the lady's left and the lion to her right - a common denominator to all the tapestries.
Sight
The lady is seated, holding a mirror up in her right hand. The unicorn kneels on the ground, with his front legs in the lady's lap, from which he gazes at his reflection in the mirror. The lion on the left holds up a pennant.
À Mon Seul Désir
This tapestry is wider than the others and has a somewhat different style. The lady stands in front of a tent, across the top of which is written "À Mon Seul Désir", an obscure motto, variously interpretable as "my one/sole desire", "according to my desire alone"; "by my will alone", "love desires only beauty of soul", "to calm passion". Her maidservant stands to the right, holding open a chest. The lady is placing the necklace she wears in the other tapestries into the chest. To her left is a low bench with a dog sitting on a decorative pillow. It is the only tapestry in which she is seen to smile. The unicorn and the lion stand in their normal spots framing the lady while holding onto the pennants.

This tapestry has elicited a number of interpretations. One interpretation sees the lady putting the necklace into the chest as a renunciation of the passions aroused by the other senses, and as an assertion of her free will. Another sees the tapestry as representing a sixth sense of understanding (derived from the sermons of Jean Gerson of the University of Paris, c. 1420). Various other interpretations see the tapestry as representing love or virginity. It is also debated whether the lady in "À Mon Seul Désir" is picking up or setting aside the necklace.

In The Lady with the Unicorn tapestry series, it is generally accepted that the first five tapestries represent the five senses of sight, hearing, taste, smell, and touch. The interpretation of the sixth tapestry, “À Mon Seul Désir,” remains uncertain.

A new proposal suggests that the French words, “à mon seul désir,” translate to “with my unique desire,” meaning that people are the only species that covet material objects even as we share the five senses with animals. The tapestries appear to be arranged to show that while we share the five senses, we are unique in our want of valuable possessions. In the scenario depicted in the last tapestry, it is unclear whether the lady is taking her necklace from the box held by her maid or putting it away, but that distinction doesn’t matter. The point is that she treasures the golden necklace.

In the first five tapestries, one or more of the animals are shown utilising the represented sense along with the women. In “Sight,” the unicorn is gazing at itself in a mirror held by the lady. Presumably, all of the animals can hear the music being played by the women in the “Hearing” tapestry. In “Taste,” a monkey is eating a sweetmeat as the lady takes a sweet from a bowl held by her maid, and in “Smell,” the monkey is sniffing a flower as the lady assembles a flower wreath. The “Touch” tapestry features the lady’s hand touching the unicorn’s horn. In the final tapestry, only the two women are engaged in handling the necklace, while some of the animals seem to watch from afar. The blue tent in the last tapestry also serves to separate the human figures from the natural world, which includes the unicorn with its mythical qualities. The tent frames the lady handling her necklace with a strip of cloth and her maid and is not present in any of the previous tapestries. In all of the tapestries except “Smell,” a falcon, sometimes wearing jesses, is hunting another bird. In the sixth tapestry, this occurs above and outside of the tent and may represent hunting as another trait proclivity shared between people and animals.

The interpretation of people alone valuing material objects ties the individual representations of the six tapestries together and allows them to flow towards the realization that, while people may live alongside the natural and mythical worlds (which, in medieval times, were likely considered the same), they remain separate and not completely in either due to their unique desires.

Word from Trace ~
I'm so happy, I purchased the 'Smell' tapestry of 'The Lady and the Unicorn'. It's already started to fire up ideas for another story, especially as I came across a novel with the same title - The Lady and the Unicorn by Tracy Chevalier, which I've just purchased from Ebay, yay! The blurb sounded interesting, given below.
A set of bewitching medieval tapestries hangs today in a protected chamber in Paris. They appear to portray a woman's seduction of a unicorn, but the story behind their making is unknown - until now.
Paris, 1490. A shrewd French nobleman commissions six lavish tapestries celebrating his rising status at Court. He hires the charismatic, arrogant, sublimely talented Nicolas des Innocents to design them. Nicolas creates havoc among the women in the house - mother and daughter, servant and lady-in-waiting - before taking his designs north to the Brussels workshop where the tapestries are to be woven.
There, master weaver Georges de la Chapelle risks everything he has on finishing the tapestries - his finest, most intricate work - on time for his exacting French client. Ill-prepared for temptation and seduction, he and his family are consumed by the project and by their dealings with the hot-blooded painter from Paris.
The results change all their lives - lives that have been captured in the tapestries, for those who know where to look.
The cover is beautiful, can't wait to read. :o) At present, I'm reading 'Sophia's Secret' by Susanna Kearsley. I really enjoyed the first novel I read of hers a short while ago called, The Rose Garden. A quote from the book ~
“Ever try to hold a butterfly? It can't be done. You damage them," he said. 'As gentle as you try to be, you take the powder from their wings and they won't ever fly the same. It's kinder to let them go.”
I love the idea of creating your own version of an old tale, especially as in this case, with the story behind the tapestries being unknown. I have exciting mental images waiting to be transformed into words. So another very brief outline for a new book will be completed later today.
My novels in the series so far:

  1. A Carpet of Purple Flowers (present) - Published by Urbane Publications (Oct' 2015)
  2. Awake in Purple Dreams (present) - First Draft complete (editing in progress - Oct' 2016)
  3. The Purple Book of Menteith (past) - Outlined story and all chapters (ready to write)
  4. Shining Sword Claíomh Solais (future) - Very brief outline of the story and visual boards - NanoWrimo Nov' 2016?
  5. The Butterfly Bridge (prequel) - Brief outline of the story and visual boards. Old handwritten pieces and partial script (screen) from years ago. 
My hope is that next year, 2017, that books two (Bea's story concluded) and four (continues the future tale) will be published. Exciting to get this far and still feel the magic of this epic tale.

Stand-a-alone novels (not in the series) Novel Page on Website HERE

6. Dandelion Wind - Visual Boards and a brief outline of story - Genre: Contemporary Romance
7. Women of the Sea (MZ) - Idea stage with visual boards - Genre: Folklore Fantasy
8. *NEW* Amour Désir (Love Longed For) - Idea stage (thanks to vague tapestry history) - Genre: Fantasy Romance
Love and light,
Trace
xoxo

Unicorn Tapestries - Stirling Castle

The Stirling Tapestries
The Unicorn Defends Itself
The Hunt of the Unicorn, or the Unicorn Tapestries, is a series of seven tapestries dating from between 1495 and 1505, now in The Cloisters in New York, probably woven in Brussels or Liège. The tapestries show a group of noblemen and hunters in pursuit of a unicorn. The Hunt for the Unicorn was a common theme in late medieval and renaissance works of art and literature. The tapestries were woven in wool, metallic threads, and silk. The vibrant colours, still evident today, were produced from dye plants: weld (yellow), madder (red), and woad (blue). One of the panels, The Mystic Capture of the Unicorn, only survives in two fragments.

The tapestries are subject to scholarly debate about the iconography, the artists who designed the tapestries, and questions surrounding the sequence in which they were meant to be hung. Possibly the seven tapestries were not originally hung together.
The Unicorn is Found
It was posited by James J. Rorimer in 1942 that they were commissioned by Anne of Brittany, to celebrate her marriage to Louis XII, King of France on 6 December 1491. The clue derived from the occurrence of A and reversed E tied with a cord in a bowknot throughout the series of tapestries. As Rorimer surmised, the letters A and E are interpreted as the first and the last letters of Anne's name cited the elisions in the medieval age. However, Margaret B. Freeman refutes this fairly convincingly in her monograph of 1976, a conclusion which is supported by Adolph S. Cavallo in his 1998 work.
Fragment of "The Mystic Capture of the Unicorn"
The tapestries show pagan and Christian symbolism. The pagan themes emphasise the medieval lore of beguiled lovers, whereas Christian writings interpret the unicorn and its death as the Passion of Christ. The unicorn has long been identified as a symbol of Christ by Christian writers, allowing the traditionally pagan symbolism of the unicorn to become acceptable within religious doctrine. The original pagan myths about The Hunt of the Unicorn refer to an animal with a single horn that can only be tamed by a virgin; Christian scholars translated this into an allegory for Christ's relationship with the Virgin Mary.
The Unicorn is Killed and Brought to the Castle
In the Gothic tapestry, the makers looked on biblical events as history and linked the biblical and secular narrative in the tapestry weaving. When the morality was attached importance to the medieval art, the tapestries illustrate the moralising role of narratives in allegories. The secular unicorn hunt was not only a depiction of Christian art but also transformed into an allegorical representation of the Annunciation. Another theory states that the tapestries intended to depict both the secular concerns and Christian virtue, the pursuit and taming of the unicorn not only used as religious Incarnation but also in conjunction with the secular meaning.
With a regulatory attitude to Rorimer's speculation of tapestry ownership, Margaret B.Freeman did not negate the possible function of the tapestries as an interpretation of allegory of true love. The taming of the unicorn symbolises the lover or mate who enchained by virgin and entrapped in the fence (in the tapestry The Unicorn in Captivity) under the notion of secularity. Freeman discovered the connection between the taming of the unicorn and the devotion and subjection in love in the medieval poets. In addition, the author pointed out that the overlap of the subject the God of Heaven and the God of love were compatible in the notion of late middle age.

The original workmanship of the tapestries still remains unanswered at the present. The design of the tapestries in the effect of the richness of figurative elements, near to the art of oil painting and influenced by the French style and reflected the woodcuts and metal cuts printed in Paris in the late fifteenth century.
The Unicorn is Attacked
The tapestries were rich in floral in the background as a garden, features the "millefleurs" style, refers to a background style of a variety of small botanic, which was invented by the weavers of Gothic age, popular during the late medieval and wilted after the early Renaissance. There are more than a hundred of plants represented in the tapestries, which scatter across the green background on the panels, eighty-five of which are identified by botanists whose interior meaning in the tapestries were designed to recall the tapestries' major themes. In the unicorn series, the hunt takes place within a closed garden, the Hortus conclusus take the literal meaning of "enclosed garden", which was not only in conjunction with the Annunciation, but also a representation of the garden in the secular world.
"The Unicorn is in Captivity and No Longer Dead"
The tapestries were highly probably woven in Brussels in the Flanders, where was the centre of tapestry industry in the medieval European. As a series of remarkable works of Brussels looms, the mixture of silk, metallic thread with wool gave the tapestries finer quality and brilliance of colours. The wool was widely produced in the rural areas in Brussels and easily obtained as the primary material in tapestry weaving, while the silk was costly in the weaving of tapestry, which symbolised the wealth and social status of the tapestry owner.
Fragment of The Mystic Capture of the Unicorn
The seven tapestries are:

The Start of the Hunt
The Unicorn at the Fountain
The Unicorn Attacked
The Unicorn Defending Himself
The Unicorn is captured by the Virgin (two fragments)
The Unicorn Killed and Brought to the Castle
The Unicorn in Captivity

From the collection of Morgan and Rochefoucauld, the tapestries were composed of five large pieces, one small piece and two fragments.

Other sources give slightly different titles and different sequences. The factors that affect this are primarily threefold. Firstly the nature of the tapestries themselves, which exhibit differences in manufacture and size, suggesting that the first and last may be independent works or from a different series. Secondly, the nature of the classic stag hunt usually cited to Livre de la Chasse by Gaston III, Count of Foix of Foix. Thirdly the established story of the unicorn hunt, where the unicorn is made docile by a virgin, and then captured, wounded or killed. In addition, the symbolism of the story needs to be taken into account.
The Hunters Enter the Woods
Provenance

When the pictorial work serves as the core of Gothic tapestries, the "heraldic" was made up a decorative mark of ownership as well as form the subject of the tapestries. The propitious occurrence of monogram in the background which striking or inconspicuous, parallel with the animal, flora or decorative elements in the tapestry. A cypher constituted by the sewed letters F and R in the tapestry The Unicorn Attacked, which were associated with the La Rochefoucauld family, who was believed the original owner of the tapestries.

The tapestries were owned by the La Rochefoucauld family of France for several centuries, with the first mention of them showing up in the family's 1728 inventory. At that time five of the tapestries were hanging in a bedroom in the family's Château de Verteuil, Charente and two were stored in a hall adjacent to the chapel. The tapestries were highly believed woven for François, the son of Jean II de La Rochefoucauld and Marguerite de Barbezieux. And there was a possible connection between the letters A and E and the La Rochefoucauld, which are interpreted as the first and last of Antoine's name, who was the son of François, and his wife, Antoinette of Amboise.

During the French Revolution, the tapestries were looted from the château and reportedly were used to cover potatoes – a period during which they apparently sustained damage. By the end of the 1880s, they were again in the possession of the family. A visitor to the château described them as quaint 15th-century wall hangings, yet showing "incomparable freshness and grace". The same visitor records the set as consisting of seven pieces, though one was by that time in fragments and being used as bed curtains.

John D. Rockefeller, Jr. bought them in 1922 for about one million US dollars. Six of the tapestries hung in Rockefeller's house until The Cloisters was built when he donated them to the Metropolitan Museum of Art in 1938 and at the same time secured for the collection the two fragments the La Rochefauld family had retained. The set now hangs in The Cloisters which houses the museum's medieval collection.
Recreation

Historic Scotland commissioned a set of seven hand-made tapestries for Stirling Castle, a recreation of The Hunt of the Unicorn tapestries, as part of a project to furnish the castle as it was in the 16th century. It was part-funded by the Quinque Foundation of the United States.

All seven currently hang in the Queen Mary of Guise's Inner Hall in the Royal Palace at Stirling Castle.

The tapestry project was managed by West Dean College in West Sussex and work began in January 2002. The weavers worked in two teams, one based at the college, the other in a purpose-built studio in the Nether Bailey of Stirling Castle. The first three tapestries were completed in Chichester, the remainder at Stirling Castle.

Historians studying the reign of James IV believe that a similar series of "Unicorn" tapestries were part of the Scottish Royal tapestry collection. The team at West Dean Tapestry visited the Metropolitan Museum of Art to inspect the originals and researched the medieval techniques, the colour palette and materials. Traditional techniques and materials were used with mercerised cotton taking the place of silk to preserve its colour better. The wool was specially dyed at West Dean College.

Source HERE
Read more HERE
James V’s lost tapestries recreated at Stirling Castle - HERE
The team behind the project searched the castle’s inventories of James’s possessions and found that the Scottish king owned more than 100 tapestries. One set of tapestries the team was particularly keen to track down was called ‘the historie of the unicorne’. After extensive research, the team found the set of seven Flemish tapestries from the 15th century in the Metropolitan Museum of Art in New York.

Peter Buchanan, project manager for Historic Scotland, said: “Whilst we may never know what happened to the original tapestries, the fact that we now have these fantastic recreations, with the assistance of the Met in New York and through the generosity of our donors, will provide visitors to the castle now and for generations to come with a real insight into how the palace may have been at the time of James V.”

This is not the first project undertaken to recreate aspects of Stirling Castle. In 2011 Historic Scotland completed a £12 million project to reconstruct the oak medallions that decorated the ceilings of the castle during James V’s reign.