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Text from SophiaD - English

  • The Lady and the Unicorn - part 1

  • The artwork I've chosen is “The Lady and the Unicorn” (originally La Dame à la licorne).
  • It is a complete production of the work.
    • This is a serie of six tapestries called “Taste”, “Hearing”, “Sight”, “Smell”, “Touch” and “À mon seul désir”.
    • Their dimensions are 4,66 by 3,77 meters for “Taste”, “Hearing” and “Taste”, 3,3 by 3,12 meters for “Sight”, 3,22 by 3,68 meters for “Smell” and 4,73 by 3,77 meters for “À mon seul désir”, which is the biggest one.
  • The category it belongs to is domestic arts.
  • The author of the designs drawn on the tapestries is unknown.
    • Indeed, back then in Middle-Ages, people who made work of arts were not “artists” but simply “ craftsmen”.
    • He is anyway supposed to be a major artist of the end of the XVth century while the weaving was made in Flanders.
  • Flanders was renowned for its high quality weaving.
  • This was made between 1484 and 1500.
    • It is now on display in the Musée national du Moyen Âge, in Paris where this tapestries are the major works of arts.
  • The commissioner is a member of the Le Viste family.
    • We don't know for sure if it was Jean Le Viste who was one of the major figure in the King Charles VII's court or if it was Antoine II Le Viste, who was a one of the major figures in King Charles VIII, Louis XII and François I's courts.
    • The first tapestrie, “Taste”, shows the lady taking a sweet from a gold cup her maid holds.
  • With her other hand, she gives a sweet to a bird.
  • She is surrounded by the lion and the unicorn.
  • The two animals stand on their hind legs and hold a flag with their front legs.
  • There is a monkey at the bottom.
    • The second tapestrie, “Hearing”, shows the lady playing organ on a table covered by a rug.
  • Her maid plays along her on the other side of the organ.
    • Just as before, the lion and the unicorn are on opposite side of the tapestrie and hold two flags.
    • The third tapestrie, “Sight”, shows the lady seating with a mirror on her right hand.
    • Her left hand is on the unicorn, which has its front legs on her legs thighs.
  • In the mirror, we can see the reflection of the unicorn.
  • The lion is once more holding a flag.
    • The fourth tapestrie, “Smell”, shows the lady making a wreath of flowers.
  • Her maid is holding a plate full of flowers.
    • The lion and the unicorn are one more time standing on their hind legs and are holding a flage with their front legs.
  • The monkey is playing with flowers in a wicker basket.
    • The fifth tapestrie, “Touch”, shows the lady holding a flag with one hand and holding the unicorn's horn.
  • The lion just looks to the scene.
    • The last tapestrie, “À mon seul désir”, shows the lady in front of a tent.
    • In top of this tent there is written “À mon seul désir”.
  • Her maid is at her side and holds a safe.
  • The lady is putting the necklace that she was wearing in the previous tapestries in the safe.
  • On her other side is a bench with a little animal on it.
  • The unicorn and the lion are at their usual spot, holding the flag.
    • Every tapestries' background is red and has flowers and rabbit and cats drawn on it.
  • The colors are well preserved, but some tapestries have been partially renovated due to the humidity.
  • They are quite bright.
    • During Middle-Ages, tapestries werer really expensive, and were often preferred by royalty to wall-painting.
  • Those tapestries were either taken on military campaigns or were held as a symbol of authority.
    • They were also sometimes diplomatic gift, used to strenghten an alliance, or a wedding gift.
    • Sizes are not proportional, just as it was in Middle-Ages.
    • Indeed, the animals are often smaller than the lady, just as the maid who is two heads shorter than the lady.
    • There are also no depth, nor use of perspective.
    • The technique used for the background is “millefleurs”, a technique that was very popular in Middle-Ages.
  • This involves having a background made of a multitude of flowers.
    • The height of their popularity comes in the fifteenth century, so during the time of the realization of these tapestries.

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