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The arrival of The Lady and the Unicorn tapestry cycle at the Art Gallery of New South Wales from February 10 presents a rare opportunity to.
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Was there depth created? Was the plane flat? When was there depth and when were objects not in perspective?

The Lady and the Unicorn

The first restoration was done in in which they just filled in holes. The second restoration followed in where repairs to some of the millefleur grounds were done. In , a master tapestry maker at the Gobelins restored the lower parts.

How to See the Unicorn Tapestries in New York, Paris, and Scotland

This is the recognizable parts discussed below. In , another restoration was done. Since then the tapestries have been maintained and in they were washed. Interestingly, the museum had them hung in a circular room on curved walls and this allowed lots of dust to accumulate on them due to the way the air moved in the room.

The museum has since built a square room for the tapestries. The tapestries are now held on slightly inclined walls to help support their weight. The dyes used were natural of course. Synthetic dyes did not exist in I had several interesting conversations with my fellow observers about the dyes. Perhaps—seems the most likely. The blue is certainly woad or indigo. Later study did tell us that the red is madder and the blue indigo.

The greens and yellows have mostly faded to brown leaving us with the feeling that the tapestry is all blue and red. I am sure this was not true and undoubtedly if we saw the works as they looked freshly off the loom, they would have been stunningly vibrant. The fading was due to the yellow dyes not being stable. Some of the green is left in the foliage, but it has turned bluish without its yellow.

The tapestries are woven in wool and silk.

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The bottom of each of the tapestries had rotted away at some point and were re-woven just after they came to the Cluny This was abundantly clear as the bottom portion was dyed with synthetic dyes which have since faded while the reds of the original tapestry have remained more vibrant in the late s—synthetic dyes are much better today. The tapestries were stored poorly in the mids and the ends of all of them got damp and were chewed by rats. In the restoration, natural dyes were used to match the original wools.

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The image below is a detail from the bottom left corner of Taste. You can clearly see where the restoration was done with synthetic dyed wool. This cycle of tapestries is extremely popular, as tapestries go. When I started digging, I found that these tapestries have captured the imagination of many people over the centuries and there has been a lot written about them.

The cycle traveled to New South Wales in which is where Cresside Collette last viewed them before our trip and THIS article talks more about the symbolism of the works. It is interesting to note that when the tapestries were flown to Australia only one of three times they have left the Cluny since , they each flew on a separate plane.

Further reading could take you HERE or to this beautiful video of poets responding to the tapestries. THIS video talks more about the mythology of the unicorn. And if you have about an hour, listen to art historian and author of the book I purchased at the Museum, Elizabeth Taburet-Dalahaye , discuss the restoration of the tapestries. This talk was given in in Melbourne at the 40th anniversary of the Australian Tapestry Workshop.

It is fascinating and well worth listening to. She talked about many wonderful things but I was interested to hear that it was common in tapestries in the Middle Ages for the tapestries to be reversible, meaning that when the wefts went from one color area to another, they were finished off. The backs are clean and the image on the back is just a reverse of the front. I did a series of video blogs about my trip to France and the first episode includes some video of the tapestries and their special room.

I believe most of the book is supposition, but it is fun to read about how a workshop maybe ran back then. I have no idea if it is even close to the fact, but her ideas about who each of the ladies in the tapestries were makes it a fun read. The novel certainly makes you think about why a tapestry cycle such as this might have been created and who might have been involved in it. She does use names of actual people from the Le Viste family in the story. I resisted the urge to start with movie 1 and watch until I found the scene in Gryffindor tower where the replica is used.

I might be in for another Potter marathon one of these days—in the name of tapestry of course. I find it hard to believe that the hangings in the movies were actual replicas as several online sites state. If someone had rewoven these tapestries, I would have heard about it, right? Have you visited The Lady and the Unicorn? What was your experience of seeing these tapestries in person?

Tell us in the comments! The Lady and the Unicorn. The backs are a reverse of the front. It was fun to hear that this used to be common practice.

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The Symbolism of ‘The Lady and the Unicorn’ Tapestry Cycle

Emailing Rebecca and her schedule. Tapestry Retreats. Vermont Retreat. Conference and Guild offerings. Tapestries for Sale. The amount paid by the Cluny museum would have represented just a fraction of the original cost of their production, however. Tapestries of such quality would have commanded more than the annual income of all but the richest members of the nobility, and far more than Michelangelo was paid to paint the Sistine ceiling.

Unsurprisingly then, the patron of the cycle came from a noble family with close ties to the French monarchy—the Le Viste [family]. This is made clear from the heraldic symbols shown in the tapestries themselves. The meaning of the cycle has been much debated. Experts now generally agree that they present a meditation on earthly pleasures and courtly culture, offered through an allegory of the senses.

Five of the tapestries each depict one of the senses touch, taste, smell, hearing, and sight.

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  • Each of these gestures is presented with much charm and grace, conveyed through gently curving lines that show no sharp transitions. Yet, all is not as peaceful as it may seem. For there is a sixth tapestry. Though it is clear that all six are meant to form a unit, as each displays the same basic format and figures, the sixth work breaks the pattern of the other five. Here, the Lady is depicted returning jewels worn in the other tapestries to a casket. Her action does not connect with sensory or empirical experience, as with the other five, but is instead driven by some alternate force—cognition, moral reasoning, or emotion.

    A sixth sense is represented in this sixth tapestry, which presents a further way of knowing the world. This sense seems to have not one, but multiple dimensions. In terms of courtly rhetoric, the sixth sense may be thought of as the heart, the source of courtly love and the home of complex or competing forces—free will, carnal passion, desire. It is this sixth sense that leads the Lady to return her jewels to her casket.