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The tapestries were very probably woven in Brussels, [10] which was an important center of the tapestry industry in medieval Europe. [11] An example of the remarkable work of the Brussels looms, the tapestries' mixture of silk and metallic thread with wool gave them a fine quality and brilliant color. [12]
The Lady and the Unicorn: À mon seul désir (Musée national du Moyen Âge, Paris). The Lady and the Unicorn (French: La Dame à la licorne) is the modern title given to a series of six tapestries created in the style of mille-fleurs ("thousand flowers") and woven in Flanders from wool and silk, from designs ("cartoons") drawn in Paris around 1500. [1]
The Triumph of Fame is one of a set of six tapestries, the other five of which are now lost, based on Petrarch's Trionfi. It was created probably in Brussels, by an unknown workshop. This work, or one identical to it, was bought by Queen Isabella of Spain and Castile in 1504. This tapestry uses a silk weft that covers the wool warp.
The tapestries are known as Boar and Bear Hunt, Falconry, Swan and Otter Hunt, and Deer Hunt. [1] [2] These enormous works, each over 13 feet tall and altogether about 133 feet wide, depict men and women in fashionable dress of the early fifteenth century hunting in forests.
Several artists have drawn inspiration from the tapestry: A Swedish textile piece drawing inspiration from the tapestry was completed in 1966. It is in the collection of the Vesterheim Norwegian American Museum. [7] A textile pattern for a tapestry inspired by the Baldishol Tapestry is in the collection of the Vänersborgs Museum (Sweden). [8]
The tapestry is made of a mixture of linen and wool and woven in soumak technique; [1] it is one of the last examples of soumak weaving technique in medieval Swedish textile art. [3] Approximately 15 centimetres (5.9 in) of the original tapestry's right side has been lost. [1] The subject matter that the tapestry depicts has been lively discussed.
Medieval art was produced in many media, and works survive in large numbers in sculpture, illuminated manuscripts, stained glass, metalwork and mosaics, all of which have had a higher survival rate than other media such as fresco wall-paintings, work in precious metals or textiles, including tapestry.
European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art. (2 vols.). New York: The Metropolitan Museum of Art. ISBN 0-87099-406-9. Wingfield Digby, G F (1980). The Victoria and Albert Museum. The Tapestry Collection : Medieval and Renaissance. London: Her Majesty's Stationery Office. ISBN 0-11-290246-4.