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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]
Double Happiness is a ligature, "囍" composed of 喜喜 – two copies of the Chinese character 喜 (xǐ ⓘ) literally meaning joy, compressed to assume the square shape of a standard Chinese character (much as a real character may consist of two parts), and is pronounced simply as xǐ or as a polysyllabic Chinese character, being read as 双喜 (shuāngxǐ).
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 tapestry weavers cannot fully develop the minutiae that Goya designed. Above all, it is difficult to trace the outlines with the utmost clarity. The conflict led to the return of The Blind Guitarist , and Goya found the solution by painting A Stickball Game , which was to be hung in the bedroom and thus form part of the fourth series.
Bags were sometimes woven with a face of soumak, with a tapestry-woven kilim-like top creating slits between blocks of colour: a rope was threaded in and out of the series of slits to fasten and close the bag. [10] Sizes vary, from carpet format through bags for bedding or for use on pack animals, to tiny tribal domestic bags.
His brother-in-law Francisco Bayeu was made director of the tapestry works in 1777, which greatly advanced the ambitious artist's career prospects. [5] However, Goya was beset by illness during the period, and his condition was used against him by the contemporary art scene, which looked jealously upon any artist seen to be rising in stature.