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A restoration of the painting in 1934–36 confirmed art historian Roberto Longhi's attribution of the work to Raphael, and the removal of heavy repainting revealed the unicorn, traditionally a symbol of chastity in medieval romance, in place of a Saint Catherine wheel. [1]
A Virgin with a Unicorn was created for the decoration for Galleria Farnese under the direction of Annibale Carracci, who died a few years later after the piece was finished. [3] The fresco was painted over the entrance and above the southeast wall of Galleria Farnese, an art gallery of Carracci, constituting one of his vault and ceiling frescos.
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]
Unicorn in Captivity, tapestry from The Unicorn Tapestries series, Brussels workshops c. 1500, Cloisters Museum, Metropolitan Museum of Art. There are hundreds, if not thousands, of miniatures of unicorns with the same staging inspired by the Physiologos: the beast is seduced by a treacherous virgin and a hunter pierces its flank with a spear. [22]
A rather rare, late-15th-century, variant depiction of the hortus conclusus in religious art combined the Annunciation to Mary with the themes of the Hunt of the Unicorn and Virgin and Unicorn, so popular in secular art. The unicorn already functioned as a symbol of the Incarnation and whether this meaning is intended in many prima facie ...
A Virgin with a Unicorn, c. 1604 –05, fresco in Palazzo Farnese, Rome, after a design by Annibale Carracci. Domenichino's work, developed principally from Raphael's and the Carracci's examples, mirrors the theoretical ideas of his friend Giovanni Battista Agucchi, with whom the painter collaborated on a Treatise on Painting.