One further conclusion: it seems to me that tapestry from this period, particularly the non-linear collagic tapestries, created a unique visual event that virtually reinvented the meaning of the word tapestry. The original definition of tapestry is, of course, a specific woven structure, weft faced plain weave with a discontinuous weft. But in fact the dictionary program in my MacIntosh computer defines tapestry as: “Something considered to be rich, varied and with many themes intricately interwoven.”
The technique of tapestry has in some fashion metamorphosed into a linguistic concept, no longer confined to the description of a woven structure. Rather it has expanded to include a new trope, or metaphor, for which there is no other word than tapestry itself.
- Figure 1, La Tapisserie de Bayeux, Edition Ville de Bayeux, pp. 57 & 58.
- Figure 2, La Tenture de l’Apocalypse d’Angers, (Nantes, 1987), Cahiers d’Inventaire 4, pp. 90-91.
- Figure 3, Zahm und Wild, (Mainz, 1990),Philipp von Zabern, pp. 150-151.
- Figure 4, Tapestry in the Renaissance, Art and Magnificence (New York, 2002), MMA, pp.56-57.
- Figures 5 & 6, The Unicorn Tapestries, (New York, 1998), The Metropolitan Museum of Art, pp. 96 & 99.
- Figure 7, Medieval Tapestries, New York, 1994), MMA, p.,106. Photo credit: The Metropolitan Museum of Art, Gift of John D Rockefeller Jr., 1947 (47.101.2) Photograph ©1985 The Metropolitan Museum of Art.
- Figure 8, The Gazer’s Spirit, (Chicago, 1995), University of Chicago Pressp. 298.
- Figure 9, La Légende de saint Etienne, Editions RMG, Palais de Papes, pp 4-5.
- Figure 10, The Unicorn Tapestries, (New York, 1998), The Metropolitan Museum of Art, pp. 33, 52, 58, 59, 64, 70, 44, & 39. Photo credit: The Metropolitan Museum of Art, Gift of John D. Rockefeller Jr., 1937 (37.80.1, 37.80.2, 38.51.1-2, 37.80.3, 37.80.4, 37.80.5, 37.80.6) Photograph ©1998 The Metropolitan Musem of Art.
- Figure 11, Tapestry in the Renaissance, Art and Magnificence (New York, 2002), MMA, p. 178.
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