The hunt has taken an unexpected turn as the unicorn simultaneously kicks up its back legs and gores one of the dogs with its horn. Striking out in fear, the unicorn behaves just as a stag might do, endangering the lives of dogs, horses, and men.
This hanging offers clear evidence that the unicorn in this story does not symbolize Jesus, who did not defend himself at the time of his arrest and reprimanded his apostle Peter for resorting to violence to save him.
#66. The Unicorn Defends Itself (from the Unicorn Tapestries)
Medium:Wool warp with wool, silk, silver, and gilt wefts
Dimensions:Overall: 145 x 158 in. (368.3 x 401.3cm)
Classification:Textiles-Tapestries
Credit Line:Gift of John D. Rockefeller Jr., 1937
Accession Number:37.80.4
Inscription: (in each corner and in center): A [image of a knot] E [reversed] (unidentified)
(on scabbard hanging from man on left): AVE : / REGINA . C[AELORVM] (Hail the Queen of the Heavens [reference to one of the Marian antiphons])
(on dog’s collar, left): OFANGRE (too fragmentary for interpretation)
(on dog’s collar, center): A [image of a knot] E [reversed] (unidentified)
Comtes de La Rochefoucauld, France ; François VI de La Rochefoucauld French, Paris (in 1680) ; François VIII de La Rochefoucauld, château de Verteuil, Charente (in 1728) ; Château de Verteuil (said to have been looted in 1793) ; Comtes de La Rochefoucauld, château de Verteuil, Charente (in 1856) ; Comte Aimery de La Rochefoucauld, château de Verteuil, Charente (until 1923) ; Mr. and Mrs. John D. Rockefeller Jr. American (in 1923 through Edouard Larcade–until 1937)
Anderson Galleries. "Exhibited by Edouard Larcade," 1922.
The Metropolitan Museum of Art. "French Gothic Tapestries," May 25–September 16, 1928.
New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971.
Galeries nationales du Grand Palais. "Masterpieces of Tapestry from the 14th to the 16th century," October 27, 1973–January 7, 1974.
New York. The Metropolitan Museum of Art. "Masterpieces of Tapestry from the 14th to the 16th century," February 8–April 21, 1974.
New York. The Metropolitan Museum of Art. "The Unicorn Tapestries," July 1–September 6, 1998.
New York. The Cloisters Museum & Gardens. "Search for the Unicorn: An Exhibition in Honor of The Cloisters' 75th Anniversary," May-14-Aug-18-2013.
Breck, Joseph. "The Tapestry Exhibition: Part I." The Metropolitan Museum of Art Bulletin, o.s., 23, no. 6 (June 1928). pp. 147–50, fig. 2.
Catalogue of a Loan Exhibition of French Gothic Tapestries. New York: The Metropolitan Museum of Art, 1928. no. 4–9, pp. 18–21.
Migeon, Gaston. Les Arts du Tissu. Manuels d'histoire de l'art. Revised ed. Paris: Henri Laurens, 1929. p. 326.
Cross Marquand, Eleanor. "Plant Symbolism in the Unicorn Tapestries." Parnassus 10, no. 5 (October 1938). pp. 2–8.
Rorimer, James J. "New Acquisitions for the Cloisters." The Metropolitan Museum of Art Bulletin, n.s., 33, no.5, part 2 (May 1938). pp. 14–17.
Lief, Zola. "The Cloisters." The Compleat Collector 3, no. 7 (May 1943). p. 4.
Rorimer, James J., and William Holmes Forsyth. "The Medieval Galleries." The Metropolitan Museum of Art Bulletin, n.s., 12, no. 6 (February 1954). p. 121.
Hoving, Thomas. "The Thread of Patronage: The Medieval Collections of The Metropolitan Museum of Art and The Cloisters." Apollo 82, no. 43 (September 1965). pp. 185–86, pl. XI.
Stoddard, Whitney S. Monastery and Cathedral in France: Medieval Architecture, Sculpture, Stained Glass, Manuscripts, the Art of the Church Treasuries. Middletown, CT: Wesleyan University Press, 1966. pp. 357–59.
Coffinet, Julien. Arachné ou L'art de la tapisserie. Paris: Bibliothèque des arts, 1971. pp. 201–203, 205.
Freeman, Margaret B. "The Unicorn Tapestries." The Metropolitan Museum of Art Bulletin, n.s., 32, no. 1 (1973-1974). pp. 196–201.
Souchal, Geneviève, ed. Chefs-d'œuvre de la tapisserie du XIVe au XVIe siècle. Paris: Galeries nationales du Grand Palais, 1973. no. 18–24, pp. 76–86.
Souchal, Geneviève, ed. Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. New York: The Metropolitan Museum of Art, 1974. no. 18–24, pp. 69–79.
Freeman, Margaret. The Unicorn Tapestries. New York: The Metropolitan Museum of Art, 1976. no. 4, discussed and ill. thoughout.
Young, Bonnie. A Walk Through The Cloisters. New York: The Metropolitan Museum of Art, 1979. pp. 65–75.
Nickel, Helmut. "About the Sequence of the Tapestries in The Hunt of the Unicorn and The Lady with the Unicorn." Metropolitan Museum Journal 17 (1982). pp. 9–14, fig. 4, 9.
Erlande-Brandenburg, Alain. Gothic Art. New York: H. N. Abrams, 1989. pp. 346, fig. 160, ill. p. 352.
Cavallo, Adolfo S. Medieval Tapestries in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1993. no. 20d, pp. 14, 51, 297–327.
Cavallo, Adolph S. The Unicorn Tapestries at the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1998. no. 4.
Franke, Birgit. Assuerus und Esther am Burgunderhof: Zur Rezeption des Buches Esther in den Niederlanden (1450 bis 1530). Berlin: Gebr. Mann, 1998. p. 119.
Campbell, Thomas P., ed. Tapestry in the Renaissance: Art and Magnificence. New York: The Metropolitan Museum of Art, 2002. no. 5, pp. 70–79, 164.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 120, pp. 164–65, 199.
Piccat, Marco. "Le lettere nascoste: Caterina d’Aragona e le tappezzerie del liocorno. Musée de Cluny (Parigi)." Locus Amœnus 10 (2009–2010). p. 18.
Colburn, Kathrin. "Three Fragments of the Mystic Capture of the Unicorn Tapestry." Metropolitan Museum Journal 45 (2010). pp. 97–106, fig. 2.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. p. 172–173.
Husband, Timothy B. "Creating the Cloisters." The Metropolitan Museum of Art Bulletin, n.s., 70, no. 4 (Spring 2013). pp. 15–17, 43–45, fig. 30.
Taburet-Delahaye, Elisabeth, ed. La Dame à la licorne et l'art européen autour de 1500 dans les collections du musée de Cluny, Paris. Paris (?): Musée National du Moyen Âge - Thermes et Hôtel de Cluny, 2013. p. 69, fig. 6.
Boehm, Barbara Drake. "A Blessing of Unicorns: The Paris and Cloisters Tapestries." The Metropolitan Museum of Art Bulletin 78, no. 1 (Summer 2020). pp. 39–40, fig. 10.
Travel back in time with a medieval look inspired by The Met’s beloved The Unicorn Tapestries and see how you can replicate one of the hunters from the tapestries using makeup.
Philippe de Montebello, former Director of The Met, guides viewers through The Cloisters, pointing out Romanesque and Gothic architecture and artwork, beautiful tapestries, and the diverse species in the gardens. He outlines the history of the building and its many influences and highlights significant works of art in the collection.
Produced for the 1974 exhibition Masterpieces of Tapestry, this short form recounts the tale depicted in “The Unicorn Tapestries” and explains the symbolic meaning of these mythic creatures, including their purifying and restorative powers.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Museum's collection of medieval and Byzantine art is among the most comprehensive in the world, encompassing the art of the Mediterranean and Europe from the fall of Rome to the beginning of the Renaissance.
