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Text and Tapestry: "The Lady and the Unicorn," Christine De Pizan and the Le Vistes

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Text and Tapestry: Brigham Young University BYU ScholarsArchive Theses and Dissertations 2009-05-21 Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes Shelley Williams Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Williams, Shelley, "Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes" (2009). Theses and Dissertations. 1721. https://scholarsarchive.byu.edu/etd/1721 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. TEXT AND TAPESTRY: THE LADY AND THE UNICORN, CHRISTINE DE PIZAN AND THE LE VISTES by Shelley Williams A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of Visual Arts Brigham Young University August 2009 Copyright © 2009 Shelley Williams All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Shelley Williams This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. Date Mark J. Johnson, Chair Date Heather Belnap Jensen Date Jesse D. Hurlbut BRIGHAM YOUNG UNIVERSITY As chair of the candidate’s graduate committee, I have read the thesis of Shelley Williams in its final form and have found that (1) its format, citations, and bibliographical style are consistent and acceptable and fulfill university and department style requirements; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the graduate committee and is ready for submission to the university library. Date Mark J. Johnson Chair, Graduate Committee Accepted for the Department Date Heather Belnap Jensen Graduate Coordinator Accepted for the College Date Rory Scanlon Associate Dean, College of Fine Arts and Communications ABSTRACT Text and Tapestry: The Lady and the Unicorn, Christine de Pizan and the le Vistes Shelley Williams Department of Visual Arts Master of Arts The luminous, famous and enigmatic The Lady and the Unicorn tapestries are timelss objects at the center of heated scholarly discussion. There are six tapestries, created circa 1480-1500 (figures 1 – 6), and were commissioned by the le Viste family of Lyon, whose heraldic arms appear in each tapestry. This paper seeks to connect the tapestries conceptually to contemporary courtly, feminine ideals, the image of woman in late fifteenth-century Paris, and most importantly to Christine de Pizan’s writings, particularly City of Ladies and The Treasury of the City of Ladies, both written in 1405. Through her texts, Christine de Pizan (1363 – 1434) created a noble, dignified image of women that may have influenced the way viewers were intended to perceive The Lady and the Unicorn tapestries. While recent scholarly studies have connected the tapestries to contemporary texts, there has not been a discussion regarding Christine de Pizan’s influential writings, their surrounding discourse, or the image of a woman as the visual embodiment of the le Viste family in connection to the tapestries. Specific passages in Christine’s texts resemble motifs, objects, and underlying messages in The Lady and the Unicorn. While Christine’s works may not have been the direct inspiration for the ne ideals that were circulating in Paris and France at large in the fifteenth century. The Lady and the Unicorn may also have had a didactic purpose similar to Christine’s Treasury of the City of Ladies, displaying for the le Viste daughters through a visual medium the attributes of the ideal maiden. Exploring the cultural context in which The Lady and the Unicorn was created, specifically as it relates to women in society, the upper class, tapestries, both are a part of the visual and textual make-up of the abstracted feminine ideals that were circulating in Paris and France at large in the fifteenth century. The Lady and the Unicorn may also have had a didactic purpose similar to Christine’s Treasury of the City of Ladies, displaying for the le Viste daughters through a visual medium the attributes of the ideal maiden. Exploring the cultural context in which The Lady and the Unicorn was created, specifically as it relates to women in society, the upper class, expectations for young maidens, visual and written moral messages for women and their artistic manifestations provides a new understanding of these exceptional tapestries. ACKNOWLEDGEMENTS My advisor, Dr. Mark Johnson, and my committee members Dr. Heather Jensen and Dr. Jesse Hurlbut have been the guiding academic and scholarly influences for this thesis. Their help and advice have been invaluable. The research I was able to complete abroad in Paris provided information and first-hand experience with tapestries that enhanced this thesis in unexpected and crucial ways. Without the faith shown in me by the faculty of the Art History department, I would not have been awarded the department research grant and that research would have never been possible. Thanks also go to Directrice Elisabeth Delahaye and Monsieur Jean-Christophe Ton-That at the Musée National du Moyen Age for their patience, hospitality, and kindness. Finally, I thank my husband Trevor for his unending support and love, and my parents, my mother who patiently read every draft and listened to every idea in the writing process of this thesis, and my father who has always supported my education. TABLE OF CONTENTS I. List of Figures………………………………………………….ix II. Introduction……………………………………………………1 III. The Le Viste Family…………………………………………...9 IV. Christine de Pizan…………………………….……………….13 V. The Lady………………………………………………….…….28 VI. Conclusion……………………………………………………..49 VII. Bibliography…………………………………………………...52 VIII. Figures………………………………………………………….58 viii LIST OF FIGURES Figure 1. Unknown artist, Sight, from The Lady and the Unicorn, ca. 1480 – 1500, wool and silk, (3.11 - 3.12 m x 3.30 m/ 10.20 – 10.23 ft. x 10.82 ft./122.4 – 122.76” x 129.84”). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 2. Unknown artist, Touch, from The Lady and the Unicorn, ca. 1480 – 1500, wool and silk, (3.69 - 3.73 m x 3.52 – 3.58 m/12.10 – 12.23 ft. x 11.54 – 11.74 ft./145.2 – 146.76” x 138.48 – 140.88”). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 3. Unknown artist, Hearing, from The Lady and the Unicorn, ca. 1480 – 1500, wool and silk, (3.68 - 3.69 m x 2.90 m/12.07 – 12.10 ft. x 9.51 ft./144.84” x 114.12”). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 4. Unknown artist, Smell, from The Lady and the Unicorn, ca. 1480 – 1500, wool and silk, (3.67 - 3.68 m x 3.18 – 3.22 m/12.04 – 12.07 ft. x 10.43 – 10.56 ft.). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 5. Unknown artist, Taste, from The Lady and the Unicorn, ca. 1480 – 1500, wool and silk, (3.74 - 3.77 m x 4.58 – 4.66 m/12.27 – 12.36 ft. x 15.02 – 15.28 ft.). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 6. Unknown artist, A Mon Seul Désir, from The Lady and the Unicorn, ca. 1480 – 1500, wool and silk, (3.76 - 3.77 m x 4.63 – 4.73 m / 12.33 – 12.36 ft. x 15.19 – 15.51 ft.). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 7. Unknown artist, The Noble Pastorale tapestry, wool and silk, (h 2.20 m; w 3.19 m) early sixteenth century. Decorative Arts, Musee du Louvre, Paris. Figure 8. Unknown artist, Flemish mille fleurs tapestry, wool and silk, (11 ‘ 10” x 9’ 2”/3.60 m. x 2.80 m), late fifteenth century. Montacute House, Yeovil, Somerset England, part of the National Trust. Figure 9. Unknown artist, La Lecture, from La Tenture de la Vie Seigneuriale series, ca. 1525, wool and silk (2.95 x 2.39 m). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 10. Unknown artist, Scènes Galantes, from La Tenture de la Vie Seigneuriale series, ca. 1525, wool and silk (2.62 x 3.72 m). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 11. Unknown artist, detail of Scènes Galantes, from La Tenture de la Vie Seigneuriale series, ca. 1525, wool and silk (2.62 x 3.72 m). Collection of Tapestries, Musée National du Moyen Âge, Paris, France. Figure 12. Unknown artist, St. Etienne, tapestry IX, ca. 1500, wool and silk, (h. 1.68 m x w. 3.59 m). Tapestry collection, Musée national du Moyen Âge, Paris. ix Figure 13. Attributed to the Master of the Cité des Dames and workshop and to the Master of the Duke of Bedford, Detail of a miniature of Christine de Pizan in her study at the beginning of the 'Cent balades,' from Various Works (also known as 'The Book of the Queen’), ca. 1410-1414, parchment codex, (365 x 285 mm. (245 x 195). Harley Manuscript Collection, Harley 4431 folio 4, British Library, London, England. Figure 14. Attributed to the Master of the Cité des Dames and workshop and to the Master of the Duke of Bedford, Miniature of Christine, Reason, Rectitude and Justice building the Cité des dames at the beginning of this text, from Various Works (also known as 'The Book of the Queen’), ca.
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