The Devonshire Hunting Tapestries | |
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![]() Detail from the Boar and Bear Hunt | |
Year | c. 1420-1450 |
Medium | Tapestry |
Dimensions | variable, over 13 ft high and 133 ft wide in total |
Location | Victoria & Albert Museum, London |
Accession | T.204-1957 |
The Devonshire Hunting Tapestries are a group of four medieval tapestries, probably woven in Arras, Artois, France, between about 1430 and 1450. [1] The tapestries are known as Boar and Bear Hunt, Falconry, Swan and Otter Hunt, and Deer Hunt. [1] [2] These enormous works, each over 13 feet tall and altogether about 133 feet wide, depict men and women in fashionable dress of the early fifteenth century hunting in forests. [3] [4] The tapestries formerly belonged to the Dukes of Devonshire, and were hung on the walls at Hardwick Hall in Derbyshire. [4] In 1957, they became the property of the British Government in the tax settlement after the death of the 10th Duke of Devonshire. [1] The tapestries were then allocated to the Victoria and Albert Museum in London, where they remain. [5] Few fifteenth-century tapestries of this size and grandeur still exist, which is what makes the Devonshire Hunting Tapestries so exceedingly rare. [2]
Tapestries were a popular luxury good that used visual imagery to entertain and delight the audiences of aristocratic households. [1] [5] The wealthy used tapestries to cover entire walls, which had a practical use because they aided in insulation during colder months. [1]
The sport of hunting was a common subject in tapestries as well as a favored activity amongst the elite members of society. [1] Hunting was both a stylized sport and an important source of meat highly prized by the nobility. [1] [2] The sport also reinforced aristocratic ideas of class, since the elite form of hunting was only available for the landowner. [6] Hunting was so prized by the nobility that there were forest laws, to protect the landowners's rights against poaching. [6] Any rule-breaking poachers faced expensive fines or worse. [6] In particular, deer and boar were protected by forest law in England, and in Portugal, bears were protected. [6]
Royal hunts were not an everyday occurrence and were more of a performance. [6] Though hunting was primarily reserved for members of the court, they were often not the ones engaging in the act of locating, chasing, and capturing the animals. [2] [6] The nobility often had huntsmen who would routinely hunt and bring back meat for the royals to enjoy, but who also located and corralled live animals for the royals to then hunt. [6] The Devonshire Hunting Tapestries show various animal hunts, but the nobles who take place in them are in their finest dress, which they might not in reality have worn for such an activity. [7] The four hunting tapestries are therefore not the most accurate representation of hunting, but instead depict the fantasy of a noble, leisurely pastime enjoyed by the wealthy. [2] The tapestries reinforce the hierarchy of class and humankind’s dominance over animals. [2]
The tapestries would have been produced by a large workshop of skilled weavers, working to designs made by an artist. Neither the designer nor the workshop can be identified, as is common at this period. [2] Though considered as a set, the four tapestries were created at different times. [2] The specific style of dress in each tapestry can help to identify the time it was made. [2] The Boar and Bear Hunt shows costume c. 1425-30. [2] Both Falconry and the Swan and Otter Hunt show costume c. 1430s. [2] The Deer Hunt primarily shows costume c. 1440-1450, but with two costumes c. 1435, indicating that the piece was likely made in the 1440s. [2] Furthermore, the tapestries all vary in size. [2]
The Devonshire Hunting Tapestries were created on two types of looms: high-warp loom and low-warp loom. [2] Weavers use an illustration, known as a cartoon, as the design reference for the tapestry. [2] For low-warp loom, the cartoon was below the threads, allowing the weaver to easily look at it. [8] [2] For high-warp loom, the cartoon was displayed away from the loom, requiring weavers to be familiar with the work to not constantly be looking away from the tapestry to the cartoon. [8] [2] Low-warp loom can create errors since the weaver has to work in reverse. [8] [2] Such is the case with the Boar and Bear Hunt, considered low-warp, which has errors of reversed inscriptions and two left-handed men, probably unintended. [3] Falconry and Otter and Swan are considered high-warp. [3]
The Boar and Bear Hunt is 13 ft 3.5 in by 33 ft 6 in. [3] On the left side, the boar hunts take place and in the centre and the right side, the bear hunts take place. [3] [2] The men are shown carrying spears, which have cross-bars designed to stop the charge of the boar and keep its tusks at a safe distance. [9] The bears are also hunted on foot with spears. [10] The lady crossing the stream in the centre foreground has "Monte le Desire" inscribed on her flowing sleeve. [7] However, weaving on a low-warp loom has reversed the letters. [7]
The boar was viewed as the exact opposite of the deer in the Middle Ages, with the boar considered more beastly. [9] Boars were known to attack hunting dogs. [9] Though boar hunting was not as highly regarded as deer hunting, the meat was still desired for banquets and celebrations. [2] [9] Bear hunting was not for meat, but rather to prevent attacks on farm animals, [2] and for fur. Hunters and their hounds might seek out the bear in its cave, as can be seen on the right side of the tapestry where a bear and its cubs reside in a cave. [10] However by this period, bears were rare in Flanders, and extinct in Britain.
Falconry is the tallest tapestry at 14 ft 6 in by 35 ft 3.5 in, and is missing a section on the left. [3] Intended to be read from left to right, the scene shows the sport of falconry and it is the only tapestry of the four that follows on one hunt throughout the piece. [2] On the left, nobles ride horses with hawks perched on arms as they approach a mill. [2] The horses’ trappings have “M” repeated on them, though it is unknown if this was intended to identify the tapestry’s commissioner. [3] [11]
Great attention is given to the etiquette of falconry including the loosing, the flushing out, and the recall. [2] Towards the centre of the tapestry, the nobles take to foot and the falcons are set upon ducks in a stream. [2] This is the loosing, when the falcons are freed from their trappings, such as leashes and hoods, and set upon the prey. [2] The dogs in the tapestry partake in the flushing out of the prey. [2] On the right, the hawks are being recalled. [2] A man towards the top of the composition holds a v-shaped lure in the air to call back the hawk. [2] In the bottom right, another man bends to grab his lure, with a successfully caught duck in his other hand. [2]
The Swan and Otter Hunt is the widest tapestry at 13 ft 11 in by 36 ft 7.5 in. [2] [3] The landscape includes both land, in the foreground and middle ground, and sea, in the background. [2] [3] On the left, two otters are hunted: one is pinned to the ground towards the bottom and one is hoisted into the air towards the top. [2] [3] Towards the centre of the composition, next to a small-scale castle that represents a port, young boys plunder a swan’s nest. [2] [3] Directly above, another pair of boys climb a tree to attack a heron’s nest. [3] There is another hunt on the right side of the tapestry involving bears and hunters riding on a camel. [2] [3] These hunters have been identified by the V&A as Saracens and the camel is thought to be a fictional addition. [12]
In the Middle Ages, otters were an annoyance to fishermen and thus exterminated through hunting. [2] Nobles did not necessarily partake in otter hunts nor consume otter meat, but did like to adorn themselves with the furs. [2] Swan meat was consumed by the nobility, especially the meat of young swans, or cygnets. [2] Swans were so highly coveted by royalty that they had special farms to hold swans called swanneries. [2]
The Deer Hunt is the smallest of the four tapestries at 13 ft 4.5 in by 28 ft 5.5 in. [3] Woolley points out that the finished tapestry is the result of several reworkings and additions. [2] The reweaving has diminished the quality of the tapestry. [1] On the left side of the tapestry, a deer is actively being hunted by men and hounds. [3] To the right of that deer in the centre, a recently slain deer lies on its back, with its stomach cut open. [3] The hounds are feasting on the deer as their reward, a hunting ritual called the curée, or cure. [2] [3] [1] A small mill next to a stream divides the tapestry, and on the right there are several figures engaged in the sport of hawking. [2] Also in the centre of the work, next to the cure, is a man of the court flirtatiously wrapped around the wife of the miller. [3] [2] In addition to hunting and hawking, members of the court are socializing in their finest dress, adding to the idealized nature of the scene. [1]
The deer pictured are specifically red deer, which was one of three deer species in medieval England alongside fallow deer and roe deer. [6] [3] At the time the tapestry was created, deer-hunting was restricted to a very few in England. [1]
The history of ownership of the tapestries from their creation to the mid-sixteenth century is not known. [2] The Countess of Shrewsbury, Bess of Hardwick, is one of the earliest suggested owners of the set. [2] In the 1590s, Hardwick Hall in Derbyshire was built and became the home for the extremely wealthy widow, [1] [3] whose inheritance passed to the line of her second husband, who eventually became the Cavendish Dukes of Devonshire. Linda Woolley suggests that Bess came to own the tapestries via her last husband George Talbot, 6th Earl of Shrewsbury, who had been married to the countess before he died in 1590. [2] A 1601 inventory identified a set of four tapestries with descriptions matching those of the Devonshire Hunting Tapestries. [4] According to the inventory, the tapestries had been cut into smaller pieces. [4] The Victoria & Albert Museum suggests that the four tapestries remained at Hardwick Hall over the following centuries. [7] William George Spencer Cavendish, 6th Duke of Devonshire used the cut tapestries to insulate the Long Gallery at Hardwick Hall in the 1840s. [2] [3] [13] During a visit to Hardwick in 1899, Arthur Long convinced the seventh Duke of Devonshire to let the Victoria & Albert Museum restore the tapestries. [3] The restoration began in 1900 and ended in 1910. [2] [3] The tapestries were then brought to the main home of the Dukes of Devonshire, Chatsworth House, and exhibited periodically. [2] In 1957, the tenth Duke of Devonshire died and the tapestries passed to the V&A. [2] [7]
Hunting is the human practice of seeking, pursuing, capturing, or killing wildlife or feral animals. The most common reasons for humans to hunt are to exploit the animal's body for meat and useful animal products, for recreation/taxidermy, although it may also be done for non-exploitative reasons such as removing predators dangerous to humans or domestic animals, to eliminate pests and nuisance animals that damage crops/livestock/poultry or spread diseases, for trade/tourism, or for ecological conservation against overpopulation and invasive species.
Tapestry is a form of textile art, traditionally woven by hand on a loom. Normally it is used to create images rather than patterns. Tapestry is relatively fragile, and difficult to make, so most historical pieces are intended to hang vertically on a wall, or sometimes horizontally over a piece of furniture such as a table or bed. Some periods made smaller pieces, often long and narrow and used as borders for other textiles. Most weavers use a natural warp thread, such as wool, linen, or cotton. The weft threads are usually wool or cotton but may include silk, gold, silver, or other alternatives.
Falconry is the hunting of wild animals in their natural state and habitat by means of a trained bird of prey. Small animals are hunted; squirrels and rabbits often fall prey to these birds. Two traditional terms are used to describe a person involved in falconry: a "falconer" flies a falcon; an "austringer" keeps Goshawks and uses accipiters for hunting. In modern falconry, the red-tailed hawk, Harris's hawk, and the peregrine falcon are some of the more commonly used birds of prey. The practice of hunting with a conditioned falconry bird is also called "hawking" or "gamehawking", although the words hawking and hawker have become used so much to refer to petty traveling traders, that the terms "falconer" and "falconry" now apply to most use of trained birds of prey to catch game. However, many contemporary practitioners still use these words in their original meaning.
Game or quarry is any wild animal hunted for animal products, for recreation ("sporting"), or for trophies. The species of animals hunted as game varies in different parts of the world and by different local jurisdictions, though most are terrestrial mammals and birds. Fish caught non-commercially are also referred to as game fish.
Coursing by humans is the pursuit of game or other animals by dogs—chiefly greyhounds and other sighthounds—catching their prey by speed, running by sight, but not by scent. Coursing was a common hunting technique, practised by the nobility, the landed and wealthy, as well as by commoners with sighthounds and lurchers. In its oldest recorded form in the Western world, as described by Arrian—it was a sport practised by all levels of society, and it remained the case until Carolingian period forest law appropriated hunting grounds, or commons, for the king, the nobility, and other landowners. It then became a formalised competition, specifically on hare in Britain, practised under rules, the Laws of the Leash'.
Royal hunting, also royal art of hunting, was a hunting practice of the aristocracy throughout the known world in the Middle Ages, from Europe to Far East. While humans hunted wild animals since time immemorial, and all classes engaged in hunting as an important source of food and at times the principal source of nutrition, the necessity of hunting was transformed into a stylized pastime of the aristocracy. More than a pastime,l interaction, essential training for war, and a privilege and measurement of nobility. In Europe in the High Middle Ages the practice was widespread.
The Grand Bleu de Gascogne is a breed of hounds of the scenthound type, originating in France and used for hunting in packs. Today's breed is the descendant of a very old type of large hunting dog, and is an important breed in the ancestry of many other hounds.
Deer hunting is hunting deer for meat and sport, an activity which dates back tens of thousands of years. Venison, the name for deer meat, is a nutritious and natural food source of animal protein that can be obtained through deer hunting. There are many different types of deer around the world that are hunted for their meat. For sport, often hunters try to kill deer with the largest and most antlers to score them using inches. There are two different categories of antlers. They are typical and nontypical. They measure tine length, beam length, and beam mass by each tine. They will add all these measurements up to get a score. This score is the score without deductions. Deductions occur when the opposite tine is not the same length as it is opposite. That score is the deducted score.
Hunting in Russia has an old tradition in terms of indigenous people, while the original features of state and princely economy were farming and cattle-breeding. There was hunting for food as well as sport. The word "hunting" first appeared in the common Russian language at the end of the 15th century. Before that the word "catchings" existed to designate the hunting business in general. The hunting grounds were called in turn lovishcha ("ловища"). In the 15th-16th centuries, foreign ambassadors were frequently invited to hunts; they also received some of the prey afterwards.
Boar hunting is the practice of hunting wild boar, feral pigs, warthogs, and peccaries. Boar hunting was historically a dangerous exercise due to the tusked animal's ambush tactics as well as its thick hide and dense bones rendering them difficult to kill with premodern weapons.
Bears have been hunted since prehistoric times for their meat and fur. In addition to being a source of food, in modern times they have been favored by big game hunters due to their size and ferocity. Bear hunting has a vast history throughout Europe and North America, and hunting practices have varied based on location and type of bear.
Romania has a long history of hunting and remains a remarkable hunting destination, drawing many hunters because of its large numbers of brown bears, wolves, wild boars, red deer, and chamois. The concentration of brown bears in the Carpathian Mountains of central Romania is largest in the world and contains half of all Europe's population, except Russia.
The Sabueso Español or Spanish Hound is a scenthound breed with its origin in the far north of Iberian Peninsula. This breed has been used in this mountainous region since hundreds of years ago for all kind of game: wild boar, hare, brown bear, wolf, red deer, fox, roe deer and chamois. It is an exclusive working breed, employed in hunting with firearms.
Game preservation is maintaining a stock of game to be hunted legally. It includes:
Rache, also spelled racch, rach, and ratch, from Old English ræcc, linked to Old Norse rakkí, is an obsolete name for a type of hunting dog used in Great Britain in the Middle Ages. It was a scenthound used in a pack to run down and kill game, or bring it to bay. The word appears before the Norman Conquest. It was sometimes confused with 'brache', which is a French derived word for a female scenthound.
A hart is a male red deer, synonymous with stag and used in contrast to the female hind; its use may now be considered mostly poetic or archaic. The word comes from Middle English hert, from Old English heorot; compare Frisian hart, Dutch hert, German Hirsch, and Swedish, Norwegian, and Danish hjort, all meaning "deer". Heorot is given as the name of Hrothgar's mead hall in the Old English epic Beowulf.
A limer, or lymer, was a kind of dog, a scenthound, used on a leash in medieval times to find large game before it was hunted down by the pack. It was sometimes known as a lyam hound/dog or lime-hound, from the Middle English word lyam, meaning 'leash'. The French cognate limier has sometimes been used for the dogs in English as well. The type is not to be confused with the bandog, which was also a dog controlled by a leash, typically a chain, but was a watchdog or guard dog.
The Hunts of Maximilian or Les Chasses de Maximilien, also Les Belles chasses de Guise are a set of twelve tapestries, one per month, depicting hunting scenes in the Sonian Forest, south of Brussels, by the court of Maximilian I, Holy Roman Emperor. They were produced in a Brussels workshop, and several tapestries are given identifiable locations that were then around the outskirts of the city, but are now mostly engulfed by it. The set is now in the Louvre.
A montería is an ancient type of driven hunt endemic to Spain. It involves the tracking, chase and killing of big-game, typically red deer, wild boar, fallow deer and mouflon. A number of "rehalas" along with their respective "rehaleros" will stir up an area of forest with the aim of forcing the game to move around and into the shooting pegs, where hunters will be able to fire.
The Staghound, sometimes referred to as the English Staghound, is an extinct breed of scent hound from England. A pack hound, the breed was used to hunt red deer and became extinct in the 19th century when the last pack was sold.