Digital - Vintage Cross Stitch Pattern Pillow - The Unicorn is in Captivity and is no Longer Dead - Late 15th century
Pillow Vintage Cross Stitch Pattern - The Unicorn is in Captivity and is no Longer Dead - Late 15th century
COUNTED CROSS STITCH PATTERN PDF #777_85
Size: 387w x 387h stitches
Colors: 100 DMC
Expected finished size –
14 Count - 70w cm x 70h cm | 27,5w in x 27,5h in
18 Count - 54,6w cm x 54,6h cm | 21,5w in x 21,5h in
22 Count - 44,7w cm x 44,7h cm | 17,6w in x 17,6h in
The patterns contain full cross stitches.
These design dimensions do not include margins. You must add at least 8 cm on each side to draw the embroidery.
You will get:
1. Color Map DMC
2. Pattern with Black and White Symbols
3. Pattern with Colored Symbols
4. Type of Finished Embroidery
5. Instructions for Printing the Pattern
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"Tapestries, first recorded in 1680 in the Parisian home of the Rochefoucauld family, were looted during the French Revolution. Found in a barn in the 1850s, they were hung in the Vertey family castle. Since then, they have been the subject of intense scholarly debate about the meaning of their iconography, the identity of the artists who created them, and the sequence in which they were to be hung. Although various theories have been put forward, nothing is yet known about their early history or origin, and their dramatic but contradictory narratives have inspired many interpretations, from chivalrous to Christological. Differences in size, style, and composition suggest that they come from several sets related by their subject matter, origin, and the mysterious AE monogram that appears on each. One of the panels, "The Mystical Capture of the Unicorn", has been preserved in only two fragments.
James Rorimer suggested in 1942 that the tapestries were commissioned by Anne of Brittany in honor of her marriage to Louis XII, King of France in 1499. Rorimer interpreted the monogram A and E, which appears on each tapestry, as the first and last letters of Anna's name. Margaret B. Freeman, however, rejected this interpretation in her 1976 monograph, a conclusion repeated by Adolf S. Cavallo in his 1998 paper. Tom Campbell, the former director of the Metropolitan Museum of Art, recently admitted that experts "still don't know for whom and where [the tapestries] were made." So far, scientists' attempts to explain AE and other inscriptions, identify several heraldic symbols, and coherently explain mysterious narratives have met with limited success."
