Revisiting
this tapestry, titled “Hawking Scene,” we recall that five nobles come across
five peasants, and that the tapestry subtly depicts a major power divide in the
medieval world. In this renewed investigation, we look at the materiality of
the tapestry, and a provide a more in-depth view of how medieval hunting
actually worked. Both of these explorations will highlight the extravagances of the
medieval upper class.
According to the Harvard Art Museum’s
website, this tapestry is made of wool. While wool was by no means luxurious
(indeed, it was the most common tapestry material at the time), the tapestry’s
size indicates that a number of artists would have fashioned it over a period
of months, and that it wasn't cheap. Said artists would have first
made a painting, known as a cartoon, depicting what was going to be on the
tapestry. This image would have then been laid underneath the warp for
reference, while the artists would have constructed the tapestry by adding the
weft, and varying the weft's colors in accordance with the cartoon. Such a process wasn't easy, and was indicative of the wealth possessed by those who owned
A tapestry like “Hawking Scene,”
once acquired by a wealthy individual, would have been used to line a castle
wall. Such lining would have served two purposes: insulation, and decoration.
Giant wool tapestries trap far more heat than do grey, stony walls, and were
accordingly useful during the winter. At the same time, finely decorated
tapestries draw far more looks than do grey, stony walls, and kings looking to
entertain their varied guests were sure to cover their walls with an
array of images. Indeed, it’s a popular misconception that medieval castles
were dark, damp, and grey – most walls were covered from top to bottom with
colorful tapestries.
Numerous
primary sources exist providing accounts of hunting during the Middle Ages.
Hincmar of Reims, for example, discusses the presence of hunters, a falconer,
and a “hunter of beavers” in the court of Charlemagne. Ermold the Black,
meanwhile, describes a hunt undertaken by King Louis and his extensive
entourage. King Louis’ hunting party, as described by Ermold, was clearly a
larger and more diverse group of hunters than is depicted on the above
tapestry. While the tapestry shows a party of four men on horseback accompanied
by a few dogs and hawks, Ermold tells us that “numerous groups of young men and
boys,” as well as “bands of hunters,” and a “troop of magnates” joined King
Louis. Even Louis’s wife tagged along. To further quote Ermold, when
the hunt was under way, “The whole world resounded with the constant barking of
the dogs, here the cries of men, there the sounds of horns.”
This rowdier, “partying-caravan”
approach to hunting is different from what is presented in “Hawking Scene.”
It can be clearly seen, however, in the Devonshire Hunting Tapestries,
currently housed at the Victoria and Albert Museum. These tapestries – one of
which is shown below – date to the 1420’s and hail from the same Flemish
tradition that gave birth to "Hawking Scene."
This image provides a detailed view
of the “Swan and Otter Hunt” tapestry. Notice the castle in the
background, and the Arab on camelback. Notice in particular, however, the extravagantly dressed men and
women with their large hats, completely indifferent to the fact that a man is
getting mauled by a bear right in front of them.
In this scene, we see a disconnect
that in some way recalls the disconnect visible in “Hawking Scene” – both tapestries
feature hunters and “others.” In “Hawking Scene,” the “others” are lowly
peasants. In “Swan and Otter Hunt,” the “others” are nobles – guests of honor invited to hitch a ride and witness a hunt merely for excitement’s sake. Indeed, this brings up an excellent point. Hunting during the Middle Ages was, first and foremost, a recreational activity. The nobles who went hunting never needed any of the meat they wrought. The peasants provided enough food. Instead, it was the medieval idea of a good time.
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