Iconography of the Day: Unicorn

Title
"The Unicorn in Captivity"

Origin
South Netherlandish

Date
1495-1505

Medium
Wool warp, wool, silk, silver, and gilt wefts

Dimensions
145" x 99" (368 x 251.5 cm)

Classification
Textiles-Tapestries

Current Location
The Metropolitan Museum of Art, NY
Acquired in 1937

Accession Number
37.80.6

According to Gertrude Schiller in "Iconography of Christian Art", any icon with connection to the unicorn hunt, such as "The Unicorn in Captivity", is associated with the popular, albeit profane, imagery of the Annunciation. The "profane" in the medieval sense of the word is far disconnected from our understanding of the "profane", so we will identify the image as "secular". The requirements of art from the Church and the requirements of art from the pious art patrons clashed often, and this image was among the many to be forbidden by the Church.This particular technicality in regards to the Unicorn Hunt motif was judged in the Counsel of Trent (1563). Although the Church regarded the icon forever more as secular in nature, there are remains of this icon motif in medieval Churches, such as the altarpiece at Erfurt Cathedral altarpiece. The catch-22 is applicable here in that what the Church is capable of saying is quite different from what the Church is capable of effectually doing.
Nevertheless, what is iconographically significant in "The Unicorn in Captivity", the principal figure is shown in a closed garden. The closed garden, Lat. hortus conclusus, is directly referenced in Song of Solomon 4:12-13:
"You are a garden locked up, my sister, my bride; you are a spring enclosed, a sealed fountain. Your plants are an orchard of pomegranates with choice fruits, with henna and nard"
Mary is connoted as bride of God and thereby the "closed garden". She was held captive by the purity of Holy Spirit and delivered unto the world its fruits, embodied as the Son of God who would atone for the sin of humankind, as announced by Archangel Gabriel (Luke 1:28-38). She bore Jesus with unscathed Virginity; this is allegorically comparable to Exodus 3:3-4, in which the fire did not consume the burning bush before Moses. This particular verse in Song of Solomon also addresses Mary's state of immunity from Satan, i.e. the bride as a "spring enclosed" or "sealed fountain". Such miraculous things exhibit the power of the Holy Spirit to dwell within anything.
Those from medieval times believed unicorns existed and actually hunted them; this tapestry shows the unicorn as a thing of captive purity. Greek legend deemed the unicorn as having supernatural powers. These ideas were Christianized into the unicorn having powers of the Holy Spirit that would provide all who touched its horn with the power of immunity from Satan.
The excessive flora and fauna enveloping the principal figure associates with fertility and fecundity, among other blessings in and of the Spirit. Here is a list of the iconographically significant flora and fauna featured in "The Unicorn in Captivity":
Bistort (Polygonum bistorta) was thought to help a woman conceive. The plant was also used to heal wounds, stop vomiting, and as a diuretic.
Carnation (Dianthus caryophyllus) symbolized earthly and diving love, betrothal and marriage, and Jesus Christ and the Virgin Mary.
Columbine (Aquilegia vulgaris ) was often associated with the seven gifts of the Holy Spirit. It also symbolized love, fertility, constancy, loyalty, and the Virgin Mary. It was used to treat jaundice, sore mouths and throats, and during childbirth. When carried on one's person, it supposedly stopped dogs from barking.
Cuckoo-pint (Arum maculatum) was thought to drive away melancholy and reptiles as well as attack poison. It was used to relieve swellings when made into a plaster as well as help complexions when in powdered-form. It was also used to treat chest complaints. cuckoo-pint mixed with fresh ox dung was used to treat gout.
Dandelion (Taraxacum officinale) was one of the bitter herbs used by the Jews for Seder, and symbolized the Passion of Christ.
Madonna lily (Lilium candidum) was symbolic of the Virgin Mary's purity. It also stood for faithfulness in love and marriage. It was used to treat ulcers and burns and to relieve breathing and ear problems. Madonna lily was also used to combat serpent venom and to test the virginity of a maiden.
Pomegranate (Punica granatum) held several meanings. The seeds were viewed as a symbol of the chastity of the Virgin Mary as well as the medieval Church, the unity of faith, and concord of peace. It was also a symbol of plenitude and fertility. The red juice symbolized the blood of Jesus Christ. It was used to treat heart tremor, stiffness, wounds, and spasms, as well as for fertility, eye and stomach ailments.
Saint Mary's thistle (Silybum marianum) was often identified with the Virgin Mary. It was thought that the root would help beget male children. It was used to treat serpent bites, ulcers, skin diesease, burns, bleeding, baldness, sciatica, and toothaches.
Stock-gilliflower (Mathiola incana) symbolized purity, love, and were thought to make a woman fruitful.
Wild orchid (Orchis mascula) was thought to be a powerful aphrodisiac. It was also believed that if a man ate the large part of the orchid's root he would beget male children. The lesser part would beget female children.

It is significant to know that this tapestry was created during a period of strong allegiance to the Cult of Mary. The image of the unicorn hortus conclusus expanded to popular depictions of Mary actually represented in the enclosed garden beside a unicorn touching its horn in later annunciation scenes of this secular type.