Château de Verteuil in the context of Duc de La Rochefoucauld

⭐ Core Definition: Château de Verteuil

The Château de Verteuil is a historic building in Charente, France. It dates back to 1080 and has since been extensively rebuilt, although 12th-century walls remain. The château has always been in the property of the La Rochefoucauld family.

During the Hundred Years' War (1337–1453) the château was occupied several times by the English. It was demolished in 1442, but was soon rebuilt using the original stones. In the religious wars of 16th and 17th centuries the château was a base for Huguenot forces, and in 1650 it was partly demolished by royal troops. Another château was erected but it received extensive damage in a fire in 1793 during the French Revolution. The château was renovated in the romantic style after the Bourbon Restoration of 1815, and has been extensively modified since then. During World War II (1939–45) the château housed French troops and refugees from Alsace-Lorraine in 1940 and for several months it was partially occupied by some German units. In 1944 some members of the maquis were hidden there. The château was listed as a monument historique on 31 March 1966, and obtained full protection on 19 November 2010.

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Château de Verteuil in the context of The Hunt of the Unicorn

The Unicorn Tapestries or the Hunt of the Unicorn (French: La Chasse à la licorne) is a series of seven tapestries made in the Southern Netherlands around 1495–1505, and now in The Cloisters in New York City. They were possibly designed in Paris and woven in Brussels. They depict a group of noblemen and hunters in pursuit of a unicorn through an idealised French landscape. The tapestries were woven in wool, metallic threads, and silk. The vibrant colours, still evident today, were produced from dye plants: weld (yellow), madder (red), and woad (blue).

First recorded in 1680 in the Paris home of the Rochefoucauld family, the tapestries were looted during the French Revolution. Rediscovered in a barn in the 1850s, they were hung at the family's Château de Verteuil. Since then they have been the subject of intense scholarly debate about the meaning of their iconography, the identity of the artists who designed them, and the sequence in which they were meant to be hung. Although various theories have been put forward, currently nothing is known of their early history or provenance. Their dramatic but conflicting narratives have inspired multiple readings, from chivalric to Christological. Variations in size, style, and composition suggest they come from more than one set, linked by their subject matter, provenance, and the mysterious AE monogram which appears in each. One of the panels, "The Mystic Capture of the Unicorn", survives as just two fragments.

View the full Wikipedia page for The Hunt of the Unicorn

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