Reseda luteola in the context of "Lincoln green"

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.

Indienne (/ˌændiˈɛn/, an-dee-EN; French: [ɛ̃.djɛn], lit. 'that which comes from Eastern India'), was a type of printed or painted textile manufactured in Europe between the 17th and the 19th centuries, inspired by similar textile originally made in India (hence the name). They received various other names in French such as madras, pékin (French for Peking), perse (French for Persia), gougouran, damas, and cirsacs. The original Indian techniques for textile printing involved long and complicated processes necessitating the use of mordants or metallic salts to fix the dyes. The beautiful, vibrant, colors came from the garance plant for red, indigo for blue, and gaude for yellow.

Indiennes were extremely popular, and attempts at import substitution were soon made. In 1640, Armenian merchants introduced Indian textile printing techniques at the port of Marseilles. Later, England (1670) and Holland (1678) would also adopt the technique.