New PDF release: Interior Color by Design

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27 It appears carved or painted on little boxes (Minnekiistchen), on combs, mirrors, frescos, tapestries, stained glass, and various other luxury objects. It turns up in the decoration of churches, convents, city halls, castles, and Patrician houses. 28 Sometimes the scene appears together with other scenes of lovers, occasionally the orchard scene is part of a longer visual narrative of Tristan, and sometimes the scene appears alone. 29 As scholars have argued, the scene's appeal is partly due to its multi-valency.

Potter mentions Tristan and Isolde's tryst beneath the tree in the book on good love to exemplify a strategy with which women might cleverly deceive a suspicious guardian. 48 Potter emphasizes not the adulterous nature of the affair, but Isolde's strategy of deception. In his text, this deception is a subterfuge necessary to maintain the lovers' honor. He emphasizes Isolde's positive characteristics in the brief description of the scene, describing her as "reyne" (pure [3,617]), and "edele" (noble [3,625]).

A will from 1429, for example, bequeaths to the "chapel of oure lady ... " 3 As Charles Kightly' s discussion of wall hangings in medieval York suggests, textiles could be a source of household ornamentation, a marker of social 22 CLAIRE SPONSLER status, and an opportunity for entertainment, given their typical preference for depicting narrative. 4 How people might have "read" woven stories is suggested by an episode in Caxton's version of the romance Blanchardyn and Eglantine (ca. 1489). In chapter two, Blanchardine, walking in his father's palace with his tutor, gazes at the "hangings ofTapestrie and Arras" on the wall.

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