Step right up, don’t be shy, come and see the amazing wonders woven into this surreal tapestry titled The Camel. An Eastern king awaits entertainment while exotic marvels are presented to him—peacocks, leopards, rope-walking acrobats, musical delights, and (the tapestry’s namesake) a camel. But who really is being delighted by this scene? The king, awaiting the “exotic” and fantastical entertainments on display or the French aristocrats in whose home this tapestry hung? While not an accurate depiction of Eastern culture, this tapestry is a truthful representation of Western fascination with the lands beyond the borders of Europe.
The King and entertainers are supported by pedestals of marble—an impressive feat considering these architectural elements were created by weaving together differently colored threads. Various threads in a subtle range of shades were utilized to imitate the delicate veins and gradual changes of color within marble.
The King sits atop a raised platform next to a sphinx and holds an impressive staff—all stereotypical elements of how Westerners viewed Eastern rulers. However, if he really were a ruler from the East, peacocks, leopards, and camels would hardly seem surprising. These entertainers and animals on display are really meant to delight the European viewers looking at the tapestry.
Acrobats sit atop tightropes meant to entertain the king with their daring and exceptional balance. Two wear wings, perhaps to ward off falling to the floor with the hopes of flight, or simply to add a bit of flair as costume elements for entertainers.
The entertainer’s mask is fit for a ball! More specifically, a Venetian Masquerade Ball—celebrations in which guests wore elaborate masks throughout the entire night, a tradition started during Carnival season in the 1400s.
The performer’s long pants were considered typically “Eastern,” and were very different from the knee breeches European men wore at the time. The fastenings along the front of the tunic were also taken from Eastern European and Asian wardrobes. Called frogs or toggles, these ties were ornate fasteners for clothing consisting of a button, toggle, or knot that fits through a loop.
What song can be played with a harp, violin, and tambourine? Something to wonder at the unusual assemblage of instruments the entertainers play. While their song is unknown, they are wearing the kind of clothes that would have been worn by French courtly entertainers —another hint as to the real audience of the tapestry’s delights.
Peacock, leopard, camel, and parrots all take center stage for the king. It is a rare set of animals to have gathered all together and an example of exoticism—a European understanding of an unknown East made vague and generic with embellishments that were not native to Europe.
This strange combination of animals and acrobats as well as decorative floral embellishments seems to be suspended in front of a hazy, golden background—just where is this fanciful kingdom? The lack of definitive space helps to classify this tapestry as a grotesque. The strange characters and imaginary structural settings typical of grotesque designs were intended to delight the viewer.