Tapestry, "The return of Vasco da Gama"

This tapestry shows a long train of giraffes with children riding on them, followed by musicians, women and men. The first giraffe resembles a horse with a long neck. It has a basket-like saddle with three children sitting in it. One of the children, a boy, has a fine plumed hat – is he perhaps meant to depict an Indian boy? Looking closely at the tapestry one can see that the people seem to come from Europe, Africa and India. They are all walking together in the caravan. Some are playing instruments – drums, flutes and other wind instruments.

The ground is covered in all sorts of flowers and green plants. In the background we glimpse verdant hills with orange and fig trees. Behind the green hills we see a medieval city. It is probably meant to be Portugal. The caravan of people and animals has gone ashore from a ship that has arrived from India and Africa. Everything suggests a festive and joyful caravan with music and fanfares. The tapestry is framed with a border of flowers, and at the very top hang little bells that strengthen the sense of music and celebration.

The man at the far right – the one with the big beard wearing a tall jewel-encrusted hat and holding a long spear – is meant to depict the seafaring explorer Vasco da Gama. His cloak is trimmed with ermine, befitting his title of viceroy of India to which he was named in 1524 following his discovery of the sea route to India.

This piece is part of a suite of tapestries depicting Vasco da Gama’s voyage to India in 1497-98. They were commissioned by King Emmanuel of Portugal to commemorate da Gama’s discovery of the sea route between Europe and India. The tapestries were very popular and were produced at several different workshops in Tournai in Flanders.

The composition of the tapestry, with figures covering the entire surface right to the upper edge, suggests that the artist who conceived the design was unfamiliar with the principles of perspective. That was first introduced a few years later giving pictures a more realistic impression of depth. This anonymous artist had never seen exotic animals like giraffes, camels, and lions in person, but had heard descriptions of them. He then did his best to depict the wild beast of Africa and India based on these descriptions.

Since the Middle Ages, woven tapestries like this one have been among the most highly prized objects in aristocratic interiors. Workshops in Flanders and France became the leading manufacturers in Europe during the 1400s. The tapestries were made from wool, silk and gold thread, and were usually woven in sets designed to cover all the walls of a room. In scenes rich in figures, they recounted stories from the Bible, ancient myths and sagas or, as in this tapestry, contemporary events.

The Portuguese had explored the coast of West Africa during the 15th century. Vasco da Gama headed south and succeeded in rounding the southern tip of Africa, the Cape of Good Hope. Along the coast of East Africa the Portuguese found flourishing trading cities. The Arabs and Chinese had been trading there for centuries. In the port city of Malindi, in Kenya, the Portuguese recruited an Arab pilot by the name of Malemo Cana. With his help, they reached the city of Calicut on India’s west coast in May of 1498. Calicut was the centre for East African, Arab, Persian and Indian trade. The Arabs, however, prevented the Portuguese from establishing trading centres along the coast.

In the years 1502-1503, Vasco da Gama made another voyage to India. This time the Portuguese succeeded in breaking the Arab resistance with extreme cruelty and superior weaponry, and took over their trading centres. The Portuguese signed favourable trade agreements with the coastal cities of East Africa and southern India. Portugal thus gained a monopoly over the lucrative Indian trade. Vasco da Gama was named viceroy in 1524, the year of his death.