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Scottish Royal tapestry collection
The Scottish royal tapestry collection was a group of tapestry hangings assembled to decorate the palaces of sixteenth-century kings and queens of Scotland.
==Tapestry at the Royal Court of Scotland==
Like other European monarchs, the kings and queens of Scotland sought to impress their subjects and diplomatic visitors in costly surroundings. At Fontainebleau in 1540, the King of France himself personally helped the English ambassador onto a bench so he could examine and admire the 'antique borders' of the tapestry in his bedchamber, and this was seen as a sign of special favour.〔''Letters & Papers, Foreign and Domestic of Henry VIII'', vol. 16, no. 276, 17 November 1540.〕 In Scotland, James V’s tapestries were listed in two inventories, along with the crown jewels and fine clothes. These tapestries were used to hang the best chambers and halls in the palaces, and were transported with the monarch between residences and lined, fixed and hung by specialists on the court pay-roll. The rooms were decorated with a painted frieze at the top of the wall and plain beneath where the tapestries hung. Henry VIII of England had nearly 2000 tapestries and James V had 200.〔Thomas, Andrea, ''Princelie Majestie'', John Donald (2005), 79-80 citing Simon Thurley, ''The Royal Palaces of Tudor England'', 222-4.〕
Eleven pieces of royal tapestry were destroyed in the explosion at Kirk o' Field in February 1567 that killed the King Consort of Scotland, Henry Stuart, Lord Darnley.〔''Robertson, Joseph, ed., ''Inventaires de la Royne Descosse'', (1863), 51〕 None of the original Scottish tapestries are known to exist now, but the names of many of them were recorded, and the subjects are the same as those listed in other royal collections,〔Buchanan, Iain, The 'Battle of Pavia' and the Tapestry of Don Carlos, ''The Burlington Magazine'', vol. 144, no. 1191, June (2002), 345-351.〕 and some examples survive in museums around the world. Some of the tapestries showed Biblical themes, or subjects with medieval roots, but most were stories from classical antiquity, reflecting renaissance taste, and some were scenes from the hunting field.
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