Seven centuries of Muslim control of the Iberian Peninsula ended with the fall of Granada in 1492, firmly reestablishing Christian rule. Early Spanish carpets featured small geometric designs influenced by Muslim artistry. By the mid to late 16th century, Spanish carpets made for royal homes and religious settings incorporated curvilinear and floral motifs seen in fashionable Italian velvets and silk brocades.
This striking example from the museum’s collection of Spanish carpets reflects the transition from Muslim to European influence. It may have been created by Mudejares — skilled Muslim craftsmen who remained on the Iberian Peninsula after forced conversion to Christianity.
Unlike carpets from Islamic lands, Spanish carpets were produced only in established commercial centers like Alcaraz in southeastern Spain. They were crafted from wool sourced from Merino and Churra sheep, which was commercially produced for both domestic use and export to Flanders and England.
The tradition of carpet weaving was introduced to the Iberian Peninsula during Muslim rule, but Spanish carpets are distinguished by their use of the “single knot.” This knot is tied on a single warp yarn. To create a strong foundation, the knots are tied on alternating warp yarns in each row, with weft yarns separating each row of knots.
The design of this carpet, set within an ogival latticework, features floral vines, clasps, festoons, candelabra and pomegranates — historically a symbol of fertility. The field and border have a yellow ground, but scholars speculate that the original color may have been red, which faded over time. This change is attributed to a decline in expertise in fixing dyes with mordants after Muslim and Jewish artisans who had not converted to Christianity were exiled.
Researched by Marcy Wasilewski
Marcy Wasilewski grew up surrounded by textiles in a family of tailors. She has a master’s degree in museum education from the George Washington University. Her early museum career was followed by a long career in healthcare administration. She returned to the museum world as a docent in 2014.