Bernard van Orley (c. 1488–1541), designer
Willem and Jan Dermoyen, Brussels, weavers
The imperial troops reach Mirabello. Panic and flight of the French soldiers and civilians encamped there.
(436×818)
The Imperial vanguard reached Mirabello at dawn on 24 February. Fear and confusion spread among the soldiers and the non-combatants accompanying the French army. At the center of the tapestry, a colorful group of figures, led by a white greyhound, seeks escape through a breach in the wall of the Park. In the foreground, the figure of a young and beautiful lady stands out, wearing a striking red gown and riding side-saddle on a richly caparisoned white mule.
On the right-hand side of the tapestry is the French camp, which in reality was not so close to Mirabello. In the upper band, a large pavilion marked with the fleurs-de-lis of France is depicted, probably indicating that of Francis I.
In the background, the castle of Mirabello is imaginatively rendered.
The advance of the imperial army. Attack of the French cavalry led by Francis I.
(415 × 878)
The Imperial army has entered the Old Park and is advancing to engage the French forces. The infantry marches to the sound of fifes and drums, with the arquebusiers at the head, followed by the mass of pikemen. The Imperial cavalry moves forward in the upper right section. Among the horsemen stands out Charles III de Bourbon, former Constable of France, identified by his coat of arms — three fleurs-de-lis of France crossed out in red.
Also on the right, in the middle ground, the French cavalry clashes with the vanguard of the Imperial horsemen. Francis I kills in combat Ferrante Castriota, Marquis of Civita Sant’Angelo, commander of the enemy light cavalry.
In the foreground, to the left of the oak tree that divides the tapestry in two, Francis I is depicted with his knights. The King wears a silver saione (tunic) and a richly plumed helmet. His horse is caparisoned with a breastplate embroidered with the fleurs-de-lis of France.
Defeat of the French cavalry. The imperial infantry routs the Black Band.
(449 × 864 cm)
On the left, the Spanish arquebusiers decimate the French heavy cavalry. Among the infantry stands out the equestrian figure of Fernando Francesco d’Avalos, Marquis of Pescara, leading the attack with a lance in his right hand. Towards the centre, in the middle ground, appears Alfonso d’Avalos, Marquis of Vasto, commander of the Imperial vanguard, identified by an inscription on the ground.
From the centre towards the right, the Imperial Landsknechts, led by Georg von Frundsberg — shown near a cannon with the inscription JORGE.DE.FRANSBURK embroidered on his belt — annihilate the Black Band in French service.
In the clash, the commander of the Black Band, Richard de la Pole, former Duke of Suffolk, and Francis of Lorraine were also killed. Both are depicted at the far right of the tapestry, with the inscriptions FRACOYS.M.DE.LORAIN and LA BLANSE ROSE on their horses’ harnesses.
Richard de la Pole was called the “White Rose” as he belonged to the House of York, whose emblem was a white rose.
Capture of Francis I.
(429 × 867)
While his army was being annihilated, Francis I continued to fight with courage. At last, realizing that all resistance was useless, he too sought escape in flight. When he reached the vicinity of the Cascina Repentita, a shot from an arquebus brought down his horse, and he was dragged to the ground.
He was immediately attacked by three Spanish horsemen who had pursued him and been guided to him by La Motte de Noyers, a knight in the retinue of Charles III de Bourbon. Recognized and overpowered, he was taken prisoner.
The tapestry captures the moment when three Imperial horsemen help Francis I to rise, while the commander of the Imperial army, Charles de Lannoy, depicted on the left, dismounts to receive the King’s surrender.
The Swiss break ranks and refuse to advance. Non-combatants following the imperial army rush onto the battlefield to plunder the French camp.
(437 × 882 cm)
In the center and to the right of the tapestry, the Swiss mercenaries in French pay are shown breaking ranks and throwing down their weapons, heedless of their captains’ calls.
In the foreground, the Swiss are depicted as they surrender: the banner has been lowered, fife and drum are silent, the great two-handed sword is pointed downwards, and some, bareheaded in a gesture of submission, beg for mercy from the Imperial horsemen.
To the left of the tapestry, the non-combatants of the Imperial army burst onto the battlefield to plunder the French camp.
Retreat of the French army. The Duke of Alençon withdraws beyond the Ticino.
(438 × 783)
The tapestry depicts the final phases of the battle. On the right is shown the pontoon bridge thrown across the river by the French during the siege. At the far right, the Duke of Alençon — identified by the inscription DE ALENSO on his horse’s caparison — has just crossed it to save himself with his horsemen.
After crossing the river, Alençon ordered the bridge to be destroyed to prevent the enemy’s pursuit, thereby condemning most of the fleeing soldiers to death or capture. In the scene represented in the tapestry, several soldiers are engaged in dismantling the bridge. A French knight succeeds in crossing it at the last moment, followed by two Swiss soldiers — they will be the last to pass.
For the others, there remains no escape but to seek safety from the enemy by throwing themselves into the icy waters of the Ticino.
Sortie of the imperial troops from Pavia. Rout of the Swiss, who drown in the Ticino.
(420 × 889)
The besieged imperial troops sally forth from Pavia, while the fleeing Swiss throw themselves into the Ticino, where many of them drown. The episode greatly impressed contemporaries, and its depiction came to symbolise the complete rout of the French army.
The scene is dominated by a magnificent view of Pavia — the city near which the battle had been fought, and whose name would be handed down through the centuries to the everlasting glory of Charles V. Pavia had resisted for almost four months the siege laid by Francis I, thereby making possible the triumph of 24 February 1525.