Bayeux Tapestry

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A scene from the Bayeux Tapestry depicting Odo, Bishop of Bayeux, rallying Duke William's troops during the Battle of Hastings in 1066 Odo bayeux tapestry.png
A scene from the Bayeux Tapestry depicting Odo, Bishop of Bayeux, rallying Duke William's troops during the Battle of Hastings in 1066

The Bayeux Tapestry ( UK: /bˈjɜː,b-/ , US: /ˈbj,ˈb-/ ; French : Tapisserie de Bayeux [tapisʁi də bajø] or La telle du conquest; Latin : Tapete Baiocense) is an embroidered cloth nearly 70 metres (230 ft) long and 50 centimetres (20 in) tall, [1] [2] [3] which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans, but is now agreed to have been made in England.

Contents

According to Sylvette Lemagnen, conservator of the tapestry, in her 2005 book La Tapisserie de Bayeux:

The Bayeux tapestry is one of the supreme achievements of the Norman Romanesque  .... Its survival almost intact over nine centuries is little short of miraculous ... Its exceptional length, the harmony and freshness of its colours, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating. [4]

The cloth consists of some seventy scenes, many with Latin tituli , embroidered on linen with coloured woollen yarns. It is likely that it was commissioned by Bishop Odo, William's half-brother, and made in England—not Bayeux—in the 1070s. In 1729 the hanging was rediscovered by scholars at a time when it was being displayed annually in Bayeux Cathedral. The tapestry is now exhibited at the Musée de la Tapisserie de Bayeux in Bayeux, Normandy, France ( 49°16′28″N0°42′01″W / 49.2744°N 0.7003°W / 49.2744; -0.7003 ).

The designs on the Bayeux Tapestry are embroidered rather than woven, so that it is not technically a tapestry. [5] Nevertheless, it has always been referred to as a tapestry until recent years when the name "Bayeux Embroidery" has gained ground among certain art historians. It can be seen as a rare example of secular Romanesque art. Tapestries adorned both churches and wealthy houses in Medieval Western Europe, though at 0.5 by 68.38 metres (1.6 by 224.3 ft, and apparently incomplete) the Bayeux Tapestry is exceptionally large. Only the figures and decoration are embroidered, on a background left plain, which shows the subject very clearly and was necessary to cover large areas.

Origins

Bishop Odo of Bayeux Odo of Bayeux.jpg
Bishop Odo of Bayeux
Bayeux Cathedral, home of the tapestry in the Middle Ages and until the beginning of the 19th century BayeuxCathedrale 01.jpg
Bayeux Cathedral, home of the tapestry in the Middle Ages and until the beginning of the 19th century

The earliest known written reference to the tapestry is a 1476 inventory of Bayeux Cathedral, [6] but its origins have been the subject of much speculation and controversy.

French legend maintained the tapestry was commissioned and created by Queen Matilda, William the Conqueror's wife, and her ladies-in-waiting. Indeed, in France, it is occasionally known as "La Tapisserie de la Reine Mathilde" (Tapestry of Queen Matilda). However, scholarly analysis [7] in the 20th century concluded it was probably commissioned by William's half-brother, Bishop Odo, who, after the Conquest, became Earl of Kent and, when William was absent in Normandy, regent of England.

The reasons for the Odo commission theory include: 1) three of the bishop's followers mentioned in the Domesday Book appear on the tapestry; 2) it was found in Bayeux Cathedral, built by Odo; and 3) it may have been commissioned at the same time as the cathedral's construction in the 1070s, possibly completed by 1077 in time for display on the cathedral's dedication.

Assuming Odo commissioned the tapestry, it was probably designed and constructed in England by Anglo-Saxon artists (Odo's main power base being by then in Kent); the Latin text contains hints of Anglo-Saxon; other embroideries originate from England at this time; and the vegetable dyes can be found in cloth traditionally woven there. [8] [9] [10] Howard B. Clarke has proposed that the designer of the tapestry was Scolland, the abbot of St Augustine's Abbey in Canterbury, because of his previous position as head of the scriptorium at Mont Saint-Michel (famed for its illumination), his travels to Trajan's Column, and his connections to Wadard and Vital, two individuals identified in the tapestry. [11] [12] The actual physical work of stitching was most likely undertaken by female needleworkers. Anglo-Saxon needlework of the more detailed type known as Opus Anglicanum was famous across Europe. It was perhaps commissioned for display in the hall of his palace and then bequeathed to the cathedral he built, following the pattern of the documented but lost hanging of Byrhtnoth. [13]

Alternative theories exist. Carola Hicks has suggested it could possibly have been commissioned by Edith of Wessex, widow of Edward the Confessor and sister of Harold. [14] Wolfgang Grape has challenged the consensus that the embroidery is Anglo-Saxon, distinguishing between Anglo-Saxon and other Northern European techniques; [15] Medieval material authority Elizabeth Coatsworth [16] contradicted this: "The attempt to distinguish Anglo-Saxon from other Northern European embroideries before 1100 on the grounds of technique cannot be upheld on the basis of present knowledge." [17] George Beech suggests the tapestry was executed at the Abbey of Saint-Florent de Saumur in the Loire Valley, and says the detailed depiction of the Breton campaign argues for additional sources in France. [18] Andrew Bridgeford has suggested that the tapestry was actually of English design and encoded with secret messages meant to undermine Norman rule. [19]

Construction, design and technique

Detail of stem stitching and laid work. Bayeux tapestry laid work detail..jpg
Detail of stem stitching and laid work.

In common with other embroidered hangings of the early medieval period, this piece is conventionally referred to as a "tapestry", although it is not a true tapestry in which the design is woven into the cloth; it is in fact an embroidery.

The Bayeux tapestry is embroidered in crewel (wool yarn) on a tabby-woven linen ground 68.38 metres long and 0.5 metres wide (224.3 ft × 1.6 ft) and using two methods of stitching: outline or stem stitch for lettering and the outlines of figures, and couching or laid work for filling in figures. [9] [10] Nine linen panels, between fourteen and three metres in length, were sewn together after each was embroidered and the joins were disguised with subsequent embroidery. [20] At the first join (start of scene 14) the borders do not line up properly but the technique was improved so that the later joins are practically invisible. [20] The design involved a broad central zone with narrow decorative borders top and bottom. [20] By inspecting the woollen threads behind the linen it is apparent all these aspects were embroidered together at a session and the awkward placing of the tituli is not due to them being added later. [20] Later generations have patched the hanging in numerous places and some of the embroidery (especially in the final scene) has been reworked. [20] The tapestry may well have maintained much of its original appearance—it now compares closely with a careful drawing made in 1730. [20]

The end of the tapestry has been missing from time immemorial and the final titulus "Et fuga verterunt Angli" ("and the English left fleeing") is said to be "entirely spurious", added shortly before 1814 at a time of anti-English sentiment. [21] Musset speculates the hanging was originally about 1.5 metres longer. [21] At the last section still remaining the embroidery has been almost completely restored but this seems to have been done with at least some regard to the original stitching. [21] The stylised tree is quite unlike any other tree in the tapestry. [21] The start of the tapestry has also been restored but to a much lesser extent. [21]

Norton [note 1] has reviewed the various measurements of the length of the tapestry itself and of its nine individual linen panels. He has also attempted to estimate the size and architectural design of the 11th-century Bayeux Cathedral. He considers the tapestry would have fitted well if it had been hung along the south, west and north arcades of the nave and that the scenes it depicts can be correlated with positions of the arcade bays in a way that would have been dramatically satisfying. He agrees with earlier speculation that a final panel is missing—one that shows William's coronation and which he thinks was some three metres long. Norton concludes that the tapestry was definitely designed to be hung in Bayeux Cathedral specifically; that it was designed to appeal to a Norman audience; and that it was probably designed for Bishop Odo so as to be displayed at the dedication of the cathedral in 1077 in the presence of William, Matilda, their sons, and Odo. [23]

The main yarn colours are terracotta or russet, blue-green, dull gold, olive green, and blue, with small amounts of dark blue or black and sage green. Later repairs are worked in light yellow, orange, and light greens. [9] Laid yarns are couched in place with yarn of the same or contrasting colour.

The tapestry's central zone contains most of the action, which sometimes overflows into the borders either for dramatic effect or because depictions would otherwise be very cramped (for example at Edward's death scene). Events take place in a long series of scenes which are generally separated by highly stylised trees. However, the trees are not placed consistently and the greatest scene shift, between Harold's audience with Edward after his return to England and Edward's burial scene, is not marked in any way at all. [21]

The tituli are normally in the central zone but occasionally use the top border. The borders are otherwise mostly purely decorative and only sometimes does the decoration complement the action in the central zone. The decoration consists of birds, beasts, fish and scenes from fables, agriculture, and hunting. There are frequent oblique bands separating the vignettes. There are nude figures, some of corpses from battle, others of a ribald nature. [21] A harrow, a newly invented implement, is depicted (scene 10) and this is the earliest known depiction. The picture of Halley's Comet, which appears in the upper border (scene 32), is the first known picture of this comet. [21]

In 1724 a linen backing cloth was sewn on comparatively crudely and, in around the year 1800, large ink numerals were written on the backing which broadly enumerate each scene and which are still commonly used for reference. [21]

Tapisserie de Bayeux 31109.jpg
The entire Bayeux Tapestry. Individual images of each scene are at Bayeux Tapestry tituli. (Swipe left or right.)

Background to the events depicted

In a series of pictures supported by a written commentary the tapestry tells the story of the events of 1064–1066 culminating in the Battle of Hastings. The two main protagonists are Harold Godwinson, recently crowned King of England, leading the Anglo-Saxon English, and William, Duke of Normandy, leading a mainly Norman army, sometimes called the companions of William the Conqueror. [21]

The messengers with Guy, with a portrayal of medieval agriculture in the border Tapisserie agriculture.JPG
The messengers with Guy, with a portrayal of medieval agriculture in the border
Edward the Confessor sends Harold to Normandy Bayeux Tapestry scene1 Edward.jpg
Edward the Confessor sends Harold to Normandy

William was the illegitimate son of Robert the Magnificent, Duke of Normandy, and Herleva (or Arlette), a tanner's daughter. William became Duke of Normandy at the age of seven and was in control of Normandy by the age of nineteen. His half-brother was Bishop Odo of Bayeux.

King Edward the Confessor, king of England and about sixty years old at the time the tapestry starts its narration, had no children or any clear successor. Edward's mother, Emma of Normandy, was William's great aunt. At that time succession to the English throne was not by primogeniture but was decided jointly by the king and by an assembly of nobility, the Witenagemot.

Harold Godwinson, Earl of Wessex and the most powerful noble in England, was Edward's brother-in-law. The Norman chronicler William of Poitiers [24] reported that Edward had previously determined that William would succeed him on the throne, and Harold had sworn to honour this, and yet later that Harold had claimed Edward, on his deathbed, had made him heir over William. However, other sources, such as Eadmer dispute this claim.

Events depicted in the tapestry

The tapestry begins with a panel of Edward the Confessor sending Harold to Normandy. (scene 1) Later Norman sources say that the mission was for Harold to pledge loyalty to William but the tapestry does not suggest any specific purpose. [20] By mischance, Harold arrives at the wrong location in France and is taken prisoner by Guy, Count of Ponthieu. (scene 7) After exchanges of messages borne by mounted messengers, Harold is released to William who then invites Harold to accompany him on a campaign against Conan II, Duke of Brittany. On the way, just outside the monastery of Mont Saint-Michel, the army become mired in quicksand and Harold saves two Norman soldiers. (scene 17) William's army chases Conan from Dol de Bretagne to Rennes, and Conan finally surrenders at Dinan. (scene 20) William gives Harold arms and armour (possibly knighting him) and Harold takes an oath on saintly relics. (scene 23) Although the writing on the tapestry explicitly states an oath is taken there is no clue as to what is being promised. [20]

Harold leaves for home and meets again with the old king Edward, who appears to be remonstrating with him. (scene 25) Harold is in a somewhat submissive posture and seems to be in disgrace. [20] However, possibly deliberately, the king's intentions are not made clear. [20] The scene then shifts by about one year to when Edward has become mortally ill and the tapestry strongly suggests that, on his deathbed, he bequeaths the crown to Harold. [note 2] [21] What is probably the coronation ceremony [note 3] is attended by Stigand, whose position as Archbishop of Canterbury was controversial. [21] (scene 31) Stigand is performing a liturgical function, possibly not the crowning itself. [21] The tapestry labels the celebrant as "Stigant Archieps" (Stigand the archbishop) although by that time he had been excommunicated by the papacy who considered his appointment unlawful. [20]

Detail of comet Comete Tapisserie Bayeux.jpg
Detail of comet

A star with a streaming tail, probably Halley's Comet, then appears. [note 4] At this point, the lower border of the tapestry shows a fleet of ghost-like ships thus hinting at a future invasion. [20] (scene 33) The news of Harold's coronation is taken to Normandy, whereupon we are told that William is ordering a fleet of ships to be built although it is Bishop Odo shown issuing the instructions. (scene 35) The invaders reach England, and land unopposed. William orders his men to find food, and a meal is cooked. (scene 43) A house is burnt by two soldiers, which may indicate some ravaging of the local countryside on the part of the invaders, and underneath, on a smaller scale than the arsonists, a woman holds her boy's hand as she asks for humanity. (scene 47) News is brought to William. [note 5] The Normans build a motte and bailey at Hastings to defend their position. Messengers are sent between the two armies, and William makes a speech to prepare his army for battle. (scene 51)

Battle of Hastings Normans Bayeux.jpg
Battle of Hastings

The Battle of Hastings was fought on 14 October 1066 less than three weeks after the Battle of Stamford Bridge but the tapestry does not provide this context. The English fight on foot behind a shield wall, whilst the Normans are on horses. [note 6] Two fallen knights are named as Leofwine and Gyrth, Harold's brothers, but both armies are shown fighting bravely. [20] Bishop Odo brandishes his baton or mace and rallies the Norman troops in battle. (scene 54) [note 7] [20] To reassure his knights that he is still alive and well, William raises his helmet to show his face. [21] The battle becomes very bloody with troops being slaughtered and dismembered corpses littering the ground. King Harold is killed. (scene 57) This scene can be interpreted in different ways, as the name "Harold" appears above a number of knights, making it difficult to identify which character is Harold, since one character appears with an arrow shot in his head under the name "Harold" while another character is slain by a sword underneath the words "he is slain". The final remaining scene shows unarmoured English troops fleeing the battlefield. The last part of the tapestry is missing; however, it is thought that the story contained only one additional scene. [20]

Latin text

Tituli are included in many scenes to point out names of people and places or to explain briefly the event being depicted. [21] The text is in Latin but at times the style of words and spelling shows an English influence. [21] A dark blue wool, almost black, is mostly used but towards the end of the tapestry other colours are used, sometimes for each word and other times for each letter. [21] The complete text and English translation are displayed beside images of each scene at Bayeux Tapestry tituli.

Recorded history

The first reference to the tapestry is from 1476 when it was listed in an inventory of the treasures of Bayeux Cathedral. It survived the sack of Bayeux by the Huguenots in 1562; and the next certain reference is from 1724. [21] Antoine Lancelot sent a report to the Académie Royale des Inscriptions et Belles-Lettres concerning a sketch he had received about a work concerning William the Conqueror. He had no idea where or what the original was, although he suggested it could have been a tapestry. [25] Despite further enquiries he discovered no more.

Montfaucon / Benoit drawing showing Harold's death MontfauconHaroldEye.jpg
Montfaucon / Benoît drawing showing Harold's death

The Benedictine scholar Bernard de Montfaucon made more successful investigations and found that the sketch was of a small portion of a tapestry preserved at Bayeux Cathedral. In 1729 and 1730 he published drawings and a detailed description of the complete work in the first two volumes of his Les Monuments de la Monarchie française. The drawings were by Antoine Benoît, one of the ablest draughtsmen of that time. [25]

The tapestry was first briefly noted in English in 1743 by William Stukeley, in his Palaeographia Britannica. [26] The first detailed account in English was written by Smart Lethieullier, who was living in Paris in 1732–3, and was acquainted with Lancelot and de Montfaucon: it was not published, however, until 1767, as an appendix to Andrew Ducarel's Anglo-Norman Antiquities. [27]

During the French Revolution, in 1792, the tapestry was confiscated as public property to be used for covering military wagons. [21] It was rescued from a wagon by a local lawyer who stored it in his house until the troubles were over, whereupon he sent it to the city administrators for safekeeping. [25] After the Terror the Fine Arts Commission, set up to safeguard national treasures in 1803, required it to be removed to Paris for display at the Musée Napoléon. [25] When Napoleon abandoned his planned invasion of Britain the tapestry's propaganda value was lost and it was returned to Bayeux where the council displayed it on a winding apparatus of two cylinders. [25] Despite scholars' concern that the tapestry was becoming damaged the council refused to return it to the Cathedral. [25]

Stothard / Basire engravings: scenes showing the Norman troops crossing the Channel and landing in Sussex Stothard Bayeux 41 42 Plate 10.jpg
Stothard / Basire engravings: scenes showing the Norman troops crossing the Channel and landing in Sussex

In 1816 the Society of Antiquaries of London commissioned its historical draughtsman, Charles Stothard, to visit Bayeux to make an accurate hand-coloured facsimile of the tapestry. His drawings were subsequently engraved by James Basire jr. and published by the Society in 1819–23. [28] Stothard's images are still of value as a record of the tapestry as it was before 19th-century restoration.

By 1842 the tapestry was displayed in a special-purpose room in the Bibliothèque Publique. It required special storage in 1870 with the threatened invasion of Normandy in the Franco-Prussian War and again in 1939–1944 by the Ahnenerbe during the German occupation of France and the Normandy landings. On 27 June 1944 the Gestapo took the tapestry to the Louvre and on 18 August, three days before the Wehrmacht withdrew from Paris, Himmler sent a message (intercepted by Bletchley Park) ordering it to be taken to "a place of safety", thought to be Berlin. [20] It was only on 22 August that the SS attempted to take possession of the tapestry, by which time the Louvre was again in French hands. [20] After the liberation of Paris, on 25 August, the tapestry was again put on public display in the Louvre, and in 1945 it was returned to Bayeux, [25] where it is exhibited at the Musée de la Tapisserie de Bayeux.

Later reputation and history

The inventory listing of 1476 shows that the tapestry was being hung annually in Bayeux Cathedral for the week of the Feast of St John the Baptist; and this was still the case in 1728, although by that time the purpose was merely to air the hanging, which was otherwise stored in a chest. [20] Clearly, the work was being well cared for. In the eighteenth century, the artistry was regarded as crude or even barbarous—red and yellow multi-coloured horses upset some critics. It was thought to be unfinished because the linen was not covered with embroidery. [20] However, its exhibition in the Louvre in 1797 caused a sensation, with Le Moniteur , which normally dealt with foreign affairs, reporting on it on its first two pages. [20] It inspired a popular musical, La Tapisserie de la Reine Mathilde. It was because the tapestry was regarded as an antiquity rather than a work of art that in 1804 it was returned to Bayeux, wherein 1823 one commentator, A. L. Léchaudé d'Anisy, reported that "there is a sort of purity in its primitive forms, especially considering the state of the arts in the eleventh century". [20]

The tapestry was becoming a tourist attraction, with Robert Southey complaining of the need to queue to see the work. In the 1843 Hand-book for Travellers in France by John Murray III, a visit was included on "Recommended Route 26 (Caen to Cherbourg via Bayeux)", and this guidebook led John Ruskin to go there; he would describe the tapestry as "the most interesting thing in its way conceivable". Charles Dickens, however, was not impressed: "It is certainly the work of amateurs; very feeble amateurs at the beginning and very heedless some of them too." [20]

During the Second World War Heinrich Himmler coveted the work, regarding it as "important for our glorious and cultured Germanic history". [20]

In 2018, French President Emmanuel Macron announced that the Bayeux Tapestry would be loaned to Britain for public display. It is expected to be exhibited at the British Museum in London, but not before 2020. It will be the first time that it has left France in 950 years. [29]

Mysteries

Harold's death. Legend above: Harold rex interfectus est, "King Harold is killed" Bayeux Tapestry scene57 Harold death.jpg
Harold's death. Legend above: Harold rex interfectus est, "King Harold is killed"
Detail of arrow Harold arrow, Bayeux tapestry detail.jpeg
Detail of arrow
Ubi unus clericus et AElfgyva Aelfgyva.jpg
Ubi unus clericus et Ælfgyva

The depiction of events on the tapestry raises several mysteries:

Reliability

The Bayeux Tapestry was probably commissioned by the House of Normandy and essentially depicts a Norman viewpoint. However, Harold is shown as brave, and his soldiers are not belittled. Throughout, William is described as dux ("duke"), whereas Harold, also called dux up to his coronation, is subsequently called rex ("king"). [20] The fact that the narrative extensively covers Harold's activities in Normandy (in 1064) indicates that the intention was to show a strong relationship between that expedition and the Norman Conquest starting two years later. It is for this reason that the tapestry is generally seen by modern scholars as an apologia for the Norman Conquest.

Coronation of Harold Bayeux Tapestry scene29-30-31 Harold coronation.jpg
Coronation of Harold

The tapestry's narration seems to place stress on Harold's oath to William, although its rationale is not made clear. [21] Norman sources claim that the English succession was being pledged to William, but English sources give varied accounts. [21] Today it is thought that the Norman sources are to be preferred. [32] Both the tapestry and Norman sources [33] name Stigand, the excommunicated archbishop of Canterbury, as the man who crowned Harold, possibly to discredit Harold's kingship; one English source [34] suggests that he was crowned by Ealdred, archbishop of York, and favoured by the papacy, making Harold's position as legitimate king more secure. Contemporary scholarship has not decided the matter, although it is generally thought that Ealdred performed the coronation. [35] [36]

Although political propaganda or personal emphasis may have somewhat distorted the historical accuracy of the story, the Bayeux Tapestry constitutes a visual record of medieval arms, apparel, and other objects unlike any other artifact surviving from this period. There is no attempt at continuity between scenes, either in individuals' appearance or clothing. The knights carry shields, but show no system of hereditary coats of arms—the beginnings of modern heraldic structure were in place, but would not become standard until the middle of the 12th century. [21] It has been noted that the warriors are depicted fighting with bare hands, while other sources indicate the general use of gloves in battle and hunt.

American historian Stephen D. White, in a study of the tapestry, [37] has "cautioned against reading it as an English or Norman story, showing how the animal fables visible in the borders may instead offer a commentary on the dangers of conflict and the futility of pursuing power". [38]

Artistic context

Tapestry fragments have been found in Scandinavia dating from the ninth century and it is thought that Norman and Anglo-Saxon embroidery developed from this sort of work. Examples are to be found in the grave goods of the Oseberg ship and the Överhogdal tapestries. [21]

A monastic text from Ely, the Liber Eliensis , mentions a woven narrative wall-hanging commemorating the deeds of Byrhtnoth, killed in 991. Wall-hangings were common by the tenth century with English and Norman texts particularly commending the skill of Anglo-Saxon seamstresses. Mural paintings imitating draperies still exist in France and Italy and there are twelfth-century mentions of other wall-hangings in Normandy and France. A poem by Baldric of Dol might even describe the Bayeux Tapestry itself. [21] The Bayeux Tapestry was therefore not unique at the time it was created: rather it is remarkable for being the sole surviving example of medieval narrative needlework. [39]

Replicas and continuations

Start of the Bayeux Tapestry replica in Reading Museum Bayeux Tapestry replica in Reading Museum.jpg
Start of the Bayeux Tapestry replica in Reading Museum

A number of replicas of the Bayeux Tapestry have been created.

Sections of the 1066 Medieval Mosaic re-creation in New Zealand 1066 Medieval Mosaic (Bayeux Tapestry) sections.jpg
Sections of the 1066 Medieval Mosaic re-creation in New Zealand

Other modern artists have attempted to complete the work by creating panels depicting subsequent events up to William's coronation, though the actual content of the missing panels is unknown. In 1997, the embroidery artist Jan Messent completed a reconstruction showing William accepting the surrender of English nobles at Berkhamsted (Beorcham), Hertfordshire, and his coronation. [49] [50] [51] In early 2013, 416 residents of Alderney in the Channel Islands finished a continuation including William's coronation and the building of the Tower of London. [52]

Street art in Bayeux referring to the Tapestry Street art in Bayeux about tapestry.jpg
Street art in Bayeux referring to the Tapestry

Because it resembles a modern comic strip or movie storyboard, is widely recognised, and is so distinctive in its artistic style, the Bayeux Tapestry has frequently been used or reimagined in a variety of different popular culture contexts. George Wingfield Digby wrote in 1957:

It was designed to tell a story to a largely illiterate public; it is like a strip cartoon, racy, emphatic, colourful, with a good deal of blood and thunder and some ribaldry. [53]

It has been cited by Scott McCloud in Understanding Comics as an example of early sequential-narrative art; [54] and Bryan Talbot, a British comic book artist, has called it "the first known British comic strip". [55]

It has inspired many modern political and other cartoons, including:

The tapestry has inspired modern embroideries, most notably and directly:

Other embroideries more loosely inspired by it include the Hastings Embroidery (1966), the New World Tapestry (1980–2000), the Quaker Tapestry (1981–89), the Great Tapestry of Scotland (2013), the Scottish Diaspora Tapestry (2014–15), Magna Carta (An Embroidery) (2014–15), and (in this case a true woven tapestry) the Game of Thrones Tapestry (2017).

A number of films have used sections of the tapestry in their opening credits or closing titles, including Disney's Bedknobs and Broomsticks , Anthony Mann's El Cid , Franco Zeffirelli's Hamlet , Frank Cassenti's La Chanson de Roland , Kevin Reynolds' Robin Hood: Prince of Thieves , and Richard Fleischer's The Vikings . [59]

The design and embroidery of the tapestry form one of the narrative strands of Marta Morazzoni's 1988 novella The Invention of Truth.

The tapestry is referred to in Tony Kushner's play Angels in America . The apocryphal account of Queen Matilda's creation of the tapestry is used, perhaps in order to demonstrate that Louis, one of the main characters, holds himself to mythological standards. [60]

Notes

  1. Professor Christopher Norton is emeritus professor of History of Art at the University of York in the Centre for Medieval Studies. [22]
  2. 5 January 1066.
  3. 6 January 1066.
  4. A comet was believed to be a bad omen at this time and Halley's comet would have first appeared in 1066 around 24 April, nearly four months after Harold's coronation.
  5. Possibly about Harold's victory in the Battle of Stamford Bridge, although the Tapestry does not specify this.
  6. This reflected the military reality.
  7. Clerics were not supposed to shed blood, hence Odo has no sword. Rather than just praying for the Norman knights, however, which ought to have been his role, Odo seems militarily active.
  8. See Leek, Staffordshire and Art needlework.

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The Norman conquest of England was the 11th-century invasion and occupation of England by an army of Norman, Breton, Flemish, and French soldiers led by the Duke of Normandy, later styled William the Conqueror.

Odo of Bayeux 11th-century Bishop of Bayeux and half-brother of William the Conqueror

Odo of Bayeux, Earl of Kent and Bishop of Bayeux, was the uterine half-brother of William the Conqueror, and was, for a time, second in power after the King of England.

Stigand 11th-century Archbishop of Canterbury

Stigand was an Anglo-Saxon churchman in pre-Norman Conquest England who became Archbishop of Canterbury. His birth date is unknown, but by 1020 he was serving as a royal chaplain and advisor. He was named Bishop of Elmham in 1043, and was later Bishop of Winchester and Archbishop of Canterbury. Stigand was an advisor to several members of the Anglo-Saxon and Norman English royal dynasties, serving six successive kings. Excommunicated by several popes for his pluralism in holding the two sees, or bishoprics, of Winchester and Canterbury concurrently, he was finally deposed in 1070, and his estates and personal wealth were confiscated by William the Conqueror. Stigand was imprisoned at Winchester, where he died without regaining his liberty.

William FitzOsbern, Lord of Breteuil, in Normandy, was a relative and close counsellor of William the Conqueror and one of the great magnates of early Norman England. FitzOsbern was created Earl of Wessex, a title which his son did not inherit. He was created Earl of Hereford before 22 February 1067, one of the first peerage titles in the English peerage. He is one of the very few proven companions of William the Conqueror known to have fought at the Battle of Hastings in 1066. His chief residence was Carisbrooke Castle on the Isle of Wight, one of many English castles he built.

David Bates is a historian of Britain and France during the period from the tenth to the thirteenth centuries. He has written many books and articles during his career, including Normandy before 1066 (1982), Regesta Regum Anglo-Normannorum: The Acta of William I, 1066–1087 (1998), The Normans and Empire (2013), and William the Conqueror (2016).

Thomas of Bayeux Norman Archbishop of York

Thomas of Bayeux was Archbishop of York from 1070 until 1100. He was educated at Liège and became a royal chaplain to Duke William of Normandy, who later became King William I of England. After the Norman Conquest, the king nominated Thomas to succeed Ealdred as Archbishop of York. After Thomas' election, Lanfranc, Archbishop of Canterbury, demanded an oath from Thomas to obey him and any future Archbishops of Canterbury; this was part of Lanfranc's claim that Canterbury was the primary bishopric, and its holder the head of the English Church. Thomas countered that York had never made such an oath. As a result, Lanfranc refused to consecrate him. The King eventually persuaded Thomas to submit, but Thomas and Lanfranc continued to clash over ecclesiastical issues, including the primacy of Canterbury, which dioceses belonged to the province of York, and the question of how York's obedience to Canterbury would be expressed.

Æthelric was the second to last medieval Bishop of Selsey in England before the see was moved to Chichester. Consecrated a bishop in 1058, he was deposed in 1070 for unknown reasons and then imprisoned by King William I of England. He was considered one of the best legal experts of his time, and was even brought from his prison to attend the trial on Penenden Heath where he gave testimony about English law before the Norman Conquest of England.

The Carmen de Hastingae Proelio is a 20th century name for the Carmen Widonis, the earliest history of the Norman invasion of England from September to December 1066, in Latin. It is attributed to Bishop Guy of Amiens, a noble of Ponthieu and monastically-trained bishop and administrator close to the French court, who eventually served as a chaplain for Matilda of Flanders, William the Conqueror's queen. Guy was an uncle to Count Guy of Ponthieu, who figures rather prominently in the Bayeux Tapestry as the vassal of Duke William of Normandy who captured Harold Godwinson in 1064.

Opus Anglicanum embroidered works made in Medieval England featuring silk and metal threads, often on a silk twill or velvet ground

Opus Anglicanum or English work is fine needlework of Medieval England done for ecclesiastical or secular use on clothing, hangings or other textiles, often using gold and silver threads on rich velvet or linen grounds. Such English embroidery was in great demand across Europe, particularly from the late 12th to mid-14th centuries and was a luxury product often used for diplomatic gifts.

Companions of William the Conqueror People who were with William the Conqueror at the Battle of Hastings in 1066

William the Conqueror had men of diverse standing and origins under his command at the Battle of Hastings in 1066. With these and other men he went on in the five succeeding years to conduct the Harrying of the North and complete the Norman conquest of England.

Events from the 1080s in England.

English embroidery embroidery worked in England or by English people abroad

English embroidery includes embroidery worked in England or by English people abroad from Anglo-Saxon times to the present day. The oldest surviving English embroideries include items from the early 10th century preserved in Durham Cathedral and the 11th century Bayeux Tapestry, if it was worked in England. The professional workshops of Medieval England created rich embroidery in metal thread and silk for ecclesiastical and secular uses. This style was called Opus Anglicanum or "English work", and was famous throughout Europe.

Breton–Norman War

The Breton–Norman War of 1064–66 was fought between the Duchy of Brittany and the Duchy of Normandy.

Bayeux Tapestry tituli Captions embroidered on Bayeux Tapestry

The Bayeux Tapestry tituli are captions embroidered on the Bayeux Tapestry describing scenes portrayed on the tapestry. These depict events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. The tituli are in Medieval Latin.

Elizabeth Wardle (1834–1902) was an English embroideress. In 1857 she married the silk dyer Thomas Wardle, a distant cousin. Thomas was later knighted for his services to the silk industry.

Wadard

Wadard was an 11th century Norman nobleman who is mentioned in Domesday Book, and is depicted in the Bayeux Tapestry.

References

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  60. SparkNotes Editors. "SparkNote on Angels in America". SparkNotes.com. SparkNotes LLC. Retrieved 30 October 2014. Louis's problem is exacerbated by his tendency towards abstraction and his unreasonably high standards for himself. In Scene Three, he tells Emily about La Reine Mathilde, who supposedly created the Bayeux Tapestry. Louis describes La Reine's unceasing devotion to William the Conqueror and laments his own comparative lack of devotion. But as critic Allen J. Frantzen has pointed out, this popular story about Mathilde and the tapestry is wrong—it was actually created in England decades after the conquest. Louis, then, is holding himself to a mythological standard of loyalty, and he curses himself based on a positively unreal example. This is part of a larger pattern of excessive guilt and harshness toward himself, which, paradoxically, prevents him from judging his own weaknesses accurately and trying to correct them. Because no one could possibly live up to Mathilde's example, Louis initially justifies his moral failure. Later, in Perestroika, he will arrive at a more genuine remorse and an honest understanding of what he has done.

Further reading