The interpretation of the purpose of the Bayeux tapestry hinges on two key scenes, Harold’s oath-taking at Bayeux and the death-bed of King Edward.
The Bayeux Tapestry is a complex visual history of the Norman Conquest of England. Its creation and the story it weaves were defined by its dichotomous authorship, its physical form as textile art and its analogous narrative imagery.
There is a large bibliography of secondary works concerning the Bayeux Tapestry, but when one reads much of the published material it is clear that a high proportion of this comment, as one would expect, copies and builds on previous authors.
One of the most intriguing of these puzzles centers upon a scene in that initial segment of the Tapestry treating with Earl Harold Godwinson’s famed and controversial visit to the court of the Norman duke
The designer of the Bayeux Tapestry also included little details that might be missed by the casual viewer. Here are ten images to take a second look at!
An entry in the Inventory of the Bayeux cathedral treasury records that in 1476 the church owned the following: Item une tente tres longue et estroicte de telle a broderie d’ymages et escripteaulx, faisans representation du Conquest d’Angleterre, laquelle est tendu environ la nefde l’église le jour et par l’octave des reliques (l). Not until the 1720 ‘s did scholars first find and appreciate the potential importance of this brief entry.
This paper will therefore investigate Odo’s role in the banquet as a way to ask larger questions about how patronage has been portrayed in the literature on the Bayeux Embroidery as a whole.
The Bayeux Tapestry was designed by Scolland, Abbot of St.Augustine’s monastery in Canterbury, according to research by Howard Clarke of University College, Dublin.
Who commissioned the tapestry? Who made it, where and when? Where was the Tapestry first displayed? Was the message of the Tapestry outright Norman propaganda or a more evenhanded attempt at Anglo-Norman reconciliation?
In her paper, Gale R. Owen-Crocker looks at how the late 11th century frieze portrays Guy, Count of Ponthieu.
A University of Manchester researcher has thrown new light on how the world famous Bayeux Tapestry was made over 900 years ago.
Joanna Laynesmith, a medieval historian from the University of Reading offers two possibilities in a new article that appears in the October issue of History Today.
When an anonymous artist designed the Bayeux Tapestry shortly after the Norman conquest of England he presented some of the action as taking place in the present time and some in the past.
Symbolism and Iconography of the Hawk in the Main Panel of the Bayeux Tapestry By Makra Péter Published Online (2001) Introduction: The main panel of the Bayeux Tapestry features a large predatory bird carried by human figures on several occasions. More precisely, this predatory bird can be found in plates , , ,  and […]
The Bayeux Tapestry: a stripped narative for their eyes and ears Brilliant, Richard Word and Image, Vol..7, (1991) Abstract The Bayeaux Tapestry, a masterpiece of medieval narrative art, tells the highly politicised story of the ascension to the English crown, held by Edward the Confessor. The historical narrative begins in 1064 while Edward was still […]
Odo of Bayeux At War: Linking The Bayeux Tapestry And “The Song Of Roland” Jameson, Carl (University of Delaware) Thesis: B.A., University of Delaware, Spring (2009) Abstract In 1066 England was conquered by Duke William of Normandy, and during the next ten years a magnificent work of art was created to glorify the conquest: the […]
The Mercian Connection, Harold Godwineson’s Ambitions, Diplomacy and Channel-crossing, 1056 -1066 VAN KEMPEN,AD F. J. (Tilburg, The Netherlands) History, Volume 94, Issue 313 (2009) Abstract It is supposed that the Vita Ædwardi contains some information about Harold’s dealings with William of Normandy in 1064. This article links these covert references with William of Poitiers’ statements […]
The Bayeux Tapestry is one of the most well known and interesting pieces of artwork from the Middle Ages. This feature offers readers information about the Bayeux Tapestry, including videos and articles
One of the mysteries of The Bayeux Tapestry is its bias: was this depiction of the events of 1066 meant to be from the point of view of the conqueror or the conquered?
There is a duality to the Bayeux Tapestry. The first half is seemingly sympathetic towards Harold Godwin (c.1022-1066), with the second part strikingly pro-Norman. There is a double narrative, one running through the frieze itself and another among the animals and creatures in the borders. We see clerics and knights, churches and palaces, with the sacred blending in with the secular.
There are a number of places in the Tapestry where the graphics of the main register are different in both subject matter and style. The men pictured at these points are workers, engaged in practical, mundane (distinctly non-heroic) tasks.
How did the Bayeux Tapestry, with its images of Normans and Englishmen, come to be so strongly equated with the legendary Vikings in the popular imagination?
The Bayeux Tapestry is thus often largely take at face value, and no serious attemtp seems to have been made to look beyond the work’s representation of the Norman point of view to the possibility that the Saxons who designed and stitched it might have employed covert devices in order to reveal occurences closer to the truth, which the Designer sought to articulare even the some of the facts were suppressed by the Norman conquerors.