The first reference to the tapestry is from when it was listed in an inventory of the treasures of Bayeux Cathedral. It survived the sack of Bayeux by the Huguenots in ; and the next certain reference is from He had no idea where or what the original was, although he suggested it could have been a tapestry.
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. The tapestry was first briefly noted in English in by William Stukeley , in his Palaeographia Britannica. During the French Revolution , in , the tapestry was confiscated as public property to be used for covering military wagons. In 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.
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His drawings were subsequently engraved by James Basire jr. It required special storage in with the threatened invasion of Normandy in the Franco-Prussian War and again in — by the Ahnenerbe during the German occupation of France and the Normandy landings.
On 27 June 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. The inventory listing of 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 , although by that time the purpose was merely to air the hanging, which was otherwise stored in a chest. 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. It was because the tapestry was regarded as an antiquity rather than a work of art that in it was returned to Bayeux, wherein one commentator, A. The tapestry was becoming a tourist attraction, with Robert Southey complaining of the need to queue to see the work. In the 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. During the Second World War Heinrich Himmler coveted the work, regarding it as "important for our glorious and cultured Germanic history". 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".
It is for this reason that the tapestry is generally seen by modern scholars as an apologia for the Norman Conquest.
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The tapestry's narration seems to place stress on Harold's oath to William, although its rationale is not made clear. Contemporary scholarship has not decided the matter, although it is generally thought that Ealdred performed the coronation. 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. American historian Stephen D. White , in a study of the tapestry,  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".
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. A monastic text from Ely , the Liber Eliensis , mentions a woven narrative wall-hanging commemorating the deeds of Byrhtnoth , killed in 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. 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 , the embroidery artist Jan Messent completed a reconstruction showing William accepting the surrender of English nobles at Berkhamsted Beorcham , Hertfordshire, and his coronation. 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 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.
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- Bayeux Tapestry - Wikipedia.
It has been cited by Scott McCloud in Understanding Comics as an example of early sequential-narrative art ;  and Bryan Talbot , a British comic book artist, has called it "the first known British comic strip ". It has inspired many modern political and other cartoons , including:. The design and embroidery of the tapestry form one of the narrative strands of Marta Morazzoni 's 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. From Wikipedia, the free encyclopedia.
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Main article: Bayeux Tapestry tituli. Rather than just praying for the Norman knights, however, which ought to have been his role, Odo seems militarily active. La tapisserie de Bayeux. La Pierre-qui-Vire: Zodiaque. A Companion to Medieval England. Stroud, UK: Tempus. The Times. Retrieved 19 January A comprehensive survey London: Phaidon, revised Word document.
Published 9 May Medieval Clothing and Textiles. Anglo-Norman Studies. Retrieved 30 October Anglo-Saxon Art, a New Perspective. Manchester: Manchester UP. Oxford University Press. Retrieved 4 August Florent of Saumur. The Bayeux Tapestry. The Life Story of a Masterpiece. Chatto and Windus. Boydell Press. In Frank Stenton ed. Phaedon Press. Woodbridge, UK: Boydell and Brewer. The House of Godwine: the history of a dynasty. London: Hambledon and London.
Oxford Dictionary of National Biography. Orderic Vitalis Historia Ecclesiastica , c. The Weekly Standard. In Stenton, Frank ed. The Bayeux Tapestry 2nd ed. Phaidon Press. Archived from the original on 19 July Retrieved 17 August Retrieved 30 April Kristeligt Dagblad. Retrieved 5 June Archived from the original on 16 February Retrieved 7 February Mail Online. Retrieved 11 June Retrieved 6 February Berkhamsted Local History Society.
Retrieved 9 February Castle Panels. Berkhamsted Castle. Archived from the original PDF on 8 July Archived from the original on 19 February Retrieved 11 February Bayeux Tapestry Embroiderers' Story. BBC News. Understanding Comics pp. Ye Berlyn Tapestrie. Weekly Horoscopes with Michele Knight. This video will cover the Eclipse cycle of July and how crucial this turning point is for your true authentic emotional self.
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