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Source: Wikiwand: Bayeux Tapestry

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Type	Valeur
Titre	Wikiwand: Bayeux Tapestry

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GUILLAUME Duke Of Normandy de Normandie RO01 HP02

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The Bayeux Tapestry (UK: /baɪˈjɜː, beɪ-/, US: /ˈbeɪjuː, ˈbaɪ-/; French: "Tapisserie de Bayeux" [tapisʁi də bajø] or "La telle du conquest"; Latin: "Tapete Baiocense") is an embroidered cloth nearly 70 meters (230 ft) long and 50 centimeters (20 in) tall that 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 fewyears 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. 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." 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 (49.2744°N 0.7003°W). The designs on the Bayeux Tapestry are embroidered rather than in a tapestry weave, so that it does not meet narrower definitions of a tapestry. 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 meters (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 The earliest known written reference to the tapestry is a 1476 inventory of Bayeux Cathedral, 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 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. 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 thescriptorium 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. The actual physical work of stitching was most likely undertaken by femaleneedleworkers. 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. 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. Wolfgang Grape has challenged the consensus that the embroidery is Anglo-Saxon, distinguishing between Anglo-Saxon and other Northern European techniques; Medieval material authority Elizabeth Coatsworth 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." 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. Andrew Bridgeford has suggested that the tapestry was actually of English design and encoded with secret messages meant to undermine Norman rule. Construction, design and technique 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 in tapestry weave; it is technically an embroidery, although it meets the traditional broader definition of "tapestry" as: "A textile fabric decorated with designs of ornament or pictorial subjects, painted, embroidered, or woven in colours, used for wall hangings, curtains, covers for seats, ..." The Bayeux tapestry is embroidered in crewel (wool yarn) on a tabby-woven linen ground 68.38 meters long and 0.5 meters 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. Nine linen panels, between fourteen and three meters in length, were sewn together after each was embroidered and the joins were disguised with subsequent embroidery. 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. The design involved a broad central zone with narrow decorative borders top and bottom. 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. Later generations have patched the hanging in numerous places and some of the embroidery (especially in the finalscene) has been reworked. The tapestry may well have maintained much of its original appearance—it now compares closely with a careful drawing made in 1730. 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. Musset speculates the hanging was originally about 1.5 meters longer. 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. The stylized tree is quiteunlike any other tree in the tapestry. The start of the tapestry also has been restored but to a much lesser extent. Norton has reviewed the various measurements of the length of the tapestry itself and of its nine individual linen panels. He also has 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 toappeal 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. The main yarn colors 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. Laid yarns are couched in place with yarn of the same or contrasting color. 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 stylized 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. 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. A harrow, a newly invented implement, is depicted (scene 10) and this is th...

The Bayeux Tapestry (UK: /baɪˈjɜː, beɪ-/, US: /ˈbeɪjuː, ˈbaɪ-/; French: "Tapisserie de Bayeux" [tapisʁi də bajø] or "La telle du conquest"; Latin: "Tapete Baiocense") is an embroidered cloth nearly 70 meters (230 ft) long and 50 centimeters (20 in) tall that 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 fewyears 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.

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."

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 (49.2744°N 0.7003°W).

The designs on the Bayeux Tapestry are embroidered rather than in a tapestry weave, so that it does not meet narrower definitions of a tapestry. 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 meters (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
The earliest known written reference to the tapestry is a 1476 inventory of Bayeux Cathedral, 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 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. 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 thescriptorium 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. The actual physical work of stitching was most likely undertaken by femaleneedleworkers. 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.

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. Wolfgang Grape has challenged the consensus that the embroidery is Anglo-Saxon, distinguishing between Anglo-Saxon and other Northern European techniques; Medieval material authority Elizabeth Coatsworth 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." 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. Andrew Bridgeford has suggested that the tapestry was actually of English design and encoded with secret messages meant to undermine Norman rule.

Construction, design and technique
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 in tapestry weave; it is technically an embroidery, although it meets the traditional broader definition of "tapestry" as: "A textile fabric decorated with designs of ornament or pictorial subjects, painted, embroidered, or woven in colours, used for wall hangings, curtains, covers for seats, ..."

The Bayeux tapestry is embroidered in crewel (wool yarn) on a tabby-woven linen ground 68.38 meters long and 0.5 meters 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. Nine linen panels, between fourteen and three meters in length, were sewn together after each was embroidered and the joins were disguised with subsequent embroidery. 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. The design involved a broad central zone with narrow decorative borders top and bottom. 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. Later generations have patched the hanging in numerous places and some of the embroidery (especially in the finalscene) has been reworked. The tapestry may well have maintained much of its original appearance—it now compares closely with a careful drawing made in 1730.

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. Musset speculates the hanging was originally about 1.5 meters longer. 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. The stylized tree is quiteunlike any other tree in the tapestry. The start of the tapestry also has been restored but to a much lesser extent.

Norton has reviewed the various measurements of the length of the tapestry itself and of its nine individual linen panels. He also has 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 toappeal 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.

The main yarn colors 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. Laid yarns are couched in place with yarn of the same or contrasting color.

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 stylized 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.

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. A harrow, a newly invented implement, is depicted (scene 10) and this is th...