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Aspects of the Bayeux Tapestry (in fact an embroidered hanging) have always remained mysterious, despite much scholarly investigation, not least its design and patron. Here, in the first full-length interdisciplinary approach to the subject, the authors (an art historian and a historian) consider these and other issues. Rejecting the prevalent view that it was commissioned by Odo, the bishop of Bayeux and half-brother of William the Conqueror, or by some other comparable patron, they bring new evidence to bear on the question of its relationship to the abbey of St Augustine's, Canterbury. From the study of art-historical, archeological, literary, historical and documentary materials, they conclude that the monks of St Augustine's designed the hanging for display in their abbey church to tell their own story of how England was invaded and conquered in 1066.

Hastings, Battle of, England, 1066, in art. --- Bayeux tapestry.

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The Bayeux Tapestry (or rather, embroidery) is one of the most famous medieval artworks, which narrates in images the conquest of England by the Normans led by Duke William the Conqueror. Images taken from the embroidery are reproduced on thousands of objects evoking the Middle Ages, and at the same time the work has been the subject of hundreds of studies in many European countries, by historians, art historians and narrative scholars. In all of this, some questions and some answers are lacking, in particular with regard to the political culture expressed in the work: there is no doubt that the embroidery is a narrative of the exploits of William the Conqueror, an attempt to reconcile the English and Normans and in part an exaltation of the role of Odo, bishop of Bayeux; but it is also the expression of a series of political ideals and models of order, a reading and an evaluation of the system of contemporary power, organized around the kingdom and based on the primacy of the aristocracy and the value of personal ties. The volume aims to follow this line of research, showing how the embroidery, from many points of view (the political ceremonial, the role of the king, the aristocratic bonds of fidelity), reflects a social imaginary and a series of clearly recognizable political ideals.

Embroidery, Medieval. --- Hastings, Battle of, England, 1066, in art. --- Political culture --- History --- Bayeux tapestry.

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The Bayeux Tapestry (or rather, embroidery) is one of the most famous medieval artworks, which narrates in images the conquest of England by the Normans led by Duke William the Conqueror. Images taken from the embroidery are reproduced on thousands of objects evoking the Middle Ages, and at the same time the work has been the subject of hundreds of studies in many European countries, by historians, art historians and narrative scholars. In all of this, some questions and some answers are lacking, in particular with regard to the political culture expressed in the work: there is no doubt that the embroidery is a narrative of the exploits of William the Conqueror, an attempt to reconcile the English and Normans and in part an exaltation of the role of Odo, bishop of Bayeux; but it is also the expression of a series of political ideals and models of order, a reading and an evaluation of the system of contemporary power, organized around the kingdom and based on the primacy of the aristocracy and the value of personal ties. The volume aims to follow this line of research, showing how the embroidery, from many points of view (the political ceremonial, the role of the king, the aristocratic bonds of fidelity), reflects a social imaginary and a series of clearly recognizable political ideals.

Embroidery, Medieval. --- Hastings, Battle of, England, 1066, in art. --- Political culture --- History --- Bayeux tapestry.

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Voici neuf cents ans que la tapisserie de Bayeux, ouvrage riche en détails exquis, en réjouissante verdeur, en noble tragédie, immortalise la gloire de la conquête de l'Angleterre par les Normands en 1066. Les épisodes célèbres de la bataille de Hastings, de la mort du roi Harold et de la domination de Guillaume, duc de Normandie, sont tissés à tout jamais dans cette tapisserie - et dans l'histoire de l'Angleterre. Mais, demande l'historien Andrew Bridgeford, faut-il se fier aux apparences ? Dans cette révision, qui fera date, d'un chapitre crucial de l'histoire anglaise, il nous montre comment, au nez et à la barbe des Normands, le point de vue des vaincus anglo-saxons fut ingénieusement glissé, sous une forme codée, entre les fils de l'ouvrage. Un comte français, personnage énigmatique, se trouve au centre de ce récit passionnant, peuplé d'évêques guerriers ambitieux, de chevaliers impitoyables et de femmes puissantes, où se côtoient l'apparat, le courage et la tromperie et où rien n'est jamais aussi simple qu'on pourrait le croire de prime abord.

Symbolism in art --- Hastings, Battle of, England, 1066, in art --- Bayeux tapestry --- Great Britain

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Bayeux tapestry --- Hastings, Battle of, England, 1066, in art --- Great Britain --- History --- Historiography --- Hastings, Battle of, England, 1066, in art. --- Bayeux tapestry. --- Bayeux --- Great Britain - History - William I, 1066-1087 - Historiography