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The Bayeux Tapestry, circa 1073-83
Saturday, March 17th, 2007Wool embroidery on linen in eight colours, this is not actually a tapestry – that is, a patterned woven cloth – but an example of embroidery or needlework. During festivals in Bayeux, France, its 231 feet was draped around the nave walls of the Cathedral.
Ostensibly, this work of art gradually reveals the vivid story of the events which led to the Conquest of England by William of Normandy. Full of animated movement and decorative charm, following the early Renaissance movement, its importance (other than historical) lies in the fact that it is one of the world’s first large-scale medieval pictorial works of art which depicts worldly subjects.
Moreover, a close examination of the boats, arms and armour of those depicted reveals a distinctly Norman style evident in manuscript illuminations. This tells an even deeper story – that of the Vikings and their equally pivotal influence on events that shaped the world. Indeed, William himself was a 6th generation descendant of Hrolf (known after as Rollo) and his Vikings who forcibly settled Normandy under treaty with Charles the Simple, grandson of Charles the Bald.
Edward the Confessor was the only true Englishman (Anglo-Saxon, Viking predecessors) to be involved in the conflict, which was resolved ultimately by Viking descendants. This part of the story, however, was not venerated in the crafting of the Bayeux Tapestry. Indeed, something akin to propaganda can be evidenced in the drama.
Most particularly, the legend of King Harold who was felled by an arrow through his eye is most prominent here, and indeed all who beheld it took the legend to be true; why else would it be so painstakingly embroidered into history? The answer: because it sounds a lot better than what actually happened. Archaeologists have determined that events may have played out very differently, but rather than go into that, I would prefer to highlight the acceptance of legend as fact.
William was a ruthless and cunning ruler, who single-handedly rewrote the English language (by way of imprisonment, banishment and torture of Britons) introducing French words to the vocabulary. This, I suspect, rode the coattails of his ambition – to possess not only Normandy and England, but all the land that controlled the Channel. He was creating a hegemony; Brittany was the only refuge (indeed was founded for) those Britons who could not live under his rule. The Tapestry is therefore more than just a work of art; it is an historical proclamation of William’s intent.
Considering the Battle of Hastings took place in 1066, and the Tapestry was woven merely 10-20 years after, this shows a level of meaning that runs in accord with history’s greatest Conqueror’s since the Egyptian Pharaoh Ramses II. It is more than propaganda, more than a statement of impending Empire; it is a celebration, a triumph, and a legend. It was living history to the people of the era, and those who created it obviously felt this zeal, as evidenced by the liveliness, depth and realism they’ve attempted. It remains one of the most fascinating works of art to me, being a lover of history and not art.
If you have the time, have a look.
This entry hereby entered into our archives by lansirlot at the hour of 12:44 pm on this very Saturday, March 17th, our year of 2007. Duly filed under Pith Diaries, in accordance with standard practices. Interested parties may follow responses through the RSS 2.0. You can leave a response, or trackback from your own site.
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