The Bayeux Tapestry
The Bayeux Tapestry
A Critically Annotated Bibliography
John F. Szabo and Nicholas E. Kuefler
ROWMAN & LITTLEFIELD
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Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler
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Szabo, John F., 1968–
The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler.
pages cm
Includes bibliographical references and index.
ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain
History–William I, 1066–1087–Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II.
Title.
Z7914.T3S93 2015
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To
George and Jean Szabo
and
Donald and Nancy Kuefler
Contents
Contents
Introduction
The Bibliography
Appendix A
Appendix B
About the Authors
Introduction
Commanding its own museum and over 200 years of examination, observation, and scholarship, th
monumental embroidery, known popularly as the Bayeux Tapestry and documenting William th
Conqueror’s invasion of England in October 1066, is perhaps the most important surviving artifact o
the Middle Ages. This magnificent textile, both celebrated and panned, is both enigmatic artwork an
confounding historical record. The Tapestry has been called one of the earliest cartoons as well as fil
on cloth. Both Napoleon and Hitler were intensely interested in the work for both its instruction
value in displaying the last successful invasion of England and as a propaganda piece.
Notably, the Bayeux Tapestry has produced some of the most compelling questions of the medieva
period: Who commissioned it and for what purpose? What was the intended venue for its display
Who was the designer and who executed the enormous task of its manufacture? How does it infor
our understanding of eleventh-century life? And who was the mysterious lfgyva, depicted in the
Tapestry’s main register?
Much of the scholarship on the Bayeux Tapestry rests in attempts to answer those questions. Th
book is an effort to not only capture and describe that scholarship but also to reflect the popularity o
the Tapestry in literature covering a surprisingly broad array of subjects. We hope the inclusion of thi
material will assist future scholars who may study references to the work in contemporary non-fictio
and popular works as well as use of the Bayeux Tapestry as a primary and secondary source in th
classroom.
The monographs, articles, and other works cited in this bibliography reflect dozens of research area
Major themes are: the Tapestry as a source of information for eleventh-century material culture, i
role in telling the story of the Battle of Hastings and events leading up to the invasion, patronage o
the Tapestry, biographical detail on known historical figures in the Tapestry, arms and armo
medieval warfare strategy and techniques, opus anglicanum (the Anglo-Saxon needlework tradition
preservation and display of the artifact, the Tapestry’s place in medieval art, the embroidery’
depiction of medieval and Romanesque architecture, and the life of the Bayeux Tapestry itself.
Other important areas of publication include shipbuilding and naval architecture, medieval costum
obscenity and lewdness in the embroidery’s images, the dawn of heraldry, the appearance of Halley’
Comet in 1066 and its depiction on the textile, and replicas and works inspired by the Tapestr
Regarding the latter, this book should serve as a thorough resource for writings on the Overlor
Embroidery, the Leek Embroidery by Elizabeth Wardle, the Keiskamma Tapestry and Altarpiece, an
the painted replica of the Bayeux Tapestry by Margaret ReVille at the University of West Georgia
Themes surrounding audience engagement with the Bayeux Tapestry, in both modern and medieva
times, are also frequently addressed in the literature.
It is imperative to acknowledge previous efforts at gathering this body of work in a sing
bibliography. Most notably, Shirley Ann Brown compiled the frequently referenced The Bayeu
Tapestry: History and Bibliography (1988) in which she cited 523 works and annotated 465. Sh
provided a 115-citation update in The Bayeux Tapestry: Embroidering the Facts of History (2004
titled “Bibliography of Bayeux Tapestry Studies: 1985-1999” and provided commentary on th
scholarship in a chapter in the same book titled “The Bayeux Tapestry: A Critical Analysis o
Publications, 1988-1999.”
I n The Bayeux Tapestry: New Interpretations (2004), Dan Terkla offered a 34-page bibliograph
titled “The Bayeux Tapestry: A Selective Bibliography.” Richard Wissolik made notable contribution
with his The Bayeux Tapestry: A Critical, Annotated Bibliography with Cross-References an
Summary Outlines of Scholarship, 1729–1990 and his 1995 update. The bibliographies included wi
major works on the Bayeux Tapestry have also contributed to the compilation of this work, includin
the most recently published bibliography on Tapestry studies in The Bayeux Tapestry: Ne
Approaches, Proceedings of a Conference at the British Museum (2011), edited by Michael J. Lewi
Gale R. Owen-Crocker, and Dan Terkla. This 14-page listing of titles is a valuable and appreciate
addition to the literature. Though limited to certain aspects of the embroidery, Carole Cable’s 198
publication, The Bayeux Tapestry: A Bibliography of Books and Articles about Its Architectura
Aesthetic, and Cultural Aspects, included titles not typically found in other bibliographies.
In compiling this work, books and other materials have been borrowed from numerous librarie
directly and through invaluable interlibrary loan services. We would like to extend specia
appreciation to Emory University Libraries, Georgia State University Libraries, Atlanta-Fulton Publ
Library System, Los Angeles Public Library, and Bibliothèque Municipale de Bayeux. Th
determination of which titles to annotate was based on availability and relevance of the work
current and future Tapestry scholarship.
The literature of the Bayeux Tapestry, as with other areas of research, builds upon the diligent wor
of others. We hope this gathering of Tapestry scholarship and references will assist others in the
quest for answers to the fascinating questions posed by such an enigmatic textile.
The Bibliography
1. 10,000 Years of Art. London: Phaidon Press, 2009.
Notes: Abridged and revised paperback. First published as 30,000 Years of Art in 2007.
This compact survey of art history is arranged chronologically and includes the Bayeux Tapestr
dated c.1075. Beneath a color image of a dining scene from the Tapestry, a brief narrative provide
basic information about the embroidery including opus Anglicanum, Bishop Odo’s patronag
scholarship on where it was made noting both Kent and Normandy, and its intended setting. The tex
which dates the work as c.1066–1082, also briefly mentions the men and women artisans employed
embroidery workshops and that they were Anglo-Saxon, Norman, and Breton.
2. “1066 and (Nearly) All That English Romanesque at the Hayward.” Burlington Magazine 12
no. 973 (1984): 195.
This editorial, beginning with a quote from Sir Nikolaus Pevsner that suggests no other Europea
nation has “so abject an inferiority complex about its own aesthetic capabilities as England
comments on an exhibition of English Romanesque art and makes note of an issue with the title.
reads, “The commercial advisors were understandably nervous about how to present such a show. Th
title ‘English Romanesque art’ is clearly unlikely to fire the public imagination, and the numera
1066 will certainly do much for attendance figures. Yet it seems irresponsible to focus on Hastings i
an exhibition which ranges from the Hebrides to the Empire but does not include the Bayeux tapestr
to conjure the Normans, when the evidence suggests that artistically it might make more sense to ta
of a Mosan conquest; or to stress the disjunction of one battle, while it is clear from current researc
that the continuities of cross-Channel contact both before and after 1066 were of far great
importance.”
3. “Acquisitions of the Art Museum 1976.” Record of the Art Museum, Princeton University 3
no. 1 (1977): 28–40.
Included within several pages of listings representing acquisitions of paintings, sculpture, an
drawings is an entry under “Miscellaneous” reading “Textile, copy of a section of the Bayeux tapestr
French, ca. 1920. Gift of Helen Woodruff (76–12).”
4. “Armchair Tour Series to Visit English Cathedrals.” Los Angeles Times (1979): CS3.
Notes: This short article announces a lecture series at the Los Angeles County Museum of Art in th
Leo S. Bing Theater. The first lecture in the series is “The Norman Conquest: Bayeux Tapestry
Canterbury and Westminster Cathedrals.” Each lecture in the series is “illustrated with color slide
from a collection given to the museum by former Hollywood film director William Keighley” an
commentary for the series is given by Ori Z. Soltes of Princeton University.
5.
“The
Bayeux
Tapestry.”
Web
page,
Available
a
http://www.unesco.org/new/en/communication-and-information/flagship-projectactivities/memory-of-the-world/register/full-list-of-registered-heritage/registered-heritage-page
1/bayeux-tapestry/.
In 2007, the Bayeux Tapestry was named a “Memory of the World” by the United Nation
Educational, Scientific and Cultural Organization (UNESCO) and this website provides informatio
about the Tapestry’s selection, including several hard-to-find photographs of the Tapestry behin
glass in its current installation allowing site visitors to see the installation’s display case, lighting, an
the Tapestry displayed around its horseshoe curve.
6.
“The
Bayeux
Tapestry.”
Web
page,
Available
a
http://rubens.anu.edu.au/htdocs/bytype/textiles/bayeux/.
This site, at the Australian National University, offers no text about the Bayeux Tapestry, howeve
viewers can choose from dozens of thumbnail images of Charles Stothard’s drawings of the Tapestr
to see them up-close.
7. The Bayeux Tapestry. Bayeux, France: Ville de Bayeux, 2008.
Notes: Complete reproduction 1:7. Title on spine: La Tapisserie de Bayeux.
This publication consists of a continuous fold-out reproduction of the Bayeux Tapestry printed by th
City of Bayeux. The first page offers a brief introduction noting the “manufacture of this work was,
all probability, entrusted to an Anglo-Saxon workshop supervised by Odon de Conteville, Bishop o
Bayeux.” Title and text are provided in French, English, German, and Dutch.
8. “The Bayeux Tapestry Museum.” Web page, Available at http://www.tapestry-bayeux.com/.
The official English language website of the Bayeux Tapestry Museum provides information abou
the museum’s location, hours, and special programs and exhibits. Several pages provide bas
information on the Tapestry’s patronage, manufacture, history, and preservation. Notable is the pag
detailing information about the places depicted in the Tapestry.
9. “The Bayeux Tapestry of Bowling? Strike!” The Independent on Sunday (London, England
(2011).
This article reports on an exhibit by Cory Arcangel, a 32-year-old media artist from Brooklyn, N
who has installed 14 bowling games in the gallery at Barbican’s Curve. Arcangel has enlarged th
video games to “something like five metres by five” and has projected them “side-by-side in
seamless chronological line.” The writer suggests that the installation is “a highly focused snapshot o
a cultural quarter of a century.” The article calls the piece “the Bayeux Tapestry of bowling.”
10. “The Bayeux Tapestry Victors’ Tale.” The Economist 332 (1994): 81.
11. “Britain’s Bayeux Tapestry.” The Lancet (1998).
A short sidebar article highlights the full-size replica of the Bayeux Tapestry at the Museum o
Reading. It offers a brief history of Elizabeth and Thomas Wardle’s visit to Bayeux and th
subsequent work of the Leek Embroidery Society in creating the replica. The provenance of the wor
is given with mentions of its touring days, the Small Town Hall (now called Victoria Hall), the A
Gallery, and the Museum of Reading. The Museum’s 1993 expansion allowed the replica to b
permanently displayed. A scene from the replica is included.
12. “Campaign to Bring the Bayeux Tapestry Back to Britain.” The Telegraph (2008).
Notes: The article’s subtitle is “A campaign has been launched to bring the Bayeux Tapestry, one o
the world’s great works of art, back to Britain for the first time in centuries, and put it on display i
Canterbury Cathedral.”
In advance of the summer 2008 conference on the Bayeux Tapestry at the British Museum, th
article discusses the idea of temporarily bringing the Tapestry to Britain for exhibition in the cathedr
at Canterbury. Calling the embroidery the “most famous cartoon strip of history” and suggesting th
United Kingdom should take advantage of French President Nicolas Sarkozy’s friendship, the artic
includes commentary from Michael Lewis, deputy director of the British Museum’s Department o
Portable Antiquities and Treasure, and George Beech, a Tapestry scholar and Professor Emeritus o
history at Western Michigan University, who both support such an exhibition of the original work
Lewis is quoted as saying, “I think it would be lovely to see it in this country. If the tapestry wa
returned, it would be possible to display it among with the works that it was influenced by that wou
be a fabulous exhibition to have the tapestry displayed with the primary sources as far as we ca
ascertain them.” Beech muses on the challenges of such a move and the possible battle with the tow
of Bayeux. Shirley Ann Brown, professor of art history at York University in Toronto, disagrees wit
the idea and is concerned about damage to the embroidery. The article points out that there have bee
two previous requests from England to the French government for a loan of the work, once for th
Coronation of Queen Elizabeth II in 1953 and the other in 1966 for the 900–year anniversary of th
Battle of Hastings; both were denied. Sylvette Lemagnen, curator of the Bayeux Tapestry, is quoted i
the article as saying the decision belongs to the French state and its Ministry of Culture, not the Tow
of Bayeux, “It is exhibited in Bayeux but it does not belong to Bayeux town.” Includes an image o
three children viewing a replica of the Tapestry, though the caption suggests it is the original work i
Bayeux; it appears to be the display of Elizabeth Wardle’s work at the Museum of Reading.
13. “Classics of Science: Halley’s Comet.” The Science News-Letter 15, no. 422 (1929): 295–96.
14.
“The
Complete
Bayeux
Tapestry.”
Web
page,
Available
a
http://www.precinemahistory.net/bayeux.htm.
This website shows the entire Bayeux Tapestry in one continuous left-to-right scrollable page. Th
height of the image is not large enough for a study of details.
15. “The Conquest of a Sampler.” The Academy 55 (1898): 468–69.
Notes: A review of Frank Rede Fowke’s The Bayeux Tapestry, a History and Description.
16. Cook’s Tourist’s Handbook for Normandy and Brittany, With Maps, Plans, and Illustrations
London: Thomas Cook & Son, Ludgate Circus, 1906.
This once-popular tourist guide series encourages visitors not to miss the Bayeux Tapestry in th
public library at No. 37, Place St. Sauveur: “As a record of historical events deeply interesting
every Englishman, it merits attention, while at the same time it is a curious specimen of early Frenc
art.” It also informs visitors that the Tapestry is 18 inches wide (we know it is indeed 20 inches) an
that it was crafted by Queen Matilda and her court ladies. Also noted is Napoleon’s interest in th
Tapestry. Included in this guide are brief remarks interpreting the 60 “tableaux” of the Tapestry
including: “Harold driven by a storm upon the territory of Count Guy of Ponthieu,” “Harold presente
to the beautiful Elgiva [sic], daughter of William the Conqueror, his promised wife,” and “Wise me
of the period foretell misfortunes to Harold by consulting the stars.” We also learn that one can bu
photographs and photo-etchings at Rue St. Martin in Bayeux.
17. “Correspondence.” The Art Amateur 3, no. 4 (1880): 88.
Here, the editor responds to two questions from “Acus” of Orange, NJ. The first is a general inquir
about Miss Linwood, the famous crewel painter, and the second is about the length of the Bayeu
Tapestry. The editor responds that the Tapestry is “according to the best authority we have at hand . .
about twenty inches wide and about 75 yards in length, being shaped like an enormous ribbon.”
18. “Designer of the Bayeux Tapestry Identified.” (2013).
Howard B. Clarke, professor emeritus at University College, Dublin, identifies the designer of th
Bayeux Tapestry as Scolland, abbot of Mont St. Michel at the time of the Battle of Hastings. H
asserts that the Tapestry’s mysterious image of a man sitting on a chair pointing at Mont St. Michel
Abbott Scolland himself. The article lists the pieces of evidence which Clark believes link the abbot
the Tapestry. Embedded in the article is an eight-minute video of an interview with Clark in which h
expounds his points.
19. Emakimono: Tout Un Art a La Tapisserie De Bayeux Jusqu’au . 30 Decembre 2011. Renne
France: Editions Ouest France, 2011.
Notes: “Offert par votre journal.”
This eight-page full color newspaper-style promotional and information piece provides articles an
images relating to the Emakimono exhibit at the Centre Guillaume le Conquérant where the Bayeu
Tapestry resides. Emakimono are long horizontal Japanese narrative picture scrolls dating from th
eleventh through sixteenth centuries.
20. “Expert on Bayeux Tapestry to Present at University of Louisiana at Monroe February 8.
U.S. Federal News Service (2007).
Notes: A news release issued by the University of Louisiana at Monroe.
This news release announces Martin Foys’ lecture at the University of Louisiana at Monroe title
“You Can’t Keep a Good King Down: The Death and Resurrection of Harold Godwinson, the La
Anglo-Saxon King.” The lecture was held on Thursday, February 8, 2007. At the time, Foys was a
assistant professor of English at Hood College in Frederick, Maryland. The release, providin
information on the Tapestry, notes that the Tapestry “is not meant to hang from a wall, but rather t
box the walls around the observer, so that whenever a person enters the room with the tapestry, the
see stories on every side, told in every direction: up, down, diagonal, across, and backwards.” Claud
Grinnell, an assistant professor of English at the university, is quoted in the release, which als
mentions Foys’ recent work digitizing the Tapestry for the compact disc publication.
21. Exploring the Middle Ages. Tarrytown, NY: Marshall Cavendish Reference, 2006.
Notes: Volume 2, Bayeux Tapestry—Childbirth and Midwifery.
This volume from a set of encyclopedias for young readers ages 12 and older can also be a
enjoyable and informative reference for adults who want a quick overview of a topic. The two-pag
entry on the Bayeux Tapestry discusses the making of the Tapestry, its possible use as Norma
propaganda, its value as a historical record on daily life and culture in the Middle Ages, a brief run
down of the Tapestry’s history since its creation, and a sidebar of Tapestry statistics. Includes tw
photographs from the Tapestry and an index.
22. “France’s Bayeux Tapestry ‘Made in Britain.’” Birmingham Post (England) (2008).
This brief article highlights a statement made by BBC History Magazine editor Dave Musgrov
regarding the general consensus among historians today that the Bayeux Tapestry was likely made i
Canterbury. The signs in the Latin script that point to it being written by someone of Anglo-Saxo
background is also mentioned as is the similarity in imagery with illuminated manuscripts known
have been in the Canterbury library at the time. The piece concludes with a quote from Musgrov
“And wouldn’t it be amazing to have it shown in England where there is a very good chance it wa
made and wouldn’t that inspire people to get involved in medieval history? The crowds would com
flocking.”
23. “General Meeting of the Archaeological Institute of America, December 27–29, 1922.
American Journal of Archaeology 27, no. 1 (1923): 57–71.
Notes: Published by the Archaeological Institute of America.
This is a summary of the Institute’s 24th general meeting held at Yale University, December 27–29
1922 in conjunction with the American Philological Association, the American Historical Association
and the Society of Biblical Literature and Exegesis. In the second reading of papers at 2 p.m. o
December 28, information is provided on Roger Sherman Loomis’ presentation on the Bayeu
Tapestry. It suggests that the three latest books on the Bayeux Tapestry are “burlesques o
archaeological research.” Pointing out that “learned journals and standard works of reference conta
serious errors regarding the date and provenance of the embroidery,” Loomis noted that the work wa
carried out by Anglo-Saxons and was likely completed within 10 years of the Norman Conquest. In h
presentation, the summary notes, Loomis discussed the high value that Normans placed on Anglo
Saxon needlework. The summary goes on to say that “Only an Anglo-Saxon could have used th
peculiar word forms in the inscriptions of the Bayeux embroidery. As for the date, both th
resemblance of the costume to that shown in a manuscript completed before 1072, and the fall o
Bishop Odo, the hero of the embroidery, a few years later, point to the years immediately followin
the victory at Hastings.”
24. “A Group of Historians Has Been Refused Permission to Exhume a Body From a Tomb in th
Holy Trinity Church in Bosham, West Sussex, Believed to Be the Final Resting Place of Harol
II.” History Today (2004).
This short blurb announces a decision to deny a request to exhume the remains that were thought
be Harold’s. It explains that the team of historians “wanted to compare DNA from the headles
legless body in the coffin with that taken from descendants of the last Anglo-Saxon king.” The autho
continues, writing that the “discovery of the tomb in 1954 sparked fresh debate over Harold’s buri
site previously thought to be Waltham Abbey in Essex with historians claiming that the Bayeu
Tapestry suggested Harold was laid to rest Bosham, where he is thought to have worshipped in h
early years.”
25. Grove Encyclopedia of Decorative Arts.
26. “Hawks and Hawking.” The Illustrated Magazine of Art 2, no. 11 (1853): 302–3.
In a discussion of hawking before and after the Conquest, the author writes: “Edward the Confessor
fondness for hawking seems to have been excessive, for in the words of an old manuscript, ‘Every da
after the divine service he took to this beloved sport;’ while the cause of Harold’s unfortunate voyag
to Normandy is by some writers attributed to the straying of a favourite falcon, which he was anxiou
to recover. In the Bayeux tapestry . . . he is represented as embarking with a bird on his hand and a do
under his arm; and in an old picture representing the marriage of Henry VI, a nobleman is represente
much in the same manner.”
27. “Hospital to Display Tapestry.” Evening Gazette (Middlesborough, England) (2003).
This is a short piece reporting on the display of a “reconstruction of the last missing eight feet of th
world-famous Bayeux tapestry” at the James Cook University Hospital in Middleborough. Claimin
that the end panels of the Bayeux Tapestry were “torn off . . . at some point during its 900-yea
history,” the article notes that the reconstructed tapestry was purchased by the Healing Arts Projec
from the Royal Armouries in Leeds. The Healing Arts Project aims “to promote health and healin
with the arts and the environment.” The article concludes by referencing the unveiling of anoth
reconstruction of the Tapestry at Hambleton Forum in Northallerton earlier in 2003.
28. “I Sew Want to Show Our Ancestry.” The Saturday Star (South Africa) (2009).
Calling the Bayeux Tapestry “587cm of evocative worsted,” the writer humorously documents h
trip to Bayeux with his family to find one of his ancestors in the Tapestry. His narrative details his tri
through the Bayeux Tapestry Museum as he muses whether various figures in the embroidery migh
bear a resemblance to him. He references the Aesopian fables, “Pahedrian stuff,” the decorativ
borders, its first display in the nave of the Bayeux Cathedral, and force-de-frappe or armored mounte
knights. Finally, he seems to spot a relative: “My wife saw him first. Depicted in the needlewor
tableau, seated seventh from the front in one of the ships and watching a man put up a sail, was m
twin. Corpulent, balding and sporting a nutcracker chin and a slobbish mien, quite clearly we share
the same gene pool. That we were related was confirmed when the same tubby appeared in a lat
scene, serving a feast.”
29. “An Idea Born in the Bayeux: Women Weave History of Newfoundland’s French Shore.” Th
Beaver: Exploring Canada’s History (2009).
This article tells the story of Newfoundlander Joan Simmonds who developed a plan to create
tapestry depicting the history of the province’s French Shore. The inspiration came from French-bor
artist Jean Claude Roy and his wife Christina Roy. The project entails Jean Claude Roy providin
drawings on paper of historical events. The drawings are then photographed, projected onto stretche
linen, and then traced in pencil. The needlework is done by six women. The articles notes that th
material in the tapestry is “Jacobean linen from Scotland.” The yarn is Appleton crewel. Planne
scenes included animal life, early aboriginal culture, arrival of the Vikings, and the coming of Basqu
fishermen in the early 1500s. At the time of the article, the women expected it to be completed b
2010 and intend to display the work at the French Shore Interpretation Centre in Conche. A tour acros
Canada and perhaps Europe is also desired. Simmonds traveled to Bayeux in 2005 to see the Tapestr
and commented, “Are we crazy to think we could do anything of that magnitude?”
30. Illustrated Guide to the Facsimile of the Bayeux Tapestry, Belonging to the Reading Museum
and Art Gallery. Reading, U.K.: Reading Museum and Art Gallery, 1953.
Notes: “New edition, 1953.” Printed by Parnells the Printers Ltd., Reading. Cover title: The Bayeu
Tapestry.
This 20-page booklet is principally devoted to telling the story depicted in both the Bayeux Tapestr
and the facsimile on display at the Reading Museum and Art Gallery. However, there is brief narrativ
on both works. The first, titled “Some Notes on the Original Bayeux Tapestry,” reviews the basics o
the work: its home, at the time, of the Old Archbishop’s Palace at Bayeux, the patronage of Bisho
Odo, its attribution to Queen Matilda and the ladies of her court, and its construction. It notes th
quantities of 1512 various objects: 623 people, 202 horses and mules, 55 dogs, 505 other animals, 3
buildings, 41 ships and boats, and 49 trees. The Latin inscriptions are also mentioned. Describing th
original work, the booklet’s author writes, “The drawing is somewhat crude, and perspective, light an
shade are almost disregarded. Nevertheless, the composition is bold and striking, and the origin
preparation must have been a costly and very laborious enterprise.” An additional note reads “Man
drawings and photographs of the Tapestry are on exhibition both in England and abroad, but th
FACSIMILE in the Reading Art Gallery is thought to be the only one in the world, worked wit
worsteds.” The one-page narrative on the facsimile notes that it “was made by hand from tracings o
water-colour drawings of the original Tapestry, by kind permission of the Victoria and Alber
Museum authorities.” It continues, remarking on the women who created the work, “Thirty-five ladie
(including five members of the Wardle family) mostly from Leek in Staffordshire, commenced an
completed this needlework task in 1885–6. The worsteds were accurately and specially dyed for th
purpose by Thomas Wardle, F.C.S., F.G.S.” It also notes that the names of the workers ar
embroidered on the facsimile and are also included at the end of the booklet. In this list, only their la
names with titles (Miss or Mrs) are offered. The last names are: Allen, Bate, Bentley, Bishop, Clowe
Challinor, Cartwright, Eaton, Frost, Gwynne, Gillett, Gater, Garside, Haynes, Iliffe, Lowe, Lunn
Lavington, MacKenzie, Parker, Pearson, Pattison, Ritchie, Smith, Turnock, Worthington, Watson, an
Wardle. As noted earlier, there were five Wardles who worked on the facsimile as well as two Smiths
and two Watsons. The author goes on to mention the purchase of the facsimile by the former mayor o
Reading in 1895 and his presentation of the work to the Borough of Reading. The occasional loans o
the work to galleries in Britain, the Channel Islands, and South Africa are also noted. This narrativ
also includes a list of “books and guides to the Bayeux Tapestry” that includes Rev. John Collingwoo
Bruce, Frank Rede Fowke, Elizabeth Wardle, Hilaire Belloc, and Eric Maclagan. The section end
with an explanatory note: “The figures in this little guide are from line drawings and are not strict
accurate in small details.” Interestingly, Elizabeth Wardle, a.k.a. Mrs. Thomas Wardle, is hardl
mentioned in the entire booklet despite her major role in the facsimile’s creation. The bookl
includes information about the Museum as well as nine drawings, one of which is on the cover.
31. “In Praise of the Needle.” Bradley, His Book 2, no. 3 (1897): 86–89.
In a discussion of the opus Anglicanum stitch, which the author indicates has “occasione
considerable controversy in this disputatious world,” the Bayeux Tapestry is mentioned for i
inclusion of the chain stitch and the long stitch. Here, the Tapestry is also described as “no
remarkable for craft.”
3 2 . The Keiskamma Altarpiece: Embroidery, Beadwork, Wirework, Photographs, Wood, Hope
Chicago: St. James Cathedral, 2008.
This 12-page color brochure was created for an exhibition of the Keiskamma Altarpiece at the S
James Cathedral in Chicago from March 27 through May 11, 2008. The brochure tells the story of th
Keiskamma Art Project and the inspiration for the Altarpiece as well as detailed descriptions of th
panels divided by each layer: Crucifixion, Resurrection and Reality. This work, which include
embroidery, is related to the Keiskamma Tapestry, a monumental work inspired by the Bayeu
Tapestry. Includes a detailed exhibit calendar, information about presentations and book discussion
and details about contributing to the work of the Keiskamma Trust and the St. James Cathedral. Th
exhibit was funded in part by a grant from the H. Earl Hoover Foundation.
33. “Looking for Secrets in the Bayeux Tapestry.” London Times (1966): 14.
34. “The Mystery of Ælfgyva (Mmm . . . Tapestry Marginalia).” Got Medieval: A[n Intermittent
Updated] Tonic for the Slipshod Use of Medieval European History in the Media and Pop Cultur
(2008).
Notes: Blog post.
35. “Notes.” Bulletin of the Art Institute of Chicago 14, no. 1 (1920): 10–13.
In the brief section on lectures, a February 3 presentation by Dr. Ian C. Hannah is mentioned. Hanna
was a professor of history at Oberlin College and author of several books on art and history. The tex
indicates his presentation is on the Bayeux Tapestry and that he has conducted research in Iris
medieval architecture.
36. “Notes Sur L’État De Conservation De La Tapisserie De Bayeux.” Comptes-Rendus De
Séances De L’Académie Des Inscriptions Et Belles-Lettres 32 (1894): 338, 349.
Notes: Fourth series.
37. “Off the Wall.” In Britain 5, no. 12 (1995): 8.
38. “Old English Embroidery. The Bayeux Tapestry.” The Decorator and Furnisher 20, no.
(1892): 99–100.
This short but spirited article informs readers why the Bayeux Tapestry is so “interesting.” “Quee
Matilda, shut up in her lofty tower, beguiling the weary hours . . . [depicts] with her active needle” th
story of her husband’s conquest of England. Some writers, notes the author, assert that Empres
Matilda, daughter of Henry I created the Tapestry, but the author gives evidence in favor of the Quee
and that there is “no reason to doubt that it was worked by Queen Matilda and her maidens . .
Readers are then given a description of the Tapestry, its [incorrect] length of 226 feet, its crude an
curious representations, multi-colored horses, and the bold use of threads which show “great truth an
force of expression.” The author points out that a frieze of the Tapestry may be viewed at the Sout
Kensington Museum, but to see the original, one must go to the cathedral at Bayeux, where it
“rolled out by a process like drawing up a bucket from a well.” Three other known eleventh-centur
English embroideresses are listed by name. Commentary is made on Anglo-Norman ladies’ costum
and body alterations, such as dyeing their hair yellow and “fasting and bleeding themselves to mak
themselves look pale.”
39. “Protecting Europe’s Cultural Monuments.” Magazine of Art 37 (1944): 64–68.
40. “Rain Stops the Conquest: How Different Would Our Lives Be If Bad Weather Ha
Prevented the Battle of Hastings.” The Telegraph Online (2012).
In a short, humorous blurb, the writer reports on a Conquest reenactment having been canceled
East Sussex due to inclement weather. He then notes that, “If the heavy Norman horses we see on th
Bayeux tapestry had wallowed in a muddy Sussex valley, things might have turned out better for Kin
Harold.”
41. “Speaking of Pictures . . . Bayeux Tapestry Reports Old Invasion.” Life Magazine 16 (1944
8–10.
42. “Statue of King Alfred.” The Art Journal (1875–1887) 3, no. New Series (1877): 356.
In describing a statue of King Alfred the Great which Colonel Loyd-Lindsay presented to th
inhabitants of Wantage, the author points out that the sculptor, H. S. H. Count Gleichen had onl
“traditional descriptions of the King’s personal appearance, and, for costume, the assumed dresse
which have come down to us from the earliest sources, as the Bayeux tapestry.”
43. “Stitch in Time.” The Birmingham Post (England) (2008).
This short piece begins by suggesting that the Bayeux Tapestry “has always raised passions amon
the oddest people” and names both Napoleon and SS leader Heinrich Himmler as having significa
interest in the embroidery. Then, the writer suggests there is a new “twist”: the BBC Histor
Magazine’s reporting of the Tapestry being a product of Canterbury and not France. The piec
concludes by asking, “Will President Sarkozy be tempted to return the tapestry to its rightful home
Non, is probably the answer.”
44. “Studies in Furniture Design. Fifth Study: Byzantine-Middle Age.” The Decorator an
Furnisher 2, no. 5 (1883): 156.
Here, the author comments on furniture in the Anglo-Saxon house, writing “The Anglo-Saxon hous
as pictured in illuminations of the times, consisted of one story, and composed generally of only on
room. The addition of a second was rare before the Norman Conquest. The furniture of the room wa
made up of a heavy table, sometimes fixed, on which the residents in the house and the guests slept.
bedstead was occasionally reserved for the mistress of the house. Bedsteads, when used by the wome
or the lord of the house, were enclosed in a shed or enclosure upon the principle of the modern canop
or hanging. In the Bayeux tapestry a bed roof is tiled, and the framework shut in with curtains. I
sleeping upon the table bags of straw were used to lie upon.” The article includes a drawing of a
eleventh-century bed as well as four illustrations of chairs.
45. Tapisserie De Bayeux. Carquefou, France: Editions Artaud Freres.
Notes: Cover title.
This souvenir book presents photographs of the entire Bayeux Tapestry in full color at 1/5 scale an
is accompanied by a brief interpretive statement on every page in six languages. A very sho
introduction and epilogue provide background information.
46. The Timechart of Military History. London: The Timechart Company/Worth Press, 2000.
Notes: Second edition, revised and corrected. Originally published in 1999. Foreword by David G
Chandler.
An image of a ship from the Bayeux Tapestry is featured in an illustrated time chart in the space fo
the late ninth century with the caption “A typical warship used by Vikings and Normans as depicted i
the Bayeux Tapestry.” Later, an image of Norman knights from the Tapestry is included in the earl
eleventh century. A section on battle maps includes a color map of the Battle of Hastings along wit
pertinent facts. Includes an extensive bibliography.
47. “Victor’s Tale.” Economist 332, no. 7874 (1994): 81.
Notes: A review of Wolfgang Grape’s The Bayeux Tapestry: Monument to a Norman Triumph.
48. The Viking Epic. Cully, France: OREP Editions, 2006.
Notes: Paperback. Preface by Jean Renaud, professor at the University of Caen. Translated int
English by Heather Costil.
This full-color heavily illustrated souvenir booklet provides background information on Vikin
culture, society, history, language, and exploration. The Bayeux Tapestry is mentioned in a caption t
a photograph of the Tapestry’s ship-building scene. Includes a key on how modern English speaker
should pronounce Old Norse letters.
49. Weapon: A Visual History of Arms and Armor. New York: DK Publishing, 2006.
50. “William the Conqueror.” Web page, Available at http://www.youtube.com/watch
v=bQ8A5gRe_Dw.
The “historyteachers,” a duo of U.S. high school teachers, posts numerous educational song parodie
online in their “History for Music Lovers project on YouTube.” This video, based on the son
“Sexyback” by Justin Timberlake, uses images from the Bayeux Tapestry in its graphics. Lyric
(subtitled) include “Tapestry, its length in meters measures 70. Embroidered linen tells the story, th
feats of William, Duke of Normandy. Battle of Hastings. Sew it, girl. Norman invasion (Bayeux
Bayeux) brought feudalism, (Norman invasion). Embroidery (brought feudalism). It tells the ta
(Norman invasion). Connected panels (brought feudalism). 731 (Norman invasion) pics of animal
(Brought feudalism) Commissioned by the Bishop. 1066.”
51. “William the Conqueror.” Carnegie Magazine 7 (1934): 235–41.
52. Abbott, Jacob. History of William the Conqueror. London: Harper, 1849.
Notes: Part of the Biographical Histories series. (?)
53. ———. William the Conqueror. New York: Harper and Brothers, 1901.
54. Abeel, Nelson. “The Bayeux Tapestry.” American Scandinavian Review 19 (1981): 736–41.
Abeel, with no affection whatsoever for the town of Bayeux, “a sleepy old place with half-deserte
streets and . . . two of the worst inns in France,” introduces readers to the Bayeux Tapestry, a wor
“executed by the natives of the town.” He gives a physical description of the work and recounts ke
events in its history up to that point, including its mention in the 1476 cathedral inventory, i
“rediscovery” in the early eighteenth-century, the hazards it faced during the Revolution and th
Franco-Prussian War, Napoleon’s interest in it, and its then-present hanging and supervision by th
town librarian. Includes five of Charles Stothard’s drawings and one photograph of the replica of th
Tapestry made by the Leek Embroidery Society completed in 1886.
55. Abels, Richard. “Bookland and Fyrd Service in Late Anglo-Saxon England.” The Battle o
Hastings: Sources and Interpretations. ed Stephen Morillo, 57–77. Woodbridge, U.K.: Th
Boydell Press, 1996.
Notes: Part of the Warfare in History series, volume 1, Matthew Bennett, general editor. Series als
cited as Warfare in History: Sources and Interpretations in British Library Cataloguing-in-Publicatio
data.
Abels presents a study of relationships created by military obligation (fyrd service) and booklan
tenure (land holdings by royal charter) in eleventh-century England. Through the lens of Abel
conclusions, Harold’s army in the Battle of Hastings is discussed in an addendum. He notes th
Harold’s army was not “merely a gathering of bookholders and the military representatives,” but
“reflected the three main sources of military obligation at the time: royal lordship, personal lordsh
and land tenure.” Abels adds “Harold’s army may well have resembled William’s as closely in the tie
that bound it together as it does in the equipment portrayed in the Bayeux Tapestry.”
56. Abels, Richard P. Lordship and Military Obligation in Anglo-Saxon England. Berkeley, CA
University of California Press, 1988.
Notes: This text is a revision of Abels’ doctoral thesis at Columbia University.
57. Abraham, Jean, and A. Letienne. “Les Borders De La Tapisserie-Broderie De Bayeux.
Normannia 2 (1929): 483–518.
58. ———. “Sur La Signification De La Tapisserie De Bayeux.” Revue Catholique D’Histoir
D’Archeologie Et Litterature De Normandie 35, no. 2 (1926): 122–28.
59. Abrams, Lesley. “England, Normandy and Scandinavia.” A Companion to the Anglo-Norma
World. eds Christopher Harper-Bill, and Elisabeth M. C. van Houts, 43–62. Woodbridge, U.K
2003.
60. Ackerman, Phyllis. “The Norsemen and Their Descendants .” Tapestry, The Mirror o
Civilization. Phyllis Ackerman, 39–60. Oxford, U.K.: Oxford University Press, 1933.
61. ———. “Reappearance of a Lost Bayeux Tapestry.” International Studio 96 (1930): 17–20.
62. ——— . Tapestry, the Mirror of Civilization: Text and Plates . New York: Oxford Universit
Press, 1933.
Notes: Also cited as Tapestry, the Mirror of Civilization: Text and Plates.
This large volume on the artistic and historical development of tapestry has chapter designation
based on geography, centuries, and artists. The Bayeux “Tapestry,” a creation of Norse mentality, i
given extensive treatment by Ackerman. She discusses issues of the Tapestry’s patronage an
provenance, admitting that identifying the patron is problematic and that the country of manufactu
is equally difficult to finalize, but it is “of no importance at all in this case,” as it is essentially Nors
anyway. Pursuing the Norse angle, she compares the Tapestry to other Norse embroideries, and in th
discussion arrives at a twelfth-century manufacture, which rules out Odo as patron, although she doe
not attempt to bring these two issues together. Norse law, she notes, revolved around the dependabilit
of the oath, another Norse element in the work. The author discusses the appearance in the Tapestry
border of a golden and a dark red cock, which are Norse heralds of doom; another cock, the one bein
placed atop the church for the Confessor’s funeral was a symbol of fate and finality. The Nors
concept of fylgja, animal guardian spirits indicative of one’s character, manifests itself in the Tapestr
as Harold’s recurring hawks on his wrist and as decoration on his buildings and furniture, a
“leopards” for William, lions for King Edward, and geese for Turold. Ackerman identifies th
Tapestry’s Turold as the tall constable to the left of his name. She observes that the Norman Conques
is predicted in the Tapestry where in the border at the start of the Battle of Hastings, a cat seizes
bird. The significance of other creatures is noted: peacocks as ill omens, and the bull-man, known
the Norse through Eastern lore, which symbolized inescapable death. The Norse, she claims, looked
Byzantium for “how a king should build his home,” which is evident in the Tapestry. Also discussed
varying lengths, and not necessarily for their Norse-ness: the Tapestry’s horses, ships, the Mor
dragon banners, and the border fables. The Tapestry’s story is recounted from beginning to end
although, notes the author, “by queer error” some scenes in the Ponthieu episode have been reverse
The author provides one photograph of the Tapestry as well as one of the seventeenth-centur
Norwegian Tapestry, “The Adoration of the Magi,” which Ackerman discusses in her Bayeux Tapestr
passage. Includes a bibliography, notes, and an index.
63. Ackerman, Robert W. “The Knighting Ceremonies in the Middle English Romances.
Speculum 19, no. 3 (1944): 285–313.
Notes: Published by the Medieval Academy of America.
Ackerman makes the following reference to the ritual of knighting in the Bayeux Tapestry: “Of th
exact nature of the knighting ceremony in use during the early years of the feudal period not much
known. One panel of the Bayeux Tapestry, it is true, portrays the knighting of King Harold by William
of Normandy, but one cannot be sure what ritualistic act might be here represented. It may be th
Duke William is engaged in fastening the young king’s helm.” His notes refer to Frank Rede Fowke’
1875 publication, The Bayeux Tapestry Reproduced in Autotype with Historical Notes.
64. Adair, John Eric. The Royal Palaces of Britain. New York : Clarkson N. Potter Publisher
1981.
Notes: First British edition published by Thames and Hudson, London.
Adair, a professor at the University of Surrey and a Fellow of the Royal Historical Society, presen
in a popular tone the detailed histories of nine palaces in Britain. The Bayeux Tapestry is given
paragraph for its depiction of Edward the Confessor’s palace, and the author attempts to interpr
these architectural images in context of a real building. Includes one Tapestry photo and an index.
65. Adam, Robert James. A Conquest of England: The Coming of the Normans. London: Hodde
and Stoughton, 1965.
In his “story of the tide of public affairs that brought a foreign king and a foreign aristocracy to ru
over eleventh-century England,” Adam gives a scholarly overview (in a conversational tone) of th
politics, warfare, and government associated with the Norman conquest. He makes several reference
to the Bayeux Tapestry as a fairly reliable authority on topics such as the size of the ships in th
Norman invasion fleet, arms and armor, and episodes within the Battle of Hastings. The autho
cautions that the Tapestry is “elaborate and stylized, and pay[s] more attention to picturesqu
incidents than to the sequence of events,” yet it is “fundamental to an understanding of Norma
warfare and the Battle of Hastings.” Includes index.
66. Adams, Laurie Schneider. Art Across Time. New York: McGraw-Hill, 2006.
Notes: First edition published in 1999; second edition in 2002.
This survey of art history for university students presents an overview of the Bayeux Tapestry in i
chapter on Romanesque art. The book’s preface lists learning supplements for students, including fre
online quizzes to accompany each chapter; the chapter ten quiz includes four multiple-choic
questions about the Tapestry. Includes three large full-color photographs of the Tapestry.
67. Addyman, P. V. “The Anglo-Saxon House: A New Perspective.” Anglo-Saxon England
(1972): 273–307.
Notes: Also cited as “The Anglo-Saxon House: A New Review.”
68. Ailes, Adrian. “The Knight, Heraldry and Armour: The Role of Recognition and the Origin
of Heraldry.” Medieval Knighthood IV: Papers From the Strawberry Hill Conference 1990. ed
Christopher Harper-Bill, and Ruth Harvey, 1–21. Woodbridge, U.K.: Boydell Press, 1992.
In this essay on proto-heraldic identity devices, Ailes begins by acknowledging that today’s popula
and inaccurate, image of a medieval knight has him in shining armor with a heraldic shield. He brief
mentions the Bayeux Tapestry’s depictions of proto-heraldic devices on shields and gonfanons.
69. Airne, Clement Wallace. The Story of Saxon and Norman Britain Told in Picture
Manchester: Sankey, Hudson & Co., 1935.
Notes: “An All British Production.” Alternate title: The Story of Saxon and Norman Britain Told i
Pictures: Over 460 Illustrations Depicting the History of Britain in Saxon and Norman Times . Part o
a series which appears to be titled Britain’s Story in Pictures.
This interesting 64-page work contains over 460 line-drawing illustrations that results in a sort o
picture dictionary for medieval England, arranged by such topics as jewelry, costume, Viking ship
architectural details, Norman artillery, justice, musicians, sports and pastimes, and many others. Eac
of the three chapters (Anglo-Saxons, Vikings, Normans) begins with an informative summary of th
characteristics of each society. Most of the drawings of the buildings, ships, and artifacts are based o
archaeological evidence, and those taken from manuscripts and the Bayeux Tapestry are so credite
beside each drawing. Additionally, one full page presents drawings of Tapestry scenes, resemblin
Montfaucon’s renderings. Includes a text-only glossary.
70. Albu, Emily. “Normans in the Bayeux Tapestry: One Mystery Solved.” Anglo-Norma
Anonymous 7, no. 3 (1999).
7 1 . ——— . The Normans in Their Histories: Propaganda, Myth and Subversion. Woodbridg
U.K.: Boydell Press, 2001.
Albu briefly discusses the “elusive meaning of pictures that demand interpretation” in the Bayeu
Tapestry that may have caused William the Conqueror discomfort upon seeing them. The variou
Aesopic fables that appear in the Tapestry’s borders are studied in detail for their commentary on th
events in the main frieze. Includes 18 black-and-white photographs of the images discussed, work
cited, and a bibliography. Albu is associate professor of classics at the University of California a
Davis.
72. Alderman, Clifford Lindsey. The Great Invasion: The Norman Conquest of 1066. New York
Julian Messner, 1969.
Intended for young readers, this 190-page history of the Conquest briefly mentions the Bayeu
Tapestry as an invaluable source of information for historians and students. Alderman note
definitively that it was ordered by Bishop Odo of Bayeux “most likely at the insistence of William
He goes on to say it is “not always accurate,” is “almost unmistakably English,” and was “probab
done by English needlewomen.” Additionally, he discusses the depiction of Halley’s comet, th
costume of civilians and soldiers, ships, and period architecture. The dust jacket features a batt
scene from the Tapestry.
73. Alexander, J. J. G. “Ideological Representation of Military Combat in Anglo-Norman Art.
Anglo-Norman Studies 15 (1992): 1–24.
74. ———. Norman Illumination at Mont St. Michel, 966–1100. Oxford, U.K.: Clarendon Pres
1970.
Citing Stenton, Alexander suggests that the while little can be learned of the church’s appearanc
from the earliest representation of it, the Bayeux Tapestry, the “system of support seems to be allude
to and to have caught the artist’s attention.” Includes bibliography, an index of manuscripts, and
general index.
75. Alexander, Jonathan J. G. “Medieval Art and Modern Nationalism.” Medieval Art: Recen
Perspectives: A Memorial Tribute to C.R. Dodwell . eds Gale R. Owen-Crocker, and Timoth
Graham, 206–23. Manchester, U.K.: Manchester University Press, 1998.
Notes: Distributed in the U.S. by St. Martin’s Press, New York.
76. Alexander, Mark. “The Keiskamma Tapestry.” Web
http://www.southafrica.info/about/arts/keiskamma-tapestry.htm.
page,
Available
a
77. Alexander, Michael, ed. The Earliest English Poems. Harmondsworth, U.K.: 1966.
78. Alexander, Michael Van Cleave. Three Crises in Early English History: Personalities an
Politics During the Norman Conquest, the Reign of King John, and the Wars of the Roses. Lanham
MD: University Press of America, 1998.
In his chapter on the Norman Conquest, Alexander discusses in detail Harold’s journey to Normandy
He begins this narrative noting that “Because there is no evidence that Harold’s ship was blown o
course by a storm, certainly not on the famous Bayeux Tapestry, it is difficult to avoid the conclusio
that Harold deliberately avoided the Norman coast and planned to reappear in Rouen for reason
beyond his control. If that was his actual intention, it was wrecked by the fact that William was soo
aware that Guy had Harold in his custody.” Includes a list of titles for further reading, extensive note
and an index.
79. Allan, Tony. Vikings: The Battle at the End of Time. London: Duncan Baird Publishers, 2010.
Notes: Originally published in 2002.
Allan’s attractive coffee-table book is an introduction to Viking history, mythology, art, and culture
Two images from the Bayeux Tapestry are used as evidence of the types of ships Vikings used. On
photograph is a large, very close-up detail of the Tapestry’s ship-building scene. Includes index.
80. Allcock, Hubert. Heraldic Design: Its Origins, Ancient Forms and Modern Usage. New York
Tudor Publishing Company, 1962.
In an introductory section, Allcock writes that the Bayeux Tapestry is “fascinatingly accurate i
every respect” and that “nowhere on it does there appear a coat of arms, credible evidence that suc
devices (even if known) were not used at that time.”
81. Allen, Valerie. “On the Nature of Things in the Bayeux Tapestry and Its World.” The Bayeu
Tapestry: New Interpretations . eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 51
70. Rochester, NY: Boydell Press, 2009.
In this study of the objects and ritualized gestures in the Bayeux Tapestry, Allen observes how thes
things (such as swords, arms, rings, keys, relics) possess their own “thingness” and “perform the
being rather than possessing it as a set of fixed properties.” She examines the feudal implications o
the arms-giving scene from the Tapestry and notes that gifts “‘want’ to be used . . . [and] be enjoyed
the using, for in being so used their ‘thingness’ becomes apparent, their reality intensifies.” Th
significant role of right hands in the Tapestry is studied, as is the “object” of touch, as when the dyin
Kind Edward touches Harold, and when William touches Harold to give him arms.
82. Allix, Jean. “La Tapisserie De Bayeux: Un Inventaire.” Rapports: Het Franse Boek 58, no.
(1988): 98–105.
83. Almond, Richard. Medieval Hunting. Stroud, U.K.: Sutton, 2003.
Almond references Ann Hyland’s research on warhorses through the study of horseshoes in th
Museum of London (The Medieval Warhorse: From Byzantium to the Crusades , London, 1994) an
her mention of the Bayeux Tapestry. He writes, “By the eleventh century, the art of horse breedin
was long established in Byzantium and especially in the Arab countries where there was a wealth o
established breeds suitable as warhorses. However, at this time in Europe selective breeding appea
to have been only just beginning, with few references in the available literature to breed provenanc
the exception being some Spanish sources. Ann Hyland comments that the Bayeux Tapestry provides
rough guide to the European type of Norman warhorse, the size confirmed by her own researches in
Norman horseshoes held at the Museum of London: ‘a medium-sized animal of approximately 14.2
15 hh, with no particular distinguishing features, other than hinting it was fairly stocky’.” Include
extensive notes, bibliography and index.
84. American Commission for the Protection and Salvaging of Artistic and Historic Monument
in Europe. “Protecting Europe’s Cultural Monuments.” Magazine of Art 37 (1944): 192–208.
85. American Museum of Natural History, Columbia Broadcasting System, and New York Pr
Musica Antiqua. The Bayeux Tapestry. 1956.
Notes: Videocassette. Original format: 16mm kinescope.
This 30–minute black-and-white overview of the Bayeux Tapestry originally aired on June 24, 195
as part of the CBS/American Museum of Natural History television series. The historical narration
presented by Sir Pierson Dixon, a historian and the U.K. Ambassador to the United Nations. The Ne
York Pro Musica Antiqua performs music to accompany the action depicted in the Tapestry.
86. Amt, Emilie, ed. Medieval England 1000–1500: A Reader . Peterborough, Ontario: Broadvie
Press, 2001.
Notes: Part of the series Readings in Medieval Civilisations and Cultures, volume 6.
Amt provides her translation of the Bayeux Tapestry’s text from David M. Wilson’s The Bayeu
Tapestry, 1985. She prefaces the actual translation with a brief paragraph on the embroidery. Ninetee
scenes are included. Amt also offers questions for students: they address the story, evidence of
Norman viewpoint, comparison with the Anglo-Saxon Chronicle, eleventh-century warfare, and ho
the Tapestry reveals information about material culture and everyday life. Amt is the Hildegard
Pilgram Professor of History at Hood College in Frederick, Maryland.
87. Amyot, Thomas. “A Defence of the Early Antiquity of the Bayeux Tapestry.” Archaeologia 1
(1821): 192–208.
Notes: also cited as 1819
88. Anderson, John D. “The Bayeux Tapestry: A 900–Year Old Cartoon.” The Classical Journ
81, no. 3 (1986): 253–57.
89. Anderson, Romola, and Roger Charles Anderson. The Sailing-Ship: Six Thousand Years o
History. New York: Bonanza Books, 1963.
Notes: In the “Preface to the New Edition,” the authors indicate that the book was first published
1926. Also published by W.W. Norton, New York, in 1963.
In a discussion of how there appears to have been very little change in the design of Northern ship
from 900 to 1100, the Andersons write that the ships of Harold and William “seem to have bee
simply enlarged copies of the Gokstad ship.” They go on to describe the Tapestry as a “rathe
unsatisfactory source . . . made at least fifty years after the Norman invasion by ladies who possib
had never seen a ship at all, and who had only the ordinary materials of needlework at their disposal
The authors do point out that the ships in the embroidery appear to be based on “drawings o
directions by someone who did understand what he was doing.” A discussion follows on th
Tapestry’s depiction of Harold’s ships and how they all have a break in the line of the side amidship
They contrast these images with a representation of a similar ship on the seal of La Rochelle
France. Two black-and-white images of ships are included as well as an image of the La Rochelle sea
Includes an index.
90. Andrew, Dolores M. Medieval Tapestry Designs . Owings Mills, MD: Stemmer Hous
Publishers, 1994.
Notes: Paperback. “A Barbara Holdridge Book.” Part of The International Design Library.
In this 42-page paperback, Andrew provides stylized black-and-white drawings based on image
from the Bayeux Tapestry, the Unicorn Tapestries, the St. Gereon Tapestry, and other works. In he
introduction, she discusses at length the misrepresentation of both tapestry and embroidery. Sh
mentions both the Bayeux Tapestry and the Overlord Embroidery. The book also offers a short list o
tapestry collections on view in various museums around the world as well as a detailed list of source
for each of the images.
91. Anonymous. “A Propos De La Tapisserie De Bayeux.” Bulletin Monumental 110 (1952): 282
83.
92. ———. Revue De Rouen Et De La Normandie. 1841.
Notes: Pages 371–372.
An announcement of Edouard Lambert’s work published in the same year, this piece notabl
mentions the construction of a glass display case for exhibiting the Bayeux Tapestry.
93. Anquetil, Eugene. “Antiquité De La Tapisserie De Bayeux.” Memoires Societé Sciences D
Bayeux 12 (1912): 9 pp.
94. Anthony, Irvin. Down to the Sea in Ships. Philadelphia: Penn Publishing, 1924.
Anthony writes: “The ship of William as seen in the Bayeux tapestry is very distinct from the rest. A
its masthead is a square white banner on which is a gold cross, with a blue border, surmounted b
another cross of gold. His ship is larger than any of the others as befits a king’s ship. The prow
ornamented with a lion’s head and at the stern is the image of a boy blowing a horn and holding in h
left hand a gonfalon. She was named ‘Mora’ and was a present from his wife.” He also discusses th
prow, stern, and gunwale of Harold’s vessel in the Tapestry, noting the use of lions’ heads.
95. Arbman, Holger. The Vikings. New York: Frederick A. Praeger, 1961.
Notes: Translated and edited with an introduction by Alan Binns. Part of the Ancient Peoples an
Places series, volume 21, Glyn Daniel, general editor.
In this general survey of the Viking period, Arbman writes in his introduction about development o
arms and armor noting that the shields and mail-shirts of the Bayeux Tapestry “are not typical of th
early Viking centuries; the pointed shield and very long mail-shirt have replaced the earlier roun
shield and short byrnie found in the pictures of warriors on the Middleton stones, though those sugge
that a close-fitting pointed helmet with nose and cheek guards was being used by Vikings in the Wes
already at the beginning of the tenth century.” Includes index and several black-and-white plates wit
extensive notes on each. Arbman is professor of Scandinavian archaeology at the University of Lund.
96. Archer, Christon I., John R. Ferris, Holger H. Herwig, and Timothy H. E. Travers. Wor
History of Warfare. Lincoln, NE: University of Nebraska Press, 2002.
The authors offer “fresh views” in this reinterpretation of warfare history, including non-Wester
material, from Middle Kingdom Egypt through late twentieth-century conflicts. The authors attempte
to include enduring common themes in their respective chapters: the idea of war, the experience o
total war, the impact of technology, and the experience of the soldier. In his chapter “Europea
Chivalry and the Rise of Islam,” two images of Charles Stothard’s rendition of the Bayeux Tapestr
are used to illustrate the author’s point that the Tapestry’s upended warhorses “might well prompt u
to rethink the efficacy of foot against mounted shock combat.” An image of Norman archers in th
Tapestry is for some reason inserted several pages deep into a discussion of Muslim militar
establishments. Includes index.
97. Archer, T. A. “The Battle of Hastings.” The English Historical Review 9, no. 33 (1894): 1–41.
Archer argues that the Tapestry reflects the story of the Battle of Hastings as told through a traditio
of ballads rather than an actual account of the event itself.
98. Archibald, Marion, and Janet Backhouse. The Golden Age of Anglo-Saxon Art: 966–1066
Bloomington, IN: Indiana University Press, 1984.
99. Ascherl, Rosemary. “The Technology of Chivalry in Reality and Romance.” The Study o
sample content of The Bayeux Tapestry: A Critically Annotated Bibliography
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