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Dalla Guerra Alla Pace. L'arazzo Di Bayeux E La Conquista Normanna Dell'inghilterra (Secolo

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Dalla Guerra Alla Pace. L'arazzo Di Bayeux E La Conquista Normanna Dell'inghilterra (Secolo Luigi Provero Luigi Provero DALLA GUERRA ALLA PACE. CONQUISTA NORMANNA DELL’INGHILTERRA (SECOLO XI) NORMANNA (SECOLO CONQUISTA DELL’INGHILTERRA BAYEUXDALLA DI E LA GUERRA L’ARAZZO ALLA PACE. L’ARAZZO DI BAYEUX E LA CONQUISTA NORMANNA DELL’INGHILTERRA (SECOLO XI) FIRENZE UNIVERSITYPRESS Reti Medievali E-Book ISSN 2704-6362 (PRINT) │ ISSN 2704-6079 (ONLINE) 37 Reti Medievali Editor-in-Chief Enrico Artifoni, University of Turin, Italy Roberto Delle Donne, University of Naples Federico II, Italy Paola Guglielmotti, University of Genoa, Italy Gian Maria Varanini, University of Verona, Italy Andrea Zorzi, University of Florence, Italy Scientific Board Giorgio Chittolini, University of Milan, Italy William J. Connell, Seton Hall University, United States Pietro Corrao, University of Palermo, Italy Élisabeth Crouzet-Pavan, Sorbonne University, France Stefano Gasparri, University of Venice Ca’ Foscari, Italy Jean-Philippe Genet, Panthéon-Sorbonne Paris 1 University, France Knut Görich, University of Munich Ludwig Maximilian, Germany Julius Kirshner, University of Chicago, United States Giuseppe Petralia, University of Pisa, Italy Francesco Stella, University of Siena, Italy Giuliano Volpe, University of Foggia, Italy Chris Wickham, All Souls College, United Kingdom Peer-review Tutti gli E-Book di Reti Medievali sono sottoposti a peer-review secondo la modalità del “doppio cieco”. I nomi dei referee sono inseriti nell’elenco, regolarmente aggiornato, leggibile all’indirizzo: http://www.rmojs.unina.it/ index.php/rm/about/editorialTeam#item_4. I pareri dei referee sono archiviati. All published e-books are double-blind peer reviewed at least by two referees. Their list is regularly updated at URL: http://www.rmojs.unina.it/index.php/ rm/about/editorialTeam#item_4. Their reviews are archived. Luigi Provero Dalla guerra alla pace. L’Arazzo di Bayeux e la conquista normanna dell’Inghilterra (secolo XI) Firenze University Press 2020 Dalla guerra alla pace. L’Arazzo di Bayeux e la conquista normanna dell’Inghilterra (secolo XI) / Luigi Provero. - Firenze : Firenze University Press, 2020. (Reti Medievali E-Book ; 37) https://www.fupress.com/isbn/9788855182447 ISSN 2704-6362 (print) ISSN 2704-6079 (online) ISBN 978-88-5518-243-0 (print) ISBN 978-88-5518-244-7 (PDF) ISBN 978-88-5518-245-4 (ePUB) ISBN 978-88-5518-246-1 (XML) DOI 10.36253/978-88-5518-244-7 In copertina: Arazzo di Bayeux, XI secolo (dettaglio), riprodotto su speciale autorizzazione della Ville de Bayeux. Questo volume è stato pubblicato con il contributo del Dipartimento di Studi storici dell’U- niversità di Torino, Fondi per la Ricerca locale. FUP Best Practice in Scholarly Publishing (DOI https://doi.org/10.36253/fup_best_practice) All publications are submitted to an external refereeing process under the responsibility of the FUP Editorial Board and the Scientific Boards of the series. The works published are evaluated and approved by the Edi- torial Board of the publishing house, and must be compliant with the Peer review policy, the Open Access, Copyright and Licensing policy and the Publication Ethics and Complaint policy. Firenze University Press Editorial Board M. Garzaniti (Editor-in-Chief), M.E. Alberti, F. Arrigoni, M. Boddi, R. Casalbuoni, F. Ciampi, A. Dolfi, R. Ferrise, P. Guarnieri, A. Lambertini, R. Lanfredini, P. Lo Nostro, G. Mari, A. Mariani, P.M. Mariano, S. Ma- rinai, R. Minuti, P. Nanni, A. Novelli, A. Orlandi, A. Perulli, G. Pratesi, O. Roselli. The online digital edition is published in Open Access on www.fupress.com. Content license: the present work is released under Creative Commons Attribution 4.0 International license (CC BY 4.0: http://creativecommons.org/licenses/by/4.0/legalcode). This license allows you to share any part of the work by any means and format, modify it for any purpose, including commercial, as long as ap- propriate credit is given to the author, any changes made to the work are indicated and a URL link is provided to the license. Metadata license: all the metadata are released under the Public Domain Dedication license (CC0 1.0 Univer- sal: https://creativecommons.org/publicdomain/zero/1.0/legalcode). © 2020 Author(s) Published by Firenze University Press Firenze University Press Università degli Studi di Firenze via Cittadella, 7, 50144 Firenze, Italy www.fupress.com This book is printed on acid-free paper Printed in Italy Indice Introduzione 1 Parte prima. La storia e i suoi attori I. Una breve guerra per un grande cambiamento 9 1. Tre re in un anno 11 2. I testi 15 3. Quasi un racconto 18 II. La gloria di Guglielmo, l’onore di Harold 33 1. Due popoli per un regno 34 2. Una gerarchia negoziata 39 3. La battaglia di Hastings 46 Parte seconda. L’immaginario sociale e politico III. Al centro della scena: il re 57 1. Edoardo, un re santo? 57 2. Il mutamento di Harold 62 3. Le due morti del re 71 I V. Il cerimoniale politico 77 1. Il lessico di base: gesti, oggetti, edifici 78 2. Dialoghi 83 2.1. Harold e il re 85 2.2. Prigioniero e ospite 88 2.3. I messi 91 FUP Best Practice in Scholarly Publishing (DOI 10.36253/fup_best_practice) Luigi Provero, Dalla guerra alla pace. L’Arazzo di Bayeux e la conquista normanna dell’Inghilterra (secolo XI), © 2020 Author(s), content CC BY 4.0 International, metadata CC0 1.0 Universal, published by Firenze University Press (www.fupress.com), ISSN 2704-6079 (online), ISBN 978-88-5518-244-7 (PDF), DOI 10.36253/978-88-5518-244-7 3. Preparare la battaglia 93 3.1. A consiglio 95 3.2. Banchetti 98 3.3. Il bastone del comando 100 4. Cavalli e cavalcate 105 V. Fedeltà inaffidabili 111 1. I significati del giuramento 112 2. Il giudizio è nelle favole 119 Parte terza. La forza del contesto VI. Voci di monaci: il ricamo e le cronache del secolo XI 129 1. Il ricamo e altri racconti 130 1.1. Anglo-Saxon Chronicle 131 1.2. Guglielmo di Poitiers 133 1.3. Carmen de Hastingae Proelio 135 2. La sacralità del monte 138 3. La regalità dei duchi 140 3.1. Dudone di Saint-Quentin 140 3.2. Ademaro di Chabannes 144 4. Le abbazie e i loro nemici 147 4.1. San Pietro di Novalesa 147 4.2. San Gallo 151 5. Le inquietudini di un monaco 154 VII. «Canterbury Tales»: la produzione del ricamo 159 1. Tra Bayeux e Canterbury 159 2. Un monastero e una città 165 3. Un tempo e una destinazione incerti 169 Conclusioni 175 Immagini e didascalie 183 Opere citate 229 Fonti 229 Studi 230 Indice dei nomi di persona e dei luoghi 237 Introduzione L’Arazzo di Bayeux non è un arazzo e non è di Bayeux. Se infatti “Arazzo di Bayeux” (“Tapisserie”, “Tapestry”) è la definizione comunemente accettata per quest’opera, è doppiamente fuorviante: prima di tutto perché non si tratta di un arazzo, ma di un ricamo; e poi perché il suo legame con Bayeux è atte- stato con certezza solo alla fine del medioevo, quattro secoli dopo la sua rea- lizzazione, ed è quanto mai incerto per il periodo precedente. Ma se la prima affermazione è accettata da tutti, la seconda è ben più controversa. Non un arazzo, ma una tela ricamata, che solo per una consolidata abi- tudine è chiamata “arazzo”, dato che l’arazzo e il ricamo sono due tecniche completamente diverse; se quindi nel titolo del libro ho conservato il nome di “Arazzo di Bayeux”, che rende di fatto riconoscibile l’oggetto, nel testo parlerò di ricamo1. Un’opera enorme, di 68 metri di lunghezza e 50 centi- metri di altezza, esito della cucitura di nove pezze di lunghezza diversa, da 2 metri e mezzo fino a quasi 14 metri. Su questa tela le immagini sono state prodotte tramite un ricamo in filo di lana a 10 colori, che integra diversi tipi di punti; una rappresentazione ampia e articolata, che comprende 627 persone (di cui solo 3 donne), 33 edifici, 32 navi e 738 animali2. Un’opera enorme quindi, ma fatta per essere osservata da vicino: la dimensione delle singole figure e delle didascalie fa sì che solo uno spettatore molto vicino alla tela possa seguirne la narrazione. Ed è infine un’opera relativamente modesta, che evita l’ostentazione del lusso: le figure, ricamate in filo di lana, spiccano su un fondo neutro, del tutto privo di decorazioni in oro, seta o pietre preziose, come era invece probabilmente prassi per i ricami contem- 1 In linea con quanto hanno proposto molti studiosi recenti, ad esempio Carson Pastan, White, The Bayeux Tapestry, p. XVIII; La Tapisserie de Bayeux: l’art de broder l’Histoire. 2 Lewis, Identity and status, p. 100. FUP Best Practice in Scholarly Publishing (DOI 10.36253/fup_best_practice) Luigi Provero, Dalla guerra alla pace. L’Arazzo di Bayeux e la conquista normanna dell’Inghilterra (secolo XI), © 2020 Author(s), content CC BY 4.0 International, metadata CC0 1.0 Universal, published by Firenze University Press (www.fupress.com), ISSN 2704-6079 (online), ISBN 978-88-5518-244-7 (PDF), DOI 10.36253/978-88-5518-244-7 Dalla guerra alla pace poranei. Queste scelte decorative ci aiuteranno a comprendere contesto e finalità della produzione del ricamo3. La tela nel corso dei secoli è stata più volte danneggiata e riparata, tanto che, oltre ad alcune integrazioni del ricamo, sono stati individuati ben 518 toppe e 120 rammendi. In particolare gli interventi ottocenteschi sono stati probabil- mente importanti, fino a distorcere la nostra percezione di particolari talvolta significativi: in attesa di una corretta edizione scientifica del ricamo, che metta pienamente in luce gli interventi di età moderna, dovremo muoverci sull’opera com’è adesso, con le dovute cautele e soprattutto evidenziando i punti in cui gli studi già ci consentono di riconoscere i restauri e le integrazioni4.
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