The Bayeux Tapestry

A Critically Annotated Bibliography

John F. Szabo 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 [NK3049.B3] 016.74644’204330942–dc23 2015005537

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Contents

Introduction ix THE BIBLIOGRAPHY 1 Appendix A: Dramatis Personae 521 Appendix B: Medieval Sources 537 Index 541 About the Authors 563

vii

Introduction

Commanding its own museum and over 200 years of examination, observation, and scholarship, the monumental embroidery, known popularly as the Bayeux Tapestry and documenting William the Conqueror’s invasion of England in Oc- tober 1066, is perhaps the most important surviving artifact of the Middle Ages. This magnificent textile, both celebrated and panned, is both enigmatic artwork and confounding historical record. The Tapestry has been called one of the earliest cartoons as well as film on cloth. Both Napoleon and Hitler were intensely interested in the work for both its instructional 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 medieval 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 inform our understanding of eleventh-century life? And who was the mysterious Ӕlfgyva, depicted in the Tapestry’s main register? Much of the scholarship on the Bayeux Tapestry rests in attempts to answer those questions. This book is an effort to not only capture and describe that scholarship but also to reflect the popularity of the Tapestry in literature covering a surprisingly broad array of subjects. We hope the inclusion of this material will assist future scholars who may study references to the work in contemporary non- fiction and popular works as well as use of the Bayeux Tapestry as a primary and secondary source in the classroom. The monographs, articles, and other works cited in this bibliography reflect dozens of research areas. Major themes are: the Tapestry as a source of information for eleventh-century material culture, its role in telling the story of the Battle of Hastings and events leading up to the invasion, patronage of the Tapestry,

ix x Introduction

biographical detail on known historical figures in the Tapestry, arms and armor, 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’s 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 costume, obscenity and lewdness in the embroidery’s images, the dawn of heraldry, the appearance of Halley’s Comet in 1066 and its depiction on the textile, and replicas and works inspired by the Tapestry. Regarding the latter, this book should serve as a thorough resource for writings on the Overlord Embroidery, the Leek Embroidery by Elizabeth Wardle, the Keiskamma Tapes- try and Altarpiece, and 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 medieval times, are also frequently addressed in the literature. It is imperative to acknowledge previous efforts at gathering this body of work in a single bibliography. Most notably, Shirley Ann Brown compiled the frequently referenced The Bayeux Tapestry: History and Bibliography (1988) in which she cited 523 works and annotated 465. She provided a 115-citation update in The Bayeux Tapestry: Embroidering the Facts of History (2004) titled “Bib- liography of Bayeux Tapestry Studies: 1985-1999” and provided commentary on the scholarship in a chapter in the same book titled “The Bayeux Tapestry: A Critical Analysis of Publications, 1988-1999.” In The Bayeux Tapestry: New Interpretations (2004), Dan Terkla offered a 34- page bibliography titled “The Bayeux Tapestry: A Selective Bibliography.” Rich- ard Wissolik made notable contributions with his The Bayeux Tapestry: A Criti- cal, Annotated Bibliography with Cross-References and Summary Outlines of Scholarship, 1729–1990 and his 1995 update. The bibliographies included with major works on the Bayeux Tapestry have also contributed to the compilation of this work, including the most recently published bibliography on Tapestry studies in The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum (2011), edited by Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla. This 14-page listing of titles is a valuable and appreciated addition to the literature. Though limited to certain aspects of the embroidery, Carole Cable’s 1986 publication, The Bayeux Tapestry: A Bibliography of Books and Articles about Its Architectural, 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 libraries directly and through invaluable interlibrary loan services. We would like to extend special appreciation to Emory University Libraries, Georgia State University Libraries, Atlanta-Fulton Public Library System, Los Angeles Public Library, and Bibliothèque Municipale de Bayeux. The determination of Introduction xi which titles to annotate was based on availability and relevance of the work to current and future Tapestry scholarship. The literature of the Bayeux Tapestry, as with other areas of research, builds upon the diligent work of others. We hope this gathering of Tapestry scholarship and references will assist others in their 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 Tapestry, dated c.1075. Beneath a color image of a dining scene from the Tapestry, a brief narrative provides basic information about the embroidery including opus Anglicanum, Bishop Odo’s patronage, scholarship on where it was made noting both Kent and Normandy, and its intended setting. The text, which dates the work as c.1066–1082, also briefly mentions the men and women artisans employed in embroidery workshops and that they were Anglo-Saxon, Norman, and Breton.

2. “1066 and (Nearly) All That English Romanesque at the Hayward.” Bur- lington Magazine 126, no. 973 (1984): 195. This editorial, beginning with a quote from Sir Nikolaus Pevsner that suggests no other European 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. It reads, “The commercial advisors were understandably nervous about how to present such a show. The title ‘English Romanesque art’ is clearly unlikely to fire the public imagination, and the numerals 1066 will certainly do much for attendance figures. Yet it seems irresponsible to focus on Hastings in an exhibition which ranges from the Hebrides to the Empire but does not include the Bayeux tapestry; to conjure the Normans, when the evidence suggests that artistically it might make more sense to talk of a Mosan conquest; or to stress the disjunction of one battle, while it is

1 2 The Bibliography clear from current research that the continuities of cross-Channel contact both before and after 1066 were of far greater importance.”

3. “Acquisitions of the Art Museum 1976.” Record of the Art Museum, Princ- eton University 36, no. 1 (1977): 28–40. Included within several pages of listings representing acquisitions of paintings, sculpture, and drawings is an entry under “Miscellaneous” reading “Textile, copy of a section of the Bayeux tapestry, 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 the 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 slides from a collection given to the museum by former Hollywood film director William Keighley” and commentary for the series is given by Ori Z. Soltes of Princeton University.

5. “The Bayeux Tapestry.” Web page, Available at http://www.unesco.org/ new/en/communication-and-information/flagship-project-activities/mem ory-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 Nations Educational, Scientific and Cultural Organization (UNESCO) and this website provides information about the Tapestry’s selection, including several hard-to-find photographs of the Tapestry behind glass in its current installation allowing site visitors to see the installation’s display case, lighting, and the Tapestry displayed around its horseshoe curve.

6. “The Bayeux Tapestry.” Web page, Available at http://rubens.anu.edu.au/ htdocs/bytype/textiles/bayeux/. This site, at the Australian National University, offers no text about the Bay- eux Tapestry, however, viewers can choose from dozens of thumbnail images of Charles Stothard’s drawings of the Tapestry 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 the City of Bayeux. The first page offers a brief introduction noting the “manufacture of this work was, in all probability, entrusted to an Anglo-Saxon workshop supervised by Odon de Conteville, Bishop of Bayeux.” Title and text are provided in French, English, German, and Dutch. The Bibliography 3

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 about the museum’s location, hours, and special programs and exhibits. Several pages provide basic information on the Tapestry’s patronage, manufacture, history, and preservation. Notable is the page 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, NY who has installed 14 bowling games in the gallery at Bar- bican’s Curve. Arcangel has enlarged the video games to “something like five metres by five” and has projected them “side-by-side in a seamless chronological line.” The writer suggests that the installation is “a highly focused snapshot of 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 of Reading. It offers a brief history of Elizabeth and Thomas Wardle’s visit to Bayeux and the subsequent work of the Leek Embroidery Soci- ety in creating the replica. The provenance of the work is given with mentions of its touring days, the Small Town Hall (now called Victoria Hall), the Art Gallery, and the Museum of Reading. The Museum’s 1993 expansion allowed the replica to be permanently displayed. A scene from the replica is included.

12. “Campaign to Bring the Bayeux Tapestry Back to Britain.” The Tele- graph (2008). Notes: The article’s subtitle is “A campaign has been launched to bring the Bayeux Tapestry, one of the world’s great works of art, back to Britain for the first time in centuries, and put it on display in Canterbury Cathedral.” In advance of the summer 2008 conference on the Bayeux Tapestry at the Brit- ish Museum, this article discusses the idea of temporarily bringing the Tapestry to Britain for exhibition in the cathedral at Canterbury. Calling the embroidery the “most famous cartoon strip of history” and suggesting the United Kingdom should take advantage of French President Nicolas Sarkozy’s friendship, the article includes commentary from Michael Lewis, deputy director of the Brit- ish Museum’s Department of Portable Antiquities and Treasure, and George Beech, a Tapestry scholar and Professor Emeritus of history at Western Michigan 4 The Bibliography

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 was returned, it would be possible to display it among with the works that it was influenced by that would be a fabulous exhibition to have the tapestry displayed with the primary sources as far as we can ascertain them.” Beech muses on the challenges of such a move and the possible battle with the town of Bayeux. Shirley Ann Brown, professor of art history at York University in To- ronto, disagrees with the idea and is concerned about damage to the embroidery. The article points out that there have been two previous requests from England to the French government for a loan of the work, once for the Coronation of Queen Elizabeth II in 1953 and the other in 1966 for the 900–year anniversary of the Battle of Hastings; both were denied. Sylvette Lemagnen, curator of the Bayeux Tapestry, is quoted in the article as saying the decision belongs to the French state and its Ministry of Culture, not the Town of Bayeux, “It is exhibited in Bayeux but it does not belong to Bayeux town.” Includes an image of three children viewing a replica of the Tapestry, though the caption suggests it is the original work in 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 at http://www .precinemahistory.net/bayeux.htm. This website shows the entire Bayeux Tapestry in one continuous left-to-right scrollable page. The 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 Bay- eux Tapestry in the public library at No. 37, Place St. Sauveur: “As a record of historical events deeply interesting to every Englishman, it merits attention, while at the same time it is a curious specimen of early French art.” It also informs visitors that the Tapestry is 18 inches wide (we know it is indeed 20 inches) and that it was crafted by Queen Matilda and her court ladies. Also noted is Napoleon’s interest in the 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 presented to the beautiful Elgiva [sic], daughter of William the Conqueror, his promised wife,” and “Wise men of The Bibliography 5 the period foretell misfortunes to Harold by consulting the stars.” We also learn that one can buy 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 inquiry about Miss Linwood, the famous crewel painter, and the second is about the length of the Bayeux 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 the Bayeux Tapestry as Scolland, abbot of Mont St. Michel at the time of the Battle of Hastings. He asserts that the Tapestry’s mysterious image of a man sitting on a chair pointing at Mont St. Michel is Abbott Scolland himself. The article lists the pieces of evidence which Clark believes link the abbot to the Tapestry. Embedded in the article is an eight-minute video of an interview with Clark in which he expounds his points.

19. Emakimono: Tout Un Art a La Tapisserie De Bayeux Jusqu’au. 30 Decem- bre 2011. Rennes, France: Editions Ouest France, 2011. Notes: “Offert par votre journal.” This eight-page full color newspaper-style promotional and information piece provides articles and images relating to the Emakimono exhibit at the Centre Guillaume le Conquérant where the Bayeux Tapestry resides. Emakimono are long horizontal Japanese narrative picture scrolls dating from the 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 Loui- siana at Monroe titled “You Can’t Keep a Good King Down: The Death and Resurrection of Harold Godwinson, the Last Anglo-Saxon King.” The lecture was held on Thursday, February 8, 2007. At the time, Foys was an assistant professor of English at Hood College in Frederick, Maryland. The release, providing information on the Tapestry, notes that the Tapestry “is not meant to hang from a wall, but rather to box the walls around the observer, so that whenever a person enters the room with the tapestry, they see stories on every side, told in every direction: up, down, diagonal, across, and backwards.” Clau- dia Grinnell, an assistant professor of English at the university, is quoted in the release, which also mentions Foys’ recent work digitizing the Tapestry for the compact disc publication. 6 The Bibliography

21. Exploring the Middle Ages. Tarrytown, NY: Marshall Cavendish Refer- ence, 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 an enjoyable and informative reference for adults who want a quick overview of a topic. The two-page entry on the Bayeux Tapestry discusses the making of the Tapestry, its possible use as Norman 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 two photographs from the Tapestry and an index.

22. “France’s Bayeux Tapestry ‘Made in Britain.’” Birmingham Post (Eng- land) (2008). This brief article highlights a statement made by BBC History Magazine editor Dave Musgrove regarding the general consensus among historians today that the Bayeux Tapestry was likely made in Canterbury. The signs in the Latin script that point to it being written by someone of Anglo-Saxon background is also mentioned as is the similarity in imagery with illuminated manuscripts known to have been in the Canterbury library at the time. The piece concludes with a quote from Musgrove: “And wouldn’t it be amazing to have it shown in England where there is a very good chance it was made and wouldn’t that inspire people to get involved in medieval history? The crowds would come 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 Uni- versity, 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. on December 28, information is provided on Roger Sherman Loomis’ presentation on the Bay- eux Tapestry. It suggests that the three latest books on the Bayeux Tapestry are “burlesques on archaeological research.” Pointing out that “learned journals and standard works of reference contain serious errors regarding the date and provenance of the embroidery,” Loomis noted that the work was carried out by Anglo- Saxons and was likely completed within 10 years of the Norman Conquest. In his 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 the peculiar word forms in the inscriptions of the Bayeux embroidery. As for the date, both the resemblance of the costume to that shown in a manuscript completed before 1072, and the fall of Bishop Odo, the hero of the embroidery, a few years later, point to the years immediately following the victory at Hastings.” The Bibliography 7

24. “A Group of Historians Has Been Refused Permission to Exhume a Body From a Tomb in the Holy Trinity Church in Bosham, West Sussex, Believed to Be the Final Resting Place of Harold II.” History Today (2004). This short blurb announces a decision to deny a request to exhume the remains that were thought to be Harold’s. It explains that the team of historians “wanted to compare DNA from the headless, legless body in the coffin with that taken from descendants of the last Anglo-Saxon king.” The author continues, writing that the “discovery of the tomb in 1954 sparked fresh debate over Harold’s burial site previously thought to be Waltham Abbey in Essex with historians claiming that the Bayeux Tapestry suggested Harold was laid to rest Bosham, where he is thought to have worshipped in his 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’s fondness for hawking seems to have been excessive, for in the words of an old manuscript, ‘Every day after the divine service he took to this beloved sport;’ while the cause of Harold’s unfortunate voyage to Normandy is by some writers attributed to the straying of a favourite falcon, which he was anxious to recover. In the Bayeux tapestry . . . he is represented as embarking with a bird on his hand and a dog under his arm; and in an old picture representing the marriage of Henry VI, a nobleman is represented much in the same manner.”

27. “Hospital to Display Tapestry.” Evening Gazette (Middlesborough, Eng- land) (2003). This is a short piece reporting on the display of a “reconstruction of the last missing eight feet of the world-famous Bayeux tapestry” at the James Cook Uni- versity Hospital in Middleborough. Claiming that the end panels of the Bayeux Tapestry were “torn off . . . at some point during its 900-year history,” the article notes that the reconstructed tapestry was purchased by the Healing Arts Project from the Royal Armouries in Leeds. The Healing Arts Project aims “to promote health and healing with the arts and the environment.” The article concludes by referencing the unveiling of another 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 humor- ously documents his trip to Bayeux with his family to find one of his ancestors in the Tapestry. His narrative details his trip through the Bayeux Tapestry Museum as he muses whether various figures in the embroidery might bear a resemblance 8 The Bibliography to him. He references the Aesopian fables, “Pahedrian stuff,” the decorative borders, its first display in the nave of the Bayeux Cathedral, and force-de-frappe or armored mounted knights. Finally, he seems to spot a relative: “My wife saw him first. Depicted in the needlework tableau, seated seventh from the front in one of the ships and watching a man put up a sail, was my twin. Corpulent, balding and sporting a nutcracker chin and a slobbish mien, quite clearly we shared the same gene pool. That we were related was confirmed when the same tubby appeared in a later scene, serving a feast.”

29. “An Idea Born in the Bayeux: Women Weave History of Newfoundland’s French Shore.” The Beaver: Exploring Canada’s History (2009). This article tells the story of Newfoundlander Joan Simmonds who developed a plan to create a tapestry depicting the history of the province’s French Shore. The inspiration came from French-born artist Jean Claude Roy and his wife Christina Roy. The project entails Jean Claude Roy providing drawings on paper of historical events. The drawings are then photographed, projected onto stretched linen, and then traced in pencil. The needlework is done by six women. The articles notes that the material in the tapestry is “Jacobean linen from Scot- land.” The yarn is Appleton crewel. Planned scenes included animal life, early aboriginal culture, arrival of the Vikings, and the coming of Basque fishermen in the early 1500s. At the time of the article, the women expected it to be completed by 2010 and intend to display the work at the French Shore Interpretation Centre in Conche. A tour across Canada and perhaps Europe is also desired. Simmonds traveled to Bayeux in 2005 to see the Tapestry 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 Bayeux Tapestry. This 20-page booklet is principally devoted to telling the story depicted in both the Bayeux Tapestry and the facsimile on display at the Reading Museum and Art Gallery. However, there is brief narrative on both works. The first, titled “Some Notes on the Original Bayeux Tapestry,” reviews the basics of the work: its home, at the time, of the Old Archbishop’s Palace at Bayeux, the patronage of Bishop Odo, its attribution to Queen Matilda and the ladies of her court, and its construction. It notes the quantities of 1512 various objects: 623 people, 202 horses and mules, 55 dogs, 505 other animals, 37 buildings, 41 ships and boats, and 49 trees. The Latin inscriptions are also mentioned. Describing the original work, the booklet’s author writes, “The drawing is somewhat crude, and perspective, light and shade are almost disregarded. Nevertheless, the composition is bold and striking, and the original preparation must have been a costly The Bibliography 9 and very laborious enterprise.” An additional note reads “Many drawings and photographs of the Tapestry are on exhibition both in England and abroad, but the FACSIMILE in the Reading Art Gallery is thought to be the only one in the world, worked with worsteds.” The one-page narrative on the facsimile notes that it “was made by hand from tracings of water-colour drawings of the original Tapestry, by kind permission of the Victoria and Albert Museum authorities.” It continues, remarking on the women who created the work, “Thirty-five ladies (including five members of the Wardle family) mostly from Leek in Stafford- shire, commenced and completed this needlework task in 1885–6. The worsteds were accurately and specially dyed for the purpose by Thomas Wardle, F.C.S., F.G.S.” It also notes that the names of the workers are embroidered on the facsimile and are also included at the end of the booklet. In this list, only their last names with titles (Miss or Mrs) are offered. The last names are: Allen, Bate, Bentley, Bishop, Clowes, Challinor, Cartwright, Eaton, Frost, Gwynne, Gillett, Gater, Garside, Haynes, Iliffe, Lowe, Lunn, Lavington, MacKenzie, Parker, Pearson, Pattison, Ritchie, Smith, Turnock, Worthington, Watson, and 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 of Reading in 1895 and his presentation of the work to the Borough of Reading. The occasional loans of the work to galleries in Britain, the Channel Islands, and South Africa are also noted. This narrative also includes a list of “books and guides to the Bayeux Tapestry” that includes Rev. John Collingwood Bruce, Frank Rede Fowke, Elizabeth Wardle, Hilaire Belloc, and Eric Maclagan. The section ends with an explanatory note: “The figures in this little guide are from line drawings and are not strictly accurate in small details.” Interestingly, Elizabeth Wardle, a.k.a. Mrs. Thomas Wardle, is hardly mentioned in the entire booklet despite her major role in the facsimile’s creation. The booklet 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 “occasioned considerable controversy in this disputatious world,” the Bayeux Tapestry is mentioned for its inclusion of the chain stitch and the long stitch. Here, the Tapestry is also described as “not remarkable for craft.”

32. The Keiskamma Altarpiece: Embroidery, Beadwork, Wirework, Photo- graphs, Wood, Hope. Chicago: St. James Cathedral, 2008. This 12-page color brochure was created for an exhibition of the Keiskamma Altarpiece at the St. James Cathedral in Chicago from March 27 through May 11, 2008. The brochure tells the story of the Keiskamma Art Project and the inspiration for the Altarpiece as well as detailed descriptions of the panels divided by each layer: Crucifixion, Resurrection and Reality. This work, which includes 10 The Bibliography embroidery, is related to the Keiskamma Tapestry, a monumental work inspired by the Bayeux 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. The 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 Me- dieval: A[n Intermittently Updated] Tonic for the Slipshod Use of Medieval European History in the Media and Pop Culture (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. Hannah was a professor of history at Oberlin College and author of several books on art and history. The text indicates his presentation is on the Bay- eux Tapestry and that he has conducted research in Irish medieval architecture.

36. “Notes Sur L’État De Conservation De La Tapisserie De Bayeux.” Comptes-Rendus Des 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. 3 (1892): 99–100. This short but spirited article informs readers why the Bayeux Tapestry is so “interesting.” “Queen Matilda, shut up in her lofty tower, beguiling the weary hours . . . [depicts] with her active needle” the story of her husband’s conquest of England. Some writers, notes the author, assert that Empress Matilda, daughter of Henry I created the Tapestry, but the author gives evidence in favor of the Queen 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 and curious representations, multi-colored horses, and the bold use of threads which show “great truth and force of expression.” The author points out that a frieze of the Tapestry may be viewed at the South Kensington Museum, but to see the original, one must go to the cathedral at Bayeux, where it is “rolled out by a process like drawing up a bucket from a well.” Three other known eleventh-century English embroideresses are listed by name. Commentary is made on Anglo-Norman ladies’ costume and body altera- The Bibliography 11 tions, such as dyeing their hair yellow and “fasting and bleeding themselves to make 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 Had Prevented the Battle of Hastings.” The Telegraph Online (2012). In a short, humorous blurb, the writer reports on a Conquest reenactment having been canceled in East Sussex due to inclement weather. He then notes that, “If the heavy Norman horses we see on the Bayeux tapestry had wallowed in a muddy Sussex valley, things might have turned out better for King 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 the inhabitants of Wantage, the author points out that the sculptor, H. S. H. Count Gleichen had only “traditional descriptions of the King’s personal appearance, and, for costume, the assumed dresses 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 among the oddest people” and names both Napoleon and SS leader Heinrich Himmler as having significant interest in the embroidery. Then, the writer suggests there is a new “twist”: the BBC History Magazine’s reporting of the Tapestry being a product of Canterbury and not France. The piece 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 and Furnisher 2, no. 5 (1883): 156. Here, the author comments on furniture in the Anglo-Saxon house, writing “The Anglo-Saxon house, as pictured in illuminations of the times, consisted of one story, and composed generally of only one room. The addition of a second was rare before the Norman Conquest. The furniture of the room was made up of a heavy table, sometimes fixed, on which the residents in the house and the guests slept. A bedstead was occasionally reserved for the mistress of the house. 12 The Bibliography

Bedsteads, when used by the women or the lord of the house, were enclosed in a shed or enclosure upon the principle of the modern canopy or hanging. In the Bayeux tapestry a bed roof is tiled, and the framework shut in with curtains. In sleeping upon the table bags of straw were used to lie upon.” The article includes a drawing of an 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 and is accompanied by a brief interpretive statement on every page in six languages. A very short 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 for the late ninth century with the caption “A typical warship used by Vikings and Normans as depicted in the Bayeux Tapestry.” Later, an image of Norman knights from the Tapestry is included in the early eleventh century. A section on battle maps includes a color map of the Battle of Hastings along with 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 into English by Heather Costil. This full-color heavily illustrated souvenir booklet provides background information on Viking culture, society, history, language, and exploration. The Bayeux Tapestry is mentioned in a caption to a photograph of the Tapestry’s ship-building scene. Includes a key on how modern English speakers should pronounce Old Norse letters.

49. Weapon: A Visual History of Arms and Armor. New York: DK Publish- ing, 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 parodies online in their “History for Music Lovers project on The Bibliography 13

YouTube.” This video, based on the song “Sexyback” by Justin Timberlake, uses images from the Bayeux Tapestry in its graphics. Lyrics (subtitled) include “Tap- estry, its length in meters measures 70. Embroidered linen tells the story, the 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 tale (Norman invasion). Connected panels (brought feudalism). 731 (Norman invasion) pics of animals. (Brought feudalism) Commis- sioned 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-deserted streets and . . . two of the worst inns in France,” introduces readers to the Bayeux Tapestry, a work “executed by the natives of the town.” He gives a physical description of the work and recounts key events in its history up to that point, including its mention in the 1476 cathedral inventory, its “rediscovery” in the early eighteenth-century, the hazards it faced during the Revolution and the Franco-Prussian War, Napoleon’s interest in it, and its then- present hanging and supervision by the town librarian. Includes five of Charles Stothard’s drawings and one photograph of the replica of the Tapestry made by the Leek Embroidery Society completed in 1886.

55. Abels, Richard. “Bookland and Fyrd Service in Late Anglo-Saxon Eng- land.” The Battle of Hastings: Sources and Interpretations. ed Stephen Mo- rillo, 57–77. Woodbridge, U.K.: The Boydell Press, 1996. Notes: Part of the Warfare in History series, volume 1, Matthew Bennett, general editor. Series also cited as Warfare in History: Sources and Interpretations in British Library Cataloguing-in-Publication data. Abels presents a study of relationships created by military obligation (fyrd service) and bookland tenure (land holdings by royal charter) in eleventh-century England. Through the lens of Abels’ conclusions, Harold’s army in the Battle of Hastings is discussed in an addendum. He notes that Harold’s army was not “merely a gathering of bookholders and the military representatives,” but it “reflected the three main sources of military obligation at the time: royal lordship, personal lordship and land tenure.” Abels adds “Harold’s army may well have 14 The Bibliography resembled William’s as closely in the ties 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 Eng- land. 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-Brode- rie De Bayeux.” Normannia 2 (1929): 483–518.

58. ———. “Sur La Signification De La Tapisserie De Bayeux.” Revue Catholique D’Histoire, D’Archeologie Et Litterature De Normandie 35, no. 2 (1926): 122–28.

59. Abrams, Lesley. “England, Normandy and Scandinavia.” A Companion to the Anglo-Norman 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 of 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 University 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 designations based on geography, centuries, and artists. The Bayeux “Tapestry,” a creation of Norse mentality, is given extensive treatment by Acker- man. She discusses issues of the Tapestry’s patronage and provenance, admitting that identifying the patron is problematic and that the country of manufacture is equally difficult to finalize, but it is “of no importance at all in this case,” as it is essentially Norse anyway. Pursuing the Norse angle, she compares the Tapestry to other Norse embroideries, and in this discussion arrives at a twelfth-century manufacture, which rules out Odo as patron, although she does not attempt to bring these two issues together. Norse law, she notes, revolved around the de- pendability of the oath, another Norse element in the work. The author discusses the appearance in the Tapestry’s border of a golden and a dark red cock, which are Norse heralds of doom; another cock, the one being placed atop the church for the Confessor’s funeral was a symbol of fate and finality. The Norse concept of fylgja, animal guardian spirits indicative of one’s character, manifests itself in The Bibliography 15 the Tapestry as Harold’s recurring hawks on his wrist and as decoration on his buildings and furniture, as “leopards” for William, lions for King Edward, and geese for Turold. Ackerman identifies the Tapestry’s Turold as the tall constable to the left of his name. She observes that the Norman Conquest is predicted in the Tapestry where in the border at the start of the Battle of Hastings, a cat seizes a bird. The significance of other creatures is noted: peacocks as ill omens, and the bull-man, known to the Norse through Eastern lore, which symbolized inescap- able death. The Norse, she claims, looked to Byzantium for “how a king should build his home,” which is evident in the Tapestry. Also discussed at varying lengths, and not necessarily for their Norse-ness: the Tapestry’s horses, ships, the Mora, 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 reversed. The author provides one photograph of the Tapestry as well as one of the seventeenth-century Norwegian Tapestry, “The Adoration of the Magi,” which Ackerman discusses in her Bayeux Tapestry 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 Bay- eux Tapestry: “Of the exact nature of the knighting ceremony in use during the early years of the feudal period not much is known. One panel of the Bayeux Tap- estry, 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 that Duke William is engaged in fastening the young king’s helm.” His notes refer to Frank Rede Fowke’s 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 Publishers, 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 His- torical Society, presents in a popular tone the detailed histories of nine palaces in Britain. The Bayeux Tapestry is given a paragraph for its depiction of Edward the Confessor’s palace, and the author attempts to interpret 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 Nor- mans. London: Hodder and Stoughton, 1965. In his “story of the tide of public affairs that brought a foreign king and a foreign aristocracy to rule over eleventh-century England,” Adam gives a scholarly overview (in a conversational tone) of the politics, warfare, and government 16 The Bibliography associated with the Norman conquest. He makes several references to the Bay- eux Tapestry as a fairly reliable authority on topics such as the size of the ships in the Norman invasion fleet, arms and armor, and episodes within the Battle of Hastings. The author cautions that the Tapestry is “elaborate and stylized, and pay[s] more attention to picturesque incidents than to the sequence of events,” yet it is “fundamental to an understanding of Norman 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 its chapter on Romanesque art. The book’s preface lists learning supplements for students, including free online quizzes to accompany each chapter; the chapter ten quiz includes four multiple-choice 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 1 (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 Recog- nition and the Origins of Heraldry.” Medieval Knighthood IV: Papers From the Strawberry Hill Conference 1990. eds 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 popular, and inaccurate, image of a medieval knight has him in shining armor with a heraldic shield. He briefly 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 Pictures. Manchester: Sankey, Hudson & Co., 1935. Notes: “An All British Production.” Alternate title: The Story of Saxon and Norman Britain Told in Pictures: Over 460 Illustrations Depicting the History of Britain in Saxon and Norman Times. Part of 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 of picture dictionary for medieval England, arranged by such topics as jewelry, costume, Viking ships, architectural details, Norman artillery, justice, musicians, sports and pastimes, and many others. Each of the three chapters (Anglo-Saxons, Vikings, Normans) begins with an informative summary of the characteristics of each society. Most of the drawings of the buildings, ships, and artifacts are based on archaeological evidence, and those taken from manuscripts The Bibliography 17 and the Bayeux Tapestry are so credited beside each drawing. Additionally, one full page presents drawings of Tapestry scenes, resembling Montfaucon’s renderings. Includes a text-only glossary.

70. Albu, Emily. “Normans in the Bayeux Tapestry: One Mystery Solved.” Anglo-Norman Anonymous 7, no. 3 (1999).

71. ———. The Normans in Their Histories: Propaganda, Myth and Subver- sion. Woodbridge, U.K.: Boydell Press, 2001. Albu briefly discusses the “elusive meaning of pictures that demand interpretation” in the Bayeux Tapestry that may have caused William the Conqueror discomfort upon seeing them. The various Aesopic fables that appear in the Tapestry’s borders are studied in detail for their commentary on the events in the main frieze. Includes 18 black-and-white photographs of the images discussed, works cited, and a bibliography. Albu is associate professor of classics at the University of California at 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 Bayeux Tapestry as an invaluable source of information for historians and students. Alderman notes 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 “probably done by English needlewomen.” Additionally, he discusses the depiction of Halley’s comet, the costume of civilians and soldiers, ships, and period architecture. The dust jacket features a battle 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 Press, 1970. Citing Stenton, Alexander suggests that the while little can be learned of the church’s appearance from the earliest representation of it, the Bayeux Tapestry, the “system of support seems to be alluded to and to have caught the artist’s attention.” Includes bibliography, an index of manuscripts, and a general index.

75. Alexander, Jonathan J. G. “Medieval Art and Modern Nationalism.” Medieval Art: Recent Perspectives: A Memorial Tribute to C.R. Dodwell. eds Gale R. Owen-Crocker, and Timothy Graham, 206–23. Manchester, U.K.: Manchester University Press, 1998. Notes: Distributed in the U.S. by St. Martin’s Press, New York. 18 The Bibliography

76. Alexander, Mark. “The Keiskamma Tapestry.” Web page, Available at http://www.southafrica.info/about/arts/keiskamma-tapestry.htm.

77. Alexander, Michael, ed. The Earliest English Poems. Harmondsworth, U.K.: 1966.

78. Alexander, Michael Van Cleave. Three Crises in Early English History: Personalities and 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 off course by a storm, certainly not on the famous Bayeux Tapestry, it is difficult to avoid the conclusion that Harold deliberately avoided the Norman coast and planned to reappear in Rouen for reasons beyond his control. If that was his actual intention, it was wrecked by the fact that William was soon aware that Guy had Harold in his custody.” Includes a list of titles for further reading, extensive notes, 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. One 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 “fasci- natingly accurate in every respect” and that “nowhere on it does there appear a coat of arms, credible evidence that such 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 Bayeux 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, Al- len observes how these things (such as swords, arms, rings, keys, relics) possess their own “thingness” and “perform their being rather than possessing it as a set of fixed properties.” She examines the feudal implications of the arms-giving scene from the Tapestry and notes that gifts “‘want’ to be used . . . [and] be en- The Bibliography 19 joyed in the using, for in being so used their ‘thingness’ becomes apparent, their reality intensifies.” The significant role of right hands in the Tapestry is studied, as is the “object” of touch, as when the dying 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. 3 (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 the Museum of London (The Medieval Warhorse: From Byzantium to the Crusades, London, 1994) and her mention of the Bayeux Tapestry. He writes, “By the eleventh century, the art of horse breeding was long established in Byzantium and especially in the Arab countries where there was a wealth of established breeds suitable as warhorses. However, at this time in Europe selective breeding appears to have been only just beginning, with few references in the available literature to breed provenance, the exception being some Spanish sources. Ann Hyland comments that the Bayeux Tapestry provides a rough guide to the European type of Norman warhorse, the size confirmed by her own researches into 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’.” Includes extensive notes, bibliography and index.

84. American Commission for the Protection and Salvaging of Artistic and Historic Monuments in Europe. “Protecting Europe’s Cultural Monu- ments.” Magazine of Art 37 (1944): 192–208.

85. American Museum of Natural History, Columbia Broadcasting System, and New York Pro 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, 1956 as part of the CBS/American Museum of Natural History television series. The historical narration is presented by Sir Pierson Dixon, a historian and the U.K. Ambassador to the United Nations. The New York Pro Mu- sica Antiqua performs music to accompany the action depicted in the Tapestry.

86. Amt, Emilie, ed. Medieval England 1000–1500: A Reader. Peterborough, Ontario: Broadview 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 Bayeux Tapestry, 1985. She prefaces the actual translation with a 20 The Bibliography brief paragraph on the embroidery. Nineteen scenes are included. Amt also offers questions for students: they address the story, evidence of a Norman viewpoint, comparison with the Anglo-Saxon Chronicle, eleventh-century warfare, and how the Tapestry reveals information about material culture and everyday life. Amt is the Hildegarde Pilgram Professor of History at Hood College in Frederick, Maryland.

87. Amyot, Thomas. “A Defence of the Early Antiquity of the Bayeux Tap- estry.” Archaeologia 19 (1821): 192–208. Notes: also cited as 1819

88. Anderson, John D. “The Bayeux Tapestry: A 900–Year Old Cartoon.” The Classical Journal 81, no. 3 (1986): 253–57.

89. Anderson, Romola, and Roger Charles Anderson. The Sailing-Ship: Six Thousand Years of History. New York: Bonanza Books, 1963. Notes: In the “Preface to the New Edition,” the authors indicate that the book was first published in 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 ships from 900 to 1100, the Andersons write that the ships of Harold and William “seem to have been simply enlarged copies of the Gokstad ship.” They go on to describe the Tapestry as a “rather unsatisfactory source . . . made at least fifty years after the Norman invasion by ladies who possibly 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 or directions by someone who did understand what he was doing.” A discussion follows on the Tapestry’s depiction of Harold’s ships and how they all have a break in the line of the side amidships. They contrast these images with a representation of a similar ship on the seal of La Rochelle in France. Two black-and-white images of ships are included as well as an image of the La Rochelle seal. Includes an index.

90. Andrew, Dolores M. Medieval Tapestry Designs. Owings Mills, MD: Stemmer House 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 images from the Bayeux Tapestry, the Unicorn Tapestries, the St. Gereon Tapestry, and other works. In her introduction, she discusses at length the misrepresentation of both tapestry and embroidery. She mentions both the Bayeux Tapestry and the Overlord Embroidery. The book also offers a short list of tapestry collections on view in various museums around the world as well as a detailed list of sources for each of the images. The Bibliography 21

91. Anonymous. “A Propos De La Tapisserie De Bayeux.” Bulletin Monu- mental 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 notably 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 De 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. At its masthead is a square white banner on which is a gold cross, with a blue border, surmounted by another cross of gold. His ship is larger than any of the others as befits a king’s ship. The prow is ornamented with a lion’s head and at the stern is the image of a boy blowing a horn and holding in his left hand a gonfalon. She was named ‘Mora’ and was a present from his wife.” He also discusses the 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 and Places series, volume 21, Glyn Daniel, general editor. In this general survey of the Viking period, Arbman writes in his introduction about development of arms and armor noting that the shields and mail-shirts of the Bayeux Tapestry “are not typical of the early Viking centuries; the pointed shield and very long mail-shirt have replaced the earlier round shield and short byrnie found in the pictures of warriors on the Middleton stones, though those suggest that a close-fitting pointed helmet with nose and cheek guards was being used by Vikings in the West already at the beginning of the tenth century.” Includes index and several black-and-white plates with 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. World History of Warfare. Lincoln, NE: University of Nebraska Press, 2002. The authors offer “fresh views” in this reinterpretation of warfare history, including non-Western material, from Middle Kingdom Egypt through late twentieth-century conflicts. The authors attempted to include enduring common themes in their respective chapters: the idea of war, the experience of total war, the 22 The Bibliography impact of technology, and the experience of the soldier. In his chapter “European Chivalry and the Rise of Islam,” two images of Charles Stothard’s rendition of the Bayeux Tapestry are used to illustrate the author’s point that the Tapestry’s upended warhorses “might well prompt us to rethink the efficacy of foot against mounted shock combat.” An image of Norman archers in the Tapestry is for some reason inserted several pages deep into a discussion of Muslim military establish- ments. 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 tradition 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 Ro- mance.” The Study of Chivalry: Resources and Approaches. eds Howell Chickering, and Thomas H. Seiler, 263–311. Kalamazoo, MI: Medieval In- stitute Publications, Western Michigan University, 1988. Notes: Published for The Consortium for the Teaching of the Middle Ages, Inc. Commenting on the use of the lance, Ascherl notes in her section on the mechanics of combat that “A couched lance, that is, a lance held stationary under the armpit, appears in illustrations of the tenth century. But in the Bayeux Tapestry some knights are charging with lances and some are throwing javelins, and it was not until about 1130 that knights consistently charged with their lances. When using a weapon on horseback, it would ordinarily have been easier to slash than to thrust, but the force of the knight’s thrust with the lance was provided quite literally by horsepower.” Includes extensive notes and a suggested reading list arranged by subject.

100. Ashdown, Charles Henry. European Arms & Armor. New York: Barnes & Noble, 1995. Notes: Also on title page: “Illustrated with 450 engravings in the text and 42 plates from actual examples, missals, illuminated mss., brasses, effigies, etc., and from original research in the British Museum, the Tower of London, Wallace Collection, Rotunda at Woolwich, many private collections, etc.” Published by Brussel & Brussel, New York in 1967. In a chapter on the Norman period to 1180, Ashdown writes that the subject of arms and armor in England becoming more exact following the Conquest is “chiefly owing to the Bayeux Tapestry, to the multiplication of manuscripts, carvings in ivory and metal, and the records preserved upon seals.” He goes on to The Bibliography 23 note that “The date of the famous tapestry has long been a matter of dispute, but it is universally agreed that if it was not woven by Matilda and her handmaidens it was certainly begun and completed within fifty years of the Conquest. Hence its reliability is undoubted upon contemporaneous arms and armour.” In this chapter, Ashdown references the embroidery many times in discussions of lances, pennons, and bows. With respect to the latter, he writes, “At the battle of Hastings the Normans appear to have been extremely well provided with bowmen, in con- tradistinction to the Saxons. The Conqueror is said to have reproached the latter for this omission, but archers appear in the ranks of the Saxons on the Bayeux Tapestry, grouped in small numbers among the axemen, and the arrow-heads of iron are occasionally found in Saxon graves.” Regarding body armor, the author delineates seven different kinds for which he provides drawings, descriptions, and commentary on each. They include the ringed byrnie, interlinked chain or scale armor, iron rings lying upon leather or padded material, and the ordinary markings used for the Gambeson (or Wambeys). Includes a detailed index.

101. Ashe, Laura. Fiction and History in England, 1066–1200. Cambridge, U.K.: Cambridge University Press, 2011. Notes: Paperback. Part of the Cambridge Studies in Medieval Literature series. First published in 2007.

102. Ashley, Maurice. The Life and Times of William I. London: Weidenfeld and Nicolson, 1973. Notes: Introduction by Antonia Fraser. Dating the Tapestry as commissioned “about twelve years after 1066” by Bishop Odo, Ashley notes that it has been relied upon by many biographers of William as “a relatively impartial description of events.” He highlights the debate among scholars over where Harold took the oath: Rouen, Bayeux, or Bonneville- sur-Touques near Lisieux. Additionally, Ashley mentions the “well-worn legend” of Harold being killed by an arrow landing in the eye and the stylized portrayal of William in the Tapestry. There are several images from the Tapestry, including the endpapers.

103. Aslet, Clive. The English House. London: Bloomsbury, 2008.

104. ———. Villages of Britain: The Five Hundred Villages That Made the Countryside. London: Bloomsbury, 2010. Notes: Aslet, editor-at-large of Country Life magazine and an architectural writer, mentions the Bayeux Tapestry in his entry titled “Bosham, West Sussex: Where King Harold Had a Hall.” He writes, “An image of the church features in the Bayeux Tapestry. The future King Harold, who owned a manor here, is portrayed riding up to it, a hawk on his wrist and a pack of hounds in front of him. He is about to set out across the Channel, on the mysterious but certainly 24 The Bibliography disastrous expedition of 1064, which left him shipwrecked on the Normandy coast. (While Harold was being entertained by Duke William, the latter tricked him into swearing away the succession over a hidden box of holy bones.) The lower part of the tower and the chancel arch survive from the church Harold knew. While the needlewomen showed the ‘Ecclesia’ diagrammatically, they used the name Bosham, unusually spelt the same way as today.” Includes a black-and-white image of the chancel arch with the caption noting the church was “stitched into the Bayeux Tapestry.” Includes a list of titles for further reading and an index.

105. Aubert, Marcel. “La Broderie De Bayeux, Dite Tapisserie de La Reine Mathilde, Par Jean Verrier.” Bulletin Monumental 104 (1946): 134. Aubert reviews the points made by Verrier in his 52-page 1946 publication.

106. ———. “Decorative and Industrial Arts.” The Legacy of the Middle Ages. eds C. G. Crump, and E. F. Jacob, 123–46. Oxford, U.K.: Oxford University Press, 1969. Notes: Originally published in 1926. Part of The Legacy Series. Aubert, a Louvre curator and notable architecture and sculpture historian, states that medieval industrial arts “do not hold their due place in the history of art” as they were “too tempting or too frail to survive the threatening hands of many generations.” On the topic of embroidery, the author discusses the significance of the famed opus Anglicanum, which was exported to all Christendom. The author notes that the style, details of dress, armor, and the “lettering of the legends” of the Bayeux Tapestry (“attributed to Queen Matilda,”) point to an English workshop, and was probably “made for William’s half-brother, Eudes de Courteville [sic], whose figure continually appears in the foreground.”

107. Ayers, Tim. The History of British Art, Volume 1: 600–1600. New Haven, CT: Yale Center for British Art/Tate Britain, distributed by Yale University Press, 2009. In her introductory “Ideas and Images of Britain, 600–1600,” Jane Geddes uses the Bayeux Tapestry and Edward I’s castles as examples of symbols of identity on a national level “deliberately created to distinguish the owner or bearer.” She labels the Tapestry as a self-conscious work of propaganda. Later she points out that it is “poignant that the undoubted Anglo-Saxon artistic talent of this period is represented by a national icon of the Norman victor.” Philip Lindley references the embroidery in section 5, “The ‘Artist’: Institutions, Training and Status.” He notes that it “must have been embroidered by a whole team of craftswomen, but is generally thought to have been designed by a male artist.” Finally, Kay Staniland, in her article “English Medieval Embroidery,” cites the Tapestry as a representative of a “sizable group of lost but recorded embroidered wall hangings that were probably worked on cloth and silk as well as linen, using various stitching tech- The Bibliography 25 niques.” The volume also includes Richard Gameson’s “The Bayeux Tapestry,” cited and annotated separately.

108. Ayton, Andrew. “Arms, Armour, and Horses.” Medieval Warfare: A History. ed Maurice Keen, 186–208. Oxford, U.K.: Oxford University Press, 1999. Ayton indicated that the difference in total weight of human and equestrian armor borne by warhorses in the fourteenth-century was about 100 pounds more than the weight carried by eleventh-century horses. Therefore, the “warhorse of the later middle ages needed to be more substantial than those which are so vigorously depicted in the Bayeux Tapestry.” He later adds that the well-bred Norman horses “were celebrated with such verve in the Bayeux Tapestry.” A discussion of naval horse transport in the Hundred Years’ War is preceded by a nod to Duke William’s shipping of warhorses as depicted in the Tapestry. Includes a list of further readings.

109. Babington, Audrey. Creative Wall-Hangings and Panels. New York: Arco Publishing, 1982. The first paragraph of Babington’s introduction is devoted to the Tapestry. She writes that “Although the colours have faded slightly, considering its enormous length it is in a remarkable state of preservation, a fact which should give encouragement to anyone embarking on a less ambitious wall-hanging today.” This book is heavily illustrated and includes an index. The final chapter offers care and preservation measures.

110. Bachrach, Bernard S. “Caballus Et Caballarius in Medieval Warfare.” The Study of Chivalry: Resources and Approaches. eds Howell Chickering, and Thomas H. Seiler, 173–211. Kalamazoo, MI: Medieval Institute Publica- tions, Western Michigan University, 1988. Notes: Published for The Consortium for the Teaching of the Middle Ages, Inc. Describing the Tapestry as “among the most forthcoming sources for many aspects of military life, including the horses of the period before the first crusade,” Bachrach makes multiple references to the embroidery. He suggests that the horses of William the Conquerer, as depicted in the Bayeux Tapestry, “were a breed of rather large and heavy equines” and the head, compared with the rest of his body, “seems to have been disproportionately small.” However, Bachrach acknowledges that “Although the designer of the Bayeux Tapestry generally cannot be relied upon to have provided lifelike proportions when executing fortifications and ships in relation to men and horses, his efforts in regard to the rider and his mount often strike the viewer as reasonably realistic.” He goes on to describe what he believes is a good example, “a mounted fighting man from William’s army engaging a housecarls who is wielding the often-celebrated 26 The Bibliography two-handed Danish axe.” Bachrach analyzes the proportions in the Tapestry between men, horses, and weapons in great detail and notes that his analysis is affirmed by “many manuscript illustrations and sculptures from throughout the Middle Ages.” A discussion of the weight of the horses is also offered. Later, Bachrach writes about the couched lance technique and explains how some men depicted in the Tapestry are thrusting their lances underhand, some thrusting overhand, some preparing to throw; and others use the couched position. He notes that “The experimental nature of the couched lance position is provided with a kind of quantitative support from the Bayeux Tapestry itself, where, of thirty-five mounted figures depicted in combat with long-shafted weapons, thirty are seen to be thrusting or preparing to throw them, and only five are seen in the couched position.” He then speaks to Orderic Vitalis’ writing on the subject c. 1140. Rep- resentation of stirrups in the embroidery is also part of his narrative. In his notes, Bachrach refers to Brooks and Walker, Stenton, and Mann. At the end of the article, he offers questions for students. Notably, the article includes three freehand illustrations of Tapestry scenes by Benjamin Chickering; one of these images is also an embossed image on the book’s cover. His initials and “85” appear on two of the black-and-white drawings. The book’s pages of acknowledgments mention this contribution to the work. No reference however is made to his relationship to the book’s editor Howell Chickering.

111. ———. “On the Origins of William the Conqueror’s Horse Transports.” Technology and Culture 26, no. 3 (1985): 505–31. Notes: Published by Johns Hopkins University Press on behalf of the Society for the History of Technology. In this lengthy and very thorough article, Bachrach examines the technology that William the Conqueror needed to transport 2,000 to 3,000 horses across the English Channel. In order to validate or repudiate the Bayeux Tapestry’s authority on how this transport actually happened, Bachrach turns to the conclusions from the well-known 1967 Ladby ship experiment conducted by archaeologists who constructed a ship like those in the Tapestry and put a horse on it to see if it could be disembarked in the same way shown in the Tapestry. Includes a photo from this experiment. The author points out various inconsistencies between the Tapestry’s event and the experiment; nevertheless, the experiment did indicate that what the Tapestry shows was somewhat possible, although the ships in reality could not have been constructed like those depicted in the Tapestry. He then makes the substantial argument that the Normans derived naval horse transport technology from the Byzantines, with whom the Normans came into contact in Italy. Includes 82 references.

112. ———. “The Origin of Armorican Chivalry.” Technology and Culture 10, no. 2 (1969): 166–71. Notes: Published by the Johns Hopkins University Press on behalf of the Soci- ety for the History of Technology. The Bibliography 27

Citing Frank M. Stenton, Bachrach discusses the similarities in how the Nor- mans and Bretons were armed in the late eleventh century. He suggests the Bay- eux Tapestry supports the assertion that they were armed in the same manner. He writes, “This suggests that no technical differences in arms and armor account for what seems to have been a difference in the twelfth century between the tactics of the Normans and those of the Bretons. If it is valid to trace the origin of Breton tactics to the Alans, then the Breton equestrian tradition is far older than that of either the Normans or the English, who are descended from the Vikings and the Anglo-Saxons.” Includes extensive notes.

113. ———. “Some Observations on the Bayeux Tapestry.” Cithara: Essays in the Judeo-Christian Tradition 27, no. 1 (1988): 5–28.

114. Backhouse, J., D. H. Turner, and L. Webster, eds. The Golden Age of Anglo-Saxon Art 966–1066. London: 1984. This significant handbook of Anglo-Saxon art presents a photograph (some in full color) and an article on each of 275 different works in all media; the authors provide historical background and critical analysis of each work. The last part of the book, “After the Conquest,” mentions the Bayeux Tapestry in its chapter lead-in, but does not dedicate an entry to the Tapestry, nor does it provide a photograph. Of interest to those researching the Tapestry, however, are the numerous photographs and entries discussing the works of art often encountered in Tapestry studies, not the least of which is a large full-color photograph of the embroidered St Cuthbert’s stole.

115. Backhouse, Janet M., D. H. Turner, and L. H. Webster. The Golden Age of Anglo-Saxon Art. London: 1984.

116. Bageant, Joe. “The Bayeux Tapestry.” Military History (2002): 56. Contained within Brent A. Riley’s “William: From Bastard to Conqueror,” this dedicated section on the Tapestry offers basic details on the work as well as background on the story it tells. Noting its Norman bias, Bageant explains that the action “is not directly explained” and is “often self-contradictory.” He states that the last portion of the Tapestry is “incomplete” and measures “about 25.” Commenting on its value to the study of medieval life, he writes that the work is “significant as a complex visual document that draws upon the Bible, Aesop’s Fables and many other sources.” Here, he writes about the Tapestry border’s representation of “The Fox and the Crow” fable.

117. Bagley, J. J. Life in Medieval England. London: B.T. Batsford, 1960. University of Liverpool scholar Bagley uses two images from the Bayeux Tap- estry to illustrate brief discussions about motte-and-bailey castles and war horses. 28 The Bibliography

118. Baker, Anne. “‘Terrible Women’: Gender, Platonism, and Christianity in Willa Cather’s The Professor’s House.” Western American Literature 45, no. 3 (2010): 252–72.

119. Baker, George. Hawk of Normandy: The Story of William the Conqueror. New York: Roy Publishers, 1957. Elements from the Bayeux Tapestry’s depiction of the Battle of Hastings and other notable events in William’s life help to shape this fictionalized biography of the Conqueror. Includes a brief biographical section at the end of the book with important dates and events.

120. Baker, Timothy. The Normans. New York: Macmillan, 1966. Baker’s comprehensive study of Norman history includes a full passage on the Bayeux Tapestry providing a general description of it, the story in its narrative, and its significance among England’s fine embroideries of the time. Throughout the book, there are scattered mentions of the Tapestry in discussions of motte- and-bailey castles, Harold’s coronation, William’s ship Mora, the architecture of Westminster Abbey, and on the Tapestry as a source for information on the happenings at the Battle of Hastings.

121. Bandmann, Günter. Early Medieval Architecture as Bearer of Meaning. New York: Columbia University Press, 2005. Notes: Translated, with an introduction, by Kendall Wallis. Afterword by Hans Josef Böker. Writing about the functionalism of Norman architecture, Bandmann makes a brief reference to the Bayeux Tapestry, explaining that “In contrast to the supporting function of the engaged pillar built by the Normans, it was the immuta- bility and recognizability of the classical form that constituted its monumental character. In Normandy, this functionalism is rooted in the prehistoric custom of building in timber and corresponds to the medieval peculiarity, characterized earlier, of letting nothing suffice in itself and relating everything to higher realities. Here in almost pure form “almost because the Normans eventually did take up both building in stone and using the engaged column the Nordic principle of abstraction comes to light. It is understandable that the Normans, conscious of their own national power, would represent these forces as straightforwardly in architecture as they did in their pictures the Bayeux Tapestry, for example and as their historians expressed themselves in their vehement opposition to the “imperial ideology.” Two of Bandmann’s notes also mention the embroidery, one referencing a comparison with remarks by W. Hager in Das geschichtliche Ereignisbild (Munich, 1939) and the second commenting on E. Gall’s Die gotische Baukunst in Frankreich und Deutschland, Part 1, Die Vorstufen in Nordfrankreich von der Mitte des elften bis gegen Ende des zwölften Jahrhunderts. In the latter note, Bandmann writes, “We should also understand the architectural style practiced The Bibliography 29 by the Normans in this way. For example, in the pictorial images of the conquest of England in the Bayeux Tapestry, they adopted the forms of the Westbuild- ing in stone, the basilica, the patterns formed by columns, but enlivened them with a unique spirit that allowed the roots of the architectural elements in the developments of late Antiquity to be completely forgotten.” Includes a lengthy bibliography and an index.

122. Barber, Richard. The Knight and Chivalry. New York: Charles Scrib- ner’s Sons, 1970. In his opening chapter on the knight, Barber writes about the evolution of the stirrup, the use of the lance in rest, and the long pointed shield. In particular he notes how the stirrup gave way to the use of the heavy lance that was ultimately used in rest as a battering ram. This, he points out, replaced the thrown javelin. He writes that the Tapestry illustrated both uses of the lance: “The old style and the new appear side by side in the Bayeux Tapestry; the lance held in rest came into use shortly after the introduction of the stirrup, as the use of lances with a crosspiece shows; these were designed to be pulled out and used again instead of being thrown.” The book includes one black-and-white image of a Tapestry scene illustrating both the use of the lance as a missile and as a stationary object intended for a charge. Includes references, bibliography and sources of quotations, and index.

123. ———. The Penguin Guide to Medieval Europe. New York: Penguin Books, 1984. Notes: Paperback. Part of the Penguin Handbooks series. Alternate cover title: The Penguin Guide to Medieval Europe: A Journey into the Life and Culture of a Colourful and Fascinating Era. Barber’s first reference to the Tapestry is in his preface where, in discussing how a single book can serve as a starting point for “voyages of discovery into medieval art, literature and thought,” he writes: “If I have mapped the paths which link . . . the Bayeux tapestry to the splendours of a Sicilian palace, I will have achieved my purpose.” Estimating its length at almost 250 feet, Barber writes that the Tapestry “must have resembled Romanesque sculpture very closely, for much contemporary stonework would have been coloured; and it is the slightly three-dimensional quality of the tapestry that makes it so vivid today.” He discusses the embroidery’s display in an elegant eighteenth-century Bishop’s Palace in a “specially constructed room, which became inadequate for the huge numbers of visitors who flock to see it, and is now being replaced.” In only a couple of pages, the author covers significant ground in his overview of the work. He comments on the discrediting and subsequent renewed belief in the arrow-in-the-eye death of Harold, the restoration efforts of 1842 using chemically dyed wools, other alterations, the tradition of storytelling wall-hangings in eleventh-century churches and palaces, the exceptional scale of the Tapestry, the suggestion that 30 The Bibliography six teams worked on it, the transition in the borders from depictions of fables to dismembered bodies, dress and armor of the period, details of military preparations and ships, and the many stylized features in the work. Barber also discusses the designer of the Bayeux Tapestry describing him “a draughtsman of great skill, working perhaps in a tradition of narrative picture-painting that had been developed at St. Augustine’s, Canterbury, in the years before 1066, to illustrate the Bible.” He also comments on the continuous movement in the scenes. Later in the book, Barber refers to the Tapestry’s stylized representation of Westminster Abbey. Includes index.

124. Barber, Richard W., and Juliet R. V. Barker. Tournaments: Jousts, Chivalry, and Pageants in the Middle Ages. New York: Weidenfeld & Nicol- son, 1989. Notes: First published in Great Britain in 1989 by Boydell Press, Woodbridge, as Tournaments: Jousts, Chivalry, and Regents in the Middle Ages. In this book that describes medieval tournaments in detail through both the text and numerous illustrations, the authors mention the Bayeux Tapestry in a discussion of the use of the lance. They write that the Tapestry “seems to have captured iconographically the period of transition from the older methods of lance warfare to the new; both kinds of fighting are depicted there.”

125. Barker, P. A., and K. J. Barton. “Excavations at Hastings Castle, 1968.” Archaeological Journal 134 (1977): 80–100. The authors describe their work in excavating the site of Hastings Castle in response to an initiative by the Royal Archaeological Institute to research the origins and development of castles in England. The authors, among the many goals of their examinations of the castle mound in the summer of 1968, compare the Bayeux Tapestry’s depiction of this castle and its earthworks against evidence from their excavations. After providing a description of the site and a brief history of it, they describe in great detail the excavation methods, with an emphasis on the types of soils encountered, whose layers may be described in the Tapestry by the depiction of multi-colored layers beneath the castle. Evidence also favors the positive identification of the Hastings castle mound as similar to that on the Tapestry in that a tower of a now-ruined chapel close to the motte “is in very much the same position as the tower depicted on the Tapestry to the right of the motte.” Includes several technical drawings of the excavations.

126. Barker, Philip. “Hen Domen, Montgomery: Excavations, 1960–7.” Chateau Gaillard European Castle Studies, III: Conference at Battle, Sussex, 19–24 September 1966. ed A. J. Taylor, 15–27. London : Phillimore, 1969. Notes: Conference publication. In Barker’s narrative describing the recovery of five motte bridge plans (a full page drawing accompanies the text), he points out that only the last bridge was “of the gang-plank type familiar from the Bayeux Tapestry.” The Bibliography 31

127. Barlow, Frank. “The Carmen De Hastingæ Proelio.” Studies in Interna- tional History: Essays Presented to W. Norton Medlicott. eds Kenneth Bourne, and Donald Cameron Watt, 35–67. London: Longmans, 1967. Barlow presents a lengthy analysis of the poem’s influences, reliability, and content. The Bayeux Tapestry’s interrelatedness with Norman and English written sources is briefly mentioned, especially the accounts of William of Poitiers; he states that just because the accounts of the Conquest in the Tapestry and in William of Poitiers agree substantially, this does not mean they should inspire greater trust than the Carmen, which itself contains no anachronism.

128. ———. Edward the Confessor. Los Angeles: University of California Press, 1970. Notes: Also published as part of the Yale English Monarchs series by Yale University Press, New Haven, CT, in 1997. Barlow is a professor of history and head of the department at the University of Exeter. This seminal biography is widely considered to be the most authoritative on the subject of Edward the Confessor, separating facts from bogus legends about the saint-king. Barlow admits he wants to know what Edward looked like, and turns to coins, seals, the Encomium Emmæ, and the Bayeux Tapestry for evidence, though, regrettably, the Tapestry’s images of Edward are taken from manuscript depictions “by an artist who probably never saw the king, and are of no use to us at all.” A colorful commentary on the elegance of English court fashions draws from the Tapestry for support. Literary accounts of why Harold traveled to Normandy are discussed, and Barlow compares them with the Tap- estry’s visual narrative; he notes that the Tapestry’s lack of inscriptions on this matter, and the oath scene, are explained by a wish to be non-committal on the issues. Barlow describes in detail what we are seeing in the scene of Edward’s body being prepared for burial, and the procession to the minster. One appendix covers hostages taken from Earl Godwin’s family, which may be of interest to Tapestry studies if indeed the Tapestry does depict Harold’s relatives Hakon and Wulfnoth at William’s palace at Rouen. For those interested in the recent theory that the Tapestry’s patron was Count Eustace II of Boulogne, there is an appendix on his descendants, and mention of Eustace’s interest in the matters of English royal succession. Includes numerous photographs (four of the Tapestry), lists of rulers by country from the ninth through eleventh centuries, a six-page timeline of events from 979 to 1269, seven pages of primary sources, seven pages of secondary authorities, maps, and index.

129. ———. Edward the Confessor and the Norman Conquest. London: The Hastings and Bexhill Branch of The Historical Association, 1966. Notes: This pamphlet is Number 1 in the 1066 Commemoration Series, W.P. Coakley, general editor. This essay was also published in Frank Barlow’s The Norman Conquest and Beyond (Hambledon, 1983), a collection of his writings. 32 The Bibliography

In this to-the-point lecture, Barlow focuses on Edward as a player in the events that led to the Norman Conquest, specifically, whether Edward schemed to make William his successor. (He avoids the topic of Edward as ecclesiastic legend, stating that he has “lectured often enough on that subject.”) The difficulty in arriving at answers to his question stems from contemporary writers, usually monks, whose information is biased, “unreliable” and “useless,” and they “provide us with no basis at all for a sophisticated discussion of attitudes, intentions, or policies.” Anglo-Saxon Chronicle, he adds, is equally as useless. On the reliability of the Bayeux Tapestry, Barlow notes that its designer based his story on the accounts of the contemporary writers, namely, William of Poitiers. Barlow examines Edward’s blithe character, especially his possible cruel sense of humor suggested by Edward fueling the rivalry among his brothers-in-law and nephews for entertainment and amusing himself by sending the hopeful Harold to Nor- mandy in embassy to seal the deal of succession with William.

130. ———. “Edward the Confessor’s Early Life, Character and Attitudes.” English Historical Review 80, no. 315 (1965): 225–51. Barlow, in this 26-page article, states the need for this study because Edward’s reign was fairly well-documented, but “there has been comparatively little interest in the forty years of his life before he became king.” The Bayeux Tapestry is mentioned but once, and only parenthetically, in Barlow’s examination of the “Norman thesis,” of which the theme is that Edward made Duke William of Normandy his heir. Includes a chart, in Latin, comparing four literary sources supporting the “Norman thesis.” Also includes a detailed genealogical chart of Edward’s maternal kin on the continent.

131. ———. “The Effects of the Norman Conquest.” The Norman Conquest: Its Setting and Impact. eds Dorothy Whitelock, David C. Douglas, Charles H. Lemmon, and Frank Barlow, 123–61. New York: Charles Scribner’s Sons, 1966. Notes: “A Book Commemorating the Ninth Centenary of the Battle of Hast- ings, Compiled by The Battle and District Historical Society.” Barlow presents an essay that begins by briefly examining the beliefs stated in E. A. Freeman’s six-volume treatise on the Norman Conquest, in the “snob- values” of antiquarian and historian J. H. Round, and Round’s attitude towards the “arrogant tediousness” of Freeman, although Barlow is not dismissive of the important contributions by both men to the field of historical knowledge. Barlow goes on to discuss at length the effects of the Norman Conquest, noting particularly attitudes in post-Conquest England. In a discussion of social grace, masculinity, and attitudes towards women, Barlow observes that the Tapestry depicts the literate English nobility as elegant (p. 141, not noted in the index). The Bibliography 33

132. ———. The English Church, 1000–1066: A History of the Later Anglo- Saxon Church. London: Longman, 1979. Notes: Paperback. Second edition. First edition published in 1963; second impression in 1966. In a discussion of the mutual imitation, “complicated and often strange,” of the church and secular government, Barlow writes about how by the tenth century “a bishop was installed in his office with all the trappings of a secular ruler except for the crown and scepter, and a king was enthroned just as a bishop except for the laying on of hands.” Continuing with a reference to the famous embroidery, Barlow writes, “On the Bayeux Tapestry Kings Edward and Harold, in their tunic, robe, and mantle, and Archbishop Stigand, in his alb, stole, and chasuble, had the basic garments in common. There was differentiation in detail, especially in colour; but the ceremonial costume of both kings and bishops was derived from the same Roman secular models, and had developed together.” Speaking of Archbishop Stigand, Barlow writes in a note that, “He was allowed his full style on the Bayeux Tapestry.” Includes index. Barlow is professor of history at the University of Exeter.

133. ———. The Feudal Kingdom of England, 1042–1216. London: Long- mans, Green, and Co., 1961. Notes: Second edition. First edition published in 1955. Part of the A History of England in Nine Volumes series, W.N. Medlicott, general editor. Barlow mentions the Bayeux Tapestry briefly in discussions about Westmin- ster Abbey, the Battle of Hastings, and early indicators of heraldry. Includes an outstanding foldout showing the Norman, English, and Danish royal lines in one genealogical chart, something seldom seen elsewhere.

134. ———. The Godwins: The Rise and Fall of a Noble Dynasty. London: Harlow, Longman, 2002. Notes: Published in paperback by Longman in 2003.

135. ———. “The Holy Crown: Medieval Kingship.” The Norman Conquest and Beyond. ed Frank Barlow, 1–10. London: The Hambledon Press, 1983. Notes: Part of the History Series, volume 17.

136. ———. “Hunting in the Middle Ages.” The Norman Conquest and Be- yond. ed Frank Barlow, 11–22. London: The Hambledon Press, 1983. Notes: Part of the History Series, volume 17.

137. ———, ed. The Norman Conquest and Beyond. London: The Hamble- don Press, 1983. Notes: Part of the History Series, volume 17. 34 The Bibliography

This collection of Barlow’s essays and lectures represents a wide variety of topics on the Norman Conquest and issues surrounding it. Those that mention the Bayeux Tapestry are “The Holy Crown: Medieval Kingship,” “Hunting in the Middle Ages,” “Edward the Confessor and the Norman Conquest,” “William I and the Norman Conquest,” “The Carmen de Hastingæ Proelio.” See separate annotations for each.

138. ———. “William I and the Norman Conquest.” The Norman Conquest and Beyond. ed Frank Barlow. London: The Hambledon Press, 1983. Notes: Part of the History Series, volume 17. Here is an overview of the causes and effects of the Conquest and of William’s character; 18 black-and-white photographs of the Tapestry are included, and although Barlow states that he proposes to use them to illustrate his paper, he does not refer to them in his text.

139. Barnard, Francis Pierrepont. “Heraldry.” Medieval England. ed H. W. C. Davis, 195–244. London: Studio Editions, 1993. Notes: Reprint. Published as Mediaeval England: A New Edition of Barnard’s Companion to English History by the Clarendon Press, Oxford in 1924. In the opening section of this work covering heraldry in England from the early Middle Ages through the year 1500, Barnard explores the origins of armory and uses illustrations of four pre-armorial shields from the Bayeux Tapestry for comparison with similar designs on later shields of true heraldry. Bernard is professor of Medieval Archaeology at the University of Liverpool.

140. Barnes, Ian. The Historical Atlas of Knights and Castles. Edison, NJ: Chartwell Books, 2007. Notes: Alternate title from cover: The Historical Atlas of Knights and Castles: The Rise and Fall of the Age of Chivalry. Also published by Quantum Books, London.

141. Barraclough, E. M. C. “The Flags in the Bayeux Tapestry.” Armi An- tichi (1969): 117–29.

142. Barraclough, Geoffrey. Social Life in Early England: Historical Associa- tion Essays. New York : Barnes & Noble, 1960. Notes: Second edition. This book is a collection of essays by leading scholars of the day in the area of Medieval studies. “European Arms and Armour” by C. J. Ffoulkes; and “The English House” by A. Hamilton Thompson both briefly discuss the Bayeux Tap- estry. See separate citations. Includes index. The Bibliography 35

143. Barrow, Julia. “Introduction: Myth, Rulership, Church and Charters in the Work of Nicholas Brooks.” Myth, Rulership, Church and Charters: Essays in Honour of Nicholas Brooks. eds Julia Barrow, and Andrew Ware- ham. Burlington, VT: Ashgate, 2008. Notes: Chapter 1.

144. Barrow, Mandy. “Bayeux Tapestry—Battle of Hastings.” Web page, Available at http://www.chiddingstone.kent.sch.uk/homework/bt/. This online introduction to the Norman Conquest and the Bayeux Tapestry is aimed at young readers aged 8–12 and presents several question-and-answer passages accompanied by photographs of the Tapestry and of re-enacted battle events.

145. Bartelot, R. G., and W. O. Beament. “Wadard of Bayeux.” Notes and Queries for Somerset and Dorset 17 (1923): 105, 172–73, 279–80.

146. Bartlett, Robert. England Under the Norman and Angevin Kings, 1075– 1225. Oxford, U.K.: Oxford University Press, 1999. Notes: Part of the New Oxford History of England series. This large volume examines the culture and society of England from 1075 to 1225. Chapter titles cover political patterns, England and beyond, lordship and government, the aristocracy, warfare, rural foundations, towns and trade, the in- stitutional church, religious life, cultural patterns, the course of life, and cosmolo- gies, with numerous sub-headings such as court politics, royal finances, waging war, the manorial economy, town law, coinage, saints and their cults, visual arts, the value of the arts, childhood, medicine and healing, death, and many more. Bartlett refers to the Bayeux Tapestry for authority on the aspects of life in medieval England in his chapter sub-headings of knights, knighting, horse and hound, heraldry, arms and armour, naval warfare, hair and dress, and burial. Includes two black-and-white photographs of the Tapestry and an index.

147. ———. The Making of Europe: Conquest, Colonization and Cultural Change, 950–1350. London: Penguin, 1994. Notes: Originally published by Allen Lane, London, in 1993. Published in the U.S. by Princeton University Press. Bartlett, professor of Medieval History at the University of St Andrews, presents an examination of European history in the Middle Ages and shows how “Europe was itself a product of colonization, as much as it was later a colonizer, and what this did to shape the continent.” In his chapter on military technology and political power, he notes that the Bayeux Tapestry and Leiden Book of Mac- cabees provide valuable information on the arms and armor of the period, and that such equipment had changed only slightly by the end of the thirteenth century. Includes notes and index. 36 The Bibliography

148. Baskett, John. The Horse in Art. New Haven, CT: Yale University Press, 2006. Notes: Revised and expanded edition. First published by Weidenfeld and Nicolson, London, and by New York Graphic Society in 1980. Baskett, the first curator of the Paul Mellon collection, presents a beautifully illustrated treatment of horses in world art from the earliest times through contemporary renderings. He includes a photograph of a Tapestry scene of mounted Norman knights and notes in the caption that the victory of the Normans at the Battle of Hastings can be attributed to the fact that they rode on unprotected horses, allowing for greater mobility against King Harold’s infantry. He adds that this was “the first time in Western Europe that an invading army had transported horses across the sea.”

149. Bates, David. Normandy Before 1066. London: Longman, 1982. Bates, Lecturer in History at the University College, Cardiff, presents his clear account of Norman history, important because “there has hitherto been no full- scale work available in English on the history of Normandy before the conquest of England, and no up-to-date work even in French.” His revisionist viewpoints reinterpret common notions such as the “Norman myth,” the idea that Normans were exceptionally skilled or talented warriors, and the impression of the “new aristocracy” emerging in the first half of the eleventh century, and argues against the belief that they were a uniquely aggressive people. Bates indicates that the Bayeux Tapestry’s designers were possibly “not as certain as their Norman patrons would have wanted them to have been” about the reason for Harold’s mission to the continent in 1064–1065. In a discussion on how nobility and knighthood “failed to fuse,” he notes that the HIC WILLELM DEDIT HAR- OLDO ARMA scene in the Tapestry suggests knighting, “something to which there are no references in pre-1066 Norman charters.” As some historians claim that wooden fortifications atop mounds did not belong in pre-1066 Normandy, these claims should be met with “strong caution” because the Tapestry shows them in Normandy.

150. ———. “Odo of Bayeux.” Medieval England, 1066–1485. Edmund King, 26–27. Oxford, U.K.: Phaidon Press, 1988. In this two-page essay, David Bates offers a concise biographical overview of Bishop Odo and his role in the Conquest, the Norman land settlement, and his support of the abbey of St. Augustine at Canterbury as the place of the Bayeux Tapestry’s manufacture. The essay references depictions of Odo in the Tapestry, the fact that he commissioned it, and the nature of his role in the Battle of Hast- ings as suggested by images from the Tapestry. A black-and-white scene showing Odo wielding a mace and “encouraging young warriors to return to the fray” is included. The Bibliography 37

151. ———. William the Conqueror. Stroud, Gloucester, U.K.: Tempus, 2004. Notes: First published in 1989. Bates, Director of the Institute of Historical Research and “the world’s leading expert on William the Conqueror,” writes a lively and very readable biography of his subject. He examines William’s personality, private and family life, military career, political ambitions, and leadership skills. The Bayeux Tapestry is mentioned briefly throughout the book in discussions of Conan’s surrender at Dinan; the Tapestry supporting Harold’s journey to Normandy to procure the release of his relatives held hostage, Hakon and Wulfnoth; contradiction between the Tap- estry and William of Poitiers on the location of Harold’s oath; what the Mora and other ships looked like; William lifting his helmet; how the Tapestry does nothing to inform on what William looked like; Odo’s prominence in the Tapestry; the Normans hurriedly erecting a castle at Hastings; and the Tapestry referring to Harold as “king.” Bates has chosen not to include notes or formal citations, and explains why, but does include an annotated list of sources by topic: Normandy before 1066, William and the English succession, the Government of Conquered England, etc. Photographs of the entire Tapestry are included, along with commentary underneath. Includes maps and an index.

152. Bates, David R. “The Character and Career of Odo, Bishop of Bayeux (1049/50–1097).” Speculum: A Journal of Medieval Studies 50, no. 1 (1975): 1–20. Notes: Published by the Medieval Academy of America. Bates, of University College, Cardiff, presents this 20-page article as a study of Odo’s character and personality and an examination of his career as bishop of Bayeux, frequently citing Orderic Vitalis, “the only writer to dwell at length on Odo’s character.” Orderic, the author notes, presents Odo as an “extraordinary personality” and “a man of insatiable ambition and uncontrolled lust,” who was a ruthless oppressor, but at the same time exhibited “deep concern for the material and external aspects of religious life” and of the ecclesiastical development of England and Normandy. Odo’s character, he cautions, may have been distorted and magnified in the thirty years between Odo’s death and Orderic’s final version of the Ecclesiastical History. The Bayeux Tapestry’s commentary on Odo’s character manifests itself in the inscription HIC ODO EPS. BACULUM TENENS CONFORTAT PUEROS, and its accompanying image, a scene which describes Odo as a man of authority, command, and direction. He adds that the “eclectic taste which made him a patron of learning and art may, if the Englishness of certain features of the Bayeux Tapestry be admitted, have extended to an appreciation of the island’s culture.” In a passage on Odo’s preeminence as a noble in England, Bates comments briefly on the appearance of Wadard and Vitalis in the Tapestry. The planned placements of Odo at crucial moments in the Tapestry’s story are noted to be at odds in the written sources. 38 The Bibliography

153. ———. Odo: Bishop of Bayeux, 1049–1097. 1970. Notes: Thesis/dissertation.

154. Batey, Colleen, Helen Clarke, R. I. Page, and Neil S. Price. Cultural Atlas of the Viking World. New York: Facts on File, 1994. Notes: Edited by James Graham-Campbell. Planned and produced by Androm- eda Oxford Limited.

155. Bath, Virginia Churchill. Embroidery Masterworks: Classic Patterns and Techniques for Contemporary Application. Chicago: Henry Regnery Com- pany, 1972. Notes: Photographs by Howard Kraywinkel, John Mahtesian, and Richard Britain. Additional subtitle: From the Textile Collection of the Art Institute of Chicago. In her introduction, Bath compares the Bayeux Tapestry with the Coronation Mantle of the Holy Roman Empire, a pearl and gold embroidered silk made in 1133. She notes that the “lion and camel of the Coronation Mantle, seemingly derived from patterns for weaving, are schematic and decorative in design” while the Tapestry is “emphatically naturalistic.” A drawing of the Tapestry’s depiction of Harold on his way to Bosham is featured among many similar drawings. In the drawing’s caption, the Tapestry is dated to 1066–1077. Includes bibliography and index.

156. Bauer, Susan Wise. The History of the Medieval World: From the Con- version of Constantine to the First Crusade. New York: W.W. Norton, 2010. Notes: A black-and-white image of the Halley’s comet scene is included as part of a discussion about the “dreadful sign in the heavens.” A brief caption accompanies the image. Includes index.

157. Bausum, Dolores. Threading Time: A Cultural History of Threadwork. Fort Worth, TX: Texas Christian University Press, 2001. This interesting work examines all types of thread arts from fresh historical and sociological perspectives. Bausum draws on a variety of literature for threadworker stories, from the Bible and Homer through Nathaniel Hawthorne and German playwright Gerhart Hauptmann. Visual arts such as stained glass and painting are discussed throughout for their significant ties to threadwork. Under a chapter subheading on medieval embroidery she discusses in particular the St. Cuthbert stole and maniple. For a short, two-page passage on the Bayeux Tap- estry, Bausum efficiently covers a decent array of topics: a general description of the work, her suggestion of why there are women depicted in the Tapestry, a quick remark about bronze sewing needles, and Jan Messent’s 1997 imagined recreation of the Tapestry’s missing end. Bausum also briefly discusses something that the present bibliographers have not encountered in any other work on The Bibliography 39 the Tapestry: the fact that the Bayeux Tapestry museum displays life-size models of Tapestry-era warriors and manuscript-copying monks, but “no life-size figures, or even drawings, of embroiderers . . . even though a sizable work force must have toiled for many months on the canvas.” The Tapestry shares space with Wil- liam Blake, Queen Elizabeth II, and Princess Diana, in a brief, thought-provoking passage on the enduring “threadwork legacy of our culture.” During the Soviet bombing of Afghanistan in the 1980’s, Afghan women refugees produced rugs woven with images of war, rugs which soon became collectors’ items valued as “historical documents comparable to the . . . Bayeux Tapestry.” Tapestry parody on the cover of The New Yorker, July 14, 1944, is also mentioned. The Overlord Embroidery is briefly described. Includes extensive notes, a bibliography, an index, and one full-color Bayeux Tapestry photograph. Bausum is a quilter, a quilting shop owner, and an acclaimed artist.

158. Baylé, Maylis. “The Bayeux Tapestry and Decoration in North-Western Europe: Style and Composition.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 303–25. Caen, France: Presses Universitaires de Caen, 2004. Baylé, Director of Research at CNRS, attempts to show in her article that the Bayeux Tapestry is less the isolated work of art that it is often characterized to be and that it is “an essential aid to our appreciation of the Romanesque.” She points out, with numerous examples, that the Tapestry contains so much Anglo-Scandinavian material “at a time when such echoes of Norse art are still absent in Normandy.” The uniqueness of the Tapestry in the realm of textile arts is highlighted and is compared with extant contemporary embroidered works. The author discusses various scholars’ observations on similarities between the Tapestry and the Canterbury manuscripts. She briefly examines evidence for multiple designers at work on the Tapestry and makes some generalizations about stylistic consistencies and inconsistencies throughout its length. On the topic of realism versus schematic formulae in the Tapestry, she looks at architectural depictions in the Tapestry for evidence of realism and notes that there is no reason to believe that the Tapestry’s designers would have been content to simply copy motifs and images. She brings up a minor controversy among some scholars: whether Anglo-Scandinavian styles of art evolved in Britain or if they developed in Scandinavia and were then imported; she leans toward the former and pulls in the Tapestry’s plant motifs for a modest argument. Contemporaneous animal motifs such as ship figureheads and symmetrical pairs of animals in other works are examined for their similarities across northern Europe. Human figures and drapery from manuscripts and carvings are compared to those in the Tapestry. She notes that although the Tapestry’s color schemes do not resemble anything in Norman illuminations, they do compare favorably with several Anglo-Saxon manuscripts. In comparing the Tapestry to wall painting, namely, the “Lewes Group” of paintings found in Sussex, Baylé shows that there are parallels in style 40 The Bibliography and color choices. Includes numerous photographs of the Tapestry and of other works discussed.

159. BBC. “The Bayeux Tapestry: Unpicking the Past.” Web page, Available at http://www.bbc.co.uk/history/british/normans/bayeux_tapestry_gallery .shtml. This page of the BBC’s website offers what is probably the most authoritative online introduction to the Bayeux Tapestry. Viewers can click on links to eight different pages within the site to read brief theses on the following topics: controversy and myth; the Tapestry as a primary source; embroidering the truth; the story; the death of Harold; a window on the past; distinctive Norman soldiers; and chance survival, where the Tapestry’s ordeals from the French Revolution onwards are discussed. The page’s author is Dr. Donald MacRaild, head of history at the University of Northumbria at Newcastle.

160. Bély, Lucien. Le Mont Saint-Michel. Rennes, France: Editions Ouest- France, 2008. Notes: Photographs by Hervé Champollion. The Bayeux Tapestry’s depiction of Mont Saint-Michel is featured in color within a brief section on William the Conqueror. The author is a professor at the Sorbonne in Paris.

161. Beal, Peter, and Jeremy Griffiths. English Manuscript Studies, 1100– 1700. London: The British Library, 1993. Notes: First published in North America by the University of Toronto Press, 1993.

162. Beardsley, Eleanor, and Steve Inskeep. “Analysis: Reviewing the Rich Legacy of the Bayeux Tapestry.” Morning Edition (2005). This radio segment for National Public Radio’s Morning Edition features a conversation between reporter Eleanor Beardsley and Chantal James, owner of Broderie Bayeux, an embroidery shop near the Bayeux Cathedral, and a teacher of the Bayeux stitch. In the interview, James describes the stitch, discusses ex- porting embroidery kits across the world and the strong interest in the Tapestry among the English despite its commemoration of an English defeat. Beardsley notes that the Tapestry was stitched “by monks to commemorate the battle” and James comments that it “could be considered the world’s first war propaganda.” The visitors’ soundtrack in the Tapestry museum is also referenced.

163. Beatie, Russel H. Saddles. Norman, OK: University of Oklahoma Press, 1981. Notes: Foreword by Dean Krakel. Drawings by Nancy Kay Niles and Judy Osburn. The Bibliography 41

Beatie presents an extremely thorough encyclopedia of saddles: their historical development, their parts and accessories, the mechanics of riding, the various types of saddles, and saddles as history and art. In a chapter on stirrups, the author points out that the manner in which the Bayeux Tapestry’s stirrups are used is now known as a la estradiota, legs extended straight out and down. He also notes that earlier scholars stated that the Tapestry was the “earliest real evidence for the first use of stirrups, a premise we now know is incorrect.” Includes a glossary, bibliography, and an index, plus excellent diagrams of both a horse and a modern saddle naming more than fifty parts for each.

164. Bédat, Isabelle, and Beatrice Girault-Kurtzeman. “Etude Technique De La Broderie De Bayeux.” La Tapisserie De Bayeux [Texte Imprimé] : L’Art De Broder L’Histoire : Actes Du Colloque De Cerisy-La-Salle (1999) / Pub- liés Par Pierre Bouet, Brian Levy Et François Neveux (1999).

165. ———. “The Technical Study of the Bayeux Embroidery.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 83–109. Caen, France: Presses Universitaires de Caen, 2004. The authors, two textile experts from the team of four who carried out a scientific analysis of the Bayeux Tapestry through direct contact with the embroidery, present their long-awaited findings in this fascinating article. They begin with a bulleted list of the ten analyses that they had ten days to carry out. The manner of removal of the Tapestry from its previous display, its transport to the Orangery, and how it was laid out there are described. The authors measured the Tapestry at 63.38 meters; authors throughout the ages have given many different figures for this measurement. The eight seams in the Tapestry’s base cloth are described in terms of their assembly and stitching technique. The authors give a brief description of the Tapestry’s numbered strip, which the authors have found predates most of the Tapestry’s restoration efforts, plus they propose that it shows evidence of a possible curtain-like hanging method; a diagram of this method is provided. Data on the woolen and linen embroidery threads’ torsion and thickness are given. A subheading on the dye colors gives interesting details about the color variations across the Tapestry and on the reverse compared to the front; the ten main dye colors are identified in terms of their dyeing agents. On stitching procedures, the stem, double stem, chain, split, and couched methods are reviewed for their programmatic uses and technique; the authors note that “the chain and split stitch, . . . despite the views of some authorities, are not the work of restorers.” A diagram showing the frequency of the various stitch-types used in sewing HIC DEDERVNT HAROLDO CORONA[M] REGIS reveals that this one embroidered sentence used all five types. The authors’ observations of the reverse of the Tapestry provide insight on how the embroidery work was 42 The Bibliography carried out; the use of one thread to embroider non-adjacent color fields “must have required precise indications or a tracing cartoon.” Embroiderers’ work at the base cloth seams is investigated for the care taken (in one instance, the negli- gence) at these junctures. A description of the material of the Tapestry’s backing cloth and information on its possible age from carbon-14 analysis are provided for this seldom-discussed component of the Tapestry; the authors also briefly discuss the backing cloth’s evidence of a hanging system, apart from the evidence on the numbered strip. Apparently random signatures on the backing cloth are mentioned, as well as the negative and positive color transfers onto the backing cloth from the embroidery itself. On the various restoration efforts done on the Tapestry, the authors present their findings on patches and darning, plus restorative embroidery is examined for its color fading, tracing lines drawn onto the base cloth, synthetic dyes, and old stitch holes left unfilled. The various types of stains are listed and the presence of insects is briefly noted. Tears and splits in the fabrics are only very quickly mentioned. The authors give a few suggestions here for future conservation work on the Tapestry, and express their concerns over the current vertical suspension of the work. Included are 36 photographs, some of them fascinating views of the back of the Tapestry, close-up and microscopic views, photographs of stains, tears, and repairs, and two photos of the Tapestry laid out on tables during the study.

166. Bedini, Silvio A. The Mace and the Gavel: Symbols of Government in America. Philadelphia: American Philosophical Society, 1997. Notes: Part of Transactions of the American Philosophical Society, volume 87, part 4. Title page includes: “Transactions of the American Philosophical Society: Held at Philadelphia for Promoting Useful Knowledge.” In his opening chapter on the mace in Colonial America, he explains that an early use of the mace is represented in the Tapestry. The image he references is of course Bishop Odo riding into battle “at the head of his Norman nobles holding a mace in his right hand instead of a sword, in order to conform to the canonical rule that forbade priests to shed blood.” He goes on to say that by the thirteenth century maces had lost their “forbidding role” and were used for ceremonial and protective purposes. Includes a black-and-white image from the Tapestry of Bishop Odo riding into battle with a mace. Also includes a six-page bibliography.

167. Beech, George T. “The Alternation Between Present and Past Time in the Telling of the Bayeux Tapestry Story.” Annales De Normandie 58 (2008): 1–2. Beech examines the alternating use of present- and past-tense Latin verbs in the Bayeux Tapestry’s inscriptions and believes that this alternation is not a result of carelessness, but “must have been part of [a] plan for presenting the story of the Conquest of England.” He notes that scholars have been well aware of these grammatical inconsistencies, but have paid little attention to this topic. The Bibliography 43

168. ———. “The Breton Campaign and the Possibility That the Bayeux Tapestry Was Produced in the Loire Valley (St. Florent of Samur).” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the Brit- ish Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 10–16. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Beech presents of a summary of his Was the Bayeux Tapestry Made in France? for this conference. His theory that the Tapestry was made in the Loire Valley at the request of William the Conqueror is supported by several key points: the numerous affinities between the Tapestry and works of art from western France (although he admits more research needs to be done in this area); Baudri of Bour- gueil, a poet from the Loire Valley and a friend of Abbot William of St Florent, composed verse that may very well describe the Bayeux Tapestry; the Tapestry’s depiction of the Breton Campaign indicates the designer’s familiarity with Breton geography, topography, and architecture as well as finer details of the Breton campaign; the fact that the Tapestry establishes Norman supremacy in Brittany, an account not particularly pertinent to the story of the Norman Conquest, but that indeed celebrates William’s dominion in the region. Beech names his few supporters and half-supporters, then confronts his numerous critics, states their points, and offers his rebuttals.

169. ———. “Could Duke Philip the Good of Burgundy Have Owned the Bayeux Tapestry in 1430?” Revue Belge De Philologie Et D’Histoire 83, no. 2 (2005).

170. ———. “An ‘Old’ Conquest of England Tapestry (Possibly the Bayeux) Owned by the Rulers of France, England and Burgundy (1396–1430).” Re- vue Belge De Philologie Et D’Histoire 83, no. 4 (2005).

171. ———. Was the Bayeux Tapestry Made in France? The Case for Saint- Florent of Saumur. New York: Palgrave Macmillan, 2005. Notes: Part of the New Middle Ages series. This often-discussed work examines the possibility posed in its title. Beech presents evidence that the Bayeux Tapestry was made in the Loire Valley abbey of Saint-Florent of Saumur, and was commissioned by William the Conqueror himself. Certainly renegade hypotheses, the author acknowledges the fact that nearly all contemporary scholars agree that the Bayeux Tapestry was embroidered in England and commissioned by William’s half-brother, Bishop Odo. Pointing first to the fact that the abbey of Saint-Florent of Saumur housed a well- known textile workshop with connections in eleventh-century England, Beech goes on to describe the Conqueror and his wife Mathilda’s personal relationship with Saint-Saumur’s abbot, William fitz Rivallon. The author describes how 44 The Bibliography

William the Conqueror and the abbot were both particularly interested in the political affairs of the Dol region (depicted in the Tapestry). A chapter comparing the Bayeux Tapestry to Romanesque art in western France is highlighted by photographs of contemporary art with corresponding details of images from the Tapestry for comparison. Noteworthy are seven whole-page photographs of drawings and text from Adémar of Charbanne’s eleventh-century French collection of Aesop’s fables, useful for comparisons with the Tapestry’s fable images. The author’s longest chapter explores the Tapestry’s depiction of the Breton campaign as further evidence of his hypotheses, based on the renderings of Breton topography, architecture, and historical events being more accurate than those described by William of Poitiers. A quick chapter on Baudri of Bourgueil’s poem to Countess Adèle examines how the poet could have possibly viewed the Tapestry first-hand, providing material for his long poem in which he describes a fabulous textile. In his conclusion, Beech anticipates and addresses objections to his hypotheses, summarizes his findings, and attempts to reconcile his hypotheses with the nearly-universally accepted notion that the Bayeux Tapestry was a Canterbury creation. One appendix describes William the Conqueror’s role in the selection of William fitz Rivallon as abbot of Saint-Florent of Saumur. A second appendix asks the reader to re-examine a long-since dismissed notion: “Could Queen Mathilda Have Commissioned the Bayeux Tapestry?” Includes 18 pages of notes. Bibliography lists original sources separately from modern works. Includes a map of England and western France in the eleventh century, a brief index, and a 1699 drawing of the abbey of Saint-Florent of Saumur.

172. Beeler, John. “The Composition of Anglo-Norman Armies.” Speculum 40, no. 3 (1965): 398–414. Notes: Published by the Medieval Academy of America.

173. ———. Warfare in England, 1066–1189. Ithaca, NY: Cornell University Press, 1966. Beeler’s examination of the Battle of Hastings questions the plausibility of a proposal by a certain Colonel Lemmon that only a small contingent of William the Conqueror’s invasion fleet landed at Pevensey, threw up a fortification on the shell of a Roman garrison, rejoined the rest of the fleet and sailed together to Hastings, where they all disembarked. Additionally, he remarks about the Tap- estry clearly depicting William raising his helmet in the midst of battle to dispel rumors that he had been killed.

174. Beevor, Antony. D-Day: The Battle for Normandy. New York: Viking, 2009. In the chapter titled “The Paris Uprising and the Race for the Seine,” Beevor gives a brief but fascinating account of a Nazi encounter with the Bayeux Tapes- The Bibliography 45 try. He writes that two SS officers arrived at the Hôtel Meurice and “announced that on direct orders from the Führer they were to ‘save’ the Bayeux tapestry, which was in the cellars of the Louvre, by taking it back to the Germany.” With some careful sarcasm, General Lieutenant von Choltitz, the German commander of Greater Paris and someone who later portrayed himself as anti-Nazi, suggested the task was quite daunting and “persuaded by the impossibility of their task,” the officers withdrew.

175. Bell, Julian. Mirror of the World: A New History of Art. New York: Thames and Hudson, 2007. In this refreshing and remarkable history, Bell avoids the typical chronologically driven survey of art history, and presents a more global perspective where works across various cultures and time periods are juxtaposed and presented side by side. The Bayeux Tapestry, for example, is presented in the context of patronage and place of origin, but then two of the Tapestry’s nudes are met with comparison to “hags with gaping vulvas” propping up the eaves of Romanesque churches, and by further extension, to the Khajuraho friezes of tenth-century India. Includes index.

176. The Outlook, Volume 97. Francis Rufus Bellamy, 309–10. New York: Outlook Co., 1911. Notes: Part of the American Periodical Series, 1850–1900, 386–420.

177. Belloc, Hilaire. The Book of the Bayeux Tapestry: Presenting the Com- plete Work in a Series of Colour Facsimiles. London: Chatto & Windus, 1914. The author of this brief yet lively early twentieth-century text has written with affection for the Bayeux Tapestry, and irreverence for many of the “slipshod” and “picturesque” researchers that preceded him with “their touch of charlatanism.” Belloc makes a spirited case for dating the Tapestry’s creation between 1140 and 1200, far later than does any modern scholar. Belloc holds that the dwarf in the Tapestry is not Turold, and the man being offered Edward’s crown immediately following Edward’s death scene is not actually Harold. Included are hand-colored engravings glossed by straight-forward narrative. Engravings are on single-sheet signatures with their backsides decorated with Tapestry-style animals and vegetation. Facing the title page, there is a small map of Tapestry lands, decoratively framed and illuminated with a collage of line-drawings in Tapestry style.

178. Belser, Christophe. Bayeux. Prahecq, France: Patrimoine et médias, 2010. Notes: Part of the series Il y a 100 ans, en cartes postales anciennes. Belser presents a 128-page book featuring images of postcards from Bayeux. 46 The Bibliography

179. Bely, Lucien, and Hervé Champollion. Mont Saint-Michel. Rennes, France: Editions Ouest-France, 2008. Notes: Paperback. Alternate title: Wonderful Mont Saint-Michel. Edited by Henri Bancaud. Translation by id2m. Bely, a professor at the Sorbonne, provides the text and Champollion, a heritage photographer, provides the numerous images in the book. A color image of the Bayeux Tapestry’s depiction of Mont Saint-Michel is included with a caption that reads: “Before conquering England, the duke launched an expedition against the Bretons. William and his army came to the Mont, portrayed here as a shrine atop a mound, and then crossed the Couesnon river, where some of the soldiers got stuck in the sand.”

180. Benchley, Robert. “Bayeux Christmas Presents Early.” Chips Off the Old Benchley. Robert Benchley New York: Harper and Brothers, 1949. Notes: Illustrated by Gluyas Williams. American humorist Benchley writes an irreverent miniature essay on his impressions of the artistry in the Bayeux Tapestry. He starts off with a remark about a portion of the Tapestry having been discovered in Bayeux, New Jersey. This piece shows four of the Conqueror’s ships in mid-channel, probably headed back to France because they were so disappointed in England; another theory is that the Normans were returning to Normandy for Christmas. Benchley adds that the “old weavers [of the Tapestry] were such bum draughtsmen” who couldn’t “draw for a darn” in that all the men on the ships look alike and that they appear ill or as if they are humming.

181. Bender, Babara, and Robert Caillaud. The Archaeology of Brittany, Normandy and the Channel Islands: An Introduction and Guide. London: Faber and Faber, 1986. Under an entry for Bayeux in the section on the Calvados region of Normandy, the author mentions the museum which houses the Bayeux Tapestry. She notes that despite its French name, the work has little to do with Queen Matilda and was “almost certainly commissioned by Odon of Conteville, Bishop of Bayeux, at the end of the twelfth century, to adorn the Bayeux cathedral after he had rebuilt it.” Includes an index though no reference to the embroidery is made.

182. Bennett, Matthew. Campaigns of the Norman Conquest. Oxford, U.K.: Osprey, 2001. Notes: Part of the Essential Histories series, volume 12, Robert O’Neill, series editor. Bennett, Senior Lecturer at the Royal Military Academy at Sandhurst, presents a short introduction to the Norman Conquest as part of a series of historical overview volumes. The author emphasizes the military aspects of the five-year effort of William to complete the Norman Conquest of England, examining the The Bibliography 47

Battle of Hastings (and the events leading up to it) and various uprisings such as Exeter, Cornwall, York, and others. Photographs in black-and-white and color of the Bayeux Tapestry are used over two dozen times to illustrate the author’s passages; most of Bennett’s remarks about the Tapestry occur in his lengthy and informative photo captions. The large full-color physical relief maps of military campaigns are numerous and excellent. Also included are artists’ renderings of military attire, weaponry, and fortifications. There is a detailed timeline (1002– 1087), a glossary, and a list of further reading. This book is not only a good introduction to the longer efforts of the Norman Conquest, but would serve as a handy review or quick-reference for scholars with its chapters divided into clear and concise sub-headings.

183. ———. “The Medieval Warhorse Reconsidered.” Medieval Knighthood V: Papers From the Strawberry Hill Conference 1994. eds Stephen Church, and Ruth Harvey, 19–40. Woodbridge, U.K.: Boydell Press, 1995. Notes: This article is, in the author’s words, “essentially the after-dinner talk given at the 1994 Conference, which was illustrated by a half-a-hundred slides.” Bennett blames historians for not seeking out “horsy” people “who understand the animals” while investigating and commenting on medieval equines, an irre- sponsibility which has led to an exaggerated popular notion of their size. “If you ask simply anyone, they will tell you that the medieval warhorse was an enormous beast . . .” Thankfully, the author notes, we have pictorial sources like the Bayeux Tapestry to keep this in check and remind us that warhorses from the middle ages were quite small by modern standards, perhaps as small as fourteen hands high in the Tapestry. The author refutes the claims of Bernard S. Bachrach’s “Caballus et Caballarius in Medieval Warfare” which Bennett states grossly overestimates the size of medieval warhorses and that Bachrach’s observations of the Tapestry’s horses misrepresent what were the horses’ true proportions. He adds that surviving medieval horseshoes indicate a maximum height of fifteen hands for horses then. He notes that Guy of Ponthieu in the Tapestry is shown on a mule. Bennett also states his confidence in the Tapestry’s depictions of eight to ten “grinning chess-piece horses’ heads” per ship in the Norman crossing of the Channel as an indicator of a ship’s length and that the horse disembarkation scene as shown in the Tapestry was quite possible. The couched lance technique of fighting is briefly discussed as depicted in the Tapestry. Throughout the article the spelling “Bayeaux” is used as often. Includes four black-and-white photographs of the Tapestry. The book does not have an index.

184. ———. “Men of Iron.” The World Atlas of Warfare: Military Innovations That Changed the Course of History. ed Richard Holmes, 30–43. New York: Viking Studio Books, 1988. Notes: Chapter 3. 48 The Bibliography

In Bennett’s chapter, he includes a full color battle scene from the Tapestry along with a caption that reads: “The Bayeux Tapestry contrasts the fighting styles of France and Scandinavia. While the former used the mobility of the knight and the firepower of archers and crossbowmen, the latter stood rooted to the ground, swinging the great two-handed axe. But if infantry were well- armoured and determined, horsemen could make no headway. At Hastings the Normans and their allies used feigned flight to draw the English from their hilltop position. Once on level ground and disordered by their pursuit, footmen became easy meat for the knights.” Bennett is senior lecturer at the Department of Com- munications Studies at the Royal Military Academy, Sandhurst. The entire book is heavily illustrated and includes an index.

185. Bennett, Matthew, Jim Bradbury, Kelly DeVries, Iain Dickie, and Phyl- lis Jestice. Fighting Techniques of the Medieval World, AD 500–AD 1500: Equipment, Combat Skills, and Tactics. New York: Thomas Dunne Books/St. Martin’s Press, 2006. Notes: Published by Amber Books, London in 2005.

186. Bennett, P. E. “Encore Turold Dans La Tapisserie De Bayeux.” Annales De Normandie 30 (1980): 3–13.

187. Benson, Peter. Odo’s Hanging. London: Hodder and Stoughton, 1995. Benson’s fictionalized story of the Bayeux Tapestry’s creation includes Bishop Odo commissioning the work and Turold designing it. Here, Turold is described as “a Norman renowned for his skill but not . . . for his even temper or pliability.” The nuns of Winchester translate his design into stitches on the Tapestry. The book offers the character Robert, a “silent witness with a mischievous sense of humour, who here unfolds the eventful story of the Bayeux Tapestry’s creation and creators.” A dissected border image of a man hurling a stone at birds from a sling is featured on the endpapers. Benson has won both the Guardian Fiction Prize and the Somerset Maugham Award.

188. Benton, Janetta Rebold. Art of the Middle Ages. London: Thames & Hudson, 2002. Notes: Part of the Thames & Hudson World of Art series. Over three pages, Benton details much of the Tapestry’s story as well as the basic facts of its construction. She describes its color range as “restricted but harmonious” and suggests the Tapestry is “laid out like a medieval prototype for today’s comic strips.” She comments on several shorthand devices used to facilitate the narrative including removing a wall to allow visual access to the interior and reducing an entire city to “a theater prop.” Noting how the work is conceived as “flat areas of color within firm dark outlines,” she points out the similarity to contemporary murals. A color photograph of the Harold death scene stretches across The Bibliography 49 two pages. Benton includes her commentary on the embroidery in a chapter title “Romanesque in Southern and Western France.” Includes a map of Europe with pilgrimage routes, an excellent chronology with columns for historical events and art historical events, a bibliography, and index. Benton is professor of art history at Pace University and the former art historian at the American Embassy in Paris.

189. ———. Materials, Methods, and Masterpieces of Medieval Art. Santa Bar- bara, CA: Praeger/ABC-CLIO, 2009. Notes: Part of the Praeger Series on the Middle Ages, Jane Chance, series editor. In a chapter titled “Tapestry and other Textiles: Adept with Warp and Weft,” Benton relays the story in the Bayeux Tapestry over two pages and comments on the artistic techniques and approaches. Later, in a chapter on ecclesiastical vestments, she references the Tapestry in an overview of various embroidery techniques, explaining the use of laid-and-couched work. Benton also discusses the Tapestry’s depiction of helmets and hauberks in the chapter “Armor: Dressed to Kill.” A colorplate photo of a battle scene is included. Benton is distinguished professor of art history and director of the Pforzheimer Honors College at Pace University in Pleasantville, NY. Includes index.

190. Bergmans, Charlotte. “Historic Tapestry on Exhibit.” The Atlanta Journal-Constitution (1987): E/7. Prior to its installation and dedication at the University of West Georgia, the full size replica of the Bayeux Tapestry commissioned by Edd Wheeler was exhibited at the Schatten Gallery of the Woodruff Library at Emory University. This short piece, which indicates the exhibit began on July 6, 1987, quotes Frances Wheeler, wife of Edd Wheeler: “The painted scenes on the replica, so brilliantly colored, rivet attention.” It also notes that Wheeler was a former instructor at Emory. Ap- parently, this exhibition at the Schatten Gallery was the first time the work was shown. The Wheelers suggest that it “marks the first time any rendition of the tapestry has been shown in the Western Hemisphere.” The timing of the exhibit co- incides, according to the piece, with the 900th anniversary of the death of William the Conqueror. Interestingly, it also indicates the replica “was produced under the auspices of the Bayeux Tapestry Institute, a proprietary organization” and “is the result of more than 1,000 hours of research and 3,000 hours of artistic effort.” The replica is reported to be 99.96 percent to scale of the original.

191. Berlin, Gail Ivy. “The Fables of the Bayeux Tapestry.” Unlocking the Wordhord: Anglo-Saxon Studies in Memory of Edward B. Irving, Jr. eds Mark C. Amodio, and Katherine O’Brien O’Keeffe, 191–216. Toronto: University of Toronto Press, 2003. Berlin analyzes the Aesopian fables that appear in the Tapestry’s borders and describes how they individually and collectively produce “a covert Anglo-Saxon commentary upon the events leading up to their subjugation.” 50 The Bibliography

192. Bernstein, David. “The Blinding of Harold and the Meaning of the Bay- eux Tapestry.” Anglo-Norman Studies 5 (1983): 40–64. Notes: Proceedings of the Battle Conference, 1982. Bernstein examines the Tapestry’s account of the blinding of King Harold at the Battle of Hastings, and contends that the Tapestry’s artist invented the story to put forth the Tapestry’s main theme: the English are punished by God and the saints for Harold’s perjury. He explores how the unusual circumstance of the conquered embroidering the story of their own humiliating defeat affected what they included in (or excluded from) the Tapestry. Attempting to establish which figure is Harold in the death-of-Harold scene, he notes that late Saxon artists often duplicated important figures within a single scene. Then he examines the spatial relationship of text and images, and presents an “experiment” whereby he places the inscription “HIC HAROLD REX INTERFECTUS EST” entirely above the mounted knight who is hacking Harold on the leg, proving that the Tapestry’s artist could have easily placed the inscription there if he intended for only the second figure to be Harold, thereby supporting his belief that both Englishmen at either end of this horse are meant to be Harold. Further, he studies the placement of the letter “O” in various appearances of Harold’s name, noting that this initial for the Latin word for “eye,” oculus, is often grazed by a weapon. A zigzag pattern of lances in one scene terminates in such interplay of text and imagery, echoing a similar design in the border. Bernstein next presents his now-famous argument for the mysterious line of holes in the linen issuing forth from the fallen Harold’s face in the same scene. These stitch holes, he concludes, are the stitch holes of a projectile stuck in Harold’s face embroidered in the eleventh century. The absence of these stitch holes in the Montfaucon and Stothard drawings of the Tapestry is noted as unexplainable. The topic of eyes and blindness is given an interesting and in-depth treatment in discussions of the Tapestry’s oath scene, where a “bull’s eye” stone sits atop a reliquary and Bernstein examines medieval cultural associations with vision, saints, and Judeo-Christian scripture. Bernstein makes note of the odd object in the upper border of the oath scene, apparently a candle, a symbol of the all-seeing Christ, and compares that to the lone lit candle in Jan van Eyck’s portrait of Giovanni Arnolfini and his bride (and includes a photograph of this painting). Blindness as an indicator of being on the “wrong side of the moral universe” is discussed and Bernstein refers to this theme in Prudentius’ Psy- chomachia, and in the Old Testament story of the Babylonian Captivity of the Kingdom of Judah, an episode which Bernstein firmly believes the Tapestry’s artist had in mind, and presents his visual evidence for it. The savage blinding of Edward’s brother Alfred the Ætheling, a crime for which Godwin was held responsible, was the justification for the punishment of Godwin’s son Harold, in turn blinded in the Tapestry. The article ends with an addendum about Bern- stein’s 1983 examination of the back of the Tapestry which led him the above- mentioned conclusion about the stitch holes. The Bibliography 51

193. Bernstein, David J. The Mystery of the Bayeux Tapestry. Chicago: Uni- versity of Chicago Press, 1986. Notes: Also published by Weidenfeld and Nicolson, London, in 1986. Bernstein, professor of history at Sarah Lawrence College in New York, presents his study of the Bayeux Tapestry, a book that remains one of the most significant and talked-about works on the Tapestry. In his introduction, he provides a general description of the Tapestry, a political background to the events surrounding the Norman Conquest, including a bulleted list of contenders to the English throne upon Edward’s death, and a tidy scene-by-scene synopsis of the Tapestry. The author makes a number of general observations on the cultural and political impact, both immediate and mid-range, of the Norman Conquest on the English people. Following this, the book is divided into three parts. Part 1: “The Making of the Tapestry.” Bernstein discusses the reasons for the moniker “Queen Matilda’s Tapestry” and Delauney’s revolutionary theory that Bishop Odo, not Matilda, was the patron. He then presents a biographical and character sketch of Odo. The many reasons that support the notion of the Tapestry’s manufacture in Canterbury are examined and there are numerous photographs of the Tapestry and of Canterbury manuscripts. The monastic communities of Canterbury are profiled for their artistic activities, their relationship to their new lord Odo, and their post-Conquest resistance. The distinctive visual features of the Tapestry are examined for their Englishness. The “Golden Age” of Anglo-Saxon manuscript illumination is examined, noting especially the Utrecht and Harley Psalters and the “Winchester” style. Bernstein then discusses “five features of the Tapestry which give it a distinctive style and appearance”: naturalism/liveliness/lightness of spirit, decorative patterning, embroidery techniques as expressive medium, the roles of the borders, and continuous narrative on an unusually shaped textile. A chapter on the Tapestry’s borders first examines the borders for their tangible roles in the work: animals, people, and objects interact with, bite, pierce, fall into, and are enclosed by the border frames. The border creatures’ expressive partici- pation in the action of the main frieze is noted, and Bernstein provides a primary source reference to underscore his belief that medieval viewers were attentive to details in marginal parts of visual works. A chapter about the Tapestry’s use of a long continuous narrative format, distinguishing it from nearly all other works of medieval art, starts with an examination of textile arts in northern Europe in the centuries before the Conquest, followed by narrative techniques used in biblical manuscripts. The continuous narrative format of the Roman sculpted columns of Trajan and Marcus Aurelius, much admired in the Middle Ages, as well as one in Hildesheim Cathedral are likely to have been known to the Tapestry’s designer. The Joshua Roll, also a continuous narrative, is discussed; photographs of all four works are provided. Coincident with the arrival of Romanesque architecture in England, the author comments at length on the Normans’ taste for celebrating triumph in a monumental way evoking Roman victories; such a monument is the Tapestry. The manner in which the Tapestry was displayed in Bayeux Cathedral 52 The Bibliography is discussed and is accompanied by a delightful photograph of a replica of the Tapestry hanging around the Cathedral’s nave. The possibilities of other early venues for its display are examined. Part 2: Iconography: Mixed Messages. Ber- nstein’s big idea in the middle of his book is that the Tapestry was made under extraordinary circumstances: the vanquished being commissioned to elucidate their own defeat, and that the completed work is full of subversive visual messages, conveniently left open to interpretation by the limited amount of embroidered text. That Odo had apparently not exercised close control over its creation resulted in the Tapestry being very English in style and meaning and that he was possibly “swept along by the flow of the narrative and never studied the work closely enough to work out its multiple levels of meaning.” Bernstein expresses his admiration for the Tapestry’s artist who deftly highlighted the role of his patron, Bishop Odo, without displacing William’s central role in the story. The reasons for Harold’s journey to the continent are discussed. Bernstein leans slightly on the side of doubt about Edward having sent Harold to Normandy to reassure William of his succession to the throne; he also insinuates that Harold swore the oath to William just so he could get out of Normandy safely and quickly. The scene reversal in the scene of Edward’s death is studied and the author presents an intriguing experiment by re-drawing the entire stretch of the Tapestry, from Harold’s return to England to his coronation, with the events in actual chronological order from left to right. This episode’s potential for subversive commentary, via scene reversal, on the part of an English designer is noted. The fables depicted in the borders receive much attention from Bernstein, who expresses the notion that although the fables often defy categorization as ex- pressly pro-Norman or critical of the Normans, they can be, at any rate, read either way, “depending on one’s vantage point.” Three of the Tapestry’s fables are summarized and profiled within the Tapestry’s context. Patterned motifs in the borders as well as programmatic and symbolic uses of the animals in the borders are discussed. A chapter on the death of Harold in the Tapestry examines English and Norman attitudes towards perjury and its inevitable punishment. The death of Harold by an arrow to the eye at the Battle of Hastings is not without immense controversy, and Bernstein adds fuel to the debate that still smolders. One of Bernstein’s arguments in interpreting this scene is the “O” in Harold’s name being grazed by a spear, a letter that is shaped like an eye, and which is the first letter of the Latin and Old French words for “eye.” This interplay of text and imagery was likely a design intent, notes the author. Even more famous is Bern- stein’s theory that a line of 17 “enigmatic stitch marks” leading into the face of a fallen figure in Harold’s death scene were very possibly an embroidered arrow in the King’s eye; he notes that these may be the traces of eleventh-century stitching later removed, or an embroidered arrow that may have been added much later (then removed) by someone who thought there should be an arrow there. Biblical references for blinding as divine punishment are discussed in detail. Symbolic meanings in the image of Harold being cut on the thigh by a Norman knight are The Bibliography 53 explored. Part 3: By the Waters of Babylon. Another of Bernstein’s positions that receives a lot of attention in Tapestry studies is his theory that many of the Tap- estry’s mysteries can be explained for their “uncanny” similarities to events in the Hebrew Scriptures, namely, the Babylonian Conquest of Judah. Bernstein provides a summary of the biblical story which is itself a story of “a conquest from the perspective of the vanquished.” The six features of the Tapestry he examines closely for head-to-head comparisons with Scripture are the Tapestry’s dwelling on the theme of perjury, the unusual appearance of the portable reliquary upon which Harold swears his oath, the association of Normans with winged lions, the Tapestry “making a triumph” out of the Breton expedition and some other visual curiosities in that episode, the appearance of a man about to be beheaded in the same scene as Harold’s death, and blinding as punishment for perjury. He includes a discussion on how medieval attitudes about history are understood and described within Biblical frameworks. The author follows this with an in-depth discussion of the significance and symbolism of the Babylonian king Nebuchad- nezzar and his conquest of Judah in medieval art and thought. The Anglo-Saxons’ apparent fascination with ancient Hebrew history is examined in considerable detail via the Old English poems “Daniel” and “Judith,” resistance heroes who, notes Bernstein, “suggest that English poets and their audiences felt an emotional identification with the Hebrews in their time of Babylonian captivity that is unique in medieval culture.” The book’s only appendix is a brief essay on the supposed “bull’s eye” that appears atop the stationary reliquary in the Tapestry’s oath scene. “Bull’s eye” should not be understood in the more modern sense of “hitting the mark,” as tempting as that may be in the Tapestry’s story, but as nothing more than a term for a piece of glass or a stone that resembles an animal’s eye. Includes 31 pages of notes. The last part of the book is a one-fifth scale black-and-white photographic reproduction of the Tapestry with English translations of the inscriptions and very brief commentary on the content of each scene. A large map of Tapestry-related lands is included, as well as a handy one-page chronology of events from c. 1003 to 1097. Includes an index.

194. Berthot, J. “La Tapisserie De La Reine Mathilde, Comedie En Un Acte Et Un Prose.” Bulletin De La Societé Des Sciences, Arts Et Belles-Lettres De Bayeux I (1891): 55–63.

195. Bertrand, Simone. The Bayeux Tapestry. Rennes, France: Ouest-France, 1978. Notes: Paperback. Bertrand’s expertise on the Bayeux Tapestry makes for a very fine tourist souvenir book, well-informed and presenting scholarly issues in a way accessible to a general readership. He begins by noting the legend of Queen Matilda doing the embroidery work herself, then moves on to discussing why the Tapestry was made, including the decision of the Council of Arras in 1025 to “adorn churches 54 The Bibliography with illustrated hangings in order to enlighten the faithful.” English contributions to the manufacture of the Tapestry are barely mentioned. Bertrand gives a brief background of the question of succession to the English throne in the later years of King Edward’s reign. Each of 58 scenes in the Tapestry is then summarized for the reader, followed by a brief discussion of what the missing end of the Tapestry perhaps showed; the poem of Baudri of Bourgueil is called up to perhaps shed light on this question. This book’s English translation is often clumsy. Includes numerous large full-color photographs of the Tapestry.

196. ———. “Etude Sur La Tapisserie De Bayeux.” Annales De Normandie 10 (1960): 197–206. This article was reprinted in Richard Gameson’s The Study of the Bayeux Tap- estry as “A Study of the Bayeux Tapestry” and is annotated under the citation for its publication there.

197. ———. “The History of the Tapestry.” The Bayeux Tapestry: A Compre- hensive Survey. ed Frank M. Stenton, 88–97. London: Phaidon, 1965. Notes: Second edition, revised and enlarged. Originally published in 1957 by Phaidon. The photographs reproduced in this book were taken in April 1956 by Percy Hennell. Bertrand provides a useful and concise chronology of key dates in the history of the Bayeux Tapestry from 1476 to 1945. The Tapestry’s trials through the French Revolution and the Napoleonic years receive the most ink; remarks on the years before and after are notable for their brevity. Includes notes.

198. ———. Livret: Guide-Tapisserie De Bayeux. Bayeux: La Renaissance du Bessin. This 71–page guide to the Tapestry discusses the story and history of the embroidery and techniques used in its construction. It has been published in many languages.

199. ———. “A Study of the Bayeux Tapestry.” The Study of the Bayeux Tap- estry. ed Richard Gameson, 31–38. Woodbridge, U.K.: Boydell Press, 1997. Bertrand presents an overview of some of the essential topics in Bayeux Tap- estry. The article begins with remarks on the purpose of the Tapestry: to educate illiterate audiences on the story of the Conquest and to justify it; the Tapestry was intended to be displayed at Bayeux Cathedral. The texts of the reversed scenes in the Tapestry are laid out for readers and it is noted that these reversals were not in error if one considers them in relation to a chanson de geste. The author describes the Tapestry’s dimensions, linen, seams, a hem substitute, the various types of stitch, a detailed discussion of the wool dyes used, comments on moth damage, bronze sewing needles, the possibility of a visible cartoon drawn onto the linen, and the decomposing dyes leaving marks on the linen. The possible length of the The Bibliography 55

Tapestry’s missing end is discussed. The restoration efforts of the beginning of the Tapestry are examined and Bertrand questions whether what is seen as the opening scene was the original opening scene.

200. ———. La Tapisserie De Bayeux Et La Manière De Vivre Au Onzième Siècle. La Pierre-qui-Vire: 1966.

201. Bertrand, Simone, and Sylvette Lemagnen. The Bayeux Tapestry. Rennes, France: Editions Ouest-France, 1996. This primer on the Tapestry and popular tourist guide was written by the two people closest to the embroidery in modern times. Bertrand is now the honorary keeper of the Bayeux Tapestry and Lemagnen is its present keeper and curator. This compact unpaginated book covers all the major subject areas surrounding the work and begins by suggesting that the work was “most probably begun the very day after the famous Battle of Hastings.” The authors address Bishop Odo’s likely patronage, provide a technical description, review the embroidery’s provenance, discuss the work in the context of other narrative wall hangings and monumental embroideries, and cover the story in detail with translations of the Latin inscriptions. They also include a brief discussion of the Council of Arras 1025 ruling that “it was desirable to adorn the walls of churches with wall-hangings depicting people, as a means of enlightening the worshippers.” A special sidebar includes Alfred Gaillard’s oil painting “Queen Mathilda Embroidering the Telle du Conquest” which features the Bayeux Tapestry being worked by Matilda and her ladies. This feature also discusses the embroidery being referred to at one time as “The Cloth of Duke William” and the eighteenth-century writings of Lancelot, a member of the Académie des Inscriptions et Belles-Lettres as well as those of Dom Bernard de Montfaucon. The heavily illustrated book also includes a chronology of the events of 1066, a simple genealogical table, maps of the town of Bayeux and of northern Europe, and details about the Centre Guillaume-le-Conquérant where the Bayeux Tapestry Museum is located. The book’s endpapers feature vivid full-color photographs from the Tapestry.

202. Biddle, M. “A Late Saxon Frieze Sculpture From the Old Minster.” The Antiquaries Journal XLVI: 329–32. The author takes a close look at the Winchester frieze fragment, which often makes appearances in Bayeux Tapestry studies. Biddle describes dimensions in detail, including rebates and recesses. In examining the content of the frieze, he notes that it divides two scenes by one character turning his back to the following scene “as sometimes in the Bayeux Tapestry.” The frieze’s depiction of a shirt worn under mail seems to be shown several times in the Tapestry. The likelihood that the frieze depicts a scene from the Völsunga Saga is discussed. The dating of the frieze can be guessed with confidence, according to Biddle, based on similarities with the Tapestry. 56 The Bibliography

203. Bigelow, Melville M. “The Bohun Wills.” The American Historical Re- view 1, no. 3 (1896): 414–35. Notes: Published by The University of Chicago Press on behalf of the Ameri- can Historical Association. In Bigelow’s explanation of the origin of the Bohun name, as in Humphrey de Bohun, “with the beard,” he provides a footnote on the first page of the article: “At the time of the Conquest the Normans generally shaved off the beard. Those who did not were accordingly marked men, so much so that ‘with the beard’ was fairly part of the name. The Bayeux tapestry shows that the back of the head as well as the face was shaved. Wace tells us that one of Harold’s spies reported William’s soldiers an army of priests; they could chant masses, for all were shaven and shorn, not even having moustaches left. But the fashion changed soon after the Conquest, and the Conqueror himself is represented in a drawing in a MS. of William, Abbot of Jumièges, as wearing a short beard and moustache.” The article includes numerous additional extensive notes.

204. Biggam, C. P. “Grund to Hrof: Aspects of the Old English Semantics of Building and Architecture.” Architectural History 45 (2002): 49–65. Biggam suggests that shingles, “essentially, tiles of wood, usually made of oak, which may be square or oval,” are likely illustrated on the Bayeux Tapestry, specifically on the roof of Harold Godwinson’s house. A note references David Wilson’s 1985 The Bayeux Tapestry.

205. Biggins, Alan. A Normandy Tapestry. Buckinghamshire, U.K.: Kirkdale Books, 2004. Notes: Originally published in 1994. Paperback. The Englishman Biggins presents a charming and light-hearted memoir of moving himself, his wife, and two small children to Normandy. He recounts his numerous run-ins with cultural differences ranging from frustrations over not being able to swear in French to what one does when faced with a meal of unap- petizing spider crab as well as providing an irreverent look at the history of the region. In his impressions of Mont St Michel, he mentions the Bayeux Tapestry’s quicksand scene. Biggins sees both sides of the issue on the question of the validity of Harold’s oath as depicted in the Tapestry chapter on Anglo-Normans, and goes on to point out, “I have never seen mentioned in English accounts, although Norman historians make no bones about it . . . that by 1066, with half of Italy in Norman hands . . . the popes were becoming accustomed to submitting to the will of the wildmen from the north.” in an attempt to partially explain why the Pope gave his blessing to William to invade England. He then goes on to tell the story of the Norman Conquest, albeit with his own personal anecdotes and color commentary (“The Westmoreland shepherds still count sheep using the numbers of their Viking ancestors.”) His account of the Normandy invasion provides a one-paragraph summary of the Tapestry’s ordeals during World War II. The Bibliography 57

206. Bill, Jan. “Ships and Seamanship.” The Oxford Illustrated History of the Vikings. ed Peter Sawyer, 182–201. Oxford, U.K.: Oxford University Press, 1997. This heavily illustrated handsome book presents articles on Viking history through and examination of their geography, early raids, permanent settlements, and interactions with local cultures. Bill’s article examines the cultural legacy of the Vikings that continues through our own time. In a discussion of the tools used by shipwrights, the T-shaped broad axe seen in the Bayeux Tapestry is mentioned; a black-and-white photo of this scene is included. The Tapestry is also mentioned in a passage on Viking influence on post-Viking ship building. The book includes a chronological list of events from 705 to 1104 and an index.

207. Billy, Jacques. Bayeux: A Town of Artistic and Architectural Interest. Rennes, France: Editions Ouest-France, 2002. Notes: Paperback. Photography by Hervé Champollion. Translated by Angela Moyon. In this richly illustrated 32–page tourist booklet, Billy provides a two-page section on the Bayeux Tapestry. There are five color scenes from the embroidery and a brief narrative that offers basic information on the work. Billy mentions the Tapestry’s alternate names, “Tale of the Conquest” and “Queen Matilda’s Tapestry” as well as its likely patron, Odo of Conteville, and its first display on July 14, 1077. References are also made to the embroidery’s survival of the French Revolution and the German Occupation as well as its display in the Deanery and the Centre Guillaume-le-Conquérant. Billy reports a measurement of 228 feet for the Tapestry. Early in the booklet, the embroidery is mentioned as having been “hung up in the nave” of Bayeux Cathedral. A color photograph of the exhibition room of the Tapestry is also included. Details about the Centre Guillaume-le-Conquérant are provided at the end of the book along with other museums in Bayeux.

208. Bindman, David, ed. The Thames and Hudson Encyclopaedia of British Art. London: Thames and Hudson, 1985. Notes: Nigel Morgan is editor for medieval art. In addition to the expected basic information on the Tapestry, the entry for it notes that “On one level the tapestry describes historical events, while on another it gives a subtle but unequivocal account of God’s punishment of Har- old for his disloyalty and the breaking of his oath made at Bayeux.” Earlier, in the entry for late Anglo-Saxon art, the author writes that “Such a notable work as the Bayeux Tapestry is still Anglo-Saxon in character, and the late Anglo- Saxon style and Norman work under Anglo-Saxon influence are essential ingre- dients of the mature English Romanesque style of the 12th century.” Includes a bibliography and a world gazetteer of museums and galleries containing British art written by Rosemary Treble. The entry on the Bayeux Tapestry was written 58 The Bibliography

by Jeffrey West, a research student at the Courtauld Institute of Art, University of London.

209. Bindman, David, Tim Ayers, and Chris Stephens. The History of British Art, Volume 1: 600–1600. New Haven, CT: Yale Center for British Art, 2008. Notes: Tim Ayers is a lecturer in the history of art and a member of the Centre for Medieval Studies at the University of York. David Bindman is a Sheila Biddle Ford Foundation Fellow at the W.E.B. Du Bois Institute for African and African American Research, Harvard University.

210. Biron, Guillaume. “La Plus Illustré Des Bandes Dessinées.” Selection Du Reader’s Digest (1974): 68–74.

211. Birrell, F. F. L. Guide to the Bayeux Tapestry. London: Victoria & Al- bert Museum, Department of Textiles (Printed under the Authority of His Majesty’s Stationery Office), 1921. Notes: 12 plates.

212. Bishop, Morris. “1066.” Horizon 8 (1966): 4–27. Notes: Alternate title: 1066, or the Tale of William the Bastard, Duke of Nor- mandy; of King Harold’s Sacred Oath, Which Was Broken Nonetheless; of the Cruel Battle that Altered History (Including Ours); & of the Bayeux Tapestry, Stitched up for the Victors. All Retold Nine Centuries After by Morris Bishop. Morris traces the story of the Norman Conquest at considerable length, per the Bayeux Tapestry, and fleshes it out with details from the Norman Chroni- clers. A supplement to this article is a 15–page report on the Tapestry, including 15 photographs of entire scenes from the Tapestry, as well as 8 very large detail photos. These are accompanied by explanatory captions and an essay covering Odo’s patronage of the Tapestry “to help his ambitions along” for the crown of England or a papal tiara, the Tapestry’s survival in Revolutionary and Napoleonic France, and the Germans’ interest in the Tapestry for propaganda purposes. Interestingly, he illustrates how Queen Elizabeth II is descended of both Harold and William. Includes a photograph of William of Malmesbury’s chronicle.

213. ———. The Horizon Book of the Middle Ages. New York: American Heritage/Bonanza Books, 1984. Notes: In addition to Bishop, the title page attributes the work to the editors of Horizon Magazine and to Norman Kotker, editor-in-charge. Originally published by American Heritage Publishing in 1968. The text here is shared with Bishop’s The Middle Ages, published by Hough- ton Mifflin, Boston, in 1968. The images, however, vary. Bishop, scholar, poet The Bibliography 59 and former University Historian at Cornell University, references the Bayeux Tapestry three times here. He first notes the likely misinterpretation often made regarding Harold being wounded in the eye with an arrow. He later points out the Tapestry’s depiction of arrows being drawn to the breast rather than the ear and how hairstyles may be used to distinguish the English and the Normans, part of a discussion of how the round bowl cut, or pageboy, is an image of historical movies rather than reality. Includes two black-and-white battle scene images and a full-page color scene showing Harold receiving news from a messenger.

214. ———. The Middle Ages. Boston: Houghton Mifflin, 1968. Notes: Part of The American Heritage Library series. Bishop, a scholar, poet and former University Historian at Cornell University, references the Bayeux Tapestry three times in this classic title on the middle ages. He discusses the likely mistaken notion that Harold was shot in the eye with an arrow. He notes that the Tapestry’s archers draw their arrows to the chests rather than their ears. English and Norman hairstyles are also discussed. Includes a black-and-white battle scene image.

215. Bisson, Thomas N. The Crisis of the Twelfth Century: Power, Lordship, and the Origins of European Government. Princeton, NJ: Princeton Univer- sity Press, 2009. In a mention of the “long-haired star” on the book’s first page, Bisson references Lucien Musset’s The Bayeux Tapestry in a footnote. Later in a chapter titled “The Age of Lordship,” he discusses how “prevalent modes of violence . . . were nurtured in the habits of war as well as of vengeance.” He then notes that “there is timeless poignancy in the depiction stitched into the Bayeux Tapestry of a woman and child escaping a house torched by hefty Norman retainers.” Mus- set’s book is again footnoted here. Includes index. Bisson is the Henry Charles Lea Professor of Medieval History at Harvard University.

216. Black, Jeremy. The Seventy Great Battles in History. London: Thames and Hudson, 2005.

217. Blackmore, Howard L. Arms and Armour. New York: E.P. Dutton, 1965. Notes: Paperback. “Dutton Vista Pictureback.” General editor: David Herbert. In this heavily illustrated paperback, Blackmore provides a survey of the development of post-classical armor. He discusses both decorative and technical aspects. In his opening chapter titled “The Age of Mail,” he includes a black-and- white illustration of a scene from a drawn replica of the Bayeux Tapestry. The kite-shaped shield of a Norman horseman and the round shield of an Englishman are referenced in the caption. There is no index. 60 The Bibliography

218. Blair, John. “Hall and Chamber: English Domestic Planning 1000– 1250.” Anglo-Norman Castles. ed Robert Liddiard, 307–28. Woodbridge, U.K.: Boydell Press, 2003. In this examination of the layout and floor plans of English royal, manorial, and Episcopal houses, Blair notes that archaeology has not yet produced an example from this period of a rural residence having an upper floor, although the Bayeux Tapestry indeed depicts this type twice: at Harold’s pre-departure feast at Bosham, and in the double-decker death of King Edward scene. Includes bibliography.

219. Blair, Peter Hunter. An Introduction to Anglo-Saxon England. New York: Cambridge University Press, 2003. Notes: Third edition. Introduction by Simon Keynes. Second edition published in paperback. In his chapter “The End of the Anglo-Saxon State,” Blair provides a synopsis of the story told in the Bayeux Tapestry and informs readers that “most modern historians are more ready to accept the version represented pictorially in the Bay- eux Tapestry than any one of the written accounts.” Blair was formerly Reader in Anglo-Saxon History at the University of Cambridge and Fellow of Emmanuel College. Includes bibliography and index.

220. Blake, Robert, ed. The English World: History, Character, and People. New York: Harry N. Abrams, 1982. The Tapestry is referenced twice in this heavily illustrated history of all things English. The first reference is the caption for a black-and-white photograph of the scene where Harold is killed. The other is a caption to a drawing of the Tapestry depicting “weapons and mail shirts being transported by Norman soldiers”; this reference appears in the opening chapter by Frank Barlow titled “Who Are the English? Migration, Conquest and the Mingling of Races.” Other contributors include Asa Briggs and Michael Maclagan. Barlow is Emeritus Professor of His- tory at Exeter University.

221. Blake, Robin. “Embroidery and the Truth: The Bayeux Tapestry’s Own Tangled History Is As Open to Interpretation As the Facts and Conse- quences It Portrays.” Financial Times (2006): 30. Writing about both Peter Rex’s Harold II: The Doomed King as well as Carola Hicks’ The Bayeux Tapestry: The Life-Story of a Masterpiece, Blake’s article is most interesting for its comments on Hicks’ work. Suggesting that it is “a little pedantic to insist on calling it an embroidery, though it is stitched not woven,” Blake writes about Hicks’ “beguiling study” of the Tapestry “stands as one of the more astonishing works in the history of art.” The Bibliography 61

222. Blakeley, Brian L., and Jacquelin Collins. Documents in British History, Volume I: Early Times to 1714. New York: McGraw-Hill, 1993. Notes: Second edition. Published in paperback by John Wiley & Sons, New York, in 1975. The authors, both professors of history at Texas Tech University, provide concise descriptions of 74 documents detailing British history during the period indicated in the title. Their brief section on the Bayeux Tapestry dates the embroidery between 1066 and 1082, attributes its patronage to Bishop Odo, and notes that it portrays a Norman version of events. Blakely and Collins do acknowledge these are all disputed to some degree. Noting the Tapestry’s emphasis of Harold’s oath and its justification for William’s invasion, they suggest the panel depicting this scene was placed in the middle of the embroidery so it would be viewed as the central, climactic event of the story. They also write that the inclusion of Halley’s Comet was “the designer’s attempt to show divine displeasure with Harold’s usurpation of the throne” and that many of the events of 1066 are portrayed “as if the success of the Normans was inevitable.” The Tapestry’s value in studying material culture and architecture is referenced. Additionally, the authors give 1871 as the date it was first photographed. Six images from the Tapestry are included, all reproduced from Stenton’s The Bayeux Tapestry: A Comprehensive Survey published by Phaidon Press in 1957. The chapters before and after cover William of Poitiers’ The Deeds of William (the authors note that William of Poitiers may have based his work partly on the Tapestry) and The Domesday Book.

223. Bliese, John R. E. “Leadership, Rhetoric, and Morale in the Norman Conquest of England.” Military Affairs 52, no. 1 (1988): 23–28. Notes: Published by the Society for Military History. Bliese, assistant professor at Texas Tech University, mentions the Bayeux Tapestry’s depiction of William raising his helmet to show he is still alive and Eustace of Boulogne pointing to him. He also comments on how the Bayeux Tap- estry seems to support Henry of Huntingdon’s version of the Battle of Hastings. Dating the embroidery to the 1070s, Bliese unfortunately refers to the work as a “woven pictorial record.” Includes extensive references.

224. Bloch, R. Howard. “Animal Fables, the Bayeux Tapestry, and the Mak- ing of the Anglo-Norman World.” Poetica 37, no. 3 (2005): 285. Notes: Published by Wilhelm Fink Verlag, Munich.

225. ———. A Needle in the Right Hand of God: The Norman Conquest of 1066 and the Making and Meaning of the Bayeux Tapestry. New York: Random House, 2006. Bloch’s significant contribution to the corpus of Bayeux Tapestry scholarship, written for laypersons and scholars alike takes as its theme “the Tapestry is a weaving together of the disparate cultures on both sides of the English Channel 62 The Bibliography after the trauma of 1066, a treaty of peace” and later puts it more bluntly: that the Tapestry’s deepest function is “to unify the contending parties to the shock of Hastings” and that the Tapestry “is the aesthetic expression of the wish to hold the kingdom and duchy together.” The Tapestry is described in a paragraph in terms of its functions to us today as a historical document, placing “new emphasis on everyday life,” proffering “a vision of history as a logically connected continuum,” and making “unseen connections to the classical past” and setting the stage “for Anglo-Norman ambitions in the Mediterranean and the Middle East.” Bloch states in no uncertain terms that the Bayeux Tapestry “is not, as has been suggested, purposely ambiguous or a coded message put forth by Anglo-Saxon weavers to undermine the legitimacy of their Norman Conquerors.” Bloch recounts his childhood fascination with the Tapestry and his first visit to it as well as the frustrations and joys of a quite recent one. The delightful anecdotes of his meeting with Mlle. Sylvette Lemagnen, curator of the Tapestry, include him asking her “why the French persisted in calling the Tapestry a tapestry when it was, in fact, an embroidery.” The author provides a recap of the events of October 14, 1066, and brief biographical outlines of both William and Harold. Bloch gives brief accounts of the events of the Norman Conquest immediately following the Battle of Hastings, including a later episode in the story of the Tapestry’s castle of Dol. He succinctly lists six possible identities of the Tapestry’s Ælfgyva, and six for Turold. He devotes a good deal of text to the various fables of Aesop that occur in the Tapestry and their possible thematic implications in the Tapestry’s story. Bloch discusses the lack of emphasis on religious imagery in the Tapestry and its concern with objects of everyday life, where the Tapestry’s designer “is interested in the par- ticularity and the working of things.” On the Tapestry’s depictions of the naval transport of horses, a practice of neither the Vikings nor the English, he suggests that the Normans may have picked up this idea from the Byzantines in the early eleventh century. Bloch enumerates some of the fascinating logistical statistics of William’s invasion preparations calculated by Bernard S. Bachrach, who noted, among other things, that horses waiting at Dives-sur-Mer produced 5 million pounds of feces and 700,000 gallons of urine. He asserts the notion that the Tap- estry was made for display in the Bayeux Cathedral, but also entertains the idea that it was created for a castle hall and ends the chapter by stating that the Tapes- try would have had no place in a church. Elements of the Tapestry that are not appropriate for a church setting are pointed out: the supernatural, obscenities, and a lack of divine will in human events. The Tapestry’s “discovery” in the 1720s is discussed. Bloch writes a lengthy profile of the tireless nineteenth-century French scholar Francisque Michel who discovered a manuscript of The Song of Roland written in Old French, and who was the first to link the epic poem to the Battle of Hastings. Michel’s discovery occurred at a time of surge in French and English national interest in medievalism, which led to the inevitable attempts at determining whether the Bayeux Tapestry was English or French in origin. He presents an overview of Napoleon’s and the Nazis’ (with a focus on Herbert Jankuhn) interests The Bibliography 63 and activities with the Tapestry. Readers are treated to a run-down of the Tapes- try’s more prominent pop-culture appearances. The production of the Tapestry is examined: its flax-linen background, the linen weave, seams, woolen yarns, and dyes, as well as remarks about microscopic and chemical analyses of the linen and wools and radiocarbon-14 dating of the Tapestry’s reinforced backing which was, states Bloch, added centuries later. The Leek Embroidery Society’s nineteenth- century replica of the Tapestry is highlighted and their well-known censoring of male genitalia is mentioned. In a discussion of illuminated manuscripts and the Tapestry, Bloch makes comparisons between the two media in both production and content. He devotes a satisfying amount of discussion to the embroideresses’ reliance on designs drawn on parchment or directly onto the Tapestry’s linen and comments on the remarkable amount of preparedness and careful planning that must have gone into the production. A profile of the likely experiences and education of the Tapestry’s designer is covered as are Bloch’s reasons for believing that the designer was a man. The various programmatic uses of the stem stitch are discussed at some length, less so for the laid-and-couch stitch. Bloch also describes a possible “coming out” or first hanging celebration for the Tapestry, complete with musicians, tumblers, and jongleurs. He presents a lively account of the discovery and unearthing of the famous Sutton Hoo treasure trove. The author then points out the variety of nations represented in the Sutton Hoo artifacts and begins a study of how the Tapestry is equally multinational in its presentation and he elaborates for several pages on each culture: Scandinavian, Anglo-Saxon, and Norman, plus an entire chapter on the Byzantine influence on the Tapestry. Bloch asserts that the Tapestry is Scandinavian in that it resembles textiles such as those found at Oseberg, Norway and other sites and that the weaponry and arms, the dragon heads on the ships, proto-heraldic images, furniture design, and the interlacing trees are all clearly of Scandinavian design or influence. The Anglo-Saxon qualities of the Tapestry that Bloch mentions include its sharing of formal design elements with Anglo-Saxon sculpture and other objects and the fact that the Tap- estry obviously borrows images from the Anglo-Saxon manuscripts. Bloch also points to the Anglo-Saxon spellings of various words in the Tapestry. The elements of the Tapestry that are Norman or continental are seen in the Tapestry’s Romanesque architecture, and in the zigzag or chevron design motifs. Bloch emphasizes the great influence of Byzantine silks on the Tapestry, particularly in the paired animals in the border. The author creates a fascinating portrait of Harald Hardraada, especially as a Varangian guard at the Byzantine court and his travels around Europe and the Mediterranean. Bloch describes the dispersal of Anglo- Saxons throughout the Mediterranean following the Conquest and lists several Norman interests in the region as well, both resulting in significant Byzantine influence in Anglo-Norman style. To make this point, Bloch illustrates the eastern influence on the images in post-Conquest coins and in the Tapestry. In comparing the Tapestry to the continuous narrative Roman works Trajan’s Column and the Column of Marcus Aurelius, he reminds readers that Anglo- 64 The Bibliography

Saxons and Normans were regular visitors to Rome. Bloch comments at length on the compositional functions of the Tapestry’s trees and architecture, as well as the placement, facings, and movement of humans. In three full pages the “temporal dynamism” in the Tapestry—the Tapestry’s ability not just to move the viewers’ eyes from left to right, but to actually slow and dissect time—is discussed with several examples of this “startlingly new” technique in the embroidery. The author closely examines the full-frontal facing of Harold in Majesty, and compares it to imperial Carolingian and Ottonian portraits. Bloch comments on the Tapestry’s compositional necessity for various views (profile, three-quarter, frontal) of faces and gives his opinion on the psychological impact of Harold’s direct gaze. In- cludes a full-color reproduction of the Tapestry at about 1/20 scale, plus color and black-and-white photographs of many of the manuscripts, objects, places, and people discussed within. The index contains a useful list of most of the Tapestry’s numbered panels and indicates page numbers where each panel is discussed.

226. Bloore, Fred J., and Hugh R. Morton. “Advice on Hanging Pictures.” The American Mathematical Monthly 92, no. 5 (1985): 309–21. Notes: Published by the Mathematical Association of America. Among the many formulas, graphs, and diagrams, the authors offer an “extreme example” of a long, thin picture. They muse that “if the Bayeux Tapestry . . . were nailed down on a rigid rectangle of hardboard, one would need 1 km of cord to hang it so the horizontal equilibrium position were stable!” Includes references.

227. Boardman Jr., Fon W. Castles. New York: Henry Z. Walck, 1957. Boardman’s book for children, ages 9 and up, takes readers through the age of castles, and discusses chivalry, knights, and the uses of castles as residences and as fortifications. In a passage on motte-and-bailey castles, the Bayeux Tapestry is mentioned for its depictions of such fortifications. Includes a glossary of castle architecture terms.

228. Bock, Adam. The Bayeux Tapestry. Brunswick, ME: Bowdoin College, 1984. Notes: An honors paper for the Department of History, Bowdoin College, Brunswick, ME. Wissolik refers to the document as a thesis.

229. Boldrick, Stacy L. “Bayeux Tapestry.” Medieval France: An Encyclope- dia. eds William W. Kibler, Grover A. Zinn, Lawrence Earp, and John Bell Henneman Jr., 102. New York: Garland Publishing, 1995. Notes: Volume 2 in the series Garland Encyclopedias of the Middle Ages and Volume 932 in the series Garland Reference Library of the Humanities. Boldrick’s brief entry on the Tapestry dates it to between 1066 and 1083 and suggests the incorrect labeling of the embroidery as a “tapestry” came from “centuries of French references to tapis, an all-inclusive label for designed textiles.” The Bibliography 65

She notes that scholarship points to Bishop Odo as the patron of the work. Basic information is also provided.

230. Bollinghaus, Elaine, Ann Watson, and Brian Chaplin. Odo of Bayeux: A Norman in England After 1066. Edinburgh, Scotland: Chambers, 1977. Notes: Part of the series The Way It Was and Norman Invasions, Brian Chap- lin, series editor.

231. Bond, Gerald A. The Loving Subject: Desire, Eloquence, and Power in Romanesque France. Philadelphia: University of Philadelphia Press, 1995. Notes: Part of the Middle Ages series, Ruth Mazo Karras and Edward Peters, editors. Within his chapter titled “Arresting Subjects: Ælfgyva and the Coloring of His- tory,” Bond intensively analyzes the Tapestry’s Ælfgyva scene within the theme of his book, the Concept of Self among Romanesque French Elite. Bond attempts to establish Ælfgyva as “the subject of desire . . . represented in the Tapestry as a subject of eloquence” and the cleric as “the subject of eloquence . . . represented as the subject of desire.” Through the lens of gender issues, both our own and the fossilized, he examines this vignette by naming numerous other dichotomies that infiltrate and surround it: intentions of masculine narrative and feminine aesthetic; an attack on unauthorized desire and “a desire to craft subjects whose ‘love,’ fidelity, and service it can control for its own needs”; the struggle between the “poetic and the referential, desire and duty, pleasure and power”; servant of fear and pleasure; the body historical and the heart hagiographical; sexual aggression and aggressive sexuality. He makes the interesting observations that the firedrake below the cleric connotes evil and desire, and that the gesture Ælfgyva makes with her hands is used in the Tapestry only when someone is speaking before a figure of power. For study, a large full-color photograph of the Ælfgyva scene is provided opposite the title page. Bond references the Tapestry in passing in his other chapters. Includes extensive notes and index.

232. Bonser, Wilfrid. An Anglo-Saxon and Celtic Bibliography (450–1087). Berkeley, CA: University of California Press, 1957.

233. Boswell, Winthrop Palmer. Bruce and the Questions of Geomancy at Axum: The Evidence From the Norman Bayeux Tapestry. W.P. Boswell, 1987.

234. Botkin, Marie. “Medieval Clothing.” The Greenwood Encyclopedia of Clothing Through World History: Volume I, Prehistory to 1500 CE. ed Jill Condra, 153–242. Westport, CT: Greenwood Press, 2008. Describing the Bayeux Tapestry as being “embroidered with the scenes of William’s valor,” this title also mentions the Tapestry in a section on textiles in the Middle Ages. In addition to offering standard information on the Tapestry’s 66 The Bibliography construction, Botkin comments that “While the figures in the tapestry indicate costumes of the early medieval period, they are not indicative of much detail.” In this narrative, the embroidery is dated to the “last half of the eleventh century.” The volume includes a helpful 30–page glossary, lists of museums, and a thorough, detailed index. Botkin teaches fashion history at California State Univer- sity, Sacramento. She studies French fashion in medieval times.

235. Bouchard, Constance Brittain. Knights: In History and Legend. Buffalo, NY: Firefly Books, 2009. Notes: Bouchard is referred to as “Chief Consultant” on both the title page and dust jacket. In this richly illustrated coffee-table book, Bouchard includes a color image of Harold’s oath and suggests that Anglo-Saxons “would have seen the image as a retrospective rewriting of history.” She also mentions the difficulty in distinguishing the armies of each side and makes note of the scholarly debate over where the Tapestry was produced, including recent scholarship suggesting it was made in the Loire Valley near Saumur (a reference to George Beech’s work). This, she writes, is the “most persuasive” of recent theories. The Tapestry is also mentioned in sections on horse armor, axes, shields, and helmets, in the latter noting the similarity in design between the Norman-worn basic conical helmet and the spangenhelm from the late Roman period. Bouchard is Professor of Medieval History at the University of Akron.

236. Bouet, Pierre. “Hastings: Le Triomphe De La Ruse Normande.” Histo- ria Special 59 (1999): 46–57.

237. ———. “Is the Bayeux Tapestry Pro-English?” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and Fran- çois Neveux, 197–215. Caen, France: Presses Universitaires de Caen, 2004. Bouet explores this question in this two-part essay. He begins by pointing out pro-English partiality in the Bayeux Tapestry, and he wishes to make clear that any theories about English craftsmen secretly editorializing the ideological program of the Tapestry should be “excluded from the outset”; Odo, the probable patron, “would have never countenanced such a falsification” and that the Tapestry as we know it presents its originally intended ideological message. The first half of the essay is an “objective study of the portrayal of Harold in the Bayeux Tap- estry [that] clearly shows . . . he meets with considerable favour in the eyes of the work’s patron and designer(s)” by repeatedly referring to him as “dux” and “rex”; illustrating his piety at Bosham; looking authoritative on his ship arriving at Pon- thieu; showing his courage at the River Couesnon; receiving the gift of arms from William as a token of William’s esteem and perhaps admiration (even though this bestowal obliged Harold to William); Harold receiving the crown from a supportive Witanagemot; Harold shown enthroned with attributes of authority; and the acclaim of nobles at his coronation. Bouet offers various explanations for The Bibliography 67 why the Tapestry’s creators chose to give Harold favorable treatment. Also, the designers had many opportunities to include damning facts against Harold, but indeed left them out: the coronation by Archbishop Stigand, whose excommu- nication by two popes could have easily been mentioned to invalidate Harold’s kingship; the Tapestry does not use pejorative terms for Harold as William of Jumièges, William of Poitiers, and others did; it ignores the fact that Normans considered Harold’s father Godwin responsible for Alfred’s death; the rumor of Harold slaying his own brother Tostig at Stamford Bridge is not mentioned; and most importantly, the Tapestry never mentions anything about Edward promising the throne to William, nor does it state that when Harold swore an oath to Wil- liam that he pledged to uphold the Duke’s right to succeed Edward. The article’s second half, on the Tapestry’s ideological message, attempts to explain the Tap- estry’s benevolent treatment of Harold as part of a “conciliatory political line” of William’s immediately after the Conquest, policies aimed at a “political dream” in which Englishmen and Normans joined hands to form an Anglo-Norman kingdom. Bouet lists several of King William’s new policies for establishing peace and justice in England. He then observes that for several scenes “the embroidery seems to accept two lines of interpretation, depending on whether the ‘reader’ is English or Norman.” The scenes in question are given some consideration for their potential plural readings, where the inscriptions tend “either towards under- statement or superfluity; and in the semantic gap thus created the viewer is free to make his own interpretation.” If we follow this argument, states Bouet, then we arrive at a production date for the Tapestry of 1067–1068, soon enough for it to have been quickly employed in advancing William’s cause of reconciliation. The episodes included in this discussion: Edward conversing with two people in the opening scene, Harold’s oath, and Edward’s addressing his faithful followers from his deathbed. Finally, Bouet’s title question is answered: “The Tapestry is neither pro-Norman nor pro-English: it supports both sides at once.”

238. Bouet, Pierre, Brian Levy, and François Neveux, eds. The Bayeux Tap- estry: Embroidering the Facts of History. Caen, France: Presses Universita- ires de Caen, 2004. Notes: Proceedings of the Cerisy Colloquium, October 1999, at the Cerisy- la-Salle International Cultural Centre. This book was produced by the Office Universitaire d’Étude Normandes of the Université de Caen Basse-Normandie and by the University of Hull Centre for Medieval Studies with the collaboration of the Service régional of the Inventaire général de Basse-Normandie. Alternate title: The Bayeux Tapestry: Embroidering the Facts of History: Proceedings of the Cerisy Colloquium (1999). The volume is dedicated to Hervé Pelvillain, regional curator of the General Archival Inventory for the Basse-Normandie region and keeper of antiquities and objets d’art in the Department of Calvados, who died in 2001. A two-page in memoriam section for Pelvillain written by Em- manuel Luis is included. 68 The Bibliography

In addition to a preface by Patrick Gomont, Mayor of Bayeux, and an introduction by François Neveux, the book contains the following articles: “The Great Bayeux Tapestry Debate (19th-20th Centuries)” by François Neveux; “The Bayeux Tapestry: A Critical Analysis of Publications, 1988–1999” by Shirley Ann Brown; “The Bayeux Tapestry under German Occupation: New Light on the Mission Led by Herbert Jankuhn During the Second World War” by Sylvette Lemagnen; “Publication of Results of the Scientific and Technical Study, 1982– 1983” by Hervé Pelvillain; “Bayeux Tapestry, or Bayeux Embroidery? Questions of Terminology” by Nicole de Reynies; “The Bayeux Tapestry: An Example of Textile Embroidery, A Report on the Setting-Up of the 1982–1983 Research Project and Scientific Analysis” by Marie-Hélène Didier; “The Technical Study of the Bayeux Embroidery” by Isabelle Bédat and Beatrice Girault-Kurtzeman; “The Bayeux Embroidery and its Backing Strip” by Gabriel Vial; “The Bayeux Tapestry: Results of the Scientific Tests (1982–1983)” by Brigitte Oger; “Ord- eric Vitalis and the Bayeux Tapestry” by Marjorie Chibnall; “The Echo in the Conquest in the Latin Sources: Duchess Matilda, Her Daughters and the Enigma of the Golden Child” by Elisabeth van Houts; “The Norman Conquest in the Grande Chronique de Normandie” by Gillette Labory; “The Bayeux Tapestry as Original Source” by François Neveux; “Is the Bayeux Tapestry Pro-English?” by Pierre Bouet; “The Bayeux Tapestry, the Bishop and the Laity” by Valerie I.J. Flint; “The Bayeux Tapestry and Its Depiction of Costume: The Problems of Interpretation” by Olivier Renaudeau; “Archaeology and the Bayeux Tapestry” by Anne-Marie Flambard Hericher; “The Importance of the Bayeux Tapestry for the History of War” by John France; “The Bayeux Tapestry and Decoration in North-Western Europe: Style and Composition” by Maylis Baylé; “Trifunc- tionality and Epic Patterning in the Bayeux Tapestry” by Brian J. Levy; “The Coronation of Harold in the Bayeux Tapestry” by Barbara English; “The Bayeux Tapestry: The Establishment of a Text” by David Hill; “The Cerisy Colloquium: Conclusions” by François Neveux; and “Bibliography of Bayeux Tapestry Stud- ies: 1985–1999” by Shirley Ann Brown.

239. ———, eds. La Tapisserie De Bayeux: L’Art De Broder L’Histoire: Actes Due Colloque De Cerisy-La-Salle (1999). Caen, France: Office Universitaire d’Études Normandes, Presses Universitaires de Caen, 2004. Notes: French language edition of The Bayeux Tapestry: Embroidering the Facts of History.

240. Bouet, Pierre, and François Neveux. “Edward the Confessor’s Suc- cession According to the Bayeux Tapestry.” The Bayeux Tapestry: New Ap- proaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 59–65. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. The Bibliography 69

The authors assert that the Bayeux Tapestry “tends to prove” that Edward the Confessor changed his mind on his deathbed about Duke William of Normandy succeeding him as king of England and instead chose Harold. The article opens with content descriptions and remarks about the significance of each of seven Tapestry scenes from Harold’s return to England to the men looking at the comet. The embroidered scenes are compared to contemporary written sources, including the Anglo-Saxon Chronicle (versions C, D, and E), the Vita Ædwardi Regis, John of Worcester’s Chronicon ex chronicis, William of Malmesbury’s Gesta regum Anglorum, Henry of Huntingdon’s Historia Anglorum, William of Jumièges’ Gesta Normannorum, Guy of Amiens’ Carmen de Hastingæ proelio, Benoît de Sainte- Maure’s Chroniques des ducs de Normandie, the Brevis Relatio de Guillelmo nobilissimo comité Normannorum, Orderic Vitalis’ chronicles, Wace’s Roman de Rou, and William Poitiers’ Gesta Guillelmi ducis Normannorum et Regis Anglorum. This article is a convenient reference for what each of the above documents says about the succession. Numerous Latin excerpts, with English translations, are provided.

241. Bouleau, Charles. The Painter’s Geometry: A Study of Composition in Art. New York: Harcourt, Brace & World, 1963. Notes: Third edition. “A Helen and Kurt Wolff Book.” Preface by Jacques Villon. Translated from the French by Jonathan Griffin. Originally published in France under the title Chapentes, La Géométrie secrète des peintres. Bouleau’s book examines historical development of pictorial composition in art. He often goes into indulgent language and presumes the reader is very familiar with the frieze that is the Bayeux Tapestry as he discusses its left-to-right reading and the functions of the occasional right-to-left motion. He then goes on briefly about rhythm and line in the Tapestry. Includes one long photograph of a Tapestry scene, and an index.

242. Bower, Sarah. The Needle in the Blood. London: Snowbooks, 2007. Notes: Paperback. Bower, a creative writing teacher and a former U.K. editor of Historical Novels Review, offers this 574-page historical novel that weaves fact and fiction among the major characters in the Tapestry. Bishop Odo commissions a wall-hanging in January of 1067 in the novel’s beginning. In her afterword, Bower acknowledges the research of Jan Messant [sic] for Bower’s “reimagining of the embroidery workshop.” She also acknowledges David J. Bernstein’s book The Mystery of the Bayeux Tapestry. She offers an apology to a historical figure, Lanfranc of Bec, for treating his reputation “rather badly” in the book.

243. Bowle, John. England: A Portrait. New York: Frederick A. Praeger, 1966. Notes: Part of the Nations of the Modern World series. Bowle, professor of political theory at the Collège d’Europe in Bruges, provides a discussion of the strategy and tactics of the English and Normans at the 70 The Bibliography

Battle of Hastings, writing “The old belief that the Normans outclassed the An- glo-Saxons at Hastings, long accepted on the word of Freeman and Oman, neither of whom had seen a battle, is now superseded. If English tactics were inefficient, the Norman tactics were no better: the invaders were incapable of the shock tactics of disciplined cavalry pressed home in a charge, nor were the English capable of standing firm in a phalanx of pikemen to stop them. If the Bayeux tapestry is accurate, the Normans hurled their spears, like javelins, yelling ‘Dex aie—God help!’, while their opponents, swiping with their axes, shouted ‘Out, Out!’ and ‘Olicross!’.” For this, Bowle references R. Glover’s “conclusive” article in The English Historical Review, LXVII, pp. 1–18. Includes index.

244. Boykin, E. M. “Famous Tapestry Recalls First Norman Conquest.” Hobbies 49 (1944): 42–43.

245. Boyles, Margaret. The Margaret Boyles Book of Crewel Embroidery. New York: Simon and Schuster, 1979. Suggesting the Tapestry as “perhaps the most important of the surviving ancient wool embroideries,” Boyles notes it was “worked in eight colors of crewel yarn on a bleached linen background.” She refers to it as “an emotional and artistic link to the past” and highlights the “careful draftsmanship” of the work.

246. Bradbury, Jim. The Battle of Hastings. Stroud, U.K.: Sutton Publishing, 1998. This account of the Battle of Hastings and the events leading up to it is an excellent fusion of the essentials of political and military history and introduction to the Bayeux Tapestry. Bradbury relies heavily on the Bayeux Tapestry as a resource to illustrate his accounts (he employs 57 photographs of the Tapestry) and refers to the Tapestry throughout the book. Bradbury is a British historian specializing in the military history of the Middle Ages and admits in the introduction to this book to having Bayeux Tapestry curtains in his living room.

247. ———. “Battles in England and Normandy, 1066–1154.” Anglo-Norman Warfare: Studies in Late Anglo-Saxon and Anglo-Norman Military Organiza- tion and Warfare. ed Matthew Strickland, 182–93. Woodbridge, U.K.: Boy- dell Press, 1992. Notes: The book is dedicated to the memory of scholar Reginald Allen Brown. Bradbury briefly examines the causes of and tactics used in five battles, besides Hastings, in Normandy and England in the century after the Norman Conquest. The Bayeux Tapestry is mentioned in the write-up on Hastings for its depictions of knights with couched lances, wooden bows, and touches on the question of whether the Tapestry depicts a crossbowman. The other battles discussed are Tinchebrai in 1006, Alençon in 1118, Brémule in 1119, Bourgthéroulde in 1124, and Lincoln in 1141. He concludes that in the century following Hastings, these The Bibliography 71 five battles had three commonalities: dismounted knights fighting on foot, archers usually placed in a forward position, and cavalrymen usually employed in decisive charges. The remainder of the article examines why these three tactics were used.

248. ———. The Medieval Archer. Woodbridge, U.K.: Boydell and Brewer, 1985. Notes: Reprint. Published in the U.S. by St. Martin’s Press. In this detailed and wonderfully illustrated study of medieval archers and archery, the Bayeux Tapestry, “a wealth without compare” for its depiction of 29 archers, is mentioned numerous times and in many contexts: the fact that the Tapestry’s bows exactly match those described by Gerald of Wales in the twelfth century; the Tapestry’s lone English archer; and Norman lance-holds. Bradbury examines the scene of Harold’s death in the Tapestry, and states that we can “firmly conclude that it was an arrow which struck the fatal blow.” He brings up various arguments in favor of the archery death of Harold and refers to David Bernstein’s assertion that the stitch marks apparently coming from the face of a fallen Harold in the Tapestry add to the likelihood that this figure is indeed Harold. He then examines the possible shooting angles depicted in the Tapestry and shares his opinions on the plausibility of the Norman archers having randomly shot arrows high into the air en masse. The single mounted archer is mentioned for being a bit of an anomaly. Next, Bradbury’s in-depth look at the Tapestry’s archers under a separate heading is among the most comprehensive in Bayeux Tapestry literature: he examines in considerable detail the group of four Norman archers in the main register of the Tapestry, their clothing/armor, and quivers. He discusses the fact that most of the Tapestry’s poised arrows were embroidered on the wrong side of the bowstaves. Certain that there were indeed crossbows present at the Battle of Hastings, Bradbury states that the absence of these French weapons in the Tapestry reinforces the idea that its embroiderers were English. He discusses how the Tapestry is an unreliable source for bow length or proportion.

249. ———. Stephen and Matilda: The Civil War of 1139–53. Stroud, U.K.: Alan Sutton, 1996. Notes: Published in 1998 as part of the Sutton Illustrated History series in paperback. Bradbury, a British historian and lecturer at Brunel University, references the Tapestry’s excellent illustrations of the motte and bailey castles in both Normandy and Brittany. He points out that because Edward the Confessor had lived in Normandy and had several Normans whom he favored in England, some motte and bailey castles were built in England before 1066. Clearly, they “mush- roomed” after the Conquest and, as Bradbury writes, “the whole country seemed to be smothered with the mounds and moats and baileys. England was now 72 The Bibliography governed from, and by, castles.” Three black-and-white images from the Tap- estry are included with detailed captions that comment on the motte and bailey castles at Dinan, Dol, Rennes, and Bayeux.

250. Brandon, Peter, and Brian Short. The South East From AD 1000. Lon- don: Longman, 1990. Notes: Part of the Regional History of England series, Barry Cunliffe and Da- vid Hey, general editors. Brandon and Short present a cultural, political, and military history of ten centuries of the history of southeast England, namely Sussex, Surrey, Kent, and London. The Bayeux Tapestry figures in a brief passage about Bosham, and the Tapestry’s depiction of the Godwins’ house there, as that family’s closest Sus- sex connection. A full-page black and white photograph of this scene from the Tapestry is accompanied by a lengthy caption providing historical background. In a sub-heading on the Norman Conquest, the authors state how the Tapestry demonstrates the Normans’ superiority over the English in warfare. The Tapestry is briefly mentioned in a discussion of motte-and-bailey castles.

251. Braun, Hugh. The English Castle. London: B.T. Batsford, 1936. Notes: Part of The British Heritage Series.

252. ———. An Introduction to English Mediaeval Architecture. London: Fa- ber and Faber, 1951. Notes: Subsequent editions and reprints published in 1958 and 1968. This well-illustrated survey mentions the Bayeux Tapestry several times in discussions of Westminster Abbey, feudal halls, castles, bridges, towers, and dragon-head ornamentation.

253. ———. Old London Buildings. London: Convoy Publications, 1949. In his narrative on Westminster Abbey, Braun writes that Edward the Confes- sor’s church, swept away in the thirteenth century is “realistically illustrated in the Bayeux Tapestry.” This 62-page book offers several black-and-white photographs, a simple index, and a map of London with 49 buildings identified.

254. Bray, Anna Eliza Mrs. Charles Stothard. The Memorials of C.A. Sto- thard. London: 1823.

255. Bray, Anna Eliza Mrs. Charles Stothard, and Charles Alfred Stothard. Letters Written During a Tour Through Normandy, Brittany and Other Parts of France in 1818, Including Local and Historical Descriptions With Remarks on the Manners and Character of the People. London: Longman, Hurst, Rees, Orme and Brown, 1820. The Bibliography 73

256. Brehier, Louis. La Tapisserie De Bayeux. Fécamp: Bouse, 1921. Notes: 30 pages with illustrations.

257. Bremner, G. Alex. “‘Imperial Monumental Halls and Tower’: West- minster Abbey and the Commemoration of Empire, 1854–1904.” Architec- tural History 47 (2004): 251–82. Bremner, writing of Westminster Abbey’s connection to England’s ancient seat of government, comments on Stanley’s efforts to trace the association between and state back to its Saxon origins. He notes that Stanley believed the figure positioned on the roof in the Bayeux Tapestry’s representation of the Abbey, with one hand on the tower of the old Palace of Westminster and the other on the Abbey’s weathercock, “was probably intended to represent ‘the close contiguity of the two buildings.’” Continuing to quote Stanley, Bremner writes, “This ‘natural architectural expression of a truth valuable everywhere’, he opined, was the ‘union of the regal, legal, [and] lay element of the nation with its religious, clerical ecclesiastical tendencies.’” A sketch from Stanley’s Historical Memorials (1868) illustrates this image from the Tapestry.

258. Brent, Peter. The Viking Saga. New York: G.P. Putnam’s Sons, 1975. Brent briefly mentions the Tapestry, writing that the “curious episode” of the “enforced oath of allegiance to William” was “laid out in the strip-cartoon sequences of the Bayeux Tapestry.” A full-page black-and-white image from the Tapestry is included. Genealogical charts, a brief bibliography and an index are also included.

259. Brian, Doris E. The Style of the Embroidery in the Municipal Library of Bayeux, Known As the ‘Bayeux Tapestry.’ New York: New York University, Institute of Fine Arts, 1936. Notes: This was the author’s master’s thesis at New York University’s Gradu- ate School of Arts and Sciences.

260. Bridgeford, Andrew. 1066: The Hidden History in the Bayeux Tapestry. New York: Walker & Company, 2006. Notes: Paperback. Originally published in Great Britain in 2004 by Fourth Estate. First published in the U.S. by Walker & Company in 2004. Bridgeford opens this significant and enjoyable work with a second-person present-tense account of what you may experience in Bayeux as you walk through town to the Centre Guillaume le Conquérant, into the museum and the Bayeux Tapestry’s chamber. He then establishes that this book elaborates on two important theories. Most significant is Bridgeford’s unique thesis that the Tapestry’s patron is Count Eustace of Boulogne and he attempts “to cast doubt on the idea, which has long reigned unquestioned, that Odo was the Tapestry’s patron.” Throughout much of the first 17 chapters, Bridgeford steadily builds a 74 The Bibliography case for Count Eustace of Boulogne as the Bayeux Tapestry’s patron. Bridge- ford points out that the Tapestry’s designer celebrates the heroic deeds of the French (“Franci”), that is, the non-Normans in the Battle of Hastings. He looks at the evidence suggesting that Odo is the Tapestry’s patron, but briefly points out loopholes in these commonly held beliefs. Bridgeford also notes that despite the appearance of Anglo-Saxon letters and symbols in the text of the Tapestry, the vocabulary is clearly French-influenced Latin. Eustace of Boulogne’s Carolin- gian pedigree is described, as are Eustace’s relationships with King Edward, the Godwins, and Duke William. The author then recounts Eustace’s conflict with the residents of Dover in 1051 and the resulting exile of the Godwins. Eustace’s failed siege attempt of Dover Castle of 1067 is also discussed, as are his subsequent banishment, and his later decision to ally himself with Duke William in 1066 and fight in the Battle of Hastings, thus explaining the Count’s appearance in the Tapestry. Bridgeford identifies the Tapestry’s Wadard and Vital as knight of Odo’s, and tenants of St. Augustine’s Abbey and places them quite possibly at the 1067 Dover incident. He writes about Charles Stothard’s identification of Eustace of Boulogne in the early nineteenth century. Bridgeford helps positively identify Eustace by examining visual evidence in the Tapestry, including his moustache and a mysterious pennant. Bridgeford uses Carmen’s account of Eustace killing Harold in the battle to support his intriguing and original notion that this act may have been secretly encoded in the Tapestry’s Latin inscription where Harold is hacked on the thigh by a knight’s sword. He also poses another patron-hypothesis for consideration: the Tapestry might not have had any patron and that it was made by the monks of St. Augustine’s as a gift to Odo. Bridge- ford advances his opinion that the popular notion of the Tapestry representing a Norman point of view is incorrect because the Tapestry’s artist “produced a dan- gerously many-layered masterpiece” that only “superficially supports the Nor- man point of view” and that “[t]he Tapestry tells us that the Norman claim to the throne was built upon . . . the lie that . . . King Edward sent Harold to Normandy in order to confirm William’s status as the next king.” He states that the Tapestry “undermin[es] the Norman Claim to the English throne at every turn.” Bridgeford takes a brief look at each of the possible candidates for King Edward’s successor and asserts that Duke William of Normandy would have been a very unlikely choice of Edward’s in the 1060s. Thus, Bridgeford supposes that Harold’s journey to the continent, an ambiguous account in the Bayeux Tapestry, was not an embassy from Edward to William on the topic of the Duke as successor to the English throne, but rather, that Harold was likely traveling to Normandy to negotiate the release of the hostages Wulfnoth, Harold’s brother and Hakon, his nephew. The author defends Harold as not having been a usurper, and affirms that the Tapestry does not depict him as one. Bridgeford provides a very detailed account of the arrest of Harold by County Guy of Ponthieu upon inadvertently coming ashore in the Count’s land, and his subsequent detention by William. He also recounts a 1056 meeting between Guy and Harold and gives an interesting The Bibliography 75 character study of Guy. Bridgeford identifies Harold’s brother Wulfnoth in the scene at William’s palace. He states that William took Harold on the Breton campaign in order to size up Harold’s warrior abilities, and to “overawe” Harold by showing off Norman fighting prowess. Bridgeford discusses the possible identity of the small figure seated in the Tapestry’s upper border above the image of Mont St-Michel. He cites Pierre Villion in pointing out possible astrological symbols in the lower border of the quicksand and Dol scenes. The author writes with special attention devoted to each character seated at William’s round feast table. Bridg- eford discusses the last wishes, death, and funeral of King Edward, and provides his explanation for the Tapestry’s reversal of this action. Stigand’s illegitimate archbishopric is examined. The author also argues that, contrary to traditional belief, Harold was likely crowned in Westminster Abbey. The ship traveling to Normandy after the comet scene, claims Bridgeford, is a dispatch of spies that Harold sent to Normandy, with one Englishman cleverly having shaved the back of his neck to pass as a Norman. Bridgeford declares the implausibility of the Tapestry having been created for the Bayeux Cathedral because it fails to depict the cathedral. He examines the possible relationships between Odo and the actual work itself. The similarities between the Tapestry and Wace’s Roman de Rou are briefly noted, as are the key differences. Bridgeford touches on Wace’s research activities and questions whether Wace had actually seen the Tapestry, despite having conducted much of his research in Bayeux. The work of David Bern- stein is drawn upon which compares the theme of punishment in the Tapestry with the same theme in the Old Testament account of the Babylonian Captivity. Bridgeford examines the evidence for St. Augustine’s Abbey as the place of the Tapestry’s manufacture. A 21-page chronology of the essentials of the Tapestry’s whereabouts from a possible twelfth century location (Bridgeford puts forth the intriguing theory that the Tapestry may have been hidden in a cathedral crypt between 1096 and 1412) to the present day, covering important topics such as the Bayeux Cathedral’s 1479 inventory, the “discovery” of the Tapestry in 1728 by Montfaucon, the Tapestry’s narrow escapes from destruction during the French Revolution, Napoleon’s use of the Tapestry to stir nationalism on the eve of his intent to invade England, the work of Charles Stothard and his removal of a small piece of the Tapestry, and the Tapestry’s adventures in German-occupied France and the Nazis’ intent on using it as a propaganda instrument. Elizabeth Wardle’s Victorian replica of the Tapestry by the Leek Embroidery Society is discussed. A chapter on the identity of the Tapestry’s Turold the dwarf as a jongleur is discussed at length and has a hefty list of notes and references. A tidy summary of The Song of Roland is given, and the remote possibility that the Tapestry’s Turold penned the only known written version of the Song is explored. A comparison is made of various elements of the Song and the narrative of the Tapestry. The author asserts confidently that the Tapestry’s Ælfgyva is indeed Ælfgyva of Northampton, mother of King Harold Harefoot. Bridgeford states that this enigmatic scene was included in the Tapestry to perhaps vilify Harold Harefoot for, 76 The Bibliography among other things, the horrific murders of Alfred and many Boulonnais soldiers, an issue that affected Count Eustace. Includes very handy full-color one-sixteenth scale photographs of the entire Tapestry with English translations of the Latin inscriptions plus 21 pages of notes, a bibliography and very thorough index, a map, and four genealogical charts.

261. ———. “Was Count Eustace of Boulogne the Patron of the Bayeux Tap- estry?” Journal of Medieval History 25, no. 3 (1999): 166–86.

262. ———. “Whose Tapestry Is It Anyway?” History Today 54, no. 4 (2004): 5–7. In this brief article, Bridgeford summarizes the major points of his book 1066: The Hidden History of the Bayeux Tapestry. He argues that the Bayeux Tapestry has been misread for centuries as telling the story of the Norman Con- quest strictly from the Norman point of view when indeed the Tapestry “subtly undermines the Norman propaganda at almost every turn” and that the Tapestry glorifies William the Conqueror’s non-Norman French army and that its patron may very well have been Count Eustace of Boulogne rather than Bishop Odo. Includes two images from the Tapestry.

263. Briggs, Asa. A Social History of England. New York: Viking Press, 1983. Noting the Bayeux Tapestry was “probably manufactured in an Anglo-Saxon workshop” and was commissioned “c. 1080 by Bishop Odon,” Briggs limits his comments on the work to a caption for a two-page color image of the banquet scene. He references the embroidery as a “masterpiece of eleventh century art” and explains how it records William’s claim to the throne. The book also features a two-page color detail from the Overlord Embroidery (Royal Army Medical Corps tending to the wounded behind the lines), referencing it as the “Overlord Tapestry.”

264. Brilliant, Richard. “The Bayeux Tapestry: A Stripped Narrative for Their Eyes and Ears.” Word and Image 7 (1991): 98–126. This article was reprinted in Richard Gameson’s The Study of the Bayeux Tap- estry and is annotated under the citation for its publication there.

265. ———. “The Bayeux Tapestry: A Stripped Narrative for Their Eyes and Ears.” The Study of the Bayeux Tapestry. ed Richard Gameson, 111–37. Woodbridge, U.K.: Boydell Press, 1997. Brilliant makes the observation “almost no attention has been paid to the way that [the Bayeux Tapestry] was seen by Normans, or English, or both.” He describes the results of his experiment in which he stretched out a one-seventh scale model of the Tapestry in a hall with a length-to-width ratio of 3.5:1. Ac- counting for the missing end of the Tapestry, he discovered that this arrangement The Bibliography 77 placed narrative transitions in the corners of the room, scenes 15 to 32 “would have made an impressive, formal backdrop for the high table of the master of the house,” and that numerous “visual and thematic relationships that appear too closely integrated and too firmly set in a network of correspondences to be coin- cidental.” Brilliant compares the Tapestry with chansons de geste and medieval romances and the author also discusses the complex relationships between the inscriptions and the images as well as aspects of the dynamics of spoken vernacular by an interlocutor guiding viewers through the Tapestry. Brilliant briefly writes of the experiences of modern Pakistanis and Indians who enjoy public recitation of secular heroic stories accompanied by elaborate and colorful painted picture cycles; also noted are the medieval Exultet Rolls of southern Italy in which biblical text was written on one side of a scroll for a public reader and images for the congregation appeared on the other. The frequent appearances of the word hic in the Tapestry’s inscriptions are discussed as they relate to the viewer and the interlocutor. Includes the several diagrams mentioned in the text.

266. ———. “Making Sounds Visible in the Bayeux Tapestry.” The Bayeux Tapestry: New Interpretations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 71–84. Rochester, NY: Boydell Press, 2009. Notes: The author notes that “an earlier, somewhat different version of this essay was delivered at a conference on Harold at the University of Manchester in April 2002, with the title ‘The Jagged Edge of War.’” Brilliant, professor of art history and archaeology at Columbia University, refers to a diversity of noiseless creative visual works across many centuries to illustrate the point that harsh geometries, assertive angles and lines, and depictions of things that make noise may assist viewers in imagining (or recalling) sounds in the Bayeux Tapestry. The author compares the silent medium of the Tapestry to soundless works such as silent films of the 1910s and 1920s; a geometrically jarring painting of the early twentieth-century Italian Futurist Luigi Russolo, a work influenced by the violence of World War I; and a sixteenth-century Mughal painting of a battle scene. Referring directly to the Bayeux Tapestry, Brilliant lists several actions depicted in the Tapestry that would have made sound such as horses’ hooves, the chopping of wood, conversations, and the cacophony of battle. Brilliant refers to the text of a troubadour’s song and the images in several Anglo-Saxon (and one French) illuminated manuscripts to emphasize medieval artists’ awareness of their ability to illustrate sound with “jagged, linear ener- gies.” In the Tapestry scene in which the Norman fleet sets sail for England, the author describes the Tapestry’s depiction of English Channel waters “moving in stately fashion and in rhythmic, slow curves” perhaps to “emphasize the peaceful nature of the passage, to characterize it other than a hostile invasion.” Brilliant briefly introduces cognitive psychology and the study of the “relationship between images and their perception” to emphasize that images such as those in the Tapestry may help a viewer reference previously heard sounds from his or her 78 The Bibliography memory. The author also mentions a work, an “anthropology of ancient sound,” by Classicist and writer Maurizio Bettini, in which Bettini discusses human and animal voices that are represented in ancient art by gestures and other visible behaviors, the study of which can of course be directly related to the Tapestry.

267. Broderick, Herbert R. “Some Attitudes Toward the Frame in Anglo- Saxon Manuscripts of the Tenth and Eleventh Centuries.” Artibus Et Histo- riae 3, no. 5 (1982): 31–42. Notes: Published by IRSA s.c. An introductory footnote reads: “A preliminary version of this paper was read at a symposium on the frame in medieval art held at Columbia University in 1975 under the direction of Professor Wayne Dynes.” In his introductory paragraph, Broderick notes that “During the tenth and eleventh centuries three things happen to the frame in Anglo-Saxon manuscript art: it becomes tangible, in order to heighten the realism and immediacy of the image; it gets inhabited; and its potential as an expressive and narrative device is explored.” He later writes about how the frame of the St. John folio of the Grimald Gospels acts as an extension of the narrative and symbolic space of the field it contains. Then, connecting this idea with the Tapestry, Broderick writes: “This is also true of the embroidered frame of the Bayeux Tapestry. . ., where events are alluded to, such as the phantom Norman ships on the eve of the invasion located under the seated Harold, and scenes of various kinds, such as that involving a mysterious lady named Ælfgyva, are given expressive emphasis by the often lewd and untoward figures below.” Includes notes citing Stenton and McNulty. The article features several manuscript pages; however no images from the embroidery are included.

268. Brogger, A. W., and Haakon Shetelig. The Viking Ships: Their Ancestry and Evolution. Los Angeles: Knud K. Mogensen Publishing, 1951. Notes: Published in cooperation with Dreyers Forlag, Oslo, Norway. Trans- lated by Katherine John. Discussing stripes in the sails of Viking ships, the authors write, “This pattern of multicoloured, narrow stripes forming diamond squares is quite different from the broad, vertical stripes in red and white which constitute the pattern formerly believed to have decorated the sails of the Viking ships, and should be mentioned in a complete description of the Gokstad ship. We should, however, draw attention to the famous Bayeux tapestry, where the Viking ships are depicted with broad vertical stripes in the sails; although this was about a hundred years later than the Gokstad ship, and by then things may have changed.” Includes an index and four black-and-white images of Tapestry scenes that feature ships and shipbuilding. Brogger is a professor of archaeology at the University of Oslo and Shetelig is a professor of archaeology at the University of Bergen. The Bibliography 79

269. Brooke, Christopher. Europe in the Central Middle Ages, 962–1154. London: Longmans, Green and Co., 1964. Notes: Part of the A General History of Europe series, edited by Denys Hay. Published in the U.S. by Holt, Rinehart and Winston, New York. Brooke, a professor of medieval history at the University of Liverpool, begins the book with a lengthy chapter on sources. Here, he gives notable treatment to the Bayeux Tapestry, pointing out that while it is a very early source for the events surrounding the Norman Conquest, it is “by no means an objective source.” He suggests that its purpose was “to portray Harold, not as a villain, but as the tragic hero of an epic: the man of courage and nobility who made one fatal blunder, who swore an oath (on the Bayeux relics) and broke it; and so came to his doom.” Brooke emphasizes that the Tapestry’s value “lies in the precise image it gives us of all those things which the chroniclers ignore: houses, costume, boat-building, the baggage trains, horses, and armour.” He believes the design of the embroidery was inspired by churchmen and was originally intended to hang in a cathedral. Later, in a chapter on kingship and government, Brooke mentions the Tapestry’s banquet scene. In his section on the Normans in England, he writes of the Tapestry’s depiction of specific events of 1066, primarily to explain what is omitted, notably “Earl Tostig’s deposition from the earldom of Northumbria at the end of 1065 . . . his flight and conspiracy with the king of Norway, who also claimed the English throne.” Brooke also points out the Tapestry’s omission of the aftermath of the Battle of Hastings, particularly “William’s slow progress through the home counties; the reluctance of the English leaders to accept him; the final surrender; the coronation on Christmas Day in Westminster Abbey amid the flames of the surrounding houses, set on fire by the Norman troops in fear of the English, whose cries of acclamation they had misinterpreted.” He continues, noting that “still less does it show the years in which William secured his conquest against disaffection and revolt.” In the chapter “The Crusades, Byzantium and Spain,” Brooke writes about the relationship between The Song of Roland and the Tapestry, noting that some suggest a direct link. In this chapter, he also references Bishop Odo and the mace: “In the Bayeux Tapestry, the Conqueror’s half-brother, the warrior bishop of Bayeux, is represented in full armour; but out of respect for his office he carries, not a sword, but a mace.” A commentary on representations of ecclesiastical status follows. Includes an appendix with a detailed chronology of people and events from the period as well as an index.

270. ———. “The Historical Background.” English Romanesque Art, 1066– 1200. eds George Zarnecki, Janet Holt, and Tristram Holland, 41–80. London: Arts Council of Great Britain in association with Weidenfeld & Nicolson, 1984. Notes: “Catalogue of an exhibition held in the Hayward Gallery, London, 5 April–8 July 1984.” Alternate title: “English Romanesque Art, 1066–1200: Hay- ward Gallery, London, 5 April–8 July 1984.” Preface by Joanna Drew, director of art at the Hayward Gallery. 80 The Bibliography

Brooke presents an overview of the so-called Twelfth Century Renaissance, the Norman Conquest of England, the Germanic, English, and French kingdoms, Vatican politics and policy, and the growth of monasticism. Brooke provides a general description of the Bayeux Tapestry, then continues on about this exhibition’s display of Charles Stothard’s nineteenth-century engravings of the Tapes- try and notes that what Stothard indicated in the Tapestry’s death scene of Harold is different from what we see today, that is, Stothard does not show Harold pulling an arrow from his eye.

271. Brooke, Christopher Nugent Lawrence. The Saxon and Norman Kings. Oxford, U.K.: Blackwell, 2001. Notes: Third edition. Part of the Blackwell Classic Histories of England series. Originally published in 1963 by Macmillan, New York. Brooke presents sketches on the careers of numerous kings of realms both small and large. He also examines aspects of kingship such as king-making and the occupations of a king. Discussions of numerous cultural and literary artifacts are woven in. He attempts to show, in a short passage, how the Bayeux Tapestry supports the notions that Duke William had a more legitimate claim to the Eng- lish throne than did Harold, but that the Tapestry then turns around and shows us that the dying King Edward wished for Harold to succeed him. He notes that clothing and armor in the Tapestry do not consistently distinguish nobles from their followers. A biographical sketch of Odo thanks him for giving us the Bay- eux Tapestry. Brooke writes how the Tapestry’s story is “full of difficulties” regarding the Ponthieu episode, and goes on that the Tapestry shows us Wil- liam’s materiel preparations for war, but not his diplomatic groundwork. Includes several black-and-white photographs of the Tapestry, other illustrations, maps, genealogies of Northumbria, Mercia, Wessex, and the Normans, and an index.

272. Brooke, G. C. “Coinage.” Medieval England. ed H. W. C. Davis, 532–76. London: Studio Editions, 1993. Notes: Reprint. Published as Mediaeval England: A New Edition of Barnard’s Companion to English History by the Clarendon Press, Oxford in 1924. An illustrated history of coinage from Anglo-Saxon times through the Tudor period mentions the Bayeux Tapestry for its high-peaked helmets which resemble those worn by Cnut and Edward the Confessor on coins. Another coin is noted for showing Edward enthroned, similar to the Tapestry’s depiction. Includes black- and-white photographs of these coins. Brooke is Assistant in the Department of Coins and Medals in the British Museum.

273. Brooke, Rosalind, and Christopher Brooke. Popular Religion in the Mid- dle Ages: Western Europe 1000–1300. New York: Barnes & Noble Books, 1996. Notes: Originally published by Thames & Hudson, London, in 1984. The Brookes explain how “narrative art entered a new phase” in the late eleventh century in “the dramatic representation of the Norman Conquest.” Later, The Bibliography 81 they reference the Tapestry in a subsection on Saint-Savin and the Old Testa- ment, writing that the ceiling of Saint-Savin “is the most remarkable surviving example of Romanesque narrative art apart from the Bayeux Tapestry, to which it has been compared.” They continue, noting that “the painting is more monumental, more subtle as a work of art, the tapestry more exciting as narrative.” Includes extensive bibliographical notes and references as well as an index.

274. Brooks, Nicholas P. “Arms, Status and Warfare in Late-Saxon Eng- land.” Ethelred the Unready: Papers From the Millenary Conference. ed David Hill, 81–103. Vol. 59. Oxford, U.K.: British Archaeological Reports, 1978. Notes: BAR British Series 59. A.R. Hands and D.R. Walker, general editors. This volume includes articles by Pauline Stafford, Richard Gem, David Hinton, James Campbell, H.R. Loyn, and others. Brooks brings the Bayeux Tapestry into this conference paper in his discussions on the various ways that the Tapestry depicts Anglo-Saxon warriors, noting differences in protective body wear. He also discusses at considerable length the Tapestry’s failure to clearly indicate whether warriors’ byrnies are intended to have divided skirts or trousered legs, the latter almost certainly impossible and he asks why the Tapestry’s artist depicted them like trousers when he certainly knew better. The Winchester frieze is brought in for comparison on this matter. Includes three drawings of Tapestry images by the author, plus a photograph of the Winchester frieze. Extensive notes.

275. Brooks, Nicholas P., and H. E. Walker. “The Authority and Interpreta- tion of the Bayeux Tapestry.” Anglo-Norman Studies I (1978): 1–34. Notes: Also published as Proceedings of the Battle Conference on Anglo- Norman Studies, 1978. In this often-cited essay, the authors’ theme is that the Bayeux Tapestry must be used with considerable reserve as an authority on matters of warfare and history and, especially, the manner of Harold’s death. Brooks and Walker discuss various workshop habits that are apparent, in particular, the Tapestry’s use of color. They laud the excellent talents of the Tapestry’s designer for creating convincing details with a medium so limiting as wool thread, and for his ability to deftly overcome compositional challenges. Whether the Tapestry’s designer had ever seen Trajan’s Column in Rome is discussed. The evidence favoring Odo as the patron of the Tapestry is explored. The authors examine issues in determining the intended venue for the Tapestry, as well as its dating. In support of a Kentish provenance of the Tapestry, Brooks and Walker discuss the Tapestry’s similarities with Canterbury manuscripts, English spellings of a few words from the inscriptions, and the instances of obvious English versions of some details of the narrative, including a robust discussion of the Tapestry’s Norman meal scene, whose details resemble a Last Supper scene from the sixth-century St Augustine’s Gospels. The Tapestry as a reliable source for medieval weapons and their handling is discussed. Mail and hauberks in the Tapestry are examined. 82 The Bibliography

The authors point out some of the narrative techniques employed by the artist. The most outstanding aspect of this essay is in the authors’ study of the manner of Harold’s death; the arrow-to-the-eye theory is examined is close detail and the account that we see in the Tapestry today is compared with literary sources, eighteenth- and nineteenth-century drawings of the Tapestry, and the poem of Baudri of Bourgueil. The veracity of the thread restorations in this scene is discussed. They also offer observations on the duplication of one character within the same scene, and how that was a common device in medieval art. Includes notes.

276. ———. “The Authority and Interpretation of the Bayeux Tapestry.” The Study of the Bayeux Tapestry. ed Richard Gameson Woodbridge, U.K.: Boydell Press, 1997. This article is annotated under the entry for its publication in Anglo-Norman Studies in 1978.

277. Brooks, Stephen, ed. D-Day: The D-Day Museum and Overlord Embroi- dery, Portsmouth. Portsmouth, U.K.: Portsmouth City Council, 2009. Notes: Paperback. This 32-page heavily illustrated glossy paperback provides an excellent primer on D-Day by featuring images from the D-Day Museum in Portsmouth and its centerpiece, the Bayeux Tapestry-inspired Overlord Embroidery. The booklet includes several though not all images from the embroidery. A brief mention of the Bayeux Tapestry and the events it depicts is included. The title pages offers a superb color photograph of the Overlord Embroidery on display, giving readers an excellent sense of how it is exhibited. A detailed, three-page history of the embroidery is included at the end of the book. Here, there are images of the embroideresses at work, details from the panels, an original shoulder flash of the 50th British (Northumbrian) Division that was featured in the work, and a photograph of Sandra Lawrence, the artist. Contact information and details on the museum’s operation are also included. Three color images from the Overlord Embroidery wrap both the front and back cover.

278. Brooks, Stephen, and Eve Eckstein. Operation Overlord: The History of D-Day and the Overlord Embroidery. Southampton, U.K.: Ashford, 1989. The authors tell the story of this “Bayeux Tapestry in Reverse” from its conception by Lord Dulverton, the commissioning of artist Sandra Lawrence, the work’s manufacture, and its “nomadic existence” until finally finding a permanent home in the D-Day Museum at Portsmouth in 1984. Each panel of the Embroidery is fully explored in its own chapter, with full-color photographs of the panels. Included are numerous photographs from wartime Europe, some that themselves became images used in Embroidery panels, as well as diagrams, maps, and other works of art. The numerous ways in which the Overlord Embroidery echoes or differs from the Bayeux Tapestry are underscored in discussions throughout the The Bibliography 83 narrative as well as the inclusion of Tapestry photographs and drawings. That Na- poleon and Hitler sought inspiration from the Tapestry for an invasion of England is briefly mentioned. The authors provide a cartoon dated June 14, 1944, from the New Zealand Herald that shows Winston Churchill in an eleventh-century helmet and various images of D-Day activity in a spirited parody of the Bayeux Tapestry. Two appendices list the Overlord Embroidery’s draft and final scripts. Includes a list of sources of quotations, an index, and a bibliography which includes key works on the Bayeux Tapestry. Brooks is a historian and the curator of the D-Day Museum; Eckstein is an art historian and an antiques collector and dealer.

279. Brooks, Stephen, and John McIlwain, eds. The Overlord Embroidery: The Story of the Normandy Landings, D-Day 6th June 1944. Portsmouth, U.K.: Portsmouth City Council, 2009. Notes: Reprint. Designed by Tim Noel-Johnson. Also cited as published by Whitbread and Co. Ltd. by arrangement with the Trustees of the Overlord Em- broidery Trust in 1978. This full-color souvenir book shows photographs of all 34 panels of the Over- lord Embroidery with narrative and commentary below each image. The history of the Embroidery is briefly outlined from its conception by Lord Dulverton in the late 1960s through its opening in the D-Day museum of Portsmouth in 1984. Other photographs include: the Embroidery’s artist, Sandra Lawrence; embroiderers at work; Lord Dulverton; HM Queen Elizabeth The Queen Mother visiting the Embroidery; an original D-Day photo of German prisoner which inspired Lawrence; the Embroidery installed in the Portsmouth D-Day Museum. Includes a D-Day invasion map and several “sidebar” vignettes.

280. Brown, Dale M., ed. Vikings: Raiders From the North. Alexandria, VA: Time-Life Books, 1993. Notes: Part of the Lost Civilizations series, Dale M. Brown, editor. In a chapter titled “A Viking Stamp on the British Isles,” two color photographs of the Tapestry are featured. A caption reads in part, “When Harold fell in combat, the battle became a rout.” The book is heavily illustrated and includes a bibliography and an index.

281. Brown, David. Anglo-Saxon England. Totowa, NJ: Rowman and Little- field, 1978. Notes: Drawings by Pippa Brand. In this archaeological approach to the history of Anglo-Saxon England, the author compares a castle excavation of 1949 in Abinger, Surrey to the castle at Dinan pictured in the Bayeux Tapestry. Includes three full-color photographs of the Tapestry and an artist’s reconstruction of the Abinger castle. At the time of publication, Brown was the Assistant Keeper of Roman and Anglo-Saxon Col- lections at the Ashmolean Museum at Oxford University. 84 The Bibliography

282. Brown, G. Baldwin, and W. R. Lethaby. “The Bewcastle and Ruthwell Crosses.” The Burlington Magazine for Connoisseurs 23, no. 121 (1913): 43–49. The Bayeux Tapestry is mentioned in a brief discussion of Norman hairstyles during the time of the Conquest, specifically how they “wore their hair short like priests, and their head shaven at the back.”

283. Brown, Jennifer N. “The Bayeux Tapestry and the Vitæ of Edward the Confessor in Dialogue.” Peregrinations: International Society for the Study of Pilgrimage Art 2, no. 4 (2009). Notes: This issue, titled “Bayeux Tapestry Revisited,” was edited by John Mi- cheal Crafton, professor of English at the University of West Georgia. Brown seeks to examine how readers of the various vitæ of Edward the Con- fessor may have read and interpreted the Bayeux Tapestry. She lists several of the known vitæ on the Confessor, then turns her attention to two in particular: “that by Anonymous (upon which Osbert is largely based, and Aelred to a lesser extent), and Aelred’s (the basis for all of the vitæ which follow).” Lengthy excerpts in modern English are included. Brown notes that all versions of the vitæ agree that Edward was a great king, but vary on the message of who Edward desired to be his successor.

284. Brown, Kathi Ann. “The Bayeux Tapestry’s Subversive Secrets.” Hu- manities 9, no. 4 (1988): 22–26. Within a year of the publication of David Bernstein’s famous The Mystery of the Bayeux Tapestry (1987), Kathi Ann Brown’s article summarizes Bernstein’s claim that the Tapestry contains many subversive elements that express an An- glo-Saxon point of view. This article highlights three main points of Bernstein: the parallels between the blinding of Harold in the Tapestry and the Hebrew scripture account of the blinding of Zedekiah; the Tapestry suggests that the real reason for Harold’s oath was “expediency, not fidelity”; the Tapestry three times shows Harold receiving symbols of power from sanctioned authorities, but it never once explicitly justifies William’s claim.

285. Brown, R. Allen. Allen Brown’s English Castles. Woodbridge, U.K.: Boydell Press, 2004. Notes: New edition. Paperback. First published in 1954. Reprinted in paperback in 1962. Revised edition by B.T. Batsford in 1977. Introduction by Jonathan Coad. This later edition of Brown’s authoritative text on the origins, architectural development, and decline of English castles brings to the reader the classic content of the previous editions, but fleshed out with the latest research and discoveries. In a discussion of timber structures atop mottes, Brown notes that the Bayeux Tapestry represents such structures, and indicates that the Tapestry’s designer The Bibliography 85 had chosen to indicate by a tower what may be the castle at Rouen. Discussing the proliferation of castle-building in post-Conquest England, Brown mentions the Tapestry’s scene of Normans erecting a castle at Hastings, and calls the Tapestry “surprisingly accurate in architectural and archaeological matters”; a passage on motte construction points out that the Tapestry indicates rammed-down layers of material in this scene as well. The fighting platforms atop the Tapestry’s timber castles are discussed, as are the flying bridges. Early castles serving dually as military strongholds and as lordly accommodation is suggested by the Tapestry’s images of the motte at Bayeux. Brown later re-visits the Hastings castle-building scene in a discussion of labor; he states that the man supervising the site in the Tapestry is probably Robert of Mortain; Brown briefly mentions the two men fighting with their shovels. Fire as a threat to timber defenses is exemplified in the Tapestry’s scene of Dinan. Includes 4 photos of the Tapestry, notes, an updated list of further reading, and an index.

286. ———. “The Architecture.” The Bayeux Tapestry: A Comprehensive Sur- vey. ed Frank M. Stenton, 76–87. London: Phaidon, 1965. Notes: Second edition, revised and enlarged. Originally published in 1957 by Phaidon. The photographs reproduced in this book were taken in April 1956 by Percy Hennell. Written specifically for this revised edition, Brown.

287. ———. The Architecture of Castles: A Visual Guide. New York: Fact on File, 1984.

288. ———. “The Battle of Hastings.” Proceedings of the Battle Conference on Anglo-Norman Studies, 1980 (1981): 1–21.

289. ———. “The Battle of Hastings.” Anglo-Norman Warfare: Studies in Late Anglo-Saxon and Anglo-Norman Military Organization and Warfare. ed Mat- thew Strickland, 161–81. Woodbridge, U.K.: Boydell Press, 1992. Notes: The book is dedicated to the memory of scholar Reginald Allen Brown. Brown writes his account of the Battle of Hastings in a “treble context.” First, that serious historians have neglected medieval military history, a subject which “tends to fall into the hands of antiquarians, amateurs and, no least, retired military gentlemen . . . ” Second, an examination of feudalism and its origins in Britain. Third, “that controversy, leading to or based on prejudice” that Hast- ings was an English victory and which “attributes what little credit there is for the real victors to participants called the French and not the Normans.” On the Bayeux Tapestry, Brown discusses what the Tapestry communicates about tactical aspects of the battle and the narrative elements of the story. Harold’s death scene in the Tapestry, where controversy abounds about whether the two figures 86 The Bibliography commonly thought to be the king are both actually him, is examined by the author. The malfosse incident, often believed to have occurred at the end of the battle, may actually have been, according the Brown’s study of the Tapestry, in the middle of the battle where the inscription reads Hic ceciderunt simul Angli et Franci in proelio.

290. ———. “The Battle of Hastings.” The Battle of Hastings: Sources and Interpretations. ed Stephen Morillo. Woodbridge, U.K.: The Boydell Press, 1996. Notes: Brown’s article is reprinted from Proceedings of the Battle Conference on Anglo-Norman Studies 3, 1980, pp. 1–21.

291. ———. Castles. Aylesbury, U.K.: Shire Publications, 1985. Notes: Part of the Shire Archaeology series, number 36, edited by James Dyer. Brown’s short yet authoritative book traces the historical development of castles, the residential fortresses of lords. In his discussion of “so-called ‘motte-and- bailey castles,’” he points readers to the Bayeux Tapestry’s image of the castle at Dinan, which may indeed depict that castle upon stilts, allowing defenders to pass under and through it. The Tapestry’s castle at Bayeux, notes Brown, is “an elaborate and imposing structure” and that the Tapestry’s designer “invariably used a motte to represent a castle, apparently irrespective of whether there was one there or not.” Brown shows what appear to be two photocopied photographs of the aforementioned images. Includes an index.

292. ———. Castles, Conquest and Charters: Collected Papers. Woodbridge, U.K.: Boydell Press, 1989. Notes: Includes Brown’s “The Architecture of the Bayeux Tapestry,” pp. 214–226.

293. ———. Castles From the Air. Cambridge, U.K. : Cambridge University Press, 1989. Brown references the “stylized representations of mottes and the superstructures” on the Bayeux Tapestry in his discussion of the paucity of detailed evidence of castles from the eleventh and early twelfth century. He also notes that the Tapestry’s castles are “represented simply by their mottes.” Later, noting both William of Jumièges and William of Poitiers references to the raising of a castle following the occupation at Pevensey, Brown mentions the Tapestry’s well- known depiction of the raising of a motte. Includes two black-and-white images from the Tapestry as well as an index where Bayeux is misspelled.

294. ———. The Norman Conquest. London: Edward Arnold, 1984. Notes: Paperback. Part of the Documents of Medieval History series, volume 5, G.W.S. Barrow and Edward Miller, advisory editors. The Bibliography 87

In the final section, titled “Artistic Sources,” Brown provides a brief narrative on the Bayeux Tapestry followed by five black-and-white images of Tapestry scenes that he believes represent the salient events in the story. In the Tapestry narrative, Brown gives the basic facts and detail on the work’s dimensions, history, patronage, and story. Commenting on the date of the Tapestry’s creation, Brown writes: “If . . . the dedication of the cathedral in 1077 were to be rejected as a terminus ad quem, we would still be left with Odo’s political fall and imprisonment in 1083, or his death in 1097 at the outside, as dates before which the creation of the Tapestry was well in hand. There is little doubt that Odo was the patron, the evidence for this including the prominence given to him and his tenants in the narrative; and in any case there is an immediacy about the Tapestry’s version of events which requires an early date after 1066.” Brown also speaks to the connection between the narrative of the Tapestry and that of William of Poitiers and William of Jumièges. He describes the Tapestry’s narrative as “largely silent, pictorial.” He suggests the theme of the work is “the fate which necessarily overtakes a man who breaks his oath taken on the relics of Bayeux.” A note suggests that Frank M. Stenton’s 1965 second edition is the “best edition of the Tapestry” because of the “quality of the plates plus the apparatus criticus of notes and commentary.” Brown also references Brooks’ and Walker’s 1978 article, “The Authority and Interpretation of the Bayeux Tapestry.” Includes a short bibliography but no index. The cover also features a red-tinted image of the Tapestry’s oath scene.

295. ———. “The Norman Conquest.” England in Europe, 1066–1453. ed Nigel Saul, 36–47. London: Collins & Brown, 1994. Notes: “A History Today Book.” Brown laments the difficulties that arise from the fact that most of the evidence concerning the history leading up to the Conquest is from Norman sources. Here he cites the Bayeux Tapestry as such a source. Additionally, he notes that Anglo- Saxon sources like the Anglo-Saxon Chronicle and the Vita Ædwardi are “ambiguous or enigmatic or simply silent about the things that matter most.”

296. ———. “The Norman Conquest and the Genesis of English Castles.” Chateau Gaillard European Castle Studies, III: Conference at Battle, Sussex, 19–24 September 1966. ed A. J. Taylor, 1–14. London: Phillimore, 1969. Notes: Conference publication. Brown’s lecture, the introductory piece of the 1966 Battle Conference, opens with his observations on the “historical context of the Norman Conquest of England, and more especially about the attitude of English historians to it” then moves on to castles and archaeology. In a passage on cavalry, Brown comments briefly on the absence of spurs in the Battle of Hastings in the Bayeux Tapestry and remarks also about the English fighters bearing the types of shields and weapons that mounted Frankish and Norman knights had long-since abandoned. 88 The Bibliography

On mottes and ring-works, Brown notes that the Tapestry, “apart from the inadequate medium of needle-work is, so to speak, under compulsion to be accurate.” William’s long-gone Tower of Rouen, the author believes, is represented in the Tapestry where William receives news of Harold’s arrest by Guy of Ponthieu.

297. ———. The Normans. New York: St. Martin’s Press, 1984. Notes: Published by The Boydell Press in the United Kingdom, 1984. King’s College history professor R. Allen “Castles” Brown presents a heavily illustrated survey of the Norman nation, its origins, and its influence on the culture, politics, art, and social order of medieval Europe and the Holy Land. Sur- prisingly, the Tapestry is seldom discussed at length in the main body of text in this work, but photographs of the Tapestry are often used to complement the narrative. The author expounds the most on the Tapestry in his brief passage about the location of Harold’s oath to William (Bayeux? Bonneville-sur-Touques?). The extensive bibliography and notes reference many notable Bayeux Tapestry scholars and their works. Includes excellent maps of Normandy and England, 14 full-color and six black-and-white Tapestry photographs, and brief genealogical charts of the ruling houses of England and Normandy. There is no index; apart from the photographs and their captions, the Tapestry is discussed in the main text on pp. 20, 33–34, 36–37, 40, 55–56, and 58. The dust jacket features an image from the Tapestry.

298. ———. The Normans and the Norman Conquest. New York: Thomas Y. Crowell, 1968. After almost apologizing for adding yet another book on the Norman Con- quest to the large number of works on the topic coming out around the 900th anniversary of the Conquest, Brown happily states that his book fills a gap: it is written for students and is intended to answer the questions they ought to be asking. The Bayeux Tapestry is mentioned only in passing remarks in the main text and actually gets more treatment in the footnotes, where he briefly discusses the Tapestry’s bias, the circumstances of its manufacture, and its concordance with William of Jumièges and William of Poitiers. Heavily footnoted. Includes index.

299. ———. “The Status of the Norman Knight.” War and Government in the Middle Ages: Essays in Honour of J.O. Prestwich. eds John Gillingham, and J. C. Holt, 18–32. Woodbridge, U.K.: Boydell Press, 1984. Notes: Published jointly with Barnes and Noble, Totowa, NJ. First published by D.S. Brewer, an imprint of Boydell and Brewer, in 1984. Taking a rather personal tone, and often in first person, Brown explores his observation that Norman knight has “suffered a ‘number of setbacks’ and ‘a loss of social prestige’” amongst historians of our time and asserts that “it is high time that he was reasserted as the dominant figure in that society which in fact he did dominate after his resounding victory at Hastings . . .” To cast doubt The Bibliography 89 on the emerging stereotype of the “poor knight,” and if there were ever such a thing, Allen supports his viewpoint with a broad corpus of research as well as the authority of the Bayeux Tapestry: “None of those superbly armed and mounted knights on the Bayeux Tapestry look poor to me” and adds that they look “armed, well-dressed . . . superbly mounted . . . [and] splendidly equipped.” This chapter also appeared in Matthew Strickland’s book Anglo-Norman Warfare.

300. ———. “The Status of the Norman Knight.” Anglo-Norman Warfare: Studies in Late Anglo-Saxon and Anglo-Norman Military Organization and Warfare. ed Matthew Strickland, 128–42. Woodbridge, U.K.: Boydell Press, 1992. Notes: The book is dedicated to the memory of scholar Reginald Allen Brown. This chapter appeared earlier in Gillingham and Holt’s War and Government in the Middle Ages. See separate citation.

301. Brown, Shirley Ann. “Auctoritas, Consilium, Et Auxilium: Images of Authority in the Bayeux Tapestry.” The Bayeux Tapestry: New Interpreta- tions. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla. Roches- ter, NY: Boydell Press, 2009. After a brief description of the Bayeux Tapestry and a few general remarks about the Normans’ Viking past and subsequent assimilation into French culture, Brown describes the Tapestry’s uses of animals and objects as symbols of authority: hawks, hounds, axes, swords, thrones, and palatial structures. The rulers in the Tapestry were bound by law to adhere to three Carolingian principles of feudal governance, and the Tapestry provides evidence that these principles had become “so ingrained in mid-eleventh-century feudal society that they were an essential way of thinking.” Auctoritas is the power to bestow status and land in exchange for loyalty and is exemplified in the Tapestry when William gives arms to Harold, for example. Consilium is the obligation that a ruler has to advise and to consult, as when William holds council with his half-brothers in the Tapestry. Auxilium is the mutual aid between a ruler and his vassals, as William coming to the aid of his vassal Rivallon of Dol in the Tapestry’s Brittany campaign, also William’s assembly of an army of men from all over Normandy and areas outside its borders.

302. ———. “The Bayeux Tapestry.” RACAR (Revue De L’Art Canadien/ Canadian Art Review) 15, no. 2 (1988): 72–74. In her own The Bayeux Tapestry: History and Bibliography, Brown writes in her annotation of this review of David Wilson’s The Bayeux Tapestry (1985) that “Criticisms are registered over a curiously incomplete familiarity with BT bibliography and with some of the seemingly off-hand suggestions which are not fully explained, such as a return to the Turold-as-artist idea, the positing of Winchester as a likely place of origin, and the proposed connection with Anglo- Saxon battle poetry.” 90 The Bibliography

303. ———. “The Bayeux Tapestry: A Critical Analysis of Publications, 1988–1999.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 27–47. Caen, France: Presses Universitaires de Caen, 2004. Brown presents reviews of important works on the Bayeux Tapestry in the decade or so following her annotated bibliography of 1988. She highlights some traditional questions upon which new light has been shed by contemporary researchers: issues of the Tapestry’s patronage, provenance, date, material culture represented in the Tapestry, narrative technique, the borders, and fables. Brown notes that new methodologies are being employed by researchers such as Gerald Bond, who combines semiotics and gender studies in his approach to the Tapes- try; Rouben Cholakian, whose Freudian-Marxist approach examines three levels of meaning in the Tapestry; and Suzanne Lewis, for “combining art history with literary and filmic theory.” Includes brief footnotes and several full-color photographs of the Tapestry.

304. ———. “The Bayeux Tapestry and the ‘Song of Roland’.” Olifant 6, no. 3 & 4 (1979): 339–50. Notes: A paper presented at the Roncevaux 778–1978 Conference at Pennsyl- vania State University on October 8, 1978.

305. ———. “The Bayeux Tapestry and the Vikings.” Peregrinations: Inter- national Society for the Study of Pilgrimage Art 2, no. 4 (2009). Notes: This issue, titled “Bayeux Tapestry Revisited,” was edited by John Mi- cheal Crafton, professor of English at the University of West Georgia. Brown asks how the Bayeux Tapestry, “with its images of Normans and Englishmen, [came] to be so strongly equated with the legendary Vikings in the popular imagination.” She acknowledges that this association is often studied in terms of art and archaeology, but that it is “equally necessary to investigate it from the standpoint of national attitudes and interests.” Brown opens her investigation with a little passage about the use of Bayeux Tapestry-like images in the opening and closing credits of the 1958 Hollywood film The Vikings (includes photos of some of these images). The historical development of the application of the term “Anglo-Saxon” is briefly discussed. As an Anglo-Saxon identity is more of a Victorian construct, the author gives a quick run-down of the highly influential Anglo-Danish politics from the ninth through eleventh centuries. Har- old Godwinson’s own mixed ethnicity is noted in the context of the Scandinavian and English names of him and his family members, and may have been an asset in his candidacy for the English throne. Brown notes that the Tapestry probably ignores Harald Hardrada’s invasions of Yorkshire because it “strengthens the Norman claim by not recognizing any other contenders for the throne.” However, King Harold’s activity in the north was likely referenced in the Tapestry by its depictions of the Normans landing at Pevensey unopposed and having sufficient The Bibliography 91 time to forage for food, construct a castle, prepare a feast, and send out scouts. Brown highlights the “Fulford Tapestry,” a 16-foot (five meter) embroidery in the style of the Bayeux Tapestry commemorating the Battle of Fulford. Several photographs of it and its embroiderers are included. The Fulford Tapestry employs much more sophisticated perspective drawing than the Bayeux, and its text is in a variation of insular uncials. Brown states that the Tapestry may have served “as a warning to anybody who would interfere with his claim to be King of England,” Danes included, since Scandinavians “demanded King William’s attention throughout his reign.” The Tapestry’s role in the context of rising Scan- dinavian nationalism and the birth of the Viking myth in the nineteenth century is examined. She writes about Danish historian Hector Estrup who traveled through Normandy in 1819–20 in search of “the origins of his heritage”; Brown lists his comments on the Nordic features of the Bayeux Tapestry. In 1911, the Millénaire, the 1000th anniversary of the founding of Normandy, was marked by events and activities emphasizing Normanness and pride in Norman identity apart from the rest of France. Nonetheless, notes Brown, there was surprisingly little attention paid to the Tapestry during this celebration and she adds that “Norman scholars failed to see the Embroidery as a visual affirmation of the Scandinavian roots.” The 1880 discovery of the Gokstad Viking ship burial led to a full-size replica of a Viking ship being constructed in Norway that sailed all the way to Chicago in 1893 for the World’s Columbian Exposition, a voyage that helped to affirm Leif Erikson’s “discovery” of North America five centuries before Columbus. “From then on, the ships in the Embroidery were recognized as being the true ‘Viking’ type.” The commentaries on the Tapestry by Danish museum guidebook writers Johannes Steenstrup and Johannes Brønsted are briefly noted. The American art historian Phyllis Ackerman wrote in 1933 of the Tapestry as a reflection of Nordic culture, and Brown states that Ackerman alluded to the Tapestry’s use of fylgja, the Nordic belief that every man has as his guardian an animal that reflects his character. Scholars’ observations about William’s quarter-circle flag in the Tapestry’s Battle of Hastings scene are briefly noted by Brown. Nazi German officials’ interest in the Tapestry as a monument to Germanic peoples is noted. The 1957 discovery of the Skuldelev Viking ships in Denmark proved that the Tap- estry’s ships were remarkably authentic and Brown goes on to explain how this discovery led to the 1982 construction of a replica of a Skuldelev ship, built with the same types of tools and techniques depicted in the Tapestry’s ship-building scenes. The author points to a 1948 discovery of a Viking ringed fort at Trelle- borg that “made possible a comparison between the ‘hog-backed’ Danish house and the buildings in the Bayeux Tapestry.” Nordic military tactics as seen in the Tapestry are very briefly discussed. The framing doorway over the Tapestry’s Ælfgyva as a portal between the mortal world and the “other-world” as observed by Marit Monsen Wang is discussed. Brown gives a nod to the contributions of Lucien Musset, professor of history at the University of Caen as “the preeminent transmitter of the influence of [Scandinavian] heritage on our understanding of 92 The Bibliography the Tapestry.” Includes a bibliography and numerous full-color photographs, many of which are seldom seen in other works.

306. ———. The Bayeux Tapestry: History and Bibliography. Woodbridge, U.K.: Boydell Press, 1988. Notes: Also cited as simply The Bayeux Tapestry. Brown’s third appendix contains Michael W. Herren’s translation of the poem “Adelæ Comitissæ” by Baudri de Bourgueil. Brown, in the foreword to this significant work, notes that the growing body of literature on the Bayeux Tapestry has produced a lot of “derivative” research in which “there is much repetition and going over old ground.” She states that this new bibliography “was undertaken in order to make known the tradition and breadth of Bayeux Tapestry studies and to allow access to works which are not easily available so that serious researcher on the embroidery can turn to new directions. In a more popular vein, the essay and annotations included in this volume will hopefully be of value and interest to the non-academic viewer.” A 22- page history of the Tapestry begins its account with a discussion of the Latin poem of Baudri, Abbot of Bourgueil to Adele, Countess of Blois, which describes in verse something like the Bayeux Tapestry, but Brown assures readers that it is not. A 1420 Inventory of the Count of Burgundy mentions a textile that also sounds like Tapestry, and Brown wonders why this has not been discussed by scholars. Brown follows with a detailed history: the first proven statement referring to the Tapestry from an inventory of Bayeux Cathedral; a Huguenot uprising in 1562 in which items and documents in Bayeux Cathedral were destroyed; drawings of the Tapestry in what was probably the early eighteenth century and the excitement they caused among French and English antiquarians; the Tapes- try’s ordeals through the French Revolution; Napoleon’s interest in the Tapestry; Charles Stothard’s study and reproduction of the Tapestry in the late 1810s and his mutilation of it; the Tapestry’s movement in the nineteenth and early twentieth centuries; the Nazis’ study of the Tapestry and the trials it had to endure as a result; the Tapestry’s installations since 1945; its 1982–83 study and cleaning. Brown’s essay “Literature on the Bayeux Tapestry,” is actually less a survey on the literature but serves as more of an overview of major scholarly findings of some of the most talked-about aspects of the Bayeux Tapestry: its patronage, provenance, similarities with the epic poetry, its value as a historical resource, iconography, unidentified characters, border images, and interpretive approaches. She poses the question of why there is only one verifiable written reference to the Tapestry between its creation and the 1720s and offers a number of possible reasons. She summarizes the early Tapestry scholarship of Lancelot and de Mont- faucon. The various Matildas who could have been the Tapestry’s patron are discussed: Lord Lyttleton attributed the Tapestry to Empress Matilda, daughter of Henry I; Abbe de la Rue argued that it was made by Empress Matilda, wife of Geoffrey Plantagenet; she brings up the 1964 suggestion by Herrman that the The Bibliography 93

Tapestry’s patron was Queen Matilda-Edith-Godgyfu, daughter of Malcolm III of Scotland and wife of Henry I. The number of theories that have been floated for the date of the Tapestry’s origin are discussed: Bolton Corney’s assertions in the 1830s that it was created after 1206; Albert Marignan’s 1902 backing of a late twelfth century date; Hilaire Belloc in 1914 put the Tapestry’s creation between 1150 and 1200; all three of these scholars argued that Wace’s Roman de Rou (c. 1170) was the basis for the Tapestry’s story. The use of Aesop’s fables to prove a later date for the Tapestry has been discredited, and Brown points out how the fables were indeed known in Western and Northern Europe much earlier than previously thought. The poem of Baudri of Bourgueil that describes a fabulous hanging depicting the Norman Conquest is discussed for its unreliability in dating the Tapestry. Various early proponents for an eleventh-century date for the Tap- estry are briefly mentioned, and Brown closes this discussion, “Current opinion is generally almost unanimously supportive of an eleventh-century date for the embroidery, although the suggested years of manufacture vary from shortly after 1066 to 1096.” On the topic of the Tapestry’s patron, she discusses Delauney’s 1824 assertion that Bishop Odo was indeed the patron. The place of manufacture, Brown notes, had been long assumed to be Normandy, but de la Rue opened up the England discussion based on stitching techniques and “peculiarities of the Latin spellings and letter forms in the inscriptions.” The suggestion that due to the “idiosyncratic nature of the inscriptions,” the Tapestry was created in a Saxon-speaking colony in Normandy is brought up, but Brown states that this argument has no basis for consideration. “To date, no one has published a paleo- graphical study of the inscriptions nor explained the peculiarities of the punctuation. Such a study might yield hints as to the origin of the hanging.” The intended display of the Tapestry is discussed and she lists the reasons that support a cathedral display as well as a secular one. Brown briefly considers the Tapestry’s similarities with the Chanson de Roland, the Roman de Rou, and the Carmen de Hastingæ Proelio. Brown comments on the use of the Tapestry as a true historical source, and uses researcher David Douglas as an example, whose “desire to em- ploy the work of art as a true historical source is somewhat extreme,” and goes on to note that Stenton warned that “the Tapestry’s account of events cannot be taken at face value as history.” A paragraph describes the “ingenious” suggestion of Richard Wissolik that Harold went to Normandy to secure the release of his brother and nephew and that the Tapestry supports this. She writes of David Bernstein’s observations that the Tapestry satisfied a “Norman patron’s desire for a personal monument to the triumph at Hastings while at the same time serving as an outlet for the English anguish of defeat and hope for deliverance from their oppressors . . . to this end . . . he relates the depiction of Harold’s death closely to the blinding and death of King Zedekiah for rebelling against Nebuchadnez- zar.” The problems of using the Tapestry’s embroidered inscriptions “as the major evidence to argue points of meaning” are discussed. Border fables are brought up a second time, and Brown says that their identification and 94 The Bibliography interpretation “present another thorny problem . . . Do they form their own series, or are they iconographically linked to the main narrative?” The Tapestry’s hard- to-identify figures (Eustace of Boulogne, Wadard, Vital,Turold) are discussed briefly; she notes that “most fun has been had with the enigmatic figure of Ælf- gyva” and she herself favors a “perhaps most convincing identification to date [that] has equated her with Eadgyfu, one-time abbess of Leominster and mother of Hakon, Harold’s nephew.” Other unlabeled figures in the Tapestry receive short mentions as well. The Tapestry’s value for information on eleventh-century material culture is briefly discussed as well as various scholars’ work in this area. Brown states that most of the “less orthodox” body of writings (those that propose there are hidden messages encoded in hand gestures and letter forms, for example) on the Tapestry “carries little of substance for a study of the Tapestry.” The twentieth-century cinematographic approaches to interpreting the Tapestry are touched on, and she criticizes Michel Parisse’s “incongruous” attempt to combine traditional approaches to the study of the Tapestry’s images with “the use of ‘filmetic’ vocabulary and aesthetic.” The Tapestry as inspiration for satire in cartoons, plays, and novels is given a paragraph. Brown states we are awaiting “the publication of the official report from the French authorities responsible for the Tapestry’s conservation.” She states in a footnote, “A mammoth multi-volume official report is envisioned, but the financing and publication problems have not as yet been resolved.” About to wrap up her essay, Brown notes that “most of what is being said [about the Tapestry] now, has been said before. What problems are left to be solved?” She goes on to say that until or if documentary evidence about the Tapestry’s origins is found, “the plumbing of the Tapestry’s images for information and meaning will continue.” In the end, Brown cautions that to view the Tapestry “primarily or solely as a chronicle of accurate historical value is naive and misleading” and that it should in the end not be neglected as also a work of art intended to decorate and entertain. She closes “readers must constantly be kept aware that what is written about the Bayeux Tapestry is at least as much a reflection of the author’s attitude towards art as it is a statement gleaned from the work of art itself.” The majority of this book’s pages are devoted to Brown’s annotated bibliography. There are 114 pages containing 523 entries which are collectively titled “The Bayeux Tapestry: Main Bibliography.” The citations are grouped by year of publication. The main body of the bibliography lists publications from 1729 to 1988. A second section of the bibliography, titled “The Bayeux Tapestry: Documents,” lists documents “most often referred to in the existing literature on the Bayeux Tapestry,” according to Brown. There are subsequent sections of the bibliography titled “Literary Sources” and “Se- lected Background Readings.” These two contain 57 citations which are part of the 523 but are not annotated. In addition to the appendix with Michael W. Her- ren’s translation of “Adelæ Comitissæ” by Baudri of Bourgueil, there are two other appendices. The first offers selected documents on the Tapestry dating from 1476 to 1804. The second is titled “Memoires on the Bayeux Tapestry, 1812– The Bibliography 95

1819.” This appendix provides the text from two handwritten notes, signed H.E. (likely Henry Ellis, according to Brown). They are from the Bayeux Municipal Library. The book concludes with helpful author and subject indexes.

307. ———. “The Bayeux Tapestry: History or Propaganda?” The Anglo- Saxons: Synthesis and Achievement. eds J. Douglas Woods, and David A. E. Pelteret, 11–25. Waterloo, ON: Wilfrid Laurier University Press, 1985. Notes: Paperback. Brown begins her article with a description of the Bayeux Tapestry and some general comments on the Tapestry’s position with many scholars as a reliable source of historical information. However, the author states that “there are some very interesting idiosyncrasies in the Tapestry’s narrative which lead me to suggest that historical accuracy was definitely not the main purpose of the Bayeux Tapestry.” She asserts that the first half of the Tapestry sets up the moral cause for the Norman Conquest. In examining the Breton campaign, Brown questions the reliability of the Tapestry’s version of the story when compared to the same by William of Poitiers; perhaps the Tapestry sets out to “render William greater glory than does the literary account.” The location of the Tapestry’s oath scene, Bayeux, is also shown to be at odds with William of Poitiers’ Bonneville-sur- Touques; the Tapestry’s version was possibly a propagandistic measure. Brown supposes that the figure talking with Harold after the comet scene is a member of an English spying team receiving instructions from Harold as he is about to head to the Continent. She comments briefly on the possible identities of the Tap- estry’s two clerical convoys, one William’s, one Harold’s, just before the Battle of Hastings. Brown summarizes her thesis “. . . the Tapestry’s story corresponds with the Norman propaganda approach as espoused by William of Jumièges and even more by William of Poitiers, but it is a selective correspondence which follows the character, not necessarily the letter, of the histories.” The Battle of Hastings scenes, states Brown, are closer to the literary depictions of the Battle than are the earlier scenes. Includes notes.

308. ———. The Bayeux Tapestry: Its Purpose and Dating. Ithaca, NY: Cor- nell University, 1977. Notes: Brown’s unpublished doctoral dissertation. 201 pages.

309. ———. “The Bayeux Tapestry: Why Eustace, Odo and William?” Anglo-Norman Studies 12 (1989): 7–28.

310. ———. “Bibliography of Bayeux Tapestry Studies: 1985–1999.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 411–18. Caen, France: Presses Universitaires de Caen, 2004. Intended as a supplement to Brown’s The Bayeux Tapestry: History and Bib- liography, published in 1988, this eight-page bibliography arranged by year lists 96 The Bibliography

“publications which deal directly with matters and issues connected to the Bay- eux Tapestry, or publications which use the Tapestry as a major component in their arguments.” She does not include items that were missed in the 1988 book; these, she notes, will appear in a planned revised edition. The 115 citations in this bibliography are divided as follows: 1985 (4 entries), 1986 (3), 1987 (3), 1988 (8), 1989 (4), 1990 (8), 1991 (6), 1992 (12), 1993 (2), 1994 (12), 1995 (6), 1996 (11), 1997 (6), 1998 (15), and 1999 (15).

311. ———. “Cognate Imagery: The Bear, Harold and the Bayeux Tapestry.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker, 149–60. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Brown presents this study of the chained bear in the Bayeux Tapestry’s border beneath the images of William’s mounted messengers with the flying hair. She opens the essay with some observations on perception and intertextuality in visual art, and cites the Overlord Embroidery as a good recent example, “meant to evoke the more famous Bayeux Tapestry.” As a work of propaganda “instrumental in creating contemporary history,” Brown discusses the purpose of the Tapestry in promoting morale in conquered England and as serving as a guide for narrators; the nature of the borders is to “comment upon and augment the moral interpretation of the Tapestry’s narrative,” not the least of which is the aforementioned bear. After briefly examining Wormald’s and Wissolik’s interpretation of the chained bear, Brown suggests that this animal is “best explained as a rhetorical device alluding to a motif in the Song of Roland helping to establish Harold’s infamy and undermining the image of an apparently noble and heroic Harold presented in the main register.” Bears in The Song of Roland, she states, are metaphors for evil, treachery, violence, and betrayal. A hero-villain analogous to Harold is Charlemagne’s brother-in-law, Ganelon, himself associated with bears in the Song, one of Brown’s many examples of narrative and rhetorical similarities between the Tapestry and the Song.

312. ———. “Decoding Operation Mathilda: The Bayeux Tapestry, the Nazis and German Pan-Nationalism.” The Bayeux Tapestry: New Approaches, Pro- ceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 17–26. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Brown focuses her conference paper on the research activities on the Bayeux Tapestry by the Ahnenerbe, the Nazi Ancestral Heritage Bureau, which set up a team to study the Tapestry. As a background to this, Brown comments on the Tapestry’s usefulness as a propaganda tool by Napoleon and by the British in The Bibliography 97

World War I. The spotty and limited research on the Tapestry by Germans prior to the Third Reich is also discussed. René Dubosq’s 1951 book The Bayeux Tapestry: Ten Tragic Years in Its Long History, showing how the Tapestry was chased down by the Germans and rescued by the French is noted as an early and incomplete source of information of the Ahnenerbe project. The Nazi habit of meticulous record-keeping inevitably left a paper trail that was sealed away in closed archives until relatively recently. Thanks to Sylvette Lemagnen, curator of the Tapestry, and some assistance from German officials, these files have been recently recovered. The various persons involved in the German Tapestry research team are introduced and Brown states their agreed-upon goal: to prove that the Tapestry “was an indicator of the Viking, and thus Germanic, heritage of the Normans.” Later she indicates that it wasn’t so much because the Tapestry depicts the subjugation of England but because the Tapestry “bore witness to the earlier unification of the Germanic cultures of England” and “could serve as a precedent for the Nazis’ desire to recreate a unified Germania.” The Tapestry’s wartime move to Sourches for safe-keeping is discussed. The team’s intent on publishing a four-volume study of the Tapestry, with complete full-color reproduction of the Tapestry is discussed; the work was never published. Brown asks whether it is just a coincidence that a comparison of the Germans’ draft of a table of contents for their Tapestry book is so similar to Frank Stenton’s published 12 years after the war’s end; Brown provides two appendices that compare both tables of contents. She also notes that surviving Ahnenerbe Tapestry documents “anticipated several ideas which are being argued in current Bayeux Tapestry studies.” She provides a quick run-down of what happened to the key people involved in the study after the war. Three intriguing photographs are included: a previously released photograph of German personnel examining the Tapestry; a photograph of a German photographer taking pictures of the Tapestry with the Tapestry laid out on a floor with contraptions such as a ladder and a tripod strad- dling the Tapestry; and a photograph of René Fallue, custodian of the Tapestry during the war, either winding or unwinding the Tapestry on its wooden bobbin.

313. ———. “Preface.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, xi-xii. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. Brown’s preface is briefly described in the annotation for Owen-Crocker’s monograph.

314. Brown, Shirley Ann, and Michael W. Herren. “The Adelæ Comitissæ of Baudri of Bourgueil and the Bayeux Tapestry.” Anglo-Norman Studies XVI (1994). This article was reprinted in Richard Gameson’s The Study of the Bayeux Tap- estry and is annotated under the citation for its publication there. 98 The Bibliography

315. ———. “The Adelæ Comitissæ of Baudri of Bourgueil and the Bayeux Tapestry.” The Study of the Bayeux Tapestry. ed Richard Gameson, 139–55. Woodbridge, U.K.: Boydell Press, 1997. Brown and Herren provide a biographical sketch of poet Baudri of Bourgueil as well as bibliographic information on twentieth-century publications of his prose. After noting that the “Adelæ Comitissæ,” Baudri’s poem describing what seems to be the Bayeux Tapestry, is approached by historians with caution, the authors explore two questions: (1) Did Baudri have direct experience with the Bayeux Tapestry? (2) If so, did he see it in the chamber of William the Con- queror’s daughter, Adèle of Blois? Exploring the first question, the Tapestry’s images are compared with the poetical images, with numerous examples of each. Then Brown and Herren give three bulleted lists: one summarizes why “yes” is the answer to the question, a list of contradictory evidence, and a list of “objections that can be disposed of.” The second question is examined in a discussion that begins with the authors acknowledging that the Bayeux Tapestry is too much to see in person in just one day; viewer fatigue sets in: “one must study a portion of the Tapestry on one day, and return on another to take up a new section.” This being said, the Tapestry was too large for a bedroom. Further, Baudri’s verses indicate that he scarcely saw her. The authors purport that Baudri never saw Adèle, and that he was certainly never in her bedroom. The possibility that Baudri may have seen the Bayeux Tapestry in England is dismissed, but he indeed had “leisurely access” to it somewhere in Northern France, according to the authors. Although Baudri’s poem does not inform on where the Tapestry was displayed, the “imagined tapestry in his poem is, we believe, demonstrably based upon first- hand knowledge of the famous artefact.”

316. Bruce, John Collingwood. The Bayeux Tapestry Elucidated. London: John Russell Smith, 1856.

317. ———. The Bayeux Tapestry: The Battle of Hastings and the Norman Conquest. New York: Dorset Press, 1987. Notes: First published by John Russell Smith, London, in 1856. The color plates were reproduced from La Tapisserie de Bayeux, Edition Variorum, illustrated by Victor Sansonetti, Paris, 1838. This significant early treatment of the Bayeux Tapestry draws heavily on the chronicles of Wace, William of Poitiers, and William of Malmesbury. Charles Stothard’s engravings of the entire Tapestry appear in full color. Bruce has a habit of asserting something as true, but then quickly turns around and rebuffs it. For example, he states confidently that Harold went to the continent for a fishing trip, but on the next page says that we must dismiss that notion; he notes that the Tap- estry’s trees are of a species “which does not flourish in our modern woods,” but a few sentences later indicates that these trees are not “correct representations.” Bruce states plainly that the Battle of Hastings was fought on Harold’s birthday, The Bibliography 99

October 1, and then later states that it was on October 14. Bruce writes a brief treatment of the symbolism of the hawk for “great men of those times.” Bruce makes a remark about an object that most researchers neglect, the bent instrument being held by one of Harold’s companions as he boards his vessel near Bosham, surmising that it may be a “throw stick” such as used by the ancient Egyptians in fowling. He comments on the Tapestry’s depictions of architecture, clothing for both genders, moustaches, beards, and goes on at considerable length about hairstyles. The Tapestry’s ships, weapons, armor and horses are described in detail; he pays particular attention to the half-dagger (or saxe) that Harold draws up in his arrest at Ponthieu. Bruce comments on the dragons appearing on the shields of William’s messengers to Ponthieu. He describes the Norman fleet’s departure from the continent and briefly discusses a then-recent discovery of what was believed to be the remains of William’s ship at Pevensey. Bruce entertains emerging nineteenth-century ideas that Matilda was not the Tapestry’s designer, however, he does not completely let go of the notion that she was. Bruce examines possible reasons for Harold’s visit to Normandy and compares those accounts to what we see in the Tapestry. He notes that when Harold is speaking to Edward upon his return to England, the Tapestry shows an attendant to the left of Harold whose axe-blade is turned toward Harold, indicating guilt; the attendant to the right of Edward holds an axe whose blade is turned away from the scene, indicating royal pardon. Bruce asserts that the Tapestry must have been crafted shortly after the Battle of Hastings because the presence of historically insignificant characters indicates that “the draftsman takes it for granted that his audience knows who these characters are.” He identifies Turold as the dwarf in the Tapestry. He writes at length on the possible identity of the Tapestry’s Ælfgyva, settling for Algitha, Harold’s second wife, and that the cleric touching her is a priest relating an important message to her while she was in the temporary protection of a nunnery while her husband ventured to the continent. Interestingly, the author does not acknowledge a reversal of scenes between Harold’s conversation at Guy’s court and the scene of William receiving news of Harold’s arrest. Rather, he states that the two men to the left of Turold were unsuccessful in procuring Harold for Wil- liam, so William sent two more messengers, this time appearing more threatening, to bully or bribe Guy. Bruce recounts the events of the Tapestry’s Brittany campaign and states that the man shimmying down the rope at Dol is a messenger, not Conan. He cites Wace heavily in telling the story of Harold’s oath in the Tapestry. Edward’s death is described via a very lengthy citation lifted directly from Wace. The mechanics of Harold’s acceptance of the crown and his coronation are discussed using the Tapestry as a reference point. Eleventh-century and nineteenth-century reactions to Halley’s Comet are compared. Bruce recounts Wace’s reports of the numerous attempts William made at negotiating with Harold to avoid battle. Bruce provides a chronology of the events of the day of battle, opting for long, prosaic portrayals of blood, gore, misery, and sorrow at the violent ambitions of men, all the while relying on the Tapestry for visuals. Bruce 100 The Bibliography briefly describes some of the immediate societal and governmental changes that occurred as a result of the Conquest, and cheerily celebrates the good that came of it for England: elevation of the arts and schooling, the eventual end of slavery, increased health and purity, and the unification of England.

318. ———. Guide to the Bayeux Tapestry. London: Bemrose and Sons, 1886.

319. Bruce-Mitford, Rupert. “The Sutton Hoo Helmet: A New Reconstruc- tion.” The British Museum Quarterly 36, no. 3/4 (1972): 120–130. Notes: In his final paragraph, Bruce-Mitford comments on the introduction and influence of Swedish Vendel illustrative art in Anglo-Saxon art. He writes that “Its entry into native Anglo-Saxon art may be seen in the Sutton Hoo purse-lid, a local creation in which figural scenes derived from Vendel art are seen rendered in the less fluent techniques of goldsmith and gem-cutter. It is a living vernacular tradition which later makes its contribution to the Franks Casket . . . to certain stone crosses which illustrate legendary subjects and ultimately to the Bayeux Tapestry, woven by Anglo-Saxon ladies.” Includes several illustrations though none of the embroidery.

320. Budny, Mildred. “Observations of the Bayeux Tapestry.” History Today 34 (1984): 55.

321. Bull, Stephen. An Historical Guide to Arms and Armor. New York: Facts on File, 1991. Notes: Edited by Tony North. Illustrated edition. Also published in 1991 by Checkmark Books, New York. First published by Studio Editions, London, in 1991. Bull’s richly illustrated book is a chronology of the development and uses of portable arms and armor throughout the world from Greeks and Romans through the early nineteenth century. He mentions that the Varangian Guard of the Byz- antine emperors probably looked like the armored men in the Bayeux Tapestry. The Tapestry, he adds, is an important source for what weapons and armor looked like in Anglo-Saxon England and goes on to describe them in some detail. Bull notes, interestingly, that the figure who appears to have an arrow in his eye might not be Harold because it was “against the social and artistic conventions of the period to show a king being struck down by a man as common as an archer.” Includes several color photographs of the Tapestry; the index often gives incorrect page numbers.

322. Bunson, Matthew. The Encyclopedia of the Middle Ages. New York: Facts on File, 1995. In addition to the expected facts, the entry on the Bayeux Tapestry includes some interesting statements such as its reference to the work as “an important The Bibliography 101 embroidered tapestry” and that “further speculation has argued that, although it is a Norman work, the style and stitching were of Saxon origin.” Bunson also suggests that there are “several lost panels” that “have been thought to depict images of William on the English throne.” Includes an excellent glossary of medieval terms, appendices listing rulers of medieval Europe and medieval Islam, and an index.

323. Burgis, Rosemary L. “The Overlord Embroidery.” American Heritage 40, no. 4 (1989): 108–13. Twelve color photographs of the textile are included in this article about the narrative embroidery that tells the story of D-Day in 1944. The embroidery was inspired by the Bayeux Tapestry and is currently exhibited at the D-Day Museum in Portsmouth, England.

324. Burke, John. An Illustrated History of England. New York: David McKay Company, 1976. Notes: First American edition. Originally published in 1974. Foreword by Sir Arthur Bryant. Burke mentions the Tapestry’s depiction of the death of Harold writing, “Har- old himself was killed in the closing hours of the battle, traditionally by an arrow in his eye, but more probably, if the Bayeux Tapestry is interpreted aright, by the sword of a Norman knight.” A black-and-white image of this scene is included along with two others showing the funeral procession of Edward the Confessor and the coronation of Harold. Includes index.

325. ———. Life in the Castle in Medieval England. Totowa, NJ: Rowman and Littlefield, 1980. Notes: Reprint. Alternate title: The Castle in Medieval England. First published in 1978. A section of the Tapestry showing the building of the Hastings castle motte is included in a discussion of mottes and baileys within the chapter “From Timber to Stone.”

326. Burke, Peter. Eyewitnessing: The Uses of Images As Historical Evidence. Ithaca, NY: Cornell University Press, 2001. Burke examines the use of extant visual arts, including photography, as historical evidence, encouraging his readers to use such evidence but also to caution potential users about possible pitfalls. In a chapter on images as evidence of material culture, the Bayeux Tapestry is briefly mentioned for its unique depiction of bed hangings, and its “formulaic” representations of furniture. He notes that the Tapestry’s images of lances and spears, being embroidered by women, would likely have needed counsel from men who knew how these weapons were held. The chapter “Visual Narratives” examines the Tapestry alongside such diverse pieces as a daguerreotype of an 1848 Chartist meeting on the grounds of Windsor 102 The Bibliography

Castle, World War I newsreels, Hung Cong Ut’s famous 1972 photograph Na- palm Attack, John Trumbull’s painting “The Declaration of Independence,” and many others. The ambiguity of Harold’s death scene is discussed. The function of the Tapestry’s images in aiding the viewer and story-teller is given a paragraph, and Burke reminds readers that although the Tapestry was woven [sic] in England, it is “a spectacular example of history written by the victors.” Includes one black-and-white photograph of the Tapestry, an index, extensive notes, and a select bibliography.

327. ———. “Images As Evidence in Seventeenth-Century Europe.” Journal of the History of Ideas 64, no. 2 (2003): 273–96.

328. Burn, Katharine. “Professional Knowledge and Identity in a Contested Discipline: Challenges for Student Teachers and Teacher Educators.” Ox- ford Review of Education 33, no. 4 (2007): 445–67. In transcripts of an interview with an educator who had used the Bayeux Tap- estry in a lesson about primary sources in the study of history, the educator writes about the use of questions to help students understand what makes certain sources good sources and why they should be questioned and analyzed. One of the responses about the Bayeux Tapestry said, “Well, they’re all biased. Everybody is lying.” Later, in another transcript, the educator reports saying, “The first thing I want you to do is decide whether it’s primary or secondary, and the Bayeux Tapestry is primary because it was from the time. I know it was made three years later, but it was from the time!” The educator did not see that the work was both primary, for medieval life and many other aspects of the period, and secondary, for the Battle of Hastings and surrounding events.

329. Burns, William E. A Brief History of Great Britain. New York: Facts on File, 2009. Burns mentions the Bayeux Tapestry once in a remark about Viking-style ships.

330. Burt, Richard. “Backing Up the Virtual Bayeux Tapestries: Facsimiles As Attachment Disorders, or Turning Over the Other Side of the Under- neath.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 27–36. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Richard Burt, professor of English and film and media studies at the University of Florida, gets metaphysical in his discussion of the original Bayeux Tapestry and its facsimiles in various media, including and especially Charles Stothard’s wax mold/plaster casts of parts of the Tapestry as well as the two pieces that Sto- The Bibliography 103 thard cut from the Tapestry as souvenirs during his contact with the textile in the 1810s. The nature and function of the original Bayeux Tapestry and its full and partial replicas vary depending on the viewers’ training in different fields of study “and its passing into discourse over time.” Burt imagines the numerous ways that recent technology could enhance and “fetishize” the experiences of Bayeux Tapestry viewers, such as 3-D technology, and Blu-Ray digi-books, interactive multimedia, and others. Includes six photographs of some of the artifacts, virtual and actual, that he discusses. Extensive notes.

331. ———. “Loose Threads: Weaving Around Women in the Bayeux Tapes- try and Cinema.” Medieval Film. eds Anke Bernau, and Bettina Bildhauer. Manchester: Manchester UP, 2007.

332. ———. “Re-Embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences.” Exemplaria 19, no. 2 (2007): 327–50. Burt presents an erudite, high-calorie essay on how Bayeux Tapestry images are used in the opening and closing credits of certain movies and how they assist in interpreting, or at least commenting on, the content of these films. The results of such uses of the Tapestry are often parodies, not parodies of the Tapestry in and of itself, but the Tapestry ends up “used in the service of a parody of something else.” The movies discussed are The Vikings; Robin Hood, Prince of Thieves; Bedknobs and Broomsticks; Blackadder; and La Chanson de Roland. Burt writes a thorough five-page analysis of the opening title sequence of Bed- knobs, and the parodied Tapestry’s commentary on British national defense in World War II, gender empowerment, household domesticity, among other things. The author provides similar treatment of the other films’ use/misuse of the Tap- estry. Includes notes and six stills from the films’ credits.

333. Burton, Ella. The Norman Conquest Illustrated by the Bayeux Tapestry: A Lecture. Edinburgh: Edinburgh Publishing Company, 1878. Notes: 36 pages.

334. Busch, Harald, and Bernd Lohse, eds. Pre-Romanesque Art. New York: Macmillan, 1966. Notes: Introduction by Professor Louis Grodecki of the University of Stras- bourg. Commentaries and illustrations by Eva-Maria Wagner. The Bayeux Tapestry is briefly mentioned and the author implies that, like the eleventh-century Catalonian tapestry pictured on the same page, the Bayeux Tapestry is a work in an emerging “local dialect” that is breaking away from the forms of Classical Mediterranean works. One black-and-white photograph of a Tapestry scene. 104 The Bibliography

335. Butler, Denis. 1066: The Story of a Year. New York: G.P. Putnam’s Sons, 1966. Notes: First American edition. Published in Great Britain by Anthony Blond, London. The book is divided into twelve sections, one for each month. Butler comments on the designer of the Bayeux Tapestry in his opening chapter, writing that following the Conquest, the “Saxon designer of the Bayeux Tapestry would be forced to like subtleties and evasions in his telling of the story of Harold and Duke William; commissioned by Normans to create for Normans a work based on a Norman history, he would follow his commission faithfully, but by careful emphasis and symbolic usages, insertions and omissions, and by realignments of scenes, he would point the English history for Englishmen to come.” Later, attributing the work to Englishwomen whose work was famous in the eleventh century, Butler suggests the designer was English due to “certain spellings and place-names.” He writes: “As plainly as he dared, the Englishman told the story of those months, clarified by an art at once so simple and so subtle that even today eminent commentators can refer to scene of major significance as mean- ingless, and to crucial border-details as purposeless decorations. This is due, at least in part, to the misconception that a work commissioned by a Norman must necessarily be Norman in outlook. The artist was not a hack, and his sympathies were English: elsewhere in the design he would ‘misplace’ a scene to emphasise Edward’s nomination of the earl of Wessex; in the first sequences he pointed the purpose of the voyage to Normandy and the success of Harold’s mission. There is nothing accidental in the placing and shaping of the nude and eager figures that ‘decorate’ the meeting of Harold and William and the introduction to the daughter of the duke. The imagination of the artist may have been obscene, but it was not senseless. The meaning of the figures is clear as the upraised finger that later warns Harold against the trap of the oath. They illustrate graphically and precisely the thoughts and intentions of the English earl.” Butler also writes about the Ælfgyva scene: “The tapestry is not always accurate: the girl is shown as a grown woman; for the foreign name, Agatha, the designer used a near, Anglo- Saxon homonym. The reading, however, is simplified pictorially. As Harold makes his request of the duke, he points back dramatically to the girl; and the status of Agatha herself is illustrated by one of the oldest of all symbolic usages: as the duke grants her hand to the earl, the cleric lifts the veil of the bride.” In another chapter, he comments briefly on Harold’s expertise in falconry and the Bayeux Tapestry’s depiction of the activity. Includes a select bibliography, genealogical charts, and a general index.

336. Cable, Carole. The Bayeux Tapestry: A Bibliography of Books and Ar- ticles About Its Architectural, Aesthetic, and Cultural Aspects. Monticello, IL: Vance Bibliographies, 1986. Notes: Part of Architecture Series–Bibliography, A-1551. Cover title notes “February 1986.” The Bibliography 105

337. Cairns, Conrad. Medieval Castles. Minneapolis: Lerner Publications in cooperation with Cambridge University Press, 1989. Notes: “A Cambridge Topic Book.” Reprint. Original edition published by Cambridge University Press in 1987 as part of The Cambridge Introduction to the History of Mankind: Topic Book. In this 52–page hardcover for young audiences, Cairns offers a surprisingly thorough overview of the subject, using drawings, black-and-white photographs, architectural plans, and rather sophisticated narrative. Briefly referencing the Bayeux Tapestry, he notes that the work “shows Normans forcing a castle to surrender by putting fire-brands to it.” The book includes discussions of ringworks and motte and bailey castles. Also includes glossary and index.

338. Calder, Nigel. The English Channel. New York: Viking, 1986. In his chapter titled “Towards the Seine River: Heirs of the Vikings,” Calder refers to the Bayeux Tapestry as a strip cartoon and writes that, “No other medieval records of the Channel match its vividness.” He makes brief references to the Tapestry’s depiction of Halley’s Comet and Harold’s oath. Calder is a former editor of New Scientist. Includes bibliography and index.

339. Calkins, Robert G. Monuments of Medieval Art. New York: E.P. Dut- ton, 1979. Calkins, chairman of the Department of the History of Art at Cornell University, provides basic facts about the Bayeux Tapestry in his chapter titled “The Tapes- try.” Suggesting that the Tapestry’s “original purpose is . . . obscure,” he notes that it does appear to give justification for the Norman invasion. Commenting on the work, Calkins writes, “If the message of the tapestry was political and propagandistic, it nevertheless relates the epic with vivacious narrative, meticulous detail showing the preparations for the invasion and subsequent battle, and charming marginal animals and fables. A running inscription in irregular lettering explains the scenes and identifies some of the personalities.” He also points out that the “figural style is consistent with that found in Anglo-Saxon illuminated manuscripts of the period, and it seems likely that the tapestry was designed and embroidered in southeastern England between 1070 and 1077 when Odo died.” He includes two color plates featuring scenes from the Tapestry with captions dating the embroidery between 1070 and 1080. Includes a selected bibliography arranged by subject area and an index.

340. Cammann, Schuyler. “Embroidery Techniques in Old China.” Archives of the Chinese Art Society of America 16 (1962): 16–40. Notes: Published by University of Hawai’i Press for the Asia Society.

341. Campbell, David. “Mottoes on Sundials.” David Campbell: Collected Poems. ed Leonie Kramer. Sydney, Australia: Angus and Robertson, 1989. Australian poet Campbell’s 1976 poem cycle is a reverie on birds, beasts, art, and architecture encountered while traveling. “Bayeux Tapestry” is a ten-line 106 The Bibliography vignette: “The tapestry of La Reine Mathilde is full/of intrigue. Cousins/Manoeu- vre to do each other in;/And with his donkey/A farmer ploughs his field./The plot thickens. William builds/A fleet, and at Hastings/Many tall men are killed;/And with his donkey/A farmer ploughs his field.”

342. Campbell, James. The Anglo-Saxon State. London: Hambledon and London, 2000. Campbell examines the development of the Anglo-Saxon state and the beginnings of constitutional liberty in England. In his chapter “England, c. 991,” the author notes that “Sir David Wilson has suggested that the composition of the Bayeux Tapestry echoes that of such a poem [the Anglo-Saxon poem The Battle of Maldon] as that on our battle [the battle that occurred near Maldon].”

343. Campbell, James, Eric John, and Patrick Wormald. The Anglo-Saxons. New York: Penguin Books, 1991. Notes: James Campbell also serves as general editor. Title page notes “With contributions from P.V. Addyman, S. Chadwick Hawkes, D.A. Hinton, M.K. Lawson, D.M. Metcalf.” First published by Phaidon Press, London in 1982. Paperback. In a two-page “picture essay” in the final chapter of this book, the author discusses the Battle of Hastings and the Bayeux Tapestry as a somewhat reliable source of information on the events and details of the battle. Includes six photographs of the Tapestry, bibliography and index.

344. Campbell, Judith. Royalty on Horseback. Garden City, NY: Doubleday, 1974.

345. Campbell, Miles W. “Ælfgyva: The Mysterious Lady of the Bayeux Tapestry.” Annales De Normandie 34, no. 2 (1984): 127–45. Campbell, history professor at New Mexico State University, presents a hearty treatise attempting to uncover the identity of the Bayeux Tapestry’s Ælfgyva. Af- ter listing a number of previously proposed identities for Ælfgyva, Campbell lays down his own theory, a theory he admits is not without difficulties: she perhaps was Eadgifu, abbess of Leominster in 1046 and paramour of Swein Godwinson, Harold’s brother. That Ælfgyva may have been the abbess “lends support to and is . . . buttressed by the theory recently advanced . . . that [Harold], in the course of his visit to Normandy, sought the release of two relatives long held hostage” by Duke William; those hostages were Wulfnoth, Harold’s brother, and Hakon, Harold’s nephew by his brother Swein. Before explaining his theory, Campbell goes into extended details to eliminate previously suggested identities. Abbess Eadgifu, notes the author, was Hakon’s mother, a scandal perhaps glossed by the figures in the upper and lower borders surrounding this scene; she may have The Bibliography 107 accompanied her son to Normandy when he was given up as a hostage as a boy, becoming a hostage herself. Includes extensive citations.

346. Campbell, Thomas P. Tapestry in the Renaissance: Art and Magnifi- cence. New Haven, CT: Yale University Press, 2006. Notes: Third printing. Published jointly with The Metropolitan Museum of Art, New York. Originally published in 2002. Contributions by Maryan Ain- sworth, Rotraud Bauer, Pascal-François Bertrand, Iain Buchanan, Elizabeth Cleland, Guy Delmarcel, Nello Forti Grazzini, Maria Hennel-Bernasikowa, Lorraine Karafel, Lucia Meoni, Cecilia Paredes, Hillie Smit, and Andrea Stock- hammer. Photography by Bruce White. This volume is a catalogue published in conjunction with an exhibition by the same title held at the Museum, March 12 through June 19, 2002. In the chapter titled “Tapestry Patronage in Northern Europe, 1380–1500,” the Bayeux Tapestry is briefly mentioned in a discussion of the patronage of Louis of Anjou’s brother, Philip the Bold. The embroidery is referenced as an example of the “long-standing tradition on the Continent for commemorating historic events in embroidery and textiles,” noting that Philip’s commissions are the first certain evidence we have of the treatment of such subjects at the request of a living patron on the monumental scale of tapestry. Includes an extensive bibliography and index.

347. Candee, Helen Churchill. The Tapestry Book. New York: Frederick A. Stokes Company, 1912. Notes: The Tapestry is addressed on pp. 241–248. Acknowledging that the Bayeux embroidery “has no place” in her book of actual notable tapestries (mostly Western), Candee unapologetically justifies her inclusion of a brief chapter on the topic as it was often “confused with true tapestry.” She writes about the Bayeux Tapestry rather affectionately, which is likely another motivation of her discussion of it in her book. She provides a history of the Tapestry, beginning with its creation by Queen Mathilda and her “corps of lovely ladies” in Caen, sewing onto the linen their “own secret thoughts of a lover or husband absent on the great Conqueror’s business.” Proceeding more objec- tively and tersely through to her own time period, Candee recounts the Bayeux Tapestry’s relationship with the Bayeux Cathedral, Montfaucon, Napoleon, and its then-present installation behind glass in a museum. Halley’s comet and the Tapestry is the subject of a full-page discussion. The author erroneously reports that the Tapestry depicts only one woman, and that Mathilda, “immured with ladies, probably had quite enough of women to refrain easily from portraying them.” She also proposes that “dream trees” of the Tapestry may depict some extinct varieties. The chapter includes three black-and-white photographs of the Bayeux Tapestry. 108 The Bibliography

348. Cannon, John. “Bayeux Tapestry.” The Oxford Dictionary of British History. ed John Cannon. Oxford, U.K.: Oxford University Press, 2009. Notes: First revised edition. Also part of Oxford Reference online.

349. Cannon, John, and Anne Hargreaves. The Kings and Queens of Britain. Oxford, U.K.: Oxford University Press, 2001. Notes: Paperback. In a short biographical entry for Odo of Bayeux, the authors describe him as “responsible for the commissioning” of the Tapestry. A full-page black-and- white image of the enthroned Harold is shown with a caption noting that Odo probably commissioned the work and that its purpose was both propaganda and to record a great event. Includes a list of titles for further reading, a one-page glossary, and an index. Cannon was chair of modern history at the University of Newcastle upon Tyne and Hargreaves was a clinical academic at the Welsh National School of Medicine and at the Universities of Liverpool and Newcastle.

350. Cannon, John Ashton, ed. The Oxford Companion to British History. New York: Oxford University Press, 1997.

351. Cannon, John Ashton, and Ralph Alan Griffiths. The Oxford Illustrated History of the British Monarchy. New York: Oxford University Press, 1988. Three color scenes from the Bayeux Tapestry are included, one of Harold’s oath in the chapter “‘Imperial’ Kingdoms” and the other two in special one-page sections on Edward the Confessor and Harold II; all feature lengthy captions with insightful as well as descriptive commentary. Later, the authors discuss the Tap- estry as propaganda, writing, “And the most famous piece of royal propaganda in English history, the Bayeux Tapestry, was woven soon after the battle of Hastings to publicize and celebrate the heroic Norman victory.” Calling it a magnificent embroidery, they suggest that embroidery is “an art-form peculiarly associated with the English.” Suggesting that it may have been intended for either a church or a hall, they point out that the “court of the Conqueror provided the environment of celebration (and justification) in which the saga was told.” Includes bibliography arranged by chapter and an index.

352. Cantor, Norman F., ed. The Encyclopedia of the Middle Ages. New York: Viking, 1999. This beautiful encyclopedic reference, useful for scholars and a general readership, provides essential information on a variety of topics including politics, geography, the arts, literature, religion, military tactics, food, clothing, commerce, and many other areas. The entry for the Bayeux Tapestry presents information on the Tapestry’s origins, the story that it tells, and some basic facts about its later history, such as Montfaucon’s complete facsimile, its ordeals during the The Bibliography 109 eighteenth and nineteenth centuries, and its present-day hanging in the Bishop’s Palace. Includes a full-color photo of the Tapestry’s shield wall scene.

353. Caracalla, Jean-Paul. Normandy. New York: The Vendome Press, 1991. Notes: Translation from the French by Diane Mellor. In this book of dramatic photographs capturing all aspects of life in Normandy, Caracalla includes an image of the Bayeux Tapestry on exhibit. It captures multiple scenes as well as features of the display case. The photograph was taken several feet from the point at which the Tapestry exhibit curves in its U-shape presentation. Captions for all photographs are included at the end of the book. Here, the writer refers to the Tapestry as “Queen Mathilde’s tapestry” and “the most significant piece of work that the fifteenth century has bestowed upon us.” Additionally, he writes that the embroidery “is now on show in a superb eighteenth century edifice and like a comic strip it winds around a vast room with special lighting so the colours remain unaltered and preserved from over-exposure.” There is no index.

354. Card, Jane. “Seeing the Point: Using Visual Sources to Understand the Arguments for Women’s Suffrage.” Teaching History 143 (2011): 15–19. Card, former Head of History at the Didcot Girls’ School in Oxfordshire, mentions the Bayeux Tapestry as an example of how “pictures are powerful convey- ors of messages designed to attract and maintain attention” and “can provide access to complex ideas, sometimes supported by an immediate emotional punch.” She notes the Tapestry portrays Harold as “an habitual oath-breaker and usurper who needed to be deposed.” Another example she uses in the same discussion is Stalin’s doctored photographs where he is shown as a right-hand man to Lenin.

355. Carlano, Marianne. “Embroidery.” French Textiles: From the Middle Ages Through the Second Empire. eds Marianne Carlano, and Larry Salmon, 71–114. Hartford, CT: Wadsworth Atheneum, 1985. Notes: Preface by Tracy Atkinson. Carlano’s essay offers only a single paragraph on the Tapestry, providing basic information on work and commenting on its construction, particularly the stitches. She points out that the work is “the only extant wall hanging” of the period and mentions that scholarship is divided over whether it originated in England or Normandy; she does suggest however that it “could have been” made in Normandy. The article is illustrated with several color and black-and-white photographs including two (in color) of Tapestry scenes. Notably, one of these is of the reverse side of the embroidery; the scene depicts Harold praying in front of William the Conqueror. The volume includes a glossary as well as a 12-page bibliography. 110 The Bibliography

356. Carlson, Katherine L. “Little Lord Fauntleroy and the Evolution of American Boyhood.” The Journal of the History of Childhood and Youth 3, no. 1 (2010): 39–64.

357. Carpenter, David. The Struggle for Mastery: Britain 1066–1284. New York: Oxford University Press, 2003. Notes: First published in Great Britain by Allen Lane/Penguin Press, 2003. Published in paperback as The Struggle for Mastery: The Penguin History of Britain 1066–1284, by Penguin in 2005. This large volume covers the political, social, economic, religious, and linguistic histories of England in the 200 years following the Norman conquest. In his chapter on the Conquest, Carpenter refers to the Bayeux Tapestry briefly in the contexts of Edward the Confessor’s death, the Normans’ favoring of heavy cavalry, William’s provocation of Harold by ravaging Harold’s ancestral lands, and in a remark about Bishop Odo’s growing ambitions in 1082 which ultimately got him arrested by William.

358. Carpenter, Edward, and David Gentleman. Westminster Abbey. Lon- don: Weidenfeld and Nicolson, 1987. Notes: Illustrations by David Gentleman. Designed by Simon Bell. In their chapter three “Two Churches” narrative on Edward the Confessor’s involvement in the new abbey, the authors suggest the Bayeux Tapestry provides evidence of Westminster Abbey’s “general appearance.” They refer to it as “a political cartoon woven by the ladies of England or of Normandy” and go on to say that it “provides a pathetic representation of the Confessor’s funeral, depicting the cortège against the background of his new Abbey while the hand of God stretches out in blessing. The perspective of the whole strikes one as a little odd but from contemporary descriptions we may conclude that the Confessor’s church had a long Nave and Transepts, a short Presbytery, very solid side walls and an eastern Apse.” The book is beautifully illustrated with colorful pen and wash drawings. However, there are no images of the Tapestry.

359. Carroll, Leslie. The Royals: The Lives and Loves of the British Monarchy. New York: Metro Books/Sterling Publishing, 2011. Notes: The cover of this volume notes that it “includes rare memorabilia.” These are reproductions of various documents, many in original colors and dimensions. The volume, intended for general audiences, was published by arrangement with becker&meyer!, Bellevue, WA. This popular volume offers a one-page section on the Tapestry with a full color image of the scene depicting Duke William preparing his troops. The photograph includes the historical scene numbering above the Tapestry. The section, part of the book’s entry on the Normans, provides basic details on the embroidery, including references to the depiction of Halley’s comet, commissioning by Bishop The Bibliography 111

Odo, and the debate over how Harold actually died. Includes numerous illustrations and a selected bibliography; however there is no index.

360. Carter, George Goldsmith. Sailors, Sailors. London: Hamlyn, 1966. Notes: Edited by Derek Lord. In this relatively short book of very diverse sailor-related topics (Merchant Venturers, Men of the Clipper Ships, Nuclear Submarines, Food at Sea, Sailors’ Gods and Ghosts), the author uses an image from the Bayeux Tapestry to illustrate his description of the deeds of “Sailors of the Dark Ages,” namely, the Vikings. In a chapter on the Middle Ages, the Tapestry scene showing William aboard the Mora accompanies the author’s essay on Earl Godwin’s excellent seafaring skills and the Normans’ notable lack thereof.

361. Carter, John Marshall. “The Bayeux Tapestry Across the Curriculum.” The Clearing House 60, no. 4 (1986): 314–16.

362. ———. “The Bayeux Tapestry As a Social Document: An Introduction.” The Bayeux Tapestry As a Social Document: Selected Readings. ed John Mar- shall Carter, 1–7. Lexington, MA: Ginn Custom Publishing, 1985. Notes: The cover photograph of the Bayeux Tapestry was taken by John Marshall Carter. Line drawings in the book are by David Barron, art student at Georgia Southern College in Statesboro. In this article, Carter, of East Carolina University’s History Department, writes to his students about the purpose of his book: a sourcebook for using the Bayeux Tapestry as a social document. He offers advice on various ways students can best engage in Tapestry study and then presents a list of 33 questions with which students should begin their investigations of the Tapestry.

363. ———, ed. The Bayeux Tapestry As a Social Document: Selected Read- ings. Lexington, MA: Ginn Custom Publishing, 1985. Notes: The cover photograph of the Bayeux Tapestry was taken by John Marshall Carter. Line drawings in the book are by David Barron, art student at Georgia Southern College in Statesboro.

364. ———. “The Bayeux Tapestry, Bishop Odo of Bayeux, and the Pastimes of the Medieval Silent Majority.” Sports and Pastimes of the Middle Ages. John Marshall Carter, 58–75. Columbus, GA: A Brentwood University Edition, 1984.

365. ———. “The Bayeux Tapestry, Bishop Odo of Bayeux, and the Pastimes of the Medieval Silent Majority.” The Bayeux Tapestry As a Social Docu- ment: Selected Readings. ed John Marshall Carter, 66–78. Lexington, MA: Ginn Custom Publishing, 1985. Notes: This chapter was reprinted from Carter’s book Sports and Pastimes of the Middle Ages, 1984. The cover photograph of the Bayeux Tapestry was taken 112 The Bibliography by John Marshall Carter. Line drawings in the book are by David Barron, art student at Georgia Southern College in Statesboro. Carter argues that the Bayeux Tapestry depicts recreational pursuits of medieval peasantry in a way that contradicts the common notion that peasant life in the eleventh century was a life “of total gloom.” He has categorized the Tapestry’s peasant pastimes into three types: peasants involved in typical peasant pastimes (slinging, catching eels), peasants engaged in typically noble pastimes (hunting), and scenes showing peasants and nobles engaging in the same pastime. He states that Bishop Odo was possibly the designer of the “general propaganda plan” of the Tapestry who left secondary and tertiary details, including the depictions of pastimes, to the men and women who embroidered the work, “an expression of peasant pastimes by peasants themselves.”

366. ———. “The Bayeux Tapestry in the Social Studies Class.” Social Edu- cation XVI, no. 4 (1986): 18–20.

367. ———. “Building a Bibliography.” The Bayeux Tapestry As a Social Document: Selected Readings. ed John Marshall Carter, 80–81. Lexington, MA: Ginn Custom Publishing, 1985. Notes: The cover photograph of the Bayeux Tapestry was taken by John Marshall Carter. Line drawings in the book are by David Barron, art student at Georgia Southern College in Statesboro.

368. ———. “Classroom Ideas: The Bayeux Tapestry in the Social Studies Class.” Social Education 50, no. 4 (1986): 314–16.

369. ———. “Doing What Historians Do: Using the Bayeux Tapestry to Dis- cover the Past.” The Clearing House 70, no. 1 (1996): 24–26. As a means of introducing students to the importance of primary source materials, Carter’s article suggests creative ways of incorporating the Bayeux Tapestry into the curriculum of middle and secondary school history classes. The article begins with narrative on the importance of students’ seeking out and analyzing primary sources. He then discusses numerous possible ways to use the Tapestry in the classroom including having students compare the embroidery’s depiction of the Battle of Hastings with the version of events described by Wil- liam of Poitiers, William of Jumièges, the Anglo-Saxon Chronicle, and Guy of Amiens’ Song of the Battle of Hastings. Carter lists activities that he has found “helpful and exciting” when using the Bayeux Tapestry across the curriculum. They are: creating a facsimile of the Tapestry using poster board or bed sheets; creating a board game; making a video of the events depicted; creating travel posters depicting the repositories for primary sources; writing a letter to Sylvette Lemagnen, conservator of the Tapestry; writing biographical sketches of some of the characters; researching and creating a menu of food that might have been served to the Normans; making a spreadsheet with the number and frequency of The Bibliography 113 men, animals, houses, churches, etc. in the embroidery; exploring other primary sources to investigate other mentions of a great comet; organizing the class into Anglo-Saxons and Normans and recreating the Battle of Hastings on the play- ground on or near October 14; and celebrating the event by serving refreshments named after people and events related to the study of the Tapestry. Here, Carter offers humorous examples: William the Conquer punch, Norman Conquest cake, Edward the Confessor dip, and Bayeux Tapestry bridge mix. He suggests finding “facsimiles” of the Tapestry in Stenton, Wilson, Denny and Filmer-Sankey, and K.M. Setton. At the time of the article, Carter was affiliated with Clayton County Schools in Jonesboro, Georgia.

370. ———. “God’s Athletes: The Ecclesiastical Acceptance of Sport in Anglo-Norman Society.” Sports and Pastimes of the Middle Ages. John Mar- shall Carter, 37–45. Columbus, GA: A Brentwood University Edition, 1984.

371. ———. “The Historical/Anthropological Approach to Writing.” The Clearing House 57, no. 8 (1984): 358–61. In this article aimed at English and history educators, Carter, a professor of history at Georgia Southern College, describes his “historical/anthropological approach” to writing which “uses the past as its laboratory.” As a model, he chooses the topic of the Bayeux Tapestry and suggests ways in which an instructor might gather and present resources (such as Stenton’s and Gibbs-Smith’s books and the October 1966 issue of National Geographic) to students, begin to encourage questioning, record information, begin writing, and finishing with peer and teacher editing. Eleven works directly and indirectly related to the Tapestry are listed in the bibliography.

372. ———. “Sport in the Bayeux Tapestry.” Canadian Journal of History of Sport and Physical Education 11, no. 1 (1980): 36–60. This article was reprinted in John Marshall Carter’s The Bayeux Tapestry as a Social Document: Selected Readings and is annotated under that citation.

373. ———. “Sport in the Bayeux Tapestry.” Sports and Pastimes of the Middle Ages. John Marshall Carter, 29–36. Columbus, GA: A Brentwood University Edition, 1984. This article was reprinted in John Marshall Carter’s The Bayeux Tapestry as a Social Document: Selected Readings and is annotated under that citation.

374. ———. “Sport in the Bayeux Tapestry.” The Bayeux Tapestry As a Social Document: Selected Readings. ed John Marshall Carter, 8–14. Lexington, MA: Ginn Custom Publishing, 1985. Notes: This chapter was reprinted from the Canadian Journal of History of Sport and Physical Education, December 1980. The cover photograph of the 114 The Bibliography

Bayeux Tapestry was taken by John Marshall Carter. Line drawings in the book are by David Barron, art student at Georgia Southern College in Statesboro. Carter focuses on the evidence of sport and leisure pursuits depicted in the Bayeux Tapestry: hunting, hawking, riding, fishing, archery, bear-baiting, bull- baiting, tournaments, cockfighting, dinner entertainment, comet-gazing, and wenching (associating with promiscuous women). He concludes that the Tapes- try “indicates to the modern world how important sport was to the people of the eleventh century.”

375. ———. “Sport, War, and the Three Orders of Feudal Society: 700– 1300.” Military Affairs 49, no. 3 (1985): 132–39. Notes: Published by the Society for Military History. Carter, assistant professor at East Carolina University, describes sport within a military context and takes a look at how sport affected the orders and classes of medieval society. He notes that the status of the knight was celebrated through entertainments such as ballads, poems, and visual arts, including the Bayeux Tap- estry. Odo, as depicted in the Tapestry, had an “ecclesiastical understanding and appreciation of sport” due to his warrior background. The houndsmen and hunters depicted in the Tapestry show peasants and nobles alike “indirectly involved in the king’s martial sport.” Includes references.

376. ———. “Writing Games in the Bayeux Tapestry.” The English Journal 74, no. 7 (1985): 31–34. The article includes two line drawings from the Tapestry by David Barron, an art student at Georgia Southern College in Statesboro.

377. Carver, Martin O. H. “Exploring, Explaining, Imagining: Anglo-Saxon Archaeology 1998.” The Archaeology of Anglo-Saxon England: Basic Read- ings. ed Catherine E. Karkov, 25–52. New York: Garland, 1999. Notes: Part of the Basic Readings in Anglo-Saxon England series, #7, Carl T. Berkhout, Paul E. Szarmach, and Joseph B. Trahern, Jr., general editors. This series is part of the Garland Reference Library of the Humanities, H2086. Writing about the parameters of the three periods of Anglo-Saxon culture, Carver explains that “Anglo-Saxon culture is held to have continued up to the end of the eleventh century, and to include such works of art as the Bayeux Tapestry.” The chapter includes maps, illustrations, and extensive notes.

378. Cash, Sarah. “A DeKalb Pair’s Epic Replication of a Medieval Tapes- try.” The Atlanta Journal-Constitution (1987). Cash writes about the inaugural exhibition of the replica of the Bayeux Tap- estry at Emory University, the same replica now on exhibit at the University of West Georgia. She offers several details on the replica, including: the artist The Bibliography 115

Margaret ReVille’s use of calibrated image projection to complete the work, her primary work in printmaking, and her finishing of the replica in March of 1987. Cash also writes of ReVille’s technique: “She worked in her home studio first by pencil sketching from Xeroxed transparencies (from three reference books) and then matched brilliant terra cottas, greens, blues and ocres (yellow) in recreating vegetable dyes. She designed a dowel system for painting 40–inch sections at a time from the snake-like roll of undyed cotton.” The commissioning of the work was by Dr. E.D. Wheeler, an attorney in Tucker, Georgia and a member of the American Studies faculty at Emory. Cash mentions that Wheeler researched and directed the project, writing that he “visualized the replica as an educational experience for exhibiting universities and community art galleries.” Quoted in the article, Wheeler comments “You just can’t get the full impact of the premier document of the medieval era through book illustrations. This way you can go as deep as you like.” He is quoted further as saying, “In Bayeux, the tapestry was displayed in a U shape under glass in a museum where it was first painted by dozens of artisans, many of whom were sympathetic to the Saxons (English) in the 11th century.”

379. Cassady, Richard F. The Norman Achievement. London: Sidgwick and Jackson, 1986. Notes: Part of the Great Civilisations Series. Foreword by John Julius Norwich. Cassady presents cultural, political, and military annals of the Norman state and its territories from 1016 to 1195. Discussion of the Bayeux Tapestry begins in the entry for 1064, and is presented by a general description of the work, with commentary on its awkwardness as a church decoration, because of its nude scenes, and its presentation of Odo as a fearless warrior. The author proceeds to recount the story depicted in the Tapestry, inserting long passages from William of Poitiers and the Anglo-Saxon Chronicle to assist in the telling. The “almost comic-book representation” of Mont St. Michel is noted. Of particular interest is Cassady’s passage on the Tapestry’s depiction of seven different types of armor, including cuir-bouilli, leather that had been boiled in oil and molded to the body. Includes four drawings of Tapestry scenes and a bibliography. The index lists only one page for the Tapestry, although it is mentioned on several pages.

380. Casson, Lionel. Illustrated History of Ships and Boats. Garden City, NY: Doubleday, 1964. Casson, professor of Classics at New York University, offers a well-illustrated volume to a general audience. On the Bayeux Tapestry, he notes that medieval ladies “wove” it, but not being naval architects, “they had their husbands to consult, and their ships . . . are nevertheless believable. And they are all the standard Viking Type.” Includes two photographs from the Tapestry, as well as photos of the Oseberg ship during and after excavation. Includes index. 116 The Bibliography

381. Casson, Lionel, Robert Claiborne, Brian Fagan, and Walter Karp. Myster- ies of the Past. ed Joseph J. Thorndike Jr. New York: American Heritage, 1977. A black-and-white photo of the scene where Harold crosses the English Chan- nel and lands at Ponthieu is used in a discussion of Viking longboats and how the design of Norse ships was unchanged for centuries.

382. Caulfeild, Sophia Frances Anne, and Blanche C. Saward. The Dictionary of Needlework: An Encyclopedia of Artistic, Plain, and Fancy Needlework Illus- trated With More Than 800 Wood Engravings. Exeter, U.K.: Blaketon Hall, 1989. Notes: Facsimile edition of the second edition of The Dictionary of Needle- work published in London in 1885. Includes “Preface to the First Edition” written by Caulfeild and Saward and dated June 1882. Title at beginning of text: The Dictionary of Needlework: A Practical Encyclopedia. After a quick overview of possible embroiderers (Matilda and her ladies or perhaps “three Bayeux men in London during the reign of William”), the authors of this encyclopedic work discuss the Tapestry’s linen background, stitch types, and wool colors. The authors incorrectly state the Tapestry’s narrative “com- mences with Harold swearing fealty to William” and list an incorrect length for the Tapestry of 214 feet. Includes four drawings of the Tapestry.

383. Cavallo, Adolph S. Needlework. Washington, DC: Cooper-Hewitt Mu- seum, The Smithsonian Institution’s National Museum of Design, 1979. Notes: Part of the series The Smithsonian Illustrated Library of Antiques, Brenda Gilchrist, general editor. Dating the Tapestry to 1080 and attributing its commissioning to Bishop Odo, Cavallo notes that it is regarded as an “eyewitness account of a tremendously important event in British history.” Basic information and a black-and-white image of William the Conqueror “raising his visor” and turning to “spur on his men” are included. Also includes an index, bibliography arranged by subject, and a list of public collections of needlework.

384. Cavendish, Richard. “How to Embroider History.” Cross Current: 6–7. This brief article about the renovation of the Reading (England) Museum is actually more about how the Victorian Era copy of the Bayeux Tapestry was created by the Leek Embroidery Society under the direction of Mrs. Thomas Wardle. Cavendish notes that Victorian morals required that the Leek embroiders minimize or cover up male genitalia, both human and equine, for their copy of the Tapestry.

385. Caviness, Madeline H. “Anglo-Saxon Women, Norman Knights and ‘Third Sex’ in the Bayeux Embroidery.” The Bayeux Tapestry: New Interpre- tations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 85–118. Rochester, NY: Boydell Press, 2009. Notes: Revised and abbreviated version of “Norman Knights, Anglo-Saxon Women, and the ‘Third Sex’: The Masculinization of England after the Con- The Bibliography 117 quest” from the electronic Reframing Medieval Art: Difference, Margins, Bound- aries (http:dca.lib.tufts.edu/Caviness), Medford, MA, 2001. In this bold and provocative essay on sex/gender arrangements in the Bayeux Tapestry, Caviness has a three-part agenda. Her first item is to urge the adoption of the term “Bayeux Embroidery” because “tapestry” is “readily associated with large, male-dominated workshops” and that the hanging is of course embroidery, a craft “associated strongly with women in the European cultural tradition.” Sec- ondly, she seeks to show how the Tapestry’s paucity of women “reconfigures the masculinity of Normans and Anglo-Saxons.” On the women who do appear in the Tapestry, she believes that Ælfgyva was not meant to be specifically identified, thereby promoting a “general smear on Anglo-Saxon women and widespread doubt about the legitimacy of their offspring.” The figure commonly identified as Queen Edith drying her tears at Edward’s deathbed is noted by Caviness as functioning in the Tapestry “generically as women should.” The “powerless” woman, “a creature of little importance,” and the child fleeing the burning house, make up a codified message from William urging Harold to battle, and as the last woman in the main panel, she “performs her role by leaving the stage to men and horses.” Caviness discusses the women in the borders as objects of male aggression, an effort by the Norman designer to characterize Anglo-Saxons as sexual predators, which, ironically, in Scandinavian traditions at least, is a weakness. The third position Caviness takes, and the one that is the bulk of her essay, is that the Tapestry seeks to establish “binary masculinities” or a “third sex,” men that form “a third point of reference” that is neither a virile male nor an effeminate one. To support this, she takes up many intriguing issues, some new, some established: the Normans’ “especially well-hung” horses are often “penis extend- ers whose function [is] the construction of gender”; the Normans do not expose themselves in the Embroidery as the Anglo-Saxons do (i.e., the border nudes and the leggy English who expose themselves to wade out to ships). Caviness observes other penis symbols in the Tapestry and states that the “phallic signifiers of sword, spear, and arrow are enlisted in a discourse of collective aggression and conquest.” She notes that the border vignette of the falcon chasing a rabbit is “a French pun on chasing pussy, since coni (rabbit) invokes con (cunt).” The exclu- sion of women from the food preparation and feast scene creates a “men’s club atmosphere” of pre-battle male bonding. Caviness begins a hearty discussion on how the Tapestry’s depiction of Anglo-Saxons as long-haired and the Normans as the opposite is commentary on the islanders’ effeminacy and the Normans’ “natural moral and physical supremacy.” The “multiple resonances” that work together to emasculate Harold as a dandy, a fop, a nanny, the Virgin, and a sexual predator in the Tapestry are noted; even Harold’s falcon, fau(x)con is a “false cunt,” standing for deception and instability. She discusses how the gender of the horse that one rides underscores one’s sexual gender identity. The “third sex” in the Tapestry, states the author, is comprised of the indecent, weak, long-haired, effeminate, possibly homoerotic and morally inferior men who displace and drive out from the Tapestry any “real women” or female attractiveness. The use of 118 The Bibliography

Latin for the Tapestry’s inscriptions is discussed and Caviness remarks on gender in language choice. The effects of masculinization of the post-Conquest English Church is discussed as is the re-masculinization of Anglo-Saxon society as a way to cope with the stigma of defeat. Caviness examines cultural attitudes towards masculinity in Classical Antiquity, pre-Christian Scandinavia, and Crusading Spain. Caviness occasionally tells her readers straight out some personal reasons that her opinions are what they are.

386. ———. Art in the Medieval West and Its Audience. Burlington, VT: Ash- gate, 2001. Notes: Part of the Variorum Collected Studies Series, CS718. Caviness brings together fourteen of her essays spanning 25 years on a great diversity of topics in Medieval art: “Medieval views of ‘art’ vs. modern analysis,” “designers, patrons, and ideologies,” and “modern and post-modern views of Medieval art.” The works that discuss the Bayeux Tapestry, annotated separately, are “‘The Simple Perception of Matter’ and the Representation of Narrative, ca. 1180–1280,” and “Obscenity and Alterity: Images that Shock and Offend Us/ Them, Now/Then.” The pagination of the articles as originally published is preserved, however, the pages indicated in the index do not align with the pagination in the text.

387. ———. “‘The Simple Perception of Matter’ and the Representation of Narrative, Ca. 1180–1280.” Gesta 30, no. 1 (1991): 48–64. Notes: Published by the International Center of Medieval Art. Caviness explores the “shift in attitude to visual perception and to optical truth” from Romanesque architecture to proto-Gothic and Gothic architecture and how this shift may or may not be as clear in other media, and presents these variances by comparing many examples of representational works. The Bayeux Tapestry is evaluated against a 1244 battle-scene drawing by Matthew Paris from Chronica Majora. The author points to the similarities in the two works: schematic use of color, use of imagined infinite space, loci as reference points, and the depictions of serial confrontations. In contrast with the Tapestry, Paris’ drawings are illustrations that accompany text, he seldom uses borders, and the scale and purpose of each document are entirely different. Caviness discusses the expressive qualities of ink, being much more impressionistic and effective in conveying action, versus embroidery, which does not allow for nuanced color gradation or much variation in thickness of line, making even the tumbling horses in the Tapestry appear “frozen and decorative by comparison.” Includes four pages of thorough notes.

388. ———. Visualizing Women in the Middle Ages: Sight, Spectacle, and Scopic Economy. Philadelphia: University of Pennsylvania Press, 2001. Notes: Part of the Middle Ages series. The Bibliography 119

389. Cetto, Anna Maria. The Bayeux Tapestry. Berne, Switzerland: Hallwag, 1970. Notes: Part of the Orbus Pictus Series, no. 27. English translation by Britta M. Charleston. This pocket-sized guide to the Bayeux Tapestry provides a physical description of the work, discusses its manufacture, patronage, narrative technique, plus a quick line-item inventory of an object count, performed by Simone Bertrand in 1966. Thirteen scenes from the Tapestry are presented in full-color photographs, and are accompanied by the author’s commentary, as well as typeset Latin inscriptions with the Tapestry’s punctuation marks, word-dividers, and other symbols. Most interesting in this book is the author’s analysis of why Edward the Confessor’s deathbed and funeral scenes are reversed: she believes that the Tap- estry shows “the Abbey Church of Westminster . . . represented within Bayeux Cathedral with the chancel toward the east, like the Cathedral itself, so that the royal funeral procession should move from the palace where the King had died to the Abbey in the same direction as is determined by the liturgy for pilgrims and funeral processions inside the Cathedral of Bayeux.”

390. Chadwick, Whitney. Women, Art, and Society. New York: Thames and Hudson, 1994. Notes: Paperback. Part of the World of Art series. Originally published in 1990. Dating the Bayeux Tapestry “around 1086,” Chadwick offers three pages of narrative on the work. She comments that the “frieze-like figures are stiff and simplified, but there is drama and energy in the story” and that the emphasis is on “battles, bloodshed and feasting.” Additionally, she notes that “A wealth of naturalistic detail in the picturing of carts, boats, costumes, armor, and everyday life infuses the work with a convincing energy and has made the tapestry a rich source of information about the military aspects of medieval life.” Pointing out that the Tapestry is the only surviving example of Romanesque political embroidery of the eleventh century, Chadwick discusses the obscure origins of the work and how the history of its production “has been distorted by modern assumptions that medieval embroidery was an exclusively female occupation.” She goes on to write about the legend of Queen Matilda being the Tapestry’s main embroiderer and the lack of evidence to support it as well as the likely reasons for the legend’s birth. Here she references Rozsika Parker’s assertion that “the legend of Queen Mathilda’s labor became the cornerstone of attempts by writers to confer aristocratic status on the art of needlework practiced by thousands of middle-class women. Recasting embroidery as an aristocratic pursuit, they presented Mathilda as a source of inspiration for women isolated in the home by nineteenth-century ideologies of bourgeois femininity.” However, Chadwick does explain that Parker is alone in suggesting that the Bayeux Tapestry was made in a professional embroidery workshop by both male and female embroiderers. She notes that most 120 The Bibliography historians believe it was made at an “estate or nunnery, possibly in Canterbury or Winchester where embroiderers had long enjoyed royal patronage.” She also clarifies that contemporary documents and sources do not mention any male needleworkers. Continuing her discussion of the Tapestry, Chadwick discusses the narrative structure of the Tapestry and its close relationship to the chansons de geste. Touching briefly on gender issues with the work, she writes: “Its actors are military heroes, its subtexts concern loyalty, bravery, treachery, and male bonding through oath-taking and military action. Its organization into registers of words and images affirms a consolidation of power, but it is worth noting that the work’s structure and language displace women from power. Among the scores of male figures, there are only three women in the central register. One appears as a mourner in the scene of King Edward on his deathbed, another holds a boy by the hand as they flee from a burning house. The third figure represents the only break in the work’s narrative. Although the scene of Ælfgyva and the cleric must have been familiar to eleventh-century audiences, its meaning has been lost in the course of centuries of rewriting history, so that it details only the exploits of men. The incident depicted was probably scandalous—the presence of a nude male priapic figure in the margin below may indicate a sexual content—but our ability to identify it today and the general lack of female figures situate women outside the medieval discourse of political power under feudalism.” Includes a black-and-white image of the Ælfgyva scene, a lengthy bibliography arranged by subject, and an index.

391. Chalumeau, Pierre. “Une Tapisserie-De-Bayeux Saharienne.” Bulletin De Liaison Saharienne 7, no. 23 (1956): 95–95.

392. Chambers, B. M. “Symbolism in the Bayeux Tapestry.” Sussex County Magazine 6 (1932): 26–27, 113–15, 171–73.

393. Chambers, James. The Norman Kings. London: Weidenfeld and Nicol- son, 1981. Notes: Introduction by Antonia Fraser. Black-and-white photos of battle scenes from the Tapestry are featured in Chambers’ section on the Conquest. Captions attribute its commissioning to Bishop Odo and note that it “was used to decorate the nave of the Bayeux cathedral” and “was probably made in England.” Another caption discusses Nor- man knights throwing lances like javelins, “a technique they acquired from their Breton neighbours.” The book is heavily illustrated and includes an excellent genealogical tree, select bibliography, and index.

394. Champeaux, Alfred de. Tapestry. London: Chapman and Hall for the Committee of Council on Education, 1878. Notes: Translated from the French by Mrs. R. F. Sketchley. Part of the South Kensington Museum Art Handbooks series. The Bibliography 121

Alfred de Champeaux, of the Bureau des Beaux Arts (Luxembourg), notes in his chapter on the history of tapestry that several documents dating back to the tenth and eleventh centuries discuss carpets and hangings woven for the decoration of churches and palaces. He explains, however, that with no known “positive knowledge of the mode of manufacture at that time . . . it is probable that these hangings were rather embroidered stuffs like that preserved in the mairie at Bay- eux, which records events in the conquest of England by the Normans in 1066, than actual tapestries made in a loom.” He also notes that this kind of fabric was known in the Middle Ages as “Sarrazinois” carpets and later discusses Sarrazi- nois tapestries. A brief description of the Bayeux Tapestry is included in a list of notable textiles. Includes index.

395. Champion, Louis Gustave Michel. Les Chevaux Et Les Cavaliers De La Tapisserie De Bayeux. Caen: Louis Jouan, 1907.

396. Chartrand, R., K. Durham, M. Harrison, and I. Heath. The Vikings: Voyagers of Discovery and Plunder. Oxford, U.K.: Osprey, 2006. Notes: Paperback. Foreword by Magnus Magnusson. This colorful and heavily illustrated book examines Viking history and culture and pays particular attention to the Viking longship. Lively artist’s depictions of Vikings in battle and maritime activity appear to be rendered faithful to research. Images of the Bayeux Tapestry support the following discussion points: preparation of food, Harold as an eminent jarl, and the Anglo-Saxon shield wall. The authors also indicate that the “colors used [to embroider] the Bayeux Tapestry are a good guide to [those] available in the Viking Period” for clothing manufacture. Tapestry images highlight the book’s emphasis on longships: a description of Harold’s ship which landed at Ponthieu, ship-building tools, and naval horse transport. Includes a chronology from 350 B.C. to 1085, a short bibliography, and an appendix of museums where one can view Viking artifacts, but fails to mention Centre de Guillaume le Conquérant, where the Tapestry is shown. Includes an index, glossary, bibliography, and an appendix listing British and Scandina- vian museums with narrative regarding strengths in Viking collections.

397. Chatterton, E. Keble. Sailing Ships and Their Story. Philadelphia: J.B. Lippincott, 1923. Notes: New edition, with an additional chapter (Chapter 10). Originally published in 1909 and reprinted in 1914. Chatterton’s first reference to the Tapestry suggests it was, impossibly, produced 130 years prior to Richard’s fleet voyaging to Palestine in 1190. Here he is referring to the embroidery’s depiction of Viking ships, noting that they were still used in Richard’s time. Later, he discusses the Tapestry’s creation, writing, “Happily, details of William’s ships are preserved to us by the Bayeux tapestry, which is supposed to have been worked by his consort, Queen Matilda. From certain variations between this interesting, painstaking work and contemporary 122 The Bibliography records we know that it is not absolutely correct. Nor, indeed, should we have expected otherwise from the work of imaginative ladies unlearned in maritime matters. But having made due allowance for that, the Bayeux tapestry taken in conjunction with the other evidence is most valuable. The photographs which are here reproduced have been taken from the copy of this tapestry in the South Kensington Museum.” There are six of these black-and-white images in the book. Includes a glossary, bibliography, index, and numerous other illustrations.

398. ———. Ships and Ways of Other Days. London: Sidgwick and Jackson, 1913. Chatterton uses the Bayeux Tapestry to support his descriptions of ship construction and seamanship. He writes that the embroidery distinctly shows the following: “As a protection for the oarsmen a line of shields—doubtless those which they actually wore in battle—ran around the gunwale overlapping each other. A small jolly-boat was sometimes towed astern for landing from the bigger type of craft, while for greater convenience a look-out man was sent to the top of the mast.”

399. Chefneux, Hélène. “Les Fables Dans La Tapisserie De Bayeux.” Roma- nia. Revue Trimestrielle Consacre a L’Etude Des Langues Et Des Littératures Romanes LX (1934): 1–35, 153–94. Notes: Two articles.

400. Chenciner, Robert. “The Bayeux Tapestry Shish-Kebab Mystery.” Pro- ceedings of the Oxford Symposium on Food & Cookery, 1990: Feasting and Fasting (1990): 58–64. Despite its enticing title, this article is less about the Bayeux Tapestry’s skewered barbecued meats, and more about the limitations of embroidery and the poor style of some depictions in the Tapestry, as well as an overview of the history of the work. On shish-kebabs, Chenciner’s research indicates that there is no archaeological or documentary evidence of barbecue contraptions or spitted meats in eleventh-century England and that kebabs were likely introduced to France around 1722. He does not attempt to get to the bottom of this apparent anachronism in the Tapestry. A quick history of kebabs and of the word itself is provided. Chenciner goes on to describe the Tapestry, discuss the style drawings, the lack of a surviving cartoon on the linen, and the Tapestry’s encounters with Lancelot, Montfaucon, Benoît, Ducarel, Napoleon Bonaparte, Stothard, and occupying Germans in the 1940s. He estimates how long it may have taken to create the Tapestry once embroidery began: 75 person-days, or ten calendar days at ten hours per day; he backs this up with hypothetical data. Chenciner advocates for carbon-14 testing of the Tapestry as well as dye analyses and lists what knowledge could be thereby obtained. The Bibliography 123

401. Cheung, Frederick Hok-ming. “Conquest, Legitimation, and Consoli- dation in Norman England.” The Legitimation of New Orders: Case Studies in World History. Philip Yuen-sang Leung, 179–95. Hong Kong: Chinese University Press, 2007. Cheung includes a subsection titled “Primary Sources: William of Jumièges, William of Poitiers, and the Bayeux Tapestry.” Here, he provides basic details about the Tapestry and writes that “It was made for public display before those who had taken part in, or lived through, the Norman Conquest. Most historians believe that it was an attempt to describe the Norman Conquest of England by means of a series of pictures (within a generation after the battle of Hastings, 1066), and that it can be claimed as a formidable contemporary authority. Ac- cording to the editors of the English Historical Documents, it may be accepted that the main body of the Bayeux Tapestry constitutes a primary source for the history of England in that age, and one which deserves to be studied alongside the accounts given in William of Poitiers.” He also states that the Tapestry confirms the accounts of both William of Poitiers and William of Jumièges. Additionally, he suggests that “the purpose of the Norman legend was to explain, justify, and legitimize” the Conquest. Includes extensive notes, a simple genealogical chart, and a bibliography. In a footnote, Cheung thanks Professor Stephen Morillo of Wabash College for his assistance with the article.

402. Chevalier, D. “La Tapisserie De Bayeux.” Arts De France 3 (1946): 73–84.

403. Chevallier, C. T. “Introduction: With Notes on Harold, and the Bay- eux Tapestry.” The Norman Conquest: Its Setting and Impact. eds Dorothy Whitelock, David C. Douglas, Charles H. Lemmon, and Frank Barlow, 1–12. New York: Charles Scribner’s Sons, 1966. Notes: “A Book Commemorating the Ninth Centenary of the Battle of Hast- ings, Compiled by The Battle and District Historical Society.” Chevallier settles disputes about the Tapestry’s patronage and provenance; he argues that Harold and the English are depicted throughout the Tapestry “with sympathy and respect.”

404. Cheyney, Edward P. A Short History of England. Boston: The Ath- enaeum Press/Ginn and Company, 1932. Notes: New edition. Originally published in 1904. Cheyney, professor of European history at the University of Pennsylvania, includes four images from the Tapestry in his section on the Conquest. A footnote provides basic information about the embroidery, referring to it as a band of coarse linen. The 790-page history includes a detailed index. 124 The Bibliography

405. Chibnall, Marjorie. Anglo-Norman England 1066–1166. New York: Basil Blackwell, 1987. Notes: Also published in Oxford in 1986. Chibnall, a Fellow of Clare Hall, Cambridge, presents her major contribution to Medieval studies. She covers Anglo-Norman England in the areas of the Con- quest, settlement, wealth, government, law, and society. In a discussion of medieval sources, including William of Jumièges, William of Poitiers, Eadmer, and Guy of Amiens, the Bayeux Tapestry is mentioned for telling its story “broadly in line” with the written documents; she points out that Nicholas Brooks cautions us about the Tapestry’s propensity for images with double meanings. Includes index, bibliography, and two genealogical charts: claimants to the English throne, 1066–1100 (which does not include the Godwins), and a simplified tree of the ancestors of Henry II as far back as William the Conqueror.

406. ———. The Debate on the Norman Conquest. Manchester: Manchester University Press, 1999. Notes: Part of the Issues in Historiography series, R.C. Richardson, general editor. Richardson provides the foreword. Chibnall makes two notable mentions of the Bayeux Tapestry. The first is in her introduction where she discusses its history, writing of its display in the cathedral of Bayeux for the feast day of the relics and of the interest in the Tapestry beginning in England with the work of Andrew Ducarel, “who saw it in 1754 and did much to stimulate interest in Norman buildings and ways of life for English readers.” She notes that “Since that time work on the Tapestry and its interpretations has proliferated.” Second is her brief discussion of Napoleon’s connection with the embroidery: “Napoleon had linked the Norman Conquest to the triumph of national feeling in a different way. In 1803, when he was planning to invade England, he had the Bayeux Tapestry sent to Paris for an Exhibition, and examined it closely. When the planned invasion was abandoned, he returned the Tapestry to Bayeux, instructing the citizens to ‘bring renewed zeal to the task of preserving this fragile relic, which records one of the most memorable deed of the French nation, and likewise serves as a memorial to the enterprise and courage of our forefathers.’” Includes a list of 12 titles for further reading and an index.

407. ———. The Normans. Malden, MA: Blackwell Publishing, 2002. Notes: Paperback. Part of The Peoples of Europe series, James Campbell and Barry Cunliffe, general editors. First published in 2000.

408. ———. “Orderic Vitalis and the Bayeux Tapestry.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 127–33. Caen, France: Presses Universitaires de Caen, 2004. Chibnall’s analysis of historical sources focuses on the writings of Orderic Vi- talis, and how his accounts of the events leading up to the Norman Conquest and The Bibliography 125 the Battle of Hastings compare to the narrative of Bayeux Tapestry. Primarily, the events discussed are Harold’s oath, Duke William’s invasion preparations, and the death of Harold. Orderic’s known and possible sources are considered: William of Poitiers’ Gesta Guillelmi, William of Jumièges’ Gesta Normannorum ducum, Guy of Amiens’ Carmen de Hastingæ Proelio. Chibnall states that Ord- eric probably never saw the Bayeux Tapestry, and even if he did, he would not likely have valued it as a valid source of information. The Norman fleet’s delay due solely to unfavorable winds, a view of William of Poitiers and spread by Or- deric, is called into question and discussed at considerable length. The Tapestry is silent on the issue of William waiting for a favorable wind; rather, it focuses on the Duke’s invasion preparations. Orderic’s possible influences from eyewitness accounts and visual arts are discussed. Chibnall is a Fellow of Clare Hall at the University of Cambridge.

409. ———. The World of Orderic Vitalis. Oxford, U.K.: Clarendon Press, 1984. A note in Chibnall’s section “The Historian and His World” discusses William of Poitiers’ comments on Edward the Confessor’s designation of William as his heir as well as how the Bayeux Tapestry “gives some support” to Harold’s claim to the throne. Frank Stenton’s The Bayeux Tapestry is her source. Includes an index and a “bibliography of abbreviated titles” including works that are cited more than once in the book.

410. Chickering, Howell, and Thomas H. Seiler, eds. The Study of Chivalry: Resources and Approaches. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 1988. Notes: Published for The Consortium for the Teaching of the Middle Ages, Inc. In addition to Howell Chickering’s introduction, this volume contains five articles with significant content relating to the Bayeux Tapestry, all annotated separately: “Caballus et Caballarius in Medieval Warfare” by Bernard S. Bachrach; “The Technology of Chivalry in Reality and Romance” by Rosemary Ascherl; “Medieval Seals and the Structure of Chivalric Society” by Brigitte Bedos Rezak; “Early Medieval Images of the Horseman Re-Viewed” by Linda Seidel; and “Chevalier in Twelfth-Century French and Occitan Vernacular Literature” by Margaret Switten. Chickering’s introduction comments on Shirley Ann Brown’s comparison of the narrative forms and themes of the Tapestry with those of the Chanson de Roland. He writes that her comparison “of these two nearly contemporary documents allows the historian to see the forms of thought common to both, and thereby begin to construct a late eleventh-century Norman mentality.” He later suggests that Bachrach’s account of mounted warfare “can enhance the study of the Bayeux Tapestry from almost any disciplinary perspective.” The introduction itself offers 53 detailed notes. Under “Acknowledgments,” the following 126 The Bibliography

text is included: “Benjamin Chickering, who executed the freehand drawings after the Bayeux Tapestry used in Professor Bachrach’s article.” The relationship between Howell Chickering, the editor, and Benjamin Chickering, the illustrator, is not provided. There are three of these drawings in the article, one of which is also used as an embossed image on the book’s cover. Includes an index.

411. Chilvers, Ian. “Bayeux Tapestry.” The Oxford Dictionary of Art. ed Ian Chilvers. Oxford, U.K.: Oxford University Press, 2004. Notes: Third edition. Also part of Oxford Reference online.

412. Chiville, Janice A. “Treatment of Time and Space in the ‘Song of Ro- land’ and the Bayeux Tapestry.” Olifant 2, no. 1 (1974): 65–66.

413. Chmiel, Frank, and Larry Krieger. AP Art History. Piscataway, NJ: Research and Education Association, 2009. Notes: Second edition. TestWare edition. Originally published in 2007. This comprehensive review guide for the American high school Advanced Placement Art History exams has a half-page entry on the Bayeux Tapestry, reviewing its content, purpose, and stylistic consideration in the context of the Romanesque. The author states that the Tapestry shows “William [swearing] allegiance to Harold.” Contains two full AP practice exams, and an index. CD-ROM includes one small full-color photograph of the Tapestry.

414. Cholakian, Rouben Charles. Bayeux Tapestry and the Ethos of War. Delmar, NY: Caravan Books, 1998.

415. ———. “The Bayeux Tapestry and the Mathilde Connection.” Needle Arts (1994): 18–19.

416. ———. “The Bayeux Tapestry: Is There More to Say?” Annales De Nor- mandie 47, no. 1 (1997): 43–50.

417. ———. “Eating and Drinking in the Bayeux Tapestry.” Medieval Food and Drink: Acta 21 (1995): 98–125.

418. Chrisp, Peter. The Normans. New York: Thomson Learning, 1995. Notes: Part of the Look into the Past series. Originally published by Wayland Publishers, United Kingdom, in 1994. This 32-page hardcover book intended for younger audiences includes 24 images from the Bayeux Tapestry, many with lengthy captions discussing chain mail, helmets, kite-shaped shields, lances, and knives. The text also discusses the Tapestry’s depiction of dining utensils, crop planting, animals, religious figures, and archers. Both the cover and title page feature images from the embroidery. Includes glossary and index. The Bibliography 127

419. ———. Warfare. Farmington Hills, MI: Lucent Books, 2004. Notes: Part of the Medieval Realms series. Originally published by Hodder Wayland, an imprint of Hodder Children’s Books, London. Chrisp’s 48-page hardcover uses two excellent color photographs of Tapestry scenes in his sections titled “The Normans” and “1066: The Year of Three Bat- tles.” Captions note William the Conqueror’s fleet crossing the English Channel and the English shield wall fighting off attacks of the Norman cavalry. Includes a chronology of events, titles for further reading, index, and a glossary in which the Bayeux Tapestry is included.

420. Christie, Alexander. “The Bayeux Tapestry, and Its Uses and Value As a National Historical Chronicle.” Proceedings of the Society of Antiquaries of Scotland 1 (1851): 122–24. Notes: A report on Christie’s lecture given on December 15, 1852.

421. Christie, Mrs. Archibald H. Embroidery: A Collection of Articles on Subjects Connected With the Study of Fine Needlework, Including Stitches, Materials, Methods of Work, and Designing, and History, With Numerous Ill. and Coloured Pl. of Modern Work. London: Pearsall, 1909.

422. ———. English Medieval Embroidery: A Brief Survey of English Embroi- dery Dating From the Beginning of the Tenth Century Until the End of the Fourteenth; Together With a Descriptive Catalogue of the Surviving Examples . . . Oxford: Clarendon Press, 1938.

423. Church, Ella Rodman. Artistic Embroidery: Containing Practical In- structions in the Ornamental Branches of Needlework, With Nearly Two Hun- dred Illustrations and Explanatory Diagrams. New York: Adams and Bishop, 1880. With the opening line of her introduction emphasizing the “wide difference between artistic embroidery and mere fancy work,” Church eloquently and convincingly explains why this is true and “that everyone is not sufficiently gifted to do this.” She describes her 129-page book as a “little volume . . . intended to give practical information to beginners in artistic embroidery; showing the best and easiest methods of going about this branch of art, which is rarely made sufficiently plain to those who have had no previous knowledge of it.” Emphasizing how “good materials are indispensable to satisfactory results,” she writes that “true artistic work is that which not only pleases the eye, but bears the wear and tear of time. . . . Perishable work of this kind is not worth the doing; but when executed according to the rules of art, it should be as enduring as painting and as worthy of admiration and respect.” In Church’s first chapter, “Worsted Em- broidery,” she writes that the oldest specimen of this kind of work is the Bayeux Tapestry, “the work of the English Matilda and her attendants.” Church goes on to write: “A piece of embroidery over two hundred and twenty feet long, although 128 The Bibliography not much more than half a yard wide, is no trifling accomplishment; and in spite of the red, blue, green, and yellow horses, some of them with two legs of a different color from the rest of their bodies, one cannot but reverence this curious triumph of the needle that can claim eight centuries of birthdays. It is entirely worked with worsted in very little variety of coloring, as the Norman princess has few advantages of this sort, but she has represented to the best of her ability the invasion and conquest of England by Duke William and his followers. The battle of Hastings is ingeniously emphasized by a bordering composed of the bodies of the slain.” Later, though not referencing the Tapestry, she writes about the South Kensington stitch, crewel-work “brought to. . .a state of perfection” by Miss Linwood, and the crewel-stitch. Heavily illustrated with drawings, the book provides a table of contents at the end of the work along with advertisements for other titles from the publisher.

424. Churchill, Winston S. A History of the English-Speaking Peoples, Vol- ume I: The Birth of Britain. New York: Dodd, Mead, 1958. Notes: Fifth printing. Originally published in 1956. Following a recounting of the history surrounding Edward the Confessor’s reign and Harold’s claim to the throne, Churchill notes the story is told “with irresistible charm in the tapestry chronicle . . . commonly attributed to William’s wife, Queen Matilda, but actually designed by English artists under the guidance of . . . Odo, Bishop of Bayeux.” He notes it represents a Norman version of events and “was for generations proclaimed by historians as a full justification—and already even in those days aggressors needed justification—of William’s invasion of England.” He goes on to write about the oath. Includes detailed index.

425. Chute, Hillary L. “Decoding Comics.” MFS Modern Fiction Studies 52, no. 4 (2006): 1014–27.

426. Chutkow, Paul. “A Scent of a Scandal.” Connoisseur 210 (1982): 106–7.

427. ———. “Update: The Bayeux Tapestry Still Smells.” Connoisseur 213 (1983): 18.

428. Clabburn, Pamela. Masterpieces of Embroidery. Oxford, U.K.: Phaidon Press, 1981. Notes: Paperback. In her introduction, Clabburn uses the Bayeux Tapestry to make the point that with embroidery, as with other arts, particularly painting, “it is never possible to compare pieces of different times, places and usage, as they will have no relationship to one another.” The suggests the Tapestry “cannot be related to the Syon cope, made as a splendid vestment for a prelate two hundred years later.” Later, The Bibliography 129 in a discussion of the influence of trade and conquest on embroidery, she writes briefly about how conquest was both inspiration and theme of the Bayeux Tap- estry and the Overlord Embroidery. This heavily illustrated paperback includes two color photographs of Tapestry scenes with a caption that offers basic facts and comments on the stitches used. A color image of an Overlord Embroidery scene is also included with a caption noting its location at the time as Whitbread’s Brewery on Chiswell Street. The caption also provides basic facts about the embroidery and refers to its connection to the Bayeux Tapestry. There is no index.

429. Clanchy, M. T. England and Its Rulers: 1066–1272. Oxford, U.K.: Blackwell, 1998. Notes: Title page notes, “Second Edition with an Epilogue on Edward I (1272– 1307).” First edition published by Fontana Paperbacks in 1983. Clanchy, researcher at the Institute of Historical Research at University Col- lege, London, examines this period of English history in which the nation was ruled by wave after wave of foreign rulers and he analyzes how they have influenced the development of an English cultural identity. “The best monument to Norman military methods,” explains the author, is the Bayeux Tapestry. Apart from conveying a “general sense of horrible,” the Tapestry emphasizes the importance of eating well, daily practicalities which underscore Normans’ profes- sionalism in war, and that “Duke William, like the Duke of Wellington, knew that battles are won by attention to details of supply.” Because the Tapestry refers to the invaders as “Franci,” Clanchy discusses that, when in England, they were called “French” rather than “Normans,” but on the continent, Normans were distinguished from Angevins, Poitevins, Gascons, etc. Taking apart the finer points of the term “knight,” Clanchy states that knights did indeed exist in England prior to the Conquest, although not of the type shown in the Tapestry. He believes that the papal banner, an endorsement of William’s invasion of England by Alexan- der II, is depicted in the Tapestry. Includes notes, a list of further reading, very simplified genealogical charts, and an index.

430. ———. From Memory to Written Record: England 1066–1307. Oxford, U.K.: Blackwell, 1993. Notes: Second edition. First edition published by Edward Arnold, London, and by Harvard University Press, Cambridge, MA, in 1979. In a discussion of inscriptions and lettering in medieval times, Clanchy suggests that the Bayeux Tapestry’s summary captions in Latin “assumes an audience in which someone could read.” Clanchy, who at the publication of the second edition taught in the Department of History at University College London, notes that wax, parchment, and wood were the most common documentary materials in medieval England. Coins are also discussed following mention of the Tapestry. Includes the preface to the first edition and an index. 130 The Bibliography

431. Clapham, J. H. “The Horsing of the Danes.” The English Historical Review 25, no. 98 (1910): 287–93. Notes: Published by Oxford University Press.

432. Clarke, H. B. “The Vikings.” Medieval Warfare: A History. ed Maurice Keen, 36–58. Oxford, U.K.: Oxford University Press, 1999. Clarke presents a brief survey of Viking warfare tactics and equipment. The Bayeux Tapestry is mentioned briefly in a discussion of “great armies,” the most spectacular army of the era being the one led by a “mere duke,” William the Conqueror, and his several counts, as depicted in the Tapestry. He also makes a brief remark about the Norman warriors in the Tapestry holding their spears like javelins as well as couched under the arm, the latter technique not a practice of the Normans’ Danish ancestors. Includes a list of further reading.

433. Clarke, Helen. The Archaeology of Medieval England. London: British Museum Publications, 1984. Notes: A Colonnade book. Clarke presents an overview of Medieval England “from archaeological, that is mainly excavated, evidence, not from the historical sources.” The Bayeux Tapestry is cited as evidence for what timber castles may have looked like, and that this point is emphasized in the case of the Dinan, whose castle is shown in danger of going up in flames. She calls up Brian K. Davison’s observation that modern scholars too often assume that eleventh-century English castles were of the motte-and-bailey type. The Tapestry is cited as evidence for the types of tools used in medieval carpentry. In her introduction, she thanks David Wilson for his comments and criticisms of her manuscript of this work. Includes extensive notes, a bibliography, and an index.

434. Clayton, Hugh, and National Portrait Gallery (Great Britain). Royal Faces: 900 Years of British Monarchy. New York: Thames and Hudson, 1982.

435. Clements, Gillian. Medieval Castle. Mankato, MN: Sea-to-Sea Publica- tions, 2009. Notes: Part of the Building History series. Published by arrangement with the Watts Publishing Group, London. Alternate title: Building History: Medieval Castle. Christopher Gravett, former senior curator, Royal Armouries, Tower of London, served as a consultant for the book. The illustrated timeline includes a stylized image of a ship from the Bayeux Tapestry beside the entry for 1066. Also includes glossary and index.

436. Clements, John. Medieval Swordsmanship: Illustrated Methods and Techniques. Boulder, CO: Paladin Press, 1998. Notes: In his chapter titled “Medieval Fighting Manuals,” Clements references the Bayeux Tapestry’s depiction of axes, spears, swords, round and kite-shaped The Bibliography 131 shields, lances, clubs, bows, and mail armor. He comments briefly on the combat methods and suggests the embroidery is “among the best sources . . . on the early use of sword and shield and for early Medieval armor and weapons.” The book is illustrated with drawings. There is no index.

437. Clemoes, Peter, ed. The Anglo-Saxons. London: 1959.

438. Clemoes, Peter, Simon Keynes, and Michael Lapidge. Anglo-Saxon England. Cambridge, U.K.: Cambridge University Press, 2007. Notes: Paperback. Volume 13.

439. Clermont-Ferrand, Meredith. Anglo-Saxon Propaganda in the Bayeux Tapestry. Lewiston, NY: Edwin Mellen Press, 2004. Notes: Part of Studies in French Civilisation, vol. 33. Translated from the Ger- man by David Britt. Cover title: The Bayeux Tapestry. The text itself, beginning on page 23, carries the title, The Bayeux Tapestry: An Eleventh Century Pictorial Spectacle. The publisher’s foreword is titled “The Bayeux Tapestry: A Revolu- tionary New Interpretation.”

440. Clifford, Susan, and Angela King. England in Particular: A Celebration of the Commonplace, the Local, the Vernacular, and the Distinctive. London: Hodder and Stoughton, 2006. Notes: Written “with Gail Vines, Darren Giddings and Kate O’Farrell for Common Ground.”

441. Clifton-Taylor, Alec. The Cathedrals of England. New York: Association Press, 1970. Notes: Originally published by Thames and Hudson, London, in 1967. Art historian Clifton-Taylor wrote this survey of English cathedral architecture “from the standpoint of the materials used.” In his chapter on Norman architecture, the author describes the Bayeux Tapestry’s depiction of Westminster Abbey.

442. Clinch, George. English Costume From Prehistoric Times to the End of the Eighteenth Century. Chicago: A.C. McClurg, 1910. Notes: Published by Methuen & Co. in London.

443. Clowes, G. S. Laird. “Ships of Early Explorers.” The Geographical Journal 69, no. 3 (1927): 216–30. Notes: Published on behalf of The Royal Geographical Society (with the In- stitute of British Geographers). This was read at the “Afternoon Meeting of the Society, 17 January 1927.” Referencing the Bayeux Tapestry in his comments on Viking ships, Clowes writes: “After the lives of the Norsemen became more settled, there is little 132 The Bibliography

indication of any improvement in naval architecture; in fact, what change there was seems to have been in the direction of broader and clumsier vessels. The ships depicted on the Bayeux tapestry differ little, save in diminished length, from those of the Vikings, and during the twelfth and thirteenth centuries, except in the Mediterranean, oars were largely discarded and a type of short broad cargo vessels became general on the Atlantic seaboard.” Numerous illustrations are featured throughout the article, though none are of the Tapestry.

444. Clutton-Brock, Juliet. Horse Power: A History of the Horse and the Don- key in Human Societies. Cambridge, MA: Harvard University Press, 1992. Within a chapter on equids in the Middle Ages, a two-page section on the Battle of Hastings and the Bayeux Tapestry discusses the 202 horses and mules depicted in the embroidery and estimates that 10 horses could be carried in each ship. Brock-Clutton suggests that “there must have been 350 ships for the horses alone.” She also comments on the train of servants and baggage that must have been carried by mules and pack-horses. Color photographs of the shield wall scene and ships crossing the English Channel, both by Michael Holland, are included. The author is a senior scientist at The Natural History Museum in London.

445. Coad, Jonathan. Battle Abbey and Battlefield. London: English Heritage, 2007. Notes: Edited by Jennifer Nelson and designed by Pauline Hull. Part of the series English Heritage Guidebooks. In this visitors’ guide to the battlefield of Hastings and the buildings constructed there in the centuries that followed, several images of the Bayeux Tap- estry are used to illustrate historical events and the topography of the site.

446. Coatsworth, Elizabeth. “Stitches in Time: Establishing a History of Anglo-Saxon Embroidery.” Medieval Clothing and Textiles 1 (2005).

447. Coatsworth, Elizabeth, and Gale R. Owen-Crocker. Medieval Textiles of the British Isles AD 450–1100: Annotated Bibliography. London: British Archaeological Reports, 2007. Notes: BAR British Series 445. This bibliography is partly the result of the Manchester Medieval Textiles Project which began in 1994 as a collaboration between Elizabeth Coatsworth of Manchester Metropolitan University and Gale Owen-Crocker of the University of Manchester.

448. Cohat, Yves. The Vikings: Lords of the Seas. New York: Harry N. Abrams, 1992. Notes: Translated from the French by Ruth Daniel. Part of the Discoveries series. The Bibliography 133

This illustrated pocket-sized guide to Viking history, geography, and culture succinctly discusses the Bayeux Tapestry in the captions of its 11-page spread of full-color photographs of the Tapestry.

449. Cohen, Jeffrey J. Medieval Identity Machines. Minneapolis: University of Minnesota Press, 2003. Notes: Part of the Medieval Cultures series, volume 35, Rita Copeland, Bar- bara A. Hanawalt, and David Wallace, series editors. Sponsored by the Center for Medieval Studies at the University of Minnesota. Cohen comments twice on equine sexuality in the Bayeux Tapestry. Both references are in his chapter titled “Chevalerie.” The first mentions the horses’ anatomy: “These noble households ordinarily possessed numerous types of horses: hunters, chargers, palfreys, and a variety of workhorses. None of these animals, however, gained the numinous aura of the aristocratic warhorse (des- trier, magnus equus, grant chival), the knight’s beloved companion and the sine qua non of chivalric identity. By the eleventh century, clerics and women rode mares, but—as the anatomically correct equines of the Bayeux tapestry make amply evident—knights rode ungelded stallions, creatures that conjoined in their own chivalric bodies blows of violence (kicking, rearing, hurling, biting) to a responsive docility.” Cohen’s second mention references Joyce E. Salisbury’s The Beast Within: Animals in the Middle Ages: “When in the Bayeux Tapestry William is depicted leading his favorite stallion, the horse bows his head toward his master respectfully and sports an enormous erection, leading Joyce Salisbury to remark that the line separating horse from man in this representation that conflates sexuality and power is ‘very thin indeed.’” Includes extensive notes, a 37-page bibliography, and an index.

450. Cokayne, George Edward. The Complete Peerage of England, Scotland, Ireland, Great Britain and the United Kingdom: Extant, Extinct, or Dormant, Volume 12, Part 2. St. Catherine Press, 1959. Notes: Edited by Vicary Gibbs, Baron Thomas, Evelyn Scott-Ellis, and How- ard de Walden. Appendix K: Problems with the Bayeux Tapestry.

451. Colby, Fred Myron. “Bayeux and Its Marvels.” National Repository 6 (1879): 33–38. Colby, upon an apparently leisurely visit to Bayeux, describes the town with great fondness, “the fascinating old city” with its “lithe-limbed” Norman maidens and old women carrying baskets of eggs, butter, and cheese to market. After taking delight in the Bayeux cathedral for several sentences, the author dedicated the second half of his article to “something else more wonderful and still more attractive for visitors . . . a simple piece of brown linen stitched and embroidered by a woman’s hand . . .” the Bayeux Tapestry which Matilda and her ladies bent over with their needles. He then provides a physical description of the Tapestry, lauds 134 The Bibliography

its artistry and attention to details, and comments on the Queen’s limited stock of just five yard colors. As an excellent source for information on material culture of the days of the Conquest, the author notes that the Tapestry is “one of the most valuable authority” on period clothing, and that “the Tapestry shows . . . the lack of iron in those days, for the spades and plows are only tipped with that metal.”

452. Cole, Thomas Holwell. The Antiquities of Hastings and the Battlefield, With Maps, and a Plan of the Battle. Hastings, U.K.: Hastings and St. Leon- ards Philosophical Society, 1884. Notes: “New Edition, Enlarged and Revised.”

453. Collard, Judith. “The Bayeux Tapestry: Embroidering the Facts of His- tory.” Parergon (?) 22, no. 2 (2005): 198–200.

454. Collins, Marie. Caxton, The Description of Britain: A Modern Rendering by Marie Collins. New York: Weidenfeld & Nicolson, 1988. Notes: First American edition. First published in Great Britain by Sidgwick & Jackson Limited in 1988. “Based on [William] Caxton’s version of a 14th century Middle English translation of the Latin Polychronicon of Ranulf Higden, which was printed in 1498 by Wynkyn de Worde under title: The description of England.” This title features a two-page colorplate of the Tapestry’s depiction of the Nor- man attack on the English army, noting in the caption that the Normans are on horseback. It is part of a section titled “The Number and Kinds of People Who Have Inhabited England.”

455. Conant, Kenneth John. Carolingian and Romanesque Architecture, 800 to 1200. Harmondsworth, U.K.: Penguin Books, 1966. Notes: Second edition. First published in 1959. Part of The Pelican History of Art series (Z13), edited by Nikolaus Pevsner. In a subsection titled “England: The Saxo-Norman Overlap” in Chapter 24 “Northern France and Norman England,” Conant writes about Edward the Confessor’s Westminster Abbey and its depiction on the Tapestry, noting that “Excavations show that it was like a typical Norman abbey, grander than anything then existent in England; they show that the conventual buildings were laid out on a Cluniac plan, and that the spirited representation on the Bayeaux [sic] tapestry conveys, in diagrammatic form, a good idea of the church.” In- cludes numerous architectural plans, black-and-white photographs, extensive notes, and an index.

456. Connor, Patrick W., ed. The Abingdon Chronicle, A.D. 956–1066, Vol. 10. Cambridge: 1996. The Bibliography 135

457. Contamine, Philippe. War in the Middle Ages. Oxford, U.K.: Basil Blackwell, 1984. Notes: Translated from the French by Michael Jones. First published as La Guerre au moyen âge by Presses Universitaires de France, Paris, in 1980. Calling the Bayeux Tapestry “the oldest iconographical record of the ‘new cavalry drill’” in a section titled “The Problem of the Stirrup,” Contamine notes that it also shows “other knights brandishing lances, arms stretched with no difficulty, as if it was a very light weapon (a little like the lances of the Lancers and Uhlans prior to 1914).” He goes on to say that “the pictorial record could be lag- ging a long way behind reality, but literary texts such as the Song of Roland are not more advanced in describing the new tactics.” In the following section titled “Mail Shirt, Hauberk and Haubergeon,” he includes the following narrative from Sir James Mann discussing military equipment at the time of the Tapestry: “We may therefore assume that all the dozens of mail shirts shown worn by horsemen and footmen in the Bayeux Tapestry are composed of unpolished, riveted rings forming a flexible armour, easy to wear in action, good for stopping a cut or thrust, but heavy and not effective against contusion without the supplement of a padded undergarment. When mail was pierced, links might be driven into a wound, which might easily become septic. It was those drawbacks which caused mail to be replaced by plate armour some hundred and fifty years after the date of the Tapestry.” Contamine dates the Tapestry c.1080. Includes a black-and- white photograph of the English shield-wall scene. Also includes an index and a bibliography with 1,018 entries arranged by subject. Contamine is a professor of history at the University of Paris at Nanterre. The translator, Michael Jones, is a senior lecturer in history at the University of Nottingham.

458. Cook, Walter W. S. “The Earliest Painted Panels of Catalonia.” The Art Bulletin 5 (1923): 95. Notes: Published by the College Art Association.

459. Cooke, Sir Robert. The Palace of Westminster, Houses of Parliament. London: Burton Skira, 1987. Cooke references the Tapestry in his introductory chapter “A Royal Resi- dence,” describing how King Edward’s devotion to St. Peter is conveyed in the embroidery. Two color plates are included: King Edward on his throne in the Palace of Westminster and the funeral procession carrying the body of King Ed- ward to Westminster Abbey.

460. Coomaraswamy, Ananda. “Miniatures From Turkish and Persian Books of Fables.” Bulletin of the Museum of Fine Arts 26, no. 157 (1928): 89–91. Notes: Published by the Museum of Fine Arts, Boston. 136 The Bibliography

Coomaraswamy comments that illustrations of fables in miniatures from the Goloubew Collection have similar themes to those on the Bayeux Tapestry. Im- ages from the miniatures are included in the article.

461. Copplestone, Trewin, ed. Art in Society: A Guide to the Visual Arts. Englewood Cliffs, NJ: Prentice-Hall, 1983. The Tapestry is referenced in the text as “a delight in narrative recitation” that was “part of the heritage of the Viking saga.” A black-and-white image of the scene showing William’s men building a fortress is included and features a lengthy caption. The caption provides basic details, including comments on patronage, provenance, inscriptions, stitch types, and numbers of humans, animal forms, ships, and buildings in the embroidery. It is dated as “c. 1067–70.” The caption also notes that “it is thought that two scenes, or perhaps one entire section, are missing from the end.” The book is heavily illustrated and includes an excellent glossary of art and architectural terms along with an index. Copplestone wrote and presented the seven programs titled “Art for All” on British television.

462. Corbishley, Mike. The Middle Ages. New York: Facts on File, 1990. Notes: Part of the Cultural Atlas for Young People series. The author gives the Bayeux Tapestry significant treatment in a two-page spread that includes seven color images, a color drawing of what the workshop where it was made might have looked like, and narrative about the story of Harold and William, the Battle of Hastings, and the Tapestry as a historical document. Captions speak about weaponry and armor, castles, and the Viking- style ships. A brief paragraph discusses the rediscovery of the embroidery in the eighteenth-century and its many moves during World War II. A color image of a ship from the Tapestry is included in a later section on travel in the middle ages. Includes several maps, glossary, reading list, gazetteer, and index.

463. Cordonnier, P. “La Tapisserie De Bayeux Et Le Chateau De Sourches.” Revue Historique Et Archeologique Du Maine 122 (1966): 194–95.

464. Cormack, Patrick. Castles of Britain. New York: Crescent Books, 1982.

465. Corney, Bolton. Researches and Conjectures on the Bayeux Tapestry. London: 1838. Notes: Second edition.

466. Cottle, Basil. All the Cathedrals of France. London: Unicorn Press, 2002. Notes: Paperback. Edited by Nicholas Lee. Cottle, a former lecturer in the English department at the University of Bristol, presents a handsome volume of authoritative (and highly opinionated) The Bibliography 137 descriptions of France’s 184 cathedrals, listed alphabetically, with full-color photographs throughout. He describes the Bayeux Cathedral as “an impressive building,” but quickly goes on to note that its Gothic spires are “not co-ordinated and not wholly satisfactory,” the central tower in the English manner is of “un- happy design,” and the nave “is too cramped for . . . the flying buttresses.” On the Bayeux Tapestry, he writes that it “has been twitched away from the delicate needles of Queen Matilda and her maidens, and is confidently ascribed to an Anglo-Saxon workshop.” He also notes that the Tapestry should be considered a part of the Cathedral’s furnishings because it was intended to adorn its walls.

467. Coulson, Charles. “The Castles of the Anarchy.” Anglo-Norman Castles. ed Robert Liddiard, 179–202. Woodbridge, U.K. : Boydell Press, 2003. In this article on castles during the reign and wars of King Stephen, Coulson discusses the vulnerability of timber fortifications like those shown at Dol, Rennes, Bayeux, Dinan, and Hastings in the Bayeux Tapestry.

468. Counihan, Gillian, ed. The Keiskamma Art Project. Cape Town, South Africa: Hetherington Media, 2005. Notes: A publication of the Keiskamma Art Project, Eastern Cape, South Af- rica. A 40-page paperback on the Keiskamma Trust and its support of major art initiatives. Research by Jackie Downs. This beautifully constructed and illustrated book offers a superb overview of the Keiskamma Art Project of South Africa. The paperback volume offers background on the organization, biographical details on its artists, and details on the history and tradition of embroidery among Xhosa settlements within the Eastern Cape. The volume is principally divided into four sections, each devoted to images and history of four major art works of the Keiskamma Art Project: The Keiskamma Altarpiece, The Keiskamma Tapestry, The Keiskamma Cream Tapestry, and The Keiskamma Democracy Tapestry. In the narrative describing the Keiskamma Tapestry, the Bayeux Tapestry is prominently featured with an acknowledgment that Keiskamma’s “conception has borrowed from the narrative tradition of the historic Bayeux Tapestry.” Unfortunately, it then states that the Bayeux Tapestry “today hangs in the Mont Saint Michel castle in Northern France.” Then, commenting on the Bayeux tradition and the Keiskamma Tapes- try, the author writes: “The artists of Keiskamma have used the Bayeux tapestry as inspiration and guidance. By combining the same Bayeux embroidery stem and laid stitching, in the outlines and fill, the Keiskamma artists have with their own repertoire of natural stitching and beading techniques, created an eclectic and surprising final artwork. Similar adaptation has seen the use of a spectrum of colours, thereby indicating a departure from the simple seven shades of the original Bayeux piece. Differing styles and methodologies should not, however, distract from the common visual journey through a people’s history that is reflected in both tapestries.” Key themes of the Keiskamma work are provided and 138 The Bibliography described. Several, though not all, panels are illustrated in full color. The connection with the Bayeux Tapestry is unmistakable. The book also offers a brief list of books of interest as well as contact information for the Keiskamma Trust and the Keiskamma Art Project.

469. Cowdrey, H. E. J. “Bayeux Tapestry.” The Blackwell Encyclopaedia of Anglo-Saxon England. eds Michael Lapidge, John Blair, Simon Keynes, and Donald Scragg, 56–57. Malden, MA: Blackwell, 2001. Notes: Published by Blackwell, Oxford, in 1999. Alternate titles: Blackwell Encyclopedia of Anglo-Saxon England, Encyclopedia of Anglo-Saxon England, Encyclopaedia of Anglo-Saxon England. Cowdrey’s entry for the Bayeux Tapestry covers much ground in minimal narrative. Providing most of the basics about the Tapestry’s provenance, story, purpose, and areas of scholarly debate, he offers a superb primer on the famous embroidery. Among the topics he covers in essential two columns of text are: the possible missing end-scenes and what they may have featured, historians’ dating of the Tapestry to c.1075 to 1082, the English form of some of the letters and proper names in captions creating a “virtual certainty that it was embroidered in England rather than Normandy,” similarities with illuminated manuscripts, and the “highly propagandist” nature of the work. Regarding the Tapestry’s borders, Cowdrey writes that while they “often serve only to provide animation and vitality, the lower, in particular, may sometimes be interpreted as offering comment upon, or amplification of, the central narrative.” He also comments on the borders when writing about how the borders serve to counter the theme in the main narrative of Harold as a noble and heroic figure. He notes that “subliminal doubts are cast: comment in the borders seems to harp on the theme that appearances are deceptive in particular, references to Aesop’s fables with their prudential moral to guard against deceit.” Cowdrey then gives multiple examples. The entry’s notes cite Stenton, Wilson, and Gameson.

470. ———. “Harold in the Bayeux Tapestry.” Anglo-Norman Anonymous 15, no. 3 (1997): 7.

471. ———. “King Harold II and the Bayeux Tapestry: A Critical Introduc- tion.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker, 1–15. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Cowdrey begins his essay with some critical remarks on why a careful study of Harold Godwinson, especially Harold as depicted in the Bayeux Tapestry, is necessary. The Tapestry’s portrayals of Harold as strong, loyal, and impressive receive some brief comment; the author also notes where Harold’s positive character traits are described elsewhere in literature. The humbling situations in The Bibliography 139 which Harold finds himself in the presence of Edward, Guy of Ponthieu, and Duke William are noted as indicators of the flawed side of Harold’s character. Cowdrey makes some interpretive comments on the scene of Edward’s deathbed and the handing over of the crown to Harold. The author notes that the last part of the Tapestry does not dwell on Harold’s wickedness and duplicity, but consistently calls him “king” until the end, and shows both sides in a battle fought valiantly. The last part of Cowdrey’s article provides substantial summaries of the essays within this book.

472. ———. “Towards an Interpretation of the Bayeux Tapestry.” Anglo- Norman Studies 10 (1989): 49–65. This article was reprinted in Richard Gameson’s The Study of the Bayeux Tap- estry and is annotated under the citation for its publication there.

473. ———. “Towards an Interpretation of the Bayeux Tapestry.” The Study of the Bayeux Tapestry. ed Richard Gameson, 93–110. Woodbridge, U.K.: Boydell Press, 1997. Cowdrey states that this article approaches the Bayeux Tapestry as an important document for “an understanding of Anglo-Norman history which must be considered as a unity and in its own right.” He presents his observations and interpretations of the Tapestry’s scenes from beginning to end; throughout the article, he calls attention to the figures’ hand gestures and their significance. The author discusses how his reflections inform on the date, purpose, and original location of the Tapestry. Based on the Tapestry’s concurrence with the Vita Edwardi on matters of Edward the Confessor’s death and its apparent pre-dating the dissemi- nation of “the story that, on his deathbed, Edward himself disregarded his earlier promise to William,” Cowdrey says it is safe to date the Tapestry’s manufacture soon after 1075. The purpose of the Tapestry, he theorizes, is to present a visual piece comparable to a chanson de geste, made in England for England, which shows Harold as a hero, although tarnished. On the display of the Tapestry, Cow- drey believes that it is best viewed at eye-level, at a distance of about two or three paces; it was probably not hung in secular buildings, he adds, and proponents of a secular setting bear the burden of having to come up with evidence that secular buildings of suitable dimensions existed. The author adds that the portability of the Tapestry makes a case for it having been taken around “England and perhaps Normandy for brief periods of public display” in ecclesiastical settings, briefly because the Tapestry’s size would have gotten in the way of liturgical functions.

474. Cowley, Robert, and Geoffrey Parker, eds. The Reader’s Companion to Military History. Boston: Houghton Mifflin, 1996. Notes: Sponsored by The Society for Military History. Presented as an encyclopedia, this title contains two references to the Bayeux Tapestry. The first is a black-and-white scene of Harold’s death with a lengthy 140 The Bibliography caption describing the scene, its inscription, and the images in the lower border. This is all adjacent to the entry for the Battle of Hastings. Later, in an entry for the Representation of War in Western Art, a listing titled “Ten Famous Repre- sentations of Military History in Western Art” is included. The Tapestry, part of the list, is dated as “1080s?.” The entry is credited to Thomas F. Arnold and the list to Theodore Rabb. Cowley is cofounder and editor of MHQ: The Quarterly Journal of Military History and Parker teaches history at The Ohio State Univer- sity. Includes both an index of contributors and a general index.

475. Crack, Glen Ray. “The Bayeux Tapestry.” Web page, Available at http://www.Hastings1066.com. This site from 1998 provides images of the entire Bayeux Tapestry in 35 parts which can be selected from one screen of thumbnails. Each image is accompanied by the Latin inscription above and the English translation below. One page of “Tapestry highlights” directs viewers to several key moments in the Tapestry’s narrative with commentary and historical background. Another page attempts to answer questions about its patronage and manufacture, but it is fraught with spelling errors and careless research. This website’s only serious value is in its large, easily accessed images of the Tapestry. Crack is from Battle, East Sussex.

476. ———. “The Full Bayeux Tapestry.” (1998). Notes: http://hastings1066.com/baythumb Creator of the site hastings1066.com, Crack provides an extremely helpful tool with thumbnail images of the entire Tapestry. He also provides numerous additional links to information about the battle, historical figures from the embroidery, and Anglo-Saxon England.

477. Crafton, John Micheal, ed. “Bayeux Tapestry Revisited.” Peregrina- tions: International Society for the Study of Pilgrimage Art 2, no. 4 (2009). Crafton, professor of English at the University of West Georgia, edited this issue, titled Bayeux Tapestry Revisited, of the online journal Peregrina- tions. The issue includes the following articles, all annotated separately in this book: “The Bayeux Tapestry and the Vikings” by Shirley Ann Brown; “Stylistic Variation and Roman Influence in the Bayeux Tapestry” by Gale R. Owen-Crocker; “Hypertext, Hypermedia and the Bayeux Tapestry: A Study of Remediation” by John Micheal Crafton; “Sacred Threads: The Bayeux Tap- estry as a Religious Object” by Richard M. Kock; “The Bayeux Tapestry and the Vitae of Edward the Confessor in Dialogue” by Jennifer N. Brown; and “Full-Size Replica of the Bayeux Tapestry” by Rita Tekippe, executive editor of the journal. Crafton also includes a six-page “Editor’s Introduction,” also annotated separately. The Bibliography 141

478. ———. “Editor’s Introduction.” Peregrinations: International Society for the Study of Pilgrimage Art 2, no. 4 (2009). Notes: This issue, titled “Bayeux Tapestry Revisited,” was edited by John Mi- cheal Crafton, professor of English at the University of West Georgia. Crafton, introducing an edition of Peregrinations dedicated largely to the Bay- eux Tapestry, provides a quick overview of the Tapestry’s display locations over the years, then makes quick comments on the many charming ways in which Tapestry images have been used for souvenirs and for marketing purposes. The body of full-length books on the Tapestry published in the opening years of the twenty-first century is discussed briefly. The five articles about the Tapestry that follow are then listed with a summary of each.

479. ———. “Hypertext, Hypermedia and the Bayeux Tapestry: A Study of Remediation.” Peregrinations: International Society for the Study of Pilgrim- age Art 2, no. 4 (2009). Notes: This issue, titled “Bayeux Tapestry Revisited,” was edited by John Mi- cheal Crafton, professor of English at the University of West Georgia. Crafton sets out to explain and make clear the esoteric topic of hypertext theory as it pertains especially to Martin K. Foys’ Bayeux Tapestry Digital Edi- tion. (Foys himself has written on the topic.) The arrival of hypertext theory (the effects of digital technology on language and of electronic media on literature) in the early 1990s and new technologies has had its effects on medieval studies, and Crafton argues that since Peregrinations is, after all, an online journal, then it is time to examine “the effects of this new media using the indispensible” Foys BTDE as a test case. (Hypertext is defined as electronically displayed text that contains links for users to click or touch to access other information.) He states that he begins this article by discussing the “highest level of abstraction, and move to the specifics of [Foys’] CD and thus at the same time introduce the various features of the CD to those who still may not have used the product.” Diving in, Crafton opens a discussion on the topic of remediation, or “the representation of one medium by another” such as an electronic book made to resemble a real book on the screen, or vice versa. Remediation’s effects on new media are briefly explored. The subtopics of immediacy and hypermediacy, “expressions of the two desires of remediation” are clearly defined by Crafton and he gives examples. He adds that the effects of print culture, new media, and remediation on Anglo-Saxon studies is an area of concern and that the representational meaning of ancient documents and artifacts becomes “warped” and improved to such an extent that they have in effect created a reality that Anglo-Saxons would never have experienced. Finally getting to the Bayeux Tapestry, Crafton notes that the Tapestry having been remediated into book form and digital editions accelerates access and makes it available to everyone, the intensity of study and interest in the Tapestry that results from this is actually an intensity of study and interest 142 The Bibliography in a different object (a book, a digital display) and that the Tapestry is not being experienced as it was intended. He notes that Foys, in his BTDE, is sensitive to this, and attempts to “correct the wrongs imposed upon the Tapestry by the print culture,” mostly through remediating the Tapestry in such a way that viewers can scroll through the entire embroidery seamlessly, without page turns. After a discussion of how other theorists have chimed in on hypertext and ekphrasis (the graphic description of a work of art), Crafton gets more specific: “[What] difference does this remediation make? What do we get with this digitized version that we don’t get with a paper one?” He then provides a lengthy description of the BTDE’s outstanding features (informative, convenient, time-saving, useful) and what users can do with them. Crafton openly praises the BTDE, “I can’t praise it enough . . .” but notes that one negative of the BTDE, despite Foys’ efforts, is the fact that the Tapestry has been remediated onto a computer screen “cluttered with hypermedia devices” and appears less material than it does in a book, and is certainly less awe-inspiring than the actual textile hanging in a museum in Bayeux. The communication theory of static hypertext, notes Crafton, applies to the BTDE: all of the clickable links in the CD are in a closed system and do not connect to the dynamic hypertext of the internet. Back to theoretical discussion, he points out that “hypertext theorists like to claim that hypertext changes all three points in the communication triangle: writer, text, reader.” The writer has to relinquish some control; the way one maneuvers through text is changed; the reader has choices afforded by this inter-operability and is more engaged. Foys’ discussions about the Tapestry’s missing end is discussed, and Crafton brings in his own, as well as others’ understandings of the need for endings. Listing several examples, he explains how the original embroidery itself is hypertextual in many places, such as the scene-reversals, the characters pointing to the text, Harold’s name being pierced by spears on several occasions, the naming of persons, and images and fables in the borders. Richard Brilliant’s essay on the Tapestry’s visual display (“The Bayeux Tapestry, a Stripped Narrative for Their Eyes and Ears”) is discussed for its implications of hypertext theory. The Tapestry as a document that remediates previous imagery is discussed, especially for its resemblance to the columns of Trajan and Marcus Aurelius, citing the contribution of numerous scholars here. He also touches on the Tapestry as a remediation of Scandinavian textile arts. Includes notes.

480. ———. The Political Artistry of the Bayeux Tapestry: A Visual Epic of Norman Imperial Ambitions. Lewiston, NY: Edwin Mellen Press, 2007. Notes: Preface by R. Howard Bloch. Crafton draws from a wide variety of recent and time-honored Bayeux Tap- estry scholarship to support the thesis of his book, that the Tapestry is “a visual epic that functions to perform William’s imperial ambition.” After a brief preface by R. Howard Bloch, the author provides an introduction summarizing each of the five chapters. The first chapter is concerned with the act of naming: the name The Bibliography 143

Bayeux, various names for the Tapestry, potential (but certainly improbable) names for it based on recent theories of patronage and provenance, the Tapestry’s possible role in how the Normans viewed and identified themselves ethnically and as a nation, attempts at defining the Norman Empire and Normans’ awareness of the geography of their empire, Odo as articulator of William’s imperial agenda, feudalism as an act of naming (as in Harold’s oath in the Tapestry), and an interesting piece on the author’s notion that the Tapestry’s Ælfgyva is “an allegorical figure” of England. The Normans’ abilities to adapt to and assimilate into other cultures are introduced in this chapter and considered throughout the book. Crafton, in chapter two, advances a theory that the Tapestry’s trees play an allegorical or religious role as symbols of genealogical legitimacy, especially in the face of William’s bastard status. This chapter also comments on medieval attitudes towards dreams and prophecy. Crafton then examines the Vita Ædwardi’s description of Edward’s allegorical dream of two halves of a cut tree rejoining without aid from men, and remarks on the prophecy of the Tapestry’s depiction of Halley’s Comet. Trees are then discussed in terms of the Tapestry’s composition and their grammatical function as well as their roles in implicit narrative commentary. The arboreal imagery of clubs, maces, and arrows is discussed, and the author presents a generous treatment on the hapless Englishman caught in a vine or a tree at the very end of the Tapestry. Crafton ends this chapter with a discussion of the biblical Tree of Jesse and its uses to “signify genealogy, kingship, and divine appointment” and draws a parallel to the Tapestry’s trees legitimiz- ing William’s claim to the throne of England. Crafton is professor of English at the University of West Georgia, which houses North America’s only full-sized replica of the Tapestry.

481. Crawford, Anne, ed. Letters of the Queens of England, 1100–1547. Stroud, U.K.: Alan Sutton, 1994. In her introduction, Crawford notes that the Bayeux Tapestry is “usually, but wrongly, regarded as Matilda’s major cultural contribution.” She goes on to say that it is “of English embroidery” and that Matilda’s will confirmed that embroidery was an area where English workmanship excelled as it “even identified the craftswoman who worked her tunic.” The introduction is followed by a section on the Norman queens where Crawford offers brief biographical sketches on each. The book includes helpful genealogical charts, a list of sources, an index, and a bibliography which offers 14 titles on the Norman queens.

482. Crawford, Sally. Daily Life in Anglo-Saxon England. Oxford, U.K.: Greenwood World, 2009. Notes: Part of The Greenwood Press Daily Life through History series. This tidy work, with information compartmentalized by topic for easy reference, uses the Bayeux Tapestry as an authority for examining Anglo-Saxon household windows, ards (ploughs), men’s cloaks and brooches, and Norman 144 The Bibliography versus Anglo-Saxon men’s hairstyles. One passage comments on the presence of the three women in the main panel of the Tapestry and suggests that these women—one as an object of male desire, one a mourner, and one a victim of male aggression—“could be taken as a paradigm of a woman’s place after the Norman Conquest.” Crawford is an Anglo-Saxon studies scholar who has written extensively on Anglo-Saxon archaeology, burial ritual, childhood, and medicine. She is an editor of Anglo-Saxon Studies in Archaeology and History.

483. Creighton, Oliver, and Robert Higham. Medieval Castles. Oxford, U.K.: Osprey, 2008.

484. Creighton, Oliver H. Designs Upon the Land: Elite Landscapes of the Middle Ages. Woodbridge, U.K.: Boydell Press, 2009. Notes: Part of the Garden and Landscape History series, Tom Williamson, general editor. Creighton, senior lecturer in archaeology at the University of Exeter, mentions the Bayeux Tapestry in his chapter titled “Shaping Nature: Animals and Estates.” He explains that on the Tapestry “one of William I’s palaces is depicted with an adjacent peacock, while the earliest known [peacock] bone in England, dating to the eleventh or twelfth century, comes from Carisbrooke castle (Isle of Wight).” He goes on to write that the “species is recorded relatively commonly on Anglo- Norman manors in thirteenth-century Ireland; here their introduction may not have been a post-Conquest phenomenon, however, as there is some anecdotal written evidence that peacocks were kept in early Irish monasteries, the species being symbolic of immortality.” Includes lengthy bibliography and index.

485. Creutz, Kristina. Tension and Tradition: A Study of Late Iron Age Spear- heads Around the Baltic Sea. Stockholm: Stockholms Universitet, 2003. Notes: Volume 8 of Theses and Papers in Archaeology. Original from Indiana University.

486. Crisp, Charles. “Hastings and Jerusalem.” The Coat of Arms 1 (1975): 148–49. Notes: Published by the Heraldry Society, London. Much is offered on heraldry and the Bayeux Tapestry in this brief but extremely informative article. Crisp begins noting that the banners and shield devices on the embroidery “look to us like heraldry struggling to be born.” He goes on to write that “Only one, however, appears anything like an authentic heraldic design and that is the banner carried by Eustace in the famous scene where Wil- liam pushes back his helmet to show his face and prove that he is still alive. This banner is white, charged with a rudimentary cross potent in yellow between four roundels whose colour is either dark blue or black. It is this flag that some people The Bibliography 145 see as the banner presented to Duke William by the Pope, Alexander II, though not all the authorities agree on this point. Others would prefer to identify it as the plain cross throughout that appears at the masthead of one of the ships arriving at Pevensey. Of course, the Tapestry is not a photographic record of the Hastings campaign and the designer may have left out the Papal Banner altogether. It is, in fact irrelevant to the story as presented by the famous Bayeux embroidery.” Crisp continues, “Whatever may be the significance of Eustace’s banner, or even if it has no significance, it is a fact that it resembles closely the well-known arms of the Kingdom of Jerusalem: Argent, a cross potent between four crosslets or, if it was the Pope’s banner, then it is not at all surprising that the Crusaders should have chosen a similar design.” Crisp then offers three other possibilities. The first is that the “charges on Eustace’s banner were just an idea of the designer of the Tapestry and the resemblance to Jerusalem is nothing but a coincidence.” The second, he suggests, “is that it does seem to belong to a different class from the other flags and shields and this suggests that it is derived from an actual model.” He then notes the common attribution of the embroidery to Bishop Odo’s patronage and writes, “Former soldiers of the 1939 War have no difficulty in recalling badges and formation signs of units with which they served. Surely, Bishop Odo would have remembered the banner carried by such a close comrade in arms as Eustace of Boulogne.” The third possibility that Crisp suggests is that the resemblance “reflects a family connection between Eustace and the Kings of Jerusa- lem.” The connection is then explained. A black-and-white drawing of Eustace’s banner from the Bayeux Tapestry is included.

487. Crompton, Samuel Willard. Hastings. Philadelphia: Chelsea House, 2002. Notes: Part of the Battles that Changed the World series. From a series for children (ages 8 to 12) that covers battles such as the Tet Offensive, Saratoga, Gettysburg, Tenochtitlán, and others, Crompton presents a very smooth-reading and entertaining study of the Battle of Hastings and the events that caused it. The Bayeux Tapestry prominently underscores the author’s discussions and there is an entire chapter dedicated to the Tapestry (one of the better passages for children concerning the Tapestry) with several photographs of it. The author provides a description of the Tapestry, its patronage and manufacture, and an excellent run-down of the events that the Tapestry depicts, plus a detailed account in a sidebar about the Tapestry’s close call with destruction in the French Revolution. There is also an intriguing sidebar on Halley’s Comet listing the years of its reappearances since the Conquest, and a whimsical tie-in to Mark Twain. Includes numerous maps, a chronological list of events from 1000 to 1087, a graphic timeline of the same, a list of further readings, and an index. Compton teaches history at Holyoke Community Col- lege in Massachusetts. 146 The Bibliography

488. Crookston, Peter, ed. The Ages of Britain. New York: St. Martin’s Press, 1983. Notes: Title page and cover lists John Kenyon as consultant. Kenyon, chairman of the Department of Modern History at the University of St. Andrews, presents this guide to where one can go in Britain to view remaining and surviving evidence of Britain’s past from Paleolithic sites through the Victorian era. The Bayeux Tapestry is mentioned briefly in discussions of motte- and-bailey construction, maritime transport, and costume. A photo caption of the Tapestry’s scene of Harold’s return to King Edward comments on the King’s attire, “Ceremonial tunics and mantles like the king’s are long and might have embroidered or woven borders.” Also, one passage notes that the Tapestry designer’s intent on representing Westminster Abbey and Bosham church is likely realistic, as he may have seen them. The wonderful Gazeteer [sic] in the last 54 pages of the book is divided into sections for each of nine periods (including one of the Normans) and lists castles, dwellings, fortresses, colleges, monuments, memorials, churches/cathedrals, abbeys, gardens, art works, museums, carvings/ sculptures, etc., maps showing their locations, plus driving directions and opening hours which are likely very outdated. The Gazeteer directs readers to the Reading Museum and the Battle Museum where one can view replicas of the Tapestry. It also lists several museums and libraries where one can view (even if only one page) illuminated manuscripts, which are of interest to Tapestry scholars. Includes an index.

489. Crosby, Sumner McKnight. “The Protection of Artistic Monuments in Europe.” College Art Journal 3, no. 3 (1944): 109–13. Notes: Published by the College Art Association of America. This article provides an overview of efforts and discusses specific measures taken by United States and Allied entities to preserve and protect artistic, historical, and cultural treasures in Europe that were threatened by the Nazis, including the Bayeux Tapestry. Crosby writes: “Perhaps it is small consolation that the Bayeux tapestry, removed from France at the instigation of Heinrich Himmler, will necessarily remind the Nazis of a more successful conqueror of England. The announcement that the tapestry was being for the ‘first’ time properly studied by a group of German experts may indicate that the Nazis were anxious to discover the exact nature of the Norman ‘secret weapon.’”

490. Crouch, David. “The Historian, Lineage and Heraldry, 1050–1250.” Heraldry, Pageantry and Social Display in Medieval England. ed Peter Coss, and Maurice Keen, 17–37. Woodbridge, U.K.: The Boydell Press, 2002. In a section of his article entitled “Exploring Lineage through Heraldry,” Crouch writes, “The line of development of heraldry can be understood in this way: the manner of the decoration of the shields and banners on the Bayeux Tapestry indicates that its designers knew nothing of individualised devices in The Bibliography 147 the 1070s.” He then notes that “the same characters appear in arms in different cartoons carrying different designs on their shields. At the turn of the eleventh century it seems clear from the contemporary accounts of the First Crusade that its leaders carried banners bearing generally recognised personal devices or patterns.” Crouch suggests this is proto-heraldry rather than true heraldry since it cannot be said that an individual chose particular arms because of a design associated with family. In a footnote, Crouch mentions the benefits of advice provided by David Bates as well as the authors. Includes extensive notes.

491. ———. The Normans: The History of a Dynasty. London: Hambledon and London, 2002. Notes: Published by Hambledon Continuum in 2006. This book, the author states, is a formulation of the past three centuries of scholarship on the Normans, plus “new models of medieval ethnicity, aristocracy and family formation.” The Bayeux Tapestry is mentioned only very briefly within the contexts of William the Conqueror showing his face at the Battle of Hastings to dispel the rumor that he had been killed, Bishop Odo of Bayeux’s double-sided seal showing an image of him in mail and mounted, just like in the Tapestry, and a brief paragraph about the Tapestry in a list of medieval sources and authors.

492. Crowl, Philip A. The Intelligent Traveller’s Guide to Historic Britain: England, Wales, the Crown Dependencies. New York: Congdon & Weed, 1983. Notes: Foreword by John Julius Norwich.

493. Crumlin-Pedersen, Ole. Archaeology and the Sea in Scandinavia and Britain: A Personal Account. Roskilde, Denmark: Viking Ship Museum in collaboration with The Society of Antiquaries of Scotland, 2010. Notes: Part of the Maritime Culture of the North series, volume 3, Anton En- glert, editor. Distributed by Oxbow Books, Oxford, U.K. This book is a conference publication of the Rhind lecture series, delivered to the Society of Antiquar- ies of Scotland in Edinburgh in April 2008. Crumlin-Pedersen presents an overview of maritime archaeology uncovering Viking and other medieval seafaring craft in northern Europe. Covering such famous finds as Hedeby, Sutton Hoo, and the Skuldelev boats, the author also makes numerous mentions of the Bayeux Tapestry. Archaeological clues in the form of tool marks present on ships provide evidential support for the types of ship-building tools depicted in the Tapestry. In a paragraph on the process of hewing wood, the Tapestry is referenced and the author provides a photograph of the Tapestry’s hewer alongside a photograph of an actual man performing the same task in the same way with the identical tool. In a discussion of the boats of the Franks and the Frisians, he notes that the Tapestry realistically depicts the 148 The Bibliography ship-building and handling processes according to Viking traditions, with two Tapestry photographs to illustrate his point. Noting the scarcity of pictorial depictions of medieval English and Irish ships, he states that the Tapestry’s English ships differ from the Norman ships only by having a broken sheerline amidships. The author presents photographs of the covers of several books from 1995 to 2007 dealing with maritime archaeology. Includes numerous photographs and diagrams of ships. Includes index. Crumlin-Pedersen is senior researcher at the Viking Ship Museum in Roskilde, Denmark, and was curator of maritime archaeology at the National Museum of Denmark.

494. Crummy, Andrew, Dorie Wilkie, Gillian Hart, Gordon Prestoun- grange, and “The Stitchers.” The Prestonpans Tapestry 1745. Prestonpans, East Lothian, Scotland, U.K.: Prestoungrange University Press with Burke’s Peerage & Gentry for The Battle of Prestonpans 1745 Heritage Trust, 2010. Notes: Paperback. Foreword by Martin Margulies. In this richly illustrated thorough survey of the Prestonpans Tapestry, an introductory section titled “The Tapestry Background” is included; it is written by Dr. Gordon Prestoungrange, Baron of Prestoungrange and Chairman of the Battle of Prestonpans 1745 Heritage Trust. Here, in addition to writing about the saga of Prince Charles Edward’s campaign in 1745, Prestoungrange compares it to Wil- liam the Conqueror’s victory at the Battle of Hastings. A subsection is devoted to the La Tapisserie de la Reine Mathilde where he asserts that Queen Mathilde oversaw the creation of one of the world’s most famous works of art. Bishop Odo’s involvement is also referenced as is the notion that “it was the inspiration of the late King Harold’s ambitious sister Edith.” The text does mention the exhibition of the Tapestry in Paris in 1804 to celebrate the proclamation of Napoleon I as emperor as well as an exhibition in 1944 which Prestoungrange indicates was “to celebrate France’s liberation in 1944 which had appropriately arrived through Normandy.” Notably, he indicates that not until 2008 had an embroidery on the scale of the Bayeux Tapestry been envisaged: “The belief that it could and should be accomplished followed a chance visit to Bayeux by members of the Battle of Prestonpans 1745 Heritage Trust allied to Prestonpans growing reputation as an emerging centre for community arts.”

495. Crump, C. G., and E. F. Jacob, eds. The Legacy of the Middle Ages. Oxford, U.K.: Oxford University Press, 1969. Notes: Originally published in 1926. Part of The Legacy Series. The Bayeux Tapestry is mentioned in two essays: “Medieval Architecture” by the late W.R. Lethaby, Surveyor of Westminster Abbey, and “Decorative and Industrial Arts” by Marcel Aubert of the Louvre, each annotated separately. Includes numerous illustrations and index. The Bibliography 149

496. Culver, Henry Brundage. The Book of Old Ships: From Egyptian Galleys to Clipper Ships. New York: Dover Publications, 1992. Notes: Illustrated by Gordon Grant. Originally published as The Book of Old Ships and Something of Their Evolution and Romance by Doubleday, Garden City, NY, in 1924. In his chapter titled “A Thirteenth Century English Warship,” Culver writes about the minimal changes in the form of the hull and in the rigging. He references the “Bayeaux tapestry” as “showing ships of the middle of the 11th Cen- tury.” Includes notes.

497. Cummins, John. The Hound and the Hawk: The Art of Medieval Hunt- ing. London: Weidenfeld and Nicolson, 1988. In his chapter titled “The Falconer’s Life,” Cummins writes: “Royal falconers must have dreaded the king’s foreign wars, to which they were dragged willy- nilly. Edward III took thirty falconers with him when he invaded France. The Bayeux Tapestry shows a hawk and two hounds being carefully conveyed into the ship in which King Harold is embarking.” Includes extensive notes, bibliography, and index.

498. Cunard, Nancy. “The Triumph of the Treasures of France.” The Burl- ington Magazine for Connoisseurs 87, no. 508 (1945): 168–73. Cunard’s article, published while Europe was still smoldering in the summer of 1945, recounts the “inflexible stand” taken by museum administrators of the Louvre and other museums against collaboration with the German authorities’ claims on French artworks. Among the accounts of numerous works of art and equally as many French and German names, the Bayeux Tapestry’s own adventures in occupied and liberated France are briefly outlined, as are 800 years of other near-misses such as fires, wars, and Napoleon’s interest in it.

499. Cunliffe, Barry, Robert Bartlett, John Morrill, Asa Briggs, and Joanna Bourke, eds. The Penguin Atlas of British and Irish History. New York: Pen- guin Group, 2002. Notes: Originally published by Penguin Books, London, in 2001. In a section on the Normans, the editors include a color photograph of the Tapestry scene depicting William entering into battle at Hastings. A brief caption accompanies the image.

500. Cust, Marianne Margaret Compton Viscountess Alford. Needlework As Art. New York: Garland, 1978. Notes: Part of the series Aesthetic Movement & the Arts and Crafts Move- ment. Reprint of the 1886 edition published by Sampson, Low Marston, Searle, and Rivington, London. 150 The Bibliography

501. Cutts, E. L. “The History of Eucharistic Vestments.” The Art Journal (1875–1887) New Series 1 (1875): 50–53. Reverend Cutts discusses illustrations of clerical dress from ancient Rome through the sixteenth-century and includes a very brief description of Archbishop Stigand’s vestments in the Bayeux Tapestry. The author mentions Bishop Odo, who does not appear in clerical attire in the Tapestry, but is depicted in his seal wearing a chasuble similar to Stigand’s.

502. d’Haussy, E. “La Tapisserie De Bayeux.” Pays D’Auge 7 (1965): 19–22.

503. D’Souza, Aruna. “‘I Think Your Work Looks a Lot Like Dubuffet’: Dubuffet and America, 1946–1962.” Oxford Art Journal 20, no. 2 (1997): 61–73. Notes: Published by the Oxford University Press. In his article on the twentieth-century French painter and sculptor Jean Philippe Arthur Dubuffet and the work by Claes Oldenburg referenced in the title, D’Souza mentions one of Dubuffet’s writings in which he minimizes the Bayeux Tapestry’s significance. He writes: “Dubuffet managed, through his ‘anti-cultural position,’ to diffuse political engagement by equating the political with a universal condition of the ‘common man,’ and by thus de-particulariz- ing, de-historicizing, and de-politicizing it. In his ‘Rough Draft for a lecture on popular culture’ (1945), Dubuffet talks about the Bayeux tapestry . . . as ‘depicting current events, showing contemporary people in their everyday clothing and manners as though today we were to depict on seventy yards of tapestry the manufacture of sardine cans in Cancarneau or the construction of the Eiffel tower.’ By trivializing the historical component of the tapestry and its status as record of political cataclysm, and by claiming its significance to be its depiction of contemporary, ordinary life, Dubuffet implies a degree of social significance or engagement for his own art, which the artist claimed was exactly involved in depicting the world of the ‘regular person.’” Includes images of works by both Dubuffet and Claes Oldenburg.

504. Dahmus, Joseph. Seven Decisive Battles of the Middle Ages. Chicago: Nelson-Hall, 1983. This book examines seven battles (Chalons, the Yarmuk, Hastings, Hattin, Bouvines, Crécy, and Angora) and their later impact on the rise of modern nations. He refers to various scenes in the Bayeux Tapestry for informing on details of the Battle of Hastings and the preparations that went into it. Dahmus is Profes- sor Emeritus of Medieval History at Pennsylvania State University.

505. Dahmus, Joseph H. A History of Medieval Civilization. New York: Odys- sey Press, 1964. The Bibliography 151

506. ———. A History of the Middle Ages. New York: Barnes & Noble Books by arrangement with Doubleday, 1995. Notes: Originally published as A Popular History of the Middle Ages in 1968.

507. Dajcar, Maria. The Bayeux Tapestry: Norman and English Perspectives Intertwined. Knoxville, TN: University of Tennessee, 2004. Notes: Thesis/dissertation.

508. Dana, Charles E. “Tapestry: A Glance at Flemish and French (Second Paper).” Bulletin of the Pennsylvania Museum 3, no. 10 (1905): 31–34. Notes: Published by the Philadelphia Museum of Art. In his introductory paragraph, Dana mentions the Bayeux Tapestry as an example of “Sarrazinois” textiles. He concludes the article with an interesting overview of tapestry sales and prices realized.

509. ———. “Tapestry: The Making (First Paper).” Bulletin of the Pennsyl- vania Museum 3, no. 9 (1905): 8–12. Notes: Published by the Philadelphia Museum of Art. Dana begins his article discussing the definition of the word tapestry and its use. Suggesting its careless use, he writes, “The needle plays no part in real tapestry, except for repairs, or, in rare cases, to embroider a design on the already finished material. Yet, so loosely do we use the word, that the ‘Bayeux Tapestry,’ the most interesting and the longest piece in the world, is not tapestry at all but embroidery, called in its day, last quarter of the 11th century, ‘Sarrazinois.’ The very fine reproduction of it in the Museum well repays careful study.” Dana’s article includes three illustrations though none of the Bayeux Tapestry.

510. Danford, J. A. “Art in Nigeria.” African Affairs 48, no. 190 (1949): 37–47. Notes: Published by the Oxford University Press on behalf of The Royal Af- rican Society. Danford, in describing a series of wall paintings on the inner side of the village wall in Okwu, suggests that the “decorative and unrealistic” style is reminiscent of the Bayeux Tapestry in design and feeling. The wall is about 200 feet long and is decorated with “life size figures surrounded with geometrical patterns.” An Ibibio artist created the work which depicts “village dances, cyclists, cows, policemen and many other subjects of everyday life.”

511. Daniell, Christopher. From Norman Conquest to Magna Carta: England 1066–1215. London: Routledge, 2003. Notes: A paperback edition was also published in 2003. Daniell, Research Associate with the Centre for Medieval Studies at the University of York, presents a university textbook on the profound changes that 152 The Bibliography occurred in England between the title dates. A subheading on the Bayeux Tapestry provides readers with a basic overview of its patronage, story, theme, similarities with Canterbury manuscripts, and its possible mention by Baudri of Bourgueil in the “Adelæ Comitissæ.” The Tapestry is mentioned very briefly in passages on ship construction, battlefield tactics, the arrow in Harold’s eye, the Confessor’s funeral, Halley’s comet, and the Tapestry as an exception to Norman tastes for patterned motifs in art rather than figural representations. Includes index.

512. ———. A Traveller’s History of England. New York: Interlink Books, 1991. Notes: Part of the Traveller’s History series, Denis Judd, editor. Line drawings by John Hoste. Daniell mentions the Tapestry in his section on the Battle of Hastings, noting the embroidery could be used as evidence of Harold being killed by either an arrow in the eye or with a sword. Later, he offers a brief section on the Domesday Book and the Bayeux Tapestry, suggesting the latter was “designed by a single man and then sewn by a group of nuns at Canterbury.” He also suggests the Tapestry’s location in Bayeux is evidence of its being commissioned by Odo and briefly references the Halley’s comet scene. A black-and-white image of Harold’s death scene is included.

513. Daniell, F. H. Blackburne. “A Pictorial Record of the Conquest.” The English Historical Review 7, no. 28 (1892): 705–8. The author provides readers with a summary of the poem of Baldric (Baudri) of Bourgueil to Adela, the Conqueror’s daughter which describes a hanging in her bedchamber. The subject of this hanging is her father’s conquest of Eng- land, whose description parallels the Bayeux Tapestry from the comet scene through the flight of the English after the Battle of Hastings. The author then describes the remainder of the poem which continues where the Bayeux Tap- estry leaves off. The author’s intent is to use this poem as evidence of an early date for the Tapestry, as it was written while Baldric was abbot of Bourgueil (1079 to 1107) and to have described a work so similar to the Tapestry, he certainly must have seen the hanging in Adela’s chamber. Included are numerous lines of the Latin verse.

514. Dargan, E. P. “Cock and Fox: A Critical Study of the History and Sources of the Mediaeval Fable.” Modern Philology 4, no. 1 (1906): 38–65. Notes: Published by the University of Chicago Press. Writing about the prevalence of The Cock and Fox fable, Dargan notes that this fable figures more frequently in the Bayeux Tapestry than any other. Dargan cites J. Collingwood Bruce and points out that this fable “occurs as the Cheese story twice, as Fox and Partridge once, as Cock and Fox perhaps once or twice.” The Bibliography 153

He continues, adding that this “serves well to illustrate the great popularity of the fable.”

515. Davenport, Millia. The Book of Costume: Volume I. New York: Crown Publishers, 1956. Notes: Fourth printing. Originally published in 1948. In her “Dark Ages” chapter, Davenport uses several images of the Bayeux Tapestry, both photographs of the embroidered work and of Charles Stothard’s renderings, to illustrate her observations on Norman costume. Includes an index.

516. Davey, Collin, and Monica L. Wright. “Burning Down the House: Scorched Earth Tactics Suggested by Wace and Bayeux Tapestry.” McNair Research Review 4 (2006).

517. Davies, A., and H. Robinson. “The Evolution of the Ship in Relation to Its Geographical Background.” Geography 24, no. 2 (1939): 95–109. Notes: Published by the Geographical Association. In describing Viking ships, the author explains that “Saxon and Norman vessels shown on the Bayeux tapestry are enlarged Gokstad types, sharp-ended with a single mast amidships and one square-sail, amply supplied with oars and oar- ports and having a rudder-paddle on the starboard side. A row of shields on either side protected the oarsmen.”

518. Davis, Barbara. Conquering England: The Battle of Hastings. Mankato, MN: Capstone Press, 2009. Notes: Part of the Bloodiest Battles series by Captone Press’ Edge Books. Steven Isaac, associate professor of medieval history at Longwood University, Farmville, VA, served as consultant. Intended for juvenile audiences, this 32–page illustrated book tells the story of the battle through drawings, photographs, and some narrative. A Bayeux Tapes- try illustration is included, noting that most people could not read in 1066 and the Tapestry told a story through pictures. Includes glossary, short reading list, internet sites, and index.

519. Davis, H. W. C. Medieval England. London: Studio Editions, 1993. Notes: Reprint. Published as Mediaeval England: A New Edition of Barnard’s Companion to English History by the Clarendon Press, Oxford in 1924. This “classic companion to English medieval history” consists of 19 essays by renowned historians. Among those that mention the Bayeux Tapestry are (annotated separately): “Military Architecture” by E. A. Greening Lamborn; “Military Costume” by A. Hartshorne, revised by C. J. Ffoulkes; “Heraldry” by Francis Pierrepont Barnard; “Shipping” by M. Oppenheim; and “Coinage” by G. C. Brooke. Includes a glossary and index. 154 The Bibliography

520. Davis, Michael R. “Leofwine and Gyrth: Depicting the Death of the Brothers in the Bayeux Tapestry.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 92–95. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. American educator and novelist Davis explores the death of Leofwine and Gyrth in the Bayeux Tapestry, which has received very little in the way of detailed analysis over the years. He opens his article with a description of the scene and the figures which may or may not be the brothers. Biographical information on the two is provided, less for Leofwine for whom information “is nearly non- existent.” The deeds of the brothers at the Battle of Hastings being recorded in contemporary accounts is briefly noted. The brothers’ deaths being included in the Tapestry might be explained by the fact that Odo may have commissioned the Tapestry while imprisoned by William in order to “sweeten his brother’s hostile attitude towards him” and that including Leofwine’s and Gyrth’s deaths may have served as a reminder to William of fraternal loyalty, a secondary theme in the Tapestry. Davis provides a tidy summary of Odo’s falling out of favor with William in 1082 and his subsequent imprisonment which may just have been “honourable confinement.”

521. Davis, Mildred J. The Art of Crewel Embroidery. New York: Crown Publishers, 1971. Notes: Eighth printing. Originally published in 1962. In her first chapter, titled “The Tides of History and the Course of Crewel,” Davis mentions the Cathedral inventory and notes that no mention of the Bayeux Tapestry is known until 1724 “when, apparently for the first time, it attracted attention outside the parish.” She continues, writing that “Presumably, it reposed in the archives of the church during all those years.” Davis also offers basic information about the work and comments, “Its uncomplicated story-telling technique has an instantaneous appeal for any viewer familiar scenes mingled with the fast pace and drama of battle, touches of ribald humor and, for those few who could read, explanatory legends in Latin.” On the embroiderer, she writes: “The identity of the embroiderer, or embroiderers, is . . . shrouded in mystery, but some antiquaries believe it to have been the work of Mathilda, wife of William the Conqueror; others incline to the view that it was executed under the direction of Matilda, daughter of Henry I.” Davis also comments on the stitches used and the technique. Includes a two-page bibliography and an index.

522. Davis, Paul K. 100 Decisive Battles: From Ancient Times to the Present. Santa Barbara, CA: ABC-CLIO, 1999. Notes: Also published by Oxford University Press in 2001. The Bibliography 155

Davis’ interesting reference book begins with a preface on the three criteria that define “decisive” battles: The outcome brought about major political and social change; had the outcome been reversed, major political and social changes would have ensued; the introduction of a major change in warfare. Entries are in chronological order from Megiddo in 1479 BC through Desert Storm. Each battle’s entry is preceded by almanac-style data and a concise statement, one or two sentences, on the battle’s importance. The format of the text for each entry is neatly packaged into the headings Historical Setting/The Battle/Results. Davis’ five-page entry on the Battle of Hastings includes a photograph of a battle scene from the Bayeux Tapestry. Includes index.

523. Davis, Paul K., and Allen Lee Hamilton. Encyclopedia of Warrior Peo- ples and Fighting Groups. Santa Barbara, CA: ABC-CLIO, 1998. This reference book on the origins, leadership, and achievements of 100 fighting groups, listed alphabetically, contains a five-page entry on the Normans. The Bayeux Tapestry is mentioned for its depictions of couched lances, an innovative use of the overhand javelin at the time. Includes one photograph from the Tapestry and an index.

524. Davis, R. H. C., ed. The Early Middle Ages. London: Routledge & Kegan Paul for The Historical Association, 1964. Notes: Part of the series English History in Pictures. This 22-page book is a collection of illustrations of various aspects of English life between the seventh and thirteenth centuries. One page features an image from the Tapestry depicting the erection of Hastings Castle as well as an aerial photograph of Windsor Castle. A brief narrative in the back of the book, linked to the Tapestry image, discusses how the scene shows “Norman overseers issuing spades to the conquered English and supervising the erection of a motte at Hast- ings.” A discussion of the motte and bailey follows. Davis is a fellow of Merton College, Oxford.

525. ———. The Medieval Warhorse: Origin, Development and Redevelop- ment. London: Thames and Hudson, 1989. Davis’ book examines medieval cavalry, horse breeding, and advances in veterinary medicine and equestrianism. He discusses that the Bayeux Tapestry shows a saddle developed to keep a knight firmly seated on a horse and the use of stirrups in spite of heavy blows. The author points out that the Tapestry’s warhorses were stallions, and that mares were not used in European battle in the Middle Ages. He also comments on the Normans’ pride in their cavalry as evidenced by the fact that the Tapestry hardly depicts any Norman infantry. Includes index and three photographs from the Tapestry. 156 The Bibliography

526. ———. The Normans and Their Myth. London: Thames and Hudson, 1976. Davis examines the myth surrounding the Normans, the notion that the Normans “were part of a unified, common design” and how the acceptance of this myth has influenced people and events. He asserts that no nation can be without an image or myth with which to identify itself, an identity which is manifested in its legend, history, literature, religion, and lore, and lists several documents in chronological order composed by (or commissioned by) Nor- mans about themselves, one of them being the Bayeux Tapestry. He notes that the Tapestry’s depiction of the Normans’ organization of war supplies is “typical” of their consciousness of their own military prowess. Five photographs of the Tapestry (one in full color) are accompanied by captions that note how these images are examples of Normans’ pride in their handling of war preparations. A sixth photograph is used to show how the Tapestry twice depicts aspects of feudalism. Davis is professor of medieval history at the University of Birmingham.

527. Davison, Brian K. “Early Earthwork Castles: A New Model.” Chateau Gaillard European Castle Studies, III: Conference at Battle, Sussex, 19–24 September 1966. ed A. J. Taylor, 37–47. London: Phillimore, 1969. Notes: Conference publication. Davison challenges the notion that motte-and-bailey castles were in existence in Normandy long before the Conquest of England and notes that the depictions of these types of fortifications in the Bayeux Tapestry might support a theory that they were in existence before the Conquest; he reminds readers that the Tapestry was made some years after 1066.

528. Davison, Michael Worth, and Neal V. Martin, eds. Everyday Life Through the Ages. New York: Reader’s Digest Association, 1992. Notes: Alternate title: Reader’s Digest: Everyday Life Through the Ages. Asa Briggs served as consulting editor. Color illustrations of “Saxons with their luxuriant moustaches” are used to illustrate the section entitled “Norman Knights Ride to Conquest.” A caption references the Tapestry’s border, noting that “Slaughtered knights edge the foot of this scene.” An excellent color drawing showing the features of a motte and bailey castle is also part of this section. Includes index.

529. Dawson, Charles. “The Bayeux Tapestry in the Hands of the Restor- ers.” The Antiquary 45 (1909): 470.

530. ———. The ‘Restorations’ of the Bayeux Tapestry. London: Elliot Stock, 1907. Notes: An illustrated 14-page pamphlet. The Bibliography 157

531. Dawson, Imogen. Food and Feasts in the Middle Ages. New York: New Discovery Books, 1994. Notes: “A Zoe book.” Part of the Food & Feasts series. Intended for young audiences. A color detail from the Bayeux Tapestry offers a caption describing the food “being boiled in a cauldron and roasted over a spit . . . sauces for the food were warmed and then taken in dishes, called saucers, to the table.”

532. de Reyniès, Nicole. “Bayeux Tapestry, or Bayeux Embroidery? Ques- tions of Terminology.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 69–76. Caen, France: Presses Universitaires de Caen, 2004. The author begins this eight-page article with definitions of terms pertaining to various decorated textiles. After a paragraph expressing the author’s disbelief that in this day and age of standardized terminology and in a field of study where everyone knows that the Bayeux Tapestry is really an embroidery, she begins to examine just how this misnomer originated and stuck with the famous textile. De Reyniès examines the word “tente,” used for the Bayeux Tapestry in the 1476 inventory of Bayeux Cathedral. The slightly evasive origins of the term “toilette,” once used for the artifact (“Toilette du duc Guillaume”) are briefly examined. The use of the word “tapestry” (that is, “tapisserie”), the term the author believes is “such an embarrassment,” is traced with attention to historical detail; how it came to describe the Bayeux embroidery is explored. She states her belief that once the term was applied to the work, it was “retained in order to spare the work any association with the degrading image of embroidery, which by the eighteenth century had been reduced to simple decoration for clothing . . .” De Reyniès concludes with a plea that the volume in which this essay is contained use the term “broderie” (“embroidery”) in its title (which it does not).

533. De Sanctis, M. The Bayeux Tapestry: The City of Bayeux Tapestry and the Reading Museum & Art Gallery Facsimile. Farnborough: Norton, 1993.

534. Dean, Beryl. Ecclesiastical Embroidery. London: B.T. Batsford, 1958. In this heavily illustrated book, the author mentions the Bayeux Tapestry only once, in a chapter on lettering, heraldry, and ceremonial embroidery. Dean notes that “many of the shields show a personal device which would have been painted on, and the lances often bear a small pennon; one such bears a device which comes near to true heraldry and this would have been embroidered.” Includes brief bibliography and index.

535. Deane, Sidney N. “Archaeological Discussions: Summaries of Original Articles Chiefly in Current Publications.” American Journal of Archaeology 28, no. 2 (1924): 171–208. Notes: Published by the Archaeological Institute of America. 158 The Bibliography

Referencing the contents of Roger Sherman Loomis’ article in The Art Bulletin (September 1923), Deane writes: “Documents describing similar work, together with the form of some of the inscriptions on the tapestry point to Anglo-Saxon origin, and the Latin inscription is explained by the assumption, also based upon literary descriptions and one of the scenes on the embroidery, that a clergyman aided the needlewoman in the design. The importance given among the figures represented to vassals of Bishop Odo suggests a connection of the latter with the textile, and hence a date of 1077, when Odo dedicated the new cathedral at Bayeux. Further details of armor and costume on the embroidery are closely paralleled in the Commentary of Beatus on the Apocalypse, executed between 1028 and 1072.”

536. Dearmer, Percy. Highways and Byways in Normandy. London: Macmil- lan and Company, Limited, 1900. Notes: Part of the Highways and Byways series. Illustrated by Joseph Pennell. Dearmer’s charming yet lengthy travel memoirs are of a casual and curious Englishman wandering from town to town through Normandy. On the “quaint and spirited” Bayeux Tapestry, he provides a run-down of the history of the Tap- estry from its mention in the cathedral inventory in 1476 through the then-current “framed and glazed” display, and gives a general description of it and some of what he deems interesting details. “If you wish to give it a real study,” writes the author, “you should bring with you Mr. F. Rede Fowke’s ‘Bayeux Tapestry’ (Bell and Sons, 10s. 6d.)” Dearmer points out that Fowke has taught us that the Tapestry is not the work of Queen Matilda, but rather of Bishop Odo. Includes a drawing of Bayeux street scene and the cathedral, a two-color fold-out map of his route through Normandy, and an index.

537. Deary, Terry, and Martin Brown. The Smashing Saxons, and, The Stor- min’ Normans: Two Horrible Books in One. London: Scholastic, 2006. Notes: Part of the Horrible Histories series. Illustrated by Martin Brown.

538. Delarue-Mardrus, Lucie. William the Conqueror. London: Longmans, Green and Co., 1932. Notes: Translated by Colin Shepherd. In this fictionalized biography of William the Conqueror, Delarue-Mardrus weaves the Bayeux Tapestry into the story and the details she offers are particularly interesting. She writes: “Sometimes Mathilde, who was very proud of the work of the needlewomen she had brought back with her from England in 1069, fetched the tapestry that was being embroidered for the cathedral of Bayeux, and unrolled it to the delight of the children. It was an order given by Bishop Odon, who knew his royal sister-in-law’s passion and talent for this sort of work. Odon had suggested the subject: The Conquest of England. Under his guidance Mathilde had planned the series of pictures in their proper order, Aelfgiva the The Bibliography 159

Saxon abbess from Barking, had drawn them and the needlewomen, trained by the abbess, had been working on the canvas since 1068 under the Queen’s direction. It was 231 feet in length, had been commenced in England, and now in Normandy was continuing to be covered with men, animals, ships, and decorative motifs. Wools from Bessin were used for the work. Mathilde, herself, took inordinate pride in aiding with the embroidery of the epopee to the glory of her King. The men had brandished the sword, now the women plied the needle. It was their part of the battle.”

539. Delauney, H. F. Origine De La Tapisserie De Bayeux, Prouvée Par Elle- Même. Caen, France: Mancel, 1824. Notes: Stothard is quoted on the title page: “Les peintres du moyen âge pei- gnaient ce qu’ils voyaient.” Delauney’s book, an important early work dedicated to the Bayeux Tapestry, presents the revolutionary argument for Bishop Odo as its patron rather than Queen Matilda. The author also argued for a production date of the Tapestry close to 1066, a date earlier than other scholars had postulated. Includes a list of subscribers to the Antiquités Anglo-Normandes de Ducarel and eight fold-outs showing the entire Bayeux Tapestry as drawn by Montfaucon.

540. Delbruck, Hans. Medieval Warfare. Lincoln, NE: University of Ne- braska Press, 1990. Notes: Volume III of The History of the Art of War series. Translated from the German by Walter J. Renfroe, Jr. “A Bison book.”

541. Delderfield, Eric R., ed. Kings and Queens of England. New York: Weathervane Books, 1978. Notes: Title page notes book is “devised and edited” by Delderfield and that Parts One and Three are written by D.V. Cook. A revised edition was first published by Stein and Day in 1972. In Delderfield’s chapter on William the Conqueror, he acknowledges in a footnote that the information he provides on William’s relations with Harold, the preparations for invasion, and the Battle of Hastings is derived from the Bayeux Tapestry. The embroidery is referenced as “the first ‘strip cartoon.’” The book includes extensive genealogical information, black-and-white images, as well as brief facts about each monarch at the start of each chapter. There are no images of the Tapestry.

542. Delort, Robert. Life in the Middle Ages. Lausanne: Edita Lausanne, distributed by Universe Books, New York, 1973. Notes: Translated by Robert Allen. Images from the Tapestry are used to illustrate how a banquet was served in the eleventh century and how castles of stone were preceded by “simple timber 160 The Bibliography structures erected on natural or artificial mounds.” Includes an extremely limited index, which does not mention the Tapestry.

543. Dennis, Chris. “The Strange Death of King Harold II: Propaganda and the Problem of Legitimacy in the Aftermath of the Battle of Hastings.” The Historian (2009): 14–18. Considering the popular notion that Harold was killed by an arrow to his eye then hacked on the thigh with a Norman sword, Dennis “re-examines the ‘arrow in the eye’ story before considering the ‘hacking episode’ and possible reasons for its suppression” after the Battle of Hastings. He states that the Bayeux Tap- estry, being pictorial, makes for the most predominant version of the story. Early literary accounts of the battle are discussed, those that mention the arrow to the eye, and those that do not. Dennis points out the difficulties in positively identifying Harold in his Tapestry death scene, bringing up the opinions of Brooks and Walker (1978) and Bernstein (1982) in this matter. Dennis then discusses the early eighteenth-century drawings of Benoît and Montfaucon, neither of which shows an arrow, but rather suggest that the figure in question was brandishing a spear, gripping it with the same hand-shape as the spear-wielding figure to the left. He notes that M. K. Lawson believes that Charles Stothard’s drawing, the first that shows this figure pulling out an arrow, may have been manipulated by Stothard to fit the popular story and that a repair to the Tapestry that resulted in an embroidered arrow in the eye may have come before or after Stothard’s drawing. If not an arrow, how did Harold die? Dennis presents evidence from the accounts of William of Malmesbury, Henry of Huntingdon, Wace, adding that Matthew Bennett and Elisabeth van Houts have done much in recent years to improve Wace’s reputation as a reliable source of historical facts. Guy of Amiens’ version of Harold’s death in his poem “Song of the Battle of Hastings” is briefly examined and its skeptics are noted. Dennis presents ideas where the arrow-to-the-eye story may have originated and why the “hacking” episode was suppressed until about 1118. Includes a list of further readings and references. Dennis teaches history at Cardiff University.

544. Denny, Norman, and Josephine Filmer-Sankey. The Bayeux Tapestry: The Story of the Norman Conquest: 1066. New York: Atheneum, 1966. Notes: Published in London by Collins, 1984. This book, originally published in 1966, was written for a young readership (suitable for ages 10 to 15). Nearly the entire Bayeux Tapestry is presented in left-to-right order and in full color, however the publisher’s note on the reproduction states that the images from the Tapestry are presented on a substitute uniform background. A brief description of each scene accompanies the photographs, as well as the authors’ historical background notes. A postscript to the authors’ introduction explains why the Ælfgyva scene was omitted from their book: it is a “puzzle for scholars,” and it “contributes nothing to the story.” The endpapers are whimsical full-color maps of Bayeux Tapestry lands. The Bibliography 161

545. Dennys, Rodney. Heraldry and the Heralds. London: Jonathan Cape, 1982. Dennys presents a broad survey of heraldry, its historical development, its relation to politics and law, and heraldry today. On the subject of the Bayeux Tapes- try, he writes two paragraphs on the weapons and armor depicted, and points out that the designs and images shown on the shields are not heraldic in character, “nor were any charges remotely resembling them borne by any of their descendants.” Three times the author discusses William’s gonfanon held by Eustace of Boulogne, and argues that the Tapestry does not depict any papal flag, and notes that the scenes of the Brittany campaign show a similar flag, a similarity which may have resulted from assumptions by the English embroiderers of the Tapestry that William always used a gonfanon like the one at Hastings. Includes an index and a trilingual glossary of heraldic terminology.

546. Deschodt, Eric. “Hastings: Triomphe Du Droit.” Valeurs Actuelles 3217, no. 25 (1998): 64–66.

547. Deshairs, Leon. “Aux Beaux Jours De La Tapisserie.” L’Illustration (1939). Notes: Ten pages. Includes color images from the Bayeux Tapestry on the first page and references to it in the text.

548. Deuve, Jean. Guillaume Le Conquérant. Conde-sur-Noureau, France: Editions Charles Corlet, 1987.

549. ———. Les Operations Navales Normandes Au Moyen Age, 900–1200. Conde-sur-Noireau, France: Editions Charles Corlet, 2000.

550. Devenish, D. C., and W. M. Elliott. “A Decorated Axe-Head of Viking Type From Coventry.” Medieval Archaeology 11 (1967): 251–52. This brief piece focuses on an iron axe-head that was part of a large collection of mostly medieval material discovered by John Shelton over a long period of time in Coventry and donated to the Herbert Museum there in 1949. The piece, which includes a simple illustration of the decorated axe-head, concludes with a reference to the Tapestry: “It is possible that the axe is a relic of the alleged Dan- ish sack of St. Osburg’s Nunnery in 1016, but it would be unwise to stress this point, since the type continued in use throughout the century at least. In the Bay- eux ‘tapestry’ axes of this form are carried by armoured warriors on the English side.” Includes extensive notes.

551. DeVries, Kelly. Medieval Military Technology. Lewiston, NY: Broadview Press, 1992. DeVries states his wish to present the only scholarly work devoted solely to “all medieval military technology” amidst a profusion of works by “amateur 162 The Bibliography historians and antiquarians whose interests in the field are derived largely from their desires to replicate, in museums or in wargames, the arms, armor, and castles of the medieval warrior.” In a passage on dating the origin of mounted shock combat, DeVries notes that D.J.A. Ross, in defending his 1951 thesis, used the Bayeux Tapestry to support a date of origin between c. 1050 and c. 1150. The Tap- estry is also mentioned in discussions of the use of battle axes, maces, and clubs, designs painted on shields, the construction methods for motte-and-bailey castles, and the types of ships that were in William the Conqueror’s invasion fleet. Apart from these, DeVries includes a four-page passage devoted solely to the Bayeux Tapestry’s contributions to our understanding of Anglo-Norman armor, namely the construction and use of shields, the design of helmets and hauberks, and the unsatisfactorily explained rectangles on the breasts of the Tapestry’s hauberks. DeVries states that one of the Tapestry’s shortcomings is the inexact medium of “woven” tapestry. DeVries is professor in history at Loyola College, Baltimore.

552. ———. The Norwegian Invasion of England in 1066. Woodbridge, U.K.: Boydell Press, 1999. DeVries presents a background to and accounts of the Battles of Fulford Gate and Stamford Bridge. The Bayeux Tapestry is mentioned several times in discussions of weapons and shields and what they looked like. He also notes that although John of Worcester wrote in 1055 that the English were unaccustomed to cavalry warfare, Harold was nonetheless depicted in the Tapestry (and by William of Poitiers) as “fully proficient in fighting on horseback.” Includes extensive notes, maps, genealogies, a bibliography of original and secondary sources, and an index.

553. DeVries, Kelly, and Robert D. Smith. Medieval Weapons: An Illustrated History of Their Impact. Santa Barbara, CA: ABC-CLIO, 2007. Notes: Part of the Weapons and Warfare series

554. Dibdin, Thomas Frognall. A Bibliographical, Antiquarian, and Pictur- esque Tour in France and Germany. London: 1821. Notes: Other editions published in 1829 and 1838. A French translation was completed by Theodore Liquet, Paris in 1821. The author discusses his examination of the Bayeux Tapestry during a visit to the Hôtel de Ville in 1818.

555. Didier, Marie-Hélène. “The Bayeux Tapestry: An Example of Textile Embroidery, A Report on the Setting-Up of the 1982–1983 Research Project and Scientific Analysis.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 77–82. Caen, France: Presses Universitaires de Caen, 2004. Didier lists the reasons why the Deanery, home to the Bayeux Tapestry from 1913 to the early 1980s, was inadequate and unsafe for the textile. She provides a The Bibliography 163 fairly detailed, but economical, summary of the many decisions that went into the Tapestry’s move to its present home, the Old Seminary. The preliminary plans for the Tapestry’s restoration and cleaning are outlined, including a time frame, project financing, what types of scientific examinations were necessary, and who were the individuals involved in these. The tasks performed by the team of four restorers are listed as are the specialized analyses of the Tapestry by various labo- ratories and institutes. The work of Naomi Moore, responsible for carrying out archival and documentary research, as well as logging all activity related to the restoration and analysis of the Tapestry, is briefly described. A run-down of the “ingenious solutions” to re-hanging the Tapestry is provided. Unfortunately there are no diagrams or photographs of these in this article. Delays in the three-year project are blamed on administrative, political, and personal disagreements, but are not outlined in any detail. Didier questions whether or not the project could have taken different turns, such as a 100-meter long gallery, or “more radical” work on the Tapestry. She provides basic information about the regular inspections of the Tapestry and on the conditions of the current display, such as lighting, humidity, and temperature. Finally, Didier makes general comments on why it took so many years to make public the information obtained in this scientific study and states her hope that “if and when new plans for displaying it are considered, they will provoke rather less in the way of violent emotions.”

556. Digby, George Wingfield. “Technique and Production.” The Bayeux Tapestry: A Comprehensive Survey. ed Frank M. Stenton, 37–55. London: Phaidon, 1965. Notes: Second edition, revised and enlarged. Originally published in 1957 by Phaidon. The photographs reproduced in this book were taken in April 1956 by Percy Hennell. Digby addresses the Bayeux Tapestry in an appraisal of its uniqueness, a technical description of its production, and a discussion of the problems of its design and execution. He considers the embroidery achievements of the age (stoles, maniples, mantles) and places the Tapestry among them, however crude the Tapestry’s materials are compared to the silk and gold thread of the former. A robust paragraph is dedicated to the use and misuse of the word “tapestry” and offers a partial, and somewhat reasonable, excuse for the Bayeux Tapestry’s surname. The author compares the textural effects of the Tapestry’s laid-and- couched stitching method to other fill techniques used elsewhere in Europe at the time and comments on the “simple beauty” of the Tapestry’s materials and colors; the finer technical points of laid-and-couched work are then examined. The Tapestry’s dimensions and colors are briefly reviewed. The opinions of Charles Stothard and other named commentators on the quality of the Tapestry’s embroidery are noted. Digby discusses the use of laid-and-couched work through subsequent centuries and in various nations. The metallic composition of the needles that were probably used for the Tapestry is briefly noted. He considers various 164 The Bibliography primary sources for the activities of medieval embroidery and tapestry workshops, particularly the preparations of cartoons. He states that it is “not the place here to argue for or against the Anglo-Saxon or Norman origin of the embroidery,” but he does anyway: Digby celebrates the tradition of medieval English embroidery in a passage enumerating accomplishments of embroiderers and the demand for their finery. Digby discusses literary records that mention European narrative textiles, and focuses briefly on two sources: the poem of Baudri of Bourgueil, which seems to describe the Bayeux Tapestry, and the Historia Elien- sis, which provides a description of a textile illustrating the deeds of the Saxon ealdorman Byrhtnoth at the Battle of Maldon in 991. On surviving contemporary hanging textiles, the author surveys a poorly preserved fragment from the Os- eberg ship burial, the Scandinavian church hangings of Skøg, the Øverhogdal, Røn, Høyland, and Baldishol. Numerous other hangings from around Europe are briefly discussed. The use of long narrow textile hangings by Vikings aboard their ships and in their homes was, as Digby points out, a convention dictated by the layout of such limited spaces. He observes that the survival in Iceland of laid- and-couched work for woolen hangings, whereas elsewhere it disappeared, is indicative of this technique as characteristically Viking. Digby gives a run-down of the wars and upheavals which the Tapestry has had to endure in its centuries of existence. He writes a concise overview of the repairs done to the Tapestry and expresses his displeasure with the colors of the restorative embroidery threads used. Digby concludes with a few of the various and varied measurements of the Tapestry made in the past three centuries. Includes black-and-white photographs of the textiles discussed, but none of the Bayeux Tapestry. Includes notes.

557. Dillon, Patrick, and P. J. Lynch. The Story of Britain. Somerville, MA: Candlewick Press, 2011. Notes: Illustrations by P.J. Lynch. Cover title: The Story of Britain: From the Norman Conquest to the European Union. In their chapter on the Domesday Book, the authors mention the Tapestry and note that Odo “ordered a great tapestry to be made.” There is no mention of the Bayeux Tapestry in the index.

558. Dimbleby, David. “The Bayeux Tapestry-Seven Ages of Brit- ain-BBC One.” Web page, Available at http://www.youtube.com/ watch?v=F8OPQ_28mdo. The BBC’s David Dimbleby describes the historical significance of the Bay- eux Tapestry for the BBC One Series, Seven Ages of Britain. Duration: 4:57.

559. DMX Krew. “William the Conqueror.” Web page, Available at http:// www.youtube.com/watch?v=xfmjiZ_isso. A scrolling Bayeux Tapestry is used as the background for the music video for this catchy song by electronica/synth funk artist DMX Krew. The Bibliography 165

560. Dodwell, Charles Reginald. Anglo-Saxon Art: A New Perspective [OR “: New Perspectives”]. Ithaca, NY: Cornell University Press, 1982. Dodwell discusses the Bayeux Tapestry as part of a long tradition of epic tapestries and embroideries. He asserts that the Bayeux Tapestry was an “attempt to marry the requirements of a chronicle to the conventions of a literary genre, namely the chanson de geste.” The author claims that the Anglo-Saxons would have found the Tapestry “quite ordinary” as it lacked gold thread and precious stones which were their “hallmarks of excellence.” Dodwell makes brief remarks about men’s vestments. On the topic of goldsmithery, he discusses church weather-cocks, like the one in the Tapestry.

561. ———. “The Bayeux Tapestry and the French Secular Epic.” The Burl- ington Magazine 108, no. No. 764 (1966): 549–60. Dodwell begins his essay by questioning the intended venue of the Bay- eux Tapestry, pointing out several reasons that the Tapestry is too secular in content and tone to have been created for a church. Bishop Odo, who almost certainly commissioned the work, is characterized as less pious than worldly. Dodwell purports that the Tapestry was intended for one of Odo’s great palaces and notes that Beowulf, some French epic poetry, and the poem of Baudri of Bourgueil refer to textile hangings in secular palaces and castles. The Tapestry, the author goes on, has much in common with the chansons de geste, which he notes have been compared to modern cinema Westerns with their “thrills and spills of action” and battle scenes. The chanson epics and the Tapestry base their stories on actual historical events; they are both intended as entertainment and have similar motivations and characterizations; they both “reflect similar attitudes of mind” and use similar narrative devices. Treason and deception, common themes in the chansons, are themes present in the Tapestry; Dodwell goes into detail on the Tapestry’s development of these. He adds that types, more so than persons, are found in the Tapestry and are “in keeping with the traditions of the secular epic.” As a type himself, Harold’s character is briefly studied and is compared with Ganelon of The Song of Roland. Religion in the epics, the author notes, often supports the feudal system, and it functions the same in the Tapestry. The appearance of the comet in the Tapestry is not unlike the eclipses, storms, and flames from the sky in the French epics. The “editorial aside,” as Dodwell calls it, is a narrative device used in the epics to create anticipation in a brief interruption; and notes that the Tapestry does just this in the border scenes: the so-called “ghost ships” beneath the enthroned Harold and in the several fables. Finally, Dodwell points out that if his theory of a secular setting for the Tapestry were correct, there is no reason to believe that the Tapestry was completed by 1077, in time for the consecration of Bayeux cathedral. Includes notes. 166 The Bibliography

562. ———. “The Bayeux Tapestry and the French Secular Epic.” The Bay- eux Tapestry As a Social Document: Selected Readings. ed John Marshall Carter, 41–56. Lexington, MA: Ginn Custom Publishing, 1985. Notes: This chapter was reprinted from The Burlington Magazine, November 1966. The cover photograph of the Bayeux Tapestry was taken by John Marshall Carter. Line drawings in the book are by David Barron, art student at Georgia Southern College in Statesboro.

563. ———. “The Bayeux Tapestry and the French Secular Epic.” The Study of the Bayeux Tapestry. ed Richard Gameson Woodbridge, U.K.: Boydell Press, 1997. This article is annotated under the entry for its publication in Burlington Maga- zine in 1966.

564. ———. The Canterbury School of Illumination. Cambridge, U.K.: Cam- bridge University Press, 1954. Notes: First paperback edition published in 2010.

565. ———. “Epic of the Conquest.” The Observer (1965): 12–22.

566. ———. Painting in Europe: 800–1200. Harmondsworth, U.K.: Penguin Books, 1971. Notes: Part of The Pelican History of Art series, Nikolaus Pevsner, editor. Anglo-Saxon art historian Dodwell presents a survey of painting and manuscript illumination and drawings. In his introduction, he discusses the Bayeux Tapestry for a whole paragraph and points out that the Tapestry reminds us that not all Romanesque art was religious. Under the heading of Normandy in his chapter on French painting, Dodwell uses the Tapestry to typify the criss-crossing of Norman and Anglo-Saxon artistic influences. The only other references to the Tapestry are in the contexts of contrasting “highly symbolic representations of pride so usual in Romanesque art” with the English unromantic realities of warfare depicted in the Bayeux Tapestry, and in a remark comparing the Tapestry’s irrepressible forward motion with that of the wall painting of the church of Saint- Savin-sur-Gartempe.

567. ———. The Pictorial Arts of the West, 800–1200. New Haven, CT: Yale University Press, 1993. Notes: Part of the series Yale University Press Pelican History of Art, Nikolaus Pevsner, founding editor. In a 20-page chapter on Western embroidery from 800 to 1200, Dodwell dedicates some three pages to a description of the Bayeux Tapestry, its provenance, intended venue (which Dodwell asserts is a secular hall) and namely, its resemblance to the French chansons de geste. He also presents a list of seven The Bibliography 167 of Aesop’s fables from the Bayeux Tapestry and how each one underscores the Tapestry’s theme of treachery. Other references to the Tapestry occur in the following discussions: the legend that the Quedlinburg tapestries were made by an Abbess Agnes and her nuns; narrative technique in Anglo-Saxon painting; the Tapestry’s presentation of contemporary daily life; “Norman aversion to independent pictures in manuscripts;” and the appearances of comets in the Middle Ages. Includes detailed notes, select bibliography, and an index.

568. ———. “Secular Aspects of the Bayeux Tapestry.” Gazette De Beau Arts (?) 68 (1966): 227–32. Dodwell offers an abridged version of his “The Bayeux Tapestry and the French Secular Epic.”

569. Dolezal, Thomas Riley. Odo of Bayeux, Norman Bishop and English Earl: A Medieval Ecclesiastic. Las Cruces, NM: New Mexico State Univer- sity, 1985. Notes: Thesis/dissertation.

570. Douce, Francis. “Translations of a Memoir on the Celebrated Bayeux Tapestry by the Abbe De La Rue.” Archaeologia 17 (1814): 83–109.

571. Douglas, D. C. “The Bayeux Tapestry: A Comprehensive Review.” Eng- lish Historical Review 73 (1958): 282–86.

572. ———. “The Song of Roland and the Norman Conquest of England.” French Studies 14, no. 2 (1960): 99–116.

573. Douglas, David Charles. The Norman Achievement, 1050–1100. Berke- ley, CA: University of California Press, 1969. In this political, ecclesiastical, and cultural history of the Normans, the author introduces the Bayeux Tapestry in the context of its authority, but mentions the Tapestry seldom for the importance he places upon it as a source of Anglo- Norman history. The Tapestry is discussed very briefly in passages about chain mail, ship building, Channel crossing, mottes and baileys, and the Tapestry’s Canterbury origins. Includes a schedule of selected dates, select bibliography, and index.

574. ———. William the Conqueror: The Norman Impact Upon England. Berkeley, CA: University of California Press, 1964. Notes: Published by Yale University Press, New Haven, CT in 1999 as part of the Yale English Monarchs series. Also published by Eyre & Spottiswoode, London in 1966. 168 The Bibliography

Douglas, Emeritus Professor of History at the University of Bristol, presents a scholarly and enjoyable read on the life of the Conqueror and Anglo-Norman history. The Bayeux Tapestry makes only very brief appearances in this work in passages on the following: reasons for Harold’s journey to the continent, the solemnity of the oath scene, the fact that Florence of Worcester tells us that Harold was crowned by Archbishop Ealdred while the Tapestry tells us it was Archbishop Stigand, the image of what is likely William’s ship the Mora in the Tapestry, Odo rallying the troops at Hastings, and the Tapestry presenting the castles at Dol, Rennes, Dinant, and Hastings with “no substantial difference” between them in their construction. Includes several appendices, one of them a chronology of events in 1066; genealogical charts of Norman ducal dynasty, Old English royal dynasty, the Scandinavian connections brought in by Emma’s marriage to Cnut; the counts of Évreux and Eu; Herlève’s family; the counts of Maine and the Vexin; William fitz Osbern’s family; and counts of Brittany and lords of Richmond. Includes bibliography, maps, and an index. The volume features one full page black-and-white image of William from the Tapestry.

575. Douglas, David Charles, and George William Greenaway, ed. English Historical Documents, 1042–1189. New York: Oxford University Press, 1953. Notes: Part of the series English Historical Documents, Volume 2.

576. Dowling, Linda C. “Recent Studies in the Nineteenth Century.” SEL Studies in English Literature 1500–1900 39, no. 4 (1999): 791–825.

577. Drake, H. H. “The Bayeux Tapestry.” Notes and Queries 4 (1881): 245–46. Notes: Sixth series.

578. Dressler, Rachel Ann. Of Armor and Men in Medieval England: The Chivalric Rhetoric of Three English Knights’ Effigies. Burlington, VT: Ash- gate, 2004. Notes: GSU.

579. Driver, Martha W., and Sid Ray. Shakespeare and the Middle Ages: Es- says on the Performance and Adaptation of the Plays With Medieval Sources or Settings. Jefferson, NC: McFarland, 2009.

580. Drucker, Johanna. “Graphic Devices: Narration and Navigation.” Nar- rative 16, no. 2 (2008): 121–39.

581. Dubecq, Robert. “Un Eclairage Pour Guillaume Et Harold.” Revue Française De L’Electricité, no. 281 (1983): 50–51. A short piece discussing the new lighting system for the Bayeux Tapestry. The Bibliography 169

582. Duby, Georges. Art and Society in the Middle Ages. Cambridge, U.K.: Polity Press, 2000. Notes: Translated by Jean Birrell. Published in the U.S. by Blackwell Publish- ers. First published as Art et societé au Moyen Âge, extracted from Le Moyen Âge in the series L’Histoire Artistique de L’Europe, edited by Georges Duby and Michel Laclotte and published by Editions de Seuil, 1995, 1997. In this 119-page reprinted classic, Duby notes that “the rare vestiges of this secular art that survive, such as the Bayeux ‘tapestry’. . . testify to the virtuosity and the keen eye of the artisans then employed by the greatest feudal lords.” A black-and-white detail from the Tapestry is included.

583. ———. France in the Middle Ages 987–1460: From Hugh Capet to Joan of Arc. Oxford, U.K.: Blackwell, 1991. Notes: Part of the A History of France series. Translation of Le Moyen Age 987–1460 published by Hachette, Paris, in 1987. Translated by Juliet Vale. In his foreword, Duby comments on the use of physical force being limited to carrying out the duties of an “office.” Citing the embroidery, he goes on to write, “The sword, emblem of public office, was only unsheathed when it was carried in front of the office-holder or if he wielded it himself. Scenes from the Bayeux Tapestry, for instance, show William the Conqueror holding a naked sword when he sits in judgment. It was a simple sign of power, displayed when the ruler was attempting to establish peace through negotiations, with reference to previous experience and the body of accumulated lore on the subject.” In a chapter titled “The Principalities,” Duby discusses the growing influence of Frankish culture on the Normans, writing, “As the Normans gradually adopted Frankish culture, they were themselves thought of as Franks. The text beneath one of the scenes in the Bayeux Tapestry reads: ‘Here the English and the Franks fell in battle.’ It was the Franks who conquered England in 1066.” Later, describing the nature of motte and bailey castles, he suggests that this type of structure was the “popular image of a stronghold” and it is the depiction of “both Norman castles and towns presented by the embroiderers (probably English) of the Bayeux Tapestry around 1090.” Duby also offers a narrative on the Duke of Normandy receiving the vexillum, or standard of St. Peter. He insists that “We should not underestimate the significance of a symbolic gesture, such as the acceptance of a standard. It bound the recipient in the same way as the acceptance of arms. The scene in the Bayeux Tapestry showing William of Normandy arming Harold indicates that by this ceremony Harold became part of William’s household.” Includes a simple but lengthy chronology of events, a short, selective bibliography, and an index.

584. ———. The Legend of Bouvines: War, Religion, and Culture in the Middle Ages. Berkeley, CA: University of California Press, 1990. Notes: Translated by Catherine Tihanyi. Originally published as Le Dimanche de Bouvines by Gallimard in 1973. English translation is copyrighted by Polity Press. 170 The Bibliography

Duby offers a beautifully written prologue and commentary to a prosaic contemporary account by William the Breton on the subject of the Battle of Bouvines of 1214 between the Kings of France and Germany. In his commentary, Duby reminds readers that battles are “aimed at only one of the combatants, the opposing leader. This can be clearly seen in the Bayeux Tapestry . . .” He also draws parallel between William the Breton’s account and the Bayeux Tapestry: both depict clerics (Bishop Odo in the case of the Tapestry) who were not in battle to fight, but to offer spoken encouragement to the knights.

585. Ducarel, Andrew C. Anglo-Norman Antiquities Considered, in a Tour Through Part of Normandy. London: 1767. Notes: A French translation was published in Caen in 1823.

586. ———. Tapisserie De Bayeux. Caen, France: 1824.

587. Dufraisse, R. “La Tapisserie De Bayeux, Instrument De Propogande Anti-Anglaises a L’Époque Napoleonienne.” Annales De Normandie 13 (1963): 331–32.

588. Dupré, Ben. Where History Was Made: Landmarks of World History From Thermopylae to Ground Zero. London: Quercus, 2008. In the chapter on the Battle of Hastings, Dupré includes two large color images from the Tapestry in addition to a special sidebar section devoted to the embroidery and offering basic information on its dimensions, patronage, and role as a source of historical information. Another small special section addresses the legend of Harold’s death by an arrow in the eye. Dupré writes, “The story is almost as old as the battle itself, derived from the scene in the Bayeux Tapestry showing the death of a knight hit in the eye with an arrow, who was (perhaps) mistakenly identified as the king. Even if Harold was struck in the eye, it is likely that the blow was not fatal and that he died later at the hands of a group of Norman knights who burst through his bodyguard and hacked him to death.” This heavily illustrated volume includes an index and a list of titles for further reading.

589. Durand, Jean-Benoît, Nathalie Lescaille, and Estelle Vidard. William the Conqueror. Rouen, France: Normandie Junior Editions, 2008. Notes: Illustrated by Lauent Lolmede and Sandrine Lemoult. Cover series title: Normandy: Told to Children. This colorful 24-page booklet for young audiences presents the life story of William the Conqueror, along with supplemental passages on castles, feudalism, and the Bayeux Tapestry. The embroidery is referred to as the “first comic strip in history.” The text has a few notable errors. Includes a quiz and a list of The Bibliography 171

11 William-related tourist attractions. There are seven color photographs of the Tapestry including images on the front and back covers.

590. Durham, Keith. Viking Longship. Oxford, U.K.: Osprey, 2002. Notes: Illustrated by Steve Noon.

591. Duro, Cesareo Fernandez. La Tapiceria De Bayeux En Que Están Dese- ñadas Naves Del Siglo XI. Madrid: 1894. Notes: 22 pp.

592. Eardley, William. “Famous Trauma Victims: King Harold II.” Trauma 9, no. 2 (2007): 131–37. Eardley focuses his article on the Battle of Hastings itself and the events that precipitated it, providing a thorough outline of the exile and accession of King Edward the Confessor, the return of Edward the Exile from Hungary, the calami- ties brought about by Tostig and Harald Hardrada, and play-by-play accounts of the battle on October 14, 1066. Eardley examines the story of Harold’s blinding at Hastings, compares it to accounts of Harold’s death in Wace’s Roman de Rou, the Guy of Amiens’ Carmen de Hastingæ Proelio, Benoît de St. Maure, and William of Malmesbury, and the Bayeux Tapestry, noting that the Tapestry has Harold “surrounded by many ocular images” in the oath scene. Acknowledging the unreliability of the Tapestry, he also adds that there are major discrepancies between early drawings of the Tapestry and the work as we see it today with its relatively recent restorations. Eardley notes that Harald’s Saga has Harald Hardrada struck in the throat by an arrow which may have led to confusion that the English King with the similar name died with a similarly placed arrow. The author cites among his sources four popular non-scholarly websites.

593. Eccel, Josephine. “The Story in Pictures.” Calliope 11, no. 6 (2001): 24–31.

594. Edge, David, and John Miles Paddock. Arms and Armor of the Medieval Knight: An Illustrated History of Weaponry in the Middle Ages. New York: Crescent Books, 1996. This survey of knights’ armor and battle accoutrements cites the Bayeux Tap- estry often in discussions of helmets and their nasal guards, mail, padded armor, leg coverings, swords, scabbards, spears, axes, shields, archery, pennons, and hand-slings. Many full-color photographs of the Tapestry highlight the text. An illustrated appendix shows how mail was constructed. Includes an index and a very lengthy glossary. Edge is curator of the armory department of the Wallace Collection. Paddock is assistant curator at the Museum of the Order of St. John, St. John’s Gate, Clerkenwell. 172 The Bibliography

595. Edsel, Robert M. The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History. New York: Center Street/Hachette Book Group, 2009. Notes: Written with Bret Witter. Edsel writes a completely enthralling account (with fact-based yet fictionalized dialogue) of the “Monuments Men” and one woman who saved Europe’s art treasures from destruction in World War II. He gives a colorful narrative summary of the Bayeux Tapestry’s narrow escape from the Nazis. In a brief chapter entitled “Tapestry,” the Bayeux Tapestry serves as a backdrop of sorts beneath a dialogue that establishes the connections between a French museum official, an American museum administrator, and a female French spy. Includes a photograph of French officials inspecting the Tapestry as it was stretched across a table in 1944, and another photograph of two sides of a Bayeux Tapestry postcard sent by one of the Monuments Men to a colleague. Includes a useful list of the ten main characters, headshot photographs, and brief biographical sketch of each one.

596. Edwards, Joan. Crewel Embroidery in England. New York: William Morrow & Company, 1975. Notes: Also cited as published by B.T. Batsford, London, in 1975. Lecturer and embroiderer Joan Edwards presents a scholarly history of English crewel embroidery (decorative wool embroidery applied to the surface of fabric by following an outline applied to the fabric). The first chapter is dedicated to the Bayeux Tapestry, the last surviving example of English crewel work for six centuries. Beginning with a run-down of the Tapestry’s locations, perilous handlings, and important scholars throughout the centuries, Edwards then examines the practice of embroidery itself. She indicates that all embroidery is “best seen at eye level” and that perhaps Bishop Odo therefore did not intend this work to be hung in his cathedral at Bayeux. Further, the Tapestry depicts Odo as a violent man and he is nowhere in sight in the oath scene. Edwards also notes that William and Mathilda’s wedding clothes appear in the same 1472 cathedral inventory in which the Tapestry is first described. These observations lead Edwards to postulate that the Tapestry may have hung in the castle at Bayeux. She discusses the compositional arrangement of the objects in the Tapestry and the resulting rhythm. Also notable in her text: The embroiderers of the Tapestry were likely women as well as men as the harshness of crewel wools are better suited to men’s fingers; the needles that were used had large eyes; a description of the frames that held taut the lengths of textile for embroidery; the exact placement of the needle in relation to previous stitching; the embroiderers’ free rein in the color choices of wool to be used for each object depicted; and a reflection of what a modern embroiderer certainly feels when she sees the Tapestry in person. Edwards comments on early twentieth-century books on embroidery and one in particular (Embroidery, edited by a Mrs. A.H. Christie) which mentions the Tapestry in an article by William R. Lethaby. Also noteworthy is a photograph of a medallion (and of its watercolor The Bibliography 173 sketch) embroidered onto a cushion in Winchester Cathedral which depicts the Norman landing in Pevensey inspired by the Bayeux Tapestry’s ships. Includes an 850-year timeline which mentions the Tapestry and “fragments of the tomb of William of St Carilee worked 1060–1090” whose “pattern includes motifs similar to those on borders of Bayeux Tapestry.” Also includes five black-and- white photographs of Stothard’s drawings, and two full-color photographs of the Tapestry.

597. Efratas, Pierre, Marie-Catherine Nobecourt, Gilles Pivard, and Jean Renaud. La Tapisserie De Rollon, The Rollo Tapestry. Cully, France: OREP Editions, 2011. Notes: Paperback. Text in both French and English. English translation by Heather Costil. This full-color glossy bilingual souvenir book presents photographs and accompanying commentary of the entire “Rollo Tapestry,” a 22-meter embroidery very much resembling the Bayeux Tapestry in style, manner, and embroidery techniques. The Rollo Tapestry was conceived and completed in time for the 1100 year anniversary of the founding of Normandy by Rollo the Viking. The four members of the creative team each provide a brief essay of the challenges of his or her respective responsibilities for this ambitious project, three of them giving a nod to the Bayeux Tapestry. Several objects, animals, and people are unapologetically copied directly from the Bayeux Tapestry, yet the curious appearance of penguins, a figure that looks like Father Christmas, whimsical facial expressions, plus the use of foreshortening certainly give this work a handful of modern flourishes. Includes a list of the embroiderers who produced the Rollo Tapestry.

598. Egolf, Jamie. “Political Commentary and Dissent in the Tapestry and Cartoon Strip.” International Journal of Comic Art 11, no. 2 (2009): 432–46.

599. Embleton, Gerry. Medieval Military Costume. Marlborough. U.K.: Cro- wood, 2001. Notes: Part of the series Europa Militaria Special, No. 8.

600. Emile, Travers. “La Tapisserie De Bayeux.” Livre du millenaire de la Normandie, 153–56. Vol. 1. Rouen and Paris: G. Ficker, 1911.

601. Engel, Ute. “The Bayeux Tapestry and All That: Images of War and Combat in the Arts of Medieval England.” War and the Cultural Construc- tion of Identities in Britain. eds Barbara Korte, and Ralf Schneider, 61–91. Amsterdam: Editions Rodopi, 2002. Notes: A conference publication for Internationale Forschungen zur Allge- meinen und Vergleichenden Literaturwissenschaft, #59. 174 The Bibliography

Lampooning his title from the famous “1066 and All That,” Engel presents a summative overview of medieval English battle iconography in the Bayeux Tapestry and in manuscripts such as the Utrecht Psalter and the various permuta- tions of its copies, Ælfric’s Hexateuch, the Lambeth Bible, the Winchester Bible, and the Chronica Majora of thirteenth-century Benedictine monk Matthew Paris. These works are analyzed for their characteristic pictorial compositions and three main pictorial formulae: densely crowded scenes of cavalry attack with tumbling horses and fallen riders, hand-to-hand combat, and sieges of cities. Includes four black-and-white photographs of Tapestry scenes. Includes an expansive list of primary and secondary sources.

602. English, Barbara. “The Coronation of Harold in the Bayeux Tapestry.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 347–81. Caen, France: Presses Universi- taires de Caen, 2004. English, Emerita Professor of History at the University of Hull, presents an analysis of the people, places, and objects shown in Harold’s coronation scene in the Bayeux Tapestry, as well as a discussion of the Tapestry designer’s interpretation of Harold’s kingship. The inscription itself is first discussed, and English points out that the designer stated quite affirmatively that Harold was King of the English. The use of the word Rex on Harold’s and Edward’s coins is briefly mentioned. The arrangement of the figures in the scene has continental precedents in art and the author discusses Ottonian and Carolingian scenes that indicate a tradition of formulaic depictions as such. Harold’s throne is discussed at considerable length and English draws comparison with thrones depicted on coins, seals, manuscripts, as well as extant thrones. The crown, scepter, orb, sword, and robe are all examined in terms of their historical development as insignia of state and she discusses their depictions in art and on coinage, as well as archaeological evidence. In a passage on where the coronation took place, she states with certainty that it was either the abbey or the king’s hall at Westminster, because almost without exception, every king and queen of England after Harold was crowned there. To determine when the coronation happened, the author considers tradition (coronations on major church feast days), the writings of chroniclers, and the appearance of Halley’s Comet. She does not commit to a date and faults the Tapestry’s ambiguity about when it occurred. As far as who crowned Harold, English states that Stigand, as an archbishop who received his pallium from an anti-pope, and whose illegitimate office had been evidence enough for Norman chroniclers’ characterization of Harold’s kingship as void, still should not be ruled out as having been at least present at the coronation, if indeed it was Ealdred Archbishop of York as officiant. The author ends with remarks about what can be inferred about the Tapestry designer’s opinion of Harold as king. Al- though the designer had ample opportunity to present the coronation negatively, he didn’t. This, in turn, was indicative of the Normans’ feelings toward Harold in The Bibliography 175 the early years after 1066, which were far less hostile than they had become later after William had to repeatedly deal with rebellions, which victimized Harold’s reputation. Includes numerous photographs of the Tapestry, coins and seals, and other works of art discussed.

603. ———. “Towns, Mottes and Ring-Works of the Conquest.” The Medi- eval Military Revolution: State, Society, and Military Change in Medieval and Early Modern Europe. eds Andrew Ayton, and J. L. Price, 45–61. London: I.B. Tauris, 1998. Notes: Paperback. Originally published by Tauris Academic Studies in 1995. In a lengthy discussion of various types of pre- and post-Conquest construction, English comments heavily on the Tapestry, writing, “According to the Anglo-Saxon Chronicle, as soon as William’s men had recovered from their journey they built a castle at Hastings. The Bayeux Tapestry provides a graphic picture of the building of this castle with the legend ‘this man ordered that a castle be dug at Hastings’ camp (‘iste iussit ut foderetur castellum at Hestenga ceastra’). On two other occasions the Tapestry refers to Hastings by its name alone, but here the suffix ceastra is added. The wording suggests an earlier fortification was being adapted by the duke, for Hastings was an Anglo-Saxon burh within, or related to, an Iron Age hill-top fortress.” English also writes about scene reversals in the Tapestry, musing whether the castle at Hastings is a third scene reversal: “There is a curious feature about the fortification at Hastings shown in the tapestry. While it is generally assumed that the castles of the first months of the Conquest were built primarily to protect and to shelter the military commander and his staff, the Bayeux Tapestry shows the duke’s feast and his war council on the eve of battle being held, within buildings, before the construction of the motte began. It is accepted that on two occasions the tapestry reverses the normal order of events (the messengers sent to Guy de Ponthieu, and the death and burial of Edward the Confessor); is this a third such reversal? Or is the tapestry recording that the building of the motte was a development of the duke’s first camp, perhaps by the castellan?” In a note, English references the Tapestry scene featuring a burning house, connecting it to where “it is first recorded that the duke ‘ordered the English to evacuate their houses.’” The volume includes an index.

604. English, Edward D. Encyclopedia of the Medieval World: Volume I (A to L). New York: Facts on File, 2005. A brief entry on the Tapestry gives some background on the town of Bayeux and the installation of Odo as Bishop by William. It references the embroidery as “this nearly unique ‘canvas of the conquest,’ as it was long called” and that “in its present state seems incomplete.” The text also suggests the work is “nearly 250 feet.” A short list of titles for further reading is included with the entry as well as a black-and-white of the coronation scene spanning a half-page. 176 The Bibliography

605. Ericson, Eston Everett. “‘Reaving the Dead’ in the Age of Chivalry.” Modern Language Notes 52, no. 5 (1937): 353–55. Notes: Published by the Johns Hopkins University Press. Discussing how “stripping and spoiling” was “in abundance in the heroic age,” Ericson mentions the borders of the Bayeux Tapestry as examples of this “accepted practice in the eleventh century.” Both Beowulf and the Percival stories are other examples he uses.

606. Ettlinger, Leopold. “The Duke of Wellington’s Funeral Car.” Journal of Warburg and Courtauld Institutes 3, no. 3/4 (1940): 254–59. Acknowledging in the text of the article that “as a rule” the carrying of a body was preferred to the use of a simple hearse, Ettlinger writes in a note that there are a few cases of the use of a hearse. Here he cites the Bayeux Tapestry’s depiction of the funeral of Edward the Confessor. The article features several illustrations and extensive notes.

607. Evans, Angela Care. “The Saddle in Anglo-Saxon England and Its Eu- ropean Background.” In the Saddle: An Exploration of the Saddle Through History. ed Lauren Gilmour, 21–30. London: Archetype Publications, 2004. Notes: Paperback. This publication originates from a meeting of the Archaeo- logical Leather Group at Saddlers’ Hall in London on October 23, 2002. The one-day seminar, which produced the nine articles in Gilmour’s monograph, focuses much of its attention on early developments of the saddle, a topic of attention hitherto neglected, and includes Evans’ “The Saddle in Anglo-Saxon England and Its European Background,” which mentions the Bayeux Tapestry as an early visual source of the high-fronted saddle. Evans is an archaeologist and curator of Anglo-Saxon collections at the British Museum. Includes notes and a list of further readings for this article. No index.

608. ———. The Sutton Hoo Ship Burial. London: British Museum Publica- tions for the Trustees of the British Museum, 1986.

609. Evans, Joan. Dress in Mediaeval France. Oxford, U.K.: Clarendon Press, 1952. Evans presents a chronologically arranged illustrated history of her topic from 1060 to 1515. She comments briefly on the robes of state, the knee-length tunics, and the hose worn by the Bayeux Tapestry’s nobles, as well as Archbishop Sti- gand’s chasuble. Includes an index.

610. Evans, Joan, Christopher Brooke, George Zarnecki, John Harvey, Christopher Hohler, Richard Hunt, T. R. R. Boase, Donald King, and An- drew Martindale. The Flowering of the Middle Ages. New York: McGraw- Hill Book Company, 1966. The Bibliography 177

Notes: Edited by Joan Evans. Also published by Bonanza Books, New York, in 1985. This very large coffee-table book presents nine essays by various scholars and broad topics introducing the Middle Ages. Two essays mention the Bayeux Tap- estry. “Introduction: The Structure of Medieval Society” by Christopher Brooks discuss the Tapestry’s castles in a passage on the growing need for castles as the standard of living of the nobility rose from the eleventh through thirteenth centuries. In “King Death: Mortality, Judgment, and Remembrance,” T. S. R. Boase discusses death in battle and after a lengthy quote from E. A. Freeman about the death of King Harold, goes on to describe what the Tapestry apparently has to say about the matter. Includes a detailed horizontal timeline with great vertical depth across various aspects of culture and politics, and an index.

611. Evans, Martin Marix. D-Day and the Battle of Normandy. Andover, U.K.: Pitkin Guides, 2010. Notes: Paperback. Originally published in 2004. Text and photography by Martin Marix Evans. Acknowledgments note that additional material was written by William Jordan and additional photography was provided by David Playne and Jill McNeil. Includes a compact disc titled Montgomery and Churchill in Normandy, 1944, written and read by William Jordan. A full-color scene from the Bayeux Tapestry-inspired Overlord Embroidery is included with a caption noting that the scene includes King George VI, General Dwight Eisenhower, Commander-in-Chief of the 21st Army Group General Sir Bernard L. Montgomery, Chief of the Imperial General Staff Field Marshal Sir Alan Brooke, and Prime Minister Winston Churchill and that it “recalls three visits to Normandy: Churchill and Brooke’s on 12 June, Eisenhower’s on 15 June and the King’s on 16 June.” The 29-page guide is heavily illustrated with photographs and includes a map of Normandy and the D-Day beaches.

612. Evans, Michael. The Death of Kings: Royal Deaths in Medieval England. Hambledon, U.K.: 2003.

613. Ewing, Thor. Viking Clothing. Stroud, U.K.: Tempus, 2006. Notes: Paperback. Ewing, in this richly illustrated and readable study of what the Vikings wore, draws on archaeological, literary, and linguistic evidence for his presentation. In addition to describing clothes of Viking men and women, he provides wonderfully detailed information on textile manufacture, various weaves, sewing, dyeing, tapestry, embroidery, wedding clothes, and a delightful passage on clothes as gifts. The Bayeux Tapestry is mentioned often as evidence for what various garments were like: linens worn under wool garments, longer-skirted shirts, neck- holes, sleeves, split-leg skirts, feldir (cloaks), long gowns, and okulbroekr (ankle breeches). A brief passage on hairstyles makes passing mention of Norman 178 The Bibliography haircuts in the Tapestry being similar to a style visible in carvings on a wagon from the Oseberg excavation. Ewing discusses the Oseberg Tapestry extensively for its evidence of the appearance of Viking clothing and includes several images of it. Includes a bibliography and an index. There are no images of the Bayeux Tapestry.

614. What About the Bayeux Tapestry?—Si La Tapisserie De Bayeux M’éTait Contée/Le Point De Bayeux. Philippe Eyssalet. direction historique Elisabeth Ridel, Pierre Bouet, and François Neveux. Notes: Includes the short film Le Point de Bayeux on the Bayeux stitch, featuring Chantal James of Bayeux Broderie.

615. Fairholt, Frederick William. Costume in England: a History of Dress to the End of the Eighteenth Century. London: G. Bell and Sons, 1885. Notes: Third edition. Originally published by Chapman and Hall, London, in 1860 as Costume in England: A History of Dress from the Earliest Period till the Close of the Eighteenth Century: To Which Is Appended an Illustrated Glossary of Terms for All Articles of Use or Ornament Worn about the Person.

616. Fanning, Robbie, and Tony Fanning. Here and Now: Stitchery From Other Times and Places. New York: Butterick Publishing, 1978. The Fannings, a husband and wife team who both teach and write about embroidery, mention the Bayeux Tapestry in the introduction to the book’s section on linen. They discuss the history of embroidery and note that the Tapestry is “the most famous use of linen fabric” in France. Includes a bibliography and index.

617. Faraday, Cornelia Bateman. European and American Carpets and Rugs. Grand Rapids, MI: Decorative Arts Press, The Dean-Hicks Company, 1929. Notes: Subtitle/narrative on title page: “A history of the hand-woven decorative floor coverings of Spain, France, Great Britain, Scandinavia, Belgium, Holland, Italy, The Balkans, Germany, Austria and Early America; and of the machine-made carpets and rugs of Modern Europe and of the United States. With more than 400 illustrations of antique and modern European and American carpets and rugs, with thirty-two plates in full color, by the author Cornelia Bate- man Faraday.” Discussing how needlework “was for centuries particularly an English craft,” Faraday refers to Matilda as one who “is supposed to have embroidered what is known as the Bayeux Tapestry.” Includes an index.

618. Farmer, H. “Edward the Confessor, King of England, St.” New Catholic Encyclopedia, 96. Vol. 5. Detroit: Gale, Cengage Learning, 2003. Notes: Second edition. The Bibliography 179

This brief encyclopedia entry on Edward the Confessor offers one reference to the Bayeux Tapestry: “The tradition of his personal appearance, a long, bearded face with fair or white hair, remains constant from the Bayeux tapestry until the time of Henry VII.” A brief bibliography is offered at the end of the entry.

619. Farrant, John H. “John Collingwood Bruce and the Bayeux Tapestry.” Archeologia Aeliana: Miscellaneous Tracts Relating to Antiquity 25 (1997): 109–13.

620. Farry, Eithne. “The Reading Bayeux Tapestry.” 1066: The Hidden His- tory in the Bayeux Tapestry. Bridgeford, Andrew London: Harper Perennial, 2004.

621. Featherstone, Donald. Warriors and Warfare in Ancient and Medieval Times. London: Constable, 1997. Featherstone presents brief overviews of the weapons, gear, fighting style, and tactics of various nations/races from the earliest times through the Hundred Years’ War, including chapters on Saxons, Normans, and Vikings, plus a good summary of the events at the Battle of Hastings. The Bayeux Tapestry is mentioned for its information on Norman battle attire. Includes index.

622. Fell, C. Women in Anglo-Saxon England. London: British Museum Publications, 1984.

623. Feller, Judith M. “Horses and Horsemanship in the Bayeux Tapestry.” The Anglo-Norman Anonymous 9, no. 1 (1991): 3–4. Notes: A conference paper abstract.

624. Fettu, Annie. Queen Matilda. Cully, France: OREP Editions, 2005. Notes: Paperback. Translated by Heather Costil. Alternate title: Queen Matilda: Portrait of Queen Matilda, Spouse of Duke William. Fettu includes six color images from the Bayeux Tapestry as well as photographs of the Tapestry on exhibit and the museum building where it is housed. The Alfred Guillard painting “Queen Matilda Working on the Bayeux Tapestry” is also featured. Additionally, she provides a two-paragraph subsection on the work where two statements stand out, perhaps the product of translation. The first is “We can say, however, with certitude that Matilda admired the tapestry on the 14th of July 1077, during the consecration of Bayeux Cathedral where Matilda, William and their children were present. It was the first time that the tapestry was exhibited in the nave of the cathedral and admired by all.” The second is: “It also offers a rich source of information on daily life in the 11th Century with frescos depicting agriculture, hunting, meals, castles and churches.” A caption under a 180 The Bibliography scene depicting William’s ship, the Mora, suggests that the figure on the prow “represents a child, reminding us that Matilda was pregnant at the time of the Conquest.” Later, a caption under a tree image from the Tapestry suggests that it symbolizes Matilda and William’s many descendants. Fettu also offers some discussion on the Ælfgyva scene, including whether or not the figure is Agatha, William the Conqueror’s daughter. The image from the Tapestry showing intertwined birds is used on every page as decoration around page numbers. Includes a bibliography and a map titled “Matilda’s Normandy” featuring contemporary monuments and places where Matilda visited or had residences.

625. ———. William the Conqueror. Cully, France: OREP Editions, 2000. Notes: Paperback. Translated by Brian Greenhalgh. In a section on the preparations for the Conquest, Fettu writes of the vexillum given to William: “The Pope, convinced by the case put before him, gave his as- sent to the reconquest; and what is more, he entrusted William with the ‘Vexillum Sancti Pietri’ (The Standard of Saint Peter: a white flag with a cross of gold that the Bayeux Tapestry shows the Duke of Normandy flying proudly). Thus virtually with the Pope’s blessing the Norman expedition took on the character of a holy war, seen as a crusade against the usurper.” Includes nine color images of the Tapestry, occasionally with misplaced captions. A decorative border on pages with text consists of a watermark-like image of the embroidery along with superimposed repeated images of William, also of the embroidery. There is no index.

626. Fettu, Annie, and Stéfane William Gondoin. William the Conqueror in 58 Stages. Cully, France: OREP Editions, 2009. Notes: Map/informational brochure (35”w x 25”h). French and English. Al- ternate title: William the Conqueror: The Stages of His Life. Translation into English by Lesley Coutts and Véronique Mauger. A lengthy full-color image of a Tapestry scene is included as is a color image of William on the brochure’s cover. References to the Tapestry are made in the text under the entries for Bayeux. Numerous photographs of buildings and landscapes in Normandy are included. The document offers significant historical narrative.

627. Ffoulkes, C. J. “European Arms and Armour.” Social Life in Early Eng- land: Historical Association Essays. ed Geoffrey Barraclough, 125–38. New York: Barnes & Noble, 1960. Notes: Second edition. Ffoulkes provides an overview of weapons and armor that appear in Medieval England. The Bayeux Tapestry is mentioned for the detailed information it provides on what such items looked like. Includes a small chart detailing the various ways the Tapestry depicts the texture of armor. The Bibliography 181

628. Ffoulkes, Charles. Arms and Armament: An Historical Survey of the Weapons of the British Army. London: George G. Harrap and Company, 1945. Notes: Foreword by Field-Marshal Sir Claud W. Jacob. In his first chapter, “Armour and Weapons,” Ffoulkes writes about the Tap- estry’s illustration of the knight at the Battle of Hastings: “His helm is certainly most practical, for its pointed shape is the first attempt to provide that ‘glancing surface’ which is such a feature of later plate-armour, and the nasal is a fair defence to nose and eyes against a cut. The shield appears almost entirely useless, for it is of such a size that it could only be used to protect the left side and could not be moved rapidly across the horse’s neck and high arçon of the saddle. The body, arms, and thighs are protected either by quilted linen, leather with plates or rings superimposed, or with actual mail. It is impossible to tell from the tapestry which fabric is intended; possibly the mail, an expensive fabric, was only worn by the leaders. Whatever the make of the defence might have been, it must have been heavy and cumbersome, restricting free movement, specially if the wearer were dismounted.” A drawing based on an image of a mounted knight on the Bayeux Tapestry is included. The book includes numerous drawings and photographs, a list of works consulted arranged by subject, and an index.

629. Ffoulkes, Charles John. The Armourer and His Craft, From the XIth to the XVIth Century. New York: Benjamin Blom, 1967. Notes: Reissue. Published by Ayer Publishing in 1972. Originally published by Methuen & Co., London, in 1912. Ffoulkes presents a study of how armor was made and maintained. The Bay- eux Tapestry receives a brief mention in a chapter on the wearing of armor: “The Bayeux Tapestry shows us the wounded and dead being stripped of their hauberks, under which nothing was apparently worn . . . these hauberks were probably of quilted fabric.”

630. Fiero, Gloria. The Humanistic Tradition Book 2: Medieval Europe and The World Beyond. New York: McGraw-Hill Humanities/Social Sciences/ Languages, 2010. Notes: Sixth edition. Includes a vivid, full-color detail from the Tapestry on the cover.

631. Fingeroth, Danny. The Rough Guide to Graphic Novels. New York: Rough Guides/Penguin, 2008. Notes: Fingeroth offers a history of the literary comic book and mentions the Bayeux Tapestry as an early example of sequential art. This reference to the Tapestry is also quoted in Jane Card’s article titled “Seeing the Point: Using Vi- sual Sources to Understand the Arguments for Women’s Suffrage” in Teaching History. 182 The Bibliography

632. Finn, Widget. “The Community Taking on the Completion of the Bay- eux Tapestry.” The Telegraph, 14 November 2012. This article describes the genesis for the idea of embroidering an imagined missing end to the Bayeux Tapestry, a project which ended up involving much of the small island of Alderney in the English Channel.

633. Finseth, Claudia Riiff. Scandinavian Folk Patterns for Counted Thread Embroidery. Seattle, WA: Pacific Search Press, 1987.

634. Fisher, Ed. “Caprichos.” The Antioch Review 59, no. 2 (2001): 515–17. Notes: This is the “Anniversary Issue: Sowing Words for Sixty Years.” Fisher has drawn a one-panel cartoon lampooning the Bayeux Tapestry with items “to go with the Tapestry:” the Bayeux Parquetry, Cutlery, Basketry, and Slip-Covers, all designed to look like Bayeux Tapestry embroidery work.

635. Fitzhugh, William W., and Elizabeth I. Ward, eds. Vikings: The North Atlantic Saga. Washington, DC: Smithsonian Institution Press in association with the National Museum of Natural History, 2000. Notes: This publication was prepared by the Arctic Studies Center at the Na- tional Museum of History as part of an exhibition by the same name. Preface by Hillary Rodham Clinton. Paperback. Three vivid color photographs of Bayeux Tapestry scenes are included in Arne Emil Christensen’s “Ships and Navigation” and Neil S. Price’s “‘Laid Waste, Plundered, and Burned’: Vikings in Frankia.” Christensen’s captions date the Tapestry to 1077 and note it contains “the only contemporaneous illustration of Viking ship construction.” They also point out that the “tapered sails are likely an artistic convention: Viking sails were square and were made of oiled woolen cloth.” Includes index.

636. Flambard Héricher, Anne-Marie. “Archaeology and the Bayeux Tap- estry.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 261–87. Caen, France: Presses Universitaires de Caen, 2004. The crux of Flambard Héricher’s article is that the Bayeux Tapestry should now been seen as more a reliable source for archaeological evidence than has been previously thought. Tapestry images that are compared against archaeological evidence include: motte-and-bailey earthworks and castles, keeps and palisades, access to the motte, construction of the motte, palaces and seigniorial dwellings, peasant dwellings, roofing material and construction, walls and openings, stone houses, ships and sailing, hull design, rowing and ship decoration, agriculture, military objects, and food and dining. Includes several full-color photographs from the Tapestry, as well as photos of extant buildings. Diagrams and reconstructive drawings of mottes, baileys, and castles are included. Illustrations The Bibliography 183 of ships and especially domestic dwellings indeed look very much like the ones in the Tapestry. Drawings of swords, spearheads, spurs, and vases recovered from archaeological finds are also useful. Labeled diagrams are in French. The author is professor of medieval history at the University of Rouen.

637. Flatman, Joe. Ships and Shipping in Medieval Manuscripts. London: The British Library, 2009. Flatman examines maritime technology and culture presented in illuminated manuscripts in this richly illustrated full-color work. The Bayeux Tapestry is mentioned briefly three times for its “useful documentary evidence” and “enormous insight” into Viking shipbuilding traditions. Includes one Tapestry photograph, a glossary, and an index.

638. Fleming, Robin. “Acquiring, Flaunting and Destroying Silk in Late Anglo-Saxon England.” (2013). Notes: This is a summary of Fleming’s article in Early Medieval Europe, volume 15, 2007. Fleming discusses the popularity of silk in late Anglo-Saxon England and examines its economic importance.

639. Fleming, William. Art and Ideas. New York: Holt, Rinehart and Win- ston, 1980. Notes: Sixth edition.

640. Fletcher, Richard. Bloodfeud: Murder and Revenge in Anglo-Saxon Eng- land. London: Allen Lane/The Penguin Press, 2002. Notes: Fletcher, in a discussion of the surviving sources that provide answers about the succession in 1066 (including the Bayeux Tapestry), notes that they are “variously, laconic, discreet, prejudiced or ambiguous.” He goes on to say, “These bones have been picked over so often and so thoroughly by historians of the Norman Conquest that not a morsel of new sustenance remains.” Later, he writes of the Tapestry’s depiction of a group of people looking with wonder at Halley’s comet. The embroidery’s mentions are contained in a narrative with numerous comments on Tostig and Harold. Includes chronological tables, a bibliography divided by chapter, and index.

641. Flint, Valerie I. J. “The Bayeux Tapestry, the Bishop and the Laity.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 217–33. Caen, France : Presses Universi- taires de Caen, 2004. Flint, Emerita Professor of History at the University of Hull, presents her findings of monastic and lay reception of the Bayeux Tapestry by examining the Tapestry “sideways” and “backwards” via two thirteenth-century artifacts: a 184 The Bibliography pair of tapestry curtains, “the Richard of Barking tapestries,” that hung in West- minster Abbey (now lost) and the extant Hereford Mappa Mundi. Regarding the Richard of Barking curtains, it should be noted that one of them is known to have depicted scenes from the life of Edward the Confessor; they were for monks’ con- templation. The Hereford map is a large drawing on vellum attempting to depict all world geography known to Europeans at the time. Flint observes that it, like the Tapestry, contains much that glorifies hunting and warfare, even touches of obscenity, and was intended to “inspire in those laity who confronted it a great sympathy for properly-directed Christian blood-sports and warfare, and for the place their bishop had played.” The Bayeux Tapestry, despite its overt secularity, which Flint accounts for in detail, was created for an ecclesiastical setting for the laity to observe. Odo, the author states, designed the Tapestry “as a deliberate counter to the ambitions of the Gregorian papacy . . . and as a means of reinforcing his threatened status as a feudal bishop.” The Tapestry, Flint asserts, upholds the message that laity who were wary of Gregorian reforms “might still have a powerful ally in their own bishop.” The Tapestry could even have been offensive to William as it diminished the Conqueror’s role in the Conquest to one lower than Odo’s, who made “William’s victory dependent on the power of the bishop to enforce the judgment of God.”

642. Focillon, Henri. The Art of the West in the Middle Ages, Volume I: Ro- manesque Art. London: Phaidon, 1969. Notes: Second edition. Edited and introduced by Jean Bony. Translated from the French by Donald King. Glossary by P. Kidson. First published by Phaidon in 1963 and distributed by the New York Graphic Society Publishers in Greenwich, CT. Cover title: The Art of the West, Part One: Romanesque. Also cited as: The Art of the West. Alternate title: The Art of the West: Romanesque Art. Original French text titled Art D’Occident first published by Librairie Armand Colin, Paris. The Bayeux Tapestry is referenced in both the text and the extensive notes in Focillon’s chapter on Romanesque decoration. He writes in the main text, “From an early date Romanesque art had utilized for the decoration of palaces and religious buildings the figured textiles, tapestries or embroideries which had continued the tradition of large-scale historical painting. Of these we possess one remarkable example, the ‘telle du Conquest d’Angleterre’ (cloth of the conquest of England), traditionally attributed to Queen Matilda, which was formerly hung up on St. John’s Day in the cathedral of Bayeux. In this curious masterpiece, the Oriental bestiary, reduced to a few motifs, accompanies in two parallel bands the narrative of the military and naval operations of the Normans.” In Focillon’s notes, he writes of the apartment of Adela, daughter of William the Conqueror, and how it was “decorated with hangings of biblical and historical scenes.” While he does cite Leve’s La Tapisserie de Bayeux (Paris, 1919), he does not reference the poem from which this description is taken. He goes on to suggest that the Tapestry is “of Queen Matilda” and “made up from eight pieces of linen, joined The Bibliography 185 by fine seams.” Further describing the work, Focillon writes: “The wools are of eight colours: three shades of blue, two of green, a red, a yellow tending to buff, and a dove-grey. The various sections, which differ in certain respects, particularly in the proportions of the figures, were perhaps begun simultaneously by several groups of workers.” In an interesting comment on the Tapestry’s patronage, the author further writes in the notes that, “According to some writers, the embroidery was ordered and directed, not by the wife of the Conqueror, but by another Matilda (daughter of Henry I of England and wife of the emperor Henry V) who died in 1167.” Focillon does acknowledge that “others” believe it was made at the direction of Bishop Odo. Additionally, he suggests that the “basic work now” is Stenton’s The Bayeux Tapestry (London, 1958). Includes several pages of black-and-white photographs, all architectural. An index and a superb, lengthy glossary are also included.

643. Foote, Timothy. “Tapestried Tales of Two Rough Channel Crossings.” Smithsonian 25, no. 2 (1994): 68–81. Notes: Alternate title from the issue’s table of contents: D-Day and the Battle of Hastings: A Common Thread. In a piece largely about the Overlord Embroidery, “a Bayeux Tapestry in reverse,” depicting the Allied invasion of Normandy in June 1944, Foote provides a very lively and casual, yet highly informative, article about the two textiles and the stories they tell and of course several side-by-side comparisons of the two works. His passages on the Bayeux Tapestry discuss the Battle of Hastings, Odo’s commissioning of the work (“Be sure to put me beside William in the pre-battle dinner,” he imagines Odo telling his embroiderers), and the Tapestry’s history. Unlike most articles on the Overlord Embroidery, this one discusses the Embroidery’s artist Sandra Lawrence in some detail. The author also provides interesting details on Lord Dulverton, the Embroidery’s patron, the manufacture of the Embroidery, corrections made to it, and impresses upon readers his own observations of the Embroidery’s potential for emotional impact on audiences. Includes numerous full-color photographs of the Tapestry and the Embroidery.

644. Forde-Johnston, James. Castles and Fortifications of Britain and Ire- land. London: J.M. Dent and Sons, 1977. Archaeologist Forde-Johnston traces the story of castles and fortifications of the British Isles from prehistoric times through the nineteenth century. He is grateful to the Bayeux Tapestry for providing information on what the timber structures atop mottes looked like; he adds that the Tapestry’s images of them may not be from the embroiderers’ imaginations and that they may reflect “the normal practice of embellishing such structures with painting and carving.” In a passage on the construction of mottes, he points out that the Tapestry shows mottes composed of alternating horizontal layers of material, possibly stone, clay, peat, chalk, rubble, and earth. Includes a bibliography and an index. 186 The Bibliography

645. Forgeot. “Les Chevaux De La Tapisserie De Bayeux.” Annuaire De La Societé De L’Agriculture, Des Sciences Et Industrie De Lyon 72 (1908): 42–50.

646. Forte, Angelo, Richard Oram, and Frederik Pedersen. Viking Empires. Cambridge, U.K.: Cambridge University Press, 2005. This “definitive new history” examines five centuries of Viking civilization and is “the first study of the global implications of the expansion, integration and re-orientation of the Viking world.” The authors provide a new account of the decline of the Viking era, arguing that the Scandinavian kingdoms did not decline suddenly, but rather they were gradually absorbed “into the project of the Crusades and a refocusing of imperial ambitions on the Baltic and eastern Europe.” The Bayeux Tapestry is mentioned in a passage on formal and informal depictions of ships from the eighth to the eleventh centuries. In a discussion on shipbuilding, accompanied by a photograph of the corresponding Tapestry scene, the authors note the Tapestry does not show workers using saws and that modern examination of wood planks worked for ships shows evidence of axe and possibly adze cuts. Questioning how much Scandinavian ship-building traditions had in common with those of the British Isles, the authors state that the Tapestry indicates that Anglo-Saxon vessels may have been heavily influenced by Scandi- navian ideas. The Tapestry is mentioned along with the Bryggen stick and “other graffiti” as depicting animal heads on ships. Shields hung over a ship’s sheer- strake, while stereotypical, is not supported by the Tapestry, and the authors go on to examine the practicalities and realities of shields placed on a ship’s outside. The caption for the Tapestry photograph accompanying this passage notes that the rudder depicted is of the Viking type, and that the riggings shown provide a good impression of their complexity. Included are several photographs of the construction and operation of modern replicas of these ships. The Tapestry’s depictions of mast stays running fore and aft is mentioned. A full page on rudders mentions the Norman fleet in the Tapestry. Attempting to pinpoint a historically accurate definition for the ship-type karfi, the Tapestry’s vessels loaded with horses are noted for possibly being that type. The Tapestry’s depiction of a lead line for sounding water depths is mentioned in an intriguing discussion of navigation. Includes a bibliography and an index. Forte is professor of commercial law at the University of Aberdeen and a specialist in maritime law. Oram is senior lecturer in Scottish medieval history and environmental history at the University of Stirling. Pedersen is lecturer in history at the University of Aberdeen.

647. Fossi, Gloria. Romanesque & Gothic. New York: Sterling, 2008. Notes: Originally published in Italian by Guinti Editore S.p.A., Florence- Milan, with the title Romanico e Gotico. Oddly, the Bayeux Tapestry is referenced in a discussion of small art objects, like chess pieces, commissioned by lay persons. The author notes it was found under the flooring of the Bayeux Cathedral and was intended to be shown on The Bibliography 187 religious feast days. Fossi, in a color image caption, references the Tapestry as Norman manufacture. Includes bibliography and index.

648. Fossier, Robert, ed. The Cambridge Illustrated History of the Middle Ages II: 950–1250. Cambridge, U.K.: Cambridge University Press, 1997. Notes: Translated by Stuart Airlie and Robyn Marsack. First published in French as Le Moyen Age 2. L’Eveil de L’Europe 950–1250 by Armand Colin, Paris in 1982. Fossier, a professor of medieval history at the Université de Paris 1, uses images from the Bayeux Tapestry to illustrate the Church of England as a supporter of royal power, weaponry used by Anglo-Saxon nobles, and the migration of the Normans. A scene from the Tapestry is used as a full dust jacket illustration.

649. Foster, Joseph. Some Feudal Coats of Arms and Others, Illustrated With 2,000 Zinco Etchings From the Bayeux Tapestry, Greek Vases, Seals, Tiles, Effigies, Brasses, and Heraldic Rolls. Oxford, U.K.: James Parker and Com- pany, 1902. Foster, who extensively quotes Frank Rede Fowke’s The Bayeux Tapestry: A History and Description in his opening “Heraldic Introduction,” writes: “The symbols of the Normans, at the Conquest, represented in the much-debated Bayeux Tapestry next claim our notice. Mr. Fowke, the latest historian of the Tapestry, recites at length the opinions of Bolton Corney, M. Thierry, Dr. Lin- gard, Mr. Freeman, and many others, with whom he agrees in regarding it as a contemporary work, but in no way associated with Queen Matilda, though probably made under the orders of Bishop Odo by Norman workpeople at Bayeux for their church of Bayeux.” Significant narrative from Fowke regarding the depiction of pre-heraldic devices on the Tapestry. Two rudimentary drawn and colored images from the Tapestry are included with brief captions. The book is heavily illustrated and there is no index.

650. Fowke, Frank Rede. The Bayeux Tapestry: A History and Description. London: George Bell and Sons, 1898. Notes: Original edition published by The Arundel Society, London in 1875, under the sanction of the Science and Art Department of the Committee of the Council on Education. Reprinted by Scholarly Press, St. Clair Shores, MI, in 1971. Paperback published by Nabu Press in 2010. Fowke’s important contribution to Bayeux Tapestry studies begins with a history of the Tapestry from the Cathedral inventory of 1476 mentioning it through the late nineteenth-century photographic reproduction of it on display in the South Kensington Museum. He then goes into the technical aspects of the Tap- estry’s production and examines the evidence that point to Odo as the Tapestry’s patron. Fowke then presents 111 pages of very fine analysis of each scene of the Tapestry, with historical background, his own observations, and cites recent 188 The Bibliography research. Includes 79 plates of Tapestry images in which “advantage has been taken of a method of photographic reproduction recently invented . . . [which] avoids the employment of a ‘mesh’ and consequently obviates the well-known chequered appearance in the picture which is inseparable from the ordinary ‘process block.’” Includes index.

651. Fox-Davies, Arthur Charles. A Complete Guide to Heraldry. New York: Bonanza Books, 1978. Notes: Reprint of the 1909 edition published by Dodge Publishing Co., New York. Illustrated by eight plates in color and nearly 800 other designs, mainly from drawings by Graham Johnston. Reprinted in paperback with a special foreword by Skyhorse Publishing, New York, in 2007. Fox-Davies’ large volume serves to help decipher the symbols, plants, animals, and human figures used in heraldic designs. Discussing the origins of heraldry, he acknowledges that it did not exist at the time of the Norman Conquest, as evidenced by its absence from the Bayeux Tapestry. He quotes more than a page of Woodford and Burnett’s “Treatise on Heraldry” in which those authors state that the Tapestry fails to produce evidence of heraldry and that if William the Conqueror indeed had a coat of arms, it certainly would have been included in the Tapestry. Includes index.

652. Foys, Martin K. “Above the Word, Beyond the Page: The Past and Present Dilemma of Bayeux Tapestry Scholarship.” Envoi 8 (1999): 87–103.

653. ———. “All’s Well That Ends: Closure, Hypertext, and Missing End of the Bayeux Tapestry.” Exemplaria: A Journal of Theory in Medieval and Renaissance Studies 15, no. 1 (2003): 39–72. This article appears as a chapter in Foys’ Virtually Anglo-Saxon: Old Media, New Media, and Early Medieval Studies in the Late Age of Print. The annotation is included under the citation for the book.

654. ———. The Digital Edition of the Bayeux Tapestry. Woodbridge/Leices- ter, U.K.: Boydell & Brewer/SDE, 2003. Notes: CD-ROM The most outstanding feature of Foys’ celebrated and very useful edition of the Bayeux Tapestry is that users can scroll through the entire Tapestry uninterrupted at various levels of magnification. The edition’s many features and cross-referenced links make for fascinating and enjoyable exploration of many aspects of the Tapestry and information about it. Users can instantly jump to any of the 172 scenes in the Tapestry, view English translations of the Latin inscriptions, turn on and off Foys’ scene-by-scene commentary, and toggle back and forth among the original Tapestry and the reproductions by Montfaucon, Stothard, and the Leek Embroidery Society. A basic genealogical chart of the Normans and English has The Bibliography 189 clickable names that open biographical sketches, with cross-referenced links in the text. A “click map” of Tapestry lands contains links that open passages on the historical significance of each place, with cross-referenced links; the map utilizes animated arrows that enable the user to visualize the physical movement and geography in the Tapestry in chronological order. An animated map of the battlefield of Hastings and a 360-degree panoramic photograph of it are included along with commentary and background information. A bibliography of several hundred entries is keyword-searchable. The “library” feature lists numerous primary and later medieval sources such as “The Ship List of William the Con- queror,” William of Poitiers’ Gesta Guillelmi, the Anglo-Saxon Chronicle, and many others; users can read a brief what-you-need-to-know summary of each of these ancient works and click on the titles to read extensive excerpts from the works, plus more detailed commentary and background information, notes, and bibliographic information on modern editions and scholarship of these works. The “museum” feature presents photographs of actual places, extant objects, contemporaneous art works, and stitches from the reverse side of the Tapestry for comparison with Tapestry images either side-by-side, or for toggling back and forth between them. The illustrated glossary contains four lists: people, places, Tapestry details, and events. Ideal for classroom use or for presentations, users may easily create custom slide shows of panels of the Tapestry, while maintaining full maneuverability among all the other features. Scenes and screenshots may be easily printed.

655. ———. “Pulling the Arrow Out: The Legend of Harold’s Death and the Bayeux Tapestry.” The Bayeux Tapestry: New Interpretations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 158–75. Rochester, NY: Boydell Press, 2009. Foys traces the chronological development of the accounts of Harold’s death by an arrow to the eye. He contends that the Bayeux Tapestry did not originally include an image of Harold having been struck in the eye by an arrow. Noting that none of the eleventh-century literary accounts of the Battle of Hastings mentions this particular manner of Harold’s death, the author shows how, in the twelfth century, an arrow begins to appear in the stories (William of Malmesbury, Henry of Huntingdon) and that the arrow eventually makes its way over the years to Harold’s eye (Wace and later accounts). With an excellent and informative set of 26 photographs of the Tapestry drawings of Benoît, Montfaucon, Stothard, and of the Tapestry today, Foys encourages examination and criticism of what has come down to us as Stothard’s “correction” of the figure said to be Harold pulling an arrow from his eye, an act that Stothard may have done to “[realign] the Tapestry to better fit later literary versions.” He also examines Bernstein’s discussions of the 17 mysterious needle-holes in the figure that is surely the fallen Harold. Foys also discusses identifying the Tapestry’s figures by name via the positioning of the text above (or not above) their heads, and how this may help us determine 190 The Bibliography how many Harolds are in the scene of his death. A study of the compositional arrangement of pictorial elements is also examined to determine who Harold is in this scene, plus Foys illustrates how a canonical work such as David Wilson’s The Bayeux Tapestry with its “fixed frames” and placement of Harold’s death in the center of a two-page spread becomes a “selective quotation and framing of the Tapestry’s continuous narrative” that colors our perception of “what exists literally and formally.”

656. ———. Virtually Anglo-Saxon: Old Media, New Media, and Early Me- dieval Studies in the Late Age of Print. Gainesville, FL: University Press of Florida, 2007. This title, written while Foys was an associate professor of English at Hood College, Maryland, is a collection of essays on how five centuries of print culture have impeded modern viewers’ abilities to interpret medieval text and art in the same ways that Medieval persons did. His chapter “Hypertextile: Closure and the Missing End of the Bayeux Tapestry,” describes the possible content of the Tapestry’s ending, and discusses the possibility that what we see as the end today was indeed the intended ending, or perhaps that it was never completed. The principles of hypertext (a term coined by information technology pioneer Theodore Nelson in the 1960s) are applied by Foys to the Tapestry in that the Tapestry does not consist of a set sequence of information to be read strictly from left to right, as in print media, but rather as a network of blocks of information connected by innumerable pathways of addressed links. Foys indicates that his digital edition allows viewers to interact with the Tapestry hypertextually. Photographs include images of the Tapestry captured directly from Foys’ Bayeux Tapestry Digital Edition including the digital navigation tools and frames. Includes five pages of notes for this article.

657. Foys, Martin K., Karen Eileen Overbey, and Dan Terkla, eds. The Bayeux Tapestry: New Interpretations. Rochester, NY: Boydell Press, 2009. This collection of ten essays on the Bayeux Tapestry is the outcome of three events: a 2005 NEH seminar at Yale University, “The Bayeux Tapestry and the Making of the Anglo-Norman World,” sessions on the Tapestry at the 12th In- ternational Medieval Congress in 2006, and a conference at the British Museum on the Tapestry, “The BT at the BM” in 2008. Notable are several images of Tapestry characters’ arrows to the head taken from the Tapestry itself, and from the drawings of Stothard, Benoît, Montfaucon, and Lancelot, laid side by side for comparison and study. Titles and authors include “Problematizing Patronage: Odo of Bayeux and the Bayeux Tapestry” by Elizabeth Pastan and Stephen D. White; “Auctoritas, Consilium, et Auxilium: Images of Authority in the Bayeux Tapestry” by Shirley Ann Brown; “Taking Place: Reliquaries and Territorial Au- thority in the Bayeux Embroidery” by Karen Eileen Overbey; “On the Nature of Things in the Bayeux Tapestry and Its World” by Valerie Allen; “Making Sounds Visible in the Bayeux Tapestry” by Richard Brilliant; “Anglo-Saxon Women, The Bibliography 191

Norman Knights and a ‘Third Sex’ in the Bayeux Embroidery” by Madeline H. Caviness; “Behind the Bayeux Tapestry” by Gale Owen-Crocker; “Embroidery Errors in the Bayeux Tapestry and Their Relevance for Understanding Design and Production” by Michael J. Lewis; “From Hastingus to Hastings and Beyond: Inexorable Inevitability on the Bayeux Tapestry” by Dan Terkla; “Pulling the Arrow Out: The Legend of Harold’s Death and the Bayeux Tapestry” by Martin K. Foys. Contains a 34-page selective bibliography compiled by Terkla. See separate annotations for all of the above works. 31 color plates of various scenes and details from the Tapestry. Includes index.

658. ———. “Introduction: Fifty Years of (Re)Producing the Bayeux Tapes- try.” The Bayeux Tapestry: New Interpretations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, xii-xvi. Rochester, NY: Boydell Press, 2009.

659. France, John. “The Importance of the Bayeux Tapestry for the History of War.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 289–99. Caen, France: Presses Universitaires de Caen, 2004. France, Professor of Medieval History at the University of Wales Swansea, states his concern that the Bayeux Tapestry has become a “compendium of our military knowledge of the art of war in the mid-eleventh century” and that it is “cited with gay abandon” and its images “adorn more books than can be reasonably counted.” The Tapestry cannot be used, he states, to present a general picture of contemporary warfare; Tapestry battle scenes have too often been treated as generic, when they are indeed particular and specific to the events of the Tap- estry, part of a kind of visual chanson de geste. France briefly describes a few examples of chansons and other stories “sprang into being with extraordinary speed” after key events. He remarks on the implications of the Tapestry as a valid source of historical information, but reminds readers that it is at odds with written sources. Literary tradition, memory, and “the rhetoric of panegyric” are all noted as important influences on the Tapestry’s designers. France points to the fact that the Tapestry does not hint at the “painstaking campaign of persuasion . . . upon which William had to embark in order to gain support of the Norman nobility” for the invasion. The chief value of the Tapestry for military historians, states France, is as a source for the military equipment of the age, and it is backed up by nearly every other source, especially manuscript drawings and illuminations. However, the limitations of the medium of embroidery make for difficulties in accurately rendering spear shafts and spearheads. Mail trousers, states the author, never existed and what viewers see in the Tapestry are actually flaps of mail like cowboy chaps. The Tapestry is also a valuable source of information on the differences in equipment that indicate wealth and status. The rather small sizes of the Tapestry’s horses are noted: probably between 12 and 15 hands. William’s battle preparations in the Tapestry, in France’s opinion, could only have been so vividly communicated by someone “who was involved in warfare and who 192 The Bibliography perhaps fought at Hastings.” In a brief discussion of military tactics, he notes that there was no general mass cavalry charge at Hastings.

660. ———. Western Warfare in the Age of the Crusades, 1000–1300. Ithaca, NY: Cornell University Press, 1999.

661. Fraser, Antonia, ed. The Lives of the Kings and Queens of England. New York: Alfred A. Knopf, 1975. Notes: Published in Great Britain by Weidenfeld and Nicolson, London. J.P. Brooke-Little, heraldic consultant. The opening pages of Fraser’s section on the Normans features a two-page black-and-white image from the Bayeux Tapestry with a caption highlighting William’s carrying of a mace and his leading “his nobles into battle.” It attributes the work’s commissioning to Bishop Odo. Later, within the chapter on William I, another black-and-white image of the scene depicting Harold’s oath to William is included. Its caption notes Harold’s hand on the “chest of sacred relics.” The front endpapers feature Tapestry images of an enthroned William and border scenes. Includes index.

662. Fraser, Rebecca. The Story of Britain: From the Romans to the Present: A Narrative History. New York: W.W. Norton, 2005. Notes: First American edition. Originally published in Great Britain under the title A People’s History of Britain. Calling the ships built by Duke William prior to the Conquest “not much bigger than fishing smacks,” Fraser offers a detailed narrative of the Conquest and describes the Bayeux Tapestry’s depiction of the Norman ships “being dragged to the sea by ropes and loaded with horses and armour.” Later, she writes that the embroidery “shows the high level of artistry in tapestry-making in England and was probably sewn in Canterbury.” In this section, she also describes the dimensions as “two hundred and fifty feet long by twenty feet wide.” Fraser describes it as “full of verve and drama” and “a subtle depiction of the story of the Conquest.” Additionally, she proclaims the Tapestry as “one of England’s most important pieces of historical evidence.” Includes a black-and-white photo of the Tapestry on display prior to its 1980s move. The battle scene shown in the photo depicts Harold’s death occurring at a curve in the display. Also includes a list of titles for further reading, genealogical charts, and an index.

663. Frederick, Jill. “Slippery As an Eel: Harold’s Ambiguous Heroics in the Bayeux Tapestry.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen- Crocker, and Dan Terkla, 121–26. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. The Bibliography 193

Frederick, Professor of English at Minnesota State University, Moorhead, examines the scene in the Bayeux Tapestry where Harold rescues two men from the quicksand of the River Couesnon, and even more closely, the vignette in the lower border showing a man trying to catch eels with a string of animals behind him. She briefly goes over other scholars’ remarks about this border scene and notes that the lack of attention to this scene is “unfortunate.” Frederick postulates that the border creatures here may have been chosen for the traits and values ascribed to them by literary tradition found in medieval bestiaries: (from left to right in the border scene) fish cannot avoid violence; eels are slippery and duplic- itous; the recumbent man is pursuing the eels in search of the duplicity they represent; the next animal, possibly a wolf, is diabolical; the birds, possibly eagles, comment on Harold’s right to the English throne, “a necessary component in the double messages offered about Harold”; the next animal, unidentifiable, may suggest that Harold cannot be restrained; the last figure, she notes, is an onocentaur, half donkey, half man, and stands for hypocrisy. The purpose of this long gloss, Frederick states, is to comment on Harold’s heroism in the quicksand scene, set up the viewer for the upcoming oath scene, and demonstrate Harold’s duality.

664. Freeman, Edward Augustus. “The Ælfgyva of the Bayeux Tapestry.” The Study of the Bayeux Tapestry. ed Richard Gameson, 15–18. Woodbridge, U.K.: Boydell Press, 1997. Notes: Originally published in Freeman’s The History of the Norman Conquest of England: Its Causes and Results, Volume 3, in 1875 (pp. 708–11). Attempting to uncover the mysterious identity of the Bayeux Tapestry’s Ælf- gyva, Freeman begins by asking several questions that need to be answered, then summarizes some of the theories and conjectures of other writers up to this point. Not uncharacteristic of the author at all, he makes a sarcastic remark about one colleague’s opinion. He then lists three of his own guesses of Ælfgyva’s identity: William’s daughter, who might have changed her name to Ælfgyva had Harold married her; Ælfgar, the mother of Harold’s wife Ealdgyth; a sister of Harold whom Harold promised in marriage to one of William’s nobles. He concludes with the notion that the Tapestry’s silence on her identity indicates that she was so well-known at the time of the Tapestry’s creation, that an inscription was not necessary; this is therefore witness to the authority of the Tapestry.

665. ———. “The Authority of the Bayeux Tapestry.” The Study of the Bay- eux Tapestry. ed Richard Gameson, 7–15. Woodbridge, U.K.: Boydell Press, 1997. Notes: Originally published in Freeman’s The History of the Norman Conquest of England: Its Causes and Results, Volume 3, in 1875 (pp. 563–75). In this 1875 article, Freeman expresses his opinions on the “general confidence” which we can invest in the Bayeux Tapestry: he immediately states that he believes the Tapestry was designed for Odo for the adornment of his Cathedral 194 The Bibliography at Bayeux. He then goes into a detailed history of the Tapestry scholarship beginning with its “discoverer” M. Lancelot in 1724 through Freeman’s contemporaries, including Dr. Lingard, and his theory that the Tapestry was created for the vanity of Turold, Vital, and Wadard; Collingwood Bruce, who argues for an early date of the Tapestry’s production, Matilda as the creator, and an Italian as the designer; Miss Agnes Strickland, who, he adds, made such amusing remarks about the Tapestry’s creation that he can hardly be expected to take her seriously. He explains in detail the reasons for his acceptance of an early date for the Tap- estry’s creation. Then, going into a topic which he admits is more interesting to him, Freeman gives his opinions on what makes the Tapestry such an authority on the Norman side of the account of the Conquest, most importantly, the Tap- estry being mere embroidery tells the story straightforwardly “with hardly any of the inventions, exaggerations, and insinuations of the other Norman authorities.” Also, the inclusion of so many minute details in the Tapestry is an indicator that it was created by eyewitnesses or at least by people who were alive during the Conquest. He continues with commentary on the then-present installation of the Tapestry in the public library at Bayeux and closes by encouraging his readers to go to Bayeux, “I doubt whether anyone thoroughly knows what the Tapestry is till he has seen it with his own eyes.”

666. ———. The History of the Norman Conquest. Bielefeld and Leipzig: Vel- hagen & Klasing, 1893. Notes: Published by the University of Chicago Press in 1974 as part of the Classics of British Historical Literature series. This title represents only part of Freeman’s original six-volume series.

667. ———. The History of the Norman Conquest of England: Its Causes and Results. Oxford, U.K.: Clarendon Press, 1873–1879. Notes: Published in three volumes. Also cited as The Norman Conquest of England: Its Causes and Results.

668. Freeman, Eric A. “The Identity of Ælfgyva in the Bayeux Tapestry.” Annales De Normandie 41 (1991): 117–34.

669. Fremantle, Anne. Age of Faith. New York: Time Life Books, 1965. Notes: Part of the Great Ages of Man series, Russell Bourne, series editor. In a two-page section titled “Hastings: The Horseman Enthroned as Lord of Battles,” Fremantle describes the similarities between the Normans and the Sax- ons in the Battle of Hastings. Referencing the Bayeux Tapestry, she writes, “Each army had roughly 5,000 men. The enemies were similarly armed, with swords, lances and short bows, and they wore the same basic battle garment—a coat of mail, which might consist of 250,000 steel rings.” She then notes the “real differ- The Bibliography 195 ence” between the forces as the Norman army having many horsemen. She dates the Tapestry as eleventh century. Three black-and-white photographs of battle scenes from the Tapestry are featured, each with their own caption describing the action portrayed. Includes index. Fremantle, a French-born English journalist, is a lecturer at Fordham University.

670. French, Gilbert James. On the Banners in the Bayeux Tapestry, and Some of the Earliest Heraldic Charges. London: T. Richards, 1857. Notes: Reprinted from the Journal of the Archaeological Association of Great Britain and Ireland, July 1857. Alternate title: On the Bayeux Tapestry Banners. French draws connections between the banners depicted in the Bayeux Tapes- try and those used in the Crusades.

671. Friar, Stephen, ed. A Dictionary of Heraldry. New York: Harmony Books, 1987. Notes: Illustrations by John Ferguson, Andrew Jamieson, and Anthony Wood. Originally published in Great Britain by Alphabooks, a subsidiary of A.C. Black, London. Friar, director of the Society of Heraldic Arts, presents a lengthy entry on the Bayeux Tapestry in this encyclopedic reference. He focuses his attention on the designs on the Tapestry’s shields and pennons, although he does acknowledge that those devices depicted in the Tapestry pre-date true armorial use by about 70 years. However, he questions if we should remain fixated on the notion that shields represent the development of armory, as the Tapestry clearly shows Har- old’s wyvern standard and many other identification devices on flags. The author repeatedly misspells the town “Bayeaux.”

672. Friar, Stephen, and John Ferguson. Basic Heraldry. London: The Her- bert Press, 1999. Notes: Published by W.W. Norton, New York in 1993. Friar and Ferguson, both founding members of the Society of Heraldic Arts, include black-and-white images of a Norman cavalry soldier and lance flags from the Tapestry. They write that “Most of the flags depicted in the Bayeux Tapestry (c.1077) are of cloth and are small, semicircular or square with a number of ‘tails’ attached to the fly. That the devices borne on these flags were of territorial or even personal significance has long been a matter of dispute, but it is now generally accepted that the Normans had not, at that time, adopted the proto-heraldic system evident in the lance pennons of their Flemish allies.” The illustrations are by Ferguson. Includes index.

673. Fry, Peter, and Fiona Somerset Fry. The Battle of Hastings, 1066, and the Story of Battle Abbey. English Heritage, 1998. 196 The Bibliography

674. Fuller, J. F. C. Decisive Battles of the Western World, Volume 1. London: Cassell Military, 2001. Notes: Originally published as Decisive Battles: Their Influence upon History and Civilisation by Charles Scribner’s Sons, New York, in 1940. Written at the dawn of World War II, Fuller presents his hefty work, originally conceived as a book for military students, but “seeing that today war is on every lip,” he re-directed his focus for civilian readers. The 29 battles he summarizes in great detail range from 331 B.C. to 1936. The 25-page article on the Battles of Stamfordbridge and Hastings mentions the Bayeux Tapestry twice: in a remark about the size and capacity of William’s boats, and in another about Harold’s spies scoping out William’s army. Includes index.

675. Furneaux, Rupert. Invasion 1066. Englewood Cliffs, NJ: Prentice-Hall, 1966. Notes: Third printing in April, 1968. Also cited as Conquest: 1066, published by Secker and Warburg, London, in 1966. The author, himself descended from a Norman invader, presents a study of the Norman invasion and the Battle of Hastings as “an event of momentous consequences . . . due to mere chance and England’s changing weather.” The Bayeux Tapestry is referenced often to underscore Furneaux’s discussion points. Included are charming, yet not very clear, photographs of dioramas of toy soldiers depicting the battle scenes. Also includes several maps, and appendices listing the Conqueror’s known companions, a description of the battlefield of Hastings, and a list of primary sources of information (in which the Tapestry is described in some detail) as well as secondary sources. There is no index. Furneaux is a film writer, director, producer.

676. Gabriel, Richard A. The Great Armies of Antiquity. Westport, CT: Prae- ger, 2002. Gabriel gives a chapter to each of about 19 warring nations throughout history, from the Sumerians to the Ottomans, commenting on each nation’s reliance on war technology as it developed. The Bayeau [sic] Tapestry is mentioned in a passing comment in the Vikings chapter for its informing on the changing shape of the shields used by later Norsemen. Includes index.

677. Gallagher, Sharon. Medieval Art. New York: Tudor Publishing, 1969. This nearly pocket-sized book presents 91 color plates of mosaics, paintings, enamels, textiles, manuscripts, and stained glass with one-paragraph notes on each. The Bayeux Tapestry image used is a detail of “the ship of Prince Harold” and the Tapestry is characterized as having scenes that unfold with “excitement, drama and exuberant festivity.” A concise overview of historical and cultural influences on Medieval art mentions the Tapestry as a rare example of history The Bibliography 197

“woven” into a pictorial narrative. Includes a list of important dates spanning twelve centuries.

678. Galloway, Priscilla, and Martha Newbigging. Archers, Alchemists, and 98 Other Medieval Jobs You Might Have Loved or Loathed. New York: An- nick Press, 2003. Notes: Illustrated by Newbigging. One of the medieval jobs included in the book is embroiderer. The school of embroidery at Canterbury as well as the Bayeux Tapestry are mentioned in the main text of this 96-page volume for juvenile audiences. A special boxed feature on the page provides basic details on the Tapestry and notes the number of various items in the work: “623 people, 202 horses, 55 dogs, and more than 500 other creatures” and notes that there are “almost 2000 Latin words.” A humorous color cartoon shows medieval embroiderers working on the Bayeux tapestry with scis- sors and thread. Includes index.

679. Gameson, Richard. “The Bayeux Tapestry.” The History of British Art, Volume 1: 600–1600. ed Tim Ayers, 46–47. New Haven, CT: Yale Center for British Art/Tate Britain, distributed by Yale University Press, 2009. In her introductory “Ideas and Images of Britain, 600–1600,” Jane Geddes uses the Bayeux Tapestry and Edward I’s castles as examples of symbols of identity on a national level “deliberately created to distinguish the owner or bearer.” She labels the Tapestry as a self-conscious work of propaganda. Later she points out that it is “poignant that the undoubted Anglo-Saxon artistic talent of this period is represented by a national icon of the Norman victor.” Philip Lindley references the embroidery in section 5, “The ‘Artist’: Institutions, Training and Status.” He notes that it “must have been embroidered by a whole team of craftswomen, but is generally thought to have been designed by a male artist.” Finally, Kay Staniland, in her article “English Medieval Embroidery,” cites the Tapestry as a representative of a “sizable group of lost but recorded embroidered wall hangings that were probably worked on cloth and silk as well as linen, using various stitching techniques.” The volume also includes Richard Gameson’s “The Bayeux Tapestry,” cited and annotated separately.

680. ———. “The Origin, Art, and Message of the Bayeux Tapestry.” The Study of the Bayeux Tapestry. ed Richard Gameson, 157–211. Woodbridge, U.K.: Boydell Press, 1997. Gameson expresses his desire to view the Bayeux Tapestry through eleventh- century eyes, but that such “mental and visual ‘baggage’ of an eleventh-century beholder is, of course, irrecoverable.” Instead, he opts to approach this from the point of view of a hypothetical medieval viewer. He makes it clear that he does not believe that the Tapestry held two separate messages for Normans and 198 The Bibliography for Anglo-Saxons. Gameson points out that the tide of opinion of the place of the Tapestry’s origin that was once firmly England changed in 1994 with the publication of Wolfgang Grape’s The Bayeux Tapestry: Monument to a Norman Triumph in which he advocates for Bayeux as its place of manufacture. He lists and discusses the main points in favor of England, as well as the “challenges [that have been] mounted against them.” Gameson presents his opinions on where the Tapestry was hung in its earlier years, noting that it was likely shown in England before coming to France, and that its transportable nature indicates that it was meant to be displayed itinerantly. He says that any arguments that the Tapestry was too “secular” for an ecclesiastical installation are “deeply flawed” and that it is documented that medieval churches did indeed display textiles with secular themes. Five points about the Tapestry’s display are enumerated: it was never on display for very long; it was likely displayed at a height in which the inscriptions could be read; a low-hanging display would have been a minor and temporary inconvenience in a church; its display was likely in a dark environment, but the bright and contrasting colors would have made it legible and easy to see; the arrangement of the Tapestry while on display in Bayeux Cathedral could have influenced the audience’s experiences with it. The author then goes into detail to support his belief that the Tapestry is a secular work. In a passage on the Tapestry’s inscriptions, he begins by describing the letters as they are embroidered: as square capitals and uncials, with serifs, W represented by VV, the dotted Y’s, and the various uses of colored threads in the inscriptions. Also discussed are split words, digraphs, the “two points and a stroke” symbol, and the cross appearing at the beginning of an inscription. Gameson states that the clarity and readability of the text was intentional. A passage makes observations about the apparent squeezing of inscriptions around pictures. The close interre- lationships between text and images that often occur underscore their semantic parity and are paralleled in Anglo-Saxon contemporary manuscripts, but not Norman ones. The sparse use of adjectival phrases in the Tapestry’s inscriptions, he adds, are “arguably of crucial importance for the story.” The word choice REX ANGLORUM associates the whole nation, not just one man, of Harold’s sin or perjury. The eleven places where the inscriptions mention acts of speech are discussed. The term PARABOLANT is examined for is nuanced meaning. Most verb tenses, Gameson observes, are in the perfect or present, whereas one (TRAHEBAT) is in the imperfect, perhaps to suggest that Harold dragged men from the quicksand for quite some time or repeatedly. The recurring uses of HIC and UBI to begin phrases are briefly examined. The author also points out that the use of Latin, rather than the language of everyday speech, gave the Tapestry an “ecclesiastical flavour,” and “an official air, contributing to the credibility of this version of events.” Gameson makes extensive comments on how two physical aspects of the Tapestry affect the outcome of the pictorial narrative: the long narrow shape of the Tapestry and the background of blank linen. He adds that the excitement and complexity of the story gave the artist plenty of material to work The Bibliography 199 with. The left-to-right orientation of the narrative, as well as the scene reversals and the double-decker scene of Edward’s death, are examined in terms of narrative motivation. “It was deemed desirable to show the completion of Westminster Abbey next to the living King Edward in order to indicate the king’s sponsorship of the foundation during his life; while it was necessary to have the deathbed scene juxtaposed with the acclamation of Harold as king of England because of the intimate causal relationship between the two events.” Other minor and less talked-about variances in the left-to-right orientation are discussed. The clothing associated with Odo, William, Edward, and Harold act as distinguishing markers or iconographies that assist the narrative. The compositional use of lateral space, rather than recessive, is examined. Gameson comments on the Tapestry artist’s manipulation of scale, size, and the constraints of the narrative frieze. On the Tapestry’s historicity, Gameson begins by saying that it is tempting to believe what one sees, and that indeed its enthralling images are what draw visitors to Bayeux (“few individuals today read William of Jumièges, William of Poitiers, or the Anglo-Saxon Chronicle”). Gameson cautions his readers, “while we may regard the depictions as a dependable impression of eleventh-century material culture, and while we can view the story as, in outline, a fairly reliable version of events, we should be very wary of accepting the imagery as an accurate portrayal of how the events in questioned happened, and we should avoid placing too much weight on the interpretation of details.” He makes some general remarks about the degree to which the Tapestry agrees with William of Jumièges and William of Poitiers, and is at odds with the latter. The ways in which the Tapestry is not pro-Norman and is even sympathetic to Harold are briefly noted. Gameson concludes by stating he wishes to discover “what above all did the hypothetical eleventh-century ‘general’ beholder take away from the experience of seeing the Tapestry?” He states that the Tapestry is a story about Harold, but even more so, the story is about something “simple and obvious: war, war, war.” He discusses some medieval attitudes on war through literature such as the Anglo-Saxon Chronicle and the Chanson de Roland and the institution of trial by battle. The message of divine intervention in battle was a theme for the Norman chroniclers, and the overarching message, he concludes, that viewers took away from their experience with the Tapestry, is that “the Normans now hold England because God in his infinite wisdom and just judgement gave it to them.”

681. ———. The Role of Art in the Late Anglo-Saxon Church. New York: Ox- ford University Press, 1995. Notes: Part of the Oxford Historical Monographs series.

682. ———, ed. The Study of the Bayeux Tapestry. Woodbridge, U.K.: Boydell Press, 1997. Richard Gameson brings together a diverse collection of 12 “interesting, important, and influential” articles by leading scholars spanning more than 170 200 The Bibliography years. Acknowledging the significance of major monographic works, the editor notes that articles are among the best writings on the topic of the Bayeux Tapestry and that this collection provides the reader with a sense of the development of Tapestry scholarship through the past two centuries. Gameson states that while the older articles are certainly dated in their scholarship, they endure as valuable and “important landmarks in the evolution of Bayeux Tapestry scholarship.” Over half of the articles are from the years between 1960 and 1997. Articles reproduced here are “Some Observations on the Bayeux Tapestry” by Charles Stothard (1821); “The Authority of the Bayeux Tapestry” and “The Ælfgyva of the Bayeux Tapestry,” by Edward Freeman (1875); “The Perjury at Bayeux” by W. R. Lethaby (1917); “An Attempt to Identify Some Unknown Characters in the Bayeux Tapestry” by Charles Prentout (1935); “A Study of the Bayeux Tapestry” by Simone Bertrand (1960); “A Contribution to the Study of the Inscriptions in the Bayeux Tapestry: Bagias and Wilgelm” by René Lepeley (1964); “The Bayeux Tapestry and the French Secular Epic” by C.R. Dodwell (1966); “The Authority and Interpretation of the Bayeux Tapestry” by N.P. Brooks and H.E. Walker (1979); “Towards an Interpretation of the Bayeux Tapestry” by H.E.J. Cowdrey (1988); “The Bayeux Tapestry: A Stripped Narrative for Their Eyes and Ears” by Richard Brilliant (1991); and “The Adelæ Comitissæ of Baudri of Bourgueil and the Bayeux Tapestry” by Shirley Ann Brown and Michael W. Herren (1994). Richard Gameson’s previously unpublished “The Origin, Art, and Message of the Bayeux Tapestry” appears as the final article and is based on his lectures given and a paper read in England in the five years leading up to the monograph’s publication. Includes a thorough index of proper names and titles covering all 12 articles as well as 26 black-and-white reproductions of selected scenes from the Bayeux Tapestry referenced in Gameson’s article.

683. Ganeri, Anita. Vikings. New York: Gloucester Press, 1992. Notes: Part of the Focus On series. “A Watts/Gloucester Library Edition.” In this heavily illustrated 32-page hardcover aimed at a juvenile audience, two color images of the Tapestry and a caption are included as part of a brief narrative on the decline of the Vikings. Specifically, Ganeri discusses the Battle of Stamford Bridge. Includes index.

684. Gardano, Giovanni. Elementi Di Architetture Barbariche Tratti Dalla Tappezzeria Di Bayeux. Turin, Italy: Quaderni di Studio, 1966.

685. Gardiner, Robert, and Arne Emil Christensen, eds. The Earliest Ships: The Evolution of Boats into Ships. Annapolis, MD: Naval Institute Press, 1996. Notes: Part of the series Conway’s History of the Ship, edited by Robert Gar- diner. Published in Great Britain by Conway Maritime Press, London. The Bibliography 201

In a subsection on navigational instruments, the editors write that “The only instruments which were used in coastal navigation during the Middle Ages were the sounding-lead and the sounding-rod. Neither is known from written Scandi- navian sources, but they are both well documented in Old and Middle English and Middle Low German texts. That the Norsemen also used these instruments is clearly shown on the famous Bayeux tapestry (dating from shortly after 1066).” A black-and-white illustration from the Tapestry depicting shipbuilding activities is included elsewhere in the book. A bibliography, glossary of terms and abbreviations, and an index are included.

686. Gardiner, Robert, and Richard W. Unger, eds. Cogs, Caravels, and Gal- leons: The Sailing Ship, 1000–1650. Annapolis, MD: Naval Institute Press, 1994. Notes: Part of the series Conway’s History of the Ship, edited by Robert Gar- diner. Published in Great Britain by Conway Maritime Press, London. This heavily illustrated book, from a series of 12 volumes, is intended to provide a readable, detailed account of sea-vessel technology over 650 years. The opening chapter, “Descendants of Viking Boats,” shows outstanding technical drawings and artist renderings of Nordic vessels and provides descriptions of what can be observed in the Bayeux Tapestry’s ships, from the standpoint of construction and design with remarks such as “these boats do not seem to have advanced at all from the Skuldelev 5 type,” “[t]hese rudders show a high-aspect ratio,” and “the need for sail reduction suggests that a fresh breeze drove the fleet.” A passages on axes discusses the T-shaped axe shown in the Tapestry, with a black-and white photograph from that scene. One passage examines how ships appear crowded together or disproportionately tall in art due to “pressure from the frame or the edge of the picture,” and even having crescent-shaped hulls on seals, yet notes that the Tapestry is “the opposite extreme,” with its ships’ horizontality maximized. Includes a bibliography, an index, and a glossary with lengthy definitions.

687. Gardiner, Samuel Rawson. A Student’s History of England: From the Earliest Times to 1885. London: Longmans, Green, and Co., 1892. In this 1,023-page history of England, Gardiner references the Bayeux Tapestry in his storytelling narrative of the events of 1066. He notes that it “was wrought by the needle of some unknown woman of the place and is now exhibited in the museum of that city.” Includes seven drawings made from the Tapestry.

688. Garnett, George. Conquered England: Kingship, Succession, and Ten- ure, 1066–1166. New York: Oxford University Press, 2007. 202 The Bibliography

689. ———. “Coronations and Propaganda: Some Implications of the Nor- man Claim to the Throne of England in 1066.” Transactions of the Royal Historical Society, 5th Series 36 (1986): 91–116.

690. ———. The Norman Conquest: A Very Short Introduction. New York: Oxford University Press, 2010. Notes: Part of the series Very Short Introductions. Paperback. This 140-page title, part of a series of tidy “very short introductions” on over 200 topics, is a rather thorough look at the Norman Conquest. The author starts in on the Bayeux Tapestry by comparing its story to that told by William of Poitiers, since they appear to be derived from the same sources. A discussion of Harold’s coronation points out that the Tapestry is at odds with the account of John of Worcester regarding who the presiding archbishop was. Garnett makes an analogy out of the Tapestry scene in which William raises his helmet in battle and a 1069 incident in which William granted a tract of English land to a Rouennaise abbey. Accompanying a photograph of the Tapestry’s church at Westminster is a remark that excavations have established that the Roman- esque detail of the church is probably accurate. Includes references and further readings, a chronology of events from 1016 to 1100, genealogical charts, and an index.

691. Gascoigne, Christina. Castles of Britain. New York: Thames and Hud- son, 1992. Notes: First paperback edition. Introduction by Bamber Gascoigne. Originally published in the United States in 1980 by Thames and Hudson. This book is an alphabetical inventory of 87 British castles which are open to the public. Bamber Gascoigne’s introduction discusses the motte-and-bailey castle and refers to the Bayeux Tapestry’s castle-building scene. The author clarifies existing confusion between the words “motte” and “moat” and the words “castellum” and “ceastra,” which appear in the Tapestry’s inscriptions. She also briefly discusses motte-and-bailey drawbridges and notes that such bridges are found in the Tapestry.

692. Gauthier, Marie-Madeleine. Highways of the Faith: Relics and Reliquar- ies From Jerusalem to Compostela. Secaucus, NJ: Wellfleet Press, 1986. Notes: Translated into English by J.A. Underwood. Originally published in 1983. Gauthier examines over 100 masterpieces of reliquary and monument, their histories and the “underlying myths and saints’ legends associated with them.” The reliquaries in the oath scene in the Bayeux Tapestry are discussed in a lengthy caption which accompanies a black-and-white photograph of the scene. Includes notes, a glossary, and a bibliography, but no index. The Bibliography 203

693. Gautier, Leon. Chivalry. New York: Barnes and Noble, 1965. Notes: Translated by D.C. Dunning. Edited and revised with appendices by Jacques Lévron. Published by arrangement with J.M. Dent and Sons, Ltd. Gautier refers to the Bayeux Tapestry several times in appendices that discuss clothing and textiles and arms, armour, and horses. In a subsection on men’s costumes in the late twelfth century, Gautier writes that “When hose were worn, as was normally the case, the breeches were very short, but in the absence of hose they came down to the ankles, and some of this pattern can be seen in the Bayeux Tapestry of the late eleventh century. They were held up at the waist by a cloth belt with a buckle. This belt was of some importance, because it was often used to secrete small objects such as keys or rings.” In a subsection on the lance, he writes, “On the march the lance was sloped over the right shoulder, and on preparing for action it was held vertically either with the butt resting on the right stirrup as we see it in the Bayeux Tapestry, or in a felt-lined socket on the right hand panel of the saddle.” In a subsection on hauberks, Gautier suggests that the Bayeux Tapestry supports the theory that hauberks were used exclusively by dukes, counts, and other superior ranks. Writing of helmets, he notes that there was “underneath the hauberk a coif: that is to say a linen, silk, or woolen cap over the head, which, if not shaven in the Prussian manner, mostly had the hair cut very short, as the Bayeux Tapestry demonstrates.” Lévron’s preface provides biographical information on Gautier (1832–1897). Includes one black-and-white image from the Tapestry. There is no index.

694. Geddes, Jane. “The Bayeux Tapestry, Dendrochronology, and Had- stock Door.” The Bayeux Tapestry: New Approaches, Proceedings of a Con- ference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 127–35. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Geddes, Senior Lecturer in Art History, Aberdeen University, closely examines the Bayeux Tapestry’s door at Hastings by comparing it to the north door of Hadstock Church in Essex, nearly contemporary with the Tapestry. In giving a very detailed description of each door and providing large side-by-side photographs of the two, she points out some remarkable similarities between them and notes that the Tapestry’s designer was apparently “fascinated by the technical details of its construction.” The results of a 2003 scientific analysis of the door’s wood and construction provide interesting details about its dating. The Hadstock door, she notes, was made with the same tools and techniques used by the shipwrights in the Tapestry. Eighteenth- and nineteenth-century antiquarians’ written descriptions of the church doors, as well as their drawings of them, are discussed by Geddes, photographs of the drawings provided. The extant Hadstock doors and the artistic renderings of them in past centuries are localizing pieces of evi- 204 The Bibliography dence that the Tapestry’s designer was surely “someone very familiar with the best of Anglo-Saxon carpentry,” although Geddes admits that potential evidence from doors in Normandy has yet to be explored. An appendix provides further details of 2003 studies on the Hadstock doors.

695. Geijer, Agnes. A History of Textile Art. London: Pasold Research Fund in association with Sotheby Parke Bernet, 1979. In the chapter “Textiles and Textile Crafts in Scandinavian Countries,” Geijer discusses the custom of “decorating a festive interior with long narrow hangings showing narrative figure scenes.” She uses the Bayeux Tapestry as an example of this, giving basic information about the work and noting the needlework is executed in “laid and couch work with coloured woollen yarns on a linen ground.” She notes that several early specimens of this technique have been discovered in Iceland, Norway, and Sweden where it is called “refil stitch.” Geijer is the former head of the textile department at the Central Council of Antiquities in Stockholm, Sweden.

696. Gem, Richard. “English Romanesque Architecture.” English Ro- manesque Art, 1066–1200. eds George Zarnecki, Janet Holt, and Tristram Holland, 27–40. London: Arts Council of Great Britain in association with Weidenfeld & Nicolson, 1984. Notes: “Catalogue of an exhibition held in the Hayward Gallery, London, 5 April–8 July 1984.” Alternate title: English Romanesque Art, 1066–1200: Hay- ward Gallery, London, 5 April–8 July 1984. Preface by Joanna Drew, director of art at the Hayward Gallery. A faint black-and-white image of the Bayeux Tapestry is used to illustrate how Westminster Abbey was depicted in the eleventh century.

697. Gibbs-Smith, Charles H. “The Death of Harold at the Battle of Hast- ings.” History Today X (1960): 188–91. Gibbs-Smith suggests that the depiction of Harold’s death from an arrow in his eye is a myth prompted by the Baudri poem.

698. ———. “What the Bayeux Tapestry Does Not Show.” London Times 8 (1966): 8.

699. Gibbs-Smith, Charles Harvard, and Percy Hennell. The Bayeux Tapes- try. London: Phaidon Press, 1973. Notes: Photographs by Percy Hennell. Also published in hardcover by De Haan as Het Tapis de Bayeux (Beeldverhaal aan de Wand). Gibbs-Smith’s classic book on the Bayeux Tapestry provides an excellent introduction to the topic in some 12 pages of text, plus numerous color photographs of the embroidery’s details with interpretive captions. He also presents the entire Tapestry in black and white with English translations of the Latin inscriptions The Bibliography 205 and generous amounts of historical background commentary. The author asserts that the Tapestry was never intended as a religious decoration, citing the lewd images, Bishop Odo doing nothing religious apart from saying grace before the banquet, and the textile’s size being ill-suited for display in Bayeux Cathedral. Gibbs-Smith discusses evidence on the ways that the Tapestry resembles a chanson de geste, and refers to C. R. Dodwell’s points on this topic. In a paragraph about the attribution of the Bayeux Tapestry to Queen Matilda, the author acknowledges that the Tapestry was of course commissioned by Odo, but wonders if “there might not have been just a grain of truth” to the name La tapisserie de la Reine Mathilde; perhaps Odo had it made as a gift for the Queen. Gibbs-Smith gives an efficient rundown of the history of the Tapestry from its first mention in the Bayeux Cathedral’s inventory of 1476 to the 1966 “abortive effort” of the Victoria and Albert Museum to borrow it. Some brief technical details of the Tapestry are listed: its annual hanging in the Cathedral, its dimensions, thread colors, embroidery techniques, the background linen, imaginative use of color, the numbers of human and animal figures, ships, buildings, and trees. He notes that his “colleagues in the Textiles Dept. of the Victoria and Albert Museum” have determined that “the Tapestry could have easily been completed within two years.” Gibbs-Smith goes on to make detailed observations of various components of the Tapestry’s images: architecture, arms and armor, clothing, hair and facial hair, women, horses, and the Tapestry’s reverse-order scenes. An interesting section on the “ill- executed figures,” the author gives three examples of carelessness in the Tapestry’s embroidery, and describes them as “dreadful,” “a botched job,” and “very badly executed.” Gibbs-Smith ends his text with a summary of the story that the Tapestry tells, and emphasizes his opinion that Harold was not killed by an arrow to the eye in the Battle of Hastings.

700. Gibson, Charles E. The Story of the Ship. New York: Henry Schuman, 1952. Notes: Second printing. Originally published in 1948. At the end of his tenth chapter, titled “And One from the North,” Gibson writes about the vessels used to cross the English Channel in the eleventh century: “Wil- liam . . . crossed the Channel in ships which, according to the Bayeux tapestry, seem to have had no provision for the use of oars, although in all other respects they were replicas of the Gokstad ship. If the Bayeux tapestry is correct, by 1066 northern Europe had produced a square-rigged ship that could dispense with oars except in dead calms—which, as any seaman can attest, are very rare in the At- lantic and North Sea. This was the north’s first great contribution to the history of the ship.” Includes glossary and index.

701. Gies, Frances. The Knight in History. New York: Harper & Row, 1984. Notes: Perennial Library edition. Gies references the embroidery in extensive commentary on armor and weaponry. She writes that the Bayeux Tapestry “shows Normans equipped with stirrups 206 The Bibliography but carrying light lances which, like the spears of javelins of the infantry, are thrown at the enemy rather than driven by the force of the horse.” Later she points out that, in the Tapestry, “hauberks are long, reaching to the knees, divided in front and back for riding, and with wide sleeves. An opening at the throat was laced tight, and close-fitting mail coifs, or hoods, worn under the helmet, helped to protect neck and chin, but the nose and eyes were at first left exposed. The ‘nasal,’ a bar protecting the face, was added to some helmets in the eleventh century and became common in the twelfth. Simultaneously, mail leggings made their appearance: in the Bayeux Tapestry the Normans wear them.” She also notes that the round or conical helmet of the Tapestry was replaced in the late twelfth and early thirteenth century by the “larger helm, a flat-topped cylinder that gradually evolved into more rounded forms to better ward off blows.” Includes an image from the Tapestry illustrating hauberks, helmets, chain mail, swords, and Norman ships. Includes extensive notes, lengthy bibliography, and an index.

702. Gies, Frances, and Joseph Gies. Cathedral, Forge, and Waterwheel: Technology and Invention in the Middle Ages. New York: HarperCollins, 1994. The authors reference the Bayeux Tapestry in their discussions of agricultural techniques and weaponry. In their chapter titled “The Not So Dark Ages,” they note the favorability of the horse as a plow animal, writing “Faster-gaited and longer working than the ox, the horse proved under most conditions a superior plow animal and a far better transport beast. The nailed iron horseshoe, also arriving from Asia in the ninth or tenth century, further improved his quality and durability on the farm and on the road. The first pictorial representation of a horse pulling an agricultural implement, a harrow, occurs in the Bayeux Tapestry of circa 1080; by that time the sight was doubtless common.” Later in the same chapter, they write about the “dramatic advantage” gained by European horsemen with the advent of the stirrup matched with the contoured saddle. They note that the heavy lance “especially created true ‘shock combat’ by permitting a blow to be struck with the energy derived from the mass of the charging horse. How much the advantage was used, and when (outside tournaments) is still an open question. In the Bayeux Tapestry . . . mounted combatants on both Norman and English sides are shown hurling spears and lances, rather than driving them couched.” Of course, this is incorrect as there was no English cavalry at the Battle of Hastings nor was this depicted on the Tapestry and there are Norman horsemen shown using lances in the couched position. A scene from the embroidery is included here showing Norman knights equipped with stirrups throwing their spears. In their chapter titled “The Technology of the Commercial Revolution,” the authors comment on the Tapestry’s depiction of a plow: “By the twelfth century, the horse collar and harness had made the horse much the preferred traction for cart and wagon. Maneuverability was improved by several new or revived features: substitution of a pair of shafts for the old single draft pole; the whippletree, a The Bibliography 207 transverse bar pivoted in the middle and positioned in front of the wagon (illustrated drawing a plow in the Bayeux Tapestry); and the pivoted front axle. Nailed horseshoes, common by the eleventh century, were mass produced by the twelfth. The spread of stirrups and saddles helped make riding easier and more popular.” Includes extensive notes and an index.

703. ———. Daily Life in Medieval Times: A Vivid, Detailed Account of Birth, Marriage and Death; Food, Clothing and Housing; Love and Labor in the Middle Ages. New York: Black Dog and Leventhal Publishers, 1990. Notes: Cover title: Daily Life in Medieval Times: A Vivid, Detailed Account of Birth, Marriage and Death; Food, Clothing and Housing; Love and Labor in Europe of the Middle Ages. Originally published by Harper Collins. Earlier editions were published in 1969, 1974, and 1990. In this classic title on medieval life, the authors, in some introductory commentary on heraldry, reference the Bayeux Tapestry’s depiction of heraldic devices for both Harold and William. Later, they mention the Tapestry as including one of the earliest depictions of the working horse. Here, they date the embroidery c.1087. The book is heavily illustrated and includes extensive notes, a general bibliography, helpful glossary, and index.

704. ———. Life in a Medieval Village. New York: HarperPerennial, 1991. Notes: Original hardback edition published in 1990. The book’s one reference to the Bayeux Tapestry, in a chapter on the emer- gence and formation of the medieval village, notes that it contains one of the earliest representations of a working horse.

705. Gies, Joseph, and Frances Gies. Life in a Medieval Castle. New York: Harper & Row, 1974. Notes: Paperback. A hardcover edition was published by Thomas Y. Crowell Company. The authors present a lively and well-researched look at daily life in a medieval castle. In a discussion on the art of heraldry as a tradition of feudalism and knighthood, the authors use the Bayeux Tapestry’s inclusion of symbols on banners and shields as an example of how such heraldic devices were used to “distinguish leaders in the melee of a feudal battle” in the eleventh century.

706. Gillingham, John. “An Age of Expansion, C.1020–1204.” Medieval War- fare: A History. ed Maurice Keen, 59–88. Oxford, U.K.: Oxford University Press, 1999. Gillingham’s article examines the expansion of medieval Western European nations through their military tactics and warfare developments. Under his sub- heading “Cavalry and Archery in Battle,” he discusses the practicalities and limitations of the couched spear hold, and states that the Tapestry’s Norman 208 The Bibliography cavalry is shown throwing or jabbing down their lances “not because they had not yet learned the ‘new’ technique, but because they were attacking infantry in close formation;” the couched lance “was in any case useless against infantry.” Includes a list of further reading.

707. ———. “Thegns and Knights in Eleventh-Century England: Who Was Then the Gentleman.” Transactions of the Royal Historical Society, Sixth Series 5 (1995): 129–53. Commenting on the tendency of scholarly literature to concentrate on military matters, Gillingham writes, “We have here a package of duties, escort and bodyguard, messenger and hunting services; those who perform them are on the inside track. If we wish to see the ‘lex equitandi’ in operation in the eleventh century then we need do no more than look again at a very familiar image, the second scene in the Bayeux Tapestry: Harold in the company of his milites with his hawk and his hounds, and the legend ‘Harold dux Anglorum et sui milites equitant ad Bosham.’” Later in the article, Gillingham writes “Obviously values like loyalty and courage and prowess, the values usually called ‘heroic’ or ‘the traditional military values,’ are explicitly articulated in many eleventh century sources, the Song of Maldon and the Encomium Emmæ to name but two. Courage should not lead to rashness. Although it is certainly arguable that Byrhtnoth made a strategically defensible decision when he allowed the Vikings to cross the causeway, the poet clearly disapproved. ‘Because of his pride the earl set about allowing the hateful race too much land.’ In the Bayeux Tapestry William exhorts his milites to prepare themselves for battle sapienter as well as viriliter.”

708. Gillingham, John, and Ralph A. Griffiths. Medieval Britain: A Very Short Introduction. New York: Oxford University Press, 2000. Notes: Part of the Very Short Introductions series. Text first published as The Oxford Illustrated History of Britain in 1984.

709. Gillmor, Caroll M. “Naval Logistics of the Cross-Channel Operation, 1066.” The Battle of Hastings: Sources and Interpretations. ed Stephen Mo- rillo, 113–28. Woodbridge, U.K.: The Boydell Press, 1996. Notes: Gillmor’s article was reprinted from Anglo-Norman Studies 7, 1985, pp. 105–31.

710. ———. “Naval Logistics of the Cross-Channel Operation, 1066.” Anglo- Norman Studies 7 (1985): 105–31. Notes: Proceedings of the Battle Conference, 1984. Gillmore uses the Bayeux Tapestry as evidence suggesting specific types of ships were used in William’s invasion fleet. The Bibliography 209

711. Gimpel, Jean. The Medieval Machine: The Industrial Revolution of the Middle Ages. New York: Penguin Books, 1977. Notes: First published in French under the title La Revolution Industrielle du Moyen Age. First published in the U.S. by Holt, Rinehart and Winston in 1976. In a chapter on the agricultural revolution, Gimpel writes, “The earliest representations of horses working in the fields appear in the border of the Bayeux tapestry (eleventh century), where there is one pulling a harrow.” Later in the chapter, the author quotes the French medievalist George Duby, using his reference to the Tapestry in a discussion of how this use of the horse marked the beginning of a much more productive agrarian system with the spread of oat growing and crop rotation. Includes extensive notes and an index. Gimpel is a medieval scholar and social historian.

712. Gleason, Sarell Everett. An Ecclesiastical Barony of the Middle Ages: The Bishopric of Bayeux, 1066–1204. Cambridge, MA: Harvard University Press, 1936. Notes: Part of the series Harvard Historical Monographs. Gleason’s 426-page doctoral dissertation at Harvard College in 1934 is titled “The Bishopric of Bay- eux, 1066–1204.” Gleason writes of the “well-known representations” of Bishop Odo’s “conduct of the field pictured in the Bayeux tapestry, especially the fifty-fourth panel depicting Odo, club in hand, encouraging the Normans.” In his footnotes for the comment, he writes: “Odo appears four times in the tapestry. In the thirty-fifth panel he is represented seated beside the Conqueror as the latter gives orders for the construction of ships. In the forty-third he blesses the knights. In the forty- fourth he is seated in council, while the fifty-fourth pictures him in battle. V. Bou- rienne refers to Odo’s mace as a batôn de commandement.” Includes a selected bibliography listing manuscript sources, printed sources, and secondary works. There is also an index, but with no mention of the Tapestry.

713. Glenn, Jason, ed. The Middle Ages in Texts and Texture: Reflections on Medieval Sources. Toronto: University of Toronto Press, 2011. Notes: Paperback. This collection of 25 essays covers a great diversity of topics on medieval original sources. Jay Rubenstein’s “William of Poitiers Talks about War,” cited separately, is the only one with any significant material on the Bayeux Tapestry. Includes an index.

714. Glover, Richard. “English Warfare in 1066.” English Historical Review 67 (1952): 1–18. Glover attempts to demonstrate how Duke William was cautious and careful in his invasion of England, analyzes whether the English forces “could possibly 210 The Bibliography have been as bad as [they have been] painted,” and examines the efficiency of the Norman cavalry. Glover questions the notion that the Norman army was over- whelmingly superior to the English army and points out the various ways that the Bayeux Tapestry shows them as more or less equal, horses notwithstanding . A footnote points out that only one Norman archer in the Tapestry can afford armor. Glover notes that the Tapestry demonstrates a lack of uniformity in armaments and that the Norman charges rode in disorderly groups. The Tapestry’s Norman horsemen are not yet specialized lancers, but simply javelineers, precursors of the developed feudal cavalrymen; he gives numerous examples of spear-handling in the Tapestry in a lengthy footnote to illustrate his point. Commenting on the horse whose head is about to be cleaved by an axe, Glover explains in another footnote that a horse’s brain is small and would be difficult to target, and goes on how a wounded galloping horse might behave in combat. Glover also discusses how the Battles of Stamford Bridge and Hastings were two very different affairs for Harold.

715. ———. “English Warfare in 1066.” The Battle of Hastings: Sources and Interpretations. ed Stephen Morillo, 173–88. Woodbridge, U.K.: The Boydell Press, 1996. Notes: Glover’s article is reprinted from English Historical Review 67, 1952, pp. 1–18.

716. Godja, Martin. “A Few Comments on the Archaeologists’ Approach to the Bayeux Iconography.” Památky Archeologické 86, no. 2 (1996).

717. Golding, Brian. Conquest and Colonisation: The Normans in Britain, 1066–1100. New York: Palgrave, 2001. Notes: Revised edition. Originally published in 1994. Reprinted in 1996 and 1998. This edition is part of the British History in Perspective series, Jeremy Black, general editor. Golding presents an account of the Norman Conquest that “is intended as a synthesis of recent scholarship within the context of an interpretation which argues that the Norman penetration of England . . . before 1100 proceeded fitfully.” The work begins with an overview of contemporary and near-contemporary sources such as the Anglo-Saxon Chronicle, William of Jumièges’ Gesta Nor- mannorum Ducum, the Carmen de Hastingæ Proelio, and the Bayeux Tapestry. In this section, Golding raises questions of where the Tapestry was displayed and who the intended audience was. He also cautions that we should be wary of seeing a “hidden agenda” in the Tapestry, an agenda that has recently been suggested by at least one other commentator. In a narrative on the background of the invasion, the author discusses the Bayeux Tapestry’s problematic ambivalence on the issue of Harold’s visit to Normandy: “If the Tapestry shows Edward both sending Harold on a mission and reproving him on his return, Harold must have failed the The Bibliography 211 king in some way. But if Edward had sent him to confirm the offer of the throne, then . . . he would have no cause for complaint [and] the mission would have been satisfactorily accomplished.” A remark about the near-contemporary Ship List provides a quick list of William’s key ship donors, not the least of which was his flagship Mora, likely depicted in the Tapestry. On the subject of armor, Golding notes that thegns’ armor and weapons were indistinguishable from those of their Norman counterparts, which the Tapestry makes clear.

718. Goldschmidt, Adolph. “The Representation of Fables on the Tapestry of Bayeux.” An Early Manuscript of the Aesop Fable of Avianus and Related Manuscripts. Adolph Goldschmidt, 47–50. Princeton, NJ: Princeton Univer- sity Press, 1947. Notes: Studies in Manuscript Illumination, volume I. While Goldschmidt acknowledges that the fables depicted in the lower register of the Tapestry may be from manuscript traditions, they are more likely from a Roman frieze or wall decoration.

719. Gombrich, E. H. The Story of Art. London: Phaidon, 1962.

720. Gomont, Patrick. “Preface.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 9. Caen, France: Presses Universitaires de Caen, 2004. Gomont, the mayor of Bayeux at the time of publication, expectedly highlights the scholarly and economic reasons for the town to “play its role in maintaining the Tapestry’s profile.” He goes on to relay his initial personal discovery of the Tapestry when seeing it with his Bayeux-born wife-to-be twenty years earlier. He acknowledges the support lent to the colloquium by his predecessor, Jean- Léonce Dupont. Gomont also points out that the town of Bayeux, “in recognition of the high quality of this scholarship,” made a major financial grant toward the publication of this work in both French and English. He goes on to suggest that this publication is Bayeux’s “opportunity to pay due homage to two of the Tap- estry’s most ardent servants, Pierre Bouet and François Neveux, as well as to our British colleagues, and particularly to Brian Levy of the University of Hull.” In the preface’s opening line, Gomont notes the Tapestry is as important for English history as it is for French.

721. Gormley, Kathleen, and Richard Neill. The Norman Impact on the Me- dieval World. Cambridge, U.K.: Cambridge University Press, 1997. Notes: Part of the Irish History in Perspective series, Jonathan Bardon, series adviser. This excellent and attractive children’s book, suitable for readers to about age 15, paints a very clear picture of the Normans’ culture and their influence abroad. Most outstanding are the dozens of primary and secondary source documents 212 The Bibliography and photographs carefully selected for accessibility by children. Readers are encouraged to analyze and evaluate these sources by being asked higher-order thinking questions. For example, on the topic of how King Harold died, readers are presented with brief passages from The Anglo-Saxon Chronicles, William of Malmesbury, William of Poitiers, Gerald of Wales, and the Bayeux Tapestry. Then the reader is asked to sort the information, compare and contrast what each source has to say on the topic, analyze them to the degree that they agree, draw conclusions about how Harold really died, and evaluate why it is difficult to know for sure. As such, the reader is actually going through the stages of Bloom’s taxonomy. Unfortunately, the authors define a tapestry as an embroidered cloth. Includes numerous other photographs, maps, diagrams, graphic organizers, suggested activities for further exploration, and an index.

722. Gosling, John. “The Identity of the Lady Ælfgyva in the Bayeux Tapes- try and Some Speculation Regarding the Hagiographer Goscelin.” Analecta Bollandiana: Revue Critique D’Hagiographie/A Journal of Critical Hagiogra- phy 108, no. 1–2 (1990): 71–79.

723. Gostelow, Mary. The Complete International Book of Embroidery. New York: Simon and Schuster, 1977. Gostelow dates the Bayeux Tapestry to “about 1077” and suggests it was worked by a “team of craftsmen.” In a caption for a color image from the Tap- estry, she notes the use of chain stitch, split stitch, and laid and couched work. The book is heavily illustrated with a helpful section offering “Basic Embroidery Information” as well as a bibliography arranged geographically and an index.

724. ———. A World of Embroidery. New York: Charles Scribner’s Sons, 1975. Notes: Line drawings by the author and Janet Watson. Gostelow examines the embroidery traditions of countries from Afghanistan to Zaire in the nation-by-nation survey that comprises the first three-fifths of her book. The Bayeux Tapestry is mentioned briefly in the entry for England as a “dignified” work of the Norman school, “which alone would be indicative of the high standard of embroidery in the western world at that time.” Gostelow also writes briefly about the manufacture and exhibitions of the Leek Embroidery Society’s replica of the Tapestry. An extremely interesting paragraph of the remarkable “Kurukshetra” embroidery from India (which at a glance resembles the Bayeux Tapestry with lance-bearing mounted knights, archers, infantrymen, and plants and animals in the upper and lower borders), compares the two works. Includes a black-and-white photograph of the work. The Kurukshetra embroidery is now in the Victoria and Albert Museum. The last 130 pages are a dictionary of the types of common and uncommon embroidery stitches. Here, Gostelow identifies and illustrates the “Bayeux stitch,” plus “Bayeux Tapestry” is a separate The Bibliography 213 entry because it is of such “great import to the world of embroidery that it justifies independent classification.” Curiously, Gostelow appears to lean towards Queen Matilda and her ladies as the Tapestry’s embroideresses, although she notes that the work “may possibly have been commissioned by Odo.” She goes on to provide a very brief history of the Tapestry: its display in Bayeux Cathedral, Napoleon’s interest in it, and the British photography project of 1871. She also describes the Tapestry’s stitching methods and comments on its attempts at showing perspective and dimensionality. Includes two black- and white-photographs of the Tapestry, a list of suggested readings, and a very thorough index.

725. Gourhand, J. “Bayeux.” New Catholic Encyclopedia, 162–64. Vol. 5. Detroit: Gale, Cengage Learning, 2003. Notes: Second edition. This encyclopedia entry includes a paragraph on the Bayeux Tapestry and a photograph of a scene from the embroidery. The entry suggests the work was made c. 1080 and enumerates the number of persons, horses and mules, dogs, other animals, buildings, boats and ships, and trees. The value of the Tapestry in the study of arms and armor, warfare, architecture, dress, and the folklore of the period is mentioned. Real and imaginary animals in the Tapestry’s borders are referenced. A short bibliography is provided at the end of the entry.

726. Gow, A. S. F. “The Ancient Plough.” The Journal of Hellenic Studies 34 (1914): 249–75. Notes: Published by The Society for the Promotion of Hellenic Studies. Gow makes a brief mention of the Bayeux Tapestry in the article’s notes, writing about the embroidery’s lower margin showing a “plough with the ploughman seated between the wheels.”

727. Graham-Campbell, James. The Viking World. London: Frances Lin- coln, 2001. Notes: Foreword by David M. Wilson. Third Frances Lincoln edition. Paper- back. Published by Ticknor and Fields, New Haven, CT, in 1980. Graham-Campbell, professor of Medieval Archaeology at the University of London, presents a richly illustrated authoritative overview of all aspects of the Viking world. A highly detailed chapter on ships, shipwrights, and seamen provides an exquisite visual glossary of Viking ships, plus comparative diagrams of profiles and plans of the vessels of archaeological finds. The author discusses the Tapestry’s depiction of horses being offloaded from cargo ships and makes mention of the Danish Imme Gram experiment whereby a replica of a Viking ship and four horses attempted to re-enact this event. The Tapestry’s scene of Normans felling trees to build ships appears in a chapter sub-heading on the preparation of timber. Images of Harold’s first channel crossing in the Tapestry underscore the author’s discussion of Viking ships’ abilities to navigate and run aground in even 214 The Bibliography the shallowest of waters. Detailed drawings of ship-building tools provide excellent close-ups of the Tapestry’s tools, particularly the breast auger with various bits. Includes an index and bibliography arranged by subject.

728. Grainge, Christine, and Gerald Grainge. “The Pevensey Expedition: Brilliantly Executed Plan or Near Disaster?” The Battle of Hastings: Sources and Interpretations. ed Stephen Morillo, 129–42. Woodbridge, U.K.: The Boydell Press, 1996. Notes: This article was reprinted from The Mariner’s Mirror 79, 1993, pp. 261–73. The Grainges ask whether Duke William’s plans to invade England were carefully calculated to coincide with Harold’s dismissal of his scyp fyrd from the Isle of Wight, or if William’s timing was simply reliant on sea conditions and weather.

729. Grancsay, Stephen V. “A Gift of Enriched Military Maces.” The Metro- politan Museum of Art Bulletin 33, no. 2 (1938): 37–39. Notes: This article announces the addition of two maces to the Museum’s collection, one from Europe and the other from “oriental provenance.” Both were gifts of Christian A. Zabriskie. Explaining how maces were used in Europe, Grancsay notes that although European and oriental maces were similar in shape, the weapon was independently developed in the West. He points out that “The Bayeux embroidery . . . shows maces carried alike by Anglo-Saxons and Normans at the Battle of Hast- ings. In Europe the mace became pre-eminently the weapon of the horseman, and therefore a knightly arm, as it could be easily wielded in cavalry melees, where the lance was useless and the sword ineffective.” He goes on to discuss the civic mace, military mace, and the European flanged mace. Includes two illustrations.

730. ———. “A Viking Chieftain’s Sword.” The Metropolitan Museum of Art Bulletin New Series 17, no. 7 (1959): 173–81. Grancsay, curator of arms and armor at the Metropolitan Museum of Art, writes about how the swords in the Bayeux Tapestry’s scenes closely resemble a Viking chieftain’s sword that the Museum acquired in 1955. An image of this sword is featured in the article. He notes that the Tapestry’s swords, like the one held by the Museum, are “of Viking type: straight, broad-bladed, double-edged, with a shallow fuller running most of the length of the blade.”

731. Gransden, Antonia. Historical Writing in England I, C. 550 to C. 1307. New York: Routledge, 1996. Notes: Originally published in 1974. The Bibliography 215

732. Grant, Francis J., ed. The Manual of Heraldry: A Concise Description of the Several Terms Used, and Containing a Dictionary of Every Designation in the Science. Edinburgh: John Grant, 1924. Notes: New and revised edition with 350 illustrations. In his first chapter on the origin of coats of arms, Grant references the depiction of the devices on the shields of the knights in the Bayeux Tapestry. He suggests that such emblems were “not hereditary in families, were changed by their owners at pleasure, and therefore cannot be held to have been heraldic in our modern sense of the word.” Grant also comments on how, at the time of the Norman Conquest, the use of armorial bearings was unknown. Includes an illustrated dictionary of heraldic terms, orders of precedency for men and women in England and Scotland, and a chapter on the Royal Arms. There is no index.

733. Grant, Neil. The Vikings. New York: Oxford University Press, 1998. Notes: Part of the Spotlights series. In this 46-page children’s book, the Tapestry is referenced in a section titled “The End of the Vikings” where an unusual colorized image is included. The Bayeux Tapestry is also included in the glossary with the definition, “A huge embroidery that records the Norman Conquest of England in words and pictures, in a long panel like comic strip.” Includes index.

734. Grant, R. G. Battle: A Visual Journey Through 5,000 Years of Combat. New York: DK Publishing, 2009. Notes: Revised edition. Paperback. Originally published in 2005. An incredibly vivid, color photographic image from Tapestry is the main illustration in an entry on the Battle of Hastings. The image features Harold’s housecarls fighting with swords and axes against Norman cavalry with spears and shields. The detailed image shows shadows cast by folds in the Tapestry’s linen background. The Hastings entry immediately follows a similar treatment of the Battle of Stamford Bridge. Includes detailed index.

735. Grape, Wolfgang. The Bayeux Tapestry: Monument to a Norman Tri- umph. New York: Prestel, 1994. Notes: Der Teppich von Bayeux. The most significant feature of this book is Grape’s position that the Bayeux Tapestry was made in Normandy and he attempts to prove his speculation that it was not made in England by finding leaks in several widely accepted arguments for the work’s English origin (the “England thesis”). After presenting numerous arguments based on comparisons with continental works of art, Grape summarizes his theory: “those who executed the [Bayeux Tapestry] did so in a style fundamentally different from, and far more advanced than, Anglo-Saxon art and that they had enjoyed something of a continental and probably a Norman and 216 The Bibliography proto-Romanesque visual training” and tersely asserts that the Tapestry “is a Nor- man work, probably worked in the 1070s and made in Bayeux.” Grape discusses existing damages to the Tapestry and the restoration efforts over the centuries. He notes that the gap of missing letters in what is popularly believed to read “EVSTATIUS” is too wide to contain the four missing letters required to spell that name. He also questions the restorers’ (viz. the Stothards) intent at replacing what is now often interpreted as the arrow in Harold’s eye, and that this “arrow” may have actually been a spear held by that character. The author poses the question of how authentic the Tapestry is in representing history and goes on “After all, in eleventh-century narrative art, it was customary to borrow traditional pictorial formulas and insert them into new contexts.” Grape discusses who or what kind of person the Tapestry’s designer might have been by briefly questioning stylistic variations throughout the work and examining the objects depicted in the Tapestry for which the designer must have had first-hand knowledge. He also proceeds to examine the Tapestry’s “fantasy architecture” in which “the artistic imagination runs riot.” Grape discusses the designer’s observations of everyday life: the wine cart, agricultural and ship-building tools, and horses and their kine- siology. The designer’s attempts at creating perspective are analyzed. The Tapes- try’s feast scene at the Norman landing is compared with several medieval artworks depicting the Last Supper and the Wedding at Cana, with four photographs of those works. Grape implies that the Tapestry’s hunting scenes, as well as depictions of Harold with a hawk on his wrist, may be a result of a favored repertory of imagery in the eleventh century. He also notes that the designer inserted details and drolleries to “relax the earnest tone of some of the scenes.” Grape goes into great detail examining the diverse opinions on the use of shields to line the gunwale of the Tapestry’s ships. The author shares his thoughts on the awkward attempts of the Tapestry’s designer to render rectangular sails obliquely and/or full of wind. Animal and human heads on the sterns and bows of the ships are examined. The techniques of anchorage and naval horse transportation are discussed and Grape provides a photograph from a Danish experiment re-enacting the disembarking of horses from Viking ships. He also notes other details of the naval scenes such as Harold’s sailors leaning back on their poles to exert force, the accuracy of anchor handling, and a study of the cross-bearing square at the top of William’s own ship, which Grape insists is not a lantern, contrary to “almost unanimous” interpretation. Grape discusses the identity of Turold as the dwarf in the Tapestry and questions Wilson’s hypothesis that Turold was the Tapestry’s designer. Regarding the Ælfgyva scene, Grape states that this moment is contigu- ous with the scene of Harold talking with William immediately to the left, and that the inscriptions are together part of the same sentence. He confidently asserts that the Ælfgyva is William’s daughter Agatha, betrothed to Harold and that the naked man below Ælfgyva is irrelevant to the scene above him. Grape asserts that the borders (including fables, calendar motifs, and erotic imagery) in the Tapestry are entertaining “decorative flourishes” and do not “as a whole interlock the- The Bibliography 217 matically with the pictorial chronicle” or act as an ongoing gloss, although mo- mentary exceptions are evident. The volume and dimensionality of the appearance of drapery in the Tapestry is examined in detail: if the Tapestry were truly an English work, the embroiderers would have made the drapery look more like the cloth depicted in Anglo-Saxon manuscripts. Grape compares eleventh-century manuscript illuminations to continental Romanesque styles which appear more rigid (particularly in drapery), have harder outlines, and indicate form more explicitly. Grape notes that architectural representations in Anglo-Saxon art are “consistently” used to establish spatial values of projection and recession, but in the Romanesque style of the continent, like the Tapestry, architectural forms work to advance the narrative. By noting similarities in line and in animation techniques between the Tapestry and Catalan art, Grape furthers his thesis for a continental origin of the Tapestry. From 1066 to about the turn of the twelfth century, Grape stresses that artistic activity in England was at best not promoted and that England at this time had no major artistic center which would have produced the Tapestry. Large-scale works (churches, manuscript illumination, epic poetry, the Tapestry) says Grape, aimed at “[enhancing] the status of the ruling elite within feudal society,” were the products not of Anglo-Saxon England, but of Normandy and northern France. The author states that “the viewpoint of the Tapestry is exclusively Norman . . .” The fact that the Tapestry overlooks Tostig’s and Harald Hardrada’s failed conquest of England and the Norman fleet’s delay on the French coast are viewed by Grape as likely intentional omissions which would have otherwise detracted from the glory or Normans’ cause for their invasion. The heroic treatment of Odo in the Tapestry is briefly examined as evidence of his patronage of the work and Grape suggests that the presence of Mont St-Michel and Bayeux in the Tapestry aggrandize Odo. Grape provides an overview of the Norman chroniclers, Bishop Guy of Amiens (Car- men de Hastingæ Proelio), William of Poitiers (Gesta Guillelmi Ducis Norman- norum et Regis Anglorum), and William of Jumièges (Gesta Normannorum Du- cum). He points out where the Tapestry and the Gesta of William of Poitiers differ in their accounts of the campaign against Conan of Brittany, with the Tapestry bent on celebrating William’s fame as a warlord. Several scenes and characters in the Tapestry are not mentioned in any other known sources, and the author suggests that there is a separate, now lost, Norman source. Grape examines various issues with the Tapestry’s inscriptions, such as spatial layout of the text, variations in color, and his arguments for why apparently Anglo-Saxon spellings, letters, and vocabulary appear in what he believes to be a Norman work. The poet Baudri of Bourgueil, according to Grape, never saw what he described in his poem: a pictorial narrative of the Norman Conquest made of gold, silver, and silk threads but does contend that Baudri must have seen the Bayeux Tapestry, and that this viewing was likely not in England. The genders of those who embroidered the Tapestry are examined, and Grape presents early fourteenth-century documentation on the wages of English embroiderers and 218 The Bibliography embroideresses. He also discusses technical aspects of production, such as car- tooning, wool dyes, and stitch styles. The tradition of medieval Norse textile art is briefly discussed and the author presumes the Tapestry to be a product of that influence. Stylistic similarities between various Tapestry trees and Ringerike- style Norse motifs are discussed and Grape comments on Normans’ awareness of their Nordic heritage. He asks why there had not been [up to the point of his writing] any detailed scholarly study of the Tapestry’s use of color; he briefly writes about the capricious color choices used for the Tapestry’s horses. In support of his Bayeux thesis for the Tapestry’s place of origin, Grape explains that “[there] is little in Anglo-Saxon art, either before or immediately after 1066, to remind us of Viking work” and that “the Normans long continued to hold Viking art forms in high esteem.” By briefly looking at artworks that were produced shortly after the Tapestry, Grape supports a notion that the Tapestry anticipated an emerging Anglo-Norman style. He points out that showing faces in profile was used sparingly in Anglo-Saxon art, and that the Tapestry innovated the extensive use of it. In a chapter on narrative techniques, the role that the Tapestry’s trees play in creating dramatic tension and emphasizing the narrative are discussed. Grape also shows how the Tapestry often changes narrative tempo, and inserts trivial events among the more important ones to maintain the audience’s interest. On the two scene reversals in the Tapestry, Grape provides his explanations for this device: to create a sense of simultaneity, and moreover, a sense of haste in the case of Harold’s taking the crown on the very day of the Confessor’s death. Grape indicates that the numerous pointing gestures by the Tapestry’s players are not something seen in Anglo-Saxon art, but reflect a continental method of advancing the narrative. The Tapestry, Grape notes, played a role as an evolutionary “test-bed” for artistic innovation in the transition from religious art to secular art that was no longer “automatically subservient to Christian art.” The Church, says the author, responded to growing eleventh-century heretical activity by approving the use of pictorial hangings that educated the illiterate masses. Grape calls up the question of where the Tapestry was meant to be displayed. He rejects the “recent scholarship [that] has been unanimous” about its purpose of adorning a great hall of a palace; “clearly, its major function was to reach as many viewers as possible . . . [but] it is utterly unlikely that ordinary subjects would have been allowed to file through the great hall of any of the princely residences of the day.” Further- more, he asserts, it would have been easier to commission a mural for that matter. Grape rebuffs observations that the Tapestry was not intended for an ecclesiastical setting on the grounds of its occasional erotic images; the medieval Church, particularly in Romanesque France, had very different views on obscenity and eroticism than we do today, and that it was tolerated in visual art in less prominent places, like margins and borders. The second half of the book presents approximately quarter scale full-color plates of the entire work along with English translations of the Latin inscriptions, plus Grape’s brief commentary on each scene. There is a map of Tapestry-related lands, a chronology of events, extensive The Bibliography 219 notes, and an index of names. The endpapers are 1/13 scale full-color photographs of the entire Tapestry which give the viewer the opportunity to see half the work in one eyeful. 16 introductory pages provide very large (much larger than Wilson) color photographs of various Tapestry scenes.

736. Graves, Michael P. “One Friend’s Journey.” Rhetoric & Public Affairs 7, no. 4 (2004): 513–23.

737. Gravett, Christopher. Castle. London: DK Publishing, 2008. Notes: Alternate title: Eyewitness Castle. Part of the Eyewitness Books series. Also referenced as an Eyewitness Guide. This heavily illustrated book from the popular children’s series covers the historical development of castles, their uses as fortresses and residences, as well as aspects of life within. The Bayeux Tapestry is mentioned for it depiction of the compacted earth layers under the castle at Hastings. Includes two photographs from the Tapestry, as well as an interesting and very large full-color photograph of a scale-model motte-and-bailey compound. Includes index.

738. ———. Hastings 1066: The Fall of Saxon England. Westport, CT: Prae- ger, 2005. Notes: Part of the Praeger Illustrated Military History Series. Originally published by Osprey Publishing in Oxford as part of the Campaign series, volume 13, in 2000. Gravett presents a richly illustrated and thorough study of William, Harold, and the events of 1066 for young readers aged 12–18, and uses numerous photographs from the Bayeux Tapestry with lengthy captions to enhance his text. Among the non-Tapestry images are these particularly interesting photographs: an eleventh-century manuscript illustration of a shield wall; period stirrups, swords, spurs, spearheads, axe blades, a Gokstad shield; a mail shirt; a scene from the 1963 Danish experiment re-enacting the Tapestry scene of horses disembarking from a replica ninth-century ship; the battlefield of Hastings today. Includes a chronology of events from 1035 to 1087, list of further readings (none of which are written for young readers), a glossary, and index, and an annotated list of places of interest in England and France, not the least of which is the Bishop’s Palace housing the Bayeux Tapestry.

739. ———. Knight. London: DK Publishing, 2007. Notes: Alternate title: Eyewitness Knight. Part of the Eyewitness Books series. Also referenced as an Eyewitness Guide. This volume from the popular children’s series, in its two-page spread on the Normans, uses images from the Bayeux Tapestry to indicate Norman arms and armor. 220 The Bibliography

740. ———. Knight: Noble Warrior of England 1200–1600. Oxford, U.K.: Osprey Publishing, 2008. Notes: Previously published as Warrior 35: English Medieval Knight 1400– 1500, Warrior 48: English Medieval Knight 1200–1300, Warrior 58: English Medieval Knight 1300–1400, and Warrior 104: Tudor Knight, all by Christopher Gravett.

741. ———. Medieval Siege Warfare. Oxford, U.K.: Osprey, 1999. Notes: Part of the Elite series, volume 28. Illustrated by Richard and Christa Cook. Originally published in 1990.

742. ———. The Norman Conquest. Oxford, UK: Osprey, 2000. Notes: Illustrated by Ivan Lapper. Part of the Landmarks in History series.

743. ———. Norman Knight, 950–1204 AD. Oxford, U.K.: Osprey.

744. Gravett, Christopher, and John James. Real Knights: Over 20 True Stories of Battles and Adventure. New York: Enchanted Lion Books, 2005. Notes: Illustrations by John James. Conceived and produced by Breslich & Foss, London.

745. Green, John Richard, Alice Stopford Green, and Kate Norgate. A Short History of the English People. London: Macmillan & Co., 1892. Notes: Illustrated edition. Volume I.

746. Green, Judith A. The Aristocracy of Norman England. Cambridge, U.K.: Cambridge University Press, 2007. Notes: Paperback. Originally published in 2002. Green, of the Queen’s University of Belfast, presents a generous volume on the Norman aristocracy in England. She examines in fine detail various broad topics: the post-conquest shift in landholding, the nature of aristocratic wealth and power, the categories of men over whom lordship was exercised, kinship and family relationships, benefactors of the church, and the role of women in the transmission of land. The Bayeux Tapestry makes brief appearances in a few discussions: Eustace of Boulogne’s appearance in the Tapestry and his role in helping to kill Harold; Humphrey of Tilleul, the first castellan of the castle in the Tapestry built at Hastings; a comment on Harold’s residence at Bosham in the context of late Anglo-Saxon fortifications, and the motte-and-bailey fortifications of the Tapestry. A table that lists several of the known companions of William’s in the Conquest cites the Tapestry as one of the sources of this information. The Bibliography 221

747. Green, Robert. William the Conqueror. New York: Franklin Watts, 1998. Intended for young audiences, this 64-page book mentions the Bayeux Tap- estry numerous times in telling the story of William. It also features nine color images from the Tapestry. Green definitively dates the embroidery to 1087, repeatedly describes it as “woven” and once as “woven in embroidery,” and that it has “always resided in France at the Cathedral of Bayeux.” Also referenced in the book are the Nazi interest in the embroidery, its value to the study of the eleventh century, its role as a Norman propaganda piece, and the likely commissioning by Bishop Odo. Includes an index.

748. Grierson, P. “A Visit of Earl Harold to Flanders in 1056.” English His- torical Review 51 (1931): 90–97.

749. Griffin, Emma. Blood Sport: Hunting in Britain Since 1066. New Haven, CT: Yale University Press, 2007. Griffin’s well-researched book traces the historical development of sport hunting in Britain. In a chapter on the birth of sport hunting, she mentions the Bayeux Tapestry’s depiction of Harold preceded by his hunting hounds as evidence of his skill in the sport and she points out the hunting scenes in the Tapestry’s lower border and provides a photograph of one of them. Par force hunting, “pitting the hunters’ wits against the speed, cunning, and strength of one mature male deer,” according to Griffin, was not properly documented until the fourteenth century but made an early appearance in the Tapestry’s scene of hunters pursuing an animal with the aid of a pack of dogs. Hunting with clubs or batons as depicted in the Tapestry and in Queen Mary’s Psalter and the Luttrell Psalter is briefly discussed and there are three interesting images of net-hunting from manuscripts which may interest Bayeux Tapestry researchers. Includes extensive notes, a bibliography, and an index.

750. Griffith, Paddy. The Viking Art of War. London: Greenhill Books, 1995. Notes: Also published by Stackpole Books, Mechanicsburg, PA, in 1995. Griffith, Senior Lecturer in War Studies at the Royal Military Academy Sand- hurst, uses “techniques of military analysis” to understand the mobility, intelligence-gathering, and tactical fighting formations of the Vikings, practices that allowed them to be successful against even the most organized opponents. In his chapter on strategic mobility, the author discusses the transport of livestock and calls up the Bayeux Tapestry’s images of horse transport and he references the experiment carried out by modern Danish investigators in which horses were disembarked from a Tapestry-style boat. In a passage on shields, Griffith says that although the Tapestry shows kite-shaped shields, which were handy for horsemen, “true Vikings, as opposed to Normans” would have used circular shields 222 The Bibliography whose shape allowed them to be more maneuverable, especially on board a ship. The kite-shield, he goes on, “cannot have been seen as much of an improvement except by the obsessively fashion-conscious.” On the subject of spears, Griffith writes that this poor man’s weapon “was actually elevated to aristocratic status in its own right,” and seems to have shrunk, from 8–11.5 feet in the migration period to around 6–8 feet based on their appearance in the Tapestry. Includes notes and an index.

751. Gristwood, Sarah. “A Tapestry of England’s Past.” History Today 60, no. 8 (2010): 4. Gristwood documents efforts to create five painted representations of the Armada tapestries, destroyed by fire in 1834. Quoting House of Lords research, Julian Dee, Gristwood explains that when Napoleon wanted to “put the Bayeux Tapestries [sic] on a preinvasion tour of France, it was suggested the same be done in Britain for the Armada ones.” Gristwood also references the engravings of the Armada tapestries by John Pine from 1739 and American donor Mark Pigott’s financing of the creation of the five paintings.

752. Grunfeld, Frederick V. “The Enchanted Chessmen.” Horizon (1970): 102–5. A set of twelfth-century Romanesque ivory chessmen, each about 4 inches tall, was discovered on the Isle of Lewis in the Outer Hebrides in 1831. Based on the figures’ hauberks and conical helmets, Grunfeld likens them to the knights of the Bayeux Tapestry.

753. Gudjonsson, Elsa E. “Islandske Broderier or Broderersker i Mid- delaldern.” Forandringar: Kvinnors Villkor Under Medeltiden. ed Silja Ađalsteinsdottir, and Helgi Torlaksson, 127–58. Reykjavik, Iceland: 1983.

754. Gurney, Hudson. “Observations on the Bayeux Tapestry.” Archaeolo- gia 18 (1817): 359–70. Notes: Letter of 1816 to Henry Ellis.

755. Hagen, Rose-Marie, and Rainer Hagen. “Propaganda on Cloth—Artist Unknown: The Bayeux Tapestry, After 1066.” What Great Paintings Say: Vol- ume I. Rose-Marie Hagen, and Rainer Hagen. Los Angeles: Taschen, 2003. Although the Hagens use the Tapestry more as a vehicle to discuss the Battle of Hastings and the events preceding it, they do offer notable commentary on the work. They state that “All that is known for sure is when and where the hanging was first exhibited: 14 July 1077, in the newly-built cathedral at Bayeux.” They also note that the Tapestry “may have been several metres longer” in a discussion of the final section. Commenting on the valuable historical information contained in the embroidery, they write: “Notwithstanding its reductive symbolism, the The Bibliography 223 hanging contains a wealth of documentary detail: the shape of the shields, the spores worn by cavalry, raised and reinforced bow-props, at the front and rear of saddles. The props provided support during battle, but they could also jeopardize the rider.” The prominence given to wine in the Tapestry is also discussed as is the interest in the work by Hitler and the exhibition in Paris in 1803. Scenes from the Tapestry are included.

756. Hall, Michael. “Smyte Hem to Gobbets.” Country Life 184, no. 27 (1990): 64–65. Hall describes a curious theory of textile expert Robert Chenciner that the Bay- eux Tapestry as we know it could possibly be a fake in that depictions of roasting skewered meats, cooking on a portable grill, and servants attending a cookpot over a fire are not supported by archaeology or any parallels in Anglo-Saxon or Romanesque art. The images of these “post-medieval culinary techniques” may indicate, according to Chenciner, that the Tapestry is a copy of an original. Ad- ditionally, suggests Chenciner, the “supposed poverty of draughtsmanship, suspi- ciously good condition, lack of inked outlines to the figures and the presence of pricked contours” may indicate the Tapestry is a copy. Hall continues his article with commentary on medieval cooking and diet and finishes with a snide remark about the arrow in Harold’s eye being a food skewer thrown by a disgusted Nor- man knight upon tasting English cuisine.

757. Hall, Richard. Exploring the World of the Vikings. London: Thames and Hudson, 2007. Notes: Cover title: The World of the Vikings. This heavily illustrated historical, political, social, and cultural history of the Vikings mentions the Bayeux Tapestry only in passing but a few times: in discussions of the shallow draughts of Viking ships, conical helmets, and in a passage on a colored timber from an archaeological find, which the author suggests may “complement artistic representations such as . . . the Bayeux Tapestry.” Hall presents a useful and slightly opinionated gazetteer of Viking-related museums (including the Bayeux Tapestry museum), archaeological sites, and visitor centers from Canada to Turkey. Includes index.

758. Hallam, Elizabeth M. Domesday Book: Through Nine Centuries. New York: Thames and Hudson, 1986. Hallam “cuts through” the myth of the supposed infallibility of the Domesday book and presents “the reality of [its] history and the purposes it has served” through nine centuries. In an opening chapter on the making of the “DB,” she mentions the Bayeux Tapestry’s immortalization of William the Conqueror, and presents two black-and-white Tapestry photographs of him. Hallam was an As- sistant Keeper at the Public Record Office in London. Includes several appendices and an index. 224 The Bibliography

759. Hallé, Nicolas. Inventaire De La Flore Et De La Faune De La Tapisserie De Bayeux. Paris: Museum national d’histoire naturelle, Laboratoire de Phanérogamie, 1987.

760. Hamerow, Helena, David A. Hinton, and Sally Crawford. The Oxford Handbook of Anglo-Saxon Archaeology. Oxford, U.K.: Oxford University Press, 2011. Notes: Part of the Oxford Handbooks series.

761. Hamilton, Janice. The Norman Conquest of England. Minneapolis: Twenty-First Century Books, 2007. Notes: Part of the Pivotal Moments in History series. This informative and engaging examination of the political, military, and cultural aspects of the Norman Conquest has a target readership of youth 9 to 13 years old. The Bayeux Tapestry is mentioned in main body of text in the contexts of Harold’s oath, and of the Tapestry being a Norman source of information on the Conquest. Elsewhere, full-color photographs of the Tapestry and accompanying captions underscore the author’s topics of Edward’s death, William’s invasion preparations, and the building of the fortification at Hastings. Includes one sidebar highlighting the quick, important need-to-know facts about the Tapestry and a special five-page appendix dedicated to a fuller description of the Tapes- try, its manufacture, reasons why most historians consider Bishop Odo to be the patron, how the Tapestry operates as Norman propaganda, the narrative format “although in one [sic] spot, it reverses sequence of events,” and the Tapestry’s survivals of handling, mishandling, and repairs over the centuries. This book contains many captivating and visually stimulating “extras” for children, such as side-by-side Latin and English translations of some of the Tapestry’s inscriptions, a timeline from Celtic times through 1154, a glossary, lists of Old English and Anglo-French words and their modern English translations, and a delightful “Who’s Who?” list of players pertinent to the story of the Conquest. Includes source notes, a bibliography/webliography, suggested further readings, and an index. Hamilton is a writer and freelance journalist whose works have appeared in a variety of Canadian publications.

762. Hamlin, Gladys E. “European Art Collections and the War.” College Art Journal 4, no. 3 (1945): 155–63.

763. Hanawalt, Barbara A. The European World, 400–1450. New York: Ox- ford University Press, 2005. Notes: Part of the Medieval and Early Modern World series. Intended for young adults. This history, intended for a general readership, briefly recounts the story of the Norman Conquest and includes full-color photograph of the Tapestry. An excerpt from the Anglo-Saxon Chronicle’s commentary on William the Conqueror’s The Bibliography 225 character. Hanawalt is a professor of British History at Ohio State University. Includes a timeline, glossary, list of further readings, short list of related websites, index, and a useful “Cast of Characters” listing almost 90 persons and very brief biographical information about each one.

764. ———. The Middle Ages: An Illustrated History. New York: Oxford Uni- versity Press, 1998. In a book intended for younger audiences, Hannawalt states the Bayeux Tap- estry was “commissioned by the Normans to tell their version of events leading up to the conquest and battle.” A black-and-white image of a battle scene is included. Includes chronology, glossary and index. Hannawalt is a professor of British history at Ohio State University.

765. Handcock, W. D. English Historical Documents 1833–1874, Volume 9. Routledge, 1996. Notes: Illustrated reprint. George Malcolm Young, editor.

766. Hannah, Ian Campbell. “The Story of the Bayeux Tapestry.” Sussex County Magazine 6, no. 14–25 (1932).

767. Hansen, Hans Jürgen, ed. Art and the Seafarer: A Historical Survey of the Arts and Crafts of Sailors and Shipwrights. New York: Viking Press, 1968. Notes: Translation of Kunstgeschichte der Seefahrt. Translated by James and Inge Moore.

768. Hansen, Lindsey. “Re-Framing the Marginalized: An Examination of Center-Periphery Relations in the Bayeux Tapestry.” (2011). Notes: Paper given at the Vagantes: Medieval Graduate Student Conference, held at the University of Pittsburgh, 2011. Hansen takes a look at the images in the Bayeux Tapestry’s borders and comments on pairing patterns in their display. She also discusses how border images indicate the passage of time in the narrative.

769. Harfield, Clive. “The Archaeology of the Bayeux Tapestry.” Památky Archeologické 86, no. 2 (1996): 161–74.

770. Harkins, Susan Sales, and William H. Harkins. The Life and Times of William the Conqueror. Hockessin, DE: Mitchell Lane Publishers, 2009. Notes: Part of the series Ancient Civilizations: Legends, Folklore, and Stories of Ancient Worlds. Series also cited as Biography from Ancient Civilizations and Ancient Civilizations. Featuring two color images of the Tapestry, each with descriptive captions that also include information on the work, the book includes the following narrative addressing the origins of the embroidery: “Shortly after the invasion, probably 226 The Bibliography within the first ten years, the Normans commissioned a work of art to record William’s conquest. Most modern historians believe Bishop Odo commissioned the storytelling tapestry. Today, we know this artwork as the Bayeux Tapestry. The French call it Queen Matilda’s Tapestry, although there’s nothing to suggest that she had anything to do with it.” The authors also note that the likely subject matter of the missing last panel is the coronation of William as King of England. Includes a list of titles for further reading, a one-page glossary, and an index.

771. Harper-Bill, Christopher, ed. Anglo-Norman Studies XXII: Proceedings of the Battle Conference, 1999. Woodbridge, U.K.: Boydell Press, 2000. These proceedings include two articles referencing the Bayeux Tapestry, each annotated separately: Cyril Hart’s “The Bayeux Tapestry and Schools of Illumi- nation at Canterbury” and J.J.N. Palmer’s “The Wealth of the Secular Aristocracy in 1086.” The book does not include an index.

772. Harper-Bill, Christopher, and Ruth Harvey, eds. Medieval Knighthood IV: Papers From the Strawberry Hill Conference 1990. Woodbridge, U.K.: Boydell Press, 1992. This collection of papers contains “The Knight, Heraldry and Armour: The Role of Recognition and the Origins of Heraldry” by Adrian Ailes and “A Bell- house and a Burh-geat: Lordly Residences in England before the Norman Con- quest” by Ann Williams. Each is annotated separately.

773. Harper-Bill, Christopher, C. J. Holdsworth, and Janet L. Nelson, eds. Studies in Medieval History: Presented to R. Allen Brown. Wolfeboro, NH: Boydell Press, 1989.

774. Harpur, James, and Elizabeth M. Hallam. Revelations: The Medieval World. New York: Henry Holt, 1995. Notes: “A Henry Holt Reference Book.” This pretty and enjoyable book, aimed at a general audience, takes a look at the castles, knights, town and country life, churches, monasteries and abbeys, and battles of the Middle Ages. A section on keeps and strongholds displays the image from the Bayeux Tapestry where the Hastings castle is being built. Includes five “gatefold” spreads that open out to colorful panoramic scenes (none of them directly related to the Tapestry). Harpur is a London-based author and history enthusiast. Richly illustrated in full color throughout. Includes index.

775. Harris, George. “Domestic Every-Day Life, and Manners and Customs in This Country, From the Earliest Period to the End of the Eighteenth Cen- tury.” Transactions of the Royal Historical Society 7 (1878): 176–211. As the article’s title suggests, Harris covers details of Anglo-Saxon material culture and architecture in this piece, the third section titled “From the Norman The Bibliography 227

Conquest to the End of the Thirteenth Century.” He offers relatively substantial narrative on the Tapestry, providing numerous details about the work, such as its inclusion of 1,512 objects where he lists the number of each kind. Harris writes that “There is no doubt that it was done at the period of the Conquest, though probably the fair ladies of the court had a large share in it as well as the queen. The figures are quaint and stiff, but spirited, and there is really much expression in the attitudes, though none in the countenances. The limbs are, however, well drawn, and the figures are tolerably correct, as are also the horses. The colouring is also fairly managed. Considering their age, their state of preservation is really wonderful.” Later in the article, Harris brief comments on the representation of King Harold in the Tapestry with a hawk.

776. ———. “Materials for a Domestic History of England.” Transactions of the Royal Historical Society 2 (1873): 142–57. Writing about how ancient tapestries as well as ancient drawings provide “vivid and accurate ideas” of everyday domestic life, Harris notes that the Bayeux Tapestry “is said to have been worked by Queen Matilda . . . and the ladies of the court.” He states that it “is still preserved, in a very perfect state, in the Town Hall of Bayeux.” He discusses how the Tapestry may be used to glean information on costume, furniture, building styles, and other elements of domestic life during the period.

777. Harris, Jennifer, ed. 5,000 Years of Textiles. Washington, DC: Smithso- nian Books in association with British Museum Press, 2004. Notes: Originally published in 1993 by British Museum Press in association with the Whitworth Art Gallery, University of Manchester and Victoria and Al- bert Museum, London. A second impression was issued in 1995. Referencing the Bayeux Tapestry in her Chapter 24 on embroidery, Harris compares the work to the Creation hanging in the Gerona Cathedral in Spain. In her discussion on how not all early medieval embroideries were rich in their construction, she writes, “The scenes stand out against the plain linen ground, unlike those on another eleventh-century embroidery, the Creation hanging in Gerona Cathedral, Spain. This magnificent Catalan embroidery has a wool twill ground entirely covered with couched wool and a little linen thread. Although now unique, both objects have affinities, if not direct links, with other pieces: the form of laid and couched work on the Bayeux Tapestry also features in Scandinavian and Icelandic wall-hangings of the fourteenth to sixteenth centuries, although their woollen grounds are entirely hidden, as in the Gerona hanging.” Earlier, Harris makes a brief reference to the “single chance survival” of the Tapestry. Includes detailed index.

778. Harrison, Mark. Anglo-Saxon Thegn, A.D. 449–1066. Oxford, U.K.: Osprey, 1993. Notes: Illustrated by Gerry Embleton. Part of the Warrior series, volume 5. 228 The Bibliography

779. ———. Viking Hersir, 793–1066 AD. Oxford, U.K.: Osprey, 1993. Notes: Illustrated by Gerry Embleton. Part of the Warrior series, volume 3. Also published with the title Viking Warrior.

780. Hart, Cyril. “The Bayeux Tapestry and Schools of Illumination at Can- terbury.” Anglo-Norman Studies XXII: Proceedings of the Battle Conference, 1999. ed Christopher Harper-Bill, 117–67. Woodbridge, U.K.: Boydell Press, 2000. Hart begins by firmly reiterating a statement from an earlier conference that it should now be taken as established fact that the Bayeux Tapestry was manufactured at St. Augustine’s Abbey at Canterbury, based on art-historical evidence. Thus, he presents “a provisional assessment of the significance of the Tapestry as a product of the Canterbury Schools of Illumination . . . [based] mainly on a study of the development of the principle [sic] motifs discernible in the artwork of the schools over a period of two centuries.” That is, his paper attempts to more or less prove the Tapestry’s Canterbury manufacture by presenting visual evidence of the transmission of manuscript images to the Tapestry. Before he gets to the illustrations, Hart provides descriptions of various manuscripts, brief remarks about their tie-ins with the Tapestry, and some of the transmission routes of their motifs: The Ramsey Psalter, St. Augustine’s Gospels, The Utrecht Psalter, The Caedmon Genesis, The Canterbury Illustrated OE Miscel- lany, The Harley Psalter, The Old English Illustrated Hexateuch, an illustrated collection of early fables, The Arundel Passional, The Eadwine Psalter, stained glass at Canterbury Cathedral, as well as the Bayeux Tapestry itself, treated as a manuscript. He then lists numerous codices from the illuminated manuscripts from St. Augustine’s and Christ Church, Canterbury. The most outstanding feature of this work is indeed the compilation of dozens of hand-drawn side-by-side comparative scenes and motifs from the manuscripts and the Tapestry, providing compelling evidence for his argument that the Tapestry is a product of the same school as the manuscripts. Scenes and motifs shown and described are: the death of Edward the Confessor, Harold reports to King Edward, servants with dishes, churches and shrines, pavilions and pedimented buildings, torches, archers and their quivers, slaughter, scaring birds, homodubii (centaur-like creatures), gonfanons, figureheads on ships, scourges, hitched-up skirts, decapitation, falling horses, man in a bush, “labour” (the figure in the Tapestry’s Norman foraging scene who is holding a circular object around his head), bear-baiting, hawking, Pisces, hunting dogs, Centaurus, Ara (Aratea, the altar-constellation), Lepus and Crater, swordsmiths and carpenters, Adam in the Garden of Eden, Feasts, curtains and posts, acrobatic figures, carrying bundles, baskets and cauldrons, and tongs. Includes a bibliography. The Bibliography 229

781. ———. “The Canterbury Contribution to the Bayeux Tapestry.” Art and Symbolism in Medieval Europe: Papers of the Medieval Europe Brugge 1997 Conference. eds Guy de Boe, and Frans Verhaeghe, 7–15. Zellik: Instituut voor he Archeologisch Patrimonium, 1997.

782. ———. “The Cicero-Aratea and the Bayeux Tapestry.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker, 161–78. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Hart provides a quick overview of his earlier papers that “confirmed beyond reasonable doubt” the opinion that the Bayeux Tapestry was designed and manufactured at Canterbury within a decade of the Norman Conquest and that the illustrated texts and calendars were used as sources for images embroidered into it. Hart demonstrates quite convincingly that the Cicero-Aratea, a ninth-century illustrated astrological manuscript, contains images from which numerous animal and human forms in the Tapestry were likely derived. Includes a reproduction of a Cicero-Aratea planisphere (circular map of the heavens), many details from it and other Canterbury manuscripts, as well as details of corresponding Tapestry images laid out for comparison. One appendix describes five different English versions of the Cicero-Aratea copied between the ninth and eleventh centuries. A second appendix discusses medieval English ivory carvings which used the Cicero-Aratea as an exemplar.

783. Hart-Davis, Duff. Fauna Britannica: The Practical Guide to Wild & Do- mestic Creatures of Britain. London: Weidenfeld & Nicolson, 2002. Hart-Davis, a British naturalist and journalist, makes one reference to the Bay- eux Tapestry in this richly illustrated volume. In his chapter on horses, Hart-Davis comments on the size of William the Conqueror’s horses, suggesting that since “some of the knights’ feet almost touch the ground” the horses were likely “very small.” He also mentions that these knights were “lightly armoured in chain mail, helmets and body suits; but their mounts have no protection, and over the next century, as the technology of bows and arrows improved, giving archers greater range, it became expedient to armour the horses as well.” Includes an index and one color image from the Tapestry of the Norman cavalry at Hastings.

784. Hartley, Dorothy. Mediaeval Costume and Life: A Review of Their Social Aspects Arranged Under Various Classes and Workers With Instructions for Making Numerous Types of Dress. London: B.T. Batsford, 1931. Notes: Introduction and notes by Francis M. Kelly. In giving readers an overview of the book’s arrangement and approach, Kelly provides a footnote on the Bayeux Tapestry’s role as a source of information on the Norman Conquest and eleventh-century material culture. The footnote reads, 230 The Bibliography

“Till quite recently our ‘star’ witness for the dress, arms, etc. of the Conquest has been the Bayeux Tapestry; but as nowadays competent critics are widely at variance with regard to its actual date of execution and we have no satisfactory testimony of the latter part of the eleventh century to substitute in its place, we make the Crusaders our starting-point.” Later, in her chapter titled “Hose and Breeches,” Hartley offers another commentary on the Tapestry’s reliability as a source of Conquest history as well as its dating. She writes “Hitherto the Bayeux Tapestry has been implicitly relied upon as firsthand contemporary evidence of the dress, arms, etc. of the Conquest. It is therefore unfortunate since we seem to have nothing to supply its place that strong doubts have arisen as to its actual date of execution, varying by as much as 100 years. If, as one school maintains, this document is no earlier than c. 1125, most of our traditional notions of costume in the latter half of the eleventh century must go by the board. The question however remains an open one; for those who would date the work within living memory of the events portrayed say, roughly, 1090 have a strong case.” The book contains several illustrations as well as an index to the text and illustrations.

785. Hartshorne, A. revised by C. J. Floulkes Curator of the Tower Ar- mouries. “Military Costume.” Medieval England. H. W. C. Davis, 170–193. London: Studio Editions, 1993. Notes: Reprint. Published as Mediaeval England: A New Edition of Barnard’s Companion to English History by the Clarendon Press, Oxford in 1924. Hartshorne presents a survey of English military costume and weapons from the Anglo-Saxon period through the Tudors. On the Bayeux Tapestry, he notes the “great precision” with which it depicts eleventh-century armor, notably, the hawberk [sic]. He also comments briefly on the Normans’ and Anglo-Saxons’ hairstyles, their shields, and weapons as shown in the Tapestry. Three drawings of armored warriors from the Tapestry are shown.

786. Hartshorne, C. H. English Medieval Embroidery. London: 1848.

787. Haskins, Charles H. “Notes and Documents: ‘King Harold’s Books.’” The English Historical Review 37, no. 147 (1922): 398–400. Notes: Published by Oxford University Press. Referencing the Bayeux Tapestry’s depiction of falconry, Haskins concludes his article with the following paragraph: “It would be still more interesting to identify the libri Haroldi regis which Adelard cites as a source. The phrase is vague, as there was more than one King Harold, and the books may conceivably have been either written by Harold, or dedicated to him, or possessed by him. It is, perhaps, simplest to assume that the reference is to books possessed by Harold Godwin’s son, whose devotion to falconry is well known from the Bayeux tapestry. These might easily have fallen into the hands of the Conqueror with royal treasure, and thus have been handed down to the time of Henry I. As a member The Bibliography 231 of the royal household Adelard would have had access to these books, and his citation is the earliest mention of a library of the Norman kings. But if anyone can suggest a better explanation, non invideo!”

788. Haskins, Charles Homer. The Normans in European History. New York: Frederick Ungar Publishing, 1966. Notes: Second printing; reissued in 1959. Originally published by Houghton Mifflin/The Riverside Press Cambridge, Boston, in 1915. Haskins here publishes eight of his university lectures from 1915, revised for a general audience. Not intending to provide annals of Norman history, the author attempts to “place the Normans in relation to their time and to indicate the larger features of their work as founders and organizers of states and contributors to European culture.” He briefly discusses the Bayeux Tapestry’s value as a source for details on the Battle of Hastings and of life and culture in the eleventh century. Haskins also rejects the idea that Queen Matilda was the Tapestry’s patron and dismisses notions that the Tapestry may have been embroidered one or even two centuries after the Conquest, citing evidence of armor and costume. A passage on timber fortresses mentions the Tapestry’s images of them. Odo’s eulogists, he notes, tell us that although the Bishop was lustful, proud, and ambitious, he was also generous in many ways, not the least of which was his building of Bayeux Cathedral, for which the Tapestry was probably made.

789. Hassall, John. Ye Berlin Tapestrie: Wilhelm’s Invasion of Flanders. Lon- don: Studio, 1915. This satire of the invasions of Kaiser Wilhelm is a fold-out book with 16 scenes 14 centimeters high that span over four meters.

790. Hauser, Arnold. The Social History of Art, Volume I. New York: Vintage Books, 1951. Notes: First American edition, November 1951. Reprint by arrangement with Alfred A. Knopf. Translated in collaboration with the author by Stanley Godman. In his chapter titled “Feudalism and the Romanesque Style,” Hauser writes of the Bayeux Tapestry’s significance as a major example and informer of secular art in the late Romanesque period. He explains that “The delight with which later Romanesque art can become engrossed in the illustration of an epic theme is shown most directly in the Bayeux Tapestry, a work which, in spite of being designed for a church, expresses an outlook different from that of ecclesiastical art.” Proclaiming the embroidery’s storytelling style “fluent” and the portrayal of various episodes from the Norman conquest executed with “a striking love for realistic detail,” Hauser addresses the legend of Queen Matilda’s involvement in the work’s production: “Obviously, this is not a work of monastic art but rather the product of a workshop which was to some extent independent of the Church. The tradition that ascribes the embroidery to Queen Mathilda is no doubt based 232 The Bibliography on a legend, for the work was clearly done by experienced, professionally trained artists; but the legend, at any rate, points to the secular origin of the work. No other monument of Romanesque art gives us such a comprehensive idea of the means which the secular art of this age must have had at its disposal.” Comment- ing on the importance of the Tapestry’s preservation, Hauser notes that “It makes the loss of similar works, on the preservation of which obviously less care was expended than on that of ecclesiastical art, doubly regrettable. We do not know how extensive the production of secular art was; it will not have even approached the output of ecclesiastical art, but it was, at least in the late Romanesque period to which the Bayeux Tapestry belongs, no doubt more important than the small number of surviving examples might lead us to suppose.” Includes an index.

791. Hayward, W., ed. English Romanesque Art, 1066–1200. London: 1984.

792. Haywood, John. The Penguin Historical Atlas of the Vikings. London: Penguin Books, 1995. In this paperback richly illustrated with maps, photographs, charts, and other illustrations, Haywood offers two color images of the Bayeux Tapestry. The first, in a chapter on the Duchy of Normandy, depicts William at the castle of Dinan in Brittany. The caption notes that the castle is a typical motte-and-bailey of the period with a wooden stockade atop an earthen mound; as well as the Norse origin of the gonfalons and mythical beasts in the margins. The second is in a chapter titled “The Struggle for England” and depicts William’s fleet approach- ing the English coast. The caption explains that by 1066 Normans had adopted the French language and culture, but the design of their ships continued to reflect their Scandinavian heritage.

793. Haywood, John, Andrew Jotischky, and Sean McGlynn. Historical Atlas of the Medieval World, AD 600–1492. Totowa, NJ: Barnes & Noble Books, 2000. Notes: Originally published by Andromeda Oxford, Oxfordshire, U.K. in 1998. The introduction indicates that this title is part of a six-volume chronological set. A color image from the Bayeux Tapestry is included in the section on Feudal Europe. A caption dates the embroidery to c. 1080. Later, in an encyclopedic dictionary, a brief entry for the Tapestry provides dimensions and suggests it was commissioned by Bishop Odo and completed soon after the Battle of Hastings. Includes an index.

794. Haywood, Maude. “Gobelins Tapestry.” The Decorator and Furnisher 13, no. 6 (1889): 193–94. Writing of the introduction of tapestry to France by the Saracens, Haywood notes that by the twelfth century “under the reign of Philippe Auguste, they formed an important and privileged corporation in Paris” and that they were The Bibliography 233 embroiderers rather than weavers, “their work being in the style of the Bayeux tapestry, the oldest tapestry extant in France.”

795. Hazel, Françoise, and Marie Le Saux, eds. The Formation of Culture in Medieval Britain: Celtic, Latin, and Norman Influences on English Music, Literature, History, and Art. Lewiston, NY: Edwin Mellen Press, 1995.

796. Hérubel, Jean-Pierre V. M. “Recent Articles on French History.” French Historical Studies 23, no. 1 (2000): 201–10.

797. Head, Victor. Hereward. Stroud, U.K.: Alan Sutton Publishing, 1995. References to the Bayeux Tapestry feature prominently in this biography. Head addresses the matter of Harold’s oath, the Tapestry as propaganda, the portrayal of William the Conqueror, mounted knights, hauberks, conical iron helmets, Bishop Odo’s prominence in the embroidery and his likely commissioning of it, Saxon needlewomen, the lost portion of the Tapestry, and the “distinct English character” of some of the letters. Head muses on the image, which he acknowledges may be mistaken, that one may conjure up of “a row of needlewomen with the tapestry spread across their knees, gossiping and perhaps arguing over details of dress and events that had occurred fifteen years earlier.” He provides basic factual information and describes the stitches used in the construction of the work. In his opening chapter, Head writes “The bonds linking lord and man, leader and follower, held this society together and near its apex were the king’s most trusted followers who would include the redoubtable housecarls, the same axemen of the Bayeux Tapestry slaughtered by the dozen beneath Harold’s dragon banner at the battle of Hastings.” Discussing the borders, Head writes that it was “an elegant favour to later generations . . . to fill the borders with vignettes of contemporary life, pictures of birds and animals, ploughmen, huntsmen and so on.” He also provides the numbers of humans, horses and mules, dogs, other animals, buildings, ships, and trees. Also notable is Head’s brief narrative on whether the tapestry in Baudri of Bourgueil’s poem is the famous embroidery. Here, he references the weight given to the theory by Frank Stenton. Includes five black-and-white images of the Tapestry.

798. Hearn, Millard Fillmore. Romanesque Sculpture: The Revival of Monu- mental Stone Sculpture in the Eleventh and Twelfth Centuries. Ithaca, NY: Cornell University Press, 1981. Notes: “A Phaidon Book.” Published in paperback in 1985. In his chapter on the eleventh-century origins of column capitals, Hearn compares the decorative function of his subjects to other medieval marginal embellishment, including the Bayeux Tapestry. “The contrast between the main theme and the decoration” provided by borders and capitals “served to heighten the meaning and visual effectiveness of the principal subject . . . [and] make the 234 The Bibliography work of art more striking and impressive.” Hearn is a professor of fine arts at the University of Pittsburgh.

799. Hedlund, Catherine A. A Primer of New England Crewel Embroidery. Sturbridge, MA: Old Sturbridge Village, 1967. Notes: Second edition. Originally published in 1963. Part of the Old Sturbridge Village Booklet Series, Catherine Fennelly, editor. Paperback. Referring to the Bayeux Tapestry as the “earliest wool embroidery known in Christian Britain” in her introductory narrative, Hedlund dates the work to the end of the eleventh or beginning of the twelfth century and attributes its commissioning to Bishop Odo. This 65-page paperback includes several black-and-white photographs and instructive drawings. There is no index.

800. Held, Shirley E. Weaving: A Handbook of the Fiber Arts. Fort Worth, TX: Harcourt Brace College Publishers, 1999. Notes: Third edition. Paperback. “With the assistance of Margaret Allyson.” Second edition published by Holt, Rinehart and Winston in 1978. In a section titled “European Weaving During the Middle Ages” within the chapter “Fiber Art: From the Classical Period to the Industrial Revolution,” Held includes a brief overview of the Bayeux Tapestry providing basic facts, two large black-and-white images, and some commentary on its narrative: “The tapestry is much like an enormous book . . . No effort is spared to make the tapestry’s message abundantly clear. The Latin inscriptions that accompany each episode and the presence of symbolic beasts along the top border—the fox and crow, the wolf and stork, the ewe, goat, and cow with a lion—are meant to signify Harold’s impending treachery.” Includes an excellent glossary, bibliography, and index.

801. Helm, P. J. Exploring Saxon and Norman England. London: Robert Hale, 1976. Helm, an author and history lecturer at Queen’s College, Taunton, provides “non-specialist” travelers with historical backgrounds and descriptions of more than 200 sites of interest in England from 400 to 1189; driving directions to the sites are also provided. There were no Saxon castles of the Norman type depicted in the Bayeux Tapestry, notes Helm. He follows this with brief remarks about the unclear meaning of Tapestry’s oath scene, and therefore quotes Stenton, “a piece of stitchwork can only deal in superficialities.” After his discussions of the battles of Stamford Bridge and Hastings, he includes a good one-page summary of the Conquest according to the Tapestry, its trials of survival through the centuries, a description of the textile, and a remark about its [then] current display being “well-designed if rather clinical.” The Tapestry is cited as fairly reliable evidence for what motte-and-bailey castles looked like. Includes one black-and-white photograph of the Tapestry, an index of sites by county, and a general index. The Bibliography 235

802. Henderson, George. Early Medieval Art and Civilisation. London: The Folio Society, 2004. Notes: First published in 1972 by Penguin Books as part of the Style and Civi- lization series. This is the second printing and follows the text of the revised 1977 printing. Also published by the University of Toronto Press in association with the Medieval Academy of America in 1993 as part of the Medieval Academy Reprints for Teaching series, volume 29. Most earlier editions and reprints were published under the title Early Medieval. Henderson, professor of medieval art at the University of Cambridge, presents an expository work on medieval art “for the general reader, but it . . . should interested the specialist as well.” He compares the Tapestry’s scene of William giving arms to Harold with those that equipped the kind buried at Sutton Hoo and with the arms that Hrothgar awarded to Beowulf. In his chapter on story-telling, he comments over several pages on the Tapestry’s narrative technique which establishes a “firm sense of location and moves characters from one place to another only by the explicit process of a journey.” The Tapestry’s story-telling, he states, takes a straightforward folktale approach like the Völsunga Saga and is as “rigid and limited” as the Chanson de Roland, yet goes on to say that the Chan- son “probes the psychological situation and brings out its tragic implications.” Henderson continues with an examination of the Tapestry with respect to other continuous narratives: the fragmentary Winchester relief and the Joshua Roll.

803. Henderson, Helen W. “The Bayeux Tapestry.” Arts, Beaux-Arts, Lit- terature, Spectacles 6 (1924): 301–13.

804. Henige, Chris. “Putting the Bayeux Tapestry in Its Place.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker, 125–37. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Henige, of the University of Wisconsin, Whitewater, summarizes Gale Owen-Crocker’s theory of a square-room installation for the Bayeux Tapestry (see “Brothers, Rivals and the Geometry of the Tapestry” by Owen-Crocker). He gives specific dimensions of the postulated nearly square room, then quickly points out that such an interior space would have indeed been considerably large for an eleventh-century structure, and that no building from that time period exists today with such dimensions. A fortification at Dover, earlier than the currently standing keep, had a configuration which would have served the dimensional requirements for the Tapestry that Owen-Crocker proposes. The author examines the plan of the existing keep and evidence in the literature that a previous structure existed there, which also reveals that Bishop Odo, the Tap- estry’s patron, was “closely linked to Dover in the years between the Conquest and his imprisonment in 1082,” the window of time in which the Tapestry was 236 The Bibliography manufactured. These, he concludes, make Dover Castle “a leading candidate in the search of the original home of the Bayeux Tapestry.” He also speculates that the Tapestry’s tower from which a scout spots Harold’s return to England might very well be the Dover fortification. Owen-Crocker’s four Tapestry episodes, divided thematically onto the four walls in her configuration are named by Henige: Captivity Wall, Oath Wall, Invasion Wall, and Battle Wall. A chart listing 13 pairs of interrelated scenes, directly across the room from each other in the square installation, is provided, although Henige does not state the significance of many of these pairings; three of these scenes are “likely content” from the missing end of the Tapestry. He notes that the third wall, the Invasion Wall, contains numerous scenes that appear to be “filler material,” perhaps for the purpose of pushing the beginning of the battle scene to the start of the fourth wall. In his fascinating conclusion, the author shows how the interrelated across-the-room pairings may help identify the Tapestry’s Ælfgyva as Ælfgyva of Northampton, King Cnut’s wife, who was rumored to have “procured the child Swein and passed him off as the legitimate son” of the Norwegian-born English king; in the Tapestry, this would have undermined the Norwegian claim to the throne. That this scene in the square installment stands directly across from what was likely the scene of William’s coronation, we have a pairing of the illegitimate and the legitimate.

805. Henning, Basil Duke, Archibald S. Foord, and Barbara L. Mathias. Crises in English History, 1066–1945: Select Problems in Historical Interpre- tation. New York: Holt, Rinehart and Winston, 1961. Notes: Paperback. Originally published in 1949. The authors conclude the opening section, titled “Problem I: William’s Claim to the English Throne,” with a subsection on the Bayeux Tapestry. It begins with a brief narrative noting the Tapestry was “woven very shortly after the Conquest.” Following this narrative is a listing of 61 scenes with the inscriptions translated from Latin into English. Three black-and-white images from the Tap- estry are included. There is no index.

806. Henry of Huntingdon. The History of the English People, 1000–1154. Oxford, U.K.: Oxford University Press, 2009. Notes: Paperback reissue. First published as an Oxford World’s Classics paperback in 2002. Translated from the Latin, with an introduction and notes, by Diana Greenway. This edition was originally published in 1996. Twelfth-century English historian Henry of Huntingdon’s history of England from 1000 to 1154 is presented in translation with a concise table of the chronology of the events Henry covers, genealogical charts, a bibliography, a map, and an introduction and extensive explanatory notes by Greenway. Henry’s account of Harold’s death by a strike to the eye is met in the explanatory notes with The Bibliography 237

Greenway’s mention of the similarity between Henry’s account and that of Wil- liam of Malmesbury, both likely influenced by the Bayeux Tapestry. She also points to Bernstein’s article “The Blinding of Harold and the Meaning of the Bayeux Tapestry.” Includes explanatory notes and index.

807. Henson, Donald. A Guide to Late Anglo-Saxon England: From Aelfred to Eadgar II. Norfolk, England: Anglo-Saxon Books, 1998.

808. Hepworth, T. C. “Bayeux in Normandy and Its Famous Tapestry.” The Artist (American Edition) 23 (1898): 132–40. Hepworth comments on the patronage of the Tapestry, its discovery in the 1730s, and its exhibition.

809. Heslop, T. A. “The Implication of the Utrecht Psalter in English Roman- esque Art.” Romanesque Art and Thought in the Twelfth Century: Essays in Honor of Walter Cahn. ed Colum Hourihane, 267–89. Princeton, NJ: Index of Christian Art, Department of Art and Archaelogy, Princeton University in association with Pennsylvania State University Press, 2008. Notes: Part of The Index of Christian Art Occasional Papers series, volume 10. Series also cited as Occasional Papers (Princeton University, Department of Art and Archaeology, Index of Christian Art). The foreword by Robert A. Maxwell explains how this book and its companion volume Representing History: Art, Music, History are collections of papers presented at a four-day conference in Princeton and Philadelphia. T.A. Heslop is also referred to as Sandy (Thomas Alexander) Heslop. The author’s focus in this essay is assessing the Utrecht Psalter’s effect on “the visual imagination of artists.” By comparing a few of the Bayeux Tapes- try’s images to similar ones in the Psalter, Heslop demonstrates the “application of Utrecht in English Romanesque art.” Heslop also shows how the Tapestry’s artist modeled his somersaulting horse scene from the Utrecht and “improved” on it to create “the most compelling representation of the turmoil and chaos in battle [which] involves us psychologically in the uncertainty of armed combat.” The Utrecht Psalter and the Bayeux Tapestry both provide viewers with scene reversal sequences which “stimulate curiosity” and which anticipate the revealing of cause-and-effect relationships that place us in a “similar position to the participants in the events depicted.” Heslop also notes that the Tapestry indicates a mid-eleventh century “shift from annalistic chronicle to analytical causal historical narrative,” and that the Utrecht is an example of “scattered vignettes” while the Tapestry shows a more linear “communicative structure.” Heavily illustrated with extensive notes. Heslop is senior lecturer in the History of Art and Architec- ture at the University of East Anglia. 238 The Bibliography

810. ———. “Orford Castle: Nostalgia and Sophisticated Living.” Anglo- Norman Castles. ed Robert Liddiard, 273–96. Woodbridge, U.K.: Boydell Press, 2003. Heslop states that the study of medieval architecture is too often and unfortunately relegated to just cathedrals and monastic churches, and that castles and houses are often overlooked because they “fit uneasily within the style categories of Romanesque and Gothic.” In a discussion on the early variations to be found among motte-and-bailey castles, the author points out that the Bayeux Tapestry provides good evidence for two-story buildings with external stairs in Anglo- Saxon England, that is, Harold’s manor building at Bosham.

811. ———. “Regarding the Spectators of the Bayeux Tapestry: Bishop Odo and His Circle.” Art History 32, no. 2 (2009): 223–49. Notes: T.A. Heslop is also referred to as Sandy (Thomas Alexander) Heslop. Heslop considers the many elements included in the Bayeux Tapestry which indicate the designer was providing for the interests of the Tapestry’s intended audience. In the first part of the article, he analyzes the Tapestry appearances of Odo and his entrepreneurial tenants Wadard, Vital, and Turold. His focus on Odo discusses how the bishop is depicted as a more assertive character than his brother William. Wadard is discussed mostly in terms of the monetary value of his estates. A study of Vital emphasizes his career and makes the interesting observation that Vital is shown in the Tapestry “galloping towards his master and having the good sense in doing so to reverse his lance, so that it points behind him, in order to avoid any accidents.” He identifies the Tapestry’s Turold as Turold of Rochester, a good farmer who increased the value of his land and who is shown in the Tapestry with an agricultural scene beneath him in the border. In the second part, Heslop analyzes the prose of late eleventh/early twelfth-century French historians and poets whose themes were derived from and built upon classical precedent, and he demonstrates the ways that classical models provided “inspiration and a challenge” to the makers of the Tapestry. Marbod, Bishop of Rennes, Hildebert, Bishop of Le Mans, and Baudri, Archbishop of Dol, are examined at some length for the elements of Antiquity in their poetry. Heslop continues this discussion by indicating the various elements in the Tapestry that might have reminded educated viewers of the founding myth of imperial Rome. Authors such as Guy of Amiens, William of Poitiers, William of Malmesbury, and Henry of Huntingdon are each discussed briefly. Heslop discusses the “cultural baggage that Anglo-Saxon spectators would have brought to their viewing” of the Tapestry, in terms of an English penchant for Old Testament narratives, crediting David Bernstein for his work in this area. A triangular relationship among St. Augustine’s Abbey, Mont St-Michel, and the Bayeux Tapestry is examined. Includes extensive notes and a full-page image of the cover of the July 15, 1944 issue of The New Yorker in which the Bayeux Tapestry is reworked to depict the D-Day landings of Allied Forces in Normandy. The Bibliography 239

812. Heydt, Bruce. “The Bayeux Tapestry.” British Heritage 20, no. 6 (1999): 57–59. Heydt presents an excellent overview for those unacquainted with the Bayeux Tapestry. Readers are provided with a physical description of it, a recount of the story it tells, and Heydt discusses the Tapestry’s patronage, provenance, its possible political leanings, and its value as an information source on contemporary material culture.

813. Hicks, Carola. The Bayeux Tapestry: The Life Story of a Masterpiece. London: Chatto & Windus, 2006. This entertaining study of the Bayeux Tapestry is essentially a biography of the Tapestry, intended for scholars and lay persons alike. Most notable is Hicks’ intriguing proposition that Edith, widow of King Edward, sister of King Harold, and friend of King William, may be the Tapestry’s patron. Hicks provides vivid descriptions of the manufacture of threads, dyes, and linen. The author follows the deeds of various important scholars (as well as several lesser-known ones) over the next several centuries: Foucault, Lancelot, Montfaucon, Stukeley, Ducarel, the Stothards, plus a narrative of Napoleon Bonaparte’s interest in the Tapestry. A lively chapter on the Bayeux Tapestry-themed plays that debuted during the Napoleonic era not only describes the content of the dramatic works, but also the reactions of contemporary audiences and critics. She makes an interesting and fascinating chapter of a topic that other authors only mention briefly: the piece of the Tapestry cut off by Charles Stothard in the early nineteenth century, and the scandal that it created toward the close of that century. Hicks gives an intriguing account of the Nazis’ interest in the propaganda value of the Tapestry as “Heinrich Himmler, Head of the SS and the Gestapo, realized (like Napoleon) the role it could play at a time when Britain was the only obstacle to their plans for European domination . . . [H]e had to publicize the Tapestry and its message.” An exciting and very detailed play-by-play of the inspections, photographing, transports, and hiding places the Tapestry endured during the war is complemented by portraits Hicks creates of the French and Germans who had their hands on it or who wanted to. Other chapters discuss topics such as the several twenieth-century monumental textiles inspired by the Bayeux Tapestry, its appearances in film, spin-offs and parodies of the Tapestry, its use in marketing and advertising, a discussion of Ælf- gyva’s identity, Piltdown hoaxer Charles Dawson’s criticisms of Stothard, “The Bayeux Tapestry Shish-Kebab Mystery” (which casts doubt on the Tapestry’s authenticity), and various theories of mysticism encoded in the Tapestry. The final chapter, “Bayeux Today,” tells a fascinating account of a proposal in the 1980s to clean the Tapestry by immersing it in a swimming pool. The author ends with a description of the Tapestry museum experience from the sidewalk at the Cathedral, into the museum courtyard at le Centre Guillaume le Conquérant, past the ticket counter, around the U-shaped exhibit of the Tapestry, and out through the gift shop. Includes 23 pages of notes, 12 pages of bibliography, and a thorough index. 240 The Bibliography

814. ———. “The Borders of the Bayeux Tapestry.” England in the Eleventh Century: Proceedings of the 1990 Harlaxton Symposium. 1992.

815. ———. “The Patronage of Queen Edith.” The Bayeux Tapestry: New Ap- proaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 5–9. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Hicks, who unfortunately passed away before the publication of the volume in which her article appears, is remembered fondly on the dedication page of this volume. She offers a restatement from her 2006 book The Bayeux Tapestry: The Life Story of a Masterpiece of her theory that the Tapestry’s patron may have been Queen Edith. Testimony to her political astuteness, Edith could have been expressing her loyalty to William with the gift of the Tapestry and at the same time flattering Odo. Edith’s understanding of embroidery techniques and her access to workshops of embroideresses in nunneries reinforce Hicks’ theory. Hicks also details the ambitious self-promotion skills of Edith’s mother-in-law, Queen Emma, which may have been models for Edith’s own maneuvers. She ends by recognizing that her theory of Edith’s patronage cannot “be proved any more than that of Odo or the others,” but that an examination of her “character, career and skills does not rule her out.”

816. ———. “Stitched Up: Eliza Stothard and the Bayeux Tapestry Scan- dal,” Times Literary Supplement 14–15. 2008. Hicks’ article is largely a biography of Eliza Stothard, famous in Britain as an actress by her maiden name, Eliza Bray. The false accusation by the South Kensington Museum (now the Victoria and Albert Museum) that Eliza, wife of Tapestry recorder Charles Stothard, cut off and stole a piece of the Tapestry was cleared up in an 1881 letter to The Times by her nephew, after a comedy of errors on both sides of the Channel. Includes an 1834 engraving portrait of the accused. The details of this scandal are spelled out in much greater details in Hicks’ The Bayeux Tapestry: The Life Story of a Masterpiece.

817. Hicks, Peter. How Castles Were Built. Austin, TX: Raintree Steck- Vaughn, 1999. Notes: Part of the Age of Castles series. In this 48-page book intended for juvenile audiences, a color scene depicting the construction of Hastings Castle is shown in a section on motte-and-bailey castles, noting that English laborers are building the motte. Later, as part of a timeline, another color image of the Tapestry is featured. Includes index. The Bibliography 241

818. Hieatt, Constance B. “Medieval Britain.” Regional Cuisines of Medieval Europe: A Book of Essays. ed Melitta Weiss Adamson, 19–45. New York: Routledge, 2002. Notes: Part of the Routledge Medieval Casebooks series, Christopher Klein- henz and Marcia Colish, series editors. Hieatt, Professor Emerita of English at the University of Western Ontario, discusses the Bayeux Tapestry as a source of information about Anglo-Saxon cookery. Acknowledging that the Tapestry is of course post-Conquest and “may have been made in France,” she writes that it “records what near-contemporaries in close contact with Anglo-Norman England assumed would have been served to English and Norman dignitaries in the late eleventh century.” She explains that the embroidery features two scenes depicting feasting, writing that “In the most clearly detailed of these, we can see a servant offering a bowl of pottage to diners at a table already set with some fishes and bread, while another servant brings roasted birds on spits from a busy kitchen area where cooks are tending a cauldron and grilling what look like pieces of meat.” She continues, explaining “But since there is no way of telling what kind of a pottage (soup, stew, porridge?) is being cooked and served in the tapestry’s cooking scene, about all we can deduce is that the food served is all pretty simply cooked. There is no evidence here for the consumption in the eleventh century of elaborately prepared food, although Anglo-Saxon royalty and high nobility must have been well acquainted with the food served to their counterparts in France, with whom they were in frequent contact at least from the time of Charlemagne.” In the book’s introduction, Ad- amson mentions the Bayeux Tapestry as one of the broad range of sources Hieatt uses. Hieatt’s article includes extensive notes. The book includes a bibliography and an index.

819. Higgin, Lily. “Reproduction of the Bayeux Tapestry in Facsimile.” Magazine of Art 10 (1887): 345–48.

820. Higgin, Lily, and Marianne Margaret Compton Viscountess Alford Cust. Handbook of Embroidery. London: Sampson, Low, Marston, Searle, and Rivington, 1880. Notes: Published by Scribner and Welford in New York. Edited by Marianne Margaret Compton Cust, the Viscountess Alford. Published by authority of the Royal School of Art Needlework.

821. Higham, N. J. The Death of Anglo-Saxon England. Stroud, U.K.: Sut- ton, 1997. Higham, Reader in History at the University of Manchester, examines the vulnerability of the Anglo-Saxon kingdom to internal conflicts and external 242 The Bibliography raids. In his final chapter, “1066: Succession and Crisis,” the author summarizes the story told in the Bayeux Tapestry and then zooms in to take a closer look at Tapestry topics such as Edward’s attitude towards Harold upon the Earl’s return to England, possible reasons for Harold’s journey to the continent, the identity of Ælfgyva, the depiction of Edward’s death, the handing over of the crown to Har- old, Halley’s comet, and William’s landing at Pevensey and the ensuing plunder. Includes 17 photographs (7 in full color) of the Tapestry, and an interesting image of the Confessor’s burial from Matthew Paris’ History of St Edward the King. Also notable are the many photographs of actual places depicted in the Tapestry or directly related to the conquest: Mont St Michel, the Dives estuary, Hastings, Bosham Harbor, the battlefield of Hastings (actually in the town of Battle), Pe- vensey Castle, Hastings Castle, and many others. Includes index.

822. ———. “Harold Godwinesson: The Construction of Kingship.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker, 19–34. Wood- bridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Higham focuses his attention in this essay on the Godwins’ influence and power in pre-Conquest England and that Harold’s eventual kingship was actually years in the making. The only mention of the Tapestry is the quick comment that the scene of Harold’s oath features prominently in the embroidery.

823. ———. The Norman Conquest. Stroud, U.K.: Sutton, 1998. Notes: Part of the Sutton Pocket Histories series, Asa Briggs, editor. Higham, reader in history at the University of Manchester, references the Bay- eux Tapestry in his exploration of Harold’s visit to Normandy which he notes was “so graphically recorded” on the embroidery but went unmentioned in any English source. Includes an index and a brief annotated list of titles for further reading.

824. Higham, Robert. “Timber Castles: A Reassessment.” Anglo-Norman Castles. ed Robert Liddiard, 105–18. Woodbridge, U.K.: Boydell Press, 2003. Higham acknowledges that what most people think of as castles are the stone structures they see in souvenirs and post cards, a reasonable circumstance given that it is the stone castles which have come down to us through the centuries. The author presents here a study of timber castles, which “have a far more interesting structural and social history than is generally appreciated,” and which have received little attention from other authors. Because castles made of organic materials have decayed and left behind meager tangible evidence, Higham turns to the Bayeux Tapestry as a visual resource of “great interest,” but not without problems. The Tapestry’s depiction of the Normans’ castle being built as Hastings presents two issues in the understanding of timber The Bibliography 243 castle construction: we may not be viewing the building operations in proper sequence, and because the Tapestry was made a decade after 1066, we cannot be sure if the embroidery designer is depicting what actually took place at Hastings in 1066 or if he is “portraying what he was familiar with in Norman England of the 1070s.” Includes one black-and-white photograph of this scene from the Tapestry.

825. Hill, David . “The Bayeux Tapestry and Its Commentators: The Case of Scene 15.” Medieval Life 11 (1999): 24–26.

826. ———. “The Bayeux Tapestry: The Case of the Phantom Fleet.” Bul- letin of the John Rylands University Library of Manchester 80, no. 1–2 (1998): 23–31.

827. ———. “The Bayeux Tapestry: The Establishment of a Text.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 383–401. Caen, France: Presses Universitaires de Caen, 2004. Hill, honorary fellow in Anglo-Saxon Studies at the University of Manchester, contends that “we must always make the effort to find the earliest text, the purest version” of the Bayeux Tapestry’s text, noting that there are at least 379 places where the text may be “corrupted” by restoration attempts. This article does not attempt to interpret possible text restorations, but rather, it provides numerous examples of how early drawings and photographs of the Tapestry show things that are different from what we see today. He refers to the drawings of Foucault, Benoît, and Stothard, and the photographs taken by Dossetter in 1871–1872. The author provides a summary of the Tapestry’s “discovery” in the early 18th century, leading into discussions of the representations of these documenters. The Benoît drawings are described in some good detail. His passage on Charles Stothard includes a portion of paper Stothard wrote in which he comments on the condition of the Tapestry and his attempts to repair it himself. Includes Frank Rede Fowke’s observations of the challenges that Dossetter encountered for photographing the Tapestry (tricky lighting, brass joints getting in the way of the camera, etc.). Stothard’s comments on the missing letters in what is assumed to be the name EVSTATIVS are discussed, as is Eustace’s moustache, which did not appear in drawings before 1819. Hill also describes methods for referencing and indexing exact points on the entire Tapestry, as one might do on any map. Discrepancies throughout history of the Tapestry’s length are noted. Includes images from Benoît, Lancelot, Foucault, and Stothard, as well as a large photograph of Stothard’s plaster cast of King Harold. Also includes a list of 37 fragments missing from the Tapestry, their locations per the indexing system mentioned above, the content of the fragment, and, where known, the year it went missing, and any restoration efforts to replace the fragments. 244 The Bibliography

828. ———. “Two Victorian Facsimiles of the Bayeux Tapestry at the Willis- ton Memorial Library, Mount Holyoke College, Massachusetts, and the So- ciety of Antiquaries of Newcastle on Tyne, Together With Two Unpublished Lectures by Mark Antony Lower [Unpublished].”1998.

829. Hill, David, and John McSween. “The Storage Chest and the Repairs and Changes in the Bayeux Tapestry.” The Bayeux Tapestry: New Ap- proaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 44–51. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Hill and McSween consider how the Bayeux Tapestry’s current appearance, after repairs through the years, can mislead viewers and distort and invalidate studies. The newer threads may communicate what have unfortunately become incontrovertible facts. Comparisons of the early drawings and engravings of the Tapestry made by Benoît, Sansonetti, Foucault, Montfaucon, Stothard as well as late nineteenth-century photographs reveal discrepancies among them as well as helping today’s viewers identify the nature of many embroidery repairs. The fragment removed by Stothard is discussed and the authors note that the many articles and references about this fragment fail to mention the context of the cut- out piece. The taking of other fabric samples from the Tapestry as souvenirs by early visitors is briefly discussed. The storage chest that stored the Tapestry in the Bayeux Cathedral when it was not on display is examined. Includes numerous photographs of the facsimiles discussed.

830. Hill, Paul. The Road to Hastings: The Politics of Power in Anglo-Saxon England. Stroud, U.K.: Tempus, 2005. This account of the Battle of Hastings and the events that led up to it presents unique opportunities in Bayeux Tapestry study. Most notably, the author includes numerous photographs of Battle of Hastings re-enactors wearing replicas of eleventh-century mail, helmets, padded armor, and bearing kite-shields, round shields, and weapons, all based on Tapestry depictions. One photograph shows two soldiers carrying a mail hauberk threaded through the armholes on a pole, as shown in the Tapestry. Also included are photographs of Tapestry-related places such as Valery-sur-Somme (William’s departure point before the invasion of England), the Bayeux Cathedral, Caldbec Hill, Mont-St-Michel, and the battlefield. The author questions the Tapestry as well as William of Malmesbury on the issue of the alleged papal backing of the invasion of England. Hill is an Anglo-Saxon historian and military specialist. The Bibliography 245

831. Hilton, Lisa. Queen’s Consort: England’s Medieval Queens From Elea- nor of Aquitaine to Elizabeth of York. New York: Pegasus Books, 2010. Notes: Paperback edition. Published by Orion Books, London, in 2009. First published by Weidenfeld and Nicolson, London in 2008. Hilton presents biographical sketches of 20 women crowned queen between 1066 and 1503. Her chapter on Matilda of Flanders discusses how this Matilda and her daughter-in-law, Matilda of Scotland were patrons and promoters of the skills of English needlewomen. She gives a nod to the old notion that Matilda of Flanders and her ladies had created the Bayeux Tapestry. She then notes that where Harold is shown in the Tapestry swearing an oath, he promises to marry one of Matilda’s daughters as well as uphold Duke William’s claim to the English crown. Includes bibliography, notes, and index.

832. Hind, J. R. “The Comet of the Bayeux Tapestry.” The Times (1881).

833. Hindley, Geoffrey. A Brief History of the Anglo-Saxons. New York: Car- roll & Graf, 2006. Notes: Cover title: A Brief History of the Anglo-Saxons: The Beginnings of the English Nation.

834. ———. Medieval Warfare. New York: G.P. Putnam’s Sons, 1971. Notes: Part of the Putnam Pictorial Sources Series. Hindley focuses his attention on war and its effects on society and attitudes. The Bayeux Tapestry is mentioned only in passing a few times, but interestingly, several images (all in black and white) of the Tapestry appear in various versions: hand-drawings, lithographs or copperplate engravings, Charles Stothard’s drawings, and the original embroidery. Includes index.

835. Hinton, David A. Gold and Gilt, Pots and Pins: Posessions and People in Medieval Britain. Oxford, U.K.: Oxford University Press, 2005. In this well-documented book (106 pages of notes and 59 of bibliography) Hinton examines small artifacts of medieval Britain, their uses, and people’s behavior patterns in acquiring, displaying, concealing, retaining and passing on such items. The author refers to the Bayeux Tapestry in his passages on brooches, drinking horns, spurs, and haircuts.

836. Hollister, Charles Warren. Anglo-Saxon Military Institutions on the Eve of the Norman Conquest. Oxford, U.K.: Clarendon Press, 1962.

837. ———. “The Five-Hide Unit and the Old English Military Obligation.” Speculum 36, no. 1 (1961): 61–74. Notes: Published by the Medieval Academy of America. Within his extensive notes, Hollister writes that “Vinogradoff’s theory accounts admirably for the rude warriors with clubs which the Bayeux Tapestry 246 The Bibliography depicts at Hastings. These would be fyrdworthy freemen turning out for home defense and fighting alongside the normal fyrd. Disregarding Vinogradoff’s theory, F.M. Stenton is forced to offer the unlucky suggestion that these men were merely ‘peasants trying to avenge a fortnight’s harrying.’” Stenton’s First Century of English Feudalism is referenced in the main body of the article.

838. ———. The Making of England, 55 B.C.-1399. New York: Barnes and Noble Books, 1994. Notes: Reprint. Cover title: The Making of England, 55 B.C. to 1399. Origi- nally published by D.C. Heath and Company in 1966. Second edition published by D.C. Heath in 1971 as The Making of England, 55 B.C.-1399: Volume 1 of History of England. Hollister, of the University of California, Santa Barbara, in writing about the Norman Conquest in this book, focuses on “the political importance of William the Conqueror’s ascendancy [and] the impact of Norman feudalism on the social and legal destiny of the British people as well.” He uses two images from the Bayeux Tapestry to illustrate his narrative of the Battle of Hastings. Includes index.

839. Holman, Katherine. Historical Dictionary of the Vikings. Lanham, MD: Scarecrow Press, 2003. Notes: Part of the series Historical Dictionaries of Ancient Civilizations and Historical Eras, No. 11, Jon Woronoff, series editor. Holman, a former lecturer in Scandinavian studies and assistant director of European Studies at the University of Hull, offers a full-page entry on the Bay- eux Tapestry. She provides basics facts on the embroidery, details of the story it depicts, and some of the chronology of its history. She mentions the Cathedral inventory, Montfaucon’s Monuments de la Monarchie Francaise, the secular nature of the work, the likely commissioning by Bishop Odo, and reasons for its interest to historians of the Vikings, notably its depiction of Norman ships and shipbuilding as well as weapons and warfare. Includes a superb bibliography with its own table of contents and narrative introduction. Also includes an appendix listing names and addresses of 26 museums with Viking collections, arranged by country; all are European.

840. Holmes, George, ed. The Oxford Illustrated History of Medieval Europe. New York: Oxford University Press, 2001. Notes: Paperback. First published in 1988. Part of the Oxford Illustrated Histo- ries series. Published in 1992 and 2001 as a paperback without illustrations under the title The Oxford History of Medieval Europe. This university text includes one image from the Bayeux Tapestry in a passage on Norman military strength. The Bibliography 247

841. Holmes Jr., Urban Tigner. Daily Living in the Twelfth Century, Based on the Observations of Alexander Neckam in London and Paris. Madison, WI: University of Wisconsin Press, 1953. Notes: Second printing. Originally published in 1952. Holmes writes this unusual book in response to the lack of a cohesive, satisfactorily focused treatise on a restricted time period in the middle ages. His approach to this examination of daily life in London and Paris from 1150 to 1200 is by “accompanying Alexander Neckam on a journey . . . [which] may smack a little of novelistic fiction.” Neckam was a twelfth-century schoolmaster and writer whose De nominibus utensilium is used as the basis for Holmes’ work. The Bayeux Tapestry, while not of this time period, is mentioned occasionally as a source of information on architecture and material culture. Tapestry references include: the Tapestry’s lookout tower from Dover (includes a photograph) in the chapter on Neckam’s journey; bed drapery in the chapter on lodgings in the city; the construction of dwellings in the same chapter; the Tapestry’s depiction of the espie, or espieu, a lighter charging lance hurled at arm’s length. Includes 64 pages of notes and an index.

842. ———. “The Houses of the Bayeux Tapestry.” Speculum 34, no. 2 (1959): 179–83. Notes: Published by the Medieval Academy of America.

843. ———. “The Houses of the Bayeux Tapestry.” The Bayeux Tapestry As a Social Document: Selected Readings. ed John Marshall Carter, 57–60. Lex- ington, MA: Ginn Custom Publishing, 1985. Notes: This chapter was reprinted from Speculum, volume 34, 1959. The cover photograph of the Bayeux Tapestry was taken by John Marshall Carter. Line drawings in the book are by David Barron, art student at Georgia Southern Col- lege in Statesboro. Holmes describes and compares the Bayeux Tapestry’s residences to archaeological evidence, including King Edward’s palace at Westminster, Duke William’s hall at Rouen, Harold’s house at Bosham, and dwellings of average burghers and peasants.

844. Holmes, Richard, and Martin Marix Evans, eds. Battlefield: Decisive Conflicts in History. Oxford, U.K.: Oxford University Press, 2006. Holmes’ handy volume tells the what-you-need-to-know essential facts of about 300 battles throughout history. Introducing the Anglo-Saxon wars (Mal- don, Assandune, Hastings), he presents brief background information on the characteristics of Viking warfare. The Battle of Hastings is summarized, and closing remarks state that this battle “was by no means the inevitable triumph of feudal heavy cavalry over ‘out-moded’ Germanic infantry; the battle raged from dawn to dusk, the Normans came close to complete disaster, and it was little more 248 The Bibliography than chance alone that Harold, not William, was slain.” Includes a black-and- white photograph from the Bayeux Tapestry showing William raising his helmet in battle. Includes a list of further readings and an index.

845. Honour, Hugh, and John Fleming. A World History of Art. London: Macmillan Reference Books, 1982. Notes: Published in the United States under the title The Visual Arts: A History by Prentice-Hall.

846. Hooper, J. Kiff. “The Rows of the Battle-Swan: The Aftermath of Battle in Anglo-Saxon Art.” Armies, Chivalry and Warfare in Medieval Britain and France: Proceedings of the 1995 Harlaxton Symposium. ed Matthew Strick- land, 81–99. Stamford, U.K.: Paul Watkins, 1998. Notes: Part of the Harlaxton Medieval Studies series, volume 7.

847. Hooper, Lucy H. “The Exhibition of Tapestry at the Palais De L’Industrie.” The Art Journal (1875–1887) 2, no. New Series (1876): 313–15. In describing and reviewing the exhibition, Hooper writes: “But the most primitive and unartistic of these earlier tapestries are some German specimens, dating from the fifteenth century, and displaying devotional subjects treated in the most primitive manner. In one our Saviour, a gaunt and ghastly image, speckled all over with red streaks, intended to represent blood, and with a great sunflower- shaped patch of red on either hand, is held up by main force in the arms of two stalwart burghers. This piece is a long, narrow strip, like the far-famed Bayeux tapestry, which, by-the-way, we are sorry not to see exhibited in the collection.”

848. Hooper, Nicholas. “Anglo-Saxon Warfare on the Eve of the Conquest: A Brief Survey.” Proceedings of the Battle Conference on Anglo-Norman Studies, 84–93. Vol. 1. 1978.

849. ———. “The Anglo-Saxons at War.” Weapons and Warfare in Anglo- Saxon England. ed Sonia Chadwick Hawkes, 191–202. Oxford, U.K.: Oxford University Committee for Archaeology, 1989. Notes: Part of the Oxford University Committee for Archaeology series, volume 21. Distributed by Oxbow Books. Papers from a conference held in Oxford in January 1987. “GB91–#2152.”

850. ———. “The Housecarls in England in the Eleventh Century.” Anglo- Norman Studies 7 (1984): 161–76.

851. ———. “Some Observations on the Navy in Late Anglo-Saxon England.” Studies in Medieval History: Presented to R. Allen Brown. eds Christopher Harper-Bill, C. J. Holdsworth, and Janet L. Nelson, 203–13. Wolfeboro, NH: Boydell Press, 1989. The Bibliography 249

852. Hooper, Nicholas, and Matthew Bennett. The Cambridge Illustrated Atlas of Warfare: The Middle Ages, 768–1487. Cambridge, U.K.: Cambridge University Press, 1996. Notes: Part of the Cambridge Illustrated Atlases of Warfare series. Cover title: Cambridge Illustrated Atlas, Warfare: The Middle Ages, 768–1487. This atlas/encyclopedia of European conflicts in the Middle Ages will appeal to keenly interested general readers as well as scholars. Excellent summaries of dozens of battles and wars are accompanied by numerous detailed colorful maps. Images of the Bayeux Tapestry are used to illustrate the author’s account of the Battle of Hastings. Includes a large map of the campaigns of 1066. The Tapestry is also mentioned for showing pre-heraldic devices on shields and for providing information on eleventh-century armor. Includes glossary, timeline, list of further reads, and an index that does not list all of the pages where the Tapestry is mentioned or shown.

853. Hopkins, Andrea. Knights. New York: Artabras, 1990. Notes: “A Quarto book.” Middle ages scholar Hopkins presents, the “real story” of knights “as men . . . who were influenced by the knightly ideal, but who may have had trouble living up to it.” Moreover, this heavily illustrated book tends to be a survey of knighthood, its history, cultural implications, knights’ activities in times of peace, their military tactics, the decline of knights’ military and political influence, and their “grip on our imaginations through the ages.” A side-by-side chronological comparison of knights’ arms and armor across six centuries starts with the Normans in 1066. The Bayeux Tapestry is noted as a reliable source for our understanding of protective gear at the Battle of Hastings: knee-length hauberks, split at the front and rear; conical helmets, leather or padded cloth greaves, mail leggings worn only by high-ranking Normans, kite shields, swords, and lances. Includes an index and a chronological table of military and political history, knights, art and literature, and religion and learning.

854. Horspool, David. The English Rebel: One Thousand Years of Trouble- making From the Normans to the Nineties. New York: Penguin, 2010. Notes: Paperback. Originally published by Viking, New York, in 2009. Horspool creates a funny and lively portrait of the English as a scrappy race in this tasty history aimed at debunking myths of rebellions and rebels. Almost immediately, on the second page, he starts in on the Bayeux Tapestry by partially blaming it for the common impression that the Battle of Hastings resulted in a sudden and complete transformation of England from one nation into another. Bishop Odo’s career ambitions are highlighted and his rebel symptoms are further evidenced by Horspool in Odo’s commissioning of the Tapestry and having himself shown wielding a mace in battle. Under a sub-heading about Robin Hood, the author biographizes a “real” rebel under the reign of Richard I, a Wil- 250 The Bibliography

liam fitz Osbert, a man with a Norman name who adopted Anglo-Saxon groom- ing habits: the type of hairiness of the English in the Tapestry.

855. Hostetler, Margaret. “Review of Medieval Film.” Film and History 42, no. 1 (2012): 41–43. Notes: This is a review of the book Medieval Film, edited by Anke Bernau and Bettina Bildhauer (Manchester, U.K.: Manchester University Press, 2009). In her review, Hostetler, professor at the University of Wisconsin Oshkosh, comments on how the variety of topics covered by essays in the book can highlight “the sheer discovery that can occur when asking seemingly simple questions about the medieval in film.” Here, she mentions the Bayeux Tapestry as an example of how the medieval can be visualized, citing Richard Burt’s argument that images from the embroidery “perform a complex figuring of cinema itself.”

856. Hough, Richard. A History of Fighting Ships. London: Octopus Books, 1975. Notes: The text and illustrations in this book are abridged from Fighting Ships by Richard Hough, originally published in Great Britain by Michael Joseph, Ltd. in 1969. The title was originally published in the United States by G.P. Putnam Sons, New York. Two ship scenes from the Bayeux Tapestry are featured across two pages in the second chapter, titled “The Sailing Fighting Ship: Prelude to the Three-master.” The caption explains that the Tapestry “provides strong evidence that the graceful, single-masted, clinker-built, Gokstad-style vessel, with its sharp sheer forward and aft leading up to a high stem and stern-post, spread to all northern regions washed by the Atlantic, the North Sea and the Baltic.” It goes on to discuss the vessels’ oar-ports and decoration: “In King Harold’s ship, and others, the lady embroiderers have included the oar-ports, sixteen a side as in the Gokstad ship. William the Conqueror’s ship in which he landed in England in 1066 is under its single sail, and the oar-ports are not shown. It has a brightly painted and decorated sail, a carved figurehead at the prow and a cross at the masthead which indicates the Pope’s approval of the invasion.” Includes index.

857. Howard, Ian. “Harold II: A Throne-Worthy King.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker. Woodbridge, U.K.: Boydell Press, 2005. Notes: Part of Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Howard examines Harold Godwinson’s Danish pedigree for an understanding of the legitimacy of Harold’s kingship through the bloodline of King Cnut. The Bayeux Tapestry is mentioned but briefly for the Ælfgyva scene as a possible reference to the betrothal of William’s sister to Harold. Includes a highly unusual yet The Bibliography 251 very clear graphic organizer that describes the tangled web of marriages, siblings, cousins, and offspring that surrounded the English throne in the eleventh century.

858. ———. Harthacnut: The Last Danish King of England. Stroud, U.K.: The History Press, 2008. This biography of the unpopular English king mentions the Bayeux Tapestry twice: comparing a depiction of Harthacnut in majesty with the similar image of Edward at the beginning of the Tapestry, and a comparison of pallbearers carrying Harthacnut’s body (from a sculpture by Philippe Pot in the Louvre) with the similar image from Edward’s funeral scene in the Tapestry. Includes index.

859. Howarth, David. 1066: The Year of the Conquest. New York: Dorset Press, 1977. Notes: Also published by Viking Press in 1978. In addition to being a very readable and entertaining treatment of the events leading up to the Battle of Hastings and its aftermath, the author provides readers with in-depth character and personality studies of Edward, Harold, William, Tostig, and Harald Hardrada. The various battles of that year are recounted in vivid and imaginative detail. This book puts its few Bayeux Tapestry references in the context of the events in Normandy, Brittany, and England. A curious discussion of ships focuses on oar-holes (tholes) depicted in the Tapestry. The author apparently uses the Bayeux Tapestry extensively (albeit implicitly) as an authority on many aspects of his narrative.

860. ———. British Sea Power. New York: Carroll and Graf, 2003. Notes: Paperback. “With a postscript by Margaret Rule.” First published in the United Kingdom as Sovereign of the Seas by Book Club Associates in 1974. This pleasant and often humorous narrative history by British historian How- arth explores Britain’s transformation from doing little “but cling to coastal waters” to world domination of the seas through World War II. He states that the Bayeux Tapestry shows Norse-type ships that had not changed much in the previous 200 years. He comments on King Harold’s watch of the southern coast of England in the summer of 1066, but then relaxed his guard for some unexplained reason, and compares that to the watchful eye the British had on that same coast in 1940, the difference being that Germany did not come, but the Normans did. Includes an index.

861. Howarth, Sarah. The Middle Ages. New York: Viking, 1993. Notes: Part of the See Through History series. Also published by Hamlyn Children’s Books in Great Britain in 1993. Howarth references the oath scene in the Bayeux Tapestry, shown in color, in explaining feudalism. Later, in a section on costume in the middle ages, she notes 252 The Bibliography the Tapestry’s illustration of “the very closely cropped hairstyle of the Norman men” and the influence of new fashions from Europe on the Anglo-Saxons following the Conquest. This title, as with others in the series, features transparent overlay pages to explain certain concepts. Includes a list of key dates, glossary, and index.

862. Hull, Lise E. Britain’s Medieval Castles. Westport, CT: Praeger, 2006. Hull examines the role of castles as offensive weapons, defensive strongholds, residences, and status symbols. She informs her readers that the Bayeux Tapes- try is an important source of information on castle construction, although, she admits, the Tapestry does depict the structures in a stylized manner. Hull is a researcher and founder of Castles Unlimited, an organization dedicated to promoting appreciation and preservation of castles.

863. Hull Museum. Guide to the Bayeux Tapestry. 1929.

864. Humble, Richard. The Fall of Saxon England. New York: St. Martin’s Press, 1975. In his chapter on Edward the Confessor, while explaining Harold Godwinson’s rising influence toward the end of King Edward’s life, Humble briefly recounts the Bayeux Tapestry’s story of Harold’s visit to the continent. He then asks why the story of Harold being tricked into swearing an oath to William has grown since, in the Tapestry, “the altars’ relics are clearly shown.” A passage on Har- old’s coronation in January 1066 discusses Harold’s refusal to be crowned by the disgraced Archbishop Stigand, but by the more respectable Ealdred of York, “an embarrassment to the Norman artist who designed the Bayeux Tapestry, whose task it was to show Harold as a bare-faced usurper”; the designer in the end opted for the excommunicated Stigand for this scene.

865. ———. The Saxon Kings. London: Weidenfeld and Nicolson, 1980.

866. Humphery-Smith, Cecil. Anglo-Norman Armory. Canterbury, U.K.: Family History, 1973. Notes: Although the volume does not exclusively consist of the Constance Egan Lecture, the title page offers the following subtitle: The Constance Egan Lecture delivered to The Heraldry Society of The Society of Antiquaries, Burling- ton House, London, 22nd November, 1972, incorporating an edition of Heralds’ Roll from Fitzwilliam Museum MS 297. Also, the table of contents suggests the following title: Anglo-Norman Armory and Related Studies. In his lecture notes, Humphery-Smith writes about speculation about “an alleged ‘Companion of the Conqueror.’” He explains that, “There are very few authoritative documents to which one can turn to for evidence to prove that So- and-So was with William the Conqueror in his invasion of England, let alone at The Bibliography 253

Hastings.” He goes on to note that the Bayeux Tapestry along with other sources “may be regarded as perfectly reliable material.” Later, a black-and-white drawing of a Tapestry scene is offered as part of a discussion of the point in the Battle of Hastings when the Normans were running away from the Vale of Senlac back to their boats. Here, he cites Thorpe, Douglas, and Greenaway, as well as Sten- ton. In his section titled “Norman Origins of Armorial Usage,” Humphrey-Smith points out the difficulty in identifying “true heraldry” in the Bayeux Tapestry. Includes an index.

867. Humphrys, Julian. Clash of Arms: 12 English Battles. Swindon, U.K.: English Heritage, 2006. Notes: UGA.

868. ———. Enemies at the Gate: English Castles Under Siege From the 12th Century to the Civil War. Swindon, U.K.: English Heritage, 2007. In his chapter on siege warfare tactics, he points out that attackers, if unable to go over a castle’s walls, often created breaches in the wall in order to go through them, like the Bayeux Tapestry shows Norman knights doing to the wooden palisade at Dinan.

869. Hunter, George Leland. Tapestries: Their Origin, History, and Renais- sance. New York: John Lane Company, 1913. In an entry on Les Anciennes Tapisseries Historiée by Achille Jubinal, Hunter clarifies that the book, published in Paris in 1838 in two volumes, “presents 123 immense hand-coloured line plates from drawings by Victor Sansonnetti” and that “of these illustrations 24 do not come within the scope of my book as they illustrate the Bayeux Tapestry, which is not a woven tapestry at all but an embroidery.” Hunter also mentions the Bayeux Tapestry along with other works that are incorrectly identified as tapestries: the five hangings attributed to Agnes II, Ab- bess of Quedlimburg and her nuns and the Creation embroidery in the Cathedral of Gerona. Includes index.

870. Huscroft, Richard. The Norman Conquest: A New Introduction. London: Longman, 2009.

871. ———. Ruling England, 1042–1217. Harlow, U.K.: Pearson Longman, 2005. This concise and very readable handbook examines political power from the Norman Conquest through the Magna Carta, and is presented in three parts: Late Anglo-Saxon England, Anglo-Norman England, and Angevin England. Each of these parts contains the same four sub-headings: The Reigns, Ruling the King- dom, The Kings and the Law, and The Kings and the Church. The Bayeux Tapes- 254 The Bibliography try is mentioned seven times in the first two parts of the book, but the remarks are brief passing references such as “Visible for a week from 24 April, the comet was depicted in the Bayeux Tapestry and spoken of in the Anglo-Saxon Chronicle.” Other equally brief Tapestry remarks cover embroidery as an occupation, Har- old’s oath to William, conjecture about the appearance of Westminster Abbey from the Tapestry’s depiction, the Normans’ depiction of Harold’s illegitimate coronation, the construction of William’s invasion fleet, and the death of Harold. Includes suggestions for further readings divided by chapter and an extensive index. Huscroft is a History Master at Westminster School in London.

872. Hutchinson, Geoff. “La Bataille D’Hastings, 1066: Un Bref Historique.” M. and M. Morgan, no. 1999 (Hastings, U.K.). Notes: Translated by Évelyne Gray.

873. Hutchinson, Gillian. Medieval Ships and Shipping. Rutherford, NJ: Fairleigh Dickinson University Press, 1994. The author aims to “bring together information about material remains of shipping activity and to explain their significance by setting them in the context of medieval maritime Britain.” In a passage on how planks were prepared from oak trunks by ship-builders, the Bayeux Tapestry’s scene of the same is mentioned and the corresponding photograph of the Tapestry is shown. Hutchinson follows with interesting information on caulking, nails, and cross-beams. A chapter subheading on shipbuilding tools mentions the Tapestry in passing, but more significantly, presents a photograph of an eleventh-century T-shaped axe (blade broken) identical to those depicted in the Tapestry. A passage on anchors notes the Tapestry’s depiction of them and goes on to describe what else we know of them from documentary and archaeological evidence. William the Conqueror’s invasion fleet is noted by the author as having been of ships that were propelled by oars and sails. Hutchinson demonstrates how the elevation of one’s eyes above the horizon affects distance of visibility and comments on the Tapestry’s depiction of a sailor clinging to the masthead of a ship. An overview of “sailing marks,” sticks, lighthouses, cairns, etc. as navigation aids notes interestingly that the church at Bosham, depicted in the Tapestry was likely such a mark due to its positioning on the navigable Bosham Creek. Includes a glossary, a catalogue of archaeological finds, a bibliography and an index.

874. Huxley, Aldous. Point Counter Point. Champaign, IL: Dalkey Archive Press, 1996. Notes: Originally published in 1928. Huxley’s longest novel is a web of several interlinked storylines, running their separate courses like counterpoint in music. The character Maurice Spandrell, a purposeless intellectual suffering from ennui, murders Everard Webley, a political demagogue and leader of a quasi-military group. The crime was committed The Bibliography 255 with a club. “‘It’s a complete justification for Bishop Odo’s mace,’ he went on dispassionately. That he should find himself recalling, at this of all moments, the comical prancings of that conscientious churchman in the Bayeux Tapestry.”

875. Huyghe, Rene, ed. Larousse Encyclopedia of Byzantine and Medieval Art. Art and Mankind. London: Hamlyn, 1963. Notes: English language edition. Text prepared by Emily Evershed, Dennis Gilbert, Hugh Newbury, Ilse Schreier, and Wendela Schurmann from the French original L’art et l’homme, copyright Auge, Gillon, Hollier-Larousse, Moreau et Cie, Paris: Librarie Larousse, 1958. Jean Hubert, professor at L’École National des Chartres, references the Tapes- try along with the embroidery in Gerona in a chapter on Romanesque art noting that they speak to the permanent or temporary decoration used “to embellish bare walls or to create a festive atmosphere in church and castle.” He also compares embroidery in wool with stained glass windows and murals. In their historical summary of Romanesque art, Josephe Jacquiot and Evelyn King attribute the Tapestry’s commissioning to Odo, for the Bayeux Cathedral, and note that “though questioned, an English provenance remains the most plausible.” Includes images of Halley’s comet and battle scenes from the Tapestry.

876. Hyer, Maren Clegg, and Gale R. Owen-Crocker, eds. The Material Culture of Daily Living in the Anglo-Saxon World. Exeter, U.K.: University of Exeter Press, 2011.

877. Hyland, Ann. The Medieval Warhorse: From Byzantium to the Crusades. London: Grange Books, 1996. Hyland is founder of the Endurance Horse and Pony Society of Great Britain and author of several books on the history of the horse. She makes multiple references to the Tapestry and its depiction of horses. In her chapter on medieval equestrian cultures, she notes that the embroidery “clearly indicates the hard outline of the Norman saddle on a led horse.” Later, in her chapter titled “Nor- man and Early Plantagenet Equestrianism,” Hyland explains that “An extremely rough guide to the European type (warhorse) is shown on the Bayeux Tapestry, a medium-sized animal of approximately 14.2–15 hh, with no particular distinguishing features, other than hinting it was fairly stocky.” To determine the measurements above, she measured numerous Norman horseshoes. In the same chapter, Hyland continues with a discussion of the violence that involved horses in the Battle of Hastings: “The Bayeux Tapestry, from which information about equipment is drawn, shows three horses being violently overturned. One has an empty saddle as his rider pitches off; another no saddle at all; and the rider of the third has been thrown forward on to his horse’s neck, obviously injured, while an Englishman wields a lance against him, and at the same time jerks the horse’s girth loose. Yet another horse, still upright, has his skull cloven by an axe. In 256 The Bibliography the border below, two riderless horses gallop away from the conflict. Grouped together, this scene shows more violence and its cost than the rest of the tapestry, indicates that horse losses were heavy, and illustrates the type of wounds suffered by the animals.” An image of this scene is included in black-and-white along with one of horses being led from Norman ships prior to the battle. The book offers extensive notes, a bibliography, an index of horse-related subjects, as well as a general index where the Tapestry is referenced. However, the page numbers for images of the work are not included.

878. Inglis, Erik. “Image and Illustration in Jean Fouquetis Grandes Chro- niques De France.” French Historical Studies 26, no. 2 (2003): 185–224.

879. Innes, Matthew. “Keeping It in the Family: Women and Aristocratic Memory, 700–1200.” Medieval Memories: Men, Women and the Past, 700–1300. ed Elisabeth van Houts, 17–35. Harlow, U.K.: Longman/Pearson Education, 2001. Notes: Part of the Women and Men in History series, Margaret Walsh, founding editor, and Pamela Sharpe, general editor for the medieval period. Paperback. Asserting that tapestries are “gendered works” with embroidery being the “archetypal form of ‘women’s work,’” Innes suggests that tapestries are a “secular mechanism for the transmission of family memory through women.” He goes on to indicate that the Bayeux Tapestry “must surely be linked to this tradition.” The article includes lengthy notes and the book offers an index.

880. Ireland, Marion P. Textile Art in the Church: Vestments, Paraments, and Hangings in Contemporary Worship, Art, and Architecture. Nashville, TN: Abingdon Press, 1971.

881. Jackson, Esther. Art of the Anglo-Saxon Age: An Illustrated Study of England’s Churches and Sculpture. Peterborough, NH: Richard R. Smith Publishers, 1964. Jackson, a sculptor, writes about the scenes depicting Harold entering Bosham church, with his party in the upper story of a house which she muses may be at Bosham also, and the piercing of his eye on the battlefield at Hastings. A two- page black-and-white image of the scene depicting Harold at Bosham is included. Includes several black-and-white photographs and an index. The endpapers illustrate Anglo-Saxon landmarks in England.

882. Jacobs, Joseph. History of the Aesopic Fable. New York: Burt Franklin, 1970. Notes: Originally published in 1889. Reprinted in 1970. The author traces the Greek, Roman, Indian (and other nationalities’) pedigrees of Aesop’s fables. Describing the vehicles by which the fables spread through Europe over the centuries, Jacobs devotes three pages to the fables’ appearances The Bibliography 257 in the Bayeux Tapestry. He also discusses the fables’ probable affiliation with the collection of the French chronicler Adémar de Chabannes, since Queen Matilda, whose “fair hands” created the Tapestry, was from Flanders.

883. Jacques, Anne G. Leek Embroidery. Stafford, U.K.: Staffordshire Li- braries, Arts & Archives, 1990.

884. ———. The Wardle Story: Sir Thomas and Lady Wardle: A Victorian En- terprise. Leek, U.K.: Churnet Valley Books, 1996.

885. Jagger, Ronald. “Tool and Symbol: The Success of the Double-Bitted Axe in North America.” Technology and Culture 40, no. 4 (1999): 833–60.

886. Jakovsky, A. “Encore Quelques Mots En Marge De La Tapisserie De Bayeux.” Age Nouveau 21 (1947): 24–27.

887. James, Chantal. The Joy of Embroidering With the Bayeux Stitch: An Ancient Craft. Bayeux, France: Bayeux Broderie, 2011. Notes: Paperback. Preface by Sylvette Lemagnen. Text in both French and English. French title: Le plaisir de broder au point de Bayeux: Un geste ancestral. This bilingual instructional guide to embroidering one’s own works in the laid-and-couch stitch (the “Bayeux stitch”) and stem stitch relies heavily on the Bayeux Tapestry as a reference. James notes where on the Tapestry, and in one’s own embroidery, to use the Bayeux stitch and where to use the stem stitch as fill. She comments on the proper choice of canvas and wools and refers back to choices made by the Tapestry’s embroiderers. She then provides four color-coded patterns based on the Tapestry for readers to use for their own replicas of Tapes- try motifs, as well as three contemporary designs using the Bayeux stitch. Helpful pointers are given throughout to help readers succeed in the techniques presented. So that readers may purchase her Bayeux Tapestry and other embroidery kits, the author provides full contact information for her shop in Bayeux. Sylvette Le- magnen, curator of the Tapestry, writes briefly about the “Bayeux stitch” in her preface and lauds Chantal James for teaching her love for embroidering.

888. James, John, and Louise James. How We Know About the Vikings. New York: Peter Bedrick Books, 1997. Notes: Text by Louise James. Illustrations by John James. Part of the How We Know About series. In a two-page section titled “Scuttling the Ships,” a color image from the Tapes- try is included amid images of boat-building tools discovered by archaeologists. A caption speaks of the Norman craftsmen being Viking descendants and notes how in the embroidery “the men can clearly be seen using a variety of tools to shape and smooth the wood.” The author then notes how the marks made by tools can often be seen on the remains of boats. Includes an illustrated glossary and index. 258 The Bibliography

889. James, Lawrence. Warrior Race: A History of the British at War. New York: St. Martin’s Press, 2003. Notes: First published in Great Britain by Little, Brown and Company in 2001. In this entertaining and intensively researched study of the role of war in shaping Britain and its national character, James gives a nod to the Bayeux Tapestry numerous times for its value as a visual resource on medieval war. In a passage on untamed beasts and the medieval Brits’ propensity for extending animal ferocity by analogy to their warrior prowess, the author discusses the appearance of the Wessex dragon standard in the Tapestry. Ceorls (churls) and the adequacy of their arms are briefly examined as they are shown in the Tapestry looting gear and weapons from the dead. He comments on the Tapestry’s depiction of the loading of the Norman fleet and some calculations of what that may have really entailed, for example, “between fourteen and twenty tons of oats” for the horses. The challenge of transporting of horses across the Channel is imagined by the author with the visual aid of the Tapestry. The Tapestry figures briefly in James’ discussions of hauberks, weapons, motte-and-bailey castles, and the death of Harold.

890. James, N. “300 Years of Context for British Archaeology.” Antiquity 81, no. 314 (2007): 1065–67. In this overview of accomplishments of the Society of Antiquaries at the marking of its tercentenary, James briefly mentions “colour engravings and even a cast of parts of the Bayeux Tapestry (1816–22).”

891. Jameson, Carl. “Odo of Bayeux at War: Linking the Bayeux Tapestry and ‘The Song of Roland.’”2009. Notes: Online resource. Jameson’s senior thesis in history at the University of Delaware. Available in OAIster. This thesis examines the links between Bishop Odo, the Tapestry, and The Song of Roland, using the evidence of the two primary sources themselves, other contemporary written sources, and a wealth of modern material. Once such connections are established, it proves valuable to examine the impact of the three subjects in the context of the growing crusading movement at the end of the eleventh century. Odo himself set out on the First Crusade, and as it shall be seen, the events of his later life give further evidence to the idea that he modeled himself after Archbishop Turpin in The Song of Roland.

892. Jamison, Evelyn. “Alliance of England and Sicily in the Second Half of the 12th Century.” Journal of the Warburg and Courtauld Institutes 6 (1943): 20–32. Jamison writes “Compared with the succeeding age, this period of recovery, of movement and resettlement may be likened in its essential quality to the tapestry at Bayeux. The simple fabric of the linen with its warp and woof crossing straightly at right angles was the perfect material on which to work the direct and dramatic lines, fit means of expression for the charging knights and sailing The Bibliography 259 ships and rude forts, whose story is there told.” Bringing together England and Sicily through her observations on the Bayeux Tapestry, she goes on to say that the Tapestry “indeed deals with the Norman conquest of England, but in spirit it corresponds also with the parallel adventure in Sicily and South Italy, which had stated some fifty years before the landing at Pevensey.”

893. Jane, Kevin. Invaders. Dunstable, U.K.: Folens, 2006. Notes: Part of the series Folens Primary History.

894. Janson, Horst Woldemar, and Anthony F. Janson. History of Art. New York: Harry N. Abrams, 1986. Notes: Third edition. Revised and expanded by Anthony F. Janson. First edition published in 1962. Revised and enlarged in 1969. Second edition published in 1977. In this classic art history text, Janson provides a paragraph on the Bayeux Tap- estry in his chapter on Romanesque art. Following a brief section on the Corbie Gospel Book where he notes it could be “translated into a mural, a stained glass window, a tapestry, or a relief panel without losing any of its essential qualities,” he writes: “This monumentality is the same as in the Vezélay tympanum, where much of the same pleated drapery patterns are rendered in sculptural terms; or in the so-called Bayeux Tapestry . . . Our detail, portraying the Battle of Hastings, has stylistic kinship with the Corbie manuscript even in the lively somersaults of the falling horses, so strikingly like the pose of the lion in the miniature. Again, we marvel at the ease with which the designer has integrated narrative and ornament: the main scene is enclosed by two border strips that perform their framing function equally well, although the upper one is purely decorative while the other consists of dead warriors and horses and thus forms part of the story.” Includes illustrated glossary, list of books for further reading arranged by chapter, and thorough index.

895. ———. History of Art for Young People. New York: Henry N. Abrams, 1997. Notes: Fifth edition. Originally published in 1971. Also published by Prentice Hall/Abrams under the title A Basic History of Art. The original edition of His- tory of Art for Young People was written by H.W. Janson with Samuel Cauman. In a chapter on Romanesque art, this very fine survey of Western Art aimed at a teenage audience, discusses the Bayeux Tapestry briefly in the context of the Romanesque style of the Channel region.

896. Jewell, Brian, and Philip Giggle. Conquest & Overlord: The Story of the Bayeux Tapestry and the Overlord Embroidery. New York: Arco Publishing, 1981. Notes: Illustrated by Philip Giggle. Produced by Midas Books, Tunbridge Wells, U.K. Also cited as published by East-West Publications, London in 1981. 260 The Bibliography

This unique book is divided equally between the Bayeux Tapestry and the Overlord Embroidery, a paneled textile commemorating the D-Day invasion of June 6, 1944 (“another cross-channel invasion in the opposite direction”). In the foreword, the dimensions of both textiles are compared. In the Bayeux Tapestry half of the book, the full Tapestry is shown in a series of black-and-white photographs accompanied by lengthy commentary on each scene’s action, material culture, historical background, and controversial findings. Also included are full-color detail photographs of the Tapestry, photographs of relevant artifacts and Anglo-Saxon art, maps, a chronological list of events, diagrams, an artist’s proposal for how horses were unloaded from the Normans’ ships, and a sidebar on English and Norman militias and weaponry. The second half of the book shows the famous Overlord Embroidery in full-color photographs. The Embroi- dery’s panels are accompanied by detailed interpretive remarks. Full-color and black-and-white illustrations of military vehicles, personnel, equipment, and artillery provide technical details and information. There are numerous maps, lists of abbreviations used for landing craft and ships, a list of the types of tanks used by both sides, a list of German surrenders and their delegates, statistics on the Operation Overlord casualties broken down by nation, plus two chain-of- command charts, one for the Operation Overlord Allied Force, and one for the German Command. Jewel is a historical writer, and in World War II, he served with the Royal Engineers.

897. Jewett, Sarah Orne. The Normans. New York: G.P. Putnam’s Sons, 1886. Notes: Alternate title: The Normans, Told Chiefly in Relation to Their Con- quest of England. Part of the series Story of Nations, described as “a Series of Historical Studies intended to present in graphic narratives the stories of the different nations that have attained prominence in history.” Despite this book’s alternate title, this history of the Normans is as much about the early years of Normandy and the Normans in Italy as it is about the conquest of England. The author uses about six engravings modeled after the Bayeux Tapestry to illustrate her text. She points out twice that Queen Matilda and her maidens did not manufacture the work, still a popular notion at the time of this book’s publication, and that Bishop Odo was indeed the patron. However, she does suggest that the Tapestry was made in Normandy by “English guests.” She also notes the Italian fashion of the caricatures and gestures in the Tapestry. Includes index.

898. Jewitt, Llewellynn. “Corporation Place and Insignia of Office, Etc.” The Art Journal 6 (1880): 46–49. Within his narrative on the mace and its evolving uses and meaning, Jewitt explains that the mace became an ecclesiastical and a civil weapon in the Middle Ages in addition to its military purposes. He mentions the Bayeux Tapestry as The Bibliography 261 an early example of its military uses, but then proceeds to note that “when borne by prelates, who, although forbidden to wield the sword, took rank among the great military leaders of early times, it became a staff of deadly use.” Jewitt then includes Bishop Odo of Bayeux as one of these leaders. Includes illustrations featuring five maces.

899. John, Eric. Reassessing Anglo-Saxon England. New York: Manchester University Press, 1996. John references the cathedral vs. “banqueting” hall issue suggesting that the Bayeux Tapestry “does contain matter nowadays known as adult viewing and it has been suggested it was meant for a banqueting hall.” He goes on to note “Like all visual sources it presents problems. The danger is to treat it like a television newsreel. The designer had to make it clear at a glance which were Norman and which were English warriors. They are shown as wearing surprisingly similar armour, but they have differently shaped shields and the English do not wear spurs.” He states that “it’s anyone’s guess” whether the embroidery is historical truth or artistic device.

900. Johnson, Paul. Art: A New History. New York: HarperCollins, 2003. Notes: First edition. Johnson, a noted historian and journalist, presents his personal history of world art, often writing in first person and in a smart, readable narrative style. The chapter “The Rise of Creative Individualism Under Christianity” starts off with the author telling readers why the Bayeux Tapestry is such an outstanding piece, lauding its realism, attention to detail, and that its artist may very well have been a woman. He erroneously notes that “panel 37 portrays citizens hauling a marble column to a building site” (it is actually two Normans pulling a wine cart to the ships). The Tapestry, he adds, has one weakness: “all the faces and figures are stereotypes” and goes on to discuss how the medieval world was inhibited about portraying human personality. Includes one full-color photograph from the Tap- estry. Index does not list the Tapestry.

901. Johnson, Rheta Grimsley. “Art ‘Secret’ Has a Yarn All Its Own.” The Atlanta Journal-Constitution (1998). With a folksy style, the columnist reports on the State University of West Geor- gia’s celebration of its painted Bayeux Tapestry replica that it had acquired years earlier. She describes how Pierre Pican, the bishop of Bayeux, “flung holy water skyward, as if blessing a bird or a cloud.” She offers a quote from his prayer. Johnson also describes the setting, a crowd in the school’s Humanities Building viewing the work that “loops around itself, a beautiful, almost overwhelming thing, its story explained at eye level in captions that read like a medieval soap opera.” Discussing the original in Bayeux, Johnson dates the embroidery to 1092 and references the legend of Matilda as the Tapestry’s creator as well as 262 The Bibliography

Napoleon’s interest in the work. In this 1998 writing, Johnson mentions that the replica is 12 years old and notes its commissioning by Dr. Edd Wheeler, a federal administrative law judge from Tucker, Georgia. She indicates that Wheeler had intended to take the work on tour, but logistical problems prevented it. She concludes the column, writing, “Georgia’s Bayeux Tapestry is not famous. Not yet. There are people in this very town that haven’t bothered to drop by to see the only Bayeux Tapestry reproduction in the Western Hemisphere, for free. It is quite possibly the world’s best copy of one of the most important works of art to survive the Middle Ages.”

902. ———. “A Modern Copy of a Medieval Masterpiece.” The Atlanta Journal-Constitution (1996). Reporting the date of the original Tapestry as “around 1092” and suggesting that some call the University of West Georgia replica commissioned by Edd Wheeler “the best-kept secret in the U.S. art world,” Johnson writes about the donation of the replica to the university and discusses Wheeler’s desire, for tax purposes, to assign a value to the work. Her column mentions that he was “impressed with the conscientious handling of the tapestry at a West Georgia show” and that “Bruce Bobrick, art department head, took such good care of it that the judge simply gave the tapestry to the school.” Johnson says that, at the time of her writing, Margaret ReVille, the artist who created the work, had not yet seen the permanent home for her work. The column indicates the replica hangs in the university’s Humanities Building and offers scenes painted in acrylic on cotton.

903. Johnson, Ruth A. All Things Medieval: An Encyclopedia of the Medieval World. Santa Barbara, CA: Greenwood/ABC-CLIO, 2011. Notes: Volume 1, A-L. The Bayeux Tapestry is mentioned numerous times throughout this lengthy work in various entries such as helmets, hair, spears, etc. A page-long entry on the Bayeux Tapestry provides an adequate description of it, but inaccurately indicates that it is “just over 210 feet long.”

904. Joiner, Dorothy. “American Students Learn Lacemaking in Bayeux.” Fiberarts 27, no. 2 (2000): 23. Joiner, a professor of art history and coordinator of international programs at the State University of West Georgia (now University of West Georgia), provides a short report on how students from West Georgia learned lacemaking in Bayeux at the Conservatoire de la Dentelle (Lacemaking Conservatory). She mentions that a fan, created for Princess Diana of England on the occasion of her visit in 1987, featured a crown and “a boat like those on the famed Bayeux Tapestry.” The students’ teacher during the visit in the summer of 2000 was Sylvie Mallard. A brief history of lacemaking in Bayeux is included. The Bibliography 263

905. Jones, Charles. The Forgotten Battle of 1066: Fulford. Stroud, U.K.: Tempus, 2006. In this thorough look at the first English battle of 1066, Jones examines the events that led to the Battle, and attempts to explain what actually happened on the battlefield. The Bayeux Tapestry is briefly mentioned several times in various contexts: why Harold was in France; the Tapestry’s deliberate ambiguity in the oath-swearing scene; ravaging the countryside; arrows embedded in shields, an inconvenience to the warriors carrying those shields; and Queen Edith’s re- tirement to the convent at Wilton, one of the likely locations where work on the Tapestry was done. Two photographs of the Tapestry, in their captions, comment on post-Conquest Wessex widows perhaps stitching the Tapestry and on the Ælfgyva scene as a slanderous remark on the hereditary line of King Cnut. The author includes one drawing he designed for an embroidery intended to look like the Bayeux Tapestry and that depicts events of 1066 missing from the Bayeux Tapestry. Includes a timeline of key years pertinent to Fulford from 998 to 1125, and a dateline of important dates in 1066. Includes genealogical charts and an index.

906. ———. The Yorkshire Preface to the Bayeux Tapestry: The Events of Sep- tember 1066. London: WritersPrintShop, 2005.

907. Jones, Madeline. Knights and Castles. London: B.T. Batsford, 1991. Notes: Part of the How It Was series. In an introductory section on “The First Castles,” Jones includes a black-and- white image of the Tapestry with a caption that asks the book’s young readers “What is happening in this scene? Note the layers of stone and turf being used for the motte.” A things-to-do exercise on motte-and-bailey castles follows. Includes glossary, suggestions for futher reading, and an index.

908. Jones, Malcolm. The Secret Middle Ages. Stroud, U.K.: Sutton, 2002. Notes: Published by Praeger, Westport, CT, in 2003 with the cover title The Secret Middle Ages: Discovering the Real Medieval World. Foreword by Marina Warner. Jones refers to and quotes Joyce Salisbury’s comments on sexuality and Wil- liam the Conqueror’s horse in the Bayeux Tapestry in his chapter titled “Licked into Shape.” He also references the Tapestry extensively in a section on folktales where he writes: “It still seems little appreciated that the so-called Bayeux Tap- estry, usually ascribed to the 1090s, includes numerous fable representations in its borders, anticipating the practice of later Gothic manuscript illuminators. The fables whose identity we can be sure of include ‘The Fox, the Raven, and the Cheese;’ ‘The Pregnant Bitch;’ ‘The Wolf and the Lamb;’ ‘The Wolf and the Crane;’ ‘The Mouse, the Frog and the Kite;’ and ‘The Lion’s Share.’ Some 264 The Bibliography of these even occur more than once. But again there is the problem of how we should interpret their presence here; one eminent scholar was of the opinion that ‘these fables serve a purely decorative purpose and cannot be related to the main scenes’, while more recently other scholars have detected some relevance, even if of quite conflicting types!” Jones goes on to comment on the Tapestry’s representation of specific fables including three quotes from David J. Bernstein. Includes extensive notes arranged by chapter and an index.

909. Jones, Mary Eirwen. English Crewel Designs. New York: William Mor- row, 1974. This pattern book presents a collection of historic English crewel designs from museums and private collections. During her brief passage on the history of embroidery, Jones, an embroidery expert, discusses the embroidery in the Bayeux Tapestry, “a diary written with the needle,” and quotes J.H. Green’s writing of the Tapestry in his Short History of the English People. Included are black-and-white photographs (reproduced from images taken from the Victoria and Albert Mu- seum, possibly the photographs of 1872 produced at the direction of Henry Cole).

910. Jones, R. “Identifying the Warrior on the Pre-Heraldic Battlefield.” Anglo-Norman Studies 30 (2008): 154–67.

911. Jones, Richard L. C. “Fortifications and Sieges in Western Europe, C.800–1450.” Medieval Warfare: A History. ed Maurice Keen, 163–85. Ox- ford, U.K.: Oxford University Press, 1999. In a caption accompanying a photograph of the siege of Dinan, Jones notes that the Bayeux Tapestry makes some effort to present a faithful representation of its castles. Noting that siegecraft of the eleventh and twelfth centuries varied little from the techniques of earlier ages, he points out the vulnerability of wooden fortifications to fire, as in the Tapestry’s Dinan scene. Jones discusses that the conventions of siege were “affected by the rules of the just war and the code of chivalry in just the same way as battle. It was therefore vital to establish when a siege began and when it was concluded.” In the Tapestry, the handing over of keys to indicate the surrender of Dinan by Conan is an example of this code. Includes a list of further readings.

912. Jones, Robert. Knight: The Warrior and World of Chivalry. Oxford, U.K.: Osprey Publishing, 2011. Jones, Visiting Research Fellow at the University of Leeds, part-time lecturer at Cardiff University, and wargamer, “penetrates the myth [of the iconic medieval knight] to reveal the true knight warrior” in a book for a general readership. He explains that the puzzling rectangular breast-plates on some of the Bayeux Tapes- try’s soldiers may be some form of ventail, a flap of mail protecting the lower half The Bibliography 265 of the face. He makes a brief comment on the rivets that fastened leather straps to shields. He makes short remarks about spears thrown in the manner of a javelin and couched under the arm, tri-lobed maces and clubs, and the shape of saddles. In a passage on the effectiveness of armor, he explains that gory images in art, including scenes in the Tapestry, indicate that knights’ weapons were highly effective, but their armor was not. Jones briefly notes that the Tapestry depicts an act of knight-making, that is, William giving arms to Harold. Includes glossary, bibliography, and index.

913. Jorgensen, Christer, ed. Great Battles: Decisive Conflicts That Have Shaped History. Bath, U.K.: Parragon, 2007. Notes: Cover title. Part of the Great Battles series, Christer Jorgensen, general editor. The author of this well-illustrated contemporary title uses the Bayeux Tapestry in suggesting the cavalry of the Norman army “greatly outnumbered” the archers and that the latter’s “role in the death of King Harold Godwinson no doubt accounts for their exaggerated presence.” The reference is included in the chapter on the Battle of Hastings which offers an hour-by-hour account of the conflict and includes a fascinating aerial view of an illustrated battlefield with Harold and William’s men color-coded and arrows showing their movement.

914. Jotischky, Andrew, and Caroline Hull. The Penguin Historical Atlas of the Medieval World. London: Penguin Books, 2005. Notes: Edited by Simon Hall and John Haywood. This atlas provides a full-color map of the Norman Conquest and a quick overview of the effects of the Conquest plus a brief run-down of the heirs to the English throne for the five generations after William. Supplemented by photograph of a scene from the Bayeux Tapestry.

915. Jovinelly, Joann, and Jason Netelkos. The Crafts and Culture of a Medi- eval Castle. New York: Rosen Publishing, 2006. Notes: Part of the Crafts of the Middle Ages series. In the chapter titled “Medieval Culture,” the authors reference the Bayeux Tap- estry in a discussion of motte-and-bailey castles. They provide basic information about the Tapestry in this 48-page book intended for juvenile audiences.

916. Jubinal, Achille. “Tapisserie De Bayeux.” Artiste (1836): 42–43.

917. Kabir, Ananya Jahanara, and Deanne Williams, eds. Postcolonial Ap- proaches to the European Middle Ages: Translating Cultures. New York: Cambridge University Press, 2005. Notes: Part of Cambridge Studies in Medieval Literature series, volume 54. 266 The Bibliography

918. Kaeppele, Susanne. “Bayeux Tapestry.” Art: A World History. Elke Linda Buchholz, Gerhard Bühler, Karoline Hille, Susanne Kaeppele, and Irina Stotland, 98–99. New York: Abrams, 2007. Notes: Although there is no by-line, the book provides details on which author wrote various sections. The two-page special section on the Bayeux Tapestry offers four color images from the work and references the likely commissioning by Bishop Odo, the likelihood of Canterbury as the site of its creation, and its importance in depicting geographic places and everyday items. The Tapestry as a source of information on chivalric life is also emphasized. Interestingly, the author emphatically argues that the Bayeux Tapestry did not hang in the cathedral “but rather in the hall of an aristocratic state.” The book includes an index.

919. Kahn, Deborah. Canterbury Cathedral and Its Romanesque Sculpture. Austin, TX: University of Texas Press, 1991. Notes: Originally published by Harvey Miller Publishers, London. Kahn, in her introduction, writes that “all the evidence indicates that the Bay- eux Tapestry . . . is a Canterbury work.” A black-and-white image of the scene depicting Edward the Confessor’s funeral is included with a caption that notes “a small skirted figure teetering on a ladder, places a cock-shaped finial on the abbey roof—the finishing touch to the building which Edward himself had started.” Later in her chapter titled “Archbishop Lanfranc’s Cathedral,” Kahn makes some interesting commentary on border scenes in the Tapestry in her discussion about the discovery of five carved panels in the town of Canterbury in 1985. She writes that “The carving, with its silhouette-like forms of dragons and dogs surrounded by raised frames, is conceived entirely in two dimensions: there is no attempt at modeling. The type of confronted grotesques carved on these four rectangular and one rhomboid-shaped stones recall those parts of the Bayeux Tapestry where paired animals are framed by the embroidered stitching of rhomboid shapes, significant similarities considering that the Tapestry was in all probability produced at Canterbury between 1067 and 1082.” In her notes, she cites Brooks and Walker as well as Bernstein. Includes a list of archbishops and priors, a bibliography, and an index.

920. ———. “The Norman World of Art.” England in Europe, 1066–1453. ed Nigel Saul, 48–54. London: Collins & Brown, 1994. Notes: “A History Today Book.” In a paragraph on how secular narrative art flourished in the years following the Conquest, Kahn highlights the Bayeux Tapestry, providing the basic facts and mentioning the “delightful borders abounding in humorous anecdotal detail.” She goes on to discuss theories on its original function, mentioning the possibilities of Bishop Odo’s castle and the choir of the Bayeux Cathedral. Kahn also includes an interesting discussion of how the original use of the Tapestry informs today’s The Bibliography 267 understanding of the interior decoration of buildings during the period. She writes about the use of weavings and embroideries to “enliven the wall surface” of church interiors as well as wall-paintings.

921. Karkov, Catherine E., ed. The Archaeology of Anglo-Saxon England: Basic Readings. New York: Garland, 1999. Notes: Part of the Basic Readings in Anglo-Saxon England series, #7, Carl T. Berkhout, Paul E. Szarmach, and Joseph B. Trahern, Jr., general editors. This series is part of the Garland Reference Library of the Humanities, H2086. This volume includes two articles featuring references to the Bayeux Tapestry: “Exploring, Explaining, Imagining: Anglo-Saxon Archaeology 1998” by Martin O.H. Carver and “Women’s Costume in the Tenth and Eleventh Centuries and Textile Production in Anglo-Saxon England” by Gale R. Owen-Crocker. Each is annotated separately. Owen-Crocker’s article is reprinted from Dress in Anglo- Saxon England by Gale R. Owen-Crocker, 1986.

922. ———. “The Bewcastle Cross: Some Iconographic Problems.” The In- sular Tradition. eds Catherine E. Karkov, Michael Ryan, and Robert T. Far- rell, 9–26. Albany, NY: State University of New York Press, 1997. Notes: Part of the SUNY Series in Medieval Studies, edited by Paul E. Szarmach. In a discussion of hunting and falconry, Karkov references how hawks are used to identify the figures of Harold and Guy of Ponthieu in the Bayeux Tapestry. Beowulf is also mentioned. The article contains extensive notes and the book includes an index.

923. ———. “Gendering the Battle?: Male and Female in the Bayeux Tap- estry.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker, 139–47. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Karkov, of Miami University, Ohio, presents a study of the Bayeux Tapes- try’s women and men, with a primary interest in studying the formal functions of women in the larger composition and in the narrative. In examining the three women depicted in the Tapestry’s main panel, she points out that they have three things in common: they are all English, they are all in vulnerable positions, and they all appear at key turning points in the narrative, providing visual clues “that something significant is about to happen.” The three women in the Tapestry’s borders all appear as part of couples engaged in confrontation, and these couples appear at points of confrontation in the narrative. The function of nudity in the Tapestry by both genders is discussed, as are hand-to-face gestures, as in the Ælfgyva scene. Patterns of gendering the Tapestry’s Battle of Hastings scene via devices such as long-haired Anglo-Saxons, “well-positioned” sword hilts, 268 The Bibliography

“well-hung” horses, and gender-shifting horses are briefly discussed. Edith’s appearance at the foot of the bed of the dying King Edward, Karkov believes, is modeled after the grieving Virgin Mary, adding to her husband’s saintliness; indeed, her not producing an heir was the reason for the Conquest in the first place. Harold’s manner of death is noted as symbolic castration, as are the dead nudes in the lower border of the end of the Tapestry; corpses without genitals who display “betweenness” of gender, and thereby point to loss of power.

924. ———. “Naming and Renaming: The Inscription of Gender in Anglo- Saxon England.” Theorizing Anglo-Saxon Stone Sculpture. eds Catherine E. Karkov, and F. Orton. Morgantown, WV: 2003.

925. ———. The Ruler Portraits of Anglo-Saxon England. Woodbridge, U.K.: Boydell Press, 2004. Notes: Part of the Anglo-Saxon Studies series, volume 3. Focused on the development, meanings, and functions of visual portraiture (mostly manuscript illuminations, coinage, seals, and the Bayeux Tapestry) of West Saxon kings and queens, Karkov examines the Bayeux Tapestry’s depictions of Edward the Confessor, Harold Godwinson, and, to a lesser extent, Wil- liam the Conqueror. She stresses that the Tapestry’s images of Edward are “not quite believable . . . as if all the trappings of power were disguising a lack of real power.” The Tapestry shows him to be wise and old, “yet he is not known to have written any laws.” He appears with “attributes of masculine virility” (sword, staff, and scepter of state), yet was childless. The gradual vertical to horizontal decline in the positioning of Edward’s body across the four images of him in the Tapestry is discussed. Harold, by contrast, goes toward a horizontal position more rapidly, twice: Harold’s coronation (body upright) and in the next scene in which he is receiving news of the comet (inclining his body); the arrow-to-the-eye image (Harold standing upright) immediately followed by the hacking of Harold’s thigh in the Battle of Hastings scene (Harold nearly horizontal). To further emphasize the illegitimacy of Harold’s kingship, Karkov suggests that Harold is “unmanned” in the comet scene by being shown empty- handed, his sword held by someone else and pointing downward, and there is no inscription of his name above his head. William and Odo are named in the Battle of Hastings scenes as they address their troops and urge them to fight, whereas “Harold is without voice in this version of the Battle.” Includes four photographs and one drawing of Tapestry scenes. Karkov is a professor of art, as well as affiliate in the History and Women’s Studies Departments at Miami University.

926. Kavanagh, Brian. The Embroidered Corpse. Wigan, U.K.: BeWrite Books, 2006. The Bibliography 269

927. Keats-Rohan, K. S. B. Domesday People: A Prosopography of Persons Occurring in English Documents 1066–1166. Woodbridge, U.K.: Boydell Press, 1999. Notes: Domesday Book, vol. 1.

928. Keats-Rohan, K. S. B. “William I and the Breton Contingent in the Non- Norman Conquest 1060–1087.” Anglo-Norman Studies 13 (1991): 157–72.

929. Keefer, Sarah Larratt. “Body Language: A Graphic Commentary by the Horses of the Bayeux Tapestry.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker, 93–108. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Keefer, of Trent University in Peterborough, Ontario, discusses in this essay the narrative and symbolic roles of the Bayeux Tapestry’s horses. She opens with commentary on the galop volant, the “flying gallop,” a position that is not possible for a galloping horse to assume, yet is so prevalent in Western art, including the Tapestry. One of the author’s main tenets is that the Tapestry’s horses provide mute commentary on Norman and English ambitions. “Gender-Shifting” horses and their underlying commentary on status are investigated, such as that stallion beneath Guy of Ponthieu when he captures Harold, being then a mare when Guy faces Duke William; Harold on the continent goes from a stallion to a gelding and finally to a “delightful” mare as he approaches William’s palace. Keefer sees the Tapestry’s falling horse at the Rover Couesnon as foreshadowing the Battle of Hastings, and observes that the Tapestry’s designer was familiar with Prudentius’ eleventh-century Psychomachia manuscripts, based on the aforementioned horse and one of the horses tumbling in the Hastings scene. In a five-page passage on “priapic horses,” the author begins by pointing out that despite the Tapestry’s depiction as such, a stallion cannot gallop with a full erection; more importantly, the numerous priapic stallions depicted may serve as “metaphor for power driven by ambition” and that by extension, “the Normans are priapic with lust for the English throne, but so again is Harold.” She also makes an interesting connection with the Tapestry’s word “Hestenga” (Hastings), and “hengesta” (stallion), and Hengist (the name of the last leader of a continental invasion of England). A certain horse depicted in the Old English Hexateuch may have served as the model for William’s warhorse in the Tapestry, and if that were the case, notes Keefer, the manuscript’s horse is an illustration from the Old Testament story of Jacob and Esau, thereby creating an analogous relationship between the biblical brothers and “brother” nobles William and Harold. Steering away from horses at the end of the article, the author takes a look at various translation possibilities for the term “baculus/baculum” appearing in the Tapestry, and examines why Odo is depicted wielding one in battle and what its function may have been, as well as its symbolism. 270 The Bibliography

930. ———. “Hwaer Cwon Mearh? The Horse in Anglo-Saxon England.” Journal of Medieval History 22, no. 2 (1996): 115–34.

931. Keen, Maurice. Chivalry. New Haven, CT: Yale University Press, 1984. Notes: Paperback. Keen, a fellow and tutor in history at Balliol College, Oxford, makes three references here to the Bayeux Tapestry. He first uses the triumph of Norman horsemen in the Tapestry and the triumph of artillery to help give chronological definition to the age of chivalry. Later, in a chapter on the secular origins of chivalry, Keen discusses the Tapestry as iconographic evidence suggesting that the second half of the eleventh century was the most notable period in the development of a new method of cavalry warfare. Noting that it is the “most striking” iconographic evidence, he writes: “This shows warriors using spears in all four of the ways mentioned. Most are thrusting overarm, or throwing or preparing to throw their spears. There are others who are carrying them in rest, apparently preparatory to charging in the couched position. Three knights who are getting ready to charge thus at the outset of the battle of Hastings are clearly depicted with heavier spears than most others, with pennons dependent from them which would surely have interfered with their trajectory if they had tried to throw them, as some of their comrades are doing. The saddlebows of the Bayeux horsemen also suggest development when they are compared with earlier illustrations. Since depictions of knights charging with the couched lance become quite common thirty years or so after the Bayeux tapestry was completed, the inference is that the tapestry has caught a significant moment in the development of the new arms, when they were first coming into more general use.” The third reference is within the chapter on heraldry; Keen notes that while the shield of the Norman warriors in the Tapestry are decorated with animal and geometric designs, they “cannot properly speaking be called heraldic since there is no reason to believe that they represent hereditary insignia.” Wagner’s Heralds and Heraldry in the Middle Ages is footnoted here. Includes a bibliography and index.

932. ———, ed. Medieval Warfare: A History. Oxford, U.K.: Oxford Univer- sity Press, 1999. This collection of 12 essays is divided into two parts. The papers in part I focus on the experience of war viewed chronologically from Carolingian times through the Hundred Years’ War. Part II examines significant thematic developments in the art of warfare. Five essays discuss the Bayeux Tapestry: “The Vikings” by H. B. Clarke; “An Age of Expansion, c. 1020–1204” by John Gillingham; “Fortifications and Sieges in Western Europe, c. 800–1450” by Richard L. C. Jones; “Arms, Armour, and Horses” by Andrew Ayton; and “Mercenaries” by Michael Mallett. Each essay is annotated separately. Includes a list of further reading for each of the 12 articles, a chronological table from 714 to 1526, and an index. The Bibliography 271

933. ———. Origins of the English Gentleman: Heraldry, Chivalry and Gentil- ity in Medieval England, C.1300–c.1500. Stroud, U.K.: Tempus, 2002. University of Oxford historian Keen explores the historical development of “the quintessential English Gentleman” through an examination of entitlement of coats of arms to non-knights as changes in the “perception of the qualifications for acceptance into the ranks of the socially dominant” widened. The Bayeux Tapestry is discussed briefly in the context of shield decorations and how we have no evidence that these were “cognisances,” or means of identification, although Keen does quote verse from Wace that perhaps indicates that they were.

934. Kemmler, Fritz. “Facts and Fictions—The Norman Conquest.” War and the Cultural Construction of Identities in Britain. eds Barbara Korte, and Ralf Schneider, 39–60. Amsterdam: Editions Rodopi, 2002. Notes: A conference publication for Internationale Forschungen zur Allge- meinen und Vergleichenden Literaturwissenschaft, #59. Kemmler’s essay explores the “interesting and . . . rather surprising perspectives of the events of 1066” expressed in Middle English texts of the late 13th and early 14th centuries.” He discusses the “disappointing” amount of information on the Battle of Hastings in the Parker Chronicle and the Anglo-Saxon Chronicle (D) compared to the details provided in the Bayeux Tapestry and the Norman accounts. The Tapestry’s opening scenes are compared positively to William of Malmesbury’s assertion (in the Gesta Regnum Anglorum) that Harold traveled to Normandy to confirm William’s succession to the English throne, but are at odds with Eadmer of Canterbury stating that Harold went to Normandy to secure the release of hostages. He points out that Harold’s friendly reception at the court of Duke William is made over in detail in the Tapestry, Norman sources, and Eadmer.

935. Kemp, Peter. The History of Ships. New York: Galahad Books, 1978. Notes: Also published by Orbis Publishing, London, 1978. Kemp discusses the longships used at the time of the Norman Conquest and describes the Bayeux Tapestry’s depiction of these vessels in detail. He mentions the “tall prow surmounted by a lion’s head” and how it has a “single sheet, held by the steersman with one hand, unlikely in a ship as big as the Mora, while in the other he holds the clavus, or steering oar, operating it with what looks like a yoke of the sort sometimes seen on small boats today.” He goes on to discuss the likely continuous upper deck, the carrying of fighting men and horses, and the difference in sizes of the warships and transports. Includes a color image from the Tapestry spanning two pages and depicting William’s ship, Mora. Includes a one-page bibliography and an index.

936. Kempe, Charles. The Bayeux Tapestry. Belfast: 1881. Notes: 48 pages. 272 The Bibliography

937. ———. “The Bayeux Tapestry.” London Times (1881): 10.

938. Kempe, John A. Autobiography of Anna Eliza Bray (Before Mrs. C.A. Stothard), Born 1789, Died 1883. London: Chapman and Hall, 1884.

939. Kendrick, Albert Frank. English Embroidery. London and New York: B.T. Batsford and Charles Scribner’s Sons, 1913. Notes: Part of the Batsford’s Collector’s Library. Originally published by G. Newnes, London, and Charles Scribner’s Sons, New York, in 1905 as part of the Newnes’ Library of the Applied Arts. Tracing the historical development of English embroidery from the Anglo- Saxon period to the eighteenth century, Kendrick presents a description of the Bayeux Tapestry and some related issues, including: a quick identification of each of the 79 scenes, establishing the Tapestry’s use as an ecclesiastical ornament by comparing its function to that of the Ely Cathedral embroidery commemorating the deeds of Bryhtnoth, Odo as patron (citing F. R. Fowke) and Bayeux as the likely place of manufacture, its annual display in the Bayeux Cathedral in the middle ages, the Tapestry’s survival of the French Revolution and Napoleon’s ambitions, and its then-current display at the Hôtel de Ville in Bayeux. Includes three photographs of Tapestry scenes and a very thorough index.

940. Kendrick, Albert Frank, and Patricia Wardle. English Needlework. London: Adam and Charles Black, 1967. Notes: Part of The Library of English Art series, edited by C.M. Weekley.

941. Kendrick, Laura. “Visual Texts in Post-Conquest England.” The Cambridge Companion to Medieval English Culture. ed. Andrew Galloway, 149–71. Cambridge, U.K.: Cambridge University Press, 2011. Notes: Paperback. Part of the Cambridge Companions to Culture series. Calling the Bayeux Tapestry a “text in the etymological sense of the term,” Kendrick provides three pages of narrative on the work. Commenting on the natural linen background of the Tapestry, she suggests this “makes it seem all the more like a parchment roll, or like the uncolored manuscript page that served as the ground for much Anglo-Saxon pictorial glossing.” She notes that “The tapestry band is not any broader (about 0.5 meter) than the height of the pages of many an early medieval illuminated manuscript created for liturgical use or display.” Kendrick goes on to discuss the pictorial narrative of the embroidery: “Although the embroidered figures occupy the central space of the tapestry and the only verbal text in evidence glosses the figures (identifies them or their actions), the pictorial narrative of the Bayeux Tapestry must have been conceived as the explanatory gloss of an unseen text, for that is the implicit function of all pictorial narrative compositions at this period.” She also offers commentary on the Tapestry’s Norman voice, writing that “No surviving Latin account is as partial The Bibliography 273 to Odo and the relics of Bayeux as is the tapestry; thus, we had best consider the tapestry to be a tendentious visual gloss embroidering upon the sense of recent Norman chronicles, such as that of William of Jumièges (Gesta normannorum ducum, with an account of the Conquest added by 1070) or William of Poitiers (Gesta Guillelmi, probably written in the 1070s).” Calling Odo “self-promoting,” Kendrick argues that Odo had “the proper spin put on a written Latin account of the Norman Conquest by this gloss in pictures that could reach and persuade a wider public than a Latin text alone. And instead of commissioning this extensive visual gloss for the pages of a book beside the narrative text, Odo made it to be displayed on the walls of his church when it was full of viewers at the seasonal festival of the patron saints.” She calls the way in which the pictures of the Tap- estry perform the work of interpreting a “living reading.” Kendrick’s text goes on to offer interpretation of specific scenes focusing on the underlying intent behind the images. She also draws connections with Latin-captioned pictorial narrative in the form of stained glass windows, wall paintings, and mosaics. Extensive commentary is offered on the motivating role Odo plays in the embroidery. For example, she notes “The designers of the tapestry may have intended the clerical viewer to see more than a swordless and shieldless Odo heroically exhorting the Norman troops. With his upraised staff, emphasized by the caption, he may be understood as a providential figure analogous to Moses at the battle with the Amalekites, raising the rod of God to assure victory (Exodus 17:9–13). Indeed, Odo does even better than Moses in that he clearly needs no one to support his arm as he holds up the staff like a rod, and he does it in the thick of battle, rather than standing aside on a hill. And so does William, for the designer of the tapestry was not so bold as to give Odo the only upraised staff.” Additional Biblical references are offered, including suggestions that a viewer familiar with the Psalms “might well associate their uplifted staves with God’s rod (virga) for chastising and punishing sinners, here used to effect divine punishment upon the sacrilegious Harold and his followers.” Two black-and-white images from the Tapestry are included along with an index and primary and secondary sources arranged by chapter.

942. Kendrick, T. D. Late Saxon and Viking Art. London: Methuen, 1949. Notes: Published by Read Books in 2007. Strongly suggesting the Bayeux Tapestry is of English origin, Kendrick writes that “William the Conqueror . . . could hardly have seen anything antagonistically national in the English style, and there is no reason to suppose that the monarch himself, or the Norman clergy to whom he gave the principal offices of the Eng- lish Church, found it necessary to demand the suppression of the practised and peculiar Saxon manner in painting and drawing. On the contrary, there are two quite important pieces of evidence that the Normans were prepared to accept English art as their own . . . the Bayeux tapestry, and . . . the illumination of books carried out at Durham during the episcopacy of the second Norman bishop 274 The Bibliography of the See, William Carilef.” Suggesting the embroidery was “intended for the pleasure and instruction of the Normans themselves” and insisting on its English origin, Kendrick comments on the Anglo-Saxon forms in the Latin inscriptions, the character of the drawing as Saxon and similar to Winchester manuscripts, and the experience of English embroideresses in making “ambitious narrative tapestries.” He goes on to comment further on the drawing, writing, “As a reason for saying that the drawing is English, it is not sufficient to say that the person- ages of the drama are magnificently animated, and that they stoop and stretch and point in an extravagant fashion that recalls the style of some of the Winchester manuscripts. This lively acting of the persons in the tapestry is in origin simply the style of the Utrecht Psalter, that is to say it reflects the ‘Rheims’ vigour of posture and movement, and in this respect it could, of course, be entirely of Con- tinental origin. Nevertheless, it probably is not. We may say this in the first place because the real ‘Bayeux’ style is unknown in Normandy before 1066, nor does it occur anywhere in France. Of course, as concerns Normandy, this is rather too easy a point, as there are no important illuminated manuscripts of the Conquest period from the Duchy; but, generally, French work of the age is not entirely unknown to us, and there is a group of manuscripts in the Amiens, St. Omer, and Arras districts of north-eastern France that ought to give us a hint, if it were in fact the case, that the Bayeux tapestry style was of French origin. Yet in spite of their marked English characteristics they do not suggest anything of the sort; nor do we find any Continental manuscripts that suggest themselves an adequate foreign background for the tapestry style. It had been suggested that the group of manuscripts from southern France and Spain associated with the commentary of Beatus on the Apocalypse give some indication that the art of the tapestry grew up outside England, but though these narratives do sometimes approach in form the Bayeux type of decoration, the strip-narrative of violently expressed events with explanatory inscriptions, yet it may be said with some emphasis that the Beatus manuscripts have nothing whatsoever to do with the Bayeux manner of drawing.” Kendrick continues to assert the English origin, mentioned the Normans’ admiration of English art and citing as evidence the two “splendid Saxon manuscripts now at Rouen.” Continuing his discussion of the embroidery, he discusses the illustrations that are “recognizably Saxon” as well as the lions and birds in the margin and many creatures “that might have come straight out of the Trinity gospels.” Other points of discussion are the “thin stalk-like legs” (later referring to them as “pea-sticks”), the agitated and dramatic use of hands, and books of William Carilef. Kendrick offers additional arguments about the clothing depicted in the Tapestry as evidence of non-English origin, of course refuting it: “Here we must be content with the observation that it must not be held against an English origin of the Bayeux tapestry that the tunics and the mantles of the actors do not show the crumpled fluttering edges so common in Winchester drawing. To have introduced these airy frills would have been a most laborious and unsuitable complication of an already extremely ambitious undertaking in a The Bibliography 275 medium not conspicuously suitable for the recording of the light, trembling edges that the draughtsman loved; and, of course, the Saxon artist had already shown that upon occasion he could do without them.” Includes four black-and-white images of Tapestry scenes and an index.

943. Kennedy, Hugh N. Crusader Castles. Cambridge, U.K.: Cambridge University Press, 1994. Notes: Reprinted in 1994 and 1995. Kennedy, Reader in Medieval History, University of St Andrews, presents an overview of the history and architecture of Crusader Castles in the Kingdom of Jerusalem, County of Tripoli, and the Principality of Antioch in the eleventh and twelfth centuries. In a chapter on siege warfare, the author points out that “the technology of siege warfare was very primitive in western Europe at the time of the First Crusade. The Bayeux Tapestry shows attempts to storm castles using ladders and set fire to wooden palisades with firebrands.” Includes notes, bibliography, and index.

944. Kennedy, Maev. “A Century On, Bayeux Tapestry ‘Vandal’ Is Cleared.” The Guardian (2008). This article reports on Michael Lewis’ assertion at “a major international conference on the Tapestry . . . at the British Museum,” that the long-accused Eliza Stothard did not cut out and steal a piece of the Bayeux Tapestry in the early 1800s; the culprit was indeed her husband Charles. The cast of Harold that Charles Stothard made by pouring melted wax onto the Tapestry is briefly discussed. The articles goes on to briefly describe this conference that Lewis organized. Remarking on the Tapestry’s Ælfgyva scene, a “joke” that today we simply don’t get, Lewis is quoted, “If you put in Clinton and a cigar now, people would get the reference immediately, but in 200 years’ time they’d wonder what on earth was going on.”

945. Kenyon, John R. Medieval Fortifications. London: Continuum, 2005. Notes: Part of the Continuum Studies in Medieval History series. Additionally, the volume is part of The Archaeology of Medieval Britain series, Helen Clarke, series editor. Clarke also wrote the foreword for this edition. First published in Great Britain in 1990. Paperback edition published in 1991. Reprinted in 1996. This scholarly volume examines domestic and defensive uses of castles, including construction methods informed by the latest research. The Hastings motte in the Bayeux Tapestry shows it being constructed as layers of soil; this kind of motte-building is supported by evidence of the similar techniques from excavations in York, Derbyshire, and Yorkshire. He also gives a nod to the Tapestry for “throw[ing] light on the motte superstructures.” Includes numerous photographs and diagrams. 276 The Bibliography

946. Kenyon, Sherrilyn. Everyday Life in the Middle Ages: The British Isles, 500 to 1500. Cincinnati, OH: Writer’s Digest Books, 2000. Notes: First paperback edition. Cover title: Everyday Life in the Middle Ages, the British Isles from 500 to 1500: A Guide for Writers, Students & Historians. Edited by Jack Heffron and designed by Sandy Conopeotis. First published in 1995. Previously published as The Writer’s Guide to Everyday Life in the Middle Ages. Also cited as: Everyday Life in the Middle Ages: The British Isles, from 500 to 1500. In a chapter on heraldry, the gonfanons and shields of the Bayeux Tapestry are referenced as the first evidence of the use of heraldry. Kenyon also notes that the embroidery offers “evidence that the first to bear heraldic badges were the most important players in a battle—the commanders.” The author is an assisting editor for The Medieval Chronicle.

947. Kerr, Nigel, and Mary Kerr. A Guide to Anglo-Saxon Sites. London: Granada, 1982. Divided into 101 brief chapters on various Anglo-Saxon sites, this richly illustrated paperback references the Bayeux Tapestry in three of them. In “Stillingfleet: A Possible Saxon Door, North Yorkshire” (Chapter 21), there is a mention of the Tapestry’s depiction of a hornblower aft as decoration and emblem on William the Conqueror’s ship. In “Ewyas Harold: A Pre-Conquest Motte and Bailey, Hereford and Worcester” (Chapter 48), the multiple representations of motte-and-bailey castles in the Tapestry are referenced noting their stylized depiction and how the embroidery “shows the essential features of a timber tower . . . with a ladder or ‘flying bridge’ leading down to a defended yard.” An image of the Bayeux castle is included. In “Bosham: Holy Trinity Church, West Sussex” (Chapter 94), the authors note the Tapestry’s depiction of both the Bosham church as well as the feasting hall of the manor house at Bosham. Beneath a stylized image of Bosham church from the Tapestry, the authors’ caption points out that “the western tower would have been standing and acting as a landmark to seamen when King Harold made his ill-starred voyage.” On page 197, a battle scene from the Tapestry is featured with a caption discussing the Norman cavalry crashing into the shield wall. It notes the “great Danish two-handed axe wielded by the leading huscarle in front of the gonfanon or pennon.”

948. Kessler, Herbert L. “On the State of Medieval Art History.” The Art Bulletin 70, no. 2 (1988): 166–87. Notes: Published by the College Art Association. Citing Bernstein’s The Mystery of the Bayeux Tapestry, Kessler discusses how images often served as “divinely ordered memory systems” and how art often made arguments. Here, he offers the Bayeux Tapestry as an example where “in a celebration of victory, a subversive political message may have been introduced.” The Bibliography 277

949. ———. Seeing Medieval Art. Orchard Park, CA : Broadview Press, 2004. Notes: Part of the Rethinking the Middle Ages series, volume 1, edited by Paul Edward Dutton and John Shinners. Kessler focuses on the borders and Latin inscriptions in his commentary on the Tapestry. He writes: “Though carefully constructed within artistic conventions and literary genres, including the classical triumphal columns, the Bible, and epic poetry, the Bayeux Tapestry . . . derives veracity from the rich incorporation of details from real life and the matter of fact Latin tituli.” He goes on to describe the border illustrations from Aesop’s fables as providing “an ironic, perhaps even subversive commentary on the military encounter.” Later in the text, referring again to the Latin inscriptions and “footnoted” narratives, Kessler suggests the Tapestry “seems to have been a portable history set up in various baronial halls and elucidated by changing French-speaking interlocutors who could bend the narrative to different audiences.” Includes a two-page black-and-white scene from the Tapestry. Kessler is a professor of medieval art at Johns Hopkins University.

950. Keynes, Simon, and Alfred P. Smyth, eds. Anglo-Saxons: Studies Pre- sented to Cyril Roy Hart. Dublin, Ireland: Four Courts Press, 2006.

951. Kiff, Jennie. “Images of War: Illustrations of Warfare in Early Elev- enth-Century England.” Anglo-Norman Studies VII. Proceedings of the Battle Conference, 1984, 177–94. 1985.

952. King, D. “Opus Anglicanum: English Medieval Embroidery.” Victoria and Albert Museum (1963). Notes: An exhibit from September 26 to November 24, 1963. Published by The Arts Council, London.

953. King, Donald, and Santina Levey. The Victoria & Albert Museum’s Tex- tile Collection: Embroidery in Britain From 1200 to 1750. New York: Canopy Books, 1993. Notes: Paperback. Published by the Victoria & Albert Museum in Great Brit- ain. Foreword by Valerie D. Mendes, curator of textiles and dress at the Victoria & Albert Museum, London. King, Keeper at the Department of Textiles and Dress at the Victoria & Albert Museum from 1972 to 1980, refers to the Bayeux Tapestry in his chapter titled “Embroidery of the Middle Ages.” Calling the work “the great embroidered frieze at Bayeux,” King writes, “In keeping with its size and purpose the execution is bold, in brightly coloured wools on undyed linen, and the design is clear, simple and legible. The designer excels in organizing the complex story into lively pictorial episodes, foreshadowing the narrative skill which appears in many later English embroideries.” He later speaks to the contrast between the “liveliness and variety of these early English embroideries in the Anglo-Saxon tradition 278 The Bibliography of design” with those of the Romanesque and early Gothic periods which “aim at effects of sober magnificence and are apt to seem severe, even a trifle mo- notonous.” Includes a color photo detail from the Tapestry attributed to Michael Holford Photographs; it depicts William’s ship. Includes a helpful glossary and a page titled “Technical Illustration of Embroidery” with drawings representing 12 different stitches.

954. King, Edmund. King Stephen. New Haven, CT: Yale University Press, 2010. Notes: Part of the Yale English Monarchs Series. In his introductory chapter titled “Family and Honour,” King writes about an embroidery made at Canterbury with headlines in Latin that “helped the viewer find the way, though they offered and still offer much scope for interpretation.” He also attributes the commissioning of the embroidery to Bishop Odo and describes the Tapestry as “the only survivor of its type, but it cannot have been the only one made.” King follows with a discussion of the embroidery found on the walls of Adela, patron of Baudri de Bourgueil, abbot of Bourgueil in the Touraine. He further notes that “it is perfectly possible that Adela had commissioned a copy of the Bayeux Tapestry.” Multiple Tapestry scholars’ works are cited in the footnotes. Includes a bibliography and index.

955. ———. Medieval England, 1066–1485. Oxford, U.K.: Phaidon Press, 1988. King includes a two-page essay by David Bates titled “Odo of Bayeux” which provides a concise biographical overview of Bishop Odo and his role in the Conquest, the Norman land settlement, and his support of the abbey of St. Augustine at Canterbury. The essay references depictions of Odo in the Tapes- try, that he commissioned it, and the nature of his role in the Battle of Hastings as suggested by images from the Tapestry. A black-and-white scene showing Odo wielding a mace and “encouraging young warriors to return to the fray” is included within the essay’s pages. Elsewhere in the book, two black-and-white images from the Tapestry are included as well as a two-page color image. Lengthy captions are provided for each. A bibliography arranged by chapter and an index are included.

956. King, Penny, and Clare Roundhill. Stories. Artists’ Workshop Series. New York: Crabtree Publishing, 1996. Designed for use by and with elementary level students, this resource features six works of art which tell stories. The article offers suggestions and instructions for creating student artwork using various techniques and media. Images from the works are included along with pieces from children. The Bayeux Tapestry is one of the six featured works. The Bibliography 279

957. King, Richard Raymond, and Richard Kay. Proceedings of the Pseudo Society: First Series, 1986–93. Kalamazoo, MI: Medieval Institute Publica- tions, Western Michigan University, 2003. Notes: According to the publisher, this work features parodies of academic arguments presented to the “Pseudo Society,” an audience devoted to fun at the annual meeting of The International Congress on Medieval Studies.

958. Kipfer, Barbara Ann. Dictionary of Artifacts. Malden, MA: Blackwell Publishing, 2007. Kipfer presents for scholars, archaeologists, museum workers, and general readers “definitions in accessible language” on the vocabulary used in describing artifacts. Her two-thirds page entry on the Bayeux Tapestry provides a general description of the Tapestry and comments on the significance of the Tapestry as a source of contemporary history and material culture. She adds that the Tapestry “took about two years to complete.”

959. Kirby, D. P. The Making of Early England. New York: Schocken Books, 1968. In the third chapter, titled “The Danish Conquest and Anglo-Saxon State,” Kirby discusses the coronation of Harold and depiction of Archbishop Stigand crowning him on the Bayeux Tapestry: “On 6 January Edward was buried in Westminster and Harold crowned king by Ealdred, archbishop of York, according to the English evidence, though the Normans maintained Stigand crowned him and so they represented the coronation on the Bayeux Tapestry.” Later, in a chapter on social structure and social conditions, Kirby writes about rare Anglo- Saxon embroidery and its Byzantine influences and writes, “Like the many tapestries which adorned the households of the wealthy, they were the achievement of hours of patient labour. It was not unknown for mythological scenes and deeds of valour to be depicted on tapestries, as the woven Norse tapestry from the ninth-century Oseberg ship and the later eleventh-century Bayeux Tapestry respectively show.” Includes a select bibliography in narrative form and an index.

960. Kirchner, Walther. Middle Ages, 375–1492. New York: Barnes and Noble, 1968. Notes: Paperback. Part of the College Outline Series, No. 31. Cover title: Middle Ages, 375–1492: Complete Political, Cultural and Social History Includ- ing Final Examinations. Kirchner, a professor of history at the University of Delaware, writes that William the Conqueror’s landing on England’s southern coast is “dramatically depicted on the famous Bayeux tapestry.” Later, in a section titled “Society in the High Middle Ages,” he explains that the Tapestry is the most famous example of the “fine embroidery work” of the period. He dates the work to “probably . . . 280 The Bibliography from the early twelfth century.” Includes a chronology, bibliographies, and an index.

961. Kirk, Simon, Steve Gillham, David G. Chandler, and David Perks. The Battle of Hastings 1066: Tapestry of a Battle. Portland, OR: Allegro Corpora- tion, 2007. Notes: DVD. Part of the History of Warfare series. The producer provides the following description for this 55-minute film: “Nar- ration, reenactment, 3-D computer mapping and images from the Bayeux Tapes- try help tell the tale of this famous battle in which the victory of Duke William of Normandy over Harold II of England also meant an end to the Anglo-Saxon way of life.”

962. Klamt, J. C. J. A. “Enkele Opmerkingen Bij Het ‘Tapijt Van Bayeux.’” Rapports: Het Franse Boek 58, no. 3 (1988): 115–22.

963. Kleinschmidt, Harald. Perception and Action in Medieval Europe. Woodbridge, U.K.: Boydell Press, 2005. In his chapter titled “Impact from the Environment: The Perception of Smell, Touch and Taste,” Kleinschmidt discussed the placement of dining tables and seating order. He references Beowulf, Byzantine and Occidental table manners, and includes a black-and-white photograph of a dining scene from the Bayeux Tapestry.

964. Kleinsmith, Nicole Michele. Inside and Outside the Frame: An Integrated Reading of the Bayeux Tapestry and Its Borders. Ottawa: Library and Ar- chives Canada/Bibliotheque et Archives Canada, 2006. Notes: Dissertation.

965. Klindt-Jensen, Ole. The World of the Vikings. Washington, DC: Robert B. Luce, 1970. Notes: Illustrated by Svenolov Ehrén. First published in Sweden in 1967. Klindt-Jensen writes about Viking history and culture for a general audience, and includes numerous detail images from the Tapestry, all of which are paintings or drawings by Ehrén. Most material on the Tapestry in this book is in the captions for these images. Notable captions: for the image of a Norman forager about to slaughter a sheep, he states that the Tapestry shows that “both ewes and rams had horns in the original breed of sheep”; for a detail of a battle scene, the author observes “it is obvious that the artist of the Tapestry had seen and experienced a battle such as this in reality, so vividly does he reproduce the episodes”; on the cooking scene, he writes that cauldron over the fire is “no doubt full of succulent meat soup”; on a detail of one of William’s men shown with a cask on his shoulder, he muses “it may be supposed that it contained strong liquor.” Includes index. The Bibliography 281

966. Kluckert, Ehrenfried. “Romanesque Painting.” Romanesque: Archi- tecture, Sculpture, Painting. ed Rolf Toman, 382–460. Cologne, Germany: Ullmann & Könemann, 2004. Notes: Photos by Achim Bednorz. Original title: Romanik. Translated from the German by Fiona Hulse and Ian Macmillan. Kluckert’s 78-page article contains a two-page spread in tiny typeface about the Bayeux Tapestry, with several full-color illustrations. He discusses compositional and narrative devices in the Tapestry such as the border animals providing commentary on the events of the main frieze, and how stylized landscape and architectural elements help make the story flow. Kluckert makes a few interesting statements: that the Tapestry may have been made at the request of Odo or Queen Matilda; that the men pointing at the comet are astrologers; and that the two men fighting with shovels see William coming and get back to work in the following scene. Includes nine full-color photographs from the Tapestry.

967. Knight, Charles. Half Hours of English History. London: George Rout- ledge and Co., 1853. Notes: “Selected and illustrated by Charles Knight.”

968. Koch, Hannesjoachim Wilhelm. Medieval Warfare. New York: Crescent Books, 1983. Notes: Reprint. Originally published by Bison Books, London, in 1978. Parts of this book were written by Ian Hogg and P.L. Gwynn-Jones. In a discussion of armor, Koch comments that by the middle of the ninth century “all Norsemen warriors wore mailshirts, based very much on the Frankish model.” He writes, “Even their shields were at first copies of those of the Franks. The shape of the shield such as we find on the Bayeux tapestry is a product of the late ninth or early tenth century.” The Tapestry is also referenced in Koch’s chapter on the feudal military system along with three color and one black-and-white image from the embroidery. Captions comment on the conical helmets, archers, and the debate over the piercing of Harold’s eye. Koch is a military historian who lectured at the Universities of York and Munich. Includes index.

969. Koch, Richard M. “Sacred Threads: The Bayeux Tapestry As a Reli- gious Object.” Peregrinations: International Society for the Study of Pilgrim- age Art 2, no. 4 (2009). Notes: This issue, titled Bayeux Tapestry Revisited, was edited by John Mi- cheal Crafton, professor of English at the University of West Georgia. Koch discusses the numerous aspects of the Bayeux Tapestry that are religious in nature. He examines the idea that Queen Edith may be the Tapestry’s patron (a notion put forth by Carola Hicks), as well as the long-held contention that it was Bishop Odo, both candidates having religious lives. Religious imagery in the Tapestry is discussed, among them: the church at Bosham resembling a reliquary, 282 The Bibliography

Harold’s feast at Bosham resembling a Last Supper scene, Mont St-Michel, Westminster Abbey, and the chevron patterns in the Tapestry’s borders like those seen in a Canterbury censer or the piers of Durham Cathedral. The lewd images seemingly out-of-place for an ecclesiastic setting are discussed, as is the meaning of the Ælfgyva scene. Koch briefly discusses how the Tapestry shows evidence of Byzantine artistic influence, a major force in the visual art in the late Middle Ages. The Tapestry designer’s likely access to medieval illuminated manuscripts is briefly discussed. Symbolic interpretations of the Tapestry’s many types of animals, fantasy creatures, and fables are provided. The didactic and moral message of the Tapestry (oath-breaking, perjury) is the reason Koch gives for its annual display in the Cathedral of Bayeux. The implications of Harold’s perjury are presented in overview, as is the wavering religiosity of English clergy of the time. The Normans’ view of the English church is manifested in the appearance of Archbishop Stigand in the Tapestry, a churchman who fell out of favor with the papacy and was deposed. The less-frequent religious images and symbols in the Tapestry’s Battle of Hastings episode are listed.

970. Konstam, Angus. Historical Atlas of the Viking World. New York: Checkmark Books/Facts on File, 2002. Notes: Published by Mercury Books in 2004. Historian and archaeologist Konstam writes this richly illustrated volume of the history of Vikings and their lasting influence on today’s culture. He comments on the Bayeux Tapestry’s knorr-type ships and how the Tapestry informs us of how tools were used in shipbuilding. Includes index.

971. Korte, Barbara, and Ralf Schneider, eds. War and the Cultural Con- struction of Identities in Britain. Amsterdam: Editions Rodopi, 2002. Notes: A conference publication for Internationale Forschungen zur Allge- meinen und Vergleichenden Literaturwissenschaft, #59. Following a brief mention of the Bayeux Tapestry in the editors’ introduction, the book includes two chapters that provide notable content, one with a brief but important mention of the embroidery and the other focusing entirely on it: Fritz Kemmler’s “Facts and Fictions–The Norman Conquest” (pp. 39–60) and Ute En- gel’s “The Bayeux Tapestry and All That: Images of War and Combat in the Arts of Medieval England” (pp. 61–91). Includes index and notes on the contributors.

972. Koslin, Desiree. “Norse and Scandinavian Aspects in the Bayeux Em- broidery.” Ars Textrina 19 (1993): 97–116. Koslin points out the various Scandinavian structural, technique, and design elements observed in the Bayeux Tapestry, and asks whether or not the Tapestry’s cartoon could have been an Anglo-Saxon or Norman effort, while the execution of the embroidery was done in Denmark or Norway. The notion that a team of Scandinavian embroiderers may have been employed in England to create this work is also raised. The Tapestry’s artist was, she points out, someone familiar The Bibliography 283 with Scandinavian artistic traditions. She compares the Tapestry’s “painterly” fashion to that of the denser opus Anglicanum style of embroidery and concludes that they vary greatly. The Tapestry’s embroidery style with regards to stitching techniques does compare favorably, however, to extant medieval Norse textiles. The Tapestry’s “acts of valor, honor, and action in combat” are related closely to the Norse epics. A comparison of the dimensional proportions of the Tapes- try’s main frieze and its border scenes to those panel proportions of ancient and modern Norse visual arts reveals an interesting parallel. While much research effort has been placed on establishing the Tapestry’s artistic kinship to specific manuscripts, Koslin reminds us that other research has found that manuscripts present in English monasteries were often paradigmatic in other parts of Europe as well. Both protagonists in the Tapestry, William and Harold had strong blood ties to Denmark, and she asserts that one theme of the Tapestry, Norman warfare prowess, is certainly a Scandinavian contribution to Norman military culture. A semi-circular banner appearing in the Battle of Hastings scene might be a legendary Viking “raven banner” and may have made its appearance in the Tapestry as “a fitting martial . . . attribute to William, an echo of a previous conquest of England by his kin.” The dragon standards appearing in Harold’s death scene are discussed at some length, but not in any context of Norse heritage or influence. Curiously, Koslin does not mention the Tapestry’s frequent use of what is known as the Scandinavian Ringerike motifs. Includes seven illustrations or photographs of stitching methods, the Bayeux Tapestry, and the Skog and Roen textiles.

973. ———. “Turning Time in the Bayeux Embroidery.” Textile and Text 13, no. 1 (1990): 28–45.

974. Kraus, Henry. “Eve and Mary: Conflicting Images of Medieval Woman.” Feminism and Art History: Questioning the Litany. eds Norma Broude, and Mary D. Garrard, 79–99. New York: Harper and Row/Icon Editions, 1982. Notes: This was originally published as Chapter III, pp. 41–62, of Henry Kraus’ The Living Theatre of Medieval Art, Indiana University Press, Blooming- ton, in 1967. In his article on the changing attitudes towards women in medieval art, Kraus notes that “sexual love is no longer automatically covered by taboo or pictured in almost animalistic terms, as in the famous vignette on the border of the Bayeux Tapestry,” though he does not mention to which vignette he refers. The changing position of women in medieval art was anticipated in Kraus’ first book, The Many and the Few (1947), dealing with the role women played in a General Motors sit-down strike.

975. Krautheimer, R. “Introduction to an Iconography of Medieval Archi- tecture.” Journal of the Warburg and Courtauld Institutes 5 (1942): 1–33. 284 The Bibliography

976. Kretschmer, Fritz. “Neue Erkenntnisse Aus Dem Teppich Von Bay- eux.” Archivum Heraldicum 1–2 (1980): 2–7. Kretschmer reviews heraldic devices in the Tapestry’s images.

977. Kuder, Ulrich. Der Teppich Von Bayeux. Frankfurt: 1994.

978. Kunzle, David. The History of the Comic Strip. Berkeley, CA: University of California Press, 1990. Notes: Volume 2, The Nineteenth Century. Kunzle, professor of the history of art at the University of California, Los Angeles, discusses Richard Doyle’s 1848 parody of the Bayeux Tapestry. He writes: “Doyle’s style gained popularity in France (he was copied and imitated by Nadar in his Revue Comique in early 1849) through a number of political cartoons directed against the now-deposed French monarchy, especially at the time of the Franco-Spanish royal marriage (September–October 1846) and during the ‘invasion scare’ of January 1848. This scare, which no one took seriously, elicited from Doyle an amusing parody based on the Bayeux tapestry, complete with crude inscriptions and dedicated to the architect of the neo-Gothic new Parliament buildings, Charles Barry: ‘Our Barry-eux tapestry—Ye Foraye of the Frenche from the verdical and right pleasante chronicle of Maitre Punche.’” The parody, Kunzle notes, runs continuously across eight pages of a single Punch issue. Includes an image from the parody.

979. Kurmann-Schwarz, Brigitte. “Gender and Medieval Art.” A Compan- ion to Medieval Art: Romanesque and Gothic in Northern Europe. ed Conrad Rudolph, 128–50. Malden, MA: Blackwell, 2006. Notes: Part of the Blackwell Companions to Art History series. Following a brief discussion of the issue of the Tapestry’s designer and patronage, the author points out that the matter of “how far women actually participated in the embroidering is still under debate.” She does note, however, that the “romantic notion” of Queen Matilda and her ladies embroidering the work has been refuted. Later, she points to the fact that only four of 626 human figures in the Tapestry are women as evidence that society at the time “accorded women a purely marginal role in public life.” The article features a black-and-white detail from the Tapestry of the mourning woman at the deathbed of King Edward the Confessor. Includes notes and bibliography. Kurmann-Schwarz is a research fellow at the Swiss Center for Research and Information on Stained Glass in Romont, Switzerland. She also teaches at the University of Zurich.

980. Labbey, Leon. La Tapisserie De La Reine Mathilde. 1941. Notes: A 365-page unpublished manuscript in the Municipal Library of Bayeux. The Bibliography 285

981. Labory, Gillette. “The Norman Conquest in the Grande Chronique De Normandie.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 155–69. Caen, France: Presses Universitaires de Caen, 2004. Labory summarizes passages relating to the Norman Conquest in the Grande Chronique de Normandie, a collection of manuscripts from the thirteenth to fifteenth centuries. She discusses the omission of the Taillefer episode from the Chronique, a list of fictional additions to the manuscripts, and she points out that the manuscripts agree with the Bayeux Tapestry in placing Harold’s oath at Bayeux. Other topics summarized include the Conqueror’s last words; the Estates provincial, what the Chronique’s compiler called the pre-Conquest “meeting of Duke William’s close council”; William’s offer of feudal service to the King of France in exchange for assistance in invading England; and the mistaken date of William’s coronation, October 22, 1066 in the Chronique. Labory concludes by deriving a profile of the Chronique’s compiler: a person “with little taste for historical accuracy . . . [who] appears to be catering to the demands of his patron.”

982. Lace, William W. The Battle of Hastings. San Diego: Lucent Books, 1996. Notes: Part of the Battles of the Middle Ages series. This book, aimed at a readership aged 10 to 15, provides a great deal of information on its topic, including a good background on England in Roman Times, the Dark Ages, and the Viking age. Several of Stothard’s images of the Bayeux Tapestry are used throughout to illustrate the author’s more-or-less chronological account of the Battle of Hastings and the events that precipitated it. Lace also discusses how the notion that Harold died with an arrow to the eye may be the result of a twelfth-century misinterpretation, a discussion that is lacking in other books for children. A sidebar on the Tapestry provides a short description, discusses the difference between a tapestry and embroidery, Odo’s patronage, and the Tap- estry’s ordeals over the centuries. Includes two photographs of the Tapestry, a chronology of events from 700 B.C. to 1066, an annotated list of further readings with several age-appropriate works, and annotated list of works consulted, family trees of the Kings of England and of the Dukes of Normandy, and an index. Lace is a historical writer and a college administrator.

983. Lacey, Robert. Great Tales From English History: The Truth About King Arthur, Lady Godiva, Richard the Lionheart and More. New York: Little, Brown, 2003. Notes: Illustrations and maps by Fred van Deelen. This delightful collection of great stories made short (about five pages per story on average) is written in very casual and often cheeky language, yet attempts to present accurate historical facts. In the six pages of “The Year of Three Kings,” the author references the Bayeux Tapestry numerous times in the con- 286 The Bibliography texts of the Tapestry as Norman propaganda, what Harold may or may not have sworn in his oath, the meaning for William of what we now know as Halley’s Comet, and Anglo-Saxon hairstyle versus the combat advantage of the Normans’ haircuts. “The Death of Brave King Harold” mentions three versions of the Tap- estry: Antoine Benoît’s 1729 sketches, Charles Stothard’s 1821 engravings, and the Victoria and Albert Museum’s (then called the South Kensington Museum) 1872 photographs, noting that British historians David Hill and John McSween pointed out that these three versions vary in as many as 379 places, especially the 1729 showing King Harold about ready to throw a spear, but that the 1821 shows the same image with feathers on the end of said spear, and that in 1872 the angle of the “arrow” seems to have shifted downward, into Harold’s eye. Lacey offers that this latest change may have made the Tapestry a bigger tourist draw. He also discusses the possibility (as few other scholars have) that the Tapestry’s depiction of Harold being cut on the thigh was perhaps a nicer way of telling what may have really happened: Harold was fully castrated by a Norman knight, an act of dishonor that actually horrified and angered William. Lacey ends this story with a short description of Hitler’s and Himmler’s interests in the Tapestry as Germany prepared to invade England. Though they do not mention the Tapestry, the stories “Edward the Confessor,” “The Legend of Lady Godiva” (Lady Godiva was indeed the grandmother of Harold’s wife Ealdgyth), “the Domesday Book,” and “The Mysterious Death of William Rufus” may be of marginal interest to Tapestry researchers, but at very least, they’re entertaining.

984. Lacey, Robert, and Danny Danziger. The Year 1000: What Life Was Like at the Turn of the First Millenium: An Englishman’s World. Boston: Little, Brown, 1999. The founders and editors of Cover magazine, Lacey and Danziger state “Our best evidence of what an Anglo-Saxon army looked like comes from the Bayeux tapestry, stitched in celebration of the victory sometime in the next sixteen years or so.” They attribute its patronage to Bishop Odo and mention Harold’s housecarls wielding battle-axes. They reference the similarity in dress of the English and Normans and point out the “major and decisive distinction” that the Tapestry makes clear, that the Normans rode horses and the English were on foot. The authors also note the nose-guarded helmet and its use by Saxons, Vikings and Normans.

985. Lacroix, Paul. The Arts in the Middle Ages and the Renaissance. New York: Frederick Ungar Publishing, 1964. Notes: First published in 1870 under the title of The Arts in the Middle Ages and at the Period of the Renaissance. In his chapter titled “Tapestry,” Lacroix devotes a full page of narrative to the Bayeux Tapestry, noting that it “has escaped what would have seemed inevitable destruction” due to “its really exquisite character.” Regarding its creation, La- The Bibliography 287 croix suggests that “If we are to accept the ancient traditions to which it owes its name, it must date from the last half of the eleventh century.” Continuing, he writes that “although we first find it alluded to in an inventory (prepared in 1476) of the treasury of the Bayeux Cathedral, we may venture, with a certain degree of confidence, to believe that it was made in the twelfth century by Englishwomen.” Calling it “a piece of brown linen,” he writes that “this embroidery may seem to be but a rudely executed group of figures and animals; nevertheless there is character throughout, and the original outline, discoverable beneath the intersec- tion of the wool, is not wanting in a certain accuracy that brings to our mind the vigorous simplicity of the Byzantine style.” Commenting on the double border, Lacroix suggests that this decoration is “the same as those of the paintings in manuscripts of the Middle Ages.” Moving on to commentary on who the work might be attributed to, he quite notably names a specific individual, writing, “in short, failing any exact proof, if we are determined not to deprive this immense work of its traditional antiquity, it might, with much probability, be attributed to a female embroider of Queen Matilda, named Leviet, whose skill has rescued her name from oblivion.” Furthering the connection to Matilda, he writes, “It may also be well to observe that at the time it is first alluded to in history, this tapestry is found belonging to the very church in which Matilda desired to be buried.” Later in the book, Lacroix provides comments on the Tapestry’s depiction of William and “three different bodies of troops: the archers, light infantry, armed with arrows and darts; foot-soldiers, or heavy infantry, using weightier arms, and clad in iron mail; and cavalry, in the midst of which figures the Duke William.” Black-and-white images of a lancer and an archer are included here. He also comments on the border scenes, “The sling is not to be found in the hands of any warrior; but it is remarkable that, in the border of the Bayeux tapestry, it is used by a peasant aiming at a bird; from which it may be inferred that the sling had become a mere weapon for field-sport.” There is no index.

986. Laffetay, Jacques. Notice Historique Et Descriptive Sur La Tapisserie Dite De La Reine Mathilde. Bayeux: O. Payan, 1885.

987. Laing, Lloyd, and Jennifer Laing. Early English Art and Architecture: Archaeology and Society. Stroud, U.K.: Sutton, 1996. Commenting on the Bayeux Tapestry’s place in Anglo-Saxon as well as Nor- man art in their chapter titled “The Saxo-Norman Overlap,” the Laings write: “Despite the political, linguistic and architectural impact of the Normans, Anglo- Saxon culture was not obliterated and no clearer demonstration of its survival can be brought forward than the Bayeux Tapestry. Made on the orders of William’s brother, Bishop Odo of Bayeux in Normandy, it . . . was designed to hang in Bayeux Cathedral. For long regarded as a unique example of Norman art, it can now be seen as one of the most remarkable surviving examples of Anglo-Saxon Winchester style artistic achievement. It is also an unusual example of a major 288 The Bibliography artistic achievement of this period known to have been executed by women.” The authors go on to comment on problems surrounding the historical interpretation of the Tapestry. They also suggest that it was inspired by English line drawing of the tenth and eleventh centuries as well as “imported woven silks from Byzantium and Persia.” They note how the main narrative “seems to have drawn heavily on Canterbury Biblical iconography, in a tradition that goes back to Roman triumphal columns and the chronologically closer column of Bernward of Hildersheim of around 1020.” The “oblique Biblical allusion” possibly used to “cast doubt on the rectitude of William’s campaign, even while it appears to glorify his achievement” is also referenced. One black-and-white photograph including the scene numbers 46 and 47 is included. Includes a 21-page bibliography and an index.

988. ———. Medieval Britain: The Age of Chivalry. London: Herbert Press, 1996. Notes: In a section on ships and shipping, the authors note that the Bayeux Tapestry clearly depicts “ships descended from those of the Vikings” and that such ships continued to navigate northern waters until the thirteenth century. While there are no images of the Tapestry, the 224-page book is heavily illustrated.

989. ———. Anglo-Saxon England. London: Routledge & Kegan Paul, 1979. Notes: Part of the Britain Before the Conquest series. Reprinted in 1980 and 1990.

990. ———. Britain’s European Heritage. Stroud, U.K.: Alan Sutton, 1995. Notes: Drawings by Priscilla Wild. In their chapter titled “The Normans and the Early Middle Ages,” the Laings note that “Mottes both completed and being built are depicted in the Bayeux Tapestry, which shows mottes at Dinan, Rennes, and Bayeux as well as Hastings, where excavation has been carried out, but with indeterminate results.” They include significant narrative devoted to castle construction in Norman England. Includes a bibliography with commentary and an index.

991. Lamborn, E. A. Greening. “Military Architecture.” Medieval England. H. W. C. Davis, 94–109. London: Studio Editions, 1993. Notes: Reprint. Published as Mediaeval England: A New Edition of Barnard’s Companion to English History by the Clarendon Press, Oxford in 1924. An overview of English fortifications from the fall of Rome through the reign of Henry VIII mentions the Bayeux Tapestry for depicting castles not at all like those “pictured by novel readers, but rather that associated with the ancient game called ‘I’m the king of the castle’” or “king of the hill.” Lamborn provides some The Bibliography 289 details on the construction and appearance of the motte-and-bailey castles and includes two poorly reproduced drawings of the Tapestry.

992. Lampl, P. “Schemes of Architectural Expression in Early Medieval Art.” Marysa 9 (1961): 6–13.

993. Lander, Jack Robert. Ancient and Medieval England: Beginnings to 1509. New York: Harcourt Brace Jovanovich, 1973. Notes: “Under the General Editorship of John Morton Blum, Yale University.” Part I of The Harbrace History of England series. Paperback. Attributed to Bishop Odo and dated to c.1077, the Bayeux Tapestry is referenced in the chapter on the Norman Conquest and Anglo-Norman government. Two black-and-white images are included along with a caption that mentions Harold’s regarding the comet as “a bad omen,” his coronation, and his being struck down by a Norman knight. Includes a select bibliography, index, and a list of king and queens of England including some before the Conquest. Lander is a member of the faculty at the University of Western Ontario.

994. Landstrom, Bjorn. The Ship: An Illustrated History. Garden City, NY: Doubleday, 1961. Notes: Introduction by R.C. Anderson. Alternate title: The Ship. The author also illustrated the book. Translated by Michael Phillips from Skeppet, Bokfor- laget Forum AB, Stockholm, 1961. In a section on drakkars and long ships, Landstrom offers the following narrative on the decoration of ships and sails: “We have to imagine the long ships as an enlarged type of Gokstad ship, the largest perhaps somewhat narrower in proportion. The dragon heads were detachable and it was forbidden to carry them by law when a ship neared the shores of home. It is possible that other, less terrifying decorations were set up. The Bayeux tapestry shows ships with painted sides and coloured sails, and we know that kings’ ships often had linen sails of different colours, sometimes embroidered, sometimes with applications of silk. William the Conqueror’s ship Mora carried at the masthead something that has been said to be a lantern.” The pages of this section include several black-and-white outline drawings of Tapestry scenes as well as one in color although not consistent with the colors of the Tapestry itself. Includes a list of sources and an index.

995. Langdon, John. Horses, Oxen and Technological Innovation: The Use of Draught Animals in English Farming From 1066 to 1500. Cambridge, U.K.: Cambridge University Press, 1986. Notes: Part of the Past and Present Publications series, Paul Slack, general editor. Also cited as Horses, Oxen and Technological Innovation: The Use of Draught Animals in English Farming, 1066–1500. 290 The Bibliography

Langdon, an assistant professor at the University of Alberta, uses images from the borders of the Bayeux Tapestry to support his assertion that most horses were used for harrowing in the eleventh century. However, he acknowledges that there is “no direct evidence of this in Domesday save for the hercerarius found at Clopton in Cambridgeshire, which was probably a horse.” Noting that the “only certifiable plough illustration from the period of a likely English origin” is from the Bayeux Tapestry, Langdon clarified that the plough in this case is “wheeled, although, as with the Anglo-Saxon examples” in manuscripts, the actual “function of turning a farrow in not clearly evident.” Regarding harrows, he explains that only the Bayeux Tapestry “shows what a harrow might have been like, in this case, rectangular and seemingly of the modern toothed variety.” Includes bibliography and thorough index.

996. Langley, Andrew. Castle at War: The Story of a Siege. New York: DK Publishing, 1998. Notes: Part of the DK Discoveries series. Illustrated by Peter Dennis. Adjacent to a vivid image from the Tapestry showing messengers arriving to see Duke William, the author offers a brief narrative titled “Tales in Tapestry” where the notion of embroideries as historical records is discussed. English needleworkers who created the Bayeux Tapestry are mentioned along with basic facts about the embroidery. Includes index.

997. Lardin, Philippe. “Les Représentations Du Pouvoir Dans La Broderie De Bayeux (XIe Siècle).” Histoire, Images, Imaginaire. ed. Pascal Dupuy. Pisa, Italy: University of Pisa, 2002.

998. Lasko, Peter. “The Bayeux Tapestry and the Representation of Space.” Medieval Art: Recent Perspectives: A Memorial Tribute to C.R. Dodwell. eds Gale R. Owen-Crocker, and Timothy Graham, 26–39. Manchester, U.K.: Machester University Press, 1998. Notes: Distributed in the U.S. by St. Martin’s Press, New York. This article may also be cited as “Space in the Bayeux Tapestry.” Lasko’s essay examines the use of the diminution (farther objects appear smaller than closer ones) to create perspective in the Bayeux Tapestry. After refuting Francis Wormald’s opinion that the Tapestry makes no attempt at rendering perspective, Lasko points out several places in the Tapestry where indeed it is implemented successfully. The Tapestry’s use of space in a continuous narrative format is also discussed. He contends that the designers of the Tapestry, as well as artists of eleventh-century Anglo-Saxon manuscripts had knowledge of Roman and Hellenic works, such as the triumphal columns of Trajan and Marcus Aure- lius and the “Joshua Roll” as evidenced in their use of diminution and continuous narrative. Includes several black-and-white photographs of the Tapestry, one of a detail of Trajan’s column, and other photographs. Includes extensive notes. The Bibliography 291

999. Lassieur, Allison. The Vikings. San Diego, CA: Lucent Books, 2001. Notes: Part of the Lost Civilizations series. In a full-page feature on the Bayeux Tapestry, Lassieur provides basic information on the work and along with commentary on the likely patronage of Odo, its use in informing the study of material culture of period, and its intended purpose. Here, she offers the suggested possibilities of the bishop’s new cathedral and Wil- liam’s coronation. At one point, Lassieur writes that the embroidery was “made by the victors.” A black-and-white image from the Tapestry is included. The book also provides notes, titles for further reading, works consulted, and an index.

1000. Lauer, Phillippe. “La Date De La Tapisserie De Bayeux.” Bulletin De La Société Nationale Des Antiquaires De France (1912): 408.

1001. Lavelle, Ryan. Alfred’s Wars: Sources and Interpretations of Anglo- Saxon Warfare in the Viking Age. Woodbridge, U.K.: Boydell Press, 2010. Notes: Part of the Warfare in History series, edited by Matthew Bennett of the Royal Military Academy, Sandhurst, U.K. This comprehensive and scholarly approach to Anglo-Saxon warfare relies on the Bayeux Tapestry often as a source for our understanding of the topic. The Tap- estry’s depiction of “rustic, poorly-armed” Anglo-Saxon warriors underscores the author’s discussion of the fyrd and military obligations in pre-Conquest England. He notes that the Tapestry has affected “our picture of eleventh-century Norman uses of horses in battle.” In his chapter on fortifications, Lavelle points to a notion resurrected by Ken Lawson that the Tapestry depicts a field fortification at Hastings, perhaps surrounded by defensive spikes, a structure perhaps related to the Malfosse or “Evil Ditch” described by Orderic Vitalis. The Tapestry’s shield- wall scene appears in a chapter sub-heading “Fighting techniques and battlefield tactics.” In the same section, he notes that the Tapestry’s depictions of “Gyrth and Leofwine [dying] elsewhere on the battlefield suggests that [Harold’s] army was . . . made up of different contingents.” The author presents a photograph from one of the Tapestry’s final scenes, with warriors’ bodies in the lower border and cites Jennie Kiff who “has noted the importance of the artistic remembrance of the slain could play a part in the memory of a battle, following literary and artistic conventions.” A Scandinavian code of truce, or at least of non-hostility, akin to a modern white flag, is perhaps present in the Tapestry’s scene of the Norman navy crossing the Channel with their shields raised in order “to recognize one another as mutually friendly.” Includes a detailed chronology of events from 789 to 1087, a selected bibliography of primary and secondary sources, and an index. Lavelle is lecturer in medieval history at the University of Winchester.

1002. Lavery, Brian. Ship: The Epic Story of Maritime Adventure. New York: Dorling Kindersley, 2004. Notes: Also published in a paperback edition. Published in association with the Smithsonian Institution and the National Maritime Museum. 292 The Bibliography

This captivating and heavily illustrated coffee table book explores the culture and history of boats in commerce, war, commercial transport, pleasure, and sport. Following eight pages on ships of early Northern Europe, the Bayeux Tapestry’s ships dominate a two-page spread on the role that ships played in the Norman Conquest. Includes three photographs of the Tapestry. Includes index.

1003. Lawrence, Sandra, and Canadian War Museum. The Overlord Em- broidery. Ottawa: National Museums of Canada, 1973. Notes: Text in English and French, each with special title page and separate paging. French is on inverted pages. French title: La tapisserie Overlord. A nine-page booklet on the Overlord Embroidery, designed by Sandra Law- rence and made by the Royal School of Needlework.

1004. Lawson, M. K. The Battle of Hastings, 1066. Stroud, U.K.: Tempus, 2003. Notes: Originally published in 2002.

1005. ———. “Observations Upon a Scene in the Bayeux Tapestry, the Battle of Hastings and the Military System of the Late Anglo-Saxon State.” The Medieval State: Essays Presented to James Campbell. eds John Robert Madi- cott and David Michael Palliser. London: Continuum International Publish- ing Group, 2000.

1006. Laynesmith, J. L. “The Bayeux Tapestry: A Canterbury Tale.” History Today 62, no. 10 (2012). Laynesmith, a visiting Research Fellow at the University of Reading, offers his support of Emma, William the Conqueror’s aunt, as the identity of the Bayeux Tapestry’s Ælfgyva.

1007. Laynesmith, Joanna. “Who Was the Mysterious Ælfgyva in the Bay- eux Tapestry?” (2012). This piece features Joanna Laynesmith’s 2012 article in History Today as well as an interview with her in a History Today podcast. Laynesmith believes that the Bayeux Tapestry’s Ælfgyva was “most likely Emma, who was the wife of two Anglo-Saxon kings Æthelred the Unready and Cnut, and was the mother of two more Harthacnut and Edward the Confessor, or that it could be Ælfgyva, the first wife of Æthelred.” In the podcast, she states that the embroidered scene of Ælfgyva and the priest in the Tapestry “seems to be the subject of a conversation between Harold and William where they are ‘talking about something in the past’” perhaps a sexual scandal that would have shown that “William had no more rights to the throne than Harold” and that the Tapestry focuses on Harold’s oath on relics to establish William’s legitimate claim to the throne. The Bibliography 293

1008. Léchaugette, Abbé Pierre. “La Tapisserie De La Reine Mathilde.” Revue De La Société Historique Et Arché De St-Arnoult-En-Yvelines (1989): 18–19.

1009. Le Goff, Jacques. Medieval Civilization, 400–1500. Oxford, U.K.: Basil Blackwell, 1989. Notes: Translated by Julia Barrow. Originally published as La civilisation de l’Occident médiéval by B. Arthaud, Paris, in 1964. In a chapter on material culture, Le Goff discusses medieval farming techniques and refers to the Bayeux Tapestry’s depiction of the harrow, noting this image was one of the first for this tool that became common in the twelfth and thirteenth centuries. Includes a bibliography and index.

1010. ———. Time, Work, and Culture in the Middle Ages. Chicago: Univer- sity of Chicago Press, 1980. Notes: Translated by Arthur Goldhammer. Original title: Pour un autre Moyen Age: temps, travail et culture en Occident.

1011. Le Lièvre, A. Tapisserie De La Reine Mathilde. Bayeux, France: R. Deslandes. Notes: Shirley Ann Brown, in her 1988 bibliography, dates this work as c. 1907.

1012. Le Patourel, John. The Norman Empire. Oxford: Clarendon Press, 1976.

1013. ———. Normandy and England, 1066–1144. Reading, U.K.: University of Reading, 1971. Notes: The Stenton Lecture, 1970. In his commentary on the Norman exploitation of England for the enrichment of Normandy itself, Le Patourel writes that, “It is difficult, for example, to disassoci- ate Bishop Odo’s building at Bayeux and his patronage of art and learning there from the wealth he had acquired in England; and indeed many of the great building enterprises in Normandy at this time must have depended a good deal upon English money, as Musset has shown in the case of the two great abbeys at Caen.” Includes extensive notes. The back cover lists three other Stenton lectures from 1967 to 1969. Le Patourel is a research professor in medieval history at the University of Leeds.

1014. Le Targat, François. “La Tapisserie De Bayeux: L’Histoire a Points Couches.” Historia, no. 439 (1983): 10–13.

1015. Leavenworth, C. E. “Bayeux Tapestry.” Teacher’s College Journal 5 (1933): 135–41. Leavenworth, professor of Romance Languages at Wabash College, implores his readers to visit Bayeux the next time they are in France, and of course, see 294 The Bibliography the Bayeux Tapestry. He writes a brief but sentimental passage on the charm of the Hôtel Lion d’Or, the town’s streets, and the Cathedral. On the Tapestry, he provides for the uninitiated a description of the work, its history, Queen Mathilda versus Odo as patron, and a very detailed summary of the embroidered story.

1016. Lecuyer, R. “Regards Sur Les Musées De Province: Bayeux.” L’Illustration (1931): 222–25.

1017. Leebaert, Derek. To Dare and to Conquer: Special Operations and the Destiny of Nations, From Achilles to Al Qaeda. New York: Little, Brown, 2006. Leebaert writes an intriguing profile of special forces in military operations from the Trojan Horse through post-September 11 actions in the Middle East. He suggests that William’s army invading England in 1066 was a special force, an amphibious one, and that the Bayeux Tapestry, “embroidered by William’s court ladies,” is a pictorial account of the great events that ensued. He states that the Tapestry may show a feigned retreat and even a crossbow. Includes index.

1018. Leek, Michael E. The Art of Nautical Illustration. London: Quantum Books, 2005. Notes: Cover subtitle: A Visual Tribute to the Achievements of the Classic Marine Illustrators.

1019. Legge, M. D. “Bishop Odo in the Bayeux Tapestry.” Medium Aevum 56 (1987): 84–85.

1020. Leguay, Therese, and Jean Pierre Leguay. Histoire De La Normandie. Rennes, France: Ouest-France, 1997. Notes: Text in French. One-third of page 26 features text describing the Bayeux Tapestry, its value to researchers of the middle ages, and its representation of 600 persons and 200 horses.

1021. Lejard, Andre. The Bayeux Tapestry. London: M. Parrish, 1947. Notes: Part of A Gallery of Masterpieces.

1022. Lejeune, Rita. “Turold Dans La Tapisserie De Bayeux.” Mélanges Of- ferts a Rene Crozet. eds Pierre Gallais, and Yves-Jean Riou, 419–25. Poitiers, France: Societé d’Études Medievales, 1966. Notes: A supplement to the series Cahiers de civilisation medievale. The Bibliography 295

1023. Lemagnen, Sylvette. “The Bayeux Tapestry Through the Centuries.” Medieval World 4 (1992): 3–6.

1024. ———. “The Bayeux Tapestry Under German Occupation: New Light on the Mission Led by Herbert Jankuhn During the Second World War.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 49–64. Caen, France: Presses Universita- ires de Caen, 2004. In this “abstract of . . . a mass of documents,” Lemagnen sets out “to cast some clearer light” on the study-mission of the Bayeux Tapestry led by the German scholar Herbert Jankuhn during the Nazi occupation of France. Jankuhn, a Viking specialist, was responsible for a detailed study of the Tapestry to “provide further information about the Norman invasion of England” and envisioned a publication of the research that his team was to produce. Lemagnen highlights outstanding material from several documents pertaining to the Jankuhn project that she acquired in 1994, and notes at the end that she has only “scratched the surface” of a large body of research. The documents she received include the “Jankuhn Bequest”: Jankuhn’s hand-written logbook (a photograph of the inside of it is included), a 95-page typewritten scene-by-scene description of the Tapestry, a 15-page bibliography on the Tapestry, 26 pages of correspondence and records, 767 black-and-white photographs, and the Coblenz Federal Archive Bequest: 130 photocopied pages of research materials for a planned but never-published book on the Tapestry. This article’s main focus is Jankuhn’s logbook from the bequest, but she also summarizes the works of others associated with Jankuhn’s mission: Historian Vehse set out to uncover political meaning in the Tapestry and suggested that it may have served to glorify William, justify his invasion to future generations, and to “lay down political principles with a view to install- ing a new order of governance in England.” According to Professor Otto Vehse, notes Lemagnen, the Tapestry was intended to bring Normans and Anglo-Saxons together. Plassman, an ethnologist, based his paper on the Tapestry’s Germanic elements. Dr. Hermann Bunjes, an art historian, studied the Tapestry’s artistic sources and concluded that the Tapestry was the work of a painter and that it was not of English origin. Lemagnen remarks that Bunjes’ research was “the most scholarly and thorough” of all the members of Jankuhn’s team. She finishes the article with a very brief run-down of the Tapestry’s adventures during the last year of the war: the German media report that the Tapestry had been taken by an American antiques dealer and its removal to the Louvre. Includes the following additional photos: the wooden spools upon which the Tapestry was rolled in the 1940s, a page from Rene Falue’s diary, portrait of Jankuhn, six of Rolf Alber’s Tapestry photographs, and the color swatches that match the Tapestry’s wools taped into Jankuhn’s notebook. 296 The Bibliography

1025. ———. Following the Vikings Footsteps: The Viking Heritage in the Bay- eux Tapestry: 13 January–2 May 2007. Cully, France: OREP Editions, 2007. Notes: Published with the Bayeux Tapestry Museum/Musée de la Tapisserie de Bayeux. English translation by Heather Costil. French title: Sur les traces vikings: l’heritage viking dans la tapisserie de Bayeux: [exposition], Musée de la tapisserie de Bayeux, 13 janvier–2 mai 2007. This attractive full-color paperback souvenir book compares images in the Bayeux Tapestry to archaeological and other artistic evidence to bring the Tapes- try together with Viking fine and practical arts. The introduction, by Lise Gjedssø Bertelsen of the National Museum of Denmark, describes a 2006 exhibition at her museum in collaboration with the Bayeux Tapestry Museum, “The Bayeux Tapestry, an Embroidered Chronicle from the Viking Age,” which featured a 1:2 photographic reproduction of the Tapestry. Two three-day symposia in Copenha- gen were by extension part of this project, and the exhibition was later shown in Jutland and in 2007 in Bayeux.

1026. ———. “The Hidden Face of the Bayeux Tapestry.” The Bayeux Tapes- try: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 37–43. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Lemagnen’s short and fact-filled conference paper highlights the findings of the ten-week study of the Bayeux Tapestry of 1982–1983, particularly the information gathered about the reverse side of the Tapestry. The author comments on what has been learned about the current condition of the fabrics from the examination textile’s reverse side, and notes areas of repair. Fifty or so fragile or marked areas are now periodically monitored, and she tells why carbon-14 dating has not been performed on the Tapestry. She presents data about the seams and dimensions of the background cloth, the numbered strip, and the eighteenth- century lining. One paragraph discusses the taking of Tapestry threads over the years for souvenir or research purposes. The Tapestry’s new 1980s backing is described and so is the ingenious hanging of the textile on a continuous retract- able rail. Specifics on the controlled environmental conditions for display as well as security measures are listed. Lemagnen defends the “dramatic [and] highly responsible” convex display of the Tapestry at the Centre Guillaume le Conquérant in response to criticisms and nostalgia for a former display format.

1027. ———. “La Tapisserie De Bayeux Avait Pour Mission D’Instruire Les Paroissiens.” Historia Spécial (1998): 54–58.

1028. ———. “La Tapisserie De Bayeux: Le Plus Beaux Des Naivres.” Histo- ria Special 16 (1992): 47–50. The Bibliography 297

1029. Lemagnen, Sylvette, and Estelle Leggeri-Bauer. Emakimono Et Tapis- serie De Bayeux. Dessins Animés Du Moyen Âge. Lecture Croisée De Trésors Nationaux Japonais Et Français. Bayeux, France: Musée de la Tapisserie de Bayeux, 2011. Notes: Paperback. Written with the collaboration of Michele Dupont, Celinet Meyet, and François Arnaud. Presented as a companion to the 2011 Emakimono exhibit at the Centre Guil- laume le Conquérant, this publication is a collection of various articles on twelfth- century Emakimono narrative rolls and the eleventh-century Bayeux Tapestry. Two prefaces, one by Frédéric Mitterrand, Minister of Culture and Communica- tion, the other by Patrick Gomont, Mayor of Bayeux, make statements about the remarkable nature of this exhibition. Articles include: “L’extraordinaire rencon- tre, entre Orient et Occident, de deux oeuvres basées sure le format du rouleau” by Isao Takahata; “Les emaki ou la puissance des images” by Estelle Leggeri- Bauer; “Le Rouleau du Grand conseiller Ban: technique et matériaux du rouleau horizontal” by Coralie Legroux; “Les Japonais et Alice, mêmes natures!” by Isao Takahata; “Comprendre le Rouleau du grand conseiller Ban” by Taizo Kuroda; “La texte du Rouleau du grand conseiller Ban” by Estelle Leggeri-Bauer; “Voy- age á l’intérieur d’un rouleau peint” by Seiji Shirono; “Temps, espace, mouve- ment” by Estelle Leggeri-Bauer; “La collotypie et le Japon” by Claude Estèbe; “La Tapisserie de Bayeux, un dessin qui s’anime sous nos yeux” by Sylvette Le- magnen; “Une conquête inachevée en images: La Conquête de Angleterre, Émile Cohl, Mimma Indelli (1937)” by Jean-Baptiste Garnero; “La réplique du Rouleau du grand conseiller Ban (Ban dainagon emaki)” by Taizo Kuroda; “Le rouleau photographique de la Tapisserie de Bayeux” by Sylvette Lemagnen; “Sûtra de la grande vertu de sagesse, livre 194 (Dai hannyakyo. Sjk: Mahā-prajñāpāramitā- sūtra)” by Véronique Béranger; “Histoire merveilleuse de la fondation du Mont Shigi (Shigisan engi emaki)” by Hélène Bayou; “Rouleau de la Légende de Saigyô (Saigyô monogatari emaki)” by Hélène Bayou; “Histoire illustrée du temple Konrenji (Shijō dōō e-kotoba)” by Michel Maucuer; “La Déconfiture de Fukutomi (Fukutomi sôshi)” by Véronique Béranger; “Cortège nocturne des cent démons (Hyakki yagyô emaki)” by Hélène Bayou; “La Rouleau du Jouvenceau buveur (Shuten dôji emaki)” by Sophie Piauger; “La légende d’Urashima Tarô (Urashima Tarô emaki)” by Véronique Béranger; and “La Tapisserie de Bayeux dessinée par Émile Cohl” by Sylvette Lemagnen. Includes numerous photographs of the emaki. Notable Bayeux Tapestry-related images include: a large image of the Tapestry on display in its current installation; a humorous scene from the Tapestry reconceived as a movie set in the middle of the Battle of Hastings with a shouting director, a microphone boom, a movie camera on a crane, and a food catering table; images of Émile Cohl’s watercolor-tinted drawings of the Tapestry (1935–1937); a long two-page spread of the full-color photographic roll of the entire Tapestry, partially unrolled; a very large image of a nineteenth-century postcard showing the Tapestry on display at the Salle d’Exposition. Also includes 298 The Bibliography a large unattached poster of the complete Bayeux Tapestry in full-color on one side, and the emaki “Le Rouleau du Grand conseiller Ban” on the other.

1030. Lemaresquier, David, and Giles Pivard. The Story of a Conquest: The Bayeux Tapestry Narrated to Children. Cully, France: OREP Editions, 2007. Notes: Includes an introduction by Sylvette Lemagnen, curator of the Bayeux Tapestry and the Bayeux media library. A whimsical cartoon rendition of Turold cheerfully guides children through the Bayeux Tapestry. Full-color photographs of most of the Tapestry are accompanied by narrative and fictional dialogue. Appendices include a map of Tapestry lands, a bestiary, a comment on the fables, a 20-question multiple-choice quiz, games, and a brief glossary.

1031. ———. Will You Be King of England? History Through Play. Cully, France: OREP Editions, 2007. Notes: Paperback. This children’s activity book, aimed at readers aged 8 through 12, familiarizes readers with the Bayeux Tapestry’s images and the story of the Norman Conquest as told in the Tapestry. Readers are taken through the entire story in the Tapestry via a reading and quiz game which, based on one’s cumulative score, could designate the player a king, duke, count, knight, squire, page, burgher, villein, serf, or leper, complete with a historically accurate description of each type. Addition- ally, there is a good variety of puzzles, drawing activities, and math activities, all of which focus on images from the Tapestry. Includes numerous photographs of the Tapestry. As a bonus, there are two perforated tear-out full-color Tapestry- themed postcards.

1032. Lemmon, Charles H. “The Campaign of 1066.” The Norman Conquest: Its Setting and Impact. Dorothy Whitelock, David C. Douglas, Charles H. Lemmon, and Frank Barlow, 77–122. New York: Charles Scribner’s Sons, 1966. Notes: “A Book Commemorating the Ninth Centenary of the Battle of Hast- ings, Compiled by The Battle and District Historical Society.” Lemmon emphasizes Anglo-Saxon and Norman tactics and strategy in the Battle of Hastings in his essay. On the subject of the Tapestry, he notes that Major- General E. R. James used the Tapestry in his estimate of the strength of the Norman forces in a 1907 article in the Royal Engineers’ Journal. In a discussion about the winds necessary to cross the Channel from Dives, Lemmon notes that ships like those in the Tapestry would have needed “wind very nearly astern.” The episode of the retreat of the Bretons at the Battle of Hastings, states the author, was a debacle, even to Norman chroniclers, and that the Tapestry gives “detailed treatment” of the subject. Includes two black-and-white photographs of the Tapestry and one each of the supposed hillock and the malfosse depicted in the Tapestry. The Bibliography 299

1033. Lepeley, René. “A Contribution to the Study of the Inscriptions in the Bayeux Tapestry: Bagias and Wilgelm.” The Study of the Bayeux Tapestry. ed Richard Gameson, 39–45. Woodbridge, U.K.: Boydell Press, 1997. Notes: This article was originally published in Annales de Normandie in 1964. Lepeley presents an investigation of the language, vocabulary, semantics, syntax, spelling, and phonetics of the inscribed texts in the Bayeux Tapestry. The word Bagias (Bayeux) is examined in great detail as are the Tapestry’s various spellings of William’s name. The “7” symbol (the “Tironian et”) is discussed.

1034. Leprévost, Thierry, and Georges Bernage. Hastings 1066: Norman Cavalry and Saxon Infantry. Bayeux, France: Editions Heidmal, 2002. Notes: Graphic design by Eric Groult who is also acknowledged on the title page. English translation by Anthony Kemp. Leprévost and Bernage present a pictorial guide to the Battle of Hastings with numerous photographs of both Bayeux Tapestry scenes and a live battle reenactment at Hastings in October 2000, an event sponsored by English Heri- tage. The Tapestry is seldom mentioned in the main body of text, apart from the introduction, in which the authors note that the Tapestry allows us to “enter into the spirit of the 11th century with our eyes open rather than having to rely on a few archaeological finds.” Numerous Tapestry images are often accompanied by reenactment photographs of scenes of similar content. For example, a photograph the Tapestry’s scene of hauberks being carried on poles to William’s ships is paired with a photograph of a hauberk on a pole in the reenactment. Notable is an inventory of photographs of 18 kite shields from the Tapestry. Headings in the book include clothing, hairstyles, helmets, and various types of weapons and objects, with respective images from the Tapestry. The authors quote the Roman de Rou extensively throughout the book, in English translation. There is a helpful list of persons who were key players in the events of 1066, and brief information on their connections to the story. There is no index or table of contents.

1035. Lescaille, Nathalie, and Estelle Vidard. Play With William the Con- queror and the Bayeux Tapestry. Rouen, France: Normandie Junior Editions, 2006. Notes: Illustrated by Mélisande Luthringer. Translated by Claudine Vidard. This delightful and appealing book is for a readership of 7- to 12-year-old children. It begins with a brief overview of the Bayeux Tapestry, the story that it tells, and the Tapestry museum in Bayeux. Each full-color two-page spread presents a different Tapestry or medieval-themed activity for children to do: arts and crafts (including embroidery), recipes, drama, quizzes, gardening, and games. The lower corner of each two-page spread presents a brief sidebar with a photograph from the Tapestry as well as interesting facts. Includes three large full-color photos of the Tapestry. 300 The Bibliography

1036. Leslie, Catherine Amoroso. Needlework Through History: An Encyclo- pedia. Westport, CT: Greenwood Press, 2007. Notes: Part of the Handicrafts Through World History series. This small and very informative encyclopedia contains entries for terminology related to needlework, all discussed in terms of history and geography. The Bay- eux Tapestry appears in the entries for British Isles, crewelwork, embroidery, and Western Europe, each entry characterizing the Tapestry in more or less the same way: an example of crewelwork depicting the Norman Conquest. A timeline at the front of the book discusses the Tapestry for its variety of stitches. Includes index.

1037. Lester, G. A. The Anglo-Saxons: How They Lived and Worked. Chester Springs, PA: Dufour Editions, 1976. Notes: Part of the How They Lived and Worked series. Lester, Sheffield University lecturer in English Language and Medieval Litera- ture, presents a straight-forward economical examination of Anglo-Saxon society. The author recognizes the Tapestry as probably an English work with a Norman patron, and gives a summary of the story told in the Tapestry. Lester notes that the Tapestry’s somersaulting horses stumbled “unexpectedly upon rows of sharpened stakes driven into the bed of a stream.” The author makes brief mention of the Tap- estry in discussions of cooking utensils, hairstyles and moustaches, Harold’s dogs and hawks denoting his noble status, the Tapestry’s unusual depiction of a horse being used as a draught animal, ship-building tools, shields, and mail. A passage on embroidery comments on the Tapestry’s manufacture and goes on to highlight the talent and fame of English embroiderers. Includes an index.

1038. Lestrambe, J. “La Tapisserie De Bayeux.” La Normandie Monumen- tale Et Pittoresque-Calvados.Vol. 289–290. Le Havre, France: Lemale, 1895.

1039. Lethaby, W. R. “Medieval Architecture.” The Legacy of the Middle Ages. eds C. G. Crump, and E. F. Jacob, 59–91. Oxford, U.K.: Oxford Uni- versity Press, 1969. Notes: Originally published in 1926. Part of The Legacy Series. Lethaby, surveyor of Westminster Abbey, presents an article on the evolution of stylistic changes in the architecture of the Middle Ages. In a discourse on the emerging Romanesque, he mentions the Bayeux Tapestry showing buildings with “light-coloured stone and dark tufa arranged alternately,” a characteristic of the architecture of southeast France. He also discusses Edward the Confessor’s taste for Norman architecture, which was realized in the design and construction of Westminster Abbey.

1040. ———. “The Perjury at Bayeux.” Archaeological Journal 74 (1917): 136–38. This article was reprinted in Richard Gameson’s The Study of the Bayeux Tap- estry and is annotated under the citation for its publication there. The Bibliography 301

1041. ———. “The Perjury at Bayeux.” The Study of the Bayeux Tapestry. ed Richard Gameson, 19–20. Woodbridge, U.K.: Boydell Press, 1997. Notes: This article was originally published in Archaeological Journal in 1917. Lethaby, in this very brief and wandering article, admits “I venture to put some slight suggestions on record, although I am writing away from books, and even without my notes.” He makes some quick observations about the clerical viewpoint of the Bayeux Tapestry, thus making it suitable for the adornment of Bayeux Cathedral.

1042. Leve, Albert. La Tapisserie De La Reine Mathilde Dite. La Tapisserie De Bayeux. Repr. Intégrale De La Tapisserie D’Aprés Les Photographies Prises Directement. Paris: Renouard, 1919.

1043. Levenson, Joseph R. “The Place of Confucius in Communist China.” The China Quarterly 12 (1962): 1–18. Notes: Published by Cambridge University Press on behalf of the School of Oriental and African Studies. Levenson makes a brief reference to the “first French Revolutionaries’ preservation of the Bayeux Tapestry as a national treasure” writing that “even though, as a relic of the grandeur of nobles, it had been threatened, like its associates, with destruction.” Here, Levenson cites Frank Rede Fowke’s The Bayeux Tapestry: A History and Description (London: Bell, 1913).

1044. Levesque, Jean-Marie, and Jean-Yves Marin. Portraits Du Con- quérant: Images De Guillaume Le Conquérant Du XIe Au XXIe Siècle. Caen, France: Musée de Normandie, 2007. This publication is part of an exhibition by the same title at the Musée de Nor- mandie, April 28 through September 30, 2007, Chateau Caen.

1045. Levy, Brian J. “Trifunctionality and Epic Patterning in the Bayeux Tapestry.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 327–45. Caen, France: Presses Universitaires de Caen, 2004. Levy, Reader in Medieval French Studies at the University of Hull, discusses narrative elements of the Bayeux Tapestry that come in threes. Before going into detail, he directs the reader briefly to the theory of ethno-archaeologist Georges Dumézil, whose theory of the development of triple-patterning in Western culture manifests itself in socio-political frameworks. The Tapestry depicts three kings and presumably at one time, three coronations; the coronation of William is probably the missing end of the Tapestry. The author notes numerous other “threes” in the Tapestry: three brothers fighting against three brothers: Harold/Leofwine/ Gyrth and William/Odo/Robert; three different men’s wrists upon which Har- old’s hawk sits; three castles; three great halls; three narrative segments in the first half of the Tapestry; and a “trifunctional network” of oratores, bellatores, 302 The Bibliography and laboratores, present throughout the Tapestry, “informing on the action”; in the ship-building scene: carpenters, porters, and sailors; at the Norman landing: foraging for food, cooking, serving the meal. He explains how triple-rhythms in the Tapestry find analogy in Old French epics, and notes one in particular, Le Charroi de Nîmes. He points out the striking resemblance between the triple nature of the Tapestry’s food preparation scene and the similar content in the fourteenth-century illustrated Luttrell Psalter. Includes three full-color photographs from the Tapestry and three from the Luttrell Psalter. Includes notes.

1046. Lewis, Archibald R., and Timothy J. Runyan. European Naval and Maritime History, 300–1500. Bloomington, IN: Indiana University Press, 1985. Lewis and Runyan present a survey of naval maritime history in a number of “interconnected areas”: seapower in international relations, commerce and trade, naval technology and design, military tactics, the physical features of seafaring, and the geography of the sea. One photograph of a warship found at Skuldelev “resembles those found on the Bayeux Tapestry,” and the oar-holes are clearly shown. The authors note that the differences between northern European longships and supply ships were minor, if we are to go by the Tapestry. Includes two photographs of the Tapestry: a detail of the shipbuilding scene, and one of a Norman vessel, about which the authors comment on the sail, support lines, the steering oar, and the oar-holes. Lewis is Professor of History at University of Massachusetts Amherst; Runyan is Associate Professor of History at Cleveland State University and past president of the North American Society for Oceanic History. Includes index.

1047. Lewis, C. P. “The Early Earls of Norman England.” Anglo-Norman Studies 13 (1991): 207–23.

1048. Lewis, David Levering. God’s Crucible: Islam and the Making of Eu- rope, 570–1215. New York: W.W. Norton, 2008. Lewis, a Pulitzer Prize-winning professor at York University, briefly mentions the Bayeux Tapestry in his narrative on The Song of Roland in the chapter titled “Carolingian Jihads: Roncesvalles and Saxony,” noting that it was “woven” at about the time that “Turoldus put into decasyllabic verse near the close of the eleventh century . . . a story that became, first, the national epic of France and, soon thereafter, one of the great constitutive myths of Christendom.” Includes index.

1049. Lewis, Michael. “A New Date for ‘Class A, Type 11A’ Stirrup-Strap Mounts, and Some Observations on Their Distribution.” Medieval Archaeol- ogy 51 (2007): 178–84. Lewis writes about the copper-alloy stirrup strap mounts found predominantly in Kent. He writes: “Regarding the date, it has been assumed that these strap The Bibliography 303 mounts were Anglo-Saxon. However, the art-historical evidence suggests that the mounts are actually Norman, typically Romanesque, and most likely to date to between c. 1070 and c. 1140. The quasiheraldic beast depicted on these mounts is different to the Anglo-Scandinavian decoration of other “late Saxon” stirrup- strap mounts. Those beasts appear, for example, in [the] Bayeux Tapestry, which dates to about 1070.”

1050. Lewis, Michael J. “Abstracts of Conference Papers Published Else- where.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 147–50. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum.

1051. ———. “The Bayeux Tapestry and Eleventh-Century Material Cul- ture.” King Harold II and the Bayeux Tapestry. ed. Gale R. Owen-Crocker, 179–94. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Lewis presents a truncated version of his finely detailed research on eleventh- century material culture from his previously published book The Real World of the Bayeux Tapestry. The reliability of the Bayeux Tapestry’s depictions of various objects are compared against manuscript drawings and archaeological evidence, noting however, that the Tapestry was designed primarily to tell a story and not to present an accurate record of the world; therefore the Tapestry’s images are often at variance with the real world. Lewis has chosen to highlight for this essay three “test cases” from the Tapestry: conical helmets, gaps in the gunwale amidships, and Bosham Church/Mont Saint-Michel. The author then comments on the simplified schematic representations of the Tapestry’s buildings as well as other artistic conventions. The Tapestry’s depictions of artifacts and the distribution of inventive details, notes Lewis, “shed light on the production of the work as a whole.” He closes with comments on the influence of contemporary art, namely, Canterbury manuscripts, on the Tapestry’s designer, who adapted visual models rather than just copying them.

1052. ———. “The Bayeux Tapestry and Oxford, Bodleian Library, Junius 11.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 105–11. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Lewis examines the possible influence of the often-overlooked “Junius Manu- script,” sometimes inaccurately referred to as the “Caedmon manuscript” on the 304 The Bibliography

Bayeux Tapestry’s designer. The surviving 116 vellum leaves of the manuscript, a book of Christian poetry, contain over 100 illustrated pages. Lewis gives a general description of the manuscript and discusses the contributions of the various scribes and artists who worked on it. Lewis points out the many places in the Tapestry that resemble the Junius drawings in clothing, architecture, weapons, ships, animals, vegetation, the death of King Edward, and various other details. Includes several photographs of the Junius manuscript.

1053. ———. “Facsimile of the Bayeux Tapestry.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds. Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 165–90. Oxford, U.K.: Oxbow Books, 2011. Notes: Alternate title: Facsimile of the Bayeux Tapestry (by special permission of the City of Bayeux). Though not directly attributed to Michael J. Lewis in this volume, the same images were published in The Real World of the Bayeux Tapes- try. The book was also cited, prior to publication, as New Research on the Bayeux Tapestry: The Proceedings of a Conference at the British Museum. Lewis’ handy black-and-white facsimile of the Bayeux Tapestry with letter and number labels for every human figure, animal, tree, vegetal ornament, ship, and building is provided at the end of the volume. The book’s numerous articles consistently use Lewis’ indexing labels for reference.

1054. ———. “Identity and Status in the Bayeux Tapestry.” Anglo-Norman Studies 29 (2007): 100–120.

1055. ———. “Introduction.” The Bayeux Tapestry: New Approaches, Pro- ceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 1–4. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Lewis treats readers to a casually written sketch of the delights, challenges, and decisions that went into organizing the Bayeux Tapestry conference at the British Museum July 16–17, 2008, and in getting the conference’s papers published. Of the 26 papers presented at the “BT at the BM,” 19 are published in full in this volume, and Lewis provides an abstract of each.

1056. Lewis, Michael J., Gale R. Owen-Crocker, and Dan Terkla. “Acknowl- edgements.” The Bayeux Tapestry: New Approaches, Proceedings of a Confer- ence at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, xiv. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. The Bibliography 305

The editors express appreciation for those involved with the publication of this book, the organization of the Bayeux Tapestry conference at the British Mu- seum (July 16–17, 2008), and a small exhibition at the Museum of casts of the Tapestry made by Charles Stothard and of a facsimile fragment of the Tapestry he removed in 1817. Sylvette Lemagnen, curator of the Bayeux Tapestry, and Chantal James, owner of Broderie Bayeux, are thanked for enabling the production of this facsimile.

1057. ———, eds. The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. This recent important book of scholarship on the Tapestry resulted from the conference at the British Museum titled “The BT @ BM: New Research on the Bayeux Tapestry” held July 16 and 17, 2008. “With 28 speakers from around the world and over 180 delegates, it was the largest symposium of Bayeux Tapestry scholars in the United Kingdom in modern times, perhaps ever,” according to Neil MacGregor, director of the British Museum, in his introduction to the book (annotated separately). There were 26 papers presented at the conference and 19 are published in the book: “The Patronage of Queen Edith” by Carola Hicks (The book’s dedication page notes that Hicks died before the proofs of the book appeared.); “The Breton Campaign and the Possibility that the Bayeux Tapestry was Produced in the Loire Valley” by George T. Beech; “Decoding Operation Matilda: The Bayeux Tapestry, the Nazis and German Pan-Nationalism” by Shirley Ann Brown; “Backing Up the Virtual Bayeux Tapestries: Facsimiles as Attachment Disorders, or Turning Over the Other Side of the Underneath” by Richard Burt; “The Hidden Face of the Bayeux Tapestry” by Sylvette Lemag- nen; “The Storage Chest and the Repairs and Changes in the Bayeux Tapestry” by David Hill and John McSween; “How Big Is It and Was It?” by Derek Renn; “Edward the Confessor’s Succession According to the Bayeux Tapestry” by Pierre Bouet and François Neveux; “How to Be Rich: The Presentation of Earl Harold in the Early Sections of the Bayeux Tapestry” by Ann Williams; “Where a Cleric and Ælfgyva . . .” by Patricia Stephenson; “Robert of Mortain and the Bayeux Tapestry” by David S. Spear; “Hic Est Miles: Some Images of Three Knights, Turold, Wadard and Vital” by Hirokazu Tsurushima; “Leofwine and Gyrth: Depicting the Death of the Brothers in the Bayeux Tapestry” by Michael R. Davis; “The Bayeux Tapestry: Faces and Places” by Gale R. Owen-Crocker; “The Bayeux Tapestry and Oxford, Bodleian Library, Junius 11” by Michael J. Lewis; “Dining with Distinction: Drinking Vessels and Difference in the Bay- eux Tapestry Feast Scenes” by Carol Neuman de Vegvar; “Slippery as an Eel: Harold’s Ambiguous Heroics in the Bayeux Tapestry” by Jill Frederick; “The Bayeux Tapestry, Dendrochronology, and Hadstack Door” by Jane Geddes; and “Portals of the Bayeux Tapestry: Visual Experience, Spatial Representation and 306 The Bibliography

Oral Performance” by Linda Elaine Neagley. See separate annotations for each of these papers. Four additional papers were committed to another publication prior to the conference, however, abstracts of them are included in this volume. These papers were published in The Bayeux Tapestry: New Interpretations by Martin K. Foys, Karen E. Overbey, and Dan Terkla, editors. The abstracted articles are: “Harold’s Death by Arrow: A Twelfth-Century Event” by Martin K. Foys; “From Hasting to Hastings: Inevitable Inexorability on the Bayeux Tapestry” by Dan Terkla; “Benefactor or Designer?: Bishop Odo’s Role in the Bayeux Tapestry” by Elizabeth Carson Pastan; and “The Bayeux Tapestry and the ‘Fratres’ of St. Augustine’s, Canterbury: Odo of Bayeux, Wadard and Vital” by Stephan D. White. The book’s introduction is written by Michael J. Lewis and is annotated separately. An unattributed 14-page bibliography with films and websites is included along with a facsimile of the Tapestry with numerical identifiers superimposed on the figures and objects within the scenes. The book also includes an index. The cover features a color image of the Halley’s comet scene and both the cover and back of the volume are decorated with muted images of the Tapestry’s border scenes.

1058. Lewis, Michael John. The Archaeological Authority of the Bayeux Tapestry. Oxford, U.K.: John and Erica Hedges Ltd./British Archaeological Reports, 2005. Notes: Part of the BAR British Series, #404, John W. Hedges, volume editor. Distributed by Hadrian Books. This title originated as Lewis’ doctoral thesis at the University of Kent at Canterbury in 2003. This work, derived from Lewis’ research for his PhD awarded by the Uni- versity of Kent at Canterbury is also the progenitor of his very useful 2008 The Real World of the Bayeux Tapestry. The focus of this study is the Tapestry’s artifacts and objects, most of it word-for-word identical to the 2008 work. The present work includes extensive and exhaustive notes throughout whereas the 2008 has none. The author provides categorized descriptions and historical backgrounds of churches, defensive structures, domestic dwellings, helmets, armor, swords, spears, axes, bows, round- and kite-shields, ships, horse transportation, gap amidships, figureheads and stem ornaments, planking, shields along the gunwale, sails, the cross at the masthead of the ship believed to be William’s, shipbuilding scenes, gowns, tunics, cloaks, brooches, ecclesiastical dress, trousers, footwear, headgear, horses, dogs, hawks, Aesop’s fables in the borders, agricultural scenes, farm animals, birds, rabbits, lions, camels, mythical beasts, vegetation, and trees. Detailed analyses of the Tapestry’s vegetal ornamentation with regard to interlace, trapezoid nodes, staggered stumps, leaf varieties, trees in the borders, cruciform vegetal ornaments, acanthus scrolls, scrolled vegetal ornaments, cruciform-scrolled vegetal ornaments, and leaf and bud types. Lewis profiles Tapestry’s designer based on the designer’s depictions of the artifacts. The most outstanding feature of Lewis’ work is the full, black-and-white repro- The Bibliography 307 duction of the entire Tapestry with a convenient indexing label for each person, animal, building, ship, tree, and vegetal ornament. Appendices include: 10 pages of attributes cited in manuscript illuminations, 10 pages of manuscripts cited, a 26-page bibliography, and 63 pages of informative drawings and photographs of the Tapestry, manuscripts, and extant architecture, including pictures of the church at Bosham and Mount Dol, both depicted in the Tapestry.

1059. ———. “Embroidery Errors in the Bayeux Tapestry and Their Rel- evance for Understanding Its Design and Production.” The Bayeux Tapestry: New Interpretations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 130–140. Rochester, NY: Boydell Press, 2009. Notes: This essay is based on a paper given at the 1997 International Con- gress on Medieval Studies in Kalamazoo, Michigan as part of the session “New Threads on the Bayeux Tapestry.” After a quick overview of the most widely accepted theories for the Bayeux Tapestry’s date and place of origin, Lewis begins listing embroidery errors in the work followed by possible reasons for the embroiderers’ errors, offering several possibilities: working upside-down (i.e., from above), less experienced embroiderers, misunderstanding of the design, more than one team of embroiderers in perhaps several workshops, carelessness, and oversight.

1060. ———. An Interpretation: The Function of Artefacts Associated With Fighting-Men Depicted Within the Bayeux Tapestry. An Examination of the Role, Rank, and Function of Fighting-Men Within the Bayeux Tapestry. York, U.K.: University of York, 1996. Notes: This was Lewis’ thesis.

1061. ———. “Questioning the Archaeological Authority of the Bayeux Tap- estry.” Cultural and Social History 7, no. 4 (2010): 467–84.

1062. ———. The Real World of the Bayeux Tapestry. Stroud, Gloucestershire, U.K.: The History Press, 2008. A useful handbook of the Bayeux Tapestry containing concise, economically categorized narratives of major talking points of research, historical background, physical description, and the history of the Tapestry. The author has written easily referenced categorized descriptions and historical backgrounds of these artifacts and objects in the Tapestry: churches, defensive structures, domestic dwellings, helmets, armor (including a close-up diagram of eight different stitching designs used to depict armor), swords, spears, axes, bows, round- and kite-shields, ships, horse transportation, gap amidships, figureheads and stem ornaments, planking, shields along the gunwale, sails, the cross at the masthead of the ship believed to be William’s, shipbuilding scenes, gowns, tunics, cloaks, brooches, ecclesiastical dress, trousers, footwear, headgear, horses, dogs, hawks, 308 The Bibliography

Aesop’s fables in the borders, agricultural scenes, farm animals, birds, rabbits, lions, camels, mythical beasts, vegetation, and trees. For comparing the Tapes- try’s objects to those in other works, there are many drawings of objects and persons from manuscripts and other textiles, as well as photographs of several archaeological artifacts. Lewis writes very detailed analyses of the Tapestry’s vegetal ornamentation with regard to interlace, trapezoid nodes, staggered stumps, leaf varieties, trees in the borders, cruciform vegetal ornaments, acanthus scrolls, scrolled vegetal ornaments, cruciform-scrolled vegetal ornaments, and leaf and bud types. He also includes several drawings that categorize various fruits and vegetal ornaments. Lewis attempts to build a profile of the Tapestry’s designer based on the designer’s depictions of the artifacts. There is discussion at some length of various tapestry scholars throughout the centuries and their opinions and research on the Tapestry’s provenance, manufacture, identity of characters, and other points of debate. Contains several color plates of Tapestry detail photos (including one seldom-seen photograph of a piece of the Tapestry removed by Stothard in about 1817), as well as diagrams comparing Tapestry buildings to actual photographs of existing ones. Lewis includes a captivating chronology of the Third Reich’s interest in the Tapestry and how the Nazis (several of them named) were granted permission to study it. Lewis highlights and brings together many major points and counterpoints of early and modern scholarship. The most outstanding feature of Lewis’ work is the full, black- and-white reproduction of the entire Tapestry with a convenient indexing label for each person, animal, building, ship, tree, and vegetal ornament. Includes an appendix of the Tapestry’s Latin inscriptions and English translations, a list of manuscripts cited, a lengthy bibliography, and two separate indexes: one of people, the other of places. An essential resource for scholars of the Tapestry. A great deal of the material in this book is taken directly from Lewis’ 2005 work The Archaeological Authority of the Bayeux Tapestry.

1063. Lewis, R. M. “Bayeux Tapestry.” School 25 (1937): 611–12.

1064. Lewis, Suzanne. “Narrative.” A Companion to Medieval Art: Roman- esque and Gothic in Northern Europe. ed Conrad Rudolph, 86–105. Malden, MA: Blackwell, 2006. Notes: Part of the Blackwell Companions to Art History series. Lewis, professor emerita at Stanford University, provides a detailed overview and analysis of various scholars’ approaches to the Tapestry as narrative art. She notes the 20-year hiatus in Bayeux Tapestry studies from C.R. Dodwell’s 1966 essay that proposed viewing the work “within feudal terms and conventions of the French chansons de geste” to what she terms as a “veritable barrage” of studies in the 1980s and 1990s. Lewis goes on to highlight the following research: Michel Parisse’s filmic conception, Bernstein’s look at the tradition of Roman triumphal columns and his analysis of the borders’ subtext, and her own analysis The Bibliography 309 of the Tapestry’s rhetoric of power. She also references the work of Shirley Ann Brown, J. Bard McNulty, and Richard Brilliant. Drawing on her own research that argues history is not reflected in the images of the Tapestry but produced by them, she writes: “The pictorial narrative of the Bayeux Tapestry presents not so much an illusion of reality as a constructed work of problematic fiction, shot through with inconsistencies and ruptures. Analyzed in terms not only of what it presents but also of what it leaves out, the work’s most powerful rhetoric lies in its silences and empty spaces. The Bayeux Tapestry’s rhetoric of power was dependent not only upon the operation of a complex culturally coded apparatus, both verbal and visual, but also, perhaps even more critically, upon the active engagement of its contemporary audiences as producers of meaning.” Lewis also discusses the inherently fragmental nature of the visual narrative and suggests that, like all medieval texts, it was most likely “appropriated and absorbed as an experience without closure.” Earlier in the article, she writes about the dramatic figural gesturing throughout the Tapestry. Includes a black-and-white image of Harold’s oath scene, extensive notes, and a bibliography.

1065. ———. The Rhetoric of Power in the Bayeux Tapestry. Cambridge, U.K.: Cambridge University Press, 1999. Notes: Part of the Cambridge Studies in New Art History and Criticism series. Lewis’ academic contribution to Bayeux Tapestry studies examines the “visual and textual strategies that have made the Bayeux Tapestry’s narrative such a powerful experience for audiences over the centuries.” She expresses her interest in exploring the Tapestry as problematic fiction and “how the narrative as a whole operates as a complex cultural saga rooted in strategies of storytelling.” Her opening chapter, “The Problematics of Genre” inspects the very different nature of historical truth for audiences medieval and modern. She states that “it no longer seems useful or even feasible” to look at or “read” the Tapestry for historical authenticity, and suggests that it is much more productive to explore questions of rhetoric and agenda. The message of history in the Tapestry, she adds, is one of assertion of continuity, “especially as a repository of rights and privileges.” Exploring the Tapestry’s similarities with French epic poetry, Lewis states that within this genre, which seems to have originated in Normandy, “events supplied by history are subjected to profound distortion and deformation caused by the text’s internal requirements and the desire to introduce allusions to the contemporary world.” The author then presents a comparison of the Tapestry and Guy of Amiens’ Carmen de Hastingæ Proelio; among the Tapestry’s epic features include temporal breadth, spatial breadth, action centering on a single archetypal event (the Battle of Hastings), and catastrophe arising out of a minimal cause (Harold’s visit to Normandy); add to that two “epic signs intersecting at a dramatic juncture” (Harold’s coronation and Halley’s comet) that create turning points in the narrative. She also writes about the symmetry of power represented in the Tapestry: dux Harold and dux William, both brave and valiant, but William, 310 The Bibliography

“emerges as the larger-than-life epic hero at Hastings.” In discussing Tapestry as a panegyric, Lewis draws comparisons between the Tapestry and several such literary works of the time: the Encomium Emmæ Reginæ, both of which served a “defensive purpose at a time when it was necessary to fortify a threatened position”; the Battle of Maldon, the Old English poem which presents, like the Tapestry, “a choice between two courses of action, both wrong, but one inevitable”; and the Adelæ Comitissæ, the Latin panegyric written for the Conqueror’s daughter by Baudri of Bourgueil, which describes an imaginary hanging very much like the Bayeux Tapestry, and notes that while Adela certainly found plea- surable recognition of the original Tapestry in the poem written for her, medieval audiences likely experienced the same kind of recognition of panegyric instances when they viewed the Tapestry. The second chapter, “Narrative Strategies and Visible Signs,” examines how “distortion and blatant erasure of dialogue” affects the Tapestry’s narrative. Lewis also discusses how the “relentless shifting of episodes from place to place” is a strategy of disruption that “advertises and conceals more secrets to be uncovered in the deeper strata of the narrative” and that the viewer is directed into an understanding that the conversation in the Tapestry “is very much about mapping places of power.” The chapter “Narrative Structures: The Unfolding of Discourse in Event Clusters,” explores the experience of the reader-viewer of the Tapestry with regard to the types of narrative techniques that audiences experience in film: the spatial or temporal cut-away, the compres- sion of time, a “continuously widening present,” and scene reversal. Aspects not necessarily cinematic are also examined: causality, hierarchical structure, vertical and horizontal structure, chronicle structure, juxtapositional tactics, and various binary structures. Events from the scenes of Harold in Normandy and his return to England are closely examined for these elements. Lewis’ final chapter, “The Nor- man Conquest and Odo of Bayeux,” is a study of how Odo’s several appearances in the Tapestry bind together “the loose ends of the episodic narrative structure by giving it a more precisely defined political and ideological direction.” She inspects the physical arrangement of the embroidered players and Odo’s placement among them, his appearance at moments of decision in the narrative, and the role of the Bayeux relics in the oath scene. Also discussed in this chapter: Lewis’ argument against the notion that Odo had the embroidery made for the consecration of his cathedral at Bayeux, the symbolism of the Wessex dragon standard being trampled by a horse just before the scene of Harold’s death, and the theme of vision and seeing throughout the Tapestry and how they anticipate the blinding of Harold in the end. A coda explores thoughts on the content of the missing end of the Tapestry, and some final words on the function of the Tapestry for its audiences. Includes notes, a bibliography, and an index.

1066. Liddiard, Robert, ed. Anglo-Norman Castles. Woodbridge, U.K.: Boy- dell Press, 2003. Liddiard pulls together a collection of 19 scholarly articles on Anglo-Norman castles. Articles that discuss the Bayeux Tapestry are annotated separately and The Bibliography 311 include “Burhgeat and Gonfanon: Two Sidelights from the Bayeux Tapestry” by Derek Renn; “Timber Castles: A Reassessment” by Robert Higham; “The Castles of the Anarchy” by Charles Coulson; “Orford Castle: Nostalgia and Sophisticated Living” by T. A. Heslop; and “Hall and Chamber: English Domestic Planning 1000–1250” by John Blair.

1067. Lienau, Otto, and Fritz Krischen. Der Teppich Von Bayeux, Ein Zeuge Nordishgermanischer Shiffsbaukunst. Berlin: Schiffbautechn. Ges., 1941. Notes: Part of the series Schiffahrtstechnische Forschungshefte, volume 11. Also cited as published in Schiffbau, volume 42, pp. 284–96.

1068. Lincoln, Edward Frank. The Medieval Legacy. London: MacGibbon & Kee, 1961. In Lincoln’s first chapter, titled “The Historical Background,” he writes that the Bayeux Tapestry is visible evidence of “the admirable staff work of the Nor- man invaders.” He suggests that the Norman castle is the symbol of Norman technique in the arts of war inherited from the Vikings and that the churches and abbeys are the symbols of “their civilizing influence.” He also notes that the Normans “introduced the idea of efficient planning and staff work, whether in war or in peace.” Lincoln asserts that while the Normans were prepared to “study the science of strategy” in their disposition of castles, the Anglo-Saxons were “content in the main to think in terms of tactics.” He argues that the Tapestry supports this view. While there are no images of the embroidery, the book does feature numerous black-and-white photographs of churches, abbeys, and surviving medieval villages.

1069. Linderman, Earl W., and Donald W. Herberholz. Developing Artis- tic and Perceptual Awareness: Art Practice in the Elementary Classroom. Dubuque, IA: William C. Brown Company Publishers, 1982. Notes: Fourth edition. Consulting editor: Willard F. Wankelman, Bowling Green State University. Originally published in 1964. Third edition published in 1974. The authors, both American art educators, present a comprehensive and useful handbook for those who teach art to young children. They cover such topics as the nature of creativity, pedagogy, motivation, assessment, development of aesthetic awareness, and quick overviews of various eras/movements in Western art history. Encouraging their readers to engage children in art history as well as art production, the authors point out that teaching about the Bayeux Tapestry is an “interesting place” to start. They do not suggest any ideas to develop lesson plans around the Tapestry; they just provide a brief overview of the Tapestry and rec- ommend the children’s book The Bayeux Tapestry by Norman Denny/Josephine Filmer-Sakey and the Frank Stenton book of the same title as useful references for the teacher. Unfortunately, they also comment on the effect of fourteenth-century’s Black Plague on textile workshops in “the time of the Bayeux Tapestry.” 312 The Bibliography

1070. Lindley, Philip, ed. Making Medieval Art. Donington, U.K.: Shaun Tyas, 2003.

1071. Lindsay, Jack. The Normans and Their World. New York: St. Martin’s Press, 1974. Australian novelist and Fellow of the Royal Society of Literature Lindsay examines the Normans’ Viking ancestry, the Norman campaigns in Italy, their attempt to invade the Byzantine Empire, and the Conquest of England, and he attempts to “get inside the minds of the men of the period” to discover what held them together and created their sense of identity. On the Bayeux Tapestry, he gives a brief run-down of reasons that it was made for Bishop Odo, probably for one of his residences. He then lauds eleventh-century English needlewomen in a paragraph on their talents. Lindsay notes that Harold seems to be rendering two primary services of a vassal, consilium and auxilium as he receives arms from William. He also observes that in the Tapestry, Harold gives William a gift of hounds and falcons upon reaching Rouen. In a discussion of why Harold traveled to the continent as depicted in the Tapestry, Lindsay points out that the common point to all the tales of this event mention a storm that blows Harold off course and that the notion of Edward sending Harold to William to confirm William’s position as heir is “highly unlikely from every angle” and has no support from any version of the story. While on the topic of a royal heir, the author gives a tidy summary of Edward the Ætheling’s ill-fated return to England after living in exile in Hungary for most of his life. The Tapestry’s placement of the oath scene at Bayeux is at odds with William of Poitiers, who indicates Bonneville, and Ord- eric Vitalis, who mentions Rouen; Lindsay offers possible explanations from past commentators for this discrepancy. Discussing the cleric/Ælfgyva scene, he suggests that the pair might actually be the cartoonist and the woman in charge of the embroiderers. He also offers the interesting possibility that the scene may be an indirect statement, an oratio obliqua, illustrating what Harold is telling William. Semantic reasons are cited for the scene reversal of Edward’s death and a funeral. Lindsay describes the variety of arms and armor seen in the Tapestry. As a coda to a chapter on Norman feudalism, he writes an overview of all that the Tapestry has to offer in terms of weapons and armor. In his chapter on the Conquest of England, Lindsay points out that Guy of Ponthieu is the only non-Englishman in the Tapestry to hold an axe and that we are shown four Norman archers in the Battle of Hastings, but just one English, perhaps an indicator of the ratio of archers between the two factions. The question of an English counter-attack in the battle is raised and he states that the Tapestry treats this topic “at length,” in the scene where Harold’s brothers are killed. The Tapestry, he adds, shows a high trajectory of arrows shot into the air intended to come down on the closely packed English. One paragraph discussing the sequence of events in the battle has a rapid-fire repeating format of the-Tapestry-says-this but Guy-of-Amiens- says-this and William-of-Poitiers-says-this. He comments briefly on vulnerability The Bibliography 313 to fire of timber castles like the Tapestry’s depiction of Dinan. An interesting observation from Lindsay: “On the Tapestry, a soldier at the foot of Dinan castle passes his arm behind the left-hand corner-post and it reappears on the outside of the tower; it seems the tower was a sort of box on stilts.” He adds that a soldier is hacking at one of the massive stilts; therefore it must be of wood. The bi-color checker pattern of the exterior of Dol castle is discussed and he comments on the unusual and still unexplained appearance of overlapping shield-shaped protru- sions on the left side of Dol castle; Lindsay believes these are not shields “though the idea of using them may have come from the practice of hanging shields on castle walls and the sides of ships.” Each chapter opens with a pen-drawing image of a scene from the Tapestry, completely unrelated to the content of each chapter. Includes an extensive bibliography, notes, and an index.

1072. Ling, Lesley A. “The Bayeux Tapestry.” Making Medieval Art. ed Philip Lindley, 104–19. Donington, U.K.: Shaun Tyas, 2003. Ling’s essay, which presents a round-up of prominent twentieth-century research on the Bayeux Tapestry, stands out among the 13 contributions in this book about “the practical aspects of the production of medieval art.” Apart from a brief discussion on the Tapestry’s apparent lack of a cartoon for its images and remarks about the varying degrees of embroidery skill in various scenes, the author’s essay focuses not so much on manufacture as it does on a discussion of issues such as the Tapestry’s patronage, provenance, dating, location, political stance, artistic parallels and antecedents, narrative techniques, and audience. A noteworthy section of this essay is Ling’s examination of artistic antecedents and parallels in wall-hangings known to have existed in various parts of medieval Europe. The scarcity of medieval secular narrative art such as the Tapestry is noted and Ling lists a variety of known works in this genre. For parallels of the continuous narrative format, Ling discusses classical Roman frieze paintings, stucco works, and relief sculpture such as the Arch of Constantine and Trajan’s column, both of which she presumes Bishop Odo must have seen. Ling also comments on the continuous narrative format of the Joshua Roll parchment and how the Bayeux Tapestry artist may have produced a similar type of draft. She briefly examines the reversal of scene sequences and notes that the reversal of the action around Edward’s death scene and burial was set up “so that the designation, acclamation, and enthronement of Harold may appear together.” She also asserts Bernstein’s famous yet highly disputed claim that a 1982–1983 examination of the mysterious needle-holes near the face of a fallen warrior in the final battle scene were the stitch marks of what was once an arrow and confirm that this figure is indeed Harold with an arrow in his eye. Her comments on the Tapestry’s attempts at showing motion, psychological attitudes, human characterizations, and other activities such as shipbuilding, scavenging, digging, and preparing food are worth mention. In a section on the Tapestry’s audience and their perceptions, she supposes that the work was intended for “feudal and ecclesiastical court circles” 314 The Bibliography of educated viewers who were literate, and who were familiar with Aesop, Vir- gil, and the accounts of the Conquest. Includes a three-page bibliography and 12 black-and-white photographs of the Tapestry.

1073. Linklater, Eric. The Conquest of England. Garden City, NY: Double- day, 1966. Notes: Part of The Crossroads of World History Series, edited by Orville Prescott. British novelist, playwright, biographer, and essayist Eric Linklater presents a relatively thorough yet very readable history of the Norman Conquest. The author frequently describes scenes in the Bayeux Tapestry to support his narratives of the Normans’ activities after disembarking on English soil and in his descriptions of the Battle of Hastings. He does, interestingly, pose the possibility that the Tap- estry’s Wadard is a well-known cook. Includes four photographs of the Tapestry.

1074. Links, J. G. The Ruskins in Normandy: A Tour in 1848 With Murray’s Hand-Book. London: John Murray, 1968. This delightful amalgamation brings together the diaries and letters of art critic John Ruskin, his wife Effie, and their manservant George as they traveled through Normandy in 1848, interwoven with material from Murray’s Hand-book for Travelers in France, then one of the first travel guides for the region. Links presents charming and witty anecdotes excerpted from the trio’s writings alongside practical advice from Murray to give readers an idea what it was like to be a tourist in Normandy in the mid-nineteenth century. The Ruskins visited the Bayeux Tapestry in the Public Library and John “thought it ‘the most interesting thing conceivable . . .’” Links then provides the Hand-book’s comments on the appalling winding and unwinding of the Tapestry in the Hôtel de Ville, its peculiar blue and red horses, and Napoleon’s indelicate handling of the textile.

1075. Lloyd, Alan. The Making of the King, 1066. New York: Holt, Rinehart and Winston, 1966. Notes: Also cited as published by Dorset, New York in 1966. Painter and journalist Lloyd describes the everyday realities (material culture, food and drink, ship construction, superstition, legends, and local histories) to engage the reader in the lives and times of Harald Hardrada, Harold Godwinsson, and Duke William. He refers to the Bayeux Tapestry several times for support. The author states that the Tapestry may give clues as to what Harold Godwins- son looked like (and that he may have had tattoos and a taste for jewelry). He uses the Tapestry also for clues on William’s appearance as well. Lloyd traces the histories of Harold Godwinsson, Harald Hardrada, and William of Normandy and how “their careers finally and irrevocably collided.” The Tapestry is referenced several times to support his discussions: the Breton Campaign, William’s The Bibliography 315 preparations for invasion, “a shield-type anti-ramming fender” on one of the Tapestry’s ships, horse transport, Halley’s Comet, the Battle of Hastings, and the poem Baudri of Bourgueil. In his observation of the Tapestry’s horses, he notes that the “action of a jumping horse seems to have defeated the artist who showed it with one leg cocked up like a can-can dancer.”

1076. Loades, David Michael, ed. Reader’s Guide to British History: Volume I, A-L. New York: Fitzroy, 2003.

1077. Lofts, Norah. Queens of England. Garden City, NY: Doubleday, 1977. In this collection of brief biographies, the author describes the peculiar start of William and Matilda’s relationship and their subsequent happy marriage. Acknowledging that the Bayeux Tapestry is not the Queen’s work, Lofts states Matilda and her ladies may have “plied their needles upon it.” The author also notes that being only two inches shy of dwarfism herself, Mathilda favored most, of all her children, her son Curthose (“short-legged”). The Tapestry is “said to have been designed by a dwarf,” therefore implying that Curthose may have been the Tapestry’s designer.

1078. Loomis, Laura Hibbard. “The Table of the Last Supper in Religious and Secular Iconography.” Art Studies 5 (1927): 71–90.

1079. Loomis, Roger Sherman. “Geoffrey of Monmouth and Arthurian Ori- gins.” Speculum 3, no. 1 (1928): 16–33. Notes: Published by the Medieval Academy of America. In a spirited discussion of Deschamps’ attribution of a sculpture at Modena to Geoffrey of Monmouth, Loomis suggests that Deschamps “points out not a single detail derived from Geoffrey” and that he fails to note that “Arthur’s Queen has a different name from that which Geoffrey gives her.” He goes on to say that Deschamps’ literary case “could not be weaker.” Loomis particularly takes issue with Deschamps’ dating of the Bayeux Tapestry, writing “in the matter of armor he is so incautious as to state that the Bayeux Embroidery is ‘datée généralement des environs de 1125.’ This opinion he would find few French scholars of emi- nence to corroborate, and it is completely refuted by the fact that the rectangular ‘chest-protector’ has been pointed out on no later monument (except the embroidery) than 1023, and that the closest parallel in armor is found in a manuscript completed by 1072.” He goes on to suggest that “If M. Deschamps could produce a warrior from a dated monument of the middle of the twelfth century as close to those represented at Modena in hauberk, pennon, shield, and helmet-form as those that I reproduced from a manuscript of 1109, then his argument would deserve serious consideration. But the examples of armor from the middle of the century that I cited would only show more clearly the weakness of his case.” 316 The Bibliography

1080. ———. “Modena, Bari, and Hades.” The Art Bulletin 6, no. 3 (1924): 71–74. Notes: Published by The College Art Association of America. In a discussion of an archivolt depicting a scene from Arthurian legend at the Modena cathedral, Loomis notes the Bari connection, writing “The priority of the Bari archivolt is established by two features. The knights have no nasals to protect their faces, such as we see on the Modena relief and were generally used throughout the twelfth century. More conclusive is the fact, so far not observed, that the one knight at Bari who has adjusted his lance to the encounter, is not carrying it hugged under his armpit, but is balancing it above his shoulder. Now this latter method is that found on the Bayeux Embroidery of about 1070. M. Levé has shown in connection with that embroidery that there was a change in the manipulation of the lance toward the end of the century; Modena shows the later method. The inference to be drawn is that the Bari archivolt was studied by Wilgelmus or his assistant and furnished him with a decorative scheme which he used at Modena a few years later.” Includes notes and four photographs of the archivolts at both Modena and Bari.

1081. ———. “The Origin and Date of the Bayeux Embroidery.” The Art Bul- letin 6, no. 1 (1923): 2–7. Notes: Published by the College Art Association. Loomis asserts that the Bayeux Tapestry was manufactured in England based on linguistic observations: the words “Bagias,” “at,” and “ceastra” are Anglo- Saxon. He also points to Honoré Delauney’s statement in 1824 that there was once a Saxon colony at Bayeux, but despite their presence there until the sixth century, the Saxon language did not infiltrate the Latin of Bayeux. Loomis mentions “one serious argument against an Anglo-Saxon origin,” and that is that the Tapestry does not show “gusty treatment of the drapery, that accentuation of the wrinkles which . . . became so characteristic of Anglo-Saxon illumination.” He comments briefly and very obliquely on “a clue to the unsolved mystery of Ælf- gyva.” On the topic of dating the Tapestry, Loomis prefers a date within the first decade of the Conquest. He cites Delauney’s assertion that is was completed in time for the dedication of Odo’s new cathedral at Bayeux in 1077 and the witness of Orderic Vitalis that the short tunics worn by Tapestry characters were replaced by longer ones in 1095. His most interesting reasons for his early dating of the Tapestry lie in his intriguing comparisons of Tapestry images with several drawings from the eleventh-century illuminated manuscript Commentary of Beatus of the Apocalypse. (“Strangely enough, no one has pointed out the close parallels.”) Loomis also notes that the rectangular chest-coverings on the knights’ byrnies in the Tapestry are only seen elsewhere in the Rabanus Maurus manuscripts of Monte Cassino of 1023. Very curiously, Loomis makes the unorthodox statement that the Tapestry, once it was brought to the Cathedral of Bayeux, was found to be too long to fit around the nave, so it was cut to fit. He also remarks on what The Bibliography 317 the cut section must have shown, based on how Adele of Blois’ hanging had been described [by Baudri de Bourgueil]. Finally, in an open plea for some publisher to finally print an edition of reproductions of the Tapestry’s finest scenes using “modern processes,” he comments that “the latest books on the embroidery are burlesques on archaeological scholarship [and] we might ask for a little sound information along with colored plates.”

1082. Louradour, Didier. A La Découverte De Bayeux. Conde-sur-Noireau, France: Editions Charles Corlet, 1993. Notes: Paperback. Both text and illustrations by Louradour. A two-page section on the Bayeux Tapestry includes a black-and-white scene as well as a drawing of the museum where the embroidery is currently on display. The text makes note of the current exhibit space, in place since 1983, and points out that its construction was instigated by Monsignor Nesmond.

1083. Lowell, Robert. “France (From the Gibbet).” Forms of Verse. eds Sara deFord, and Clarinda Harris Lott, 217. New York: Appleton-Century- Crofts, Educational Division, Meredith Corporation, 1971. Lowell, a noted imitator of fifteenth-century poet François Villon, writes in his 1946 sonnet, “Now here, now there, the starling and the sea/Gull splinter the groined eyeballs of my sin,/Brothers, more beaks of birds than needles in/The fathoms of the Bayeux Tapestry:/‘God wills it, wills it, wills it: it is blood.’”

1084. Lowes, Emily Leigh. Chats on Old Lace and Needlework. London: T. Fisher Unwin, 1908. Notes: Title page lists author as “Mrs. Lowes.” This title appears to be part of a series of books for collectors. Lowes writes about the Bayeux Tapestry in her chapter titled “Old English Embroidery” which begins the book’s section on needlework. She writes: “The great and monumental Bayeux tapestry, which is miscalled, as it is embroidery was the work of Queen Matilda, who, like Penelope, wove the mighty deeds of her husband and king in an immense embroidery. This piece of needlecraft comes upon us as a shock, rather than an admiration, after the exquisite embroideries worked by and for the Church. It is interesting, however, as a valuable historic ‘document,’ showing the manners and customs of the time. The canvas is 227 feet long and 20 inches wide, and shows events of English history from the accession of Edward the Confessor to the defeat of Harold, at Hastings. It is extremely crude; no attempt is made at shading, the figures being worked in flat stitch in coloured wools, on linen canvas. Certainly it is one of the quaintest and most primitive attempts of working pictures by needlecraft.” She continues with a brief narrative on the Tapestry’s provenance: “The evidence of the costumes, the armour, &c., are supposed to tell us that this tapestry was worked many years after the Conquest, but it can be traced by documentary evidence as having been 318 The Bibliography seen in Bayeux Cathedral as far back as 1476.” References are then made to Na- poleon’s removal of the embroidery from Bayeux and its exhibition at the Musée Napoleon in 1803. Lowes also notes it was “restored and relined” in 1840 and is now [at the time of publication] in the Hôtel de Ville at Bayeux. Two notable black-and-white images from the Tapestry are included, one a close-up of King Harold. Separate indexes are included for each section.

1085. Loyn, Henry Royston. The Making of the English Nation: From the Anglo-Saxons to Edward I. New York: Thames and Hudson, 1991.

1086. ———. The Norman Conquest. London: Hutchinson University Library (Hutchinson & Co. Publishers), 1967. Notes: Second edition. First published in 1965. Loyn, Reader in History in the University College of South Wales and Mon- mouthshire, presents “an interpretation of the Norman Conquest in a relatively small space . . . intended for the general reader and for the undergraduate.” He discusses the Bayeux Tapestry’s depiction of Edward entrusting the kingdom to Harold, an “odd action on the part of a man who had already named Duke William as his successor.” The author notes that the Tapestry’s artist gives a “quartermaster’s view” of the Norman invasion in that the artist was fascinated with details such as horses, men, ships, and armor and had an intelligent eye for details. The topic of identifying which character is Harold in Harold’s death scene is briefly examined. He also praises the Tapestry’s “amazing” artist for “magnificent draftsmanship,” providing picturesque incidents, and his ability to depict the savagery and bitterness of battle which the author likens to Picasso’s “Guernica.” Includes index.

1087. ———. Society and Peoples: Studies in the History of England and Wales, C. 600–1200. London: Centre for Medieval Studies, Queen Mary and Westfield College, University of London, 1992. Notes: Part of the series Westfield Publications in Medieval Studies, volume 6. Anglo-Saxon historian Loyn presents 22 of his essays, several of which deal with the Norman Conquest (“1066: Should we have Celebrated?” “Rayleigh in Essex: Its Implications for the Norman Settlement,” “The Beyond of Domesday Book,” and “William’s Bishops: Some Further Thoughts”). “Harold, Son of God- win” is the only essay herein that mentions the Bayeux Tapestry. He suggests in this biography/character study that the Tapestry is a visual chanson de geste that artistically characterizes Harold as less a villain than the written sources of the time and suggests that the Tapestry might be titled “the tragedy of Harold” as it features his “bravery, skill in war, and powers of leadership.” Loyn notes that the Tapestry’s version of Harold’s death is becoming “increasingly accepted.” Remarks on Harold’s interest in falconry mention the Tapestry. Includes an index and a bibliography of Loyn’s works. The Bibliography 319

1088. ———. The Vikings in Britain. London: B.T. Batsford, 1997.

1089. Luckock, Elizabeth. William the Conqueror. New York: G.P. Putnam’s Sons, 1966. Notes: Title page notes the book is illustrated with segments of the Bayeux Tapestry. In addition to several black-and-white images from the Tapestry, this juvenile biography has a two-page chapter on the embroidery. It notes the distinction between embroidery and tapestry, the matter of Queen Mathilda as patron in the context of its name, the borders, its provenance, and the question of its ending. Luckock suggests that “in all probability it was stitched by both Norman and Saxon ladies.” Includes a colorized image of William from the Tapestry on the cover.

1090. Lugg, Vicky, and John Willcocks. Heraldry for Embroiderers. London: B.T. Batsford, 1990. Commenting on the value of the Bayeux Tapestry in establishing the beginning of heraldry, the authors explain that at the time of the Norman Conquest, heraldry, as it ultimately developed in the Middle Ages, “had not been conceived.” They go on to note that “We have proof of this in the Bayeux Tapestry.” Describ- ing the work, they note it was “probably made within ten years of the Conquest, at a school of stitchery near Canterbury, for Bishop Odo.” They also explain that if heraldry had been used at the time of the embroidery’s creation, it would likely have been incorporated in the scenes. They write that while there are indeed knights bearing shields, “there is nothing to indicate personal identification; in fact a number of knights appear several times in the tapestry and they bear different shields on each occasion.” A black-and-white image of William on horseback from the Tapestry is included. Includes a list of titles for further reading. The index does not list the Tapestry.

1091. Luis, Emmanuel. “In Memoriam Hervé Pelvillain (1956–2001).” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 7–8. Caen, France: Presses Universitaires de Caen, 2004. The editors of The Bayeux Tapestry: Embroidering the Facts of History dedicate the volume to the memory of Hervé Pelvillain, who played an instrumental role in organizing the Cerisy Colloquia which resulted in this book’s publication; he is remembered fondly here in a passage by Luis. Among Pelvillain’s numerous accolades and scholarly accomplishments, he was regional curator of the General Archival Inventory for the Lower Normandy region and keeper of antiquities and objets d’art for the Department of Calvados. He died in Caen in July 2001. 320 The Bibliography

1092. Lukacs, John. “Letter From Normandy.” The American Scholar 64, no. 3 (1995): 359–68. In this rather personal essay written as he toured Normandy, Lukacs describes the Bayeux Tapestry and points out the 1066 Norman Conquest of England as the last successful invasion of the island. Driving into Norman towns with their memorials and reminders of D-Day in 1944, he begins contemplating Hitler’s ambitions, as well as Napoleon’s, and makes connections between these two would-be invaders of Britain and the Norman invasion as depicted in the Tapestry. He examines several “what ifs” in alternative outcomes to World War II in Europe, yet brings it back in with reminders of what really happened in Normandy and why we feel grateful.

1093. MacCormack, Katherine. “The Bayeux Tapestry: Does It Follow the French Oral Epic?” Constructions (1985): 95–103. MacCormack, doubtful that the Bayeux Tapestry (which is 200 feet long according to this article) was intended to be hung in a cathedral because of its lewd images, writes her observations of the Tapestry’s secular nature compared with the epic Song of Roland. She begins her thesis with an examination of the literary techniques of the oral epic, then considers how the Tapestry fits into this framework.

1094. MacDermott, K. H. Bosham Church: Its History and Antiquities. Chich- ester: J.W. Moore, 1912. MacDermott provides an illustrated history of the Bosham Church noting its relevance and connections to the Bayeux Tapestry.

1095. MacGregor, Neil. “Foreword.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, xv. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tap- estry: The Proceedings of a Conference at the British Museum. MacGregor is director of the British Museum. MacGregor’s foreword references the “The BT @ the BM: New Research on the Bayeux Tapestry” conference which took place July 16–17, 2008 and was the origination of the book. He notes the 28 speakers, over 180 delegates, and their geographic and scholarly diversity. He acknowledges the conference organizers, also the book’s editors, and thanks his colleagues in the Department of Portable Antiquities and Treasure who assisted with the administration of the conference. Importantly, he notes the British Museum’s “small exhibition of objects associated with the Bayeux Tapestry,” including the original casts of the Bayeux Tap- estry made by Charles Stothard “in about 1817” and a facsimile of a fragment of The Bibliography 321 the Tapestry removed by Charles Stothard at the time. Interestingly, MacGregor writes that “It was hoped that the original fragment (now in the Bibliothèque Municipale de Bayeux) could be brought to the London for the conference, but the costs involved were prohibitive considering the very short period of the loan. Nonetheless the museum is very grateful to Sylvette Lemagnen (Curator of the Bayeux Tapestry) for allowing Chantal James (Bayeux Broderie) to study the original fragment in order to make a facsimile for our display.” Additionally, he explains that of the 26 papers given at the conference, 19 are published in the book. Four were committed to other publications prior to the conference. Ab- stracts of the articles, however, are included in the volume.

1096. Maclagan, Eric. The Bayeux Tapestry. London: King Penguin Books, 1945. Notes: Revised edition. First published in 1943. Maclagan offers readers a 29-page pocket-sized primer on the story contained within the Bayeux Tapestry. Included is brief information on dating the Tapestry (especially using the Chanson de Roland, the Roman de Rou, and the Gesta Guil- lelmi as time references), and the possible influence of manuscript drawings on the Tapestry artist. Interestingly, the author tells the story of the Tapestry using English translations of the Tapestry’s inscriptions embedded into his narrative. Includes eight full-color detail images, including a life-size one of Odo blessing the meal. Black-and-white photographs of the entire Tapestry with brief scene descriptions. Includes a map.

1097. MacLeod, Dave. “The Bayeux Tapestry: Unpicking the Past.” Notes: http://www.bbc.co.uk/history/british/normans/bayeux_tapestry_gallery _01.shtml On the BBC website, MacLeod offers a very brief narrative of basic information about the Tapestry. Features eight images with brief captions and a short bibliography and list of places to visit associated.

1098. Madon, Suzanne. La Normandie. Paris: Edition Moliere, 2002. Notes: Part of the Collection Splendeurs series. Preface by Michel de Decker. Notably, this volume features an enormous, vivid image from the Bayeux Tapestry that gives the reader a magnified view of the linen backing and stitching. A caption discusses the Anglo-Saxons’ facial hair, the embroidery’s likely manufacture in Kent, and the Latin inscriptions.

1099. Maharaj, Sarat. “Arachne’s Genre: Towards Inter-Cultural Studies in Textiles.” Journal of Design History 4, no. 2 (1991): 75–96. Notes: Published by Oxford University Press on behalf of the Design History Society. 322 The Bibliography

Maharaj references a mention of the Bayeux Tapestry in narrative about allusions to Penelope, “faithful at her loom” and to Queen Matilda, for a time thought to be the “maker” of the embroidery.

1100. Majendie, Ashurst. “The Bayeux Tapestry.” Archaeological Journal 7 (1850): 84. An extremely brief mention of Majendie’s provision of a report on the Tapes- try to the Archaeological Institute.

1101. Makin, Alexandra. “New Research on How the Bayeux Tapestry Was Made.” Alexandra Makin, a professionally trained embroiderer and PhD researcher in the University of Manchester’s English and American studies department, concludes that “the same group of people were likely to have worked on [the Bayeux Tapestry] under the same manager or managers.” Her research casts doubt on the commonly held notion that it was embroidered in sections at different workshops throughout England then later stitched together. “From ob- serving the way the stitches overlap on the back of the tapestry, Mrs Makin is able to say in what order its different parts were sewn.” Makin comments on the extraordinary feat that these embroiderers accomplished, working only in day- light hours, with basic equipment, and “with little formal training as we know it today.” Sylvette Lemagnen, curator of the Tapestry, states, “I am delighted with this study, which I believe to be fundamental to the understanding of the Bayeux Tapestry. I have always been convinced that historians would benefit from establishing a dialogue with specialist embroiderers and Alexandra Makin has that rare quality of being an expert in both fields. Her detailed, impartial analysis of the back of the tapestry has helped to correct misunderstandings of how [it] was made.”

1102. Makra, Peter. “Symbolism and Iconography of the Hawk in the Main Panel of the Bayeux Tapestry.” (2001). Notes: Published online. University of Szeged, Hungary. Makra discusses the significance of the various appearances of hawks in the Bayeux Tapestry.

1103. Malam, John. The Battle of Hastings. Weybridge, VT: Cherrytree Books, 2004. Notes: Part of the Dates with History series.

1104. Malet, Sir Alexander. The Conquest of England From Wace’s Poem of the Roman De Rou. London: 1860. The Bibliography 323

1105. Mallalieu, Huon. 1066 and Rather More: A Walk Through History. London: Frances Lincoln, 2009. Explaining that the Norwegians and the Normans “of course, had no compunc- tion about plundering the natives,” Mallalieu asserts that “it was an important tactic of terror, but like Harold, William is said to have been very careful not to antagonise his own Norman population during the months when he was building his fleet, and his army was waiting for a fair wind on the coast of France. When they did sail, the Bayeux Tapestry shows wagonloads of wine being embarked, but no food. Hunger would spur ferocity.” He goes on to note that the Tapestry illustrates one of the first Norman activities following the landing was gathering sheep and pigs and pillaging villages, followed by a feast in the Pevensey camp. He continues, commenting on the depiction of food and dining in the Tapestry pointing out that Odo “ostentatiously eats fish, it being a Friday, while the others are served chickens skewered on arrows.” In Mallalieu’s chapter titled “Sun, Hills and Yet More Blisters,” he discusses Harold as a hunter and describes the scene in which Harold rides to Bosham with “his hounds before him and a falcon on his wrist, and with a hound under his arm.” He clarifies that “It was natural that he should take such care of the creatures; a fully-fledged peregrine falcon, and a trained ‘king’s hunting dog’, could each have cost him the equivalent of L4,800.” Commenting on the Tapestry’s patronage in an interesting chapter titled “Claims to the English Throne in 1066,” Mallalieu writes about Count Eustace of Boulogne: “Eustace’s own ambitions were nullified by the unpopularity that followed his quarrel with Godwin’s men at Dover in 1051. He fought prominently at Hastings and was wounded at the Malfosse later that night. However, in 1067, despite being well-rewarded by the Conqueror, he joined Kentish rebels in an attempt to seize Dover Castle. Some credit him with commissioning the Bayeux Tapestry. He is easily recognisable in it, since he was the only Norman to be moustached, a legacy from his English marriage. From this came his nickname, als gernons, ‘with the mutton chops’. Later this was also the nickname of the first Percy Earl of Northumberland, giving rise to the Christian name Algernon.” Includes an excellent chronology (by the day for 1066), a brief bibliography, and an index. The dust jacket features a photograph of what appears to be a woven, not embroidered, interpretation of a Bayeux Tapestry scene. However, despite similarities in depiction of a warrior, horse, and longship, it is not an image from the Bayeux Tapestry.

1106. Mallett, Michael. “Mercenaries.” Medieval Warfare: A History. ed Maurice Keen, 209–29. Oxford, U.K.: Oxford University Press, 1999. Mallett examines the motivation of medieval mercenaries, as well as the circumstances and nature of their employment. The caption beneath a photograph of Norman cavalry and archers states that many of William’s knights “were mercenaries, attracted into Norman service from outside the duchy, who made up the core of William’s cavalry. Includes a list of further readings. 324 The Bibliography

1107. Mann, Jill. From Aesop to Reynard: Beast Literature in Medieval Brit- ain. Oxford, U.K.: Oxford University Press, 2009. Writing of the Romulus Nilantii in the book’s introduction, Mann explains that the “special features of the Romulus Nilantii demarcate an English branch of the Romulan tradition, which may be reflected in the fables in the border of the Bayeux Tapestry.” Here, she cites Chefneux. Later, in her chapter titled “Nigel of Longchamp’s Speculum stultorum,” Mann comments on the impressive library at Christ Church and suggests there are only “a few meager clues as to the beast literature that it might have contained.” Continuing, she writes, “A fragmentary library catalogue of c.1170 includes an entry for ‘Avianus cum multis aliis’ among a list of obvious school-texts. The Bayeux Tapestry, which contains numerous beast fables in its upper and lower borders, was probably designed in Canterbury.” She goes on to note the fable illustrations in the Dover Bible. Includes extensive notes, bibliography, and index.

1108. Mann, Sir James. “Arms and Armour.” The Bayeux Tapestry: A Com- prehensive Survey. ed Frank M. Stenton, 56–69. London : Phaidon, 1965. Notes: Second edition, revised and enlarged. Originally published in 1957 by Phaidon. The photographs reproduced in this book were taken in April 1956 by Percy Hennell. Mann begins his article with a history of the knowledge of arms and armor of northwestern Europe in the age of the Bayeux Tapestry since the Tapestry came to light in the early eighteenth century; he focuses on the contributions of Charles Stothard. Without the Tapestry, he adds, our current knowledge would be limited to actual specimens of arms and armor, manuscript drawings, wall paintings, and sculpture. He points out the Tapestry’s “weaknesses” as a guide to arms and armor: the small scale of the images, the “sketchy outline” resulting from the medium of embroidery, the Tapestry’s creators producing something that was well-known to audiences of the day, and the “four or five” colors of embroidery thread used arbitrarily. On the reliability of the Tapestry as a source of information on arms and armor, he states that we can indeed trust the Tapestry because of the “obvious naturalness of other scenes that are familiar to us today,” such as hunting, hawking, digging, two men fighting with shovels, boat-building, cooking, etc. The author then presents his analysis of each type of item under individual sub-headings. Mann compares the Tapestry’s helmets to two extant examples similar in appearance from “what is now Czecho-Slovakia” and one on display in the City Museum at Liverpool. He lists the lists of “Dark Ages” Span- genhelm helmets that were compiled in the 1940s in the United States, Norway, and Germany, and he points out the differences between the simpler type shown in the Tapestry and the more elaborately constructed Spangenhelme. The few instances in the Tapestry that show a helmet worn over a mail coif are discussed. Regarding mail shirts, he notes that early historians took pictorial representations The Bibliography 325 of armor too literally and goes on that despite the various ways that armor was represented in art, they all “represent only one thing, namely mail composed of interlinked metal rings.” The Tapestry’s limited ability to depict the intricate detail of mail is noted. Mann discusses the etymology of the term “mail,” and follows with discourse on the advantages and shortcomings of mail as armor. He notes that mail rings from archaeological evidence show various types of closures: riveted, soldered, and butted-together. The curious and nearly unique depictions in the Tapestry of rectangular breast-plates on some chain mail shirts are examined. Other design features of mail hauberks are discussed. The author points to a Swiss reliquary that depicts arms and armor like the Tapestry’s. Mann opens his passage on shields by noting how the Tapestry’s shields compare with those in manuscripts of the time, and that the round shield was, by the time of the Battle of Hastings, “old-fashioned.” The materials used in shields of the period are noted, as is the evolving shape of shields through this period. He gives full description of swords and axes from surviving samples and notes that these are the type seen in the Tapestry. For maces, clubs, and cudgels, he only describes what the Tapestry shows, and does not provide any information from archaeological or other evidence. Mann notes that the Tapestry’s spears and lances are light because they are embroidered with a single line of stitches, and that other wooden staves elsewhere in the Tapestry (oars, helves of axes, steering poles of boatmen) appear thicker. He comments on the horizontal crossbar below some of the spear blades. A brief inventory of the gonfanons shown in the Tapestry is provided; he suggests that one may be a papal standard. His commentary on bows and arrows focuses on the size of the bows depicted. The goad-form spurs are discussed and he notes that the scale of the Tapestry prevents detail of the spurs from being shown. A brief passage on saddles examines the shape of the saddles and the manner in which they are secured to the horses. In his discussion of stirrups, he does not mention the Tapestry at all, but comments on what we know from extant samples; he points out that surviving Anglo-Saxon and Viking stirrups had their loop in the “same plane as the stirrup leather and not at right angles to it . . . necessitating giving the leather a half-twist when mounting.” Includes notes and ten black-and-white photographs of the art and surviving items discussed.

1109. ———. An Outline of Arms and Armour: From the Early Middle Ages to the Civil War. London: Her Majesty’s Stationery Office, 1961. Notes: Reprint. Originally published in 1960.

1110. Mann, Vivian B. “Architectural Conventions on the Bayeux Tapes- try.” Marsyas 17 (1974–1975): 59–65; plates XXI-XXV. Mann reviews the various architectural representations in the Bayeux Tapestry and asserts that the designer had familiarity with the manuscripts of Canterbury, specifically the Harley Psalter and the Caedmon Genesis. 326 The Bibliography

1111. Mansel, Philip, and Robin W. Winks. The Lily and the Lion. New York: HBJ Press, 1980. Notes: Part of the Imperial Visions series.

1112. Marchand, Pierre, ed. Calvados. Paris: Guides Gallimard, 1998. Notes: Paperback. Originally published in 1995. Text in French. Within a two-page section on the Bayeux Tapestry, Marchand briefly discusses Bishop Odo’s role and the embroidery’s display in the Bayeux Cathedral. The section features five color images, including a border detail.

1113. Marien, Mary Warner, and William Fleming. Arts & Ideas. Belmont, CA: Thomson Wadsworth, 2005. Notes: Tenth edition. Paperback. Cover title: Fleming’s Arts & Ideas. This art history and humanities text, widely used in American universities, mentions in its chapter on Roman art the Bayeux Tapestry having been influenced by narrative techniques such as that of Trajan’s Column. A proper passage on the Tapestry itself presents a description of the work, the story it tells, its importance for informing on daily life in the eleventh century, and remarks about production. The authors also discuss what makes the Tapestry a great work of art compositionally. Following this is a good summary and brief analysis of The Song of Roland. Includes full-color photographs of the Tapestry and an index.

1114. Marks, Richard, and Ann Payne, eds. British Heraldry From Its Ori- gins to C.1800. London: British Museum Publications, 1978. Notes: Published for The Trustees of the British Museum and the British Li- brary. In the second chapter, titled “Banners, Badges and Beasts,” the editors refer to “over thirty examples of lance-flags charged with devices” on the Bayeux Tap- estry. They also discuss the appearance of similar flags on early equestrian seals. Includes numerous illustrations, a glossary, but no subject index.

1115. Marquet de Vasselot, Jean Joseph, and Roger-Armand Weigert. Bib- liographie De La Tapisserie, Des Tapis Et De La Broderie En France. Paris: A. Colin, 1935.

1116. Marren, Peter. 1066: The Battles of York, Stamford Bridge and Hast- ings. Barnsley, U.K.: Leo Cooper, 2004. Notes: Part of the series Battleground Britain. Series also referred to as Battle- ground Europe. This lively and entertaining book uses dozens of black-and-white photographs of and passing references to the Tapestry to illustrate Marren’s discussion points. Most interesting and clever are his numerous diagrams consisting of photographs of the battlefields with superimposed directional arrows, text, and graphics to The Bibliography 327 show movement and placement of soldiers and ships. Also includes family trees of the Godwins and of William’s kin, a timeline of the main events of 1066, several maps, a list of all the named individuals present at the Battle of Hastings, an hour-by-hour timetable of the Battle, several photographs of the battlefields as they appear today, and of individuals involved in battle re-creation scenes. Interestingly, the author asks why there has never been an epic film about 1066 to rival Spartacus or Cleopatra.

1117. Martell, Hazel Mary. The Normans. New York: New Discovery Books, 1992. Notes: Part of the Worlds of the Past series. Originally published by Heine- mann Children’s Reference, Oxford, U.K. In addition to general introductory comments on the Bayeux Tapestry, Martell uses it numerous times through the book to describe Norman life. This includes references to the embroidery’s depictions of banquet preparations, broadcast seed sowing, cooking, and falconry. She suggests that most of the scenes illustrating everyday life in the Tapestry are “along the top and bottom borders.” Numerous color scenes from various sources are featured. She also discusses the debate over the Tapestry’s oath scene: “William claimed that when Harold did this, he promised he would accept William as his king after the death of Edward the Confessor. No one knows whether this was true or not, but William made people believe that it was. He even made the pope believe it and the pope sent him a holy flag and some holy relics to take with him to England.” Martell also discusses the Bayeux Tapestry’s depiction of Norman knights riding their horses into battle noting that before the time of the Normans, “soldiers had ridden their horses as far as the battlefield and the got off and fought on foot.” She goes on to discuss the significance of stirrups, long lances made of ash wood, and battle-axes. The glossary unfortunately defines tapestry as “a form of embroidery on a woven background.” Also includes a timeline and index.

1118. Martin, Elaine. “Graphic Novels or Novel Graphics? The Evolution of an Iconoclastic Genre.” The Comparatist 35 (2011): 170–81. Notes: Discussing the history of pictures with accompanying text, Martin quotes Danny Fingeroth from his book The Rough Guide to Graphic Novels where he notes that sequential art can be seen in medieval tapestries. The Bayeux Tapestry is mentioned as the most famous such tapestry.

1119. Marwick, Arthur, Christopher Harvie, Charles Kightly, and Keith Wrightson. The Illustrated Dictionary of British History. London: Thames and Hudson, 1980. Notes: The editors’ entry for the Bayeux Tapestry refers to it as an “embroidered hanging” and notes that it is illustrated in “strip-cartoon form.” They attribute its commissioning to Bishop Odo, date it to before 1070, and suggest it is 328 The Bibliography from a “Norman propagandist point of view.” Includes a black-and-white image from the Tapestry showing William the Conqueror crossing the English Channel; a caption states the embroidery was stitched in England.

1120. Mason, Antony. Viking Times. New York: Simon and Schuster Books for Young Readers, 1997. Notes: Cover and alternate title: If You Were There: Viking Times. Within a short narrative on the Norman Conquest, the Tapestry is mentioned as depicting the Normans’ Viking-like “ruthless desire to conquer.” The author also uses the Viking longship as an example of Norman ties to their Viking ancestors. Two color ship-building images from the embroidery are shown. Heavily illustrated with a fold-out game board and index.

1121. Mason, Emma. The House of Godwine: The History of a Dynasty. Lon- don: Hambledon and London, 2004. In this very readable work, Mason highlights her accounts of the Godwin family (and other Bayeux Tapestry characters) with descriptions of the Tapestry’s scenes. Interesting highlights include the author’s assertion that the Tapestry’s Ælfgyva is either Harold’s or William’s sister; the Tapestry gives us a fair idea what King Edward looked like; remarks about Norman war stallions being trained to terrorize the horses of the rival army with their hooves and by baring their teeth (as is perhaps depicted in the Tapestry). Includes 55 pages of notes, five pages of recommended further reading, a very thorough index, and eight black-and-white photos of the Tapestry.

1122. Mason, J. F. A. “The Companions of the Conqueror: An Additional Name.” The English Historical Review 71, no. 278 (1956): 61–69. Mason includes a brief mention of the Bayeux Tapestry’s depiction of the building of the castle at Hastings and the Latin heading on the embroidery, “iste iussit ut foderetur castellum at Hestengaceastra.”

1123. Mason, John Frederick Arthur. William the First and the Sussex Rapes. Bexhill-on-the-Sea, U.K.: Hastings and Bexhill Branch of the Historical As- sociation, 1966. Notes: Volume 3 in the 1066 Commemoration Series.

1124. Matthew, Donald. Britain and the Continent: 1000–1300. London: Hodder Arnold, 2005. Notes: Part of the Britain and Europe series, edited by Keith Robbins. In this book exploring Britain’s relations with the Continent during medieval times, Matthew mentions the Bayeux Tapestry as an example of the elaborate embroideries made by English women, noting it is “a work commissioned for export” and is “still on display to prove what they could do.” It is referenced in a The Bibliography 329 chapter on trade with Europe. Includes index. Matthew is Emeritus Professor of history at the University of Reading.

1125. Matthew, Donald J. A. The Norman Conquest. London: B.T. Batsford, 1966.

1126. Mauclair, Camille. Normandy. London: The Medici Society, 1927. This leisurely and well-written portrait of Normandy, intended as a guide for English-speaking visitors, presents sentimental descriptions and numerous charming photographs of the sights of many towns in Normandy. On the Tapestry of Queen Matilda, which Mauclair notes was made by the order of Odo and presented by Matilda to her husband William, she informs readers that the “clumsily but ex- pressively drawn” work can be seen in the old episcopal palace of Bayeux. She relates that the Tapestry tells the history of “the quarrel between Harold and William, who started by being friends.” Included are eight phtographs of the Tapestry in its then-present hanging in which readers can see the protective glass panels and their frames in front of the Tapestry, and one photograph shows the Tapestry rounding a sharp corner. Mauclair adds, “It can well be imagined that a visit to this tapestry forms a regular pilgrimage for thousands of Britons.” Includes index.

1127. Maurice, Stephane, and Muriel Juhasz, eds. Au Fil Du Bessin. Conde- sur-Noireau, France: Editions Charles Corlet, 2002. Notes: Paperback. In this heavily illustrated tourist guide, a one-page section on the Bayeux Tapestry features a large color photo of the work on display with the Viking ship ceiling illuminated. Later in the book, an advertisement for the Centre Guillaume le Conquérant is included.

1128. May, Robin. William the Conqueror and the Normans. New York: The Bookwright Press, 1985. Notes: Illustrated by Gerry (Gerald) Wood. In this richly illustrated children’s book on 269 years of Norman history and culture (for children ages 9–13, approximately), the Bayeux Tapestry is mentioned only once in the main narrative, but is shown several times in black- and-white photographs with captions in sidebar vignettes. Also contains maps, diagrams, a timeline which lists the Tapestry’s completion date as 1092, and photographs of manuscript illuminations and other works of medieval art. The glossary defines a tapestry as “a heavy cloth with pictures woven into it” and unfortunately continues “as in the Bayeux Tapestry.” Also includes an index.

1129. Maynard, Patrick. “Depiction, Vision, and Convention.” American Philosophical Quarterly 9, no. 3 (1972): 243–50. Notes: Published by the University of Illinois Press on behalf of the North American Philosophical Publications. 330 The Bibliography

In a section labeled “Realism as Vividness,” Maynard refers to the embroidery’s limitations on realistic depictions: “Many would believe with Gombrich that there is more lifelikeness in a Vandyke portrait of Charles I than in an image of William in the Bayeux Tapestry, more truth to appearances in a photographic advertisement for a piece of electronic equipment than in a diagram for one, more naturalism in the Pergamon altar relief than in an early archaic kouros statue . . . Could such judgments tell of more than their authors’ style prejudices? By a strategy which would further exploit rather than diminish the language metaphor for methods of representation, I shall argue that they can.” Includes notes.

1130. McAleavy, Tony. Life in a Medieval Abbey. New York: Enchanted Lion Books, 2003. Notes: First American edition. Originally published by English Heritage in 1998. Edited by Kate Jeffrey. McAleavy, an editor of history materials for Cambridge University Press, references the Bayeux Tapestry in his chapter “The Norman Takeover” within the section “The Origins of Monastic Life.” In a caption beneath a battle scene from the Tapestry, he writes that “Norman knights and barons were both warlike and pious” and “were great patrons of monasticism.” Two images from the embroidery are featured, one of Archbishop Stigand and the other of Norman horsemen charging Harold’s troops. An index is included although there is no mention of the Tapestry. The book is heavily illustrated.

1131. McCarthy, Michael. Ships’ Fastenings: From Sewn Boat to Steamship. College Station, TX: Texas A&M University Press, 2005. Notes: Part of the Ed Rachal Foundation Nautical Archaeology Series. In his chapter titled “Clinker Shipbuilding,” McCarthy mentions that the breast auger, “a derivative of the hand auger,” is shown in the Bayeux Tapestry being used in the construction of ships. Includes extensive references and a thorough index.

1132. McCloud, Scott. Understanding Comics: The Invisible Art. New York: HarperPerrenial, 1994. Notes: Paperback reprint. “A Kitchen Sink Book.” Originally published in a paperback edition by Kitchen Sink Press in 1993. In this major work, a comic book about comics of sorts, McCloud compares the Bayeux Tapestry to the pre-Columbian picture manuscript discovered by Cortés in the early sixteenth century, calling the artifacts “strikingly similar.” McCloud includes a lengthy drawing of the Tapestry along with word balloons explaining what the Tapestry is and its relevance to the discussion of the history of comics. He notes that “France produced” the embroidery; that the events of the Norman Conquest are “in deliberate chronological order”; and “as with the Mexican codex, there are no panel borders per se, but there are clear divisions of The Bibliography 331 scene by subject matter.” Below his hand-drawn Bayeux Tapestry scenes, Mc- Cloud provides brief descriptions of the action occurring in the main register of the embroidery. An extremely brief bibliography is offered at the end.

1133. McGrail, Sean. “Ships, Shipwrights and Seamen.” The Viking World. ed James Graham-Campbell, 37–63. London: Frances Lincoln Publishers, 1980.

1134. McGraw, Eloise Jarvis. The Striped Ships. New York: Maxwell Mac- millan, 1991. Notes: A Margaret K. McElderry Books imprint. In this novel for juvenile audiences, Juliana, an eleven-year-old Saxon girl witnesses the striped ships of the Normans crossing the English Channel in 1066. She is involved in the creation of the Bayeux Tapestry and the history of the embroidery’s creation mirrors the story in the novel. McGraw dedicated the book to the “unknown designer and anonymous hands that created the great embroidered hanging known as the Bayeux Tapestry.” Images from the Tapestry are featured on the dust jacket. Includes an afterword that discusses the history of the embroidery.

1135. McIlwain, John. Westminster Abbey: The Collegiate Church of St. Peter, Westminster. Andover, U.K.: Pitkin Guides, 1995. Notes: Reprinted in 2000. Noting that the Tapestry is the “only surviving pictorial evidence of the Nor- man abbey’s appearance,” the guide provides an image from the embroidery showing mourners carrying Edward the Confessor’s body to the recently completed church.

1136. McIlwain, John, and Michael St. John Parker. William the Conqueror and the Battle of Hastings. Andover, U.K.: Pitkin Publishing, 1999. Notes: Part of the series Pitkin Guides.

1137. McKitterick, Rosamond. Atlas of the Medieval World. Oxford, U.K.: Oxford University Press, 2004. Notes: First published by Times Books, Harper Collins, London in 2003. McKitterick, Professor of Early Medieval History at Cambridge University, presents a heavily illustrated work that uses an image of the Bayeux Tapestry’s ships to open a chapter sub-heading “Networks and Communication.”

1138. McLanathan, Richard. The Pageant of Medieval Art and Life. Philadel- phia: Westminster Press, 1966. McLanathan, a former curator of decorative arts at the Museum of Fine Arts in Boston, offers this 127-page survey of medieval art and architecture. He 332 The Bibliography briefly tells the story in the Bayeux Tapestry highlighting the Norman long boats, gunwales, and mounted knights with hauberk and helm. An elongated detail of Bishop Odo encouraging the Normans to attack the Saxon army is included. The book is heavily illustrated and includes a chronological table of events from 312 to 1500. The gold cloth cover features a simple outlined image in red from the Tapestry.

1139. McLynn, Frank. 1066: The Year of Three Battles. London: Pimlico, 1999. Notes: Paperback edition. Originally published by Jonathan Cape, London in 1998. Although Scottish historian and biographer Frank McLynn refers to this work as his “triple biography” (Harald Hardrada, Harold Godwinson, and William the Conqueror), he also presents full chapters on Edward the Confessor, Earl God- win, Svein Estrithson, and Tostig. He refers to the Bayeux Tapestry throughout. McLynn cautions readers frequently that the Tapestry is not to be taken too seriously as a “naturalistic source” of historical facts and that it is “absurd” to do so; his text thus contains pointed criticisms of other scholars’ works. McLynn makes several key assertions pertaining to the Tapestry: at the Battle of Hastings, the Anglo-Saxon housecarls could not have formed that famous shield-wall as depicted in the Tapestry because their kite shields were indeed so narrow that they would have had to stand close enough to one another that they would not have been able to wield their two-handed battle axes; the Tapestry shows Ed- ward “imploring Harold not to go to Normandy,” supporting the author’s stand that Edward did not offer the succession to William; the Norman army probably numbered about 14,000 and they crossed the Channel in a fleet of perhaps 2,000 ships; the Tapestry shows Halley’s Comet appearing in January, although it wasn’t actually visible in England until late April 1066. On the often-contested topic of the blinding of Harold, the author offers this: the figure in the Tapestry with the arrow in his eye, most commonly thought to be Harold, is seemingly a defender of Harold, yet those “who are determined to adhere to the old story that Harold was killed with an arrow in his eye have advanced a number of ingenious arguments,” namely, the Tapestry’s “phantom stitches” that perhaps once showed an arrow in the eye of the figure being hacked on the leg by a Norman cavalryman. McLynn argues that the blinding of Harold is a legend that has come down to us through William of Malmesbury, who had confused Harold Godwinson for Harald Hardrada, the hapless victim of an arrow to the windpipe at Stamford Bridge (according to Snorre Sturlusson). As a final punctuation to his critical attitude that many scholars have taken so much of the Tapestry’s information as fact, McLynn ends his book by stating that later historians who have taken up the notion that Harold died with an arrow to the eye have “unwittingly embraced the credo of the most unscrupulous kind of journalist: ‘Never let the facts interfere with a good story.’” Includes nine photographs of the Tapestry. The Bibliography 333

1140. McMillan, James Colman. The Interim King, Book I: Of Dukes and Earls. Magnolia, TX: AuthorHouse, 2003. In this historical novel, McMillan writes about King Harold, making numerous comparisons to John F. Kennedy. He also uses depictions from the Bayeux Tapestry to inform the story. The book’s cover features a scene from the Tap- estry.

1141. McNab, Bruce. “Obligations of the Church in English Society: Mili- tary Arrays of the Clergy, 1369–1418.” Order and Innovation in the Middle Ages: Essays in Honor of Joseph R. Strayer. eds William C. Jordan, Bruce McNab, and Teofilo F. Ruiz, 293–314. Princeton, NJ: Princeton University Press, 1976. McNab references Bishop Odo’s use of a “mace designed to maim but not to shed blood” at the Battle of Hastings and notes the Bayeux Tapestry’s depiction of this “baculum.” Includes index.

1142. McNab, Chris, ed. Knives and Swords: A Visual History. New York: DK Publishing, 2010. Notes: First American edition. Published by Dorling Kindersley Limited in London. This gorgeous reference book or coffee table book provides crisp, full-color photographs of blade weapons from the Paleolithic to today. An image from the Bayeux Tapestry is accompanied by photographs of reproductions of an Anglo- Saxon shield and chain mail. Includes photographs and information on Saxon spearheads like those shown in the Tapestry. Includes index.

1143. McNeill, Sarah. The Middle Ages. New York: Oxford University Press, 1998. Notes: Part of the Spotlights series. Intended for juvenile audiences, this 46–page, heavily illustrated hardcover mentions the Bayeux Tapestry three times, all with colorful renditions of images from the embroidery. The Tapestry is referenced in explanations of oaths, weaponry, pennons, and “baggage trains.”

1144. McNulty, J. Bard. “The Lady Ælfgyva in the Bayeux Tapestry.” Speculum 55, no. 4 (1980): 659–68. Notes: Published by the Medieval Academy of America.

1145. ———. “The Lady Ælfgyva in the Bayeux Tapestry.” The Bayeux Tapestry As a Social Document: Selected Readings. ed John Marshall Carter, 61–65. Lexington, MA: Ginn Custom Publishing, 1985. Notes: This chapter was reprinted from Speculum, volume 55, 1980. The cover photograph of the Bayeux Tapestry was taken by John Marshall Carter. Line 334 The Bibliography

drawings in the book are by David Barron, art student at Georgia Southern Col- lege in Statesboro. In this brief article, McNulty argues for Ælfgyva of Northampton, wife of Cnut, King of England, Denmark, and Norway as the identity of the Bayeux Tapestry’s enigmatic lady. Ælfgyva of Northampton satisfies the answer to four critical questions McNulty poses about the Tapestry’s scene. The fondling of Ælfgyva’s face by the cleric in the Tapestry is examined for its sexual meaning. The author sharply criticizes E. A. Freeman’s review of all known women named Ælfgyva who might have been present at William’s palace. Includes three photographs of the Bayeux Tapestry as well as two photos of medieval carvings that show face-fondling. Includes notes.

1146. ———. Visual Meaning in the Bayeux Tapestry: Problems and Solutions in Picturing History. Lewiston, NY: Edwin Mellen Press, 2003. Notes: Part of the series Studies in French Civilization, vol. 28.

1147. ———. The Narrative Art of the Bayeux Tapestry Master. New York: AMS Press, 1989. Notes: Part of AMS Studies in the Middle Ages, no. 13. The most outstanding feature of this unusual work by Trinity College (Hartford, Connecticut) English professor McNulty is its focus on the Bayeux Tapestry’s borders amidst his discussions of the story told in the Tapestry. He states that there is “tenable middle ground” between those who dismiss the Tapestry’s border elements as purely decorative, and those who find the borders “totally meaning- charged.” McNulty does, however, tend toward the latter. As examples, the pair of fish in the lower border just after the Halley’s comet scene indicate Pisces, which is where the comet was visible in the spring of 1066; an extended discussion of the eels in the quicksand scene; peacocks in the lower border of the start of the Battle of Hastings scene suggest the splendor of the Norman court; the mythical amphis- bena, with a head at both ends, and which can run rapidly forward and backward, may stand for William chasing Conan up and down Brittany as depicted in the Tapestry. A good deal of emphasis is placed on the Aesopian fables depicted. The book includes line drawings throughout reproduced from the 1856 The Bayeux Tapestry Elucidated by John Collingwood Bruce. A very useful appendix presents the entire Tapestry from Bruce’s drawings with English translations of the Latin inscriptions and brief commentary. Also in this appendix, hundreds of border elements are labeled with letters with commentary on the facing page.

1148. Mead, Rowland. Walking England’s Cathedral Cities. Lincolnwood, IL: Passport Books, 2000. Notes: Paperback. Alternate title: Walking England’s Cathedral Cities: Twenty-Eight Original Walks and Tours Around the Cathedrals and Cathedral Cities of England. The Bibliography 335

In a brief but fairly detailed history of Westminster Abbey, Mead notes that “The Bayeux Tapestry gives us a tantalizing glimpse of its architecture.” He also points out that the monastery grew under Edward the Confessor’s patronage and that the large abbey was built in the French Romanesque style. The text includes a helpful glossary of cathedral architecture terms. Includes several illustrations, information about each of the cathedrals referenced in the book, brief bibliography, and detailed index.

1149. Meaney, Audrey. “Scyld Scefing and the Dating of Beowulf—Again.” Textual and Material Culture in Anglo-Saxon England: Thomas Northcote Toller and the Toller Memorial Lecture by Donald G. Scragg. Cambridge, U.K.: D.S. Brewer, 2003. Notes: Volume 1 of the series Publications of the Manchester Centre for Anglo-Saxon Studies. Scragg includes a note commenting on the Bayeux Tapestry’s depiction of a warship lowering its mast, explaining that it would be “far harder for a merchant ship” of the period to do so. He references Detlev Ellmers in the note.

1150. Mee, Arthur, ed. Middlesex: Little Home County. London: Hodder and Stoughton, 1940. Notes: Part of the King’s England series.

1151. Meller, Walter Clifford. A Knight’s Life in the Days of Chivalry. Lon- don: T. Werner Laurie, 1924. Notes: Reprint by AMS Press, New York, 1982. Meller presents a treatise on what it was like to be a knight in the Middle Ages. In a chapter on a knight’s menie [sic], or household of family and servants, he discusses manners and customs, and notes that the Bayeux Tapestry “shows a feast, with a page or server kneeling, his napkin round his neck, long before the author of ‘The Book of Courtesy’ well illustrates this subject.” The Tapestry’s archers are discussed for pulling back on their bows to their chests, rather than to their ears, when shooting. Includes an index.

1152. Melman, Billie. “Gender, History and Memory: The Invention of Women’s Past in the Nineteenth and Early Twentieth Centuries.” History and Memory 5, no. 1 (1993): 5–41. Notes: Published by the Indiana University Press. Commenting on the Agnes and Elizabeth Strickland biographies of the queens- regnant, Melman writes about the link between Mathilda and the Bayeux Tap- estry: “Mathilda is a public figure and an articulate interpreter of the historical events of her time, exactly like the historians who recapitulate her memory. The Stricklands devote part of the biography to a detailed description of the Bayeux tapestry, which in the mid-nineteenth century still hung in the cathedral of that 336 The Bibliography city, and whose creation and production they attribute to the queen and her Norman companions. The tapestry, commemorating the collapse of the Saxon kingdom, the Battle of Hastings and the Normanization of Anglo-Saxon Eng- land—events grafted on the collective memory—is itself a feminine interpretation of history. It is, at the same time, an example of a traditional female artefact (weaving and embroidery), identified with the privacy of the home, and a text of a public character in which ‘the events of the period have been faithfully presented to us,’ for it narrates heroic and political events and has been displayed publicly in a cathedral, a place in which women could be present only as spectators.” Includes extensive notes.

1153. Meritt, Herbert. “Beating the Oaks: An Interpretation of Christ 678– 9.” The American Journal of Philology 66, no. 1 (1945): 1–12. In a note in which he cites J. Collingwood Bruce and E. Howard’s “Old English Tree Climbing: Christ vv. 678–79,” Meritt writes that “A bit of support concerning the tree climbing as part of a watchman’s duty may be found in the Bayeux Tapestry, where a watchman upon a tree scans the distance with hand- shaded eye in order to provide information for William.”

1154. Mersey, Daniel. Legendary Warriors: Great Heroes in Myth and Reality. London: Brassey’s, 2002. This work, intended for a general readership, dedicates each of its ten chapters to a single man of legend: Arthur, Dracula, Hiawatha, Robin Hood, etc. The Bayeux Tapestry is mentioned briefly in the Beowulf chapter, where the Sut- ton Hoo horde is discussed for perhaps proving that Anglo-Saxons were more the horsemen than the Tapestry shows. In the Macbeth chapter, the Tapestry is cited several times as a source for what arms and armor looked like in the Scottish king’s time. The Tapestry’s Norman cavalry, the author notes briefly, evolved from a style of heavily armored mounted unit of Carolingian Franks. Includes index.

1155. Messent, Jan. The Bayeux Tapestry Embroiderers’ Story. Thirsk, U.K.: Madeira Threads, 1999. Notes: Paperback published in 2011. Messent, an educator, author, and Embroiders’ Guild member, uses her experience as an embroiderer in an effort to reveal who the Bayeux Tapestry’s embroiderers were, what tools and material they used, and how such a massive project as this was managed.

1156. ———. Celtic, Viking and Anglo-Saxon Embroidery. 2010. Notes: Part of the series The Art & Embroidery of Jan Messent. The Bibliography 337

1157. ———. Jan Messent’s World of Embroidery: The Fabric of Thoughts. London: B.T. Batsford, 1997. Notes: Reprint. Originally published in 1996. Cover title: Jan Messent’s World of Embroidery. Messent presents a colorful idea book for embroiderers, hobbyists and profes- sionals alike, showing a few traditional works and a great deal of very modern works of embroidery art. Several celebrated embroidered works are profiled, and Messent provides a basic description of the Bayeux Tapestry and includes a quick pen sketch of the Tapestry’s schematic plan: the upper and lower borders and its main register. A full-page passage on the lovely Quaker Tapestry, a work completed in 1996 depicting the Quaker story through the centuries, compares its basic layout to that of the Bayeux Tapestry, and it is worth noting that the Quaker Tapestry employs the Bayeux Point stitch. There are also informative passages on two often overlooked embroideries of interest to Bayeux Tapestry admirers: the Hastings Embroidery, which picks up where the Bayeux Tapestry leaves off, and the Maldon Embroidery, a textile celebrating the town’s 1,000 years since the Battle of Maldon in 991. The acclaimed Overlord Embroidery is given its due as well in a descriptive passage. Includes an index.

1158. Metropolitan Museum of Art. Handbook of Arms and Armor, European and Oriental: Including the William H. Riggs Collection. Charleston, SC: Forgotten Books, 2010. Notes: Part of the Classic Reprint Series.

1159. Meyrick, Samuel Rush. “Observations on the Ancient Military Gar- ments Formerly Worn in England.” Archaeologia 19 (1821): 210–217.

1160. ———. “Observations on the Body-Armour Anciently Worn in Eng- land.” Archaeologia 19 (1821): 120–28.

1161. Michel, Paul-Henri, ed. Romanesque Wall Paintings in France. Lon- don: Thames and Hudson, 1950. Notes: Translated by Joan Evans. Originally published by Editions du Chêne, Paris in 1949.

1162. Milbrandt, Melody K., and Katrina Bonds. “Instructional Resources: Violence in Art: Raising Authentic Issues for Discussion.” Art Education 53, no. 1, Art Education at Home and Around the World (2000): 25–32. Notes: Published by the National Art Education Association. The authors present a very thought-provoking article written shortly after the horrifying shooting tragedy at Columbine High School in Colorado. Their aim is to “examine the images in the Bayeux Tapestry as a means of addressing concerns that touch students’ daily lives.” The article provides a quick review of 338 The Bibliography the artifact and the story it tells before examining four scenes from the Tapestry. The write-up on each scene is intended to guide the high school or middle school teacher in facilitating a class discussion on the images, events, interpretation, and implications of each scene. The authors have included several questions, ranging from the Tapestry’s content to philosophical issues, to stimulate classroom conversation. The first scene studied is of Harold and his party riding to Bosham. The authors contend that Harold accepted King Edward’s command to go to Nor- mandy and tell Duke William that William would indeed succeed the aging king to the throne. They also state that the Tapestry’s Ælfgyva is William’s daughter. Students are challenged to make generalizations at this point about Harold’s character and his relationship with William. The oath scene is then examined and students are asked to discuss the importance in today’s culture about oath-taking rituals and ceremonies. The questions then turn to whether or not Harold should have kept his promise to William, and students are asked to reflect on their own experiences with betrayal and the conflicts that may have resulted and how they may have been avoided. The third scene discussed is the comet episode and the authors present questions on how fear feeds superstition. The Tapestry’s scarcity of women is also called into question here. Lastly, the scene of the tumbling horses is discussed. A few questions are posed about the manner in which violence is depicted in this image followed by many questions encouraging participants to debate the depiction of violence in art: To what extent is it acceptable? Are there too many violent images around us? Do violent images contribute to violent behavior? Should artists take responsibility for the violence in their artwork? What about personal artistic freedom and social responsibility? The questioning once again asks students to make their own connections to issues of loyalty within today’s social structures, personal aggression versus group aggression, character traits of leaders, and the triumph of the morally best. The article closes with a brief run-down of the Tapestry’s survivals over the centuries, adding erroneously that it “was stored in Switzerland during World War II.” Bonds is an elementary school art teacher; Milbrandt is an art education professor at the University of West Georgia, where, incidentally, hangs the western hemisphere’s only full-scale replica of the Bayeux Tapestry (a painting on canvas).

1163. Miles, David. “A Stitch in Time.” Minerva (2011): 12–15. Miles, Chief Archaeologist at English Heritage and Director of the Oxford Archaeological Unit, sums up a few of the more popular points of debate on the Bayeux Tapestry (“the grand-daddy of all strip cartoons”). Noting that Tapestry scholars “seem to reinvent the object of their desire almost every decade,” he calls on recent published works to see what they have to say. On Martin Foys’ Pulling the Arrow Out: The Legend of Harold’s Death and the Bayeux Tapestry, he points out that this article should put to rest the notion that King Harold was killed by an arrow in his eye, as could be interpreted from the Tapestry. The Bay- eux Tapestry: New Approaches, Miles adds, contains “outbursts of energy” and The Bibliography 339 paraphrases Neil MacGregor, Director of the British Museum, “anybody who is anybody in Tapestry studies gathered in the British Museum in 2008, largely to contradict each other.” In a discussion of the function of the Tapestry, “an 11th- century powerpoint” for a commentator, he says that the “opening and closing scenes are missing and would have added a further 10 metres” to its length. He then goes through the most well-established evidence for assigning Bishop Odo as the Tapestry’s patron, but discusses at some length the theories of Carola Hicks, who contends in The Bayeux Tapestry: The Life Story of a Masterpiece that it was sponsored by Queen Edith and of George Beech, whose article in New Approaches suggests it was commissioned by William the Conqueror and was manufactured in France. On the ever-controversial topic of the identity of the Tapestry’s Ælfgyva, Miles brings up Patricia Stephenson’s research that affirms that the mysterious figure is a Godwin family member who became Abbess of Wilton and “includes herself in the Tapestry to emphasise her role as its project manager.”

1164. Miles, David. The Tribes of Britain. London: Weidenfeld & Nicolson, 2005.

1165. Minne-Seve, Viviane, and Herve Kergall. Romanesque & Gothic France: Art and Architecture. New York: Harry N. Abrams, 2000. Notes: Translated from the French by Jack Hawkes. [BT: pp. 196–7]

1166. Mish, Ina R. “Speakers’ Corner: Letters From Our Readers, ‘Glorious Cover.’” British Heritage (2004): 6. Mish’s letter praises British Heritage for its July 2004 cover image from the Bayeux Tapestry. She explains that she takes Tapestry images from one of her books, and now presumably from the article, to embroider motifs from the Tap- estry. She then makes an inquiry about the Overlord Embroidery. The editor’s note provides a very brief description of the Overlord Embroidery and a website for the D-Day Museum where more information can be found. An image of the July 2004 cover is included.

1167. Mittman, Asa Simon. Maps and Monsters in Medieval England. New York: Routledge, 2006. Notes: Part of the Studies in Medieval History and Culture series.

1168. Mogere, Serge. The Great Moments of Arnaud De Bichancourt. 1. And So William Became a King. St. Martin du Bec, France: Assord B.D. (Associa- tion pour la redécouverte de bandes dessinées), 2000. Notes: Written with the collaboration of Eriamel and Stephane Gondoin. Translated into English by Gaie Dars. Publication sponsored by Calvados and the 340 The Bibliography

City of Bayeux. Cover title: The Great Moments of Arnauld de Bichancourt. And So William Became a King, 1046–1066, Volume 1. French edition: Les riches heures d’Arnauld de Bichancourt. 1. Et Guillaume devint roi. Renowned historical comic strip author Morgere presents a most unusual and wonderful treatment of the Bayeux Tapestry, his own fictionalized geste du Con- quêt. The story of a fictitious Arnauld de Bichancourt, Knight of Picardy, in the service of the Duke of Normandy, is presented as a full-color graphic novel of the Norman Conquest. Images of the Tapestry (that resemble Stothard’s drawings) often run along the tops of the pages with the cartoon panels below elaborating on the Tapestry scenes with lively dialogue, action, and drama. Includes a foreword by senator and mayor of Bayeux, Jean-Léonce Dupont, celebrating the Tapestry, the glories that are William the Conqueror, and reasons to visit his town. Use- ful also are maps of the Battle of Hastings, photographs of battle re-enactments, detailed explanatory notes, and a glossary. This book would appeal to youth and adults alike.

1169. Moore, Naomi. Bibliographie: Tenture Dite Tapisserie De La Reine Mathilde. Notes: An unpublished typescript in the Society of Antiquaries of London. Cited by David M. Wilson.

1170. Morazzoni, Marta. The Invention of Truth. New York: Alfred A. Knopf, 1993. Notes: Translated by M.J. Fitzgerald. This peculiar and dreamlike short novel is a highly fictionalized account of Queen Matilda’s gathering of 300 needlewomen and their production of the Bayeux Tapestry. (Every few pages, the novel goes back-and-forth between this story and a story of the Victorian-era Gothic art scholar John Ruskin and his trip to Picardy.)

1171. Morey, Charles Rufus. Mediaeval Art. New York: W.W. Norton, 1942. Morey, Marquand Professor of Art and Archaeology at Princeton University, writes of how the transition from a pre-Norman style to one that followed the Conquest can be seen in the Bayeux Tapestry. Indicating that the embroidery is of English workmanship and its general theme is the celebration of William’s victory, he writes “In this the difficult technique has emphasized the decadence of drawing, in which the old distortions have lost their rhythm and the dynamic effect of diagonal action; the pattern becomes a mere confusion of slanting lines. The chinless faces, long necks and bodies, and comic attitudes of the dismayed English who gaze at Halley’s Comet . . . or the toppling attitude of King Harold as he receives news of the portent, as well as the unarticulated architecture, are evidence enough that even aside from the effect of the Conquest the vitality of Anglo-Saxon art had passed.” Includes a black-and-white image of the comet scene, a reading list, and an index. The Bibliography 341

1172. Morgan, Kenneth O., ed. The Oxford History of Britain. Oxford, U.K.: Oxford University Press, 1999. Notes: Revised edition. The text in this edition was first published as The Ox- ford Illustrated History of Britain. This edition was first issued, with revisions, as an Oxford University Press paperback in 1988 with updated editions in 1993 and 1999. This very famous standard work tells the history of the British peoples from Roman times to the present day. The Bayeux Tapestry is discussed in a chapter on the end of Anglo-Saxon England. The author cautions that, despite the Norman chroniclers’ accounts, the Tapestry may indeed be secretly telling us that “Harold fell into William’s hands by mischance [and] is forced to swear the oath.” The remainder of the chapter goes on to describe the Norwegian invasion of 1066, the Battle of Hastings, and the opposition William encountered in London immediately thereafter. Includes a list of titles for further reading arranged by chapter and type of work (biographies, etc.), a detailed chronology of historical events, genealogies of royal lines, and an index.

1173. Morgan, Philip. “The Naming of Battlefields in the Middle Ages.” War and Society in Medieval and Early Modern Britain. ed Diana Dunn, 34–52. Liverpool, U.K.: Liverpool University Press, 2000. In this essay, Morgan asks why battles receive the proper names by which they are known. He notes that the battle that began the Norman Conquest was not called “the Battle of Hastings” in the Anglo-Saxon Chronicle and that the Bayeux Tapestry itself refers to it (in the Latin inscriptions) as “the battle against King Harold.”

1174. Morgan, Tom. “How I Conquered Sewing by Making a Bayeux Tap- estry.” Express, 9 April 2013. British history buff and battle re-enactor Andy Wilkinson, who had previously never picked up a needle and thread, decided to embroider his own 2:1 scale model of the Battle of Hastings scenes of the Bayeux Tapestry, a project which took 18 years and 40 feet of linen. Includes a photograph of his work and of the artist wearing chain mail, including a square breast piece like the type depicted in the Tapestry that has been confounding scholars for decades.

1175. Morillo, Stephen, ed. The Battle of Hastings: Sources and Interpreta- tions. Woodbridge, U.K.: The Boydell Press, 1996. Notes: Part of the Warfare in History series, volume 1, Matthew Bennett, general editor. Series also cited as Warfare in History: Sources and Interpretations in British Library Cataloguing-in-Publication data. Wabash College history professor Morillo presents a collection of 12 essays on various aspects of the Battle of Hastings by several notable contemporary scholars. Each essay is prefaced with a brief summary by Morillo. After a thorough introduction covering the events leading up to the battle, numerous maps of the 342 The Bibliography battlefield, and historiographical approaches, Morillo dedicates the first fourth of his book to excerpts from six primary sources relevant to the Battle of Hastings: William of Poitiers’ Gesta Willelmi, William of Jumièges’ Gesta normannorum Ducum, side-by-side-by-side versions C, D, and E of the Anglo-Saxon Chronicle, Florence of Worcester’s Chronicle of Chronicles, the Carmen de Hastingæ Pro- elio, and 21 black-and-white photographs of the Bayeux Tapestry’s battle scenes. Each excerpt is preceded by a very convenient brief summary and background of the work that follows. In his introduction to the Tapestry, Morillo comments on the limitations of merely showing a series of photographs of the work which make it appear “cartoon-like” and disjunct. See annotations for these individual essays from this volume: “Bookland and Fyrd Service in Late Anglo-Saxon Eng- land” by Richard Abels; “Naval Logistics of the Cross-Channel Operation, 1066” by Caroll M. Gillmor; “The Pevensey Expedition: Brilliantly Executed Plan or Near Disaster?” by Christine and Gerald Grainge; “English Warfare in 1066” by Richard Glover; and “The Battle of Hastings” by R. Allen Brown.

1176. ———. Warfare Under the Anglo-Norman Kings, 1066–1135. Wood- bridge, U.K.: Boydell Press, 1994. Remarks on the Bayeux Tapestry are scattered throughout this book for the Tapestry’s evidence of war preparations and tactics. Morillo comments on the following: carpenters, such as those shown in the Tapestry, could have only ac- counted for part of William’s fleet; the Tapestry as the best source for the types of ships used by Anglo-Norman kings; the Tapestry’s horse-transporting ships; the use of fire in siege warfare; and the questionable chronological placement of Gyrth and Leofwine in the Tapestry’s battle scene. Includes a bibliography and an index.

1177. ———. “William the Conqueror and the Channel Crossing of 1066.” (2013). Notes: A short summary of the paper given by Morillo at the session titled “Studies in Medieval History in Honor of Bernard S. Bachrach” at the 48th Inter- national Congress on Medieval Studies in 2013. This article provides a summary of Stephen Morillo’s 2013 paper “Contrary Winds: Theories of History and the Limits of Sachkritik” in which he discusses whether or not Duke William was hampered by unfavorable winds or if he inten- tionally remained in Normandy to let Harold exhaust his resources fighting the invasion of his brother Tostig, word of which may have come to the Duke’s ears. Includes a photograph of a Bayeux Tapestry scene.

1178. Morley, John. The History of Furniture: Twenty-Five Centuries of Style and Design in the Western Tradition. Boston: Little, Brown, 1999. In his third chapter titled “Romanesque Art and Ornament: Romanesque Furniture,” Morley references the Tapestry in a discussion of the survival of the X-frame chair, writing “The hieratic significance of the antique folding chair The Bibliography 343 ensured its survival in large numbers throughout the Romanesque and Gothic periods. Edward the Confessor sits on an X-frame chair in the Bayeux Tapestry. Barbarian embellishments were often applied to antique form: a fine Spanish boxwood stool of about 1150 from Huesca Cathedral has barbaric lion heads and paws and is decorated with barbaric curvilinear knots.” He continues with commentary on illustrations of X-frame chairs “that appear to be fantastic” but seem less so “when compared with extant furniture.” Black-and-white photographs of an X-frame stool and chair are included.

1179. Morrall, John B. The Medieval Imprint: The Founding of the Western European Tradition. New York: Basic Books, 1967. Notes: First published by C.A. Watts & Co., in “The New Thinker’s Library,” Raymond Williams, general editor. Using numerous substantive examples, Morrall explores the roots of modern civilization in medieval Western society. In a chapter titled “Lords, Ladies, Land and People” he writes of the Tapestry’s reliability as a historical record: “The idea of a holy war to vindicate vassal disloyalty had been adumbrated in the Pa- pacy’s support of William the Conqueror’s expedition to England in 1066 (Wil- liam’s feudal version of events being supported by the Bayeux Tapestry), while the appeal to armed force to unseat an alleged enemy of the Church had also been employed by Gregory VII against the Emperor Henry IV.” Includes select bibliography arranged by chapter and index. Morrall is senior lecturer in political science at the London School of Economics.

1180. Morris, John. “Ring-Mail.” The Journal of English and Germanic Phi- lology 33, no. 2 (1934): 194–204. Notes: Published by the University of Illinois Press. Morris suggests that the mail worn by King Harold and his bodyguard at the Battle of Hastings, as depicted by the Bayeux Tapestry, is the same as perhaps the armored corselets and ring-byrnies the Danes used in the latter part of their rule in England. The rings in this armor, he notes, “were not yet interwoven, but sewed on side by side.” Morris also mentions the fish-scale corselets and the ring armor worn by both Harold as well as the Normans on the Tapestry.

1181. Mortimer, Ian. Medieval Intrigue: Decoding Royal Conspiracies. Lon- don: Continuum, 2010. This book serves to answer questions surrounding fourteenth-century events of a covert and conspiratorial nature; it also explores the nature of historical certainty and uses the Bayeux Tapestry as an example: the only thing we can be certain of regarding the Tapestry is that it depicts an eleventh-century battle.

1182. Morton, Catherine, and Hope Muntz, eds. The Carmen De Hastingæ Proelio of Guy Bishop of Amiens. Oxford, U.K.: Clarendon Press, 1972. Notes: Part of the Oxford Medieval Texts series. 344 The Bibliography

1183. Morton, David Lawrence. Traveler’s Guide to the Great Art Treasures of Europe. Boston: G.K. Hall, 1987. Notes: Paperback. Travel industry executive Morton recommends hundreds of works of art for travelers to Europe. He directs Normandy visitors to the Centre Guillaume le Conquérant to see the Bayeux Tapestry, “215 feet long” complete with Norman “skinheads.” Includes the museum’s operating hours at the time of publication.

1184. Mothersill, Mary. “Is Art a Language?” The Journal of Philosophy 62, no. 20 (1965): 559–72. Notes: “American Philosophical Association Eastern Division Sixty-Second Annual Meeting, October 21, 1965.” In her discussion of E.H. Gombrich’s thesis that art is a language, Mothersill writes that “unless we knew what a battle looked like (more or less), the Bayeux tapestry could not tell us that there was one at Hastings.” She continues, explaining, “Consider a further point: Gombrich talks about what the Bayeux tapestry ‘tells us’; he does not really believe that it tells us anything. As he admits, only statements are true or false. But I am not sure that he appreciates the amount and complexity of the verbal scaffolding required to establish the connection between pictures and information.”

1185. Mullen, Chris. “The Visual Telling of Stories.” Web page, Available at http://www.fulltable.com/vts/b/bayeux/bayeux.htm. Detail images of Charles Stothard’s drawings of the Bayeux Tapestry can be selected from a page of thumbnails for close viewing; users can then click the images for excellent magnified views.

1186. Mullen, Richard. “Normandy: 1066, 1944, and 2004.” Contemporary Review 284 (2004): 365–68. Mullen, in his article written to coincide with the sixtieth anniversary of D- Day, recommends two books for each of Normandy’s two most memorable dates. On the subject of 1066, he praises David Wilson’s The Bayeux Tapestry and its 2004 re-issue. He also recommends to his readers Andrew Bridgeford’s 1066: The Hidden History of the Bayeux Tapestry. Not fully convinced of Bridgeford’s theme that the Tapestry has a “subversive subtext present that attacks William’s claim,” Mullen informs his audience that the Bridgeford’s accounts of the Tap- estry’s survival (namely the French Revolution and World War II) are fascinating. Mullen comments on the plaques outside of the Bayeux Tapestry Museum which commemorate the visits of recent British Royalty. Also interesting are his remarks about how it is that Queen Elizabeth II is the current Duke of Normandy.

1187. Mullins, Edwin, ed. The Arts of Britain. Oxford, U.K.: Phaidon, 1983. The Bibliography 345

1188. Mullins, Sam. “Brewing, Biscuits, Baking and Bayeux.” Museums Journal 94 (1994): 20–21. Notes: Alternate title: “Reopening of the Museum.” Mullins reports on the reopening of the Museum of Reading in Reading, Eng- land in September of 1993. It had been closed since 1989. The museum is located in the “unusually grandiose” Gothic town hall which was built to Alfred Wa- terhouse’s design in 1876. Notably, the institution houses the most well-known replica of the Bayeux Tapestry, often called “Britain’s Bayeux Tapestry” or the “Leek Embroidery” having been made by the Leek Embroidery Society at the direction of Mrs. Elizabeth Wardle, also known as Mrs. Thomas Wardle.

1189. Munoz-Jimenez, Jose Miguel. “Las Pinturas De San Baudilio De Berlanga y El Tapiz De Bayeux: La Posible Inspiración Nórdica Del Ciclo Profano.” Goya 253–254 (1996): 12–17.

1190. Munro, Colin. Sailing Ships. London: Pelham Books, 1973. Notes: Illustrated by the author. Noting the depiction of Norman ships in the Bayeux Tapestry, Munro writes that “Norman ships, which were more or less the same as Viking ships (in fact the suggestion has been made that the Normans were really settled Vikings).” Later, in a chapter on the Viking longship, he describes the Tapestry’s depiction of Wil- liam’s ship, Mora, as “typically Viking with the interesting addition of a ‘top.’” He continues, noting that “Some ships of this type seem to have had a raised platform at the stern, which later became the sterncastle.” The book is illustrated with black-and-white drawings of ships. Includes an index.

1191. Muntz, Eugene, and Louisa J. Davis. A Short History of Tapestry: From the Earliest Times to the End of the 18th Century. New York: Cassell & Co., 1885. Notes: Part of The Fine-Art Library.

1192. Murphy, Lisa N. The Bayeux Tapestry: Sacred Resonance. Indiana University, 1997. Notes: 84 pp.

1193. Murray, Alexander. “Bede and the Unchosen Race.” Power and Iden- tity in the Middle Ages: Essays in Memory of Rees Davies. eds Huw Pryce, and John Watts, 52–67. Oxford, U.K.: Oxford University Press, 2007. In this article focusing on Bede’s The Ecclesiastical History of the English People, Murray, an emeritus fellow at University College, Oxford, writes: “Bede’s History remains a victors’ document, justifying the Britons’ elimination. It used appropriate literary devices. These included one stolen from the victim, British epic, mourning dead heroes (and translated by an English monastery), 346 The Bibliography has been plausibly suggested as Bede’s source for the battle of Chester. Bede himself treated the story in epic fashion, reading the British rout as nemesis for the Britons hubris in defying due authority. Epic was handy for this purpose. We do not have to leave medieval Britain to find a parallel in the Bayeux Tapestry. After 1066 the Normans had to justify a conquest. To do so they employed, among other devices, a pictorial narrative of the epic tragedy of a man who, through hubris, defied the authority to which an oath had already bound him, his benefactor William. Bede’s History invites a similar interpretation. It was the Bayeux Tapestry of the Anglo-Saxon conquest.” Murray offers a note referencing C.R. Dodwell’s “The Bayeux Tapestry and the French Secular Epic.” The book provides an index.

1194. Murray, Margaret A. “Folklore in History.” Folklore 66, no. 2 (1955): 257–66. In narrative about comets and auroras as portents of war, Murray references the Bayeux Tapestry’s depiction of Halley’s comet. The article also includes a plate showing this scene; the caption reads “Comet which foretold the Norman Conquest. Bayeux Tapestry.” The Victoria and Albert Museum is cited as the source of the image.

1195. Musgrave, Elizabeth. “A Unit of Work in History in the Fifth Grade.” The Elementary School Journal 32, no. 3 (1931): 223–26. Notes: Published by the University of Chicago Press. Musgrave, a Brooklyn, New York school teacher, describes how she integrated several areas of fifth grade curriculum into study of the Bayeux Tapestry and the Norman Conquest. First, she showed her class color pictures from a book on the Tapestry (unnamed) and used that as a catalyst for encouraging student questions which led to library use and “thorough and painstaking investigations.” Soon, the pupils wanted to turn their research into a play, for which they used arithmetic (for calculating the cost of materials), geography and history, music, and spelling. Their success showed how studying the Norman Conquest became a “real and vital experience.”

1196. Musgrove, David. “How English Is the Bayeux Tapestry?” BBC His- tory Magazine (2010): 26–31. Musgrove presents an overview of some popular areas of Bayeux Tapestry scholarship and brings together the opinions of six contemporary Tapestry scholars who were to present at the then-forthcoming conference on the Tapestry at the British Museum: George Beech, Shirley Ann Brown, Carola Hicks, Sylvette Lemagnen, Michael Lewis, and Gale Owen-Crocker. After an introduction recap- ping the story the Tapestry tells, the article is divided into headings in the form of questions. Who had it made? Lewis and Owen-Crocker are quoted in support of Odo of Bayeux. Was its creator a woman? Hicks’ theory that it was commis- The Bibliography 347 sioned by and even worked by Queen Edith is summarized. Beech supports his notion here that the Tapestry was made in the Loire Valley France. Was it made in England? Lemagnen and Owen-Crocker are quoted here with remarks that re- state the most common evidence on the topic. Less-discussed questions round out the article. Should we [the British] ask for it back? A quick paragraph recounts the Tapestry’s whereabouts over the centuries. Brown notes why the French, English, Germans, and Scandinavians all have a stake in the national identity of the Tapestry. Lewis and Beech favor the Tapestry’s “return” to England; Owen- Crocker wants to see it stay in France because it’s too fragile and large to move. “And let’s face it, it’s great fun going to Bayeux to see it. It’s a lovely place.” Is it too fragile to move? Hicks states that moving the Tapestry might damage it, further, “you’d destroy the tourist industry in Bayeux. If people in Britain want to experience the tapestry without going to France, they should go to Reading Museum and look at the absolutely excellent Victorian copy that was sewn in the 1880s.” Brown agrees, stating that “any time it’s moved, it will be damaged.” Lemagnen believes that the biggest challenge to displaying it elsewhere would be its very specialized display case and conditions that would be too impractical and costly to recreate elsewhere. She adds that the decision to move the Tapestry would not be hers or her city’s because it belongs to the French state. The article includes several color photographs of Tapestry scenes, including one of visitors looking at the Tapestry in its former (pre-1982) display. Includes headshots of the six scholars featured. Sidebar features include: information on accessing the BBC History Magazine podcast interviews about the Tapestry; a brief “fact file” that lists the bare-bones facts about the Tapestry in about 100 words; a list of then-recent book for further reading about the Tapestry; the web addresses of the Bayeux Tapestry museum and the Reading Museum; information on registering for the British Museum Conference. A lengthy sidebar discusses issues facing the future of the Tapestry: the shape of its display, a study of its back, and scientific analysis of its fibers. The author gives a preview of what will be discussed at the British Museum Conference: “Owen-Crocker . . . will be explaining what we can learn from the faces in the tapestry”; “Lewis has been considering a link between the tapestry and a manuscript probably made in Canterbury”; Brown will discuss “unstudied German documents pertaining to the Second World War analysis of the tapestry”; “Martin Foys will be explaining why he thinks we’ve been foxed by a 12th-century revision” to the Tapestry that makes us think that Harold was shot in the eye; “Lemagnen will be considering what we can learn from the one big unexplored area of the Tapestry: its reverse side.”

1197. Musset, Lucien. The Bayeux Tapestry. Nantes, France: Artaud Frères, 1985. This visitor’s souvenir booklet, written by the renowned Bayeux Tapestry scholar, provides readers with 30 pages of a concise, economical, and very smart overview of various aspects of the Tapestry, including design, production, 348 The Bibliography

authorship, historical background, the Tapestry as document, and military and naval history. Musset, a professor at Caen University, asserts that the Norman venture fleet of 1066 had perhaps 100 ships with 30 to 40 men per ship. He also encourages Tapestry visitors to explore and carefully study the other rooms’ exhibits in the Centre Guillaume le Conquérant. Includes 14 large full-color photographs of the Tapestry, a map of Tapestry-related lands, and a very basic genealogical chart of Norman dukes and Anglo-Saxon royalty. This book is at times sloppily translated from the original French with typographical errors, awkward sentences, and careless punctuation.

1198. ———. The Bayeux Tapestry. Woodbridge, U.K.: Boydell Press, 2005. Notes: New edition. Translated by Richard Rex. Originally published in 1989 as La Tapisserie de Bayeux by Éditions Zodiaque, Paris. Musset’s work, one of the more important recent books on the topic, “does not seek to revolutionise the study of the Bayeux Tapestry” but attempts to “take stock of the more reliable findings of the last half-century or so of scholarship” in contrast to “many recent books on the subject, whose wilder speculations tend to cancel each other out.” He begins the first chapter by stating that the use of the term “Queen Matilda’s Tapestry” must stop at once. A very concise run-down of the Tapestry’s history from its creation through its present-day hanging is followed by remarks on the unreliability of the final scenes of the Tapestry whose caption is a “blatant forgery perpetrated shortly before 1814 and motivated by the anti-English feeling then so prevalent.” The linen backing, according to Musset, was added in 1724 and that the large black ink numerals written on the backing in the late 1700s or early 1800s are a reference system which Musset follows in this book. Musset continues with discussions on where and when it was created, its connections to the city of Bayeux, and why it was created: “Its purpose was to make the faithful reflect on the sanctity of oaths sworn in the presence of relics and the risks incurred by those who breached them.” In a chapter on where the Tapestry fits within the artistic context of its time, Musset provides a physical description of the Tapestry, and discusses the Tapestry in the context of other textiles from c. 800 to 1200, namely the Tapestries of Oseberg, Rolsvøy, and Skog, and the commemorative textile of the deeds of Byrhtnoth in the Battle of Mal- don. The imaginative poem of Baudry of Bourgueil and its fantastic content and unlikely connection to the real Bayeux Tapestry are discussed. Musset discusses the ways in which the Tapestry has been compared by other scholars to comic strips, motion pictures, and “flick-books,” but states that “the alleged examples are not convincing.” He much prefers comparing the Tapestry with sculpture and pen-drawing. He provides numerous examples of the Tapestry’s likening to relief sculpture, and points out an eleventh-century baptismal font with carved images of buildings that bear resemblance to the Tapestry’s buildings. He discusses the well-known usefulness of manuscripts like the Old English Hexateuch in Tapestry study, and discusses the similarities of limited expression in both embroideries and mosaics. Musset mentions some logistical issues in identifying the The Bibliography 349

Bayeux Cathedral as suitable for hanging the Tapestry. On the Tapestry’s function, the author states that it is neither overtly heroic, nor does it sink to the level of “mere moralising” and that it is “almost exclusively masculine, a monastic, arguably even a misogynistic, vision.” Musset discusses the shapes and forms of letters and the abbreviations in the Tapestry’s inscriptions. He discusses the nuances in the handling of the Latin in the inscriptions and their direct, efficient style. Musset refutes the popular notion that parabolant and Stigant are evidence of French language influence. Musset discusses the Tapestry’s conventions for making characters readily identifiable and distinguishable by ethnicity, but also points to several instances in which they are not. The bulk of this book, however, lies in the full-color scene-by-scene display of the Tapestry with Musset’s very thorough commentary alongside each photograph. Along the top of each two- page spread in this section, readers are treated to a long, narrow photograph of a much greater length of the Tapestry than the featured photograph; this allows readers to view where the featured scene appears within a wider context. Curi- ously, on the topic of the almost universally accepted notion of scene-reversal in the Tapestry, Musset dismisses the reversal theory in the Ponthieu episode as “hardly compelling.” The preface by Sylvette Lemagnen, curator of the Tapestry, celebrates the miracle of the Tapestry’s survival throughout the centuries and notes that her museum displays the work “in a U-shaped gallery purpose-built to show it at its best.” Musset writes that the current display is “questionable . . . from the point of view of understanding the work as a whole.” Lemagnen points out that there have been “over 600 learned books and articles” on the Tapestry. Four pages at the beginning of the book present the entire Tapestry in full color with numbers below the scenes indicating page numbers where each scene is featured. The complete text of the Latin captions (except the four words Musset deems a “forgery”) are listed on one page with their English translations. There are genealogical tables for the Norman and English dynasties and for the Godwin dynasty. There is a very brief bibliography and no index.

1199. ———. “Notes Sur La Tapisserie De Bayeux.” Art-Basse Normandie 54 (1969): 50–53.

1200. Myer, Michael. “The Bayeux Tapestry.” Web page, Available at http:// www.heathwood.org/myer/omnibus/Bayeux/BT%20Local.htm. This is currently one of few websites in which viewers can see the large images of the entire Bayeux Tapestry on one scrollable page. The Tapestry has been divided into 35 equal images, each represents about 6.5 feet (2.0 meters) of the Tapestry.

1201. Mylne, Robert Scott. The Cathedral Church of Bayeux, and Other Historical Relics in Its Neighborhood. London: George Bell and Sons, 1904. Notes: Part of the series Bell’s Handbook to Continental Churches. Author also cited as the Reverend R.S. Mylne. 350 The Bibliography

This pocket-sized handbook provides a thorough examination of its subject both inside and out. The author, in a passage on the original Norman structure, states that there is “good reason to believe that the famous Tapestry of Bayeux was made for use on this important day [the day of consecration of the cathedral] as a decoration for the bare Norman walls of the Cathedral nave.” A full chapter on the Tapestry opens the then-recent publication of E. A. Freeman’s work and Mylne freely quotes his “learned arguments” and “tenable opinion.” Mylne then goes on to emphasize what he believes to be the Tapestry’s reality and authority. After a brief description of the Tapestry, the author presents 58 scene-by-scene summaries, and his opinions, of the embroidered story. He goes on to point out which scenes are the most important. Napoleon’s interest in the Tapestry is briefly examined. Mylne discusses the Tapestry’s installation behind glass at the public library and adds that one must see the Tapestry in person to “fully appreciate the vigour and expression of the design, and the skilful management of the worsted thread . . . the strange needlework generally attributed to Queen Matilda, and certainly wrought by deft hands of Odo, Bishop of Bayeux.” Includes five photographs of the Tapestry and an index.

1202. Navarrete, Federico. “The Path From Aztlan to Mexico.” RES: An- thropology and Aesthetics 37 (2000): 31–48. Notes: Published by the Peabody Museum of Archaeology and Ethnology. In a discussion of how space and time become “inextricably linked” in visual narratives, Navarrete uses the Bayeux Tapestry as an example, writing, “Spatial contiguity usually represents temporal contiguity, and movement in space can be used to represent movement in time. This is the case, of course, in the migration codices and also in the famous Bayeux Tapestry . . . in which, for instance, the boats crossing the English channel are shown moving both in space and in time.” Later, he notes how different the visual narrative devices of the Bayeux Tapestry and other European visual histories are from those of the Mesoamerican tradition. Includes drawings and a bibliography arranged by major subject area.

1203. Neagley, Linda Elaine. “Portals of the Bayeux Tapestry: Visual Expe- rience, Spatial Representation and Oral Performance.” The Bayeux Tapes- try: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 136–46. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Neagley examines medieval perception of space and applies this to the portals depicted in the Bayeux Tapestry. Whereas “the architecture in the Tapestry has often been described as inadequate, naive, confusing, and fantastic,” she informs The Bibliography 351 her readers that modern visuality, a culturally constructed and learned way of seeing, is not the same visuality of a medieval person. What seems to us as flat, two- dimensional presentations of architectural forms in art did not “look” flat to the viewer centuries ago. She illustrates this point very clearly with photographs of various works of art apart from the Tapestry. A work as long as the Tapestry was meant to be participatory, and required kinetic engagement by walking alongside it to see it all or to place one’s self in various scenes by entering them via portals. Neagley also discusses at length the “performability” of the Tapestry, how it most likely served as visual cueing for an interlocutor, jongleur, or other kind of speaker. This aspect of the textile, she notes, is a close parallel to the eleventh- and twelfth-century vernacular drama experience and she discusses the dynamics of Anglo-Norman drama as they compare to the Tapestry’s staging and composition. Neagley is Associate Professor of Art History at Rice University, Houston.

1204. Nebolsine, George. Journey into Romanesque: A Traveller’s Guide to Romanesque Monuments in Europe. New York: G.P. Putnam’s Sons, 1979. Notes: Edited by Robyn Cooper. First edition published in 1969. Nebolsine presents an overview of historical and cultural influences that shaped Romanesque aesthetics, followed by a region-by-region survey of Romanesque monuments to visit from Portugal to Dalmatia to Scandinavia. In the Normandy section, the author encourages his readers to visit the Bayeux Tapestry for its value not as a work of art, but for its archaeological interest. Includes a poorly reproduced photograph of a Tapestry scene. In the pages on southern England, Nebolsine points out that the Church of the Holy Trinity in Bosham is interesting because a stylized representation of it appears in the Tapestry. In England’s West Country, one can see a rare example of English Romanesque fresco at All Saints, Claverley, near Wolverhampton, which is “reminiscent of the Bayeux Tapestry.” Includes maps, numerous photographs, and an index.

1205. Netherton, Robin. “A Possible Cutting Plan for an Eleventh-Century Gown (Appendix B).” Dress in Anglo-Saxon England. ed Gale R. Owen- Crocker, 342–44. Woodbridge, U.K.: Boydell Press, 2004. Notes: Revised and englarged edition. Originally published by Manchester University Press in 1986. Drawings by Christine Wetherell and Rosalyn Smith. Robin Netherton, presents a fully detailed description of a possible cutting plan to create the gown worn by the Tapestry’s Anglo-Saxon woman fleeing a burning building. Also includes detailed diagrams of the cuts.

1206. Netherton, Robin, and Gale R. Owen-Crocker, eds. Medieval Clothing and Textiles. Woodbridge, U.K.: Boydell Press, 2006. Notes: Volume 2 in the series Medieval Clothing and Textiles. 352 The Bibliography

1207. ———. “Recent Books of Interest.” Medieval Clothing and Textiles. eds Robin Netherton, and Gale R. Owen-Crocker, 175–80. Woodbridge, U.K.: Boydell Press, 2006. Notes: Volume 2 in the series Medieval Clothing and Textiles. This addendum provides critical reviews of books published in 2004 and 2005. Gale Owen-Crocker writes on The Bayeux Tapestry: Embroidering the Facts of History, edited by Bouet, Levy, and Neveux, and expresses her delight with this “long-awaited . . . feast,” especially for its presentation of the results of the technical study done on the Tapestry in 1982–83. She “find[s] much to argue with” regarding Renaudeau’s essay on costume in the Tapestry in Emboidering the Facts. Martin Foys’ fault-finding review of Beech’s “sensational” Was the Bay- eux Tapestry Made in France? The Case for Saint-Florent of Saumur states that Beech “never produces the material required to make his case compelling” yet does produce “meager scraps of documentation” and questionable interpretations. Foys does give a nod to Beech, however, for his extended passage on the Tap- estry’s inclusion of the Breton campaign and its probable connection to sources that are neither English nor Norman. In addition, Foys states that if Tapestry scholars would “follow Beech’s call to catalog and assess relevant French documents and art, we stand a much better chance to cracking a few of this famous textile’s mysteries.”

1208. Neuman de Vegvar, Carol. “Dining With Distinction: Drinking Vessels and Difference in the Bayeux Tapestry Feast Scenes.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 112–20. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Neuman de Vegvar, Professor of Art History at Ohio Wesleyan Univeristy, Delaware, a specialist on drinking horns and the social dynamics of feasting in the British Isles from Roman to Norman times, presents a study of the Bayeux Tapestry’s drinking vessels and how they are “deployed as part of a social discourse on difference,” helping to define the Anglo-Saxons as morally inferior to the Normans. The horns and palm cups of the Tapestry’s two feast scenes are closely examined and the author compares them to archaeological evidence. Drinking horns, she notes, are markers of elite status in pre-Conquest England and did not fully become part of Anglo-Norman culture. The Tapestry’s Norman banquet scene at Hastings shows the diners drinking from what are perhaps glass palm cups, which identify the Normans with the traditions of the people of Char- lemagne, the Franks, themselves great users of glass vessels during the Merovin- gian period. She also writes that drinking horns were, by the date of the Tapestry, symbols of earthly wealth, weak morals, and evil character and she discusses several manuscripts that illustrate this point. The Bosham feast scene, Neuman de The Bibliography 353

Vegvar notes, is not recorded in any primary source and may be “more symbolic than historically factual,” given that the animals in the upper and lower borders exhibit aggressive behaviors and that the drinking horns complement this notion. By contrast, the Norman feast, often believed to resemble the Last Supper, represents everything holy. She concludes by going over the other researchers’ commentary on the Tapestry’s persistent attempts at distinguishing between the opposing factions’ “ethnic and ethical differences” and that the themes put forth by the two feast scenes support such dichotomies. Includes photographs of drinking horns and of manuscripts.

1209. Nevadomsky, Joseph. “The Great Benin Centenary.” African Arts 30, no. 3 (1997): 1–10. Before Nevadomsky discusses the commemoration of the Great Benin Cen- tenary, marking the invasion and conquest of Benin by the British in 1897, he notes that Feburary of 1997 marked another invasion centenary celebrated by the Last Invasion Bicentenary Committee of Pembrokeshire, Wales where the group recognized “a nautical folly of comic proportions that occurred on Febru- ary 22, 1797” where a “French fleet led by an American landed, got drunk, got lost, and surrendered, but achieved what no one since William the Conqueror had done before them and what neither Napoleon nor Hitler managed since: setting a hostile foot on mainland Britain. Apart from a boatload of drowned soldiers, the casualties were four Frenchmen, two Welshmen, and a wounded clock (still ticking). The entire saga is depicted in the ‘Boy-o Tapestry,’ a 100-foot long Welsh version of the Bayeux Tapestry.” Interestingly, the Bayeux Tapestry and the Benin kingdom share a similar age.

1210. Neveux, François. The Bayeux Tapestry. Paris: Editions Jean-Paul Gis- serot, 1995. Intended for tourists to Normandy and those who desire a basic overview of the Tapestry, this 45-page book includes numerous illustrations and historical information about the Norman Conquest. It is also available in French.

1211. ———. “The Bayeux Tapestry As Original Source.” The Bayeux Tap- estry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 171–95. Caen, France: Presses Universitaires de Caen, 2004. The Bayeux Tapestry, states Neveux, is “an authentic historical document” and treats it as such in this essay focused on examining the Tapestry as a source for material not found in any literary source, and discusses the visual narrative procedures as distinguished from literary ones. On the Tapestry’s Brittany expedition scene, he notes that the designer wished to make it “crystal clear” that Mont Saint-Michel belonged to Normandy and that the River Couesnon was indeed the fixed border between Normandy and Brittany and that Harold was a valiant res- 354 The Bibliography cuer of Norman soldiers from the river. The accuracy of the Tapestry’s version of how the campaign against Duke Conan II transpired is called into question. The placement, both geographically and chronologically, of the oath scene is studied from the viewpoint of the Tapestry as well as the writings of William of Poitiers and Wace. Neveux summarizes without detail prominent researchers’ (du Méril, Freeman, Stenton, Wilson, Musset, and Grape) conclusions about the place of the Tapestry’s manufacture, admitting, “this whole question appears to me to be of minor importance.” The “exceptional place” given to Bishop Odo in the Tapestry is examined scene-by-scene as follows. The appearance of Bayeux in the oath scene (although Odo is absent from it), underscores what Neveux states is a possibility: that the portable nature of an embroidery would have made it possible to display the work in a secular hall as well as in a cathedral. The fraternal gathering of William, Odo, and Robert in council before the battle highlights “the central role played by this tight family circle on the mother’s side.” Odo bearing a club at the Battle of Hastings, by no means a new discussion point, is examined afresh with the notion that the author of the inscriptions may have regretted his clause HIC ODO EP[ISCOPU]S BACVLV[M] TENENS (“Here Bishop Odo, bearing a club”). Neveux believes that the awkward lay-out of the text “CONFOR-TAT PVE-ROS” is evidence of it being an afterthought in order to “tone down the scandalous effect of this view of Odo” who, as a cleric, should not have been actively engaging in battle; Neveux casts doubt on William of Poitiers’ assertion that Odo “never took up arms” and adds that the Tapestry indeed “reveals what really happened.” In the scene of William raising his helmet to quell the rumor that he had been killed, a scene also in William of Poitiers, the “Tapestry’s designer evidently wanted to show that Odo had played an essential part in the victory by intervening in this decisive phase of the battle.” To add credibility to this scene, notes Neveux, one must remember that the Tapestry was created within a few years of the battle, with many eyewitnesses still alive. On the appearance of the character believed to be Eustace Boulogne, the author states his opinion that Eustace probably appears in this scene to show him making a positive contribution to the battle, and that his name was deliberately cut from the linen as “[it] may have been found politic to erase the name of a rebel,” which Eustace turned out to be a year after the battle. The scene reversal in the Guy of Ponthieu episode is explained by Neveux as an economical and deliberate shortcut to avoid showing William twice, and the logic of this layout is illustrated by two graphic organizers. The long scene sequence left to right from Harold’s return to England through the image of messengers heading to Normandy to tell William the news of Harold’s coronation Neveux considers all one cleverly crafted series of parallels moving the composition inward toward the death of King Edward, the scene reversal being of course part of the design. Another graphic organizer clarifies this point. He closes his article with some remarks on English sentimentalities toward the Tapestry. The Bibliography 355

1212. ———. A Brief History of the Normans: The Conquests That Changed the Face of Europe. Philadelphia: Running Press, 2008. Notes: Paperback. The book was written “in collaboration with Claire Ruelle.” Translated by Howard Curtis. Part of the Brief History series. English language edition published in the U.K. by Robinson, an imprint of Constable and Robin- son, London, 2008. Originally published in French under the title L’Aventure des Normands (VIIIe-XIIIe siècle), Editions Perrin, in 2006. The Bayeux Tapestry is referenced twice. First, the author suggests that while William’s effort to suppress Duke Conan II in the Brittany campaign was recounted by William of Poitiers, it is best known for being depicted in the Tapes- try. Second, in a discussion of housecarls, he mentions that the Tapestry clearly illustrates differences in weaponry between fighters. One black-and-white image is used in the text and one in color is used for the cover. Includes extensive notes, bibliography, and index.

1213. ———. “The Cerisy Colloquium: Conclusions.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and Fran- çois Neveux, 403–10. Caen, France: Presses Universitaires de Caen, 2004. Neveux provides critical summaries of the papers presented within this volume.

1214. ———. “The Great Bayeux Tapestry Debate (19th-20th Centuries).” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 17–25. Caen, France: Presses Universita- ires de Caen, 2004. Neveux summarizes significant nineteenth and early twentieth-century arguments about the Bayeux Tapestry’s patronage, date, and provenance, plus he reviews the most influential writings on the Tapestry in the second half of the twnetieth century. Includes extensive notes.

1215. ———. Guillaume Le Conquérant. Caen, France: Editions Memorial de Caen, 2001. This 15-page small paperback includes three color images of the Bayeux Tap- estry with detailed captions.

1216. ———. “Introduction.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 11–14. Caen, France: Presses Universitaires de Caen, 2004. Notes: Neveux stresses the significance of the Cerisy Colloquium and this, its resultant publication of proceedings which he lauds as a major contribution to Bayeux Tapestry studies. He briefly comments on the importance of each of the papers within. The three objectives of the Colloquium were all successfully accomplished, even exceeded, notes Neveux. The Colloquium’s special emphasis on technology is highlighted in this essay. 356 The Bibliography

1217. Neveux, François, and Claire Ruelle. Notre Dame Cathedral, Bayeux. Cully, France: OREP Editions, 2007. Notes: Cover title. Translated by Heather Costil. This visitors’ guide to the Bayeux Cathedral mentions the Tapestry briefly in a remark about Bishop Odo’s episcopacy during the construction of the earlier Romanesque version of the cathedral. The description of the nave comments on a nineteenth-century relief “corner piece” high overhead that is a reproduction of Harold’s oath scene from the Tapestry. Includes a seldom-seen photograph of this relief.

1218. Nevins, Allan. The Gateway to History. Garden City, NY: Anchor Books/Doubleday, 1962. Notes: Paperback. Revised edition. Originally published by D.C. Heath in 1938. Nevins, in a chapter titled “Primitive Materials for History,” writes about the Bayeux Tapestry as part of a discussion of the historical value of textiles. He dates the embroidery to “late in the eleventh or more probably early in the twelfth century” and provides basic information. He mentions the frequent attribution of the Tapestry’s patronage to Queen Matilda and her maids, but suggests “it is difficult to believe that they understood so laborious a work on materials so coarse.” Nevins quotes Freeman and notes the many references to Tapestry throughout texts on English history. Includes a bibliography arranged by book type and an index.

1219. Nevinson, John L. “The Costumes.” The Bayeux Tapestry: A Compre- hensive Survey. ed Frank M. Stenton, 70–75. London: Phaidon, 1965. Notes: Second edition, revised and enlarged. Originally published in 1957 by Phaidon. The photographs reproduced in this book were taken in April 1956 by Percy Hennell. Nevinson opens his article with some observations on the limited degree to which the Bayeux Tapestry, manuscripts, and literary sources inform us about dress in the eleventh century; at the end of the article, readers are cautioned “not to place too great reliance on the Tapestry” as an authority on the matter. Three times in the Tapestry, he notes, there appear patterned garments whose exact nature is uncertain: one on Guy of Ponthieu when he receives William’s messengers, one on William by Mont St-Michel, and one on Odo in battle. For most of the article, Nevinson simply presents an objective reflection of what is seen in the Tapestry’s clothing and hairstyles.

1220. ———. The Costumes in the Bayeux Tapestry. London: 1957. Notes: Excerpt. Title on cover. From Stenton’s The Bayeux Tapestry: A Com- prehensive Survey, p. 70. 1957. This is a seperately published copy of Nevinson’s article in Stenton’s book. The Bibliography 357

1221. Newark, Tim, ed. The Grammar of Warfare: The Ultimate Visual Guide to the History of Warfare From the Ancient World to the American Civil War. New York: Fall River Press, 2009. Notes: This edition was published by arrangement with Ivy Press, East Sussex, U.K. In this heavily illustrated 320-page paperback, Newark presents a casual guide to the development of arms and armor, the evolution of military tactics, and technological advances of warfare. He also offers interesting perspectives on eleventh-century material culture. Battle scenes from the Tapestry are featured with brief narrative on charging knights, lances, shield walls, spears, hauberks, fighting clubs, and long axes. Much of the text referencing the Tapestry describes the war-related activity in the context of the Battle of Hastings with mentions of William, Harold, and the Count of Eu. Newark describes the teardrop or kite- shaped shields in detail and also comments on the figurehead at the stern of Wil- liam’s ship Mora, a golden statue of a boy blowing a horn and carrying a lance. There are also references to how arms and armor designate rank and wealth in the early Middle Ages. In a section on thrown weapons, the Normans’ use of maces is mentioned in a caption describing a battle scene in the Tapestry. He notes that their maces were made by binding stones to sticks. At the end of the book, Newark provides an illustrated timeline; for 1066 he uses an image of a Viking longship from the Tapestry, noting that such ships used in the Norman conquest were called snekkes. Includes an excellent glossary, two-page bibliography, and lengthy index that fails to list the Bayeux Tapestry despite numerous mentions of it in the text.

1222. Newark, Timothy. Medieval Warfare: An Illustrated Introduction. Lon- don: Bloomsbury Books, 1988. Notes: First published by Jupiter Books, London, in 1979. Bloomsbury Books is an imprint of Godfrey Cave Associates, London. Newark, a freelance journalist who illustrates the book with selections from his own extensive collection of engravings and prints on medieval and Renaissance warfare, writes extensively in this book on the Norman Conquest and specifically on the use of arms and armor. However, he does not mention the Bayeux Tapes- try in his narrative. He does though include three black-and-white images from the Tapestry taken from engravings or prints in his collection. There is no index.

1223. Nicholas, Lynn H. The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War. New York: Alfred A. Knopf, 1994. This hard-to-put-down detailed account of the Nazis’ plundering of Europe’s art treasures (some eventually returned, many destroyed, countless still unac- counted for) “offers a new perspective on the history of the Third Reich and World War II.” The Bayeux Tapestry is briefly mentioned four times in a chapter 358 The Bibliography on the Allied take-over of Northern Europe: Bayeux as the temporary capital of a free France, but with its Tapestry hidden; Himmler’s telegram ordering the Tapestry be moved to the Louvre; von Choltitz, the German commandant of Paris, talking the SS out of taking the Tapestry to Germany; and the re-opening of French museums, including the unheated Louvre and its display of the Tapestry “with the part showing the defeat of the British tactfully folded behind.”

1224. Nicholson, H. “Marginal Comment: The Bayeux Tapestry.” Spectator 173 (1944): 149.

1225. Nicholson, Helen J. Medieval Warfare: Theory and Practice of War in Europe, 300–1500. New York: Palgrave Macmillan, 2004.

1226. Nicholson, Joan. Creative Embroidery. New York: Gramercy Publish- ing, 1960. In her introduction, Nicholson notes that the Tapestry “is a famous example of the historic value of the pictures worked by some woman or women, waiting at home perhaps, while their men were away fighting.” She goes on to describe how major life events during the period were captured in embroideries of varies types, functions, and forms. The incorporation of heraldic devices and coats of arms is also discussed. There is no index. The author is an embroiderer.

1227. Nickel, Helmut. “The Little Knights of the Living-Room Table.” The Metropolitan Museum of Art Bulletin New Series 25, no. 4 (1966): 170–84. In his lengthy and lively article on the history of toy soldiers, Nickel notes the striking resemblance between the mounted Duke William carrying a falcon (in the Bayeux Tapestry scene in which he rides to his palace with Harold) and a thirteenth-century lead falconer on horseback. Includes photographs of both.

1228. Nicolle, David. French Medieval Armies, 1000–1300. Oxford, U.K.: Osprey. Notes: Illustrated by Angus McBride. Part of the Men-at-Arms series, volume 231.

1229. ———. Warriors and Their Weapons Around the Time of the Crusades: Relationships Between Byzantium, the West and the Islamic World. Aldershot, U.K.: Ashgate Variorum, 2002. Notes: Part of the Variorum Collected Studies Series, CS746. Nicolle presents an anthology of his articles from 1980 to 1999 “concerned with the question of to what extent changes in military technology within one culture reflected influence from other cultures, and to what extent they resulted from internal developments.” On the topic of helmets in “Byzantine and Islamic Arms and Armour: Evidence for Mutual Influence” (from Graeco-Arabic, IV, The Bibliography 359

Athens, 1991), the author refers briefly to the Bayeux Tapestry for a possible depiction of a helmet with a “forward-tilted crown,” although he does not specify where in the Tapestry this is. This article includes notes and dozens of illustrations, though none from the Tapestry. In “The Impact of the European Couched Lance on Muslim Military Tradition” (from The Journal of the Arms and Armour Society, Leatherhead, 1980), he comments on the various lance-holds depicted in the Tapestry and provides six pen-drawings from the Tapestry of the various holds and he relates these holds to the almost contemporary Song of Roland, where the lance-holds are mentioned. This article includes notes, a bibliography, plus additional illustrations. This book is paginated with each article’s original page numbers as they appeared in their respective publications.

1230. Nicolle, David, and Christopher Gravett. The Normans: Warrior Knights and Their Castles. Oxford, U.K.: Osprey, 2006. Notes: Illustrated by Angus McBride. Part of the Elite series, volume 9.

1231. Nicolson, Sir Harold George. Comments: 1944–1948. Constable, 1948. Notes: Reprint, 305 pp.

1232. Nikkhah, Roya. “Stitch in Time: Bayeux Tapestry Finished at Last.” The Telegraph (2013). This short article tells of a project to create the concluding three panels of the Bayeux Tapestry by residents of the Channel Island of Alderney. Nikkhah explains that artist Pauline Black and Robin Whicker, an amateur Latin scholar and “official town crier for Alderney’s August carnival,” designed the work and included Latin inscriptions in the same manner as the original work. The article notes that “hundreds of people have taken part in the project at the local library, including the Prince of Wales and the Duchess of Cornwall, who added several stitches to the tapestry when they visited the Channel Islands during the Diamond Jubilee celebrations last year (2012).” Also referenced in the article is the likely commissioning of the original embroidery by Bishop Odo and that it “was sewn in either Winchester or Canterbury in the 1070s by English needle-workers, over a period of up to 10 years.” A color photograph accompanying the article shows Moira Sleeman, Kate Russell, Pauline Black, and Robin Whicker sewing stitches onto the “Alderney Bayeaux [sic] tapestry.”

1233. Nitze, W. A. “Turoldus: Author of the Roland?” Modern Language Notes 69, no. 2 (1954): 88–92. Notes: Published by the Johns Hopkins University Press. Nitze examines scholars’ research and scant historical evidence, and then dissects the use and geographical distribution of medieval vocabulary to determine if the Chanson de Roland was written by a Turold from Normandy; the fact that a Turold apparently signed off at the end of the poem doesn’t prove authorship. By 360 The Bibliography analogy, the author states, just because the Bayeux Tapestry shows a man named Turold doesn’t mean that he designed it.

1234. Nobecourt, Marie Catherine. Broderie Viking: Variations Autour De La Tapisserie De Bayeux. Paris: Le Temps Apprivoise, 2002. Notes: Paperback. Part of the series LTA arts du fil. In this full-color how-to book, Nobecourt encourages readers to use the “Bayeux stitch” to create their own decorative embroidered works with designs and images that are taken directly from or are inspired by the Bayeux Tapestry, including several designs imagined to be from the Tapestry’s missing end. The book provides brief historical background of the Tapestry and of the linen and wool used to create it. Using several photographs of the Tapestry, even of its back, as examples of stem stitch and laid-and-couch work, Nobecourt teaches the stitching techniques to her readers. Project ideas include cushions, pillows, an apron, a bedspread, a curtain, and other works. Patterns are provided with the suggested colors specified. Includes a bibliography and contact information for the Bayeux Tapestry Museum as well as shops in Bayeux and Caen that sell embroidery supplies and Bayeux Tapestry embroidery kits.

1235. Norgate, Kate. “The Battle of Hastings.” English Historical Review 9, no. 33 (1894): 1–76.

1236. Norman, A. V. B. The Medieval Soldier. New York: Barnes and Noble Books, 1993. Notes: Originally published in 1971 by Thomas Y. Cromwell Company, a division of Harper Collins. Norman writes about the life of medieval soldiers, their weapons, equipment, training, and their role in the feudal system. The development of feudalism among the Lombards, Franks, Vikings, and Saxons is examined in detail. In a discussion of fyrd service, he notes that the Tapestry’s unarmored English are “probably the general fyrd of Sussex and Kent.” Norman comments on the Eng- lish use of the Danish axe and the same kite-shaped shields as the Normans. On the Tapestry’s depictions of mail armor, he discusses the ways which the embroiderers indicated the texture of the tiny rings, the few coifs, and the unexplained rectangular breast-plate on some of the hauberks. Although the Tapestry seems to show naked bodies beneath the mail that is being stripped off of corpses near the end of the Battle of Hastings, it is likely, Norman points out, that the soldiers would have worn a shirt underneath, a practice Wace indicates in the Roman de Rou. The author makes brief remarks about the Tapestry informing us about the length of axe hafts, the form of helmets, the grip provided by shield straps, the over-arm spear throw, flags attached to spears, sword belts with buckles, and ships being rowed. Includes bibliography and an index. The Bibliography 361

1237. Norman, Vesey. Arms and Armour. New York: G.P. Putnam’s Sons, 1964. Notes: Also published by George Weidenfeld and Nicolson. Norman’s heavily illustrated book looks at armor and weapons of Europe from the early Middle Ages through the obsolescence of armor. From the second sentence of the book, he is discussing the Bayeux Tapestry’s contribution to modern knowledge of how mail was worn, although he cautions that the Tapestry is unreliable in its scenes of dead warriors being naked under the mail being stripped from them, as these sections of the Tapestry have been heavily restored. A tunic of overlapping scales appearing in the Tapestry is mentioned and he adds that some examples of this type of armor have been excavated from a Swedish ship- burial. The author’s chapter “Sword and Dagger” mentions the Tapestry’s swords and compares them very briefly to what is known about Viking swords. No index.

1238. Norris, Betsy, and Donna Brock. Exploring History Through Primary Sources: Medieval Times. Huntington Beach, CA: Teacher Created Materi- als, 2010. Notes: Reprint. Originally published in 2003. Alternate title: Exploring His- tory: Medieval Times. This basic lesson plan outline for teachers (apparently most suitable for students ages 10–14) teaches students about William the Conqueror’s role in English history as well as reinforcing habits of mind and character in social studies such as sensitivity, empathy, skepticism regarding attitudes, values, and behaviors. Materials used in the lesson include copies of the Bayeux Tapestry, a CD-ROM of games and e-resources, and other materials, including candy, the ultimate mo- tivator in the classroom. An extension activity encourages the teacher to turn the classroom into a feudal zone whereby students have certain privileges and have tasks to complete depending on their positions.

1239. Norris, Herbert. Medieval Costume and Fashion. Mineola, NY: Dover Publications, 1999. Notes: This book is an unabridged republication of the work originally published by J.M. Dent and Sons Ltd., London, in 1927 under the title Costume and Fashion, Volume Two: Senlac to Bosworth, 1066–1485. Theatrical and historical costume designer Norris uses the Bayeux Tapestry as an authority on Norman clothing, footwear, hairstyles, facial hair, jewelry, crowns, and pennons. Assured that the Tapestry was created by Queen Matilda and her ladies, Norris does give a nod to Frank Rede Fowke’s assertion of Odo’s patronage and Norman manufacture. To that end, the author notes that the Eng- lish in the Tapestry are wearing Norman military accoutrements, “but this is an ingenious mistake on the part of the queen and her ladies, who were not present on the battlefield.” Included are hundreds of drawings (many with a touch of 362 The Bibliography

1920s art nouveau flair) of the items and styles discussed, a few of them the author claims were modeled directly from the Tapestry itself. Includes and index.

1240. Norrman, Lena Elisabeth. Viking Women: The Narrative Voice in Wo- ven Tapestries. Amherst, NY: Cambria Press, 2008. University of Minnesota lecturer Norrman presents this examination of women “as carriers of a poetic tradition in the Scandinavian Viking Age.” The author explores the issues of gender, femininity, culture, and storytelling as they pertain to weaving and she discusses mythical and literary weavers from ancient Greek, Nordic, and Germanic traditions with particular emphasis on the Överhogdal Tapestry. In posing several questions about the literary and expressive functions of weaving, the Bayeux Tapestry is noted as a recording of historical events. In a passage on the literary image of women in weaving and tapestry, the author states that the Bayeux Tapestry was, “embroidered by William the Conqueror’s wife Matilde and her maidens in the years 1067–1082. It is possible that this tapestry was commissioned by William’s half-brother, Bishop Odo.” She goes on to say that the Tapestry is a “peg for memory” by a female “rememberer of the past.” She later resurrects the notion of Matilda as the Tapestry’s embroiderer and perhaps its co-sponsor: “[t]ogether with Matilde, Bishop Odo . . . who wanted the correct version of Anglo-Norman events to be told, might have ordered the making of the Tapestry . . . The question is whose story is told in this tapestry, since it is ultimately stitched together by William’s wife Matilde with her maidens.” On the topic of accurately understanding a culture and relying on the collective memory of its people, Norrman notes that “the Bayeux tapestry with its commentary to ‘visual scenes,’ will likely not be misinterpreted by coming generations.” The Tapestry, the author says, is more developed and experimental in design than the earlier Nordic weavings.

1241. Norton, Christopher. Archbishop Thomas of Bayeux and the Norman Cathedral at York. York, U.K.: Borthwick Publications, 2007. Notes: Reprint. Originally published in 2001. A publication of the Borthwick Institute of Historical Research at the University of York. “Borthwick Paper 100.” Norton includes a brief mention of Bishop Odo’s appointment of Thomas as treasurer of Bayeux Cathedral and Duke William’s appointment of him as a chaplain before the Conquest. He also includes a reference to Odo as “the man who most probably commissioned the Tapestry.”

1242. Norton, Peter. Ships’ Figureheads. Barre, MA: Barre Publishing, 1976. Norton writes that the ships in the “Bayeux tapestry of 1120 . . . are evidently derived from the longship and, though some are transports and therefore of wide beam, all are double-ended with high stem and stern posts, some of which have dragon- and beast-heads.” Illustrations of early medieval figureheads, including The Bibliography 363 one from the Tapestry, are included. This heavily illustrated book offers an appendix listing the location of figureheads in museums and other institutions. A bibliography and index are also included.

1243. Noxon, Gerald. “The Bayeux Tapestry.” Journal of the Society of Cin- ematologists 7 (1967–1968): 29–35. Noxon suggests a relationship between the visual narrative of the Tapestry and certain narrative techniques in cinema.

1244. Nuccitelli, Angela. “Structural Devices: The Question of Analogues.” Olifant 1 (1973): 38–39. Notes: Abstract of an unpublished paper at the Conference on Medieval Stud- ies, Kalamazoo, MI in May 1973. Nuccitelli discusses the Tapestry’s narrative and its relationship to The Song of Roland.

1245. O’Brien, Harriet. Queen Emma and the Vikings: A History of Power, Love and Greed in Eleventh-Century England. London: Bloomsbury, 2005. Notes: Also cited as Queen Emma: A History of Power, Love, and Greed in 11th Century England. This biography of Queen Emma and her times is a casual yet well-informed read. The Bayeux Tapestry is mentioned briefly in discussions of clothing, Arch- bishop Stigand, helmets, and the Normans’ naval transport of horses. Includes index, select bibliography, three color images from the Tapestry, and a very convenient dramatis personae, providing a short- to medium-sized paragraph on a long list of persons, including several of Bayeux Tapestry interest. O’Brien is a London-based writer and editor.

1246. O’Keeffe, Katherine O’Brien, and Mark C. Amodio, eds. Unlocking the Wordhord: Anglo-Saxon Studies in Memory of Edward B. Irving, Jr. To- ronto: University of Toronto Press, 2003.

1247. O’Reilly, Elizabeth Boyle. How France Built Her Cathedrals: A Study in the Twelfth and Thirteenth Centuries. New York: Harper & Brothers, 1921. In this work, describing in great detail the Gothic architecture of France’s cathedrals, O’Reilly presents a chapter on Gothic art in Normandy in which she writes a brief history of the various construction projects and changes to the Bay- eux Cathedral over the centuries. She then directs readers to the Bayeux Tapestry, which at the time was in the town library across from the cathedral. She describes the content of work, its historical context, and how it was intended as a hanging to encircle the cathedral’s nave. Written at a time when many scholars were pointing toward Kent as the place of the Tapestry’s manufacture, the author notes that this is indeed the belief of some scholars. She states that embroidery was popular also 364 The Bibliography in Normandy at the time, and that Albert Leve contends that it was made by “a Norman who was favorable to William the Conqueror,” however, she does not attribute it to Queen Matilda as many still did at the time. O’Reilly does however suggest that Matilda may have “had the work done as a gift for Bayeux Cathedral while Odo was still in favor.”

1248. Oakeshott, Ewart. European Weapons and Armour: From the Renais- sance to the Industrial Revolution. North Hollywood, CA: Beinfeld Publish- ing, 1980. Notes: Also published by Lutterworth Press, Guildford, U.K., in 1980. In the book’s second chapter on staff-weapons, Oakeshott offers a section titled “Development of the Halberd” where he references the Bayeux Tapestry: “The term ‘halberd,’ like the weapon, is Swiss in origin; it is first found as hel- lembart in a poem by Konrad von Würzburg, who died in 1287. It is perhaps tempting to see the halberd as a cross-breed produced by a spear out of a billhook, but it seems fairly certain that it was a development of the long-handled ‘Danish’ axe, of the type shown, for instance, in the Bayeux Tapestry.” An illustration is included on the page. Later, the embroidery is extensively referenced in the chapter titled “Mace, War-Hammer and Horseman’s Axe.” Here, Oakshott discusses how the mace was perhaps a favorite weapon of “fighting churchmen”: “Can we really believe that medieval prelates were so simple-minded (or imagined their contemporaries to be) that they sought to avoid the wrath of God by so childish an evasion? Evidence for this belief is extremely slender; Sir Walter Scott un- doubtedly had much to do with it, reinforced perhaps by the figure of Bishop Odo of Bayeux in the Bayeux tapestry, who is shown wielding a club, not a mace, a kind of rugged shillelagh. Hic Odo Eps runs the stitched caption above his head, so there shall be no mistake . . . He wields a mace: ergo, bishops used maces in battle. Why? To avoid the effusion of Christian blood. But there is in this document one other figure wielding a club similar to Odo’s. If we are to accept Odo’s ‘mace’ as evidence for one myth, then we must accept that of the second figure as evidence for another myth that conquerors, or Dukes of Normandy, or monarchs, or commanders-in-chief, always used ‘maces’ in battle, for the second figure with a mace is Duke William. There are other maces or clubs shown in the Tapestry, but none in anyone’s hand; all are flying through the air. They are quite unlike the clubs of William and his half-brother, too, for they have short stalks with curious trilobed ‘clover-leaf’ heads to them, like the Clubs on a playing card. Maybe they were not so much clubs as some kind of missile weapon. Exactly similar weapons were in use as missiles in New Guinea up to modern times.” Continu- ing his discussion of the Tapestry’s depiction of maces, Oakshott writes: “If we may legitimately reject the ‘evidence’ of the tapestry to uphold the theory that bishops only fought with maces, there is nonetheless something of interest in this which we may accept. Here we see the Generalissimo of the invading force and his second-in-command armed, not with spear or sword or axe like every one of the tapestry figures, but with staff, batons, sticks. Not weapons at all, perhaps? The Bibliography 365

We find the same thing, four centuries later, in many Italian paintings of battles.” The volume includes an index which is credited to Michael Hobbs. Brief bibliographies are provided at the end of chapters.

1249. Ogden, Daryl. “Cold War Science and the Body Politic: An Immuno/ Virological Approach to Angels in America.” Literature and Medicine 19, no. 2 (2000): 241–61.

1250. Oger, Brigitte. “The Bayeux Tapestry: Results of the Scientific Tests (1982–1983).” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 117–23. Caen, France: Presses Universitaires de Caen, 2004. Oger presents summaries of the various scientific tests performed on the Bay- eux Tapestry during its removal from public view. The names of organizations involved in the analysis are provided in French and English. The numbers of thread samples taken for the study are given. The fibers are identified as wool, hemp, flax, and cotton. Torsion, the measurement of twists in relation to the axis, is discussed, as is the titer, “a measure of linear mass.” A mordant, a substance used in dyeing to fix the coloring matter to the fabric, is identified as possibly alum through examination by electron microscope and spectrum analysis. Longi- tudinal and cross-sectional microscopic photographs of dyed threads reveals the degree of dye penetration; an X-ray fluorescent spectrogram graphic is provided, but is not interpreted. The method for executing a chromatographic analysis is described, the results of which identified several coloring agents, and an absence of tannins. Restorations threads were dyed with synthetic colorants that date them to some time after 1860. At 15 points along the reverse of the base cloth, pH values were measured between 5 and 7: no cause for concern about deterioration from acids or bases. The method for analyzing grease and wax stains on the Tapestry is described, and the findings indicate that candles may have dripped on the embroidery. Microbiological analysis came through negative for bacteria and fungi. Damage from insects such as the “museum beetle” and mites are proven, accompanied by intriguing electron-microscope photographs of gnawed woolen fibers. Oger concludes that twenty years since the study, “current techniques of analysis would not be able to add much to it” and that the Tapestry is in a stable state of conservation.

1251. Oggins, Robin S. The Kings and Their Hawks: Falconry in Medieval England. New Haven, CT: Yale University Press, 2004. This book, which started as the author’s dissertation at the University of Chi- cago, examines falconry, hawking, fowling and the nobles, clergy, and kings who engaged in these activities. According to a possible association with Adelard of Bath’s twelfth-century treatise on falconry, Harold Godwinson was a devoted falconer, and this has been traditionally believed to have been supported by the Bay- eux Tapestry’s images of Harold bearing hawks on his wrist. Oggins questions 366 The Bibliography

the Tapestry’s depictions of Harold’s devotion to the sport, noting that Harold was traveling to the continent on a diplomatic mission to Duke William, and was bringing the birds to William as gifts; he does, however, state that by the time of the Tapestry’s manufacture, “every nobleman, Anglo-Saxon as well as Norman, knew the basic techniques of falconry and that Harold was no exception.” The author notes that the use of foot rings, or jesses, were in use for confining hawks by the time of the Tapestry. Includes an index and an extensive bibliography.

1252. Ogier, Susan. Talking Textiles. Mankato, MN: Cherrytree Books, 2009. Notes: Part of the Step-Up Art and Design series.

1253. Ohlgren, Thomas H. Anglo-Saxon Textual Illustration: Photographs of Sixteen Manuscripts With Descriptions and Index. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 1992.

1254. Okasha, Elisabeth, and Jennifer O’Reilly. “An Anglo-Saxon Portable Altar: Inscription and Iconography.” Journal of the Warburg and Courtauld Institutes 47 (1984): 32–51. In their discussion of the Cluny altar lion, the authors reference the Bayeux Tapestry’s border depiction of animals, writing “Many beasts in the borders of the Bayeux Tapestry sport this distinctive ‘Cluny’ tail, and often the tufted mane or even the two-tiered tufted mane. Several such beasts, including lions, are here shown in profile with the far forepaw raised, jaws open and the muzzle marked with a line, as on the Cluny altar lion.” They continue, noting that “A number of these examples share Canterbury-St. Bertin associations and an interest in the antique or the exotic.” The article includes extensive notes.

1255. Oleson, T. J. “Edward the Confessor’s Promise of the Throne to Duke William of Normandy.” English Historical Review 72 (1957): 221–28.

1256. Olmsted, Jennifer. Art of the Middle Ages. Chicago: Heinemann Li- brary, 2006. Notes: Revised and updated. Originally published in 2001. Part of the Art in History series intended for juvenile audiences. This slim book, intended for readers aged 8 to 12, introduces children to medieval art. The Bayeux Tapestry and the Norman Conquest are discussed very briefly in a passage describing the political scene of the later middle ages. In- cludes a full-color photo of a Tapestry scene, glossary, and an index.

1257. Olson, Roberta Jeanne Marie. “...And They Saw Stars: Renaissance Representations of Comets and Pretelescopic Astronomy.” Art Journal 44, no. 3, Art and Science: Part II, Physical Sciences (1984): 216–22. Notes: Published by the College Art Association. The Bibliography 367

1258. Olson, Roberta Jeanne Marie. “Giotto’s Portrait of Halley’s Comet.” Scientific American 240, no. 5 (1979): 160–70.

1259. Oman, C. W. C. The Art of War in the Middle Ages, A.D. 378–1515. Ithaca, NY: Cornell University Press, 1993. Notes: Revised and edited by John H. Beeler. Part of the Cornell Paperbacks series. Tenth printing. Originally published in Oxford and London in 1885. A revised edition was first published by Cornell University Press; first printing by Great Seal Books (a division of Cornell University Press) in 1960 and a second printing in 1963. In a discussion of the use of the longbow by English armies, Oman writes, “It is indeed noteworthy that the theory which attributes to the Normans the introduction of the longbow is impossible to substantiate. If we are to trust the Bayeux Tapestry—whose accuracy is in other matters thoroughly borne out by all contemporary evidence—the weapon of William’s archers was in no way different from that already known in England, and was used by a few of the English in the fight of Hastings.” Includes black-and-white military plans of various battles.

1260. Oman, Charles. “The Battle of Hastings, 1066 A.D.” Men at War: The Best War Stories of All Time, Based on a Plan by William Kozlenko. ed Ernest Hemingway, 10–20. New York: Bramhall House, 1942. Notes: Published by Wings Books, New York, in 1991. Oman’s essay is a basic account of the Battle of Hastings and he mentions that the Bayeux Tapestry, “despite all destructive criticism,” is still the primary authority on the battle.

1261. Oosterom, Nelle. “An Idea Born in Bayeux.” The Beaver: Exploring Canada’s History 89, no. 1 (2009): 12–13. Notes: This 464-word article reports on plans for a historic tapestry which intends to depict the history of Newfoundland’s French shore. A group of women from the Conche community led by Joan Simmonds were inspired by Jean Claude Roy, a French-born artist who is working with the women on the project by “providing drawings on paper of historical events, which are photographed, projected onto stretched linen and traced in pencil.” The work will be approximately 61 meters long and, at the time of publication, was expected to be completed in 2010. The article quotes Simmonds’ recollection of her viewing the Bayeux Tapestry in 2005: “It was totally awesome.” Additionally, the piece notes that Simmonds saw Roy’s wife Christina working on an embroidery kit of the Bayeux Tapestry while the two were in Conche on an artists’ retreat in 2004. Plans call for the embroidery, half completed at the time of publication, to be exhibited at the French Shore Interpretation Centre in Conche. The women also hope their work will tour Canada and Europe. The term French Shore refers to the areas where French fishermen were allowed to catch and dry fish, but not to 368 The Bibliography settle, following the British taking control of Newfoundland in 1713. The piece points out that the French presence is no longer there and that most of the community’s residents are of Irish descent. [It was indeed completed in 2010.]

1262. Oppenheim, M. “Shipping.” Medieval England. H. W. C. Davis, 245– 80. London: Studio Editions, 1993. Notes: Reprint. Published as Mediaeval England: A New Edition of Barnard’s Companion to English History by the Clarendon Press, Oxford in 1924. Oppenheim presents an overview of commercial and military ships and shipping in England from pre-Conquest times through the Tudor era. The Bayeux Tapestry is mentioned only very briefly, in one passage about the Tapestry’s anchors resembling those of the Romans, and in a paragraph on pennons, in which the Tapestry is noted for showing pennons with vary numbers of points, “some having a St. George’s cross.” Oppenheim is the author of A History of the Administration of the Royal Navy.

1263. La Tapisserie De Bayeux (Animée). OREP Multimedia and Le Musee de la Tapisserie de Bayeux. Notes: Music by Arthur Shelton. Captions in French, English, German, Dutch, Italian, and Spanish. Includes hard-copy liner notes in these languages. OREP presents a charming and entertaining animated version of the Bayeux Tapestry in which Tapestry images have been manipulated with computer animation techniques. It is accompanied by an original music score which seems to be planned programmatically to endear viewers to the Norman cause. Viewers are treated to 16 minutes and 9 seconds of such animations as men’s legs walking, gesturing hands, galloping horses, flying spears, a zooming comet, axes chopping, ships sailing, a shovel fight, swords swinging, and of course, an arrow nailing Harold in the eye. Starting at the Tapestry’s far left, King Edward nods to Harold and touches his hand and a caption informs us that Edward sent Harold to Normandy to confirm Duke William’s succession to the English throne. As the cleric fondly strokes Ælfgyva’s face, we read a caption “William offers Harold his daughter Aelfgyve’s [sic] hand in marriage.” The animation of Harold saving Normans from the quicksands of the River Couesnon is particularly amusing. The captions, while apparently up to this point favoring a Norman viewpoint, do not comment on the content of Harold’s oath to William. At Edward’s death scene, the caption states, “Some believe, at this instant, [Edward] even asks Harold to succeed him to the throne.” Bishop Odo is never mentioned in the captions. At the end of the presentation, William is shown crowned King of England, an image of course not shown in what remains of the Tapestry today. The animation is divided into several chapters, noted in the menu, to facilitate navigation. A bonus chapter features the entire Tapestry scrolling by uninterrupted, not animated, accompanied by the same music as the feature presentation, for 13 minutes and 15 seconds. A second bonus chapter (2:33) is a non-verbal demonstration of how The Bibliography 369 technicians used computer animation techniques to make objects and figures appear to move for this video.

1264. Overbey, Karen Eileen. “Taking Place: Reliquaries and Territorial Authority in the Bayeux Embroidery.” The Bayeux Tapestry: New Interpre- tations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 36–50. Rochester, NY: Boydell Press, 2009. Overbey observes the significance in the appearance of two reliquaries in the Bayeux Tapestry’s oath scene: the two containers on either side of Harold create a strong visual emphasis. Furthermore, the stationary reliquary to the right of Harold symbolizes the stability of Norman authority in Bayeux, and the portability of the reliquary to the left of Harold is associated with the use of saints’ relics in local processions, resulting in expanding authority and territory. She also notes that the similarity between Edward’s pall and the portable reliquary puts forward the notion that the monarchical authority is portable as well.

1265. Owen-Crocker, Gale R. The Bayeux Tapestry: Collected Papers. Farn- ham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. In the preface, Shirley Ann Brown highlights Owen-Crocker’s contributions to the literature of Bayeux Tapestry studies over 35 years. The papers in this album span 20 years of scholarship, and in her introduction, Owen-Crocker exposes her own evolving curiosity with the Tapestry over the years, and weaves in how and where in this present book readers can find her explorations realized. She also reflects on what she would go back and change, if that were possible, especially in her articles written before the publication of the findings of the 1982 investigations of the Tapestry. She discusses her use of inverted commas around the inaccurate term ‘Tapestry’ in naming the Bayeux hanging (“to satisfy my own unease and that of textile experts”) and her subsequent dropping of that practice over the years (“Largely because of pressure from editors to simplify”). Articles included: “Behind the Bayeux Tapestry”; “The Bayeux ‘Tapestry’: Invisible Seams and Visible Boundaries”; “Fur, Feathers, Skin, Fibre, Wood: Representational Tech- niques in the Bayeux Tapestry”; “Reading the Bayeux Tapestry through Canter- bury Eyes”; “Stylistic Variation and Roman Influence in the Bayeux Tapestry”; “The Embroidered Word: Text in the Bayeux Tapestry”; “Telling a Tale: Nar- rative Techniques in the Bayeux Tapestry and the Old English Epic Beowulf”; “Brothers, Rivals and the Geometry of the Bayeux Tapestry”; “Squawk Talk: Commentary by Birds in the Bayeux Tapestry?” “The Bayeux Tapestry: The Voice from the Border”; “The Bayeux ‘Tapestry’: Culottes, Tunics and Garters, and the Making of the Hanging”; “Dress and Authority in the Bayeux Tapestry”; “Embroidered Wood: Animal-Headed Posts in the Bayeux ‘Tapestry’”; “The Interpretation of Gesture in the Bayeux Tapestry”; “Hawks and Horse-Trappings: The Insignia of Rank.” 370 The Bibliography

1266. ———. “The Bayeux ‘Tapestry’: Culottes, Tunics, Garters, and the Making of the Hanging.” Costume 28 (1994): 1–9. Notes: Also cited as “The Costume of the Bayeux ‘Tapestry’: Culottes, Tunics, Garters, and the Making of the Hanging.”

1267. ———. “The Bayeux ‘Tapestry’: Culottes, Tunics, Garters, and the Making of the Hanging.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in Costume, vol. 28, 1994. Also cited as The Costume of the Bayeux “Tapestry”: Culottes, Tunics, Garters, and the Making of the Hanging. Owen-Crocker considers some the practices of the Bayeux Tapestry’s embroiderers, particularly with regard to their interaction with the cartoon drawn onto the linen and the liberties they may have taken during their work. The cut and design of the culottes, tunics, and garters in the Tapestry are examined in detail and compared to similar depictions in contemporary textiles.

1268. ———. “The Bayeux Tapestry: Faces and Places.” The Bayeux Tapes- try: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 96–104. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Owen-Crocker presents a study of the faces in the Bayeux Tapestry to assist in determining whether the whole work and/or its various linen sections were the designs of one artist or several. She begins with a list of cautions that should be borne in mind when dealing with embroidery as a medium, as well as a passage on the limitations and advantages of the use of wool thread. A detailed look at many aspects of the Tapestry’s faces makes up a great deal of this article: directional facings, gazes, the shapes of faces and of facial features (eyes, noses, mouths, chins, ears, hair, facial hair), color choices for outline stitches, and the use of the background linen for flesh-tone. The author points out that distinc- tions in the depicted facial features were for the purpose of directing attention toward certain individuals. The practical and programmatic reasons for profile, three-quarter, and frontal full-face views is discussed, some perhaps clumsily embroidered. The inconsistent ways that colors are employed to render contrasts in faces across the various linen panels are indicators of different embroiderers of artists at work, Owen-Crocker notes. Whereas most faces in the Tapestry do not show much emotion, she points out a few figures whose mouth-shapes indicate ruthlessness, discomfort, and amusement. The author concludes that the various ways in which faces are handled both mechanically and stylistically in the Tapes- try is indicative of “a more complex work pattern than a simple division of labour The Bibliography 371 of the one-artist-per-section kind.” Includes 37 detail photographs of the Tapestry in both color and black-and-white. One endnote discusses how the embroiderers dealt with the famous misaligned border at the first seam; it also mentions the carefully manipulated ending of one inscription and the start of another marked by a cross, each on a different section of linen.

1269. ———. “The Bayeux ‘Tapestry’: Invisible Seams and Visible Boundar- ies.” Anglo-Saxon England 31 (2002): 257–73.

1270. ———. “The Bayeux ‘Tapestry’: Invisible Seams and Visible Boundar- ies.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 1–20. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination; this article, however, includes the original pagination in brackets (pp. 257–273). This article was originally published in Anglo-Saxon England, volume 31, 2002. Owen-Crocker observes that it would have been much easier for the Bayeux Tapestry’s creators to create a series of smaller individual hangings. “Why, we may ask, did the creators go to so much trouble to make a single continuum?” She expresses her regret that there has been little interest in the Tapestry’s background cloth and believes this is “symptomatic of a culture which values the artist above the artisan . . . ” In the first section, Owen-Crocker deals with the seams that join the nine existing linen panels and how the narrative and/or mechanics of production are handled with regard to these. The linen pieces were embroidered by various workshops, and then joined, then the author points out examples of stylistic change from one panel to the next. The mishandled join of the first two panels, where the upper borders do not align, is examined and Owen-Crocker offers reasons why this may have occurred. The many ways in which trees, buildings, and figures act as borders between scenes, at times coinciding with the end of a length of linen, are discussed. The content of the upper and lowers borders is not synchronized: pairs of animals here, fables there, single animals here, human activities there. The author articulates the frustration one feels when having to view the entire Tapestry in a book where page divisions cut through the seams, even in “Wilson’s beautiful facsimile.” She adds that in order to “appreciate the ‘Tapestry’ properly one must view it in its entirety, which is best achieved by use of one of the fold-out facsimile editions.” The clearly marked scenes are more than just markers of time and place, she states, as “there is a series of interrela- tionships between scenes, sometimes far apart.” She lists numerous examples of this. Owen-Crocker believes that the activity in the borders may provide commentary and an alternative “voice” to the action in the main frieze of the Tapes- try, citing several examples. The instances where the objects, animals, and people invade the borders are discussed. She presents her opinions on the content of the missing end of the Tapestry: William crowned king of England, “facing forward on a high throne under a wide canopy and that he would be elaborately dressed 372 The Bibliography in long garments.” Includes several hand-drawn images from the Tapestry that indicate similarities in shape and design.

1271. ———. “The Bayeux Tapestry: The Voice From the Border.” Signs on the Edge: Space, Text and Margin in Medieval Manuscripts. eds Sarah Lar- ratt Keefer, and Rolf H. Bremmer, Jr., 235–58. Paris: Peeters, 2007. Owen-Crocker’s essay, part of a collection of various scholars’ works that focus on the margins and “central” materials in medieval manuscripts, discusses the Bayeux Tapestry’s upper and lower borders. She begins with a brief assessment of the counterpoint between border elements and main registers of a variety of Anglo-Saxon works, followed by an overview of some characteristics of Anglo- Saxon textile borders. Discussion of the Tapestry’s borders begins with Owen- Crocker’s assertion that the borders were derived from manuscript traditions and possible textile models. She also points out that the upper and lower registers of the Tapestry “largely operate independently of one another,” and that the borders and main registers often do not correspond, perhaps due to the physical arrangement of main register images taking priority over the arrangement border images. The remainder of the essay turns its attention to the plants and animals of the borders: the changing of botanical motifs across the length of the Tapestry, the arrangement of pairs of animals, their facings, and numerous examples of animals’ antics in reaction to and as commentary on the happenings in the main register, a commentary on some animals’ mockery of human folly such as vanity and gluttony, and an interesting analysis of the Tapestry’s donkeys and mules and their role in providing possible commentary on the English army or even the peasantry. The essay closes with the author’s belief that the Tapestry’s borders do indeed contain images that comment on the main register, but that they do not consistently present a “rebellious point of view” on the part of the designers.

1272. ———. “The Bayeux Tapestry: The Voice From the Border.” The Bay- eux Tapestry: Collected Papers. Gale R. Owen-Crocker, 235–58. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in Signs on the Edge: Space, Text and Margin in Medieval Manuscripts, edited by Sarah Larratt Keefer and Rolf H. Bremmer, Jr. (Paris: Peters, 2007). The article is annotated under the entry for Owen-Crocker’s article by the same title in Keefer and Bremmer’s book.

1273. ———. “Behind the Bayeux Tapestry.” The Bayeux Tapestry: New In- terpretations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 119–29. Rochester, NY: Boydell Press, 2009. The results of a ten-day examination of the back of the Bayeux Tapestry in 1982–83 were published as articles in The Bayeux Tapestry: Embroidering the The Bibliography 373

Facts of History four years after a 1999 colloquium in Cerisy-la-Salle; Owen- Crocker’s article comments briefly on the findings of Brigitte Oger in Oger’s “The Bayeux Tapestry: Results of the Scientific Tests (1982–3).” Much of the remainder of Owen-Crocker’s article comments on the research findings of Isabelle Bédat and Beatrice Girault-Kurtzeman in their “Technical Study of the Bayeux Embroidery.” Owen-Crocker summarizes—and occasionally disputes— the following topics of their investigations: repairs to the Tapestry’s linen and embroidery; the colors of the original embroidery wools, the repair wools and the fading of these wools on the front of the Tapestry when compared to the back; the various stitching techniques when viewed from the back; the practice of crossing embroidery threads from one image or zone to another on the back; and the order in which the embroidery of the various elements was executed (i.e., image outlines, infill, inscriptions, border elements). Owen-Crocker makes her own observations: the border images sometimes have to “catch up with the main register”; the main register sometimes has to adapt to the borders; the shortcomings of photography cannot answer all questions of embroidery technique; there are questions whether some stem stitching is original or repair; the Tapestry’s back fails to shed any light on where it was made or by whom. The author ends with a description of how the Tapestry is displayed today and her concerns on some presentational, curatorial, and preservation issues.

1274. ———. “Behind the Bayeux Tapestry.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 119–29. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in The Bayeux Tapestry: New Interpretations, edited by Martin K. Foys, Karen Eileen Overbey, and Dan Terkla (Woodbridge, U.K.: Boydell, 2009). This article is annotated under the entry for Owen-Crocker’s article under the same title in The Bayeux Tapestry: New Interpretations.

1275. ———. “Brothers, Rivals and the Geometry of the Bayeux Tapestry.” King Harold II and the Bayeux Tapestry. ed Gale R. Owen-Crocker, 109–32. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Owen-Crocker discusses the graphic prominence of Odo in the Bayeux Tapes- try and notes that he appears less frequently in the William-centered inscriptions than he does in the graphics, whose imagery “certainly originates from St Augus- tine’s monastery, which came under the jurisdiction of Odo as Earl of Kent.” She also explains why she believes that Odo is depicted in the River Couesnon scene, a rather unique observation. A less than obvious rivalry in the Tapestry, notes the author, is the one between Odo and Harold: “Perhaps [Odo] had seen Harold 374 The Bibliography as a rival for his brother’s attention and favour, occupying a position which he, because an ecclesiastic was forbidden to bear arms, could not fully share.” Owen- Crocker’s theory of a square-room hanging of the Tapestry and the interesting “hypertext” relationships that this creates further underscore the Harold-Odo rivalry: Harold’s church/banquet scene is directly opposite the banquet that Odo blesses; Harold swearing the oath stands opposite Odo “holding his staff and giving comfort.” She states firmly that the Tapestry was clearly to be laid out in this square design because of the relationship of these “four religious episodes.” The locations of the Tapestry’s seams are examined to back up her assertion, noting that the first seam comes at the first corner of the hypothetical room, then she describes how the content of each “side” of the Tapestry (i.e., along each wall) has narrative coherence. The square-room theory also highlights many other relationships, “a mesh of brotherhoods and rivalries, echoes and ironies,” a geometry that would be lost if the Tapestry were hung around walls of different dimensions. Viewers of the Tapestry, Owen-Crocker states, who were raised to read narratives sequentially from left to right, have found the Tapestry’s cathedral and museum hangings to appear natural. “Perhaps a twenty-first-century audience brought up on hypertext editions and the internet novel with alternative plots and consequences will show more sensitivity to the subtleties and flexibility of the medieval design.”

1276. ———. “Brothers, Rivals and the Geometry of the Bayeux Tapestry.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 109–32. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. Also published in Owen-Crocker’s King Harold II and the Bayeux Tapestry (Woodbridge, U.K.: Boydell, 2005). This article is annotated under the entry for the chapter by the same title in Owen-Crocker’s King Harold II and the Bayeux Tapestry.

1277. ———. “Dress and Authority in the Bayeux Tapestry.” Aspects of Power and Authority in the Middle Ages. eds Brenda M. Bolton, and Christine E. Meek, 53–72. Turnhout, Belgium: Brepols, 2007. Notes: Part of the International Medieval Research series, vol. 14.

1278. ———. “Dress and Authority in the Bayeux Tapestry.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 1–18. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. This article was originally published in Aspects of Power and Authority in the Middle Ages, edited by Brenda M. Bolton and Christine E. Meek (Turnhout, Belgium: Brepols, The Bibliography 375

2007). The reprinted article includes some rewriting as required by the publisher; therefore, the original pagination, pp. 53–72, has been changed. Owen-Crocker “considers the manifestations of authority through dress” in the Bayeux Tapestry. She opens her article with a tidy abstract of Harold Godwin- son’s career highlights and rising political clout prior to the story in the Tapestry. The sumptuous gown worn by King Edward the Confessor is studied in detail as an indicator of England’s wealth and importance, and as a desirable kingdom. She then discusses the “effeminate” Guy of Ponthieu, whose clothing, hair, and posture make him appear “foppish rather than formidable.” In the same episode, the author writes about Harold’s striped skirt, the dress of William’s messengers, and the obviously foreign appearance of the supplicant who comes to William to inform him of Harold’s capture. The fact that William is the only character in the Tapestry who wears garters with pendent ends and tags is observed by Owen-Crocker to be a “subtle indication” of his importance. In the scene where Guy hands Harold over to William, the cloaks and culottes (“Harold now, by ac- cident or design, being depicted in the French/Norman garment”) are described. In the River Couesnon scene, “there is nothing about the clothing to assert the authority of either of the main protagonists;” Harold’s brave actions and the Latin inscriptions take care of that. In this same scene, Owen-Crocker states her belief, “contrary to most commentators,” that the mounted figure in a checkered costume is Bishop Odo. The interplay of authoritative dress of William and Harold in the oath scene is discussed; Harold’s cannot compete with William’s. She briefly comments on the authority in the clothing of the second appearance of Edward enthroned, Harold at his coronation, Archbishop Stigand, and Harold hearing news of the comet. The two scenes in which William sits in council are apparently modeled after manuscript drawings, notes Owen-Crocker, and this may indicate that the Tapestry’s designer may have been conscious of the biblical associations that he was creating, but could very well have been “not confident about creating images of men in long robes. The long garments had an unmistakable association with authority, which the artist chose to exploit, but perhaps he was not accustomed to seeing them in real life.” She discusses the fact that what nobility really wore is uncertain, despite the Tapestry’s images, and briefly examines how kingly fashions came to the island. She ends with commentary on the missing end of the Tapestry.

1279. ———, ed. Dress in Anglo-Saxon England. Woodbridge, U.K.: Boydell Press, 2004. Notes: Revised and enlarged edition. Also cited as Dress in Anglo-Saxon England: Revised and Enlarged Edition. Originally published by Manchester University Press in 1986. Developed from Owen-Crocker’s unpublished PhD thesis, titled Anglo-Saxon Costume, at the University of Newcastle upon Tyne in 1976. This title is cited in the bibliography under Gale R. Owen. Drawings by Christine Wetherell and Rosalyn Smith. 376 The Bibliography

Owen-Crocker presents a thorough study of men’s and women’s clothing from the fifth to the eleventh centuries, neatly compartmentalized into chapters by gender and epoch. She mentions in her introduction that pictorial works such as Wilson’s The Bayeux Tapestry have made preparation for the 2004 edition of her book easier than the 1986. The Bayeux Tapestry is mentioned dozens of times throughout the work. She states that the Tapestry presents dress of various ranks of Anglo-Saxons and Normans engaged in different activities and that it is a testament to textile manufacturing skills of the age. In a chapter sub-heading on the realism of color in art, she cautions us not to take seriously the coloring of garments depicted in late Anglo-Saxon art, including the contrasting coloration of inner and outer surfaces of sleeves in the Tapestry, because the Tapestry indeed “might colour a horse green with terracotta legs!” In the same passage, the Tapestry’s wine wagon is mentioned for its decorative colors. Also, she reminds readers that the appearances of clothing in art are stylized, and depictions of how drapery falls and other details are not reliable. Speculating what kinds of decorative motifs may have been used on English clothing, the author implies that we may look at the plants and animals in the Tapestry for ideas. A passage on semiotic dress mentions the Tapestry frequently for its depiction of dramatically important characters in more decorative clothing. The Tapestry is discussed in varying lengths in passages on archers’ sleeves; the colors of the wools used in the embroidery; Queen Edith’s costume; women’s sleeved gowns and headdress; men’s cloaks, gowns, and skirts; the Tapestry’s tendency to elaborate garments to “pinpoint important characters”; tunic belts, girdles, and necklines; the possibility of collared shirts worn under tunics and questionable linguistic evidence for them; knives and swords worn at the belt; divided skirts (culottes); Harold’s striped garment in his arrest at Ponthieu; leg garters/bindings; the lack of variety in the Tapestry’s footwear; hairstyles; Englishmen dyeing their hair; facial hair, stubble, and shaving; men’s headgear; a question of the Tapestry’s accuracy in depicting gloveless men with birds on their wrists; the secular and military costume of Odo and other ecclesiastics; mail tunics and how they may have been constructed; archers’ armor; questions on the development of helmets; loom weaving of the Tapestry’s linen; professional embroidery workshops; and the Tapestry’s nudes. Toward the end of her work, Owen-Crocker writes a passage dedicated to a general description of the Tapestry from a textile scholar’s point of view, and comments in this section that the Tapestry’s style is at times “informal, even frivolous, which shows a lighter-than-usual side of late Anglo-Saxon/ early Norman taste.” The first appendix is an interesting ten-page glossary of Old English garment names. The second appendix, “A possible cutting plan for an eleventh-century gown,” derived from an article written by Robin Netherton, is annotated separately and presents a fully detailed description of a possible cutting plan to create the gown worn by the Tapestry’s Anglo-Saxon woman fleeing a burning building. Hundreds of illustrations are included: photographs and drawings of archaeological finds and of reconstructions, drawings from Anglo-Saxon The Bibliography 377 manuscripts and from the Tapestry, and other diagrams. Includes a 32-page bibliography and an index.

1280. ———. “Embroidered Wood: Animal-Headed Posts in the Bayeux ‘Tapestry’.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 106–38. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in Aedificia Nova: Studies in Honor of Rosemary Cramp, edited by Catherine E. Karkov and H. Damico (Kalamazoo, MI: Medi- eval Institute Publications, Western Michigan University, 2008). Owen-Crocker closely studies animal-head and anthropomorphic wooden posts on the Bayeux Tapestry’s ships, furniture, and architecture and seeks to ascertain their authenticity. She suggests that the stylistic variations in the appearance of these figureheads indicate the work of different draftsmen and embroiderers. Scandinavian decorative styles of the wooden heads, especially the Ringerike style, are discussed. She argues that the wooden heads “sometimes reflect the situation or emotion of a human protagonist,” sentiments such as ex- pectation, surprise, embarrassment, eagerness, and enthusiasm, “and thus [function] as a subtle accessory to interpretation.” Their roles in providing “a witty and potentially subversive subtext of the Tapestry’s narrative” are explored. She compares the Tapestry’s depictions to images from manuscripts such as the Old English Hexateuch, the Junius Manuscript, the Harley Psalter, and others. Ship figureheads, she notes, were not just for warships, so one should “not, then, be surprised to find in the Bayeux Tapestry the ealdorman Harold setting off on an apparently peaceable journey.” The protruding tongues of the wooden animals as well as the border creatures are given considerable treatment here by the author. Guy of Ponthieu, “a little man who wants to be big,” notes Owen-Crocker, is not helped by the furniture upon which he sits in the Tapestry: a cushionless chair with mute canine heads, “suggesting that he has no voice and little power.” She observes that the squawking bird finials on Harold’s throne as he hears the news of the comet may be prophesying doom for the new king. The long-tongued animal figurehead at the foot of Edward’s deathbed functions as a space-filler, she adds. There are only four architectural animal heads in the Tapestry, and Owen- Crocker expresses her surprise at this, given the evidence for such decoration on Insular and Viking buildings. The “severe” beaked animal on a port building gaping at Harold’s ship upon his return to England could be a commentary on Harold’s foibles in Normandy, and its snail-like horns may imply that Harold was slow to return; these horns may be nothing more than embroidery shortcomings, however. She states that the protruding tongues from the animals on the structure that encloses Ælfgyva may signify that William and Harold are slandering Ælfgyva; this, she adds, is backed up by some of the other animal antics in the borders above and below this scene. Owen-Crocker believes this structure to be 378 The Bibliography a doorframe, and states that animal heads are not a regular feature of doorframes in late Anglo-Saxon art, and that these in the Tapestry are perhaps inspired by illuminated initials from manuscripts such as the Harley Psalter. Owen-Crocker then goes off course on notable tangents. First, she theorizes that the placement of Ælfgyva in this free-standing portal may come from the Viking and Anglo- Saxon use of such a structure to indicate passage between different dimensions. The cleric’s gesture toward her face “may be seen as a metaphorical ‘raising up’ of Ælfgyva” that resembles figures being risen from the dead in the St. Augustine Gospels and the Paris Psalter. The author insinuates therefore, that the Tapestry’s Ælfgyva may be Ælfgyva of Northampton or Ælfgyva-Emma, both deceased by the time the Tapestry was made. She then writes about how the tower in the Ælfgyva scene may have been a manuscript-inspired image and adds that Ælfgyva’s right hand is clumsy compared to other hands in the Tapestry and the whole figure may be an attempt to copy the figure Spes from the Cotton Cleopatra manuscript. Includes numerous photographs from the Tapestry and the author’s drawings of details from the Tapestry, manuscripts, architectural details, and archaeological finds.

1281. ———. “Embroidered Wood: Animal-Headed Posts in the Bayeux ‘Tapestry’.” Aedificia Nova: Studies in Honor of Rosemary Cramp. eds Cath- erine E. Karkov, and H. Damico, 106–38. Kalamazoo, MI: Medieval Insti- tute Publications, Western Michigan University, 2012.

1282. ———. “The Embroidered Word: Text in the Bayeux Tapestry.” Medi- eval Clothing and Textiles. eds Robin Netherton, and Gale R. Owen-Crocker, 35–59. Woodbridge, U.K.: Boydell Press, 2006. Notes: Volume 2 in the series Medieval Clothing and Textiles. Owen-Crocker presents a close examination of many aspects of the Bayeux Tapestry’s Latin inscriptions. She begins with a quick look at square capital and uncial letters, spelling variations in names, and reasons for the choice of Latin for the Tapestry’s text. She supports her belief that the Tapestry was made in sections by various workshops by examining as evidence the variety of colors and layout of the letters as well as the use of crosses in lines of text. The parallels between the manuscripts and the Tapestry’s lettering and punctuation are highlighted. Owen-Crocker also points out ways in which symbols and even stitch choice are used to emphasize important persons and events in the Tapestry, and she is one of very few scholars to comment on the crown-shaped “suspension” above the final A in CORONA before the scene of Harold’s coronation. The function and position of text is discussed, mostly in terms of place-names and personal names. In a passage on vocabulary and syntax, she notes that the breadth of the Tapes- try’s range in these two areas is very limited, however two inscriptions stand out for their rhetorical character, the “VELIS VENTO PLENIS” phrase and the full, robust “HIC WILLELM DVX ALLOQVITVR” sentence. On the relationship be- The Bibliography 379 tween the text and the Tapestry’s images, she states that it is clear that the images were embroidered before the text, and that the text often overrides the images’ own visual divisions. Highly narrative or descriptive scenes that lack captions are discussed. Owen-Crocker poses an interesting question on the possible accidental inversion of captions in the Beaurain arrest scene. She concludes with her assumptions of how the text figured in the creative process of the entire Tapestry and then raises several questions of what actually took place in the embroidery workshops while working on the inscriptions. Included are nine pages of a chart that lists scene numbers, Latin inscriptions (printed on the chart to approximate the geography of the text in the Tapestry, complete with punctuation and every symbol and diacritical or inflectional mark), English translations, a breakdown of the text by parts of speech, and an inventory of symbols used.

1283. ———. “The Embroidered Word: Text in the Bayeux Tapestry.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 35–59. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in Medieval Clothing and Textiles, volume 2, edited by Robin Netherton and Gale R. Owen-Crocker. This article is annotated under the entry for Owen-Crocker’s article under the same title in Medieval Clothing and Textiles, volume 2.

1284. ———. “Fur, Feathers, Skin, Fibre, Wood: Representational Tech- niques.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 1–6. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. Previously unpublished. An earlier version was read as a paper at the Medieval Congress in Kalamazoo, MI, May 2009. Owen-Crocker discusses her numerous observations about embroidery techniques in the Bayeux Tapestry and the uses of color to create textural effects of beasts, birds, clothing, and other objects. Particular attention is paid to the individualization, primarily through color contrasts, of the overlapping horses. Includes 11 photographs of the Tapestry and one of another medieval embroidered hanging.

1285. ———. “The Garments of Guy in the Bayeux Tapestry . . .” This piece summarizes Gale Owen-Crocker’s conference paper in which she analyzes the ways in which Guy of Ponthieu’s clothing, as depicted in the Bayeux Tapestry, characterize him. In the scene of Harold’s arrest, the men of Ponthieu appear in a “type of Scandinavian trouser-like garment,” making them look foreign. An image of Guy on a throne with tiny animal head finials where 380 The Bibliography his “cloak is so short that one can see the hose on his legs [is] a rather undigni- fied look.” In the episode where the Count is confronted by William’s envoys, Guy looks “decadent and wimpy,” especially compared to the “bigger and more intimidating” messengers. In his last appearance, according to Owen-Crocker, Guy is seated on a donkey, thereby likening him to an ass.

1286. ———. “Garters and the Making of the Hanging.” Costume: The Jour- nal of the Costume Society 28, no. 28 (1994).

1287. ———. “Hawks and Horse-Trappings: The Insignia of Rank.” The Battle of Maldon, AD 991. ed Donald Scragg, 220–37. Oxford, U.K.: Black- well, 1991.

1288. ———. “Hawks and Horse-Trappings: The Insignia of Rank.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 220–237. Farn- ham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in The Battle of Maldon, AD 991, edited by Don- ald Scragg (Oxford, U.K.: Blackwell, 1991). The historical development of the sport of falconry is examined in the first part of this article. One caption for a Bayeux Tapestry photograph mentions the possible reasons for Harold embarking on his voyage to Normandy with hawks: a hunting trip or diplomatic gifts for Duke William. Another photograph’s caption notes that one bird of prey has jesses and a bell on its tail. The author then presents an overview of Anglo-Saxon uses of horse trappings, and mentions the Tapestry’s depictions of stirrups, harnesses, reins, bridles, rings, bits, and breast- straps. Includes notes.

1289. ———. “Hunger for England: Ambition and Appetite in the Bayeux Tapestry.” English Studies: A Journal of English Language and Literature 93, no. 5 (2012): 539–48. Notes: Published in a special issue of English Studies titled Holy and Unholy Appetites in Anglo-Saxon England: A Collection of Studies in Honour of Hugh Magennis. Owen-Crocker demonstrates how political ambition and the problem of succession in the Bayeux Tapestry are underscored by its images of people and animals hunting, eating, and tilling the soil.

1290. ———. “The Interpretation of Gesture in the Bayeux Tapestry.” An- glo-Norman Studies (Proceedings of the Battle Conference, 2006) 29 (2007): 145–78. The Bibliography 381

1291. ———. “The Interpretation of Gesture in the Bayeux Tapestry.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 145–78. Farn- ham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in Anglo-Norman Studies 29 (Proceedings of the Battle Conference, 2006), 2007. Owen-Crocker discusses the common and rarer hand gestures shown in the Bayeux Tapestry, including theatrical and religious gestures and gestures copied from the spontaneous uses in everyday life. The reading of these gestures is examined in the context of how they “may help us resolve some ambiguities, or to complicate matters.” She categorizes the gestures and discusses them at varying lengths: pointing finger, pointing to the inscription, pointing to indicate significant subtext, pointing on or back to show continuity, pointing to significant actor or action, nautical skill, open hand, open hand facing down, hand and eye: the lookout, calling, the combatant, hand to waist or hip, blessing, prayer, kneeling, raising up, eavesdropping, supplication, pondering, approval or hope, swearing an oath, and grief. The four simultaneous gestures in the scene in which William receives the news of Harold’s treachery are discussed at length. Owen-Crocker examines the gestures and border figures around the Ælfgyva scene for their value as clues in establishing who she was. Harold’s apparent discomfort in the oath scene, indicated by his body language, is discussed. The author cautions her readers not to read the Tapestry’s gestures “in terms of twenty-first century custom,” and points out a few examples where particular gestures in the Tapestry had different connotations then than they do today. Includes an appendix of an elaborate chart of all gestures in the Tapestry, with any accompanying captions, the persons making the gestures, and to whom or to what the gestures are made.

1292. ———, ed. King Harold II and the Bayeux Tapestry. Woodbridge, U.K.: Boydell Press, 2011. Notes: Paperback. First published in 2005 as part of the series Publications of the Manchester Centre for Anglo-Saxon Studies, vol. 3. This collection of essays provides fresh studies of the Bayeux Tapestry, plus analyses of Harold Godwinson, his character, career, environment, and the legitimacy of his long-planned but short kingship. See separate annotations for the ten articles from this book that have Tapestry-related content (two of them do not mention the Tapestry). “King Harold and the Bayeux Tapestry: a Critical Introduction” by H. E. J. Cowdrey; “Harold Godwinesson: the Construction of Kingship” by N. J. Higham; “Harold II: A Throne-worthy King” by Ian Howard; “Body Language: a Graphic Commentary by the Horses of the Bayeux Tapes- try” by Sarah Larratt Keefer; “Brothers, Rivals and the Geometry of the Bayeux Tapestry” by Gale Owen-Crocker; “Putting the Bayeux Tapestry in Its Place” by 382 The Bibliography

Chris Henige; “Gendering the Battle? Male and Female in the Bayeux Tapestry” by Catherine E. Karkov; “Cognate Imagery: the Bear, Harold and the Bayeux Tapestry” by Shirley Ann Brown; “The Cicero-Aratea and the Bayeux Tapestry” by Cyril Hart; and “The Bayeux Tapestry and Eleventh-Century Material Cul- ture” by Michael Lewis. Includes index.

1293. ———. “Reading the Bayeux Tapestry Through Canterbury Eyes.” Anglo-Saxons: Studies Presented to Cyril Roy Hart. eds Simon Keynes, and Alfred P. Smyth, 243–65. Dublin, Ireland: Four Courts Press, 2006.

1294. ———. “Reading the Bayeux Tapestry Through Canterbury Eyes.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 243–65. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in Anglo-Saxons: Studies Presented to Cyril Roy Hart, edited by Simon Keynes and Alfred P. Smyth (Dublin, Ireland: Four Courts Press, 2006). Owen-Crocker offers this article on the “similarities between the graphic style of the Bayeux Tapestry and Anglo-Saxon manuscripts.” She briefly lists the reasons that are most commonly accepted for the notion that the Tapestry was made in England, notably, Francis Wormald’s observations that the Tapestry’s designer had obviously taken inspiration from the Old English Hexateuch. The differences between “what is broadly ‘Canterbury Style’ and specific copying of a significant image” are described. Owen-Crocker then discusses in detail the many places in the Tapestry where other sources were evidently the inspiration, supported by illustrations. Among the manuscripts discussed: the imported Gos- pels of St. Augustine; the Utrecht Psalter; a copy of Prudentius’ Psychomachia; a ninth-century catalogue of the constellations, the Cicero-Aratea; as well as other documents. More than just copying pleasing images from manuscripts, the author believes that it is possible that the Tapestry’s designer attempted to augment the Latin captions “with conscious reference to their manuscript context.”

1295. ———. “Squawk Talk: Commentary by Birds in the Bayeux Tapes- try?” Anglo-Saxon England 34, no. 1 (2005): 237–54. Owen-Crocker discusses the birds in their many forms in the Bayeux Tapestry. She begins with some remarks on the historical development of paired animals as a decorative motif. Discounting fantasy creatures and barbecued poultry, the author counts 217 birds in the Tapestry and divides them into five categories: paired border birds, unpaired border birds, birds in natural rural situations, birds in fables, and birds in the main register of the Tapestry, including decorative birds on furniture finials and drinking horns. She provides an overview of the traditions, biblical and non-biblical, of birds in art preceding the Tapestry and notes The Bibliography 383 that the Tapestry pre-dates the rise in popularity of representing birds realistically in art starting in the thirteenth century. The ways in which embroidery and use of compositional space distort the physical traits of birds, often making it difficult to identify what type of birds they are, are discussed. On the other hand, some of the Tapestry’s birds have features that enable us to identify the type of bird. She then writes of the appearances, iconography, and programmatic uses of doves, cocks, peacocks, storks/cranes/herons, and hawks. The bird-scaring detail from the Tapestry’s lower border is examined in some detail. Some identifications by other scholars that Owen-Crocker sees as doubtful are mentioned as well: an os- trich, a pair of phoenixes, and a possible owl. Finally, she discusses the ways in which the birds in the upper and lower borders interact and provide commentary on the events of the main register.

1296. ———. “Squawk Talk: Commentary by Birds in the Bayeux Tap- estry?” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 237–56. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in Anglo-Saxon England, vol. 34, 2005. This article is annotated under the entry for Owen-Crocker’s article by the same title in Anglo-Saxon England.

1297. ———. “Stylistic Variation and Roman Influence in the Bayeux Tap- estry.” Peregrinations: International Society for the Study of Pilgrimage Art 2, no. 4 (2009). Notes: This issue, titled Bayeux Tapestry Revisited, was edited by John Mi- cheal Crafton, professor of English at the University of West Georgia.

1298. ———. “Stylistic Variation and Roman Influence in the Bayeux Tapes- try.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 1–35. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination; however this article was reformatted from its original online form. This article was originally published in the online journal Peregrinations, volume 2, issue 4, 2009, edited by John Micheal Crafton. In this article, Owen-Crocker examines in detail several scenes in the Bayeux Tapestry for their stylistic similarities with Trajan’s Column and the Column of Marcus Aurelius. The four scenes studied are tree-felling, building and launching of ships; riders, pillagers, cooks, and waiters; the feast and council; construction of Hastings Castle, military orders, arson, and preparing to exit Hastings. She also considers whether a different artist was at work in designing the Tapestry’s cartoon at these points of Roman sculptural influence. Here, the author points out the 384 The Bibliography differences in the embroidered faces of paired figures such as diggers at Hastings Castle, the “spade fighters,” the cooks attending the cooking pot, and the arson- ists; she poses the thesis that some of these faces may have been acquaintances of the Tapestry designer. She goes on to suggest that the scenes discussed were space-fillers, possibly to force the positioning of the Tapestry’s two feast scenes such that they would be opposite one another in a square room as Owen-Crocker as explained in her “Brothers, Rivals and the Geometry of the Bayeux Tapestry” (2005). She concludes, “one can only assert that the Tapestry is not the coherent product it has been supposed.”

1299. ———. “Telling a Tale: Narrative Techniques in the Bayeux Tapestry and the Old English Epic Beowulf.” Medieval Art: Recent Perspectives: A Memorial Tribute to C.R. Dodwell. eds Gale R. Owen-Crocker, and Timothy Graham, 40–59. Manchester, U.K.: Manchester University Press, 1998. Notes: Distributed in the U.S. by St. Martin’s Press, New York. This article may also be cited as “The Bayeux Tapestry and Beowulf.” Starting off by noting that it had been 30 years since C. R. Dodwell compared the Bayeux Tapestry to French epic poetry, Owen-Crocker states it is time to do the same with the textile and Beowulf. The poem, she notes “is not attributed by many respected scholars to the late Anglo-Saxon period,” bringing both works within a century of each other. She begins the comparison by showing how both works are divided into “chapters”: Beowulf’s demarcated by conclusive or aphoristic statements, the Tapestry’s by trees, characters’ facings, and scene changes. The author refers to J. R. R. Tolkien’s description of Beowulf as binary in structure: the hero’s youthful fights against Grendel and his mother, then his old-age battle against the mother dragon; she notes that the Tapestry is also binary in structure: Harold’s voyage to and adventures in Normandy followed by his coronation, then William’s preparations for invasion followed by battle. The possibility that both works have triple and cyclic structure is also briefly examined. Historical digressions in both works are examined, most notably in comparing the Tapestry’s Ælfgyva episode to the doomed marriage of Hrothgar’s daughter Freawaru in Beowulf. The poem and the embroidery both contain scene reversals which are discussed. Owen-Crocker also includes a fascinating look at complex symmetrical structures, ABCDEDCBA patterns, in Beowulf and in the Tapestry. Other episodic symmetries in both works are also noted. Feast scenes, occurring in both works, are examined for their structural use, and the author describes her observations on the Tapestry’s two scenes, including a remark about an invading Norman apparently annoyed by a horn being blasted in his ear. Parallels are drawn between the Tapestry’s second feast scene and the oath scene. She suggests that “a study of ‘patterns’ can be used to test the hypothesis that the episode in which William’s messengers go from Duke to Guy of Ponthieu . . . is an error.” She ends by noting that the structures of Beowulf and the Tapestry are complex and “elaborately interlinked” and that The Bibliography 385 the Tapestry’s current museum display encourages an unfortunate linear read of the work. Includes numerous black-and-white photographs of the Tapestry and extensive notes.

1300. ———. “Telling a Tale: Narrative Techniques in the Bayeux Tapestry and the Old English Epic Beowulf.” The Bayeux Tapestry: Collected Papers. Gale R. Owen-Crocker, 40–59. Farnham, U.K.: Ashgate Variorum, 2012. Notes: Part of the Variorum Collected Studies Series, CS 1016. The reprinted articles in this volume have not been given a new, continuous pagination. This article was originally published in Medieval Art: Recent Perspectives, edited by Owen-Crocker and Timothy Graham (Manchester, U.K.: Manchester University Press, 1998). This article is annotated under the entry for Owen-Crocker’s article of the same title in the book Medieval Art: Recent Perspectives, edited by Owen-Crocker and Timothy Graham.

1301. ———. “Women’s Costume in the Tenth and Eleventh Centuries and Textile Production in Anglo-Saxon England.” The Archaeology of Anglo- Saxon England: Basic Readings. ed Catherine E. Karkov, 423–85. New York: Garland, 1999. Notes: This article is reprinted from Dress in Anglo-Saxon England by Gale R. Owen-Crocker, 1986. Part of the Basic Readings in Anglo-Saxon England series, #7, Carl T. Berkhout, Paul E. Szarmach, and Joseph B. Trahern, Jr., general editors. This series is part of the Garland Reference Library of the Humanities, H2086. Owen-Crocker presents a lengthy, robust article on her topic and turns to the Bayeux Tapestry frequently to support her discussion points. She notes that we cannot rely on the Tapestry for the real color of garments, after all, it depicts green horses with terracotta legs. Although, she admits, the Tapestry’s wide range of thread colors demonstrates that a variety of colors were available in textile production. Long-sleeved gowns, like those depicted in the Tapestry, are profiled. In a sub-heading on embroidery, she briefly discusses the Tapestry’s embroidery technique. Includes 203 notes and 56 diagrams and illustrations, three of which are from the Tapestry.

1302. ———, ed. Working With Anglo-Saxon Manuscripts. Exeter, U.K.: Uni- versity of Exeter Press, 2009. Notes: Part of the series Exeter Medieval Texts and Studies.

1303. Owen-Crocker, Gale R., and Timothy Graham, eds. Medieval Art: Recent Perspectives: A Memorial Tribute to C.R. Dodwell. Manchester, U.K.: Manchester University Press, 1998. Notes: Distributed in the U.S. by St. Martin’s Press, New York. 386 The Bibliography

Owen-Crocker and Graham present a volume of 14 essays on topics as diverse as unicorns in English misericords and Romanesque sculpture of the Welsh marches. On the Bayeux Tapestry are Peter Laski’s “The Bayeux Tapestry and the Representation of Space”; Owen-Crocker’s “Telling a Tale: Narrative Tech- niques in the Bayeux Tapestry and the Old English Epic Beowulf”; and Jonathan J. G. Alexander’s “Medieval Art and Modern Nationalism.” These first two essays include black-and-white photographs of the Tapestry. Includes an index and two full-page color plates of the Tapestry at the beginning of the book.

1304. Owen-Crocker, Gale R., and Win Stephens. “Cross in the Grave: Design or Divine?” Cross and Culture in Anglo-Saxon England: Studies in Honor of George Hardin Brown. eds Catherine E. Karkov, Karen Louise Jolly, and Sarah Larratt Keefer, 117–37. Morgantown, WV: West Virginia University Press, 2007. Notes: Volume 9 in the series Medieval European Studies. Article also cited as “Design or Divine: The Cross in the Grave.” Book also cited as Cross and Culture in Anglo-Saxon England: Santa Crux Haling Rod.

1305. Owen, Gale R. Anglo-Saxon Costume. Newcastle upon Tyne, U.K.: University of Newcastle upon Tyne, 1976. Notes: This is the three-volume PhD thesis of Tapestry scholar Gale R. Owen-Crocker, later developed into Dress in Anglo-Saxon England published by Manchester University Press in 1986. This title was eventually developed into a revised and enlarged edition which has also been cited as Dress in Anglo-Saxon England: Revised and Enlarged Edition. The title into which this thesis was developed, Dress in Anglo-Saxon England, is annotated separately.

1306. Oxenstierna, Eric. The Norsemen. Greenwich, CT: New York Graphic Society Publishers, 1965. Notes: Translated and edited by Catherine Hutter. Originally published in Ger- man under the title Die Wikinger, Stuttgart, Germany: W. Kohlhammer Verlag, 1959. Author name on cover: Count Eric Oxenstierna. The author notes how the Battle of Hastings is “immortalized in fascinating detail and with marvelous pictorial liveliness” on the Bayeux Tapestry. Includes a Viking ship scene from the embroidery.

1307. Pächt, Otto. The Rise of the Pictorial Narrative in Twelfth-Century Eng- land. Oxford, U.K.: Clarendon Press, 1962. Notes: Title on spine: Pictorial Narrative in Twelfth-Century England. In his brief introductory chapter on Anglo-Saxon narrative, Pächt lays down some historical background before the bulk of his book on the twelfth-century The Bibliography 387 renaissance of the Classical tradition and pictorial representations in liturgical drama. The author’s observations of the narrative approaches in the Bayeux Tapestry are discussed over three pages in this chapter. He argues that comparisons of the Tapestry and the illustrations in Ælfric’s Pentateuch should go beyond pictorial vocabulary and explore visual grammar and syntax; he states as an example the use of gestures as signposts throughout the Tapestry to guide the viewer through a “conducted tour through history” like a dramatic production. Pächt comments on how remarkable it is that the Tapestry has survived the centuries and that it is the “solitary remainder of a lost domain of artistic expression” for which we do not even have a satisfactory comparison even from the following century. Includes one photograph of the Tapestry and an index.

1308. Paetow, Louis John. Guide to the Study of Medieval History for Students, Teachers, and Libraries. Berkeley, CA: University of California Press, 1917. Notes: University of California Syllabus Series No. 90. Paetow, Associate Professor of Medieval History at the University of Califor- nia, provides this reference work for students, which is essentially a bibliography, outlines of major historical periods, and lists. He lists some sources for information on the Bayeux Tapestry, although all of them are in French.

1309. Page, R. I. “The Bayeux Tapestry.” Antiquity 60, no. 229 (1986): 156–57. A review of David Wilson’s The Bayeux Tapestry.

1310. Palmer, Alan. Kings and Queens of England. London: Peerage Books, 1985. Notes: Revised edition. Originally published by Octopus Books, London, in 1976. Three black-and-white photographs of the Bayeux Tapestry are used to illustrate the story of the Norman Conquest in the introductory chapter, titled “Nor- man Yoke: 1066–1164.” Additional black-and-white photographs of the Tapestry are featured on the book’s endpapers. Includes index.

1311. Palmer, J. J. N. “The Wealth of the Secular Aristocracy in 1086.” Anglo-Norman Studies XXII: Proceedings of the Battle Conference, 1999. ed Christopher Harper-Bill, 279–91. Woodbridge, U.K.: Boydell Press, 2000. This paper, which documents the wealth of England’s aristocracy 20 years after the conquest, identifies numerous nobles by name, and confidently identifies the Bayeux Tapestry’s Wadard on the basis of statistical probability as the tenant of 45 estates listed in Domesday. Includes notes. 388 The Bibliography

1312. Pancoast, Henry S. “The Origin of the Long-Bow.” PMLA (Publica- tions of the Modern Language Association of America) 44, no. 1 (1929): 217–28. Notes: A footnote explains, “The present paper was written by Dr. Pancoast just before his death on March 25, 1928. It has been prepared for the press by his friend, Percy V.D. Shelly.” Pancoast mentions the Bayeux Tapestry’s illustration of English archers at Hastings in his discussion of the bow’s use by Anglo-Saxons for hunting and “even to some extent in war.” Later in the text, Pancoast quotes Oman, writing, “Oman, like Fletcher, is more cautious than Trevelyan, but inclines to the theory that the long-bow was Welsh in origin. He writes, ‘Whence the English got their long-bow is not quite easy to decide; the Normans at Hastings, as the Bayeux tapestry clearly shows, still used the short four-foot bow, not the great six-foot weapon with its cloth-yard arrow.’”

1313. Parisse, Michel. The Bayeux Tapestry. Paris: Denoël, 1983. Notes: Paperback. Translated from the French by William Courtney. Trans- lations revised for this edition by John O’Neill. Drawings by Jean Thouvenin. French title: La Tapisserie de Bayeux: Un documentaire du Xle siècle. Parisse, professor of medieval history at the University of Nancy, states his intent to present an analysis of the Bayeux Tapestry’s narrative structure and action “using cinematographic techniques” and adds that his book offers hand- drawn illustrations made from early drawings of the Tapestry, which will allow for more careful study of the narrative and its documentary aspect. “Formerly, the scenes [of the Tapestry] were numbered by figures embroidered above them,” and Parisse uses this numbering system in synopses of each of the 58 scenes in order from left to right; English translations of the Latin inscriptions can be quite loose. On the missing end of the Tapestry, Parisse assumes that Baudri of Bour- gueil’s poem to Adele is indeed a description of the countess’ personal copy of part of the Bayeux Tapestry, and that the end of the poem corresponds to what we can no longer see: the vanquished English are grieved and afraid, but they soon accept him as their new king. He supports this notion by pointing to the numerous places where the poem and Tapestry overlap in content. The Tapestry as a work of Norman propaganda is discussed, followed by comments on linen and wool as media choices. The Tapestry as a “cinematic conception” is examined: its “screenplay,” display of movement, use of space and time, of color and decor, filling-in scenes, sudden cuts, “clever” transitions, changing of decor, and the use of flashbacks. The Tapestry as “a documentary of the 11th century” is examined for its usefulness in informing us on the material culture of the time. Detailed analyses include: the men and women of the Tapestry; the combatants: defensive equipment, offensive equipment, the battle; the life of the nobility: traveling and hunting, meals, death, the Church; relations between men: kings and princes, parents and friends; the buildings: houses, palaces, fortifications, churches; and The Bibliography 389 craftsmanship: tools, boats (includes an illustration showing 14 different ship figureheads from the Tapestry). A bestiary shows an illustrated compilation of 23 real and “monstrous” animals. After a discussion on identifying the fables found in the Tapestry’s borders, Parisse provides the full text of seven fables: “The Fox and the Crow,” “The Wolf and the Lamb,” “The Bitch Giving Birth,” “The Wolf and the Crane,” “The Cow, the Goat, the Sheep, and the Lion,” “The Man and the Serpent,” and “The Rat and the Frog.” (These last two fables are seldom discussed elsewhere in Tapestry literature.) An apparently hastily translated appendix, “The Bayeux Tapestry seen by the Historians,” highlights two items: 1. Brooks and Walker’s main talking points at a then-recent Battle Conference where they had “convincingly put forward the theory that the Tapestry was made at the monastry [sic] of Saint Augustin at Canterbury”; 2. a brief yet rather unfo- cused essay on “historical data” in which a handful of contentious points about the Tapestry are discussed: Harold in Ponthieu, the identity of Ælfgyva, the bestowal of arms upon Harold by William, Harold’s accession to the throne, and the verity of the battle scenes. A “data sheet on the Bayeux Tapestry” found on the final page takes information from Simone Bertrand including: the dimensions of the eight sections of the Tapestry (given variously and inconsistently in meters, yards, or inches), the materials used (i.e., the linen and colored wools), the types of stitches employed, a list of the types of 1,515 “constituents” appearing in the Tapestry, and speculation on how a drawing may have been created and used to guide the embroiderers. Includes a list of sources and a bibliography. No index.

1314. Parker, Michael St. John. William the Conqueror and the Battle of Hastings. Andover, U.K.: Pitkin Guides, 2010. Notes: Reprint. Originally published in 1996. This 29-page paperback introduction to William the Conqueror and the events of 1066 uses 14 color images from the Bayeux Tapestry to illustrate the story. One caption acknowledges the Tapestry’s “decidedly Norman view of the events surrounding the Conquest” and attributes the work’s commissioning to Bishop Odo. Other captions mention gunwales, battle-axes, hair styles, the shield wall, and archers. Heavily illustrated with photographs, maps of the battle, and other images.

1315. Parker, Rozsika. The Subversive Stitch: Embroidery and the Making of the Feminine. New York: Routledge, 1989. Notes: Reprint. Originally published by Women’s Press, London, in 1984. Also reprinted in paperback in 1986. Parker traces the changing perceptions of femininity through the medium of embroidery from the middle ages to the present. In a chapter on embroidery and Victorian medievalism, she notes that when “women writers presented their own picture of the noble embroiderer, they were, in their own way, redressing their sex’s dissatisfaction and unhappiness.” Parker includes a quote from a passage 390 The Bibliography of Elizabeth Stone, in which Stone lauds Queen Matilda for the astonishing task of lovingly embroidering a historical memento to her husband’s deeds. Parker also discusses the remarks about Queen Matilda and the Bayeux Tapestry by Victorian writers Miss Lambert, author of Handbook of Needlework (1842) and Church Needlework (1844) and Mrs. Warren and Mrs. Pullan in Treasures of Needlework (1855). The effects of nationalism during the Victorian Era on Tap- estry research is discussed; British historians “were torn between patriotism and the desire to celebrate Mathilda as an example of wifely excellence”; the French “continued to call it ‘Queen Mathilda’s Tapestry’ and images of the stitching queen still cling to it, so powerful was the nineteenth-century presentation of its history.” The author discusses how the Tapestry’s “association with aristocratic femininity has shaped its treatment by twentieth-century writers, who tend to refer to its ‘perennial charm’ and fail to consider the embroidery in light of developments in medieval art . . .” An exception to this, she adds, is Arnold Hauser, who, in his Social History of Art (1938), recognizes its importance in the development of medieval art. Includes one photograph of the Tapestry as well as one of the painting “Queen Mathilda with her Women and Saxon Maidens with the Bayeux Tapestry” by George Elgar Hicks (1899); in the caption, Parker observes that Hicks presented the Queen working for her husband’s glory rather than hers. Includes an index.

1316. Parrish, Samuel Longstreth. “The Bayeux Tapestry.” Historical, Bio- graphical, and Descriptive Catalogue of the Objects Exhibited at the South- ampton Art Museum, Established at Southampton, New York, in the Year 1897, 3–42. New York: Benjamin H. Tyrrel, 1898. Notes: Second edition published in 1912; third edition in 1926

1317. Passamaneck, S. M. “Rashi and Marine Architecture.” The Jewish Quarterly Review 67, no. 4, New Series (1977): 218–23. Notes: Published by the Center for Advanced Judaic Studies at the University of Pennsylvania. Passamaneck, of the Jewish Institute of Religion at Hebrew Union Collection in Los Angeles, references Bjorn Landstrom’s study of the development of sailing ships and the illustrations he includes from the Bayeux Tapestry are from the seals of various port cities. Passamaneck notes that “the extant pictures of ships do not show much detail of the attachment” of the spar to the mast.

1318. Pastan, Elizabeth Carson. “Montfaucon As Reader of the Bayeux Tapestry.” Medieval Art and Architecture After the Middle Ages. eds Janet T. Marquardt, and Alyce A. Jordan, 89–110. Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009. Pastan’s brief history of Montfaucon’s “discovery” and publication of the Bayeux Tapestry serves to explain the significance of Montfaucon in Tapestry The Bibliography 391 studies. Her essay explores four topics: Montfaucon’s working methods, his methods of reading the Tapestry, an analysis of some of his interpretations of the Tapestry, and an assessment of what his research means for today’s scholars. In the first part, Pastan examines the logistics that went into his two-volume Monuments de la Monarchie Françoise [sic]: collections of clippings, pasted notations, marked up engravings, usage of Foucault’s classicized images of the Tapestry, employing Antoine Benoît to create stylistically faithful drawing of the Tapestry, Montfaucon’s dating of the Tapestry, and the “visually astute” comments of Montfaucon. Pastan’s second section describes four characteristics of Montfaucon’s analyses: he discusses the Conquest, he compared the Tapestry to contemporaneous accounts (preferring William of Poitiers, although he had used a stirring account from twelfth-century historian Henry of Huntington to color his story), he fills in accounts with background information not explicitly depicted in the Tapestry (Harold’s victory at Stamford Bridge), and considers other narratives of the Conquest (where he might interweave conflicting accounts, such as the location of the oath scene, into a “fuller version”). Pastan asserts in the next section that Montfaucon, despite his statement that one should trust the “best historians of Normandy,” takes a decidedly “Norman triumphalist” point of view on issues like Edward’s deathbed wishes and the inversion of Edward’s funeral/ death scenes. Finally, in examining three ways that modern scholars may gain from Montfaucon, Pastan states that “the first is to recognize the importance of attending to the very aspects of art historical approach that he indeed sets aside (his study of the Tapestry’ s dating, place of production, patronage, and choice of medium). The second is his process of studying various accounts of the Conquest and questioning those authors’ goals. Lastly, she says that we should observe how Montfaucon highlights the Tapestry’s silence throughout the unfolding narrative, and she commends researchers such as N.P. Brooks, H.E. Walker, Richard Bril- liant, and Suzanne Lewis for their contributions on the topic of the Tapestry’s open-endedness.

1319. Pastan, Elizabeth Carson, and Stephen D. White. “Problematizing Patronage: Odo of Bayeux and the Bayeux Tapestry.” The Bayeux Tapestry: New Interpretations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 1–24. Rochester, NY: Boydell Press, 2009. Pastan and White compare Bishop Odo to two types of medieval patrons, plus examine his relationship with St. Augustine’s Abbey to support a more detailed argument of Odo as patron of the Bayeux Tapestry and that he may have played a major role in the design process. The authors thereby intend to dispel alternative theories of the Tapestry’s patronage. The authors examine the mutually beneficial relationships of Tapestry figures Wadard and Vital with the monastic community at St. Augustine’s in an attempt to soften the popular notion that they, as Odo’s tenants, were embroidered into the Tapestry to further glorify Odo. Odo is cast as a “generous patron” and protector of St. Augustine’s Abbey “whose members 392 The Bibliography would have needed directives from him to represent him favorably in the Tapes- try,” and that Odo’s appearances in the work are not products of his ego or micro- management. Briefly summarizing the main arguments for associating the Tapes- try with St. Augustine’s Abbey under Abbott Scolland, the authors note that the Tapestry neither represents a particularly Norman point of view, nor is it encoded with “motifs that undercut the Norman message” as some scholars have posited. Pastan and White assert that the Tapestry was created with an “even-handedness” that “fails to impugn either the English . . . or the Normans” and provide reasons for the Abbey’s “careful balance between two opposing viewpoints.”

1320. Patterson, Benton Rain. Harold and William: The Battle for England, A.D. 1064–1066. New York: Cooper Square Press, 2001.

1321. Patton, Allyson. “The D-Day Museum and the Overlord Embroidery.” British Heritage (2004): 56–57. In an article describing the Overlord Embroidery’s depiction of the Allied invasion of Normandy on June 6, 1944, Patton provides a brief history of the embroidery project, a description of the D-Day Museum in Portsmouth, England, as well as a nod to the Bayeux Tapestry for being an inspiration for the project. Includes photographs of the Overlord Embroidery and of Lord Dulverton, its patron.

1322. Peck, Amelia. “‘A Marvel of Woman’s Ingenious and Intellectual In- dustry’: The Adeline Harris Sears Autograph Quilt.” Metropolitan Museum Journal 33 (1998): 263–90. Notes: Published by The Metropolitan Museum of Art. Peck includes the commentary of Sarah Josepha Hale, editor of Godey’s Lady’s Book, on Sears’ quilt: “Who knows but in future ages, her work may be looked at like the Bayeux Tapestry, not only as a marvel of woman’s ingenious and intellectual industry; but as affording an idea of the civilization of our times, and giving a notion of the persons as estimated in history.” A lengthy note at the end of the article describes the Tapestry and suggests that “one of the reasons it was invoked by Mrs. Hale is that throughout the 19th century, the tapestry was thought to be the work of a single woman, Queen Mathilda . . . As such, it was held up as both a pinnacle of woman’s achievement and an act of extraordinary wifely devotion. Research in this century has proved that it was actually commissioned from an English workshop of professional women embroiderers.” Includes a lengthy appendix featuring inscriptions and biographies from the quilt.

1323. Peirce, Ian. “Arms, Armour and Warfare in the Eleventh Century.” Anglo-Norman Studies 10 (1988): 237–57. The Bibliography 393

1324. ———. “The Knight, His Arms and Armour in the Eleventh and Twelfth Centuries.” The Ideals and Practice of Medieval Knighthood: Papers From the First and Second Strawberry Hill Conferences. eds Christopher Harper-Bill, and Ruth Harvey, 152–64. Woodbridge, U.K.: Boydell Press, 1986. Notes: The title on the book’s spine is Ideals and Practices of Medieval Knighthood. Peirce presents an overview of swords, mail, and helmets, their manufacture, use, and limitations. The depiction of mail hauberks in the Bayeux Tapestry is discussed for its questionable accuracy, i.e., did the knights at the Battle of Hastings indeed wear mail trousers? The author points out that he himself had experience with this question when he designed a mail skirted hauberk with split sides for a television series, the bottoms of which clung to the actors’ legs resembling trousers. The Tap- estry’s representation of mail coifs is briefly discussed. The puzzling rectangular chest pieces on some of the Tapestry’s suits of mail are mentioned and Peirce suggests they may be metal sheets tucked into the hauberks. He also briefly mentions the Tapestry showing mail coverage to the ankles and wrists in some figures. The construction of the types of conical helmets that appear in the Tapestry is discussed. The Tapestry is also mentioned briefly in discussions of the arrangement of carrying straps of shields, the overarm and underarm carriage of lances, and gonfanons.

1325. Pelteret, David A. E. “Bibliographical Essay.” The Anglo-Saxons: Synthesis and Achievement. eds J. Douglas Woods, and David A. E. Pelteret, 151–70. Waterloo, ON: Wilfrid Laurier University Press, 1985. Notes: Paperback. Pelteret provides a narrative overview of the literature relevant to each of the book’s chapters as well as a brief survey of catalogues, bibliographies, and basic reference works. For Chapter 1, Shirley Ann Brown’s “The Bayeux Tapestry: History or Propaganda?” Pelteret mentions numerous titles on the Bayeux Tap- estry as well as references to special editions and biographies of William the Conqueror and William Rufus.

1326. ———. “Introduction.” The Anglo-Saxons: Synthesis and Achievement. eds J. Douglas Woods, and David A. E. Pelteret, 1–9. Waterloo, ON: Wilfrid Laurier University Press, 1985. Notes: Paperback. In his introductory comments on the volume’s papers, Pelteret, reviewing Shir- ley Ann Brown’s “The Bayeux Tapestry: History or Propaganda?” remarks that “it is clear from the borders of the Tapestry with their Aesopian references that it has an ideational structure more complex than the simple depiction of historical events.” He suggests that Brown “brings to the Tapestry both the eye of art critic, notably in her observation on the spatial dimensions of the work, and of the historian, in her elucidation of the relationships between place and person.” He goes 394 The Bibliography on to note that “Her analysis prevents us from seeing the Tapestry as a neutral record of historical facts.” Later in the introduction, commenting on Andrew Pat- enall’s paper addressing the Germanic traditions of the Anglo-Saxons, he writes that “The compositional structure of a manuscript page could be reproduced in tapestry or fresco. This reproduction is best illustrated in works dating several centuries after the Anglo-Saxon period, but the Bayeux Tapestry, among other examples, shows that this approach was not alien to the earlier Middle Ages.”

1327. Pelvillain, Hervé. “Publication of Results of the Scientific and Tech- nical Study, 1982–1983.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 67–68. Caen, France: Presses Universitaires de Caen, 2004. In this one-page introduction to the book’s section of essays grouped “The Artefact as Textile,” Pelvillain expresses his regret that the results of the technical study of the Bayeux Tapestry carried out in the autumn and winter of 1982–83 took so many years to be made public. He offers a few non-committal reasons: “some administrative breakdowns in communication, and even a degree of personal rivalry; above all, there was a regrettable amount of carelessness.” He goes on to indicate he is delighted to finally present the findings at the Cerisy Collo- quium and in this volume.

1328. Pernoud, Régine. The Glory of the Medieval World. London: Dennis Dobson, 1950. Notes: Translated by Joyce Emerson from the French Lumière du Moyen Age, published by Bernard Grasset, Paris, 1944. While there is no mention of the Bayeux Tapestry in the text, there is an interesting black-and-white photograph of a ship scene that shows shadows created by the undulating linen backing. The entry for the photograph in the list of illustrations notes the embroidery’s border was “inspired by the Beastiaries [sic] of the time.” Includes a Glossary of Traditional Medievalism.

1329. Perry, Ben Edwin. Babrius and Phaedrus. Newly Edited and Translated into English, Together With an Historical Introduction and a Comprehensive Survey of Greek and Latin Fables in the Aesopic Tradition. Cambridge, MA: Harvard University Press, 1965. Notes: Part of the series Loeb Classical Library. Also published by W. Heine- mann in London.

1330. Petit-Dutaillis, Charles. The Feudal Monarchy in France and England From the Tenth to the Thirteenth Century. New York: Harper and Row, 1964. Notes: A Harper Torchbooks edition, part of The Academy Library. Translated from the French by E.D. Hunt with a preface by Henri Berr. Alternate titles: The Feudal Monarchy in France and England: From the Tenth to the Thirteenth Cen- The Bibliography 395 turies and The Feudal Monarchy in France and England. Originally published by Kegan Paul, Trench, Trubner and Co., London, in 1936 and reprinted in 1949 and 1964 by Routledge and Kegan Paul, Ltd., London. Following an account of the events leading up to the Norman Conquest, the author writes, “For all these events we have an extremely convincing piece of evidence, the famous embroidery, ‘the Bayeux tapestry,’ which is of contemporary date.” He continues with commentary on the depiction of ships, woodmen cutting trees, and William’s army. Referring to the figures of sixty thousand men and three thousand ships, he suggests that these are “stereotyped figures which medieval annalists always introduce.” In a note, the author writes that the embroidery was “certainly executed very shortly after the Conquest.” Includes references and index.

1331. Petropoulos, Jonathan. Art As Politics in the Third Reich. Chapel Hill, NC: University of North Carolina Press, 1996. Notes: Originally presented as Petropoulos’ doctoral thesis at Harvard Uni- versity.

1332. ———. “Art Historians and Nazi Plunder.” New England Review 21, no. 1 (2000): 5–30. Notes: Published by Middlebury College Publications. Commenting on Hermann Bunjes, an expert on French medieval sculpture and architecture and head of the SS-run Art Historical Institute in Paris, Petropoulos writes that “While Bunjes was far from the worst of the Nazi plunderers, he was involved with various criminal schemes, including the plundering of Jewish art in France by the ERR and an effort late in the war to abscond with the Bayeux Tapestry.”

1333. ———. The Faustian Bargain: The Art World in Nazi Germany. New York: Oxford University Press, 2000. The careers and activities of various figures in the art circles of Nazi Germany are examined: individuals who collaborated with the Reich and who even continued to flourish after the war. However, rehabilitation was not possible for many; Petropoulos discusses French art expert Hermann Bunjes, who plundered Jewish art in France and coordinated the effort to make off with the Bayeux Tapestry, and whose feelings of personal guilt led to his 1945 suicide. The Nazis’ interest in the Tapestry “as an example of Teutonic artistic accomplishment” is briefly discussed, as are the Germans’ attempts to remove the Tapestry to Paris and then to Germany.

1334. Petzold, Andreas. Romanesque Art. New York: Harry N. Abrams, 1995. Notes: Part of the Perspectives series, Jacky Colliss Harvey, editor. Petzold, Assistant Curator at the Victoria and Albert Museum, presents for a general audience this examination of visual art between 1050 and 1200 within the 396 The Bibliography

contexts of social structures, women as artists and patrons, the relationships between religious and secular institutions, and influences of Byzantine and Islamic art. The Bayeux Tapestry is referenced briefly in many of these discussions. The author also dedicates five pages of text to an introductory overview of the Tap- estry, covering a broad range of matters essential to those less familiar with it: a physical description, its supposed English manufacture with Odo as patron for the purpose of hanging in his cathedral at Bayeux, the story the Tapestry tells, its engaging realistic details, the alleged Norman bias and the subversive embroidered messages sympathetic to English interests, the images and fables of the borders, and the presence of erotic images. Several full-color small photographs, and a large one (at about 50% actual size) of the oath scene are provided. Includes a bibliography arranged by chapter, index, and a chart listing historical events, milestones in architecture, “arts of colour,” and notable metalwork and sculpture arranged by year during the medieval period.

1335. Pevsner, Nikolaus. The Englishness of English Art: An Expanded and Annotated Version of the Reith Lectures Broadcast in October and November 1955. London: The Architectural Press, 1956. Notes: Also published by Praeger as part of the series Books That Matter. Birkbeck College faculty member Pevsner presents a detailed analysis of the national character of a small number of English artists (such as William Hogarth and John Constable) and styles (medieval church architecture and the Perpen- dicular Style). In a section on English artists’ interest in the everyday world, the Bayeux Tapestry is mentioned briefly with a list of several of the Tapestry’s incidentals: wading soldiers, spitted meats, and a huntsman blowing a horn.

1336. Phillips-Birt, Douglas. A History of Seamanship. Garden City, NY: Doubleday, 1971. Notes: Cover title: A History of Seamanship: The Complete Magnificently Il- lustrated Exploration of the Art and Science of Sailing. In a chapter titled “The Medieval Seas,” Phillips-Birt writes that “On the evidence of the Bayeux Tapestry it appears that a portion amidships of some vessels was being planked over at the level of the gunwale top, forming a deck giving shelter beneath it and headroom above the bottom boards of more than six feet. Where there was deck, there could of course, be no rowing benches; but the under-deck space was available for cargo or shelter. It is not known how usual this form of construction became, but it represents a small step towards the fully decked ship.” Although the book is heavily illustrated, there are no images of the Tapestry. Phillips-Birt is the author of several books on sailing and ships. He includes an excellent glossary and index.

1337. Phillips, Neil. Earthwork Castles of Gwent and Ergyng, AD 1050–1250. Oxford, U.K.: Archaeopress, 2006. Notes: Part of the BAR British series, #420. The Bibliography 397

1338. Pickeral, Tamsin. The Horse: 30,000 Years of the Horse in Art. London: Merrell, 2006. In this lavishly illustrated book, one large photograph of the Bayeux Tapestry’s advancing Norman cavalry is shown, and the Tapestry is mentioned in a timeline chart at the end of the book. Unfortunately, the book makes no other mention of the Tapestry or its horses.

1339. Pickford, J. A. Facsimile of the Bayeux Tapestry and of Queen Mathil- da’s Tomb. Caen, France: Le Blanc-Hardel, 1865.

1340. Piggot, John. “The Bayeux Tapestry.” The Antiquary 4 (1873): 14–17. Notes: Also cited as published on July 12, 1874 in volume 2 of Jewitt’s An- tiquary.

1341. Piggott, Stuart. Wagon, Chariot, and Carriage: Symbol and Status in the History of Transport. London: Thames and Hudson, 1992. Within a chapter titled “Princes on Horseback,” Piggott offers a subsection titled “Knights in Armour: From Prehistory into History” where he discusses armor that is looted in battle: “Eighteen hundred years or so later than the Ho- meric redaction, the Bayeux Tapestry shows in its lower register below the final episodes of the Battle of Hastings, lively scenes of those scavenging on the battlefield for swords and shields, while systematically stripping the dead of their shirts of mail. Includes extensive notes, an extremely brief list of titles for further reading, and an index.

1342. Pine, L. G. International Heraldry. Rutland, VT: Charles E. Tuttle Company, Publishers, 1970. Emphasizing the importance of the Bayeux Tapestry in the study of heraldry’s beginnings, Pine discusses the places in which one may view and study images of the work. He mentions three English books, a “diorama of the Tapestry in the Victoria and Albert Museum, London, which is based on photographs of the actual Tapestry taken in 1871 for the British government.” Pine also references a Danish version in Copenhagen “modeled on the lines of the Bayeux Tapestry and shown opposite a reproduction of it.” Also discussed in the chapter on the origins of heraldry are the topics of the work’s patronage, its preservation “from at least 1476 in the cathedral of Bayeux,” the mysterious “Aelfgifu and a certain cleric,” the reason for Harold’s trip to Normandy in 1064, and how the Tapestry informs the study of material culture. Three pages are devoted to an in-depth discussion of the use of heraldic symbols in the embroidery and Pine references specific scene numbers. Later, the Tapestry is referenced in a discussion of the knighting ceremony. Pine notes that in the scene of William bestowing arms on Harold, “no armorial bearings are even hinted at.” A five-page glossary and an index are included. 398 The Bibliography

1343. Pine, L. G. The Story of Heraldry. London: Country Life Limited, 1963. Notes: Revised edition. First published in 1952. Wood engravings by K.F. Rowland. Pine traces the origins and development of heraldry from its earliest hints in ancient times all the way through twentieth century uses. He points out that any emblems used by the Normans at Hastings, as depicted in the Bayeux Tapestry, were “assumed at pleasure and in no sense hereditary.” If William had carried such an emblem, he adds, there would have been no need for him to raise his helmet to identify himself to dispel the rumor that he had been killed in the battle. He continues, “[when] the Bayeux Tapestry was prepared, it was fortunate that the scenes depicted occurred in the weavers’ own times; had the makers . . . been weaving a story of the wars of Judah and Israel in the Old Testament, the Old Testament characters would have been clad in the chain mail and armed with the same weapons as the warriors of Harold and William.” Discussing the emerging indicators of heraldry at the very end of the eleventh century, he mentions Godfrey of Bouillon, “son of the Count Eustace of Boulogne of the Bayeux Tapestry.” Includes index.

1344. Piponnier, Françoise, and Perrine Mane. Dress in the Middle Ages. New Haven, CT: Yale University Press, 1997. Notes: Translated by Caroline Beamish. Originally published as Se vêtir au Moyen Âge by the Societé, Nouvelle Adam Biro, Paris in 1995. The authors rely on the Tapestry’s depiction of helmets to describe their construction and unique features such as the metal strip projecting down over the forehead. They also mention the Tapestry in an introductory discussion of the reliability of “art as witness to an age.” Includes a bibliography, superb glossary, but no index.

1345. Pique, Philippe. William the Conqueror Activity Booklet. Cully, France: OREP Editions, 2008. Notes: Alternate titles: William the Conqueror: The Epic Adventure, William the Conqueror Activity Booklet: Discover, Learn, Have Fun, and William: The Epic Adventure. This 40-page booklet for children ages to 7 to 12 uses photographic images and cartoon characters to tell the story of William the Conqueror and provide background on the Norman Conquest and the towns of Bayeux, Caen, and Fal- aise. In spite of it length, the piece provides a significant amount of information through narrative, quiz questions, graphics, stylized maps, architectural drawings, and a glossary. Given the treatment of the subject and the excellent content, this publication would be informative for adults as well. Includes 12 color images from the Tapestry as well as a photo of the chest in which the Tapestry was kept when not on display. The Bibliography 399

1346. Pivard, Gilles, and Arthur Shelton. The Bayeux Tapestry: The Comic Strip. Cully, France: OREP Edition & Communication, 2011.

1347. Plaidy, Jean. The Bastard King. New York: Putnam, 1979. Notes: Jean Plaidy is a pseudonym for Eleanor Hibbert.

1348. Platt, Colin. The Atlas of Medieval Man. New York: St. Martin’s Press, 1979. This heavily illustrated book aimed at a general readership briefly mentions the Bayeux Tapestry in a passage describing the Romanesque. A very large full-color photo of a Tapestry scene alongside photos of the Baldishol Tapestry and other works whose imagery is similar to the Bayeux Tapestry. Includes numerous maps plus timelines that summarize historical, cultural, religious, and technological achievements across the world.

1349. Platt, Richard. Spy. eds Jayne Miller, and Steve Setford. London: Dorling Kindersley, 2009. Notes: Revised edition. First published in 1995. Part of the series DK Eyewit- ness Books. A compact disc with clip art accompanies the book. An image of two men from the Tapestry is shown with a lengthy caption that suggests the two were spies in the Battle of Hastings. Brief, basic information about the embroidery and the battle is provided along with the reasoning as to why they are thought to be spies. The author writes, “English spies reported sighting thousands of clean-shaven men with short hair. At that time in England, all men except priests wore moustaches and long hair, so the spies assumed that they had seen thousands of French priests. In fact, these ‘priests’ were soldiers who greatly outnumbered the English.”

1350. Plumb, J. H., and Huw Weldon. Royal Heritage: The Treasures of the British Crown. New York: Harcourt Brace Jovanovich, 1977. Notes: Published in association with the television series written by Huw Wheldon and J. H. Plumb. In the opening chapter on medieval kings, the Tapestry is described in reference to the shipping of William’s horses across the English Channel. The authors suggest the embroidery shows how William “feigned defeat in order to gain ultimate victory.” A black-and white image of Harold’s coronation scene is included. Includes index.

1351. Poertner, Rudolf. The Vikings: Rise and Fall of the Norse Sea Kings. New York: St. Martin’s Press, 1975. Notes: Simultaneously published by St. James Press, London. Originally published by Econ Verlag GmbH, Wien and Dusseldorf, 1971. Poertner presents a history of the Vikings from 800 to 1100 with topics such as Viking customs, institutions, arts, economy, social structure, slave trade, ship 400 The Bibliography building, burial rites, and sexual practices. He offers the Oseberg and Bayeux Tapestries and other artifacts as sources for what Viking tunics looked like, adding that “even William the Bastard dressed like a Peacock.” In an appendix, the author discusses primary sources of information and lauds the Bayeux Tapestry as informative, invaluable, and “in some ways surpassing the historical and literary sources,” however, the Tapestry is mentioned only very briefly throughout his book: in discussions of the horse-drawn harrow, “well-browned meat,” ship-builders, and the Normans’ “oval shields.” Includes black-and-white photographs of four of Charles Stothard’s Tapestry drawings, a chronology of events in Viking history, a list of Viking-related museums and archaeological sites in Germany, Denmark, Sweden, and Norway, and a brief index.

1352. Polityka Bush, Mary. “A Camel to Embroider in Bayeux Stitch.” Piecework 20, no. 5 (2012): 22–26.

1353. ———. “Love, Needlework, and History in the Bayeux Tapestry.” Piecework 20, no. 5 (2012): 20–22.

1354. Pollard, Justin. The Seven Ages of Britain. London: Hodder and Stoughton, 2003.

1355. Pollington, Stephen. The Mead Hall: The Feasting Tradition in Anglo- Saxon England. Norfolk, U.K.: Anglo-Saxon Books, 2003. This examination of Anglo-Saxon halls and the people, feasting, drinking, and objects contained within as well as societal aspects of the hall delights in using the Bayeux Tapestry as a reliable source of information. Tapestry-related topics include: Harold’s hall at Bosham, horns that summon diners to the ritual feast (the symbel), dining tables, cooking, cutlery, table linens, and shields used as tables. Includes a bibliography and an index.

1356. Pollock, John. Bosham: Ecclesia As Shown in the Bayeux Tapestry. A Speculative Guide to Bosham Church C.1066. Bosham, U.K.: Penny Royal Publications, 1996.

1357. ———. Harold Rex. Is King Harold II Buried in Bosham Church? Bosham, U.K.: Penny Royal Publications, 1996.

1358. Polzer, Joseph. “Ambrogio Lorenzetti’s ‘War and Peace’ Murals Re- visited: Contributions to the Meaning of the ‘Good Government Allegory.’ Artibus Et Historiae 23, no. 45 (2002): 63–105. Notes: Published by IRSA s.c. In a note, Polzer writes “The conspicuous absence of God and saints in Am- brogio’s Allegory also applies to earlier medieval examples of propaganda art The Bibliography 401 serving the ruler or state, as evident in no less than the Bayeux Embroidery . . . There religion appears only as a direct component of the narrative: in the scene of Harold swearing fealty to William over portable reliquaries or the saying of mass before the battle of Hastings.”

1359. Poncet, Marie-Thérèse. La Tapisserie De Bayeux. Voiron, France: Marie-Thérèse Poncet, 1998.

1360. Poole, Austin Lane. From Domesday Book to Magna Carta, 1087–1216. Oxford, U.K.: Clarendon Press, 1955. Notes: Part of the series The Oxford History of England, edited by G.N. Clark, Provost of Oriel College, Oxford. First edition published in 1951. Stenton’s Anglo-Saxon England is also part of this series. In section VIII titled “Learning, Language, and Art,” Poole provides basic information on the Bayeux Tapestry and also compares the late twelfth-century paintings in the nave of the church at Claverley (Salop) to the embroidery, noting that they are “strikingly reminiscent of the Bayeux tapestry of a hundred years earlier.” The author’s notes reference Eric Maclagan’s introduction to The Bayeux Tapestry (King Penguin, 1943). Includes a detailed index as well as an exceptional bibliography presented as narrative and divided by subject.

1361. Poole, R. G. “The Textile Inventory in the Old English Gerefa.” The Review of English Studies 40, no. 160 (1989): 469–78. Notes: Published by the Oxford University Press. Writing about ploughs, Poole references the Tapestry’s depiction of such implements. Manuscript illuminations and the Tapestry, he suggests, offer images of ploughs with share-beams that are comparable in size to that of a Danish wheeled plough “datable to 1220 (plus or minus 100 years).”

1362. Porter, Roger S. The Puzzles of the Bayeux Tapestry. Hastings, France: Ferndale Press, 1986. Notes: Also cited as published in 1987.

1363. Portsmouth City Museum. The Overlord Embroidery at the D-Day Mu- seum, Portsmouth. Portsmouth, U.K.: Pitkin Unichrome, 2009. This booklet contains full-color photographs illustrating the entire Overlord Embroidery on perforated postcards, accordion-folded so that the entire embroidery may be laid out uninterrupted, end-to-end. Original embroidery is 81.6 meters (approximately 267 feet, 8 inches). Postcard images measure 15 cm by 4.2 cm (5 7/8 inches by 1 5/8 inches). Descriptions of each panel are provided on the back of the cards in English, French, and German.

1364. Pouchain, Gerard. La Cathédrale De Bayeux. Conde-sur-Noireau: Edi- tions C. Corlet, 1984. 402 The Bibliography

1365. Pounds, Norman John Greville. The Culture of the English People: Iron Age to the Industrial Revolution. Cambridge, U.K.: Cambridge Univer- sity Press, 1994. In a chapter titled “House and Household,” Pounds mentions the Bayeux Tapestry in a discussion of the term “first-floor hall.” He writes: “The earliest surviving illustration of an Anglo-Saxon house also shows it as a first-floor hall. It is the representation in the Bayeux Tapestry of King Harold feasting in his hall at Bosham (Sussex) before setting out on his ill-fated voyage to Normandy. The upper floor is shown supported by what look like pillars, ostensibly of wood, and reached by an outside staircase.” Includes extensive notes, an index, and what appears to be a black-and-white drawing of the scene described.

1366. ———. The Medieval Castle in England and Wales: A Social and Politi- cal History. Cambridge, U.K.: Cambridge University Press, 1990. Pounds briefly discusses the Bayeux Tapestry’s four complete Norman castles as possible exaggerations of the prominence of the motte in reality. Also, “The illustration of the building of Hastings Castle in the Bayeux Tapestry serves as a reminder that the great earthworks were raised by the labor of local people.” Pounds confirms that the summit of a motte was reached by flying bridges (like the three shown in the Tapestry) which rose above the counterscarp of the ditch, and provides literary and archaeological references as confirmation of their existence. In a discussion of siegecraft, the author notes that the “strengthening of the defences was paralleled by improvements in the art of war” and that “in the wars of Stephen castles were attacked and defended usually by small bodies of men equipped with sword and short bow, such as are portrayed in the Bayeaux [sic] Tapestry.” He goes on to point out that wooden castles, like the Tapestry’s castle at Dinan, were susceptible to fire.

1367. Povey, Rob, site design and builder. “The Wardle Heritage.” Web page, Available at http://www.wardleheritage.org.uk. The Wardle Heritage’s website, “a repository of information and archive about the life and works of Sir Thomas Wardle and Lady Elizabeth Wardle, their family and their association with the town of Leek, Staffordshire,” has a page of a biographical sketch of Elizabeth Wardle, a page about the Leek Embroidery Society and their creation of the Bayeux Tapestry replica, and a page on the production of the replica.

1368. Prah-Perochon, Anne. “The Bayeux Tapestry: A Medieval Panorama Come to Life.” France Today (1998): 12–13.

1369. ———. “The Bayeux Tapestry: The Thread of History.” France Today (2005): 20–26. Notes: This is a reprint of Prah-Perochon’s article in the May/June 1998 issue of France Today titled “The Bayeux Tapestry: A Medieval Panorama Come to Life.” The Bibliography 403

Art historian and France Today editor Prah-Perochon provides readers with a casual introduction to the Bayeux Tapestry, focusing on the evidence of material culture that the Tapestry provides for us. The article states that the Tapestry is 77 feet long. (It is 77 yards long.) The article’s sub-headline states that the Tapestry is a lyrical document that “happens to have no words.”

1370. ———. “Le Film Anime De La Tapisserie De Bayeux.” Stanford French Review 1, no. 3 (1977): 339–65.

1371. Pratt, Annis. “Aunt Jennifer’s Tigers: Notes Toward a Preliterary History of Women’s Archetypes.” Feminist Studies 4, no. 1 (1978): 163–94. Pratt, placing needlework in a historical context, writes that “Most histories assume that needlework performs the public function of figuring forth a nation’s deeds, and the best known of ancient tapestry work is attributed to social requirements that are by no means exclusively feminine. Thus, in Homer, Helen weaves elaborate scenes from the deeds of the heroes and Penelope puts off her suitors (in the interest of Ulysses) by weaving all day and unweaving at night. The Norse Edda describes Gudrun and Brunhild working on tapestries telling the exploits of Sigurd and Sigmund, and it was both Norman and Anglo-Saxon women who recounted the Norman conquest of England on the Bayeux tapestry. American Indian women similarly embroidered elaborate and brightly colored beadwork patterns into the clothes that their husbands and sons and brothers wore into battle. The public function of needlework, the creation of chronicles of tribal and national history, gradually passed out of the home workshops in Europe and wholly into the hands of predominantly male guilds. The principal nondomestic exception were the convents, many of which, such as the Convent of Ealdswith and her maids established under the reign of Cnut in Cambridgeshire, produced the ecclesiastical embroideries wrought in gold thread that passed as heirlooms into the treasuries of the Church. Domestic embroidery, on the other hand, flourished unremittingly in homes where women could find any degree of leisure.” Later, Pratt offers insightful commentary on the interpretation of border scenes from the Tapestry, suggesting that “it is on the ‘boundaries’ or ‘borders’ of needlework that women revealed their symbologies when they worked in the public domain.” Then, commenting specifically on the Bayeux Tapestry, she writes: “Thus we find the borders of the Bayeux tapestry filled with animals and plants, which male needlework historians find purely ‘ornamental’ or ‘merely decorative’ but which women scholars have found of special significance. One Mademoiselle Chefreux recognized that the Bayeux animal allegories derived from the same source as Marie de France’s later collection of Aesop’s fables, and Phyllis Ackerman has analyzed these allegories as Scandinavian animal iconography relating to the guardian spirits of the various warriors. Ackerman feels that the women were telling, in allegorical form, of the tragedy of the broken oath that led to the defeat at Hastings, but she also points out accompanying this patriarchal message the recurrent archetypal motif of the tree of life: ‘The rest of 404 The Bibliography the border design consists of animals, almost always symmetrically confronted in pairs, usually flanking a tree. This design, of animals, birds, or fantastic beasts, flanking in balanced reversal a plant which is usually a hill or mound, has the longest and widest continuous history of any motive [sic] in the whole world of art.’ This tree which we will find in the unicorn archetype and which is also to figure prominently in domestic needlework, has ancient, prepatriarchal associations with many goddesses and women rulers.”

1372. Preble, George Henry. History of the Flag of the United States of America, and of the Naval and Yacht-Club Signals, Seals, and Arms, and Prin- cipal National Songs of the United States, With a Chronicle of the Symbols, Standards, Banners, and Flags of Ancient and Modern Nations. Boston: A. Williams and Company, 1880.

1373. Prentout, Charles. “An Attempt to Identify Some Unknown Charac- ters in the Bayeux Tapestry.” The Study of the Bayeux Tapestry. ed Richard Gameson, 21–30. Woodbridge, U.K.: Boydell Press, 1997. Prentout presents previously suggested possibilities, as well as his own, on the identities of the Bayeux Tapestry’s Ælfgyva, Turold, Vital, and Wadard. For Ælfgyva, he offers Ælfgyva-Emma, wife of King Ethelred, who later married King Cnut; Ælfgyva of Northampton, Cnut’s concubine; a sister of Harold, ab- ducted by a Breton prince, the impetus therefore of the Breton campaign shown in the Tapestry. The author also states that the cleric in the Tapestry who appears to be caressing Ælfgyva’s face is actually striking it: “In Normandy at this time one struck someone to encourage them to commit a momentous occurrence to memory.” He briefly states his disbelief of the suggestion by Smart le Thieul- lier in 1824 that Ælfgyva could be identified as Matilda, the Conqueror’s wife. The hypotheses that Ælfgyva might be a daughter of William and Matilda or even Edith, King Harold’s widow, are discussed. On the identity of Turold, the candidates are Turold of Brémoy, a twelfth-century bishop of Bayeux who, according to German scholar Tavernier, was the author of the Tapestry and of The Song of Roland; the harsh Abbot Turold of Peterborough; and a certain Turoldus Hostarius, signer of a charter of the abbey of La Trinité-du-Mont. Prentout lists numerous scholars’ suggestions for the identities of Vital and Wadard; he then seeks to demonstrate that Turold, Wadard, and Vital were connected with the Bishop Odo of Bayeux before the Conquest.

1374. Prentout, H. “Essai D’Identification Des Personnages Inconnus De La Tapisserie De Bayeux.” Revue Historique 176 (1935): 14–23. This article was reprinted in Richard Gameson’s The Study of the Bayeux Tapestry and is annotated under the citation for its publication there. The author is listed as Charles Prentout. The Bibliography 405

1375. Prestwich, Michael. Armies and Warfare in the Middle Ages: The Eng- lish Experience. New Haven, CT: Yale University Press, 1996. Notes: Published in paperback in 1999 under the title English Armies in the Middle Ages: The English Experience. Hardcover editions are also cited with this title. The author begins his work by apologizing at length for being a civilian writing a military history, then moves on to state his purpose: “to examine the ways in which soldiers were recruited, commanded and supplied in medieval England, together with the way they fought.” Noting in his preface that the middle ages are “somehow characterised by something called ‘feudal warfare,’” Prestwich attempts to describe the truer realities of medieval English armies. The author calls on the Bayeux Tapestry in discussions (either in photograph captions or in the main body of text) of mail hauberks, the support that stirrups provide a knight, the Norman archers in the Tapestry’s lower border, the prohibition of the clergy to take up arms in battle, William’s scout Vital returning to the Duke with intelligence before the battle, and the logistics of feeding an army.

1376. Price, Mary R., and Margaret Howell. From Barbarism to Chivalry. Oxford, U.K.: Oxford University Press, 1972. Notes: Part of the series A Portrait of Europe, 300–1300, edited by Mary R. Price and Donald Lindsay. In this first book in a series, Price presents a general survey of European history, something she believes was previously lacking for young readers. Her chapter on Norman conquests highlights the Bayeux Tapestry with a general description and she notes its importance for information on material culture of the time. She adds that it was once believed that Queen Matilda and her ladies embroidered the Tapestry “while the Conquest was going on.” Includes a bibliography and an index.

1377. Prior, Stuart. A Few Well-Positioned Castles: The Norman Art of War. Stroud, U.K.: Tempus, 2006. Notes: Paperback. Alternate title: The Norman Art of War: A Few Well-Posi- tioned Castles. The work of numerous contributors to Tapestry scholarship is referenced in this work, particularly R. Allen Brown. Notable is the cover image of the scene depicting the attack on Dinan Castle from Elizabeth Wardle and the Leek Em- broidery Society’s replica of the Bayeux Tapestry, now on display at the Museum of Reading.

1378. Pryce, T. Davies. “A Note on the Bayeux Tapestry.” The Antiquary 43 (1907): 346–47. Pryce examines the Bayeux Tapestry’s word pueros in the scene where Bishop Odo rallies “the boys,” noting that Montfaucon in 1730 “opines that the missing 406 The Bibliography word is Francos.” He also discusses Wace’s use of the Norman word vasletz in the Roman de Rou, and how that compares to the Latin pueros. In a side-by-side comparison of several lines of Wace to a description of the Tapestry’s fosse scene in which the horses tumble into a ditch, Pryce notes that the Roman de Rou and the Tapestry contradict each other. Both accounts nevertheless recount the horses’ unfortunate situation, which in turn is supported by William of Poitiers and William of Jumièges.

1379. Quennell, Marjorie, and C. H. B. Quennell. Everyday Life in Anglo- Saxon, Viking, and Norman Times. New York: G.P. Putnam’s Sons, The Knickerbocker Press, 1931. Notes: Third printing, October 1931. Originally published in 1927. The book is both written and illustrated by Marjorie and C.H.B. Quennell. In their section titled “Norman Times,” the Quennells write that Wace’s Ro- man de Rou is a “sprightly tale” that “forms an admirable text to the pictures of the Tapestry at Bayeux, which is another great record of the Conquest.” Later, they discuss the differences in the accounts of William’s landing in England, noting that the Tapestry shows the landing at Pevensey while Wace has the Nor- mans landing near Hastings. Includes several black-and-white drawings, mostly architectural, and an index.

1380. Quiney, Anthony. “Hall or Chamber? That Is the Question. The Use of Rooms in Post-Conquest Houses.” Architectural History 42 (1999): 24–46. Quiney makes several references to the Bayeux Tapestry’s depictions of medieval architecture. He writes: “The Bayeux Tapestry apparently depicts Edward the Confessor at his two palaces of Winchester and Westminster, both of which seem to have had a large open hall at their centre. He is shown on his death-bed in what may be the upper room of a bower or chamber block, and, following his death, his body is carried out from its ground floor to the adjacent minster.” Quiney also mentions the depiction of “three round arches carried by columns, with taller, articulating columns rising both between the arches and at each end in the old classical Roman way.” This image shows Harold feasting at Bosham in “an upper chamber or gallery.” He adds, “Whatever is meant by this, it is hardly an open hall.” An image of the scene is included with a caption that suggests the Romanesque style of the arcade is “unmistakable.” Later, commenting on Edward the Confessor’s new abbey at Westminster, Quiney writes, “Significantly, the materials of his new palace remain unknown, even though the Bayeux Tapestry suggests timber. The royal palace at Winchester was probably similar: apart from its site to north-west of the cathedral and the possible illustration in the Bayeux Tapestry little more is known of it: it has never been excavated.” The article includes drawings and floor plans as well as extensive notes. The Bibliography 407

1381. Raby, Frederick James Edward. A History of Secular Latin Poetry in the Middle Ages, Volume I. Oxford, U.K.: Clarendon Press, 1957. Notes: Second edition.

1382. Rackham, Bernard. The Ancient Glass of Canterbury Cathedral. Lon- don: Lund Humphries and Company for the Friends of Canterbury Cathe- dral, 1949. Notes: Foreword by the late Archbishop Lord Lang of Lambeth. In Chapter 1 “The Early Glass,” Rackham references the Tapestry’s depiction of chain armour and conical helmets that has similarities to those in the stained glass depiction of the Danes and Saxons in Window III, St. Alphage in the North Choir Aisle Triforium. Includes numerous illustrations, a two-page bibliography, and an index.

1383. Rampton, Martha. “The Significance of the Banquet Scene in the Bay- eux Tapestry.” Medievalia Et Humanistica 21 (1994): 33–53.

1384. Ramsay, Nigel. “Forms of Artistic Expression.” An Illustrated His- tory of Late Medieval England. ed Chris Given-Wilson, 152–77. Manchester, U.K.: Manchester University Press, 1996. Much of Ramsay’s narrative about the Tapestry focuses on its patronage, highlighting Odo’s role as earl of Kent and his estates in that county. He does move the discussion to the Tapestry as example of the lack of distinction between sacred and secular art in the late eleventh century. Ramsay uses the embroidery’s depictions of Aesopic fables in the borders and Harold’s oath on relics at Bayeux to illustrate how they point to both sacred and secular uses of the Tapestry, in Odo’s own dining hall and his cathedral of Bayeux, respectively. Lastly, he notes, “The Bayeux Tapestry is merely characteristic of its age in its combination of the lay and spiritual worlds.” A black-and-white photo of Harold’s death scene is included. The book is heavily illustrated and includes extensive notes and an index. Ramsay is Keeper of Manuscripts at the British Library and Given-Wilson is Senior Lecturer in Medieval History at the University of St. Andrews.

1385. Randolph, Octavia. “Britain’s Bayeux Tapestry.” Web page. Randolph offers a brief article on the Museum of Reading’s full-length replica of the Bayeux Tapestry created in 1885 by the Leek Embroidery Society. In- cludes related websites and a very short selected bibliography.

1386. Read, Herbert, ed. The Thames and Hudson Dictionary of Art and Art- ists. New York: Thames and Hudson, 1994. Notes: Paperback. Revised, expanded, and updated edition. Part of the History of Art series. Foreword by Nikos Stangos. 408 The Bibliography

In the brief entry on the Bayeux Tapestry, basic information on the work is provided as well as comments on the fact it is not a tapestry, its commissioning by Bishop Odo, the “unfounded tradition” that connects it to Queen Matilda, its presence on the cathedral inventory in the fifteenth century, border representations of fables, and its likely use in decorating the nave of the cathedral. Notably, the writer suggests that “whether it is of Norman or Saxon design is uncertain.” A black-and-white image of a Tapestry scene is included along with a caption that dates the work to the late eleventh century.

1387. Reading Museum. “Britain’s Bayeux Tapestry at the Museum of Reading.” Web page, Available at http://www.bayeuxtapestry.org.uk/. This site is maintained by the Reading Museum which houses the Bayeux Tap- estry replica completed by the Leek Embroidery Society in 1886. Pages include: a scene-by-scene gallery of the replica with commentary on the content of the scenes, a partial list of named and unidentified people who are depicted in the Tapestry, a history of the replica (including a photograph of the gallery where it currently hangs), and a page discussing what happened after the Battle of Hast- ings (including a hierarchical chart of the feudal system that utilizes images from the Tapestry). A list of educational resources for children includes links to internal pages: an amusing interactive page where users can create their own Bayeux Tapestry by manipulating actual images of characters, scenery, and objects from the Tapestry; instructions and templates for making paper ships and helmets; a reading sequencing activity; other resources.

1388. Rebeyol, Yvonne. “Bayeux: La B.D. De La Reine Mathilde.” Le Monde (Paris) (1983): 19–20. A reference is made to the move of the Bayeux Tapestry to its new home and exhibit space.

1389. Reeves, Compton. Pleasures and Pastimes in Medieval England. Stroud, U.K.: Alan Sutton, 1995. Notes: Author also cited as A. Compton Reeves or A.C. Reeves. In this extensive review of fashion, craftsmanship, heraldry, arts, and other medieval-period interests, Reeves references the Bayeux Tapestry in his sections on military costume and animal sports. Noting how the fourteenth century could be considered an era of transition from mail to plate armor, he suggests that a dramatic way to illustrate how the armorers’ craft “gradually developed greater skill in the production of plates until the entire body was finally encased in plate” would be to progress from the Tapestry’s portrayal of warriors in chain mail to the memorial brasses of English knights. Later in the book, Reeves mentions a Tapestry scene featuring bear-baiting, noting it was similar to bull-baiting in that it was a pleasant diversion prior to the butchering of the animal. The author is a professor of history at Ohio University. The Bibliography 409

1390. Reid, William. The Lore of Arms: A Concise History of Weaponry. New York: Facts on File, 1984. Notes: Paperback. Reid, director of the National Army Museum in London, mentions the Bayeux Tapestry in his discussion of the importance of castles in strategic positions and Jean de Colmieu’s description of them in 1130. He notes that there were a few built during the reign of Edward the Confessor, but they “spread across England” after the Norman Conquest. He follows with a description of motte and bailey castles. The 256-age book is illustrated but there is no index.

1391. Renaudeau, Olivier. “The Bayeux Tapestry and Its Depiction of Cos- tume: The Problems of Interpretation.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 237–59. Caen, France: Presses Universitaires de Caen, 2004. Renaudeau presents numerous points of disagreement among scholars on male civilian and military garments as depicted in the Bayeux Tapestry. The appearance and assembly of tunics and leg coverings, braies and chausses, are discussed without much controversy, and the author provides archaeological evidence, admittedly scarce, for both. A photograph of a ninth- or tenth-century Egyptian tunic shows remarkable resemblance to the Tapestry’s tunics. The unusual appearance of Harold’s “pleated skirt” in the Ponthieu scene is examined as a possible “abortive attempt to indicate a richer material” than the clothes of the men arresting him. The stem-stitch, curiously used as “fill” for this garment is thought by the author to be an error, and turns to the technical research of Isabelle Bédat and Beatrice Girault-Kurtzeman for support of this notion. The shortness of Archbishop Stigand’s chasuble is briefly discussed. On military costume, “a subject of considerable debate,” Renaudeau focuses on problems with identifying the type and material of the armor worn, leg protection, and the mysterious square panel that appears on some warriors’ chests. Three tunics in the Tapestry are decorated with mosaics of scales or triangles, and are worn by Count Guy, William, and Odo; the author briefly discusses these for their materials, function, and indication of status. Odo’s “sumptuous” helmet and his decorative byrnie at the Battle of Hastings, according to Renaudeau, “suffice (were it necessary) to confirm his role as commissioner of the Bayeux Tapestry.” Renaudeau is curator of the National Museum of Costume, Moulins (Auvergne).

1392. Renn, Derek F. “Burhgeat and Gonfanon: Two Sidelights From the Bayeux Tapestry.” Anglo-Norman Studies 16 (1993): 175–98. Renn presents two themes in his essay: First, the Bayeux Tapestry’s towers (except those on mottes) are studied and compared to numerous surviving English buildings which have large upper openings. Secondly, he examines the flags depicted in the Tapestry. Dismissing the naval masthead pennants as not particularly significant, the 30 remaining flags in the Tapestry are studied and 410 The Bibliography

categorized in terms of their appearance, shape, design, and narrative functions. Two appendices are included: the first is “The West Tower of St Michael at the Northgate, Oxford” and the other is “The Gonfanons of the Bayeux Tapes- try,” a chart of the locations, positions, and hand placements on the Tapestry’s gonfanons—a table that is not particularly informative because of the way it is organized.

1393. ———. “Burhgeat and Gonfanon: Two Sidelights From the Bayeux Tapestry.” Anglo-Norman Castles. ed Robert Liddiard, 69–90. Woodbridge, U.K.: Boydell Press, 2003. Notes: Appendix by David Parsons. This chapter was published in 1993 as an article in Anglo-Norman Studies.

1394. ———. “How Big Is It—and Was It?” The Bayeux Tapestry: New Ap- proaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 52–58. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Noting that most works on the Bayeux Tapestry provide unscientifically obtained figures for its dimensions, Renn presents his own figures, taking into consideration the cut of the cloth, the numbered strip, selvages, damages to both ends, and repairs. The author discusses the factors to be considered in estimating the length of the Tapestry with its ends still intact. That the Tapestry may have lost one or more scenes from its beginning is also discussed. Dimensions of the joined lengths of linen are examined with consideration to the Tapestry’s workshop production practices. Includes two diagrams of possible cuts of the linen used in production; a table of the published measurements of Bertrand, Bédat/Girault-Kurtzeman, and his own figures; and a table indicating the relation between joins in the linen and the scenes. Renn is a private researcher and has been an active member and officer of various archaeological and antiquarian organizations in England.

1395. ———. “The Keep of Wareham Castle.” Medieval Archaeology 4 (1960): 65. Renn discusses the depiction of pottery in the Bayeux Tapestry.

1396. Rex, Peter. 1066: A New History of the Norman Conquest. Amberley, 2010.

1397. ———. Harold II: The Doomed Saxon King. Stroud, Gloucestershire: Tempus, 2005. The Bibliography 411

1398. ———. Hereward: The Last Englishman. Tempus, 2007.

1399. ———. The Last English King: The Life of Harold II. The History Press, 2008.

1400. Reynolds, A. “Michael John Lewis, The Archeological Authority of the Bayeux Tapestry.” Medieval Archaeology 51 (2007): 378. Notes: Published by the Society for Medieval Archaeology, London. Reynolds reviews Lewis’ important 2005 book derived from his doctoral dissertation at the University of Kent at Canterbury.

1401. Reynolds, E. E. Introduction to Heraldry. London: Methuen and Co., 1951. Notes: Illustrations by the author. Second edition, revised. First published on May 23, 1940. In his basic overview on heraldry, Reynolds writes that the Bayeux Tapestry’s depictions of “vague” heraldic markings indicate the beginning of the age of heraldry. The book also highlights the Tapestry as a valuable authority on the use of heraldic devices on the battlefield. The Tapestry is also mentioned in passages on shields and helmets. Includes index.

1402. Reynolds, Susan. Kingdoms and Communities in Western Europe, 900–1300. Oxford, U.K.: 1984.

1403. Rezak, Brigitte Bedos. “Medieval Seals and the Structure of Chival- ric Society.” The Study of Chivalry: Resources and Approaches. eds Howell Chickering, and Thomas H. Seiler, 313–72. Kalamazoo, MI: Medieval Insti- tute Publications, Western Michigan University, 1988. Notes: Published for The Consortium for the Teaching of the Middle Ages, Inc. Rezak makes three references to the Bayeux Tapestry in her article. The first explains how the embroidery depicts “the head of the host with the banner in contrast to his knights with mere shields.” Rezak’s second reference mentions the depiction of William the Conqueror “lifting up the ‘nasal’ of his helmet to be recognized by his troops.” She notes that “By 1140, in contrast, the shield now offered an excellent location for an individual emblem of recognition.” Later, she points out that seals of the eleventh and twelfth centuries show “an elongated almond-shaped shield, similar to those on the Bayeux Tapestry.” She goes on to discuss in detail the “Norman” or “kite-shaped” shield and the evolution of the use of heraldic devices on shields. Includes a section on obtaining and using seals for teaching with a list of archives and libraries, suggested topics for projects or class discussion, extensive notes, and a select bibliography on medieval seals. 412 The Bibliography

1404. Rhodes, John. Britain’s Bayeux Tapestry. Reading, U.K.: Reading Bor- ough Council/Museum of Reading, 1993. This illustrated color brochure from the Museum of Reading provides an excellent brief history of the Bayeux Tapestry replica made by Elizabeth Wardle and the Leek Embroidery Society in the late nineteenth-century. Rhodes’ narrative begins with a primer on the original in Normandy; here, a drawing of the standing spool that the captions explain housed the Tapestry in the 1820s. He then shares the story of how Elizabeth and Thomas Wardle saw the original embroidery on a visit to Bayeux in 1885. He mentions the relationship between the Wardles and Philip Cunliffe-Owen, director of the South Kensington Museum at the time; the hand-colored photographs of the Tapestry housed there; and Elizabeth Wardle’s decision to create a replica “so that England should have a copy of its own.” Rhodes notes the role of Thomas Wardle in producing the woollen yarns for the replica; the 35 members of the Leek Embroidery Society and others who were involved in the replica’s manufacture; where these embroiderers were from; and the time it took them to complete the work. He comments in several places about the modest financial benefit to the Society that the replica’s touring provided. Locations of various exhibitions are provided, including the Royal Pavilion at Brighton in 1888, Blackpool in 1889, Nottingham and Derby in 1893, and the National Workmen’s Exhibition in London where it received a gold medal. His narrative continues with the story of how Alderman Arthur Hill arranged for the purchase of the replica for Reading and concludes with commentary on a visit by the Wardles’ daughter in 1927, the ensuing restoration, additional travel and exhibitions, including an extensive tour of South Africa in 1931. The restoration and expansion of the Museum of Reading in 1993 and the provision of permanent exhibition space is also discussed. Images of embroiderers’ signatures on the replica, the replica on exhibit, and photographs of Thomas and Elizabeth Wardle are included.

1405. Ribeiro, Aileen. Dress and Morality. London: B.T. Batsford, 1986. Notes: Also published by Holmes and Meier, New York.

1406. Rice, David Talbot. A Concise History of Painting From Prehistory to the Thirteenth Century. New York: Frederick A. Praeger, 1968. Notes: Paperback. Part of the Praeger World of Art Series. Series also cited as Praeger World of Art Paperbacks. In his discussion of linear art, Rice notes how the Norman Conquest caused the style to be eclipsed. He points out, however, that it was not destroyed as it even appeared in Norman times, notably in the Bayeux Tapestry, which he says “must have been copied from drawings.” Rice writes that the “same feeling for line characterizes English work in the Gothic Age.” No images of the embroidery are included. The Bibliography 413

1407. ———. English Art: 871–1100. Oxford: Clarendon Press, 1952.

1408. Rice, David Talbot, David Oates, R. H. Pinder-Wilson, Sirarpie der Nersessian, Cyril Mango, J. M. Hussey, Tamara Talbot Rice, Donald Bullough, William Culican, Peter Lasko, David Wilson, Charles Thomas, Philip Grierson, and Denys Hay. The Dawn of European Civilization. New York: McGraw-Hill, 1966. Notes: Edited by David Talbot Rice. Second printing. Originally published in 1965. Three color photographs of the Tapestry are included in this heavily illustrated 360-page large book. A brief narrative describing the embroidery and the end of Anglo-Saxon England accompanies the images.

1409. Rice, Megan. Conquest on Display: The Original Installation of the Bay- eux Tapestry. Louisville, KY: University of Louisville, 2010. Notes: This was the author’s master’s thesis at the University of Louisville’s Department of Fine Arts in May, 2010. In her thesis, Rice proposes to determine the most reasonable conclusion as to whether the Bayeux Tapestry was intended for the Bayeux Cathedral or a king’s hall. She explains that some scholars have argued “that the Bayeux Tapestry is a secular piece of art whose violent subject matter would not have been appropriate for an ecclesiastical setting” while still others argue that it was “intended to be displayed draped around the columns in the nave.” In her analysis, Rice mentions examples of cathedrals prior to the Norman Conquest that featured “images or motifs that were secular in nature and may have been considered inappropriate by some.” She also examines the question of whether the Tapestry was “designed to include Norse stylistic influences as part of a political agenda to legitimize the Normans by including cultural markers that allude to their own heritage.”

1410. Rice, Ray. Bayeux Tapestry. 2004. Notes: Originally shot on 16mm film. Black-and-white, animated. DVD. Three minutes.

1411. Rich, Adrienne. “Mathilde in Normandy.” Poetry (1951): 201. Rich’s 27-line poem praises Queen Mathilda for her patience, femininity, and diligence in creating a textile remembering her husband William’s deeds. The Bayeux Tapestry is not mentioned directly. Notable lines alluding to the Tapestry: “From the archaic ships the red and green/Invaders woven in their colored hosts” and “Yours was a time when women sat at home/To the pleasing minor airs of lute and hautbois,/While the bright sun upon the expensive threads/ Glowed in the long windless afternoon.” 414 The Bibliography

1412. Richards, Julian D. The Vikings: A Very Short Introduction. New York: Oxford University Press, 2005. Notes: Part of the series Very Short Introductions. Paperback. In this easy read on Viking history, Richards offers two brief narratives on the Bayeux Tapestry’s depiction of Viking ship details. In the first, Richards writes: “The 11th century Bayeux tapestry provides, in cartoon form, a narrative of the transport of an early medieval army, its horses and provisions by ship, similar to those believed to have carried Viking raiding parties. The Normans were, after all, direct descendants of the Norseman Rollo. The Tapestry shows ‘clinker’, or plank-built vessels with brightly coloured sails, which could be drawn up upon a shelving beach, and their masts ‘un-stepped’, or taken down.” Later, he writes about descriptions of Viking ornamentation as cliché: “So what of the cliché? Viking sails have not survived but we have striped designs from Bayeux. On the Gokstad and Skuldelev 5 ships there are battens for shields to be hung along the sides of vessels. Dragon-prowed ships exist as graffiti and as literary metaphors, but the best we can do archaeologically is a beast-headed bedpost from Oseberg! Dragon ships may only exist as part of the modern Viking stereotype, but the existence of a skilled seafaring people is not in doubt. Both ships and navigational skills enabled the migration of people from Scandinavia from the late 9th to the 11th centuries.” Includes a helpful, well-constructed timeline, a list of titles for further reading, and an index.

1413. Richardson, H. G., and G. O. Sayles. The Governance of Medieval England From the Conquest to Magna Carta. Edinburgh, U.K.: University Press, 1964. Notes: Part of the series Edinburgh University Publications, History, Philoso- phy and Economics, 16.

1414. Rickert, Margaret Josephine. Painting in Britain: The Middle Ages. Harmondsworth, U.K.: Penguin Books, 1971. Part of The Pelican History of Art.

1415. Riding, Alan. “In Bayeux, 1066, 1944, and All That.” New York Times, 11 August 1991, sec. 5, p. 8.

1416. Riggs, Arthur Stanley. “The Beauties of France.” National Geographic 28 (1915): 391–491.

1417. Riley, Brent A. “William: From Bastard to Conqueror.” Military His- tory (2002): 51–57. In addition to a mention of the Bayeux Tapestry’s depiction of Harold’s oath, Riley quotes Alan Lloyd, author of The Making of a King: 1066, in narrative about William’s physical appearance: “Alan Lloyd paints a word picture as The Bibliography 415

William emerges into manhood: “The physical characteristics most commonly attributed to William have included a large frame, gray eyes under russet hair, thin lips and a deep jaw. No contemporary portrait of sufficient detail survives to corroborate what might be termed the classic image, but at least his sketchy representation on coins, on his seal and in the Bayeux Tapestry does not seriously contradict it.” In addition to four images from the Tapestry, the article includes a separate section on the embroidery titled “The Bayeux Tapestry” written by Joe Bageant; see separate annotation.

1418. Ritchie, T. “Plankwall Framing, A Modern Wall Construction With an Ancient History.” Journal of the Society of Architectural Historians 30, no. 1 (1971): 66–70. Notes: Published by the University of California Press. Ritchie, with the National Research Council of Canada, Division of Building Research, mentions a construction method depicted on the Bayeux Tapestry: “Denmark’s status and influence in Europe during the early Middle Ages was reflected by the spread of its building methods beyond its borders. The Bayeux Tapestry of Normandy, for example, depicts houses that have been identified as bulhuse construction.” The article includes several photographs but no images from the Tapestry.

1419. Rixson, Denis. The West Highland Galley. Edinburgh, U.K.: Birlinn, 1998. In this book on 800 years of Hebridean galleys, the author describes the ships by referencing literature, manuscript illuminations, and the Bayeux Tapestry. He mentions the Tapestry in discussions of the numbers of oars that ships had, the color schemes of sails, look-out boys who shimmied up masts, carved figureheads, riggings, steering boards, and tow-boats.

1420. Robards, Brooks. The Medieval Knight at War. New York: Barnes and Noble Books, 1997. Notes: Published by arrangement with Brompton Books, Greenwich, CT. This large, richly illustrated book for general audiences features two color scenes from the Tapestry depicting mounted Norman knights at the Battle of Hastings. The text later awkwardly notes: “One of the most detailed sources of information about motte-and-bailey castles is still the embroidery that illustrates them on the Bayeux Tapestry in France.” Includes index.

1421. Robb, David M., and J. J. Garrison. Art in the Western World. New York: Harper & Row, 1963. Notes: Fourth edition. Originally published in 1935 with subsequent editions in 1942 and 1953. 416 The Bibliography

The authors devote a page of narrative to the Tapestry and include four black- and-white images. They discuss the use of wool and linen, rather than silk, in western medieval Europe, and the likelihood that the work has been shortened at some point. Also addressed in their narrative is the tradition of Matilda and her “maids-in-waiting” having created the work, the “fact that it had been used since time immemorial to decorate the nave of Bayeux Cathedral,” its likely commissioning by Bishop Odo, the resemblance between the style of the figures to that of manuscript illuminations of the period, and its importance as a major surviving work of secular art from the eleventh century. Commenting on the differences in viewing the work three dimensionally as opposed to photographs of the work, the authors write: “The lively and animated movement of the figures is one quality of the original that appears in the reproductions, but the equally vigorous effect of the varicolored worsteds on the creamy linen background can only be guessed.” They also reference the borders noting that “The grotesque animals and birds in the upper and lower margins of most of the embroidery are in the manuscript tradition of the time.” Includes a multi-page chronological table, bibliography, illustration index, and a general index.

1422. Roberts, Clayton, and David Roberts. A History of England: Volume I, Prehistory to 1714. Englewood Cliffs, NJ: Prentice-Hall, 1985. Notes: Second edition. Paperback. Originally published in 1980. In this textbook, the authors offer one image of a ship scene from the Bayeux Tapestry along with a lengthy caption that describes the embroidery as an “elaborate pictorial narrative” and a “superb work of art” that was designed by an artist of the school of Canterbury and was embroidered by “English craftswomen.” The caption also provides factual details about the Tapestry, including the numbers of humans, horses, boats, and buildings. Includes index.

1423. Roberts, Keith. “London.” The Burlington Magazine 117, no. 870 (1975): 620–23. Roberts delivers a biting review of the Overlord Embroidery amid a public conversation about where the work might best be permanently housed. He notes that the Overlord Embroidery was intended for a special gallery that would be added to the Imperial War Museum, but that “planning permission was refused.” He explains that “The Guildhall has been showing the panels, partly to publicize the dilemma into which the adverse decision has thrown Lord Dulverton, who commissioned them and who wants to present them to the British Nation, and partly to raise funds.” Then he begins his trashing of the work: “The serious- ness of the enterprise, the highmindedness of Lord Dulverton and the skill of the needlewomen are not in doubt. But what is questionable is the quality of the results. Since the Invasion is documented up to the hilt, in official records, histories, photographs and films, the ‘Overlord Embroidery’ can, and should, only be regarded as a work of art. And as a work of art it is an almost complete failure, vulgar, banal and with an obviousness, both technical and emotional, that The Bibliography 417 it puts it somewhere between a comic strip, a piece of war-time propaganda and a tuppence-coloured Hollywood epic.” He continues, writing, “The brochure tells us that the Embroidery ‘measures a total of 272 feet and is the largest work of its kind in the world. It is 41 feet longer than the 11th century Bayeux Tapestry, of which in many ways it is the modern counterpart.’ And there you have it in a nutshell. The ‘Overlord Embroidery’ belongs, in fact if not in intention, to the same category as a model of the Victory in matchsticks. Its real destination should not be a museum but a side show in one of the livelier stately homes open to the public.” Roberts concludes with a paragraph on whether it matters where the work goes. He suggests that, despite the Embroidery’s shortcomings, it does matter “because the association of a great historical event with an artistic medium demanding a good deal of conspicuous skill may gull a lot of people into thinking that they are seeing an important and meaningful work of art. This impression will be re-inforced if it is given an official home. It must be a source of lasting regret that so few visual works on a monumental scale have been produced that do justice to the nation of the Second World War. But that is no reason to mistake pious memorials for the real thing.”

1424. Roberts, Nesta. The Companion Guide to Normandy. Englewood Cliffs, NJ: Prentice-Hall, 1983. Notes: U.S. edition. Simultaneously published by Collins, London. Part of The Companion Guides series, Vincent Cronin, general editor. First published in 1980. Roberts, a journalist with the Guardian, writes of the earliest discovery of the Tapestry by the art world: “It remained the property of the cathedral until the Revolution, though until the beginning of the 18c., the world of art scholarship did not know of its existence. In 1804 Napoleon had it brought to Paris to help convince public opinion that it was possible to invade England.” Calling the work “the most precious medieval document in existence,” she also suggests that “Whether the embroideresses were English or French is still disputed.” For the modern viewer, Roberts proclaims that “nothing is more astonishing than the pace and movement of what has been called ‘a long film.’” Includes an index.

1425. Roberts, Owain T. P. “The Bayeux Tapestry Sails.” Mariner’s Mirror 67 (1981): 287–88.

1426. ———. “The Bayeux Tapestry Sails.” Mariner’s Mirror 68 (1982): 76–77.

1427. Roberts, Russell. The Battle of Hastings. Hockessin, DE: Mitchell Lane Publishers, 2011. Notes: Part of the series Technologies and Strategies in Battle. For a readership of children ages 8–12, Russell presents an excellent historical background and discussion of military technology used in the Battle of Hastings. 418 The Bibliography

Scenes from the Bayeux Tapestry are used several times throughout the book. A one-page feature on the Tapestry highlights basic facts about its manufacture, purpose, and even mentions a “most sensational” theory that the Tapestry is coded with secret messages intended to “disrupt the Norman rule of England.” The author asserts that the Tapestry “clearly shows King Harold with an arrow in his eye.” Includes maps, a genealogical chart, numerous photographs, a concise chronology of events in 1066, a broader timeline of world history c. 850–c. 1127, chapter notes, a list of further reads and internet resources, glossary, and index.

1428. Roberts, W. Rhys. “The Greek Treatise on the Sublime: Its Author- ship.” The Journal of Hellenic Studies 17 (1897): 189–211. Notes: Published by The Society for the Promotion of Hellenic Studies.

1429. Robinson, David. “Author Tells Scotland’s Story With Our Very Own Bayeux Tapestry.” The Scotsman (2011): 14. This 398-word article describes the early plans for the Great Tapestry of Scotland, commissioned by the novelist Alexander McCall Smith. The idea was inspired by Smith’s viewing of the Battle of Prestonpans Tapestry at the Dovecot Gallery in Edinburgh in December 2010 where he noticed the people viewing it were “just blown away by it.” That textile consists of 104 three-meter long linen panels telling the story of the victory of Bonnie Prince Charlie’s army over government forces led by General John Cope. The article explains that the Great Tapestry of Scotland is expected to have 100 panels, each showing key moments in Scottish history, “from the retreat of the Ice Age glaciers to the present day” and that it will be designed by Cockenzie-based artist An- drew Crummy who also designed the Prestonpans Tapestry. Additionally, the article notes that the project will be formally announced at the Borders Book Festival on June 18, 2011. Alistair Moffat, festival director as well as author and historian, is quoted as saying, “This is a fabulous, colourful and sparkling way of saying Scotland is great.” Moffat notes that while the project is still in its infancy, Crummy has produced some initial sketches. The articles explain that the Great Tapestry of Scotland will be “bigger than the Bayeux Tapestry but capable of being rolled up and transported around the nation whose history it will tell.”

1430. Robinson, Tony, and Tony Ross. The Hutchinson Book of Kings and Queens of England. London: Hutchinson, 1999. Notes: Illustrated by Tony Ross.

1431. Rock, Rev. Daniel. Textile Fabrics: A Descriptive Catalogue. London: Chapman and Hall, 1870. Notes: An abbreviated edition was published in 1898. Also cited as Catalogue of Textile Fabrics. The Bibliography 419

This is a catalog of holdings in the South Kensington Museum, London. Rock challenges the legend of Matilda’s leadership or involvement in the creation of the Bayeux Tapestry. There is also mention of the piece of the Tapestry that Charles Stothard removed.

1432. Roesdahl, Else. Viking Age Denmark. London: British Museum Pub- lications, 1982. Notes: “A Colonnade Book.” Translated by Susan Margeson and Kirsten Wil- liams. In a discussion of the design and construction of the ships Ladby and Skuldelev 5, Roesdahl writes that they are “greatly reminiscent of the ships shown on the Bayeux Tapestry of c.1070.” The suitability for navigation, seaworthiness, speed, and interaction with the coastline are expounded upon. Later, in a chapter titled “Art and Ornament,” the author comments on surviving examples of identifiable narrative art from the Viking age: “There is no evidence in Scandinavia of illustrations of history (as on the late eleventh-century Bayeux Tapestry) but heroic legends (especially those concerning Sigurd the Dragon-Slayer) seem to have been consistently popular.” The book includes drawings and other illustrations, a 13-page bibliography, and an index.

1433. Roffe, David. Domesday: The Inquest and the Book. Oxford, U.K.: Ox- ford University Press, 2000. In his opening chapter, titled “The Mystique of the Book,” Roffe writes that the “Domesday Book afforded secure title to what had been precariously held. It is almost as if it is a continuation of the Bayeux Tapestry by other means.” Includes a 13-page bibliography and an index.

1434. Rogers, Clifford J., ed. The Oxford Encyclopedia of Medieval Warfare and Military Technology, Volume I. New York: Oxford University Press, 2010.

1435. Rogers, Penelope Walton. Cloth and Clothing in Early Anglo-Saxon England, AD 450–700. York, U.K.: Council for British Archaeology, 2007. Notes: CBA Research Report 145. Paperback. This outstanding scholarly yet casually readabale work brings together archaeology and art history to reconstruct early Anglo-Saxon attire, for which there are no surviving whole garments. Rogers presents detailed discussion on textile production, textiles from cemeteries, costume accessories, and every type of clothing, along with informative and to-the-point passages on societal aspects of cloth and clothing. In a chapter sub-heading on embroidery, the Bayeux Tapestry is mentioned as an example of a hanging in that medium. In a brief discussion of hairstyles, the Tapestry is mentioned for its distinguishing Anglo-Saxon from Normans by their haircuts. It also make an appearance in a quick note on opus 420 The Bibliography

Anglicanum. Includes hundreds of illustrations of potential interest to Bayeux Tapestry scholars and admirers, many of them full-color photographs; there is one photograph from the Tapestry itself. Includes an index and a 20-page bibliography.

1436. Rollins, John G. Needlemaking. Princes Risborough, U.K.: Shire Pub- lications, 1981. Notes: Part of the Shire Album series, #71.

1437. Rose, Susan. The Medieval Sea. London: Hambledon Continuum, 2007. Rose, Senior Research Fellow at Roehampton University, presents a colorful history of the relationship that Medieval European peoples had with the sea, infus- ing her chapters with Medieval prose and poetry. The Bayeux Tapestry is briefly mentioned in a passage on the construction of Viking ships and in another comparing the Tapestry’s ships to the naval fleet built by King John. Includes an index.

1438. Rosenthal, Joel T. Angles, Angels, and Conquerors, 400–1154. New York: Alfred A. Knopf, 1973. Notes: Part of the series The Borzoi History of England, volume 1. A Borzoi book. Writing of Harold’s oath, Rosenthal notes that “If Harold had once sworn to support Duke William’s claim, as the Bayeux tapestry vividly asserts, the oath was forgotten at the very moment it was put to the test.” He also acknowledges in fairness to Harold that he was the “choice of the Anglo-Saxon aristocracy, despite some northern opposition or pointed indifference.” Rosenthal also mentions that “the election was wholly proper and legal” given that Edward the Confessor had left no designated heir. In his chapter titled “Letters and Arts,” he comments on the Tapestry as both historical record and work of art: “The greatest piece of medieval English clothwork is the Bayeux tapestry . . . It is a consummate piece of propaganda—evil Harold is punished for violating his oath to William. The tapestry is also a work of art. The master who drew the cartoons, probably at the behest of Odo of Bayeux, had a genius for graphic representation. It is not easy to convey a complicated story by means of a series of mute pictures, but he does so. The faces of the major figures are distinct portraits. The scenes that depict the falling horses show an interest in animal anatomy that brings Leonardo da Vinci to mind. No such work could have been executed without a long tradition in the art form behind it.” Rosenthal is a professor of history at the State University of New York at Stony Brook. Includes a narrative bibliography arranged by chapter and an index.

1439. ———. Anglo-Saxon History: An Annotated Bibliography, 450–1066. New York: AMS Press, 1985. Notes: Part of the AMS Studies in the Middle Ages series, no. 7. Though Rosenthal suggests that “Omissions have to be a major characteristic of a relatively short and necessarily selective volume such as this one,” his The Bibliography 421

150-page bibliography (not including the name index) is a valuable resource in facilitating historical research. It is arranged by subject within sections based on type of material. Rosenthal refers to the organization of the volume, again in his preface, as “at best, imperfect and arbitrary.”

1440. Ross, David J. A. “L’Originalité De Turoldus: Le Maniement De La Lance.” Cahiers De Civilisation Mediévale 6 (1963): 127–38. Ross offers a detailed discussion of the couched lance position as depicted in the Tapestry.

1441. Ross, Josephine. The Monarchy of Britain. New York: William Mor- row, 1982. In her first chapter on the Normans, Ross briefly mentions the Bayeux Tapes- try in her narrative, writing about the embroidery’s notable images of Halley’s comet, “mail-coated soldiers,” and boat-building. She also calls the Tapestry a “masterpiece of Norman needlework.” Two large full-color scenes from the Tap- estry stretch across four pages. The book is heavily illustrated and includes royal genealogical charts and an index.

1442. Ross, Leslie. Artists of the Middle Ages. Westport, CT: Greenwood Press, 2003. Notes: Part of the Artists of an Era series. In her chapter titled “Walls of Color and Light: Mural Painting, Mosaics, and Stained Glass,” Ross discusses the paintings on the nave vault at Saint-Savin- sur-Gartempe. The works, depicting 36 biblical scenes, are arranged in four horizontal registers running the length of the ceiling. She writes that “The frieze- like composition in narrative ‘strips’ has been compared to slightly earlier wall hangings, such as the Bayeux Tapestry.” Later, in her chapter on women artists of the medieval era, Ross discusses the “intriguing tradition” of the Tapestry’s attribution to Queen Mathilda: “This view was especially prevalent in writing of the nineteenth and early twentieth century. Most scholars now feel it highly unlikely that Mathilda, although known to be a patron of the arts, was herself directly involved with this massive work of embroidery. Indeed, the design, execution, patron, and purpose of the long-studied work remain subjects of much continued discussion. However, the view of the patient wife staying at home and producing a time-consuming work of art to honor the achievements of her famous husband certainly lacks the appeal to modern scholars that such a concept had to earlier authors.” Includes a selected bibliography and index. Ross is professor and chair of the art history program at Dominican University of California.

1443. Ross, Marvin C. “Review: The Bayeux Tapestry.” Magazine of Art 39 (1946): 46. While this article appears in the magazine’s section of book reviews, art historian Ross begins with a favorable review of Eric Maclagan’s 1943 The Bayeux 422 The Bibliography

Tapestry, but then provides the readers with interesting details of the Tapestry’s location and ordeals between 1943 and 1946 and “brings Maclagan’s account up-to-date.” Ross comments on the roles of U.S. and German officers in wartime preservation and protection of the Tapestry. He also comments on the Tapestry’s exhibition at the Louvre in December of 1944 and the new exhibit planned for the Tapestry’s return to Bayeux. [Although a revised edition of Maclagan’s work was published in 1945, Ross makes no mention of it here.]

1444. Rothero, Christopher. Medieval Military Dress, 1066–1500. Poole, U.K.: Blandford Press, 1983. Notes: Part of the Blandford Colour Series. This handbook describes some 86 different styles of medieval military dress and accoutrements, five of them being Bayeux Tapestry types: Norman archer, dismounted Norman knight, Norman bishop, mounted Norman, and Saxon housecarl. Rothero describes the dress and weapons of these fighters, using the Tapestry and Anglo-Saxon manuscripts as authorities. Included are lifelike full- color drawings of each type.

1445. Round, J. Horace. “The Castles of the Conquest.” Archaeologia 58 (1902): 313–40.

1446. ———. “Mr. Freeman and the Battle of Hastings.” The English Histori- cal Review 9, no. 34 (1894): 209–60.

1447. ———. “Wace and His Authorities.” English Historical Review 8, no. 32 (1893): 677–83.

1448. Rowe, John Y. “Descendants of Thorvaldr or Turold on the Bayeux Tapestry of Special Canadian Interest.” Families 18, no. 2 (1979): 50–66. Notes: Includes bibliography.

1449. Rowley, Trevor. Book of Norman England. London: B.T. Batsford/ English Heritage, 1997. Notes: Cover title: Norman England. Alternate titles: English Heritage Book of Norman England and Norman England: An Archaeological Perspective on the Norman Conquest. This archaeological perspective on the Norman Conquest mentions the Bayeux Tapestry briefly incidentally in various contexts: the legitimacy of the invasion as evidenced by William’s holding of papal banners in the Tapestry; Halley’s comet; in a remark about the layers of soil created in constructing the castle at Hastings, one of the Tapestry’s castle-diggers carries what is perhaps a bag of sand; the Anglo-Saxon shield wall; the Tapestry being the only source of the story of Harold with an arrow to the eye; archaeological confirmation of the de- The Bibliography 423 tails of the Tapestry’s military dress and weaponry; the use of fire in battle; and the illegitimacy of Stigand’s archbishopric. Rowley is the Deputy Director of the Department of Continuing Education at Oxford University.

1450. ———. The Man Behind the Bayeux Tapestry: Odo, William the Con- queror’s Half-Brother. Stroud, U.K.: The History Press, 2013. Notes: Paperback. In this biography of Odo, William’s half-brother and Bishop of Bayeux, Rowley aims “to make Bishop Odo’s extraordinary life-story known to a wider audience.” The author also wishes to present a balanced view of Odo, not only as the man given to excess and pleasure as history has made him out to be, but also as a generous patron of arts and learning. In a chapter on Duke Robert “the Magnificent,” Rowley writes about Odo’s sister Muriel who married a certain Odo au Chapel; Rowley suggests that this Odo may be the one depicted con- ferencing with Duke William before the Battle of Hastings in the Bayeux Tap- estry, although he never mentions this again. The relics of Saints Rasyphus and Ravenna, upon which Harold may have sworn his oath to William as shown in the Tapestry, are discussed. The author notes that whereas Norman chroniclers place Harold’s oath-swearing to William at Rouen or Bonneville-sur-Touques, the Tapestry locates it in Bayeux. He explains that it was not necessary for the Tapestry to have depicted Odo in this scene; his presence there was understood. John of Worcester’s agreement with the Bayeux Tapestry in the ecclesiastical and secular approval of Harold’s succession to the throne of England after Edward’s death is mentioned; both sources are at odds with the Norman accounts. Where the Tapestry shows Harold beneath Halley’s comet, Rowley points to the fact that Harold is shown in a palace, rather than Westminster Abbey, and that “this was a Crown Wearing ceremony. If so it could have been Easter, which fell on 16 April in 1066,” and the Tapestry intends to show Harold now firmly enthroned as king. Odo’s prominent placement at critical points in the Tapestry’s narrative is discussed. A passage on the consecration of Odo’s newly built cathedral at Bayeux in a year when there were four other consecrations in Normandy, includes this observation, “By far the most important example of [Odo’s] artistic enterprises was the Bayeux Tapestry. It would have been in keeping with what we know of the man if it had been commissioned specifically to display at the consecration of his cathedral in 1077. In a year when there were several important consecration ceremonies it would have been a typically audacious stratagem to make Bayeux stand out conspicuously from the other Norman churches by producing his great hanging at the consecration.” The Tapestry’s depiction of a great stone castle in the midst of the Ponthieu episode has been observed by some to be Guy of Ponthieu’s castle at Beaurain. However, notes Rowley, it is likely William’s castle at Rouen because of its compositional placement in the Tapestry. He goes on to comment on the irony of Odo including this building in the Tapestry, the building which was later his prison for four years. A chapter devoted fully to the 424 The Bibliography

Tapestry presents a good round-up of research found in recent publications, as well as a general overview of the Tapestry for the uninitiated. The significance of the Tapestry as a unique historical document is noted and Rowley makes remarks about aspects of artistic composition. Other medieval long-strip illustrations are discussed. A sub-heading on the history of the Tapestry includes the earliest-known record of it hanging in the Bayeux Cathedral and Napoleon’s use of it to boost nationalism in preparations for his own invasion of England. The “cult of Matilda and the Tapestry” in the early nineteenth century, stirred up by Napoleon, produced the composition of a one-act comedy centered on the Tapestry as well as several paintings showing Matilda embroidering the Tapes- try. Nazi interest in the Tapestry as an artifact demonstrating the “superiority of the Aryan spirit” and its movement for protection and display in the 1940s are discussed. Also mentioned briefly is the movement of the Tapestry to its current home in the Grand Seminary in Bayeux. Rowley gives a clear nine-page synopsis of the narrative told by the Tapestry. He examines the most commonly accepted reasons for the belief that Odo was the patron of the Tapestry, paying particular attention to Turold, Wadard, and Vital. Other candidates for the Tapestry’s patron are also discussed: Queen Edith, Count Eustace II of Boulogne, the Abbey of St Florent de Saumur, and Archbishop Stigand. The author offers a variety of recent theories about how the Tapestry was originally intended to have been displayed. A passage on The Song of Roland gives a very tight summary of the work, and then Rowley notes similarities between the poem’s Turpin and Bishop Odo as depicted in the Tapestry. The cover photograph features images from the Tapestry as well as one of a portrait of Odo from the Baron Gerard Museum in Bayeux. Includes a bibliography and an index. Rowley was Deputy Director of Continuing Education at the University of Oxford.

1451. ———. Norman England: 1066–1204. Oxford, U.K.: Shire Publications, 2010. Notes: Part of the Shire Living Histories series, number 8. Cover title: Norman England. Paperback. Rowley discusses the ways daily life in England changed, and many ways in which it was unaffected, by the Norman Conquest. The various chapters discuss the Norman Conquest, family life, home and neighborhood, food and drink, shop- ping and style, transport and travel, relaxation and entertainment, education and scholarship, and medicine and healing and often include references to the Bayeux Tapestry. Includes an index and a list of places in England to visit, including the Museum of Reading, which houses the full-size Victorian replica of the Tapestry.

1452. ———. The Norman Heritage, 1055–1200. London: Routledge & Kegan Paul, 1983. Notes: Although the title page lists the book title as cited, it is a publisher’s error. The cover title as well as Library of Congress Cataloging-in-Publication The Bibliography 425 data use the correct title The Norman Heritage, 1066–1200. Part of The Making of Britain, 1066–1939 series. Rowley, staff tutor in archaeology at the University of Oxford Department for External Studies, takes an archaeological approach to examining the “absolute full stop” effect of the Norman Conquest on Britain. He notes that the Bayeux Tapestry along with the Domesday Book both “have contributed greatly to this impression of profound change.” He points to the Tapestry’s depiction of the Normans’ bent for efficient military preparation. In a chapter on castles of the conquest, Rowley briefly refers to the Tapestry’s images of motte-and-bailey fortifications, their flammability, and the appearance of gang-plank bridges. In- cludes a list of further readings, an index, and three appendices pertaining to the Domesday Book and the Assize of the Forest of 1184. There are several maps, photographs of archaeological interest, and several photographs and drawing of the Tapestry.

1453. Royal School of Needlework. Royal School of Needlework History. A brief history of the organization from its inception in 1872 to the present. Includes facts surrounding the commissioning of the Overlord Embroidery by Lord Dulverton.

1454. Ruaux, Jean-Yves. Bayeux and the Bessin. Conde-sur-Noireau, France: Editions Charles Corlet, 1982. Notes: English translation by Linda Herbertson.

1455. Rubenstein, Jay. “William of Poitiers Talks About War.” The Middle Ages in Texts and Texture: Reflections on Medieval Sources. ed Jason Glenn Toronto: University of Toronto Press, 2011. Notes: Paperback. Rubenstein, associate professor of history at the University of Tennessee in Knoxville, considers William of Poitiers’ Deeds of William in examining medieval attitudes about war. The Bayeux Tapestry is mentioned as a catalyst for the modern notion that the Norman Conquest was the fulcrum of England’s history. He notes that Edward the Confessor sent Harold Godwinson to Normandy not only to confirm Duke William’s succession to the throne of England, but indeed to swear an oath of personal loyalty to the future king. The Tapestry’s oath scene is briefly discussed for its ambiguous message. The Battle of Hastings, according to Rubenstein, was a “judicial procedure . . . [in which] a plaintiff and a defendant pressed their claims and trusted the result to God.” William of Poitiers writes that William would have preferred to settle the matter in a single combat with Harold, and Rubenstein points out that the Tapestry acknowledges this where two nude men prepare to wrestle in the upper border above the opening of the Battle of Hastings scene. 426 The Bibliography

1456. Rucker, Kathryn. “Period Costumes and Their Recurring Influence.” Art & Life 11, no. 9 (1920): 510–15. Rucker writes of the Tapestry’s depiction of eleventh-century costume, writing “That marvelous chronicle of events of the Eleventh century, the Bayeux Tapestry, shows us notable variations presented by the Norman costume of that day. Women wore a gown laced to fit the figure and having tight sleeves to the wrist, there widening to a sort of cuff that fell the full length of the skirt. The men were clad in a short tunic, stockings and a cloak, and wore a cap not unlike a Scotch bonnet.”

1457. Rud, Mogens. The Bayeux Tapestry and the Battle of Hastings 1066. Copenhagen: Christian Eilers Publishers, 2002. Notes: Translated from the Danish by Chris Bojesen. Additional cover subtitle: “The unique pictorial record in full colour of the world famous battle.” First published in 1983. Also published by Eilers Stevenage, Copenhagen in 1988. Published in Danish under the title Bayeux Tapetet og slaget ved Hastings. This concise work (101 pages) by Danish archaeologist Mogens Rud gives a survey of the Bayeux Tapestry: “its themes, the technique used to produce it and the history of the Tapestry itself.” Following are chapters on the historical background of the Battle of Hastings, an examination of chief persons depicted in the Tapestry, and full-color reproductions of the entire Tapestry accompanied by description and commentary. The final chapters tell the story of what happened where the Tapestry leaves off: William’s coronation and England under Norman rule. Rud is inclined to mention his native Denmark more often than other Tapestry scholars. Includes three family trees, a map of southern England and north-west France, a map of the battle site, and a thorough name index and subject index.

1458. ———. La Tapisserie De Bayeux Et La Bataille Du Pommier Gris. Bay- eux: Editions Heimdal, 1983.

1459. Rudolph, Conrad, ed. A Companion to Medieval Art: Romanesque and Gothic in Northern Europe. Malden, MA: Blackwell, 2006. Notes: Part of the Blackwell Companions to Art History series. Rudolph, professor of medieval art history at the University of California, Riv- erside, assembled 30 articles on Romanesque and Gothic art in northern Europe over 676 pages. Two feature references to the Bayeux Tapestry and are annotated individually. They are: Suzanne Lewis’ “Narrative” (pp. 86–105) and Brigitte Kurmann-Schwarz’s “Gender and Medieval Art” (pp. 128–150).

1460. Rudorff, Raymond. Knights and the Age of Chivalry. New York: Viking Press, 1974. Notes: “A Studio Book.” Devised and produced by Park and Roche Establish- ment, Schaan. The Bibliography 427

Rudorff writes of the “new warriors” emerging in Europe “towards the end of the turbulent Dark Ages.” The only mention of the Bayeux Tapestry is in the author’s remark of what armor looked like at the time of the Norman Conquest. He does use two illustrations from the Tapestry to underscore his talking points. He presents images of the Baldishol Tapestry and illustrations from Beatus of Lie- bana’s manuscript on the Apocalypse of St. John for comparison to the Bayeux Tapestry’s knightly gear. Includes index.

1461. Russell, Douglas A. Costume History and Style. Englewood Cliffs, NJ: Prentice-Hall, 1983. Russell, a professor in the Department of Drama at Yale University, mentions the Tapestry in his brief section on Romanesque dress. He explains that “Military wear began to change sharply during this period, and the last remnants of the Roman and Byzantine style disappeared. On the soldiers of William the Conqueror, depicted on the Bayeux Tapestry, helmets were conical with heavy metal noseguard and rested on a tight hood of linked chain.” Russell goes on to discuss hauberks, chain-mail trousers, and leather-gartered hose. Illustrations are provided. The book is heavily illustrated and includes a superb glossary arranged by chronological period, a bibliography organized in the same manner, and an index. The author was also a costume designer for many years.

1462. Salisbury, Joyce E. The Beast Within: Animals in the Middle Ages. London: Routledge, 2011. Notes: Paperback. First published in 1994. Salisbury, Professor of History at Wisconsin, Green Bay, presents a fascinating look at the uses of and attitudes towards animals in the Middle Ages: as property, as food, as human exemplars, animals treated as humans, animal sexuality, and humans as animals. She comments on William the Conqueror’s horse in the Bayeux Tapestry having an erection (includes photograph). The increase in the late eleventh century of the use of animals in fable and bestiary illustrations as decorations independent of text is exemplified in the Bayeux Tapestry; by the time it was embroidered, fables were familiar enough to audiences that no text was needed to explain their morals. Extensive notes and bibliography.

1463. Samuels, Maurice. “Illustrated Historiography and the Image of the Past in Nineteenth-Century France.” French Historical Studies 26, no. 2 (2003): 253–80. Samuels, assistant professor of French at the University of Pennsylvania, asks in this 27-page treatment of his topic, “How . . . did new forms of illustration help generate new models of historical understanding in an age [in post-Revolutionary France] that would become increasingly dependent on the image as a communi- cator of meaning?” He notes that the nineteenth century “did not inaugurate the use of visual imagery in historical representation,” and that the Bayeux Tapestry indeed did just this in the Middle Ages. He makes two notable references to 428 The Bibliography

the Tapestry in his article. The first highlights Francis Haskell’s History and Its Images where the embroidery is invoked for having “elaborated a visual vocabulary for historical representation in the Middle Ages.” Later, Samuels, in a lengthy discussion and analysis of Augustin Thierry’s Histoire de la conquête d’Angleterre par les Normands notes that it is a “celebrated work of Romantic historiography.” Here, he points out Thierry’s inclusion of “fourteen planches representing the Bayeux Tapestry in outline form.” He then writes, “Like the images in most eighteenth-century illustrated editions, the images of the Bay- eux Tapestry and of the ‘diverses antiquités anglo-normandes’ in the Thierry volume were metal engravings. First drawn on paper, they were then engraved (by a separate hand) onto copper (or in the case of the Thierry illustrations, onto steel) plates that were then inked and used for printing.” Samuels emphasizes the benefits to the readers of the works who benefited from the “authentic” images.

1464. Sanderson, Arthur. History of the Bayeux Tapestry. London: Arthur Sanderson & Sons, 1922. Notes: A portion of the Bayeux Tapestry as reproduced in Eton Rural Cre- tonnes by Arthur Sanderson & Sons, Ltd.

1465. Santosuosso, Antonio. Barbarians, Marauders, and Infidels: The Ways of Medieval Warfare. Boulder, CO: Westview Press, 2004. In a discussion of Frankish cavalrymen, the author notes that for the Carolin- gian era, there is no evidence of horsemen couching lances under their arms and that the first clear evidence of this comes from the Bayeux Tapestry’s depiction of Norman cavalry. He later notes that this method of holding the lance must have been unusual, however, because the Normans were fighting Anglo-Saxon footmen, and the lance under the arm was suitable for fighting opposing cavalrymen. Santosuosso is professor emeritus of history at the University of Western Ontario. Includes an excellent chronology of medieval warfare, extensive notes, selected bibliography, and index.

1466. Sartore, Melissa. Backdrop and Origins of the Bayeux Tapestry. Ma- comb, IL: Western Illinois University, 2002.

1467. Saul, Nigel. The Batsford Companion to Medieval England. Totowa, NJ: Barnes & Noble Books, 1982. This A to Y encyclopedic reference provides a concise description of the Tap- estry, the story within, and brief overviews of the laconic and ambiguous inscriptions, the Tapestry’s English provenance, Odo as patron, its manufacture, and the nineteenth-century restorations.

1468. ———. A Companion to Medieval England, 1066–1485. Stroud, U.K.: Tempus, 2005. Notes: Part of the Tempus Revealing History series. The Bibliography 429

1469. ———, ed. England in Europe, 1066–1453. London: Collins & Brown, 1994. Notes: “A History Today Book.” In his chapter on Norman Art, Saul describes the Bayeux Tapestry and comments on the functions of textile art in Normandy and Norman England.

1470. ———. For Honour and Fame: Chivalry in England, 1066–1500. Lon- don: The Bodley Head, 2011. On its initial page defining chivalry and providing evidence of its absence in England prior to the Norman Conquest, Saul consults the Bayeux Tapestry: the English are depicted as an army on foot; the Normans brought with them in 1066 the innovation of fighting on horseback, along with its “new code of honour, a more humane set of values governing the conduct of war.” Medieval culture, he states, an age of limited literacy, relied on visual media to communicate status, which can be observed in the dress of William in the Tapestry. A chapter on chivalry and Christian society discusses the appearance of Bishop Odo “in the thick of the fray, waving his mace and ‘cheering the boys on’” as an example of the ambiguous relationship between the two institutions. The Normans’ construction of a castle at Hastings is briefly mentioned in the chapter on chivalry and fortifications. Includes a bibliography, notes, index, and one full-color photograph of the Tapestry.

1471. ———, ed. National Trust Historical Atlas of Britain: Prehistoric and Medieval Period. Bramley Books, 1998.

1472. ———, ed. The Oxford Illustrated History of Medieval England. Oxford: Oxford University Press, 1997. This comprehensive introduction to medieval England features several mentions of the Bayeux Tapestry beyond a general description and commentary on how it informs English history. Describing it as “a characteristic product of Anglo-Saxon culture,” the book notes how illustrated books from St. Augus- tine’s monastery at Canterbury provided “some of the iconographic models” for the embroidery. In a chapter titled “Conquered England, 1066–1215,” George Garnett writes about Edward the Confessor’s doctor, Baldwin, the abbot of Bury St. Edmunds, and how he is likely to be one of the unidentified figures in the Tapestry attending the king’s deathbed. He also comments on issues surrounding the Tapestry’s depiction of Archbishop Stigand officiating Harold’s coronation. In Nicola Coldstream’s chapter “The Visual Arts,” she uses the Tapestry as an example of how “by the mid-eleventh century both Norman and Anglo-Saxon styles had been subject to the stiffening and schematization of figures and drapery that characterizes Romanesque.” She also references the embroidery’s likely purpose as a hanging in a church setting. Includes a simple chronology, numerous illustrations, suggestions for further reading presented as narrative, family trees, and index. 430 The Bibliography

1473. Saunders, Ann. The Art and Architecture of London: An Illustrated Guide. Oxford, U.K.: Phaidon, 1984. This heavily illustrated work, despite its title, deals almost exclusively with London’s architecture, arranged for readers by borough, along with their historical and literary associations. In her report of the buildings of Islington, she points out the Whitbread Brewery, which, at the time of publication, housed the Over- lord Embroidery, a 1968 commission for a monumental textile to commemorate the D-Day invasion of 1944, a “modern counterpart of the Bayeux Tapestry which record that other, cross-Channel invasion in 1066.” In an appendix of institutions, she discusses which ones are open to the public, and she provides the address, phone number, opening hours, and admission price to the Whitbread Brewery.

1474. Sauvage, R. N. “La Tapisserie De La Reine Mathilde à Bayeux.” Bib- liothèque De L’École De Chartres LXXXII (1921): 157–65.

1475. Sauvain, Philip Arthur, and Christopher Rothero. Hastings. New York: New Discovery Books, 1992. Notes: Part of the series Great Battles and Sieges. Illustrations by Christopher Rothero. Sauvain presents a richly illustrated book for readers aged 8–12 that includes profiles of the Anglo-Saxon and Norman people and an account of the Battle of Hastings. Full-color images of the Bayeux Tapestry are used throughout. The author notes that the Tapestry’s designer “wanted to please Bishop Odo of Bayeux.” Includes a glossary, list of further reading, and an index.

1476. Sawyer, P. H. The Age of the Vikings. London: Edward Arnold, 1962. Notes: Second edition published in 1971. The author presents this “up-to-date survey” of Viking history and culture in an attempt to “offer an explanation of Scandinavian activities throughout the Viking period which . . . [are] not so much inexplicable as misunderstood.” On what Viking ships looked like, Sawyer notes that written evidence on the topic is the least satisfactory, whereas the Bayeux Tapestry is among the most “tantalizing,” valuable, and showing great accuracy of detail, despite the “difficulty of the medium.” The function of the adze (like the one depicted in the Tapestry) is discussed. The Tapestry’s depiction of a maximum of ten horses put aboard a raiding vessel is compared to an unrelated account of William of Malmesbury, and found by the author to be trustworthy. Includes a geographically arranged bibliography and an index.

1477. ———. From Roman Britain to Norman England. New York: St. Mar- tin’s Press, 1978. The Bibliography 431

1478. Sayers, William. “Textual Evidence for Spilling Lines in the Rigging of Medieval Scandinavian Keels.” The International Journal of Nautical Ar- chaeology 28, no. 4 (1999): 343–54. Notes: Published by The Nautical Archaeology Society. Sayers, of Cornell University Library, postulates that “Early medieval ships in Scandinavia and later adaptations in Normandy and Ireland were equipped with spilling lines as a means of emptying the sail.” He notes that the Bayeux Tapestry and Gotland picture stones seem to contradict as well as complement each other regarding ship construction and seafaring, at that this evidence has left “little trace in the archaeological record, in particular, sail handling.” One particular work of Anglo-Norman verse is very closely inspected for the Old Norse etymol- ogies of its vocabulary of ship parts. The thirteenth-century Icelandic poet Snorri Sturluson composed a treatise on poetry which lists numerous rigging terms, and Sayers examines this lexicon as well in an attempt to find overlap in the two languages’ vocabularies. Includes notes, references, and an artist’s rendering of the Hedeby longship, complete with its riggings.

1479. Sayre, Henry M. Cave Paintings to Picasso: The Inside Scoop on 50 Art Masterpieces. San Francisco: Chronicle Books, 2004. This very engaging book for young readers aged 8–12 provides a full-color illustrated entry on 50 important works of art from around the world. The Bayeux Tapestry’s entry is a two-page spread with three photographs of the work. The Tapestry’s manufacture and story are described in accordance with the latest and most widely accepted scholarship. Includes a glossary and an index.

1480. Schaffer, David. Viking Conquests. San Diego, CA: Lucent Books, 2002. Notes: Part of the World History Series. Schaffer provides a one-page special section on the Bayeux Tapestry. Describ- ing the work as a “masterpiece of art,” he notes that, “Although a brilliant and intricate work of ancient art, the tapestry uses a technique common to modern-day photo journals and comic books: captioning illustrations to tell its story.” Refer- ring to the Tapestry’s origins, Schaffer writes that “the practice of making boldly colorful, intricate tapestries is one Norse tradition that survived in Normandy, and the Bayeux Tapestry exemplifies that.” He goes on to discuss the Norse connection to the ships depicted in the Tapestry’s scenes showing William’s English Channel crossing. Here, he highlights the “ferocious dragonhead” as well. One image of a ship from the Tapestry is included with a brief caption. Includes notes, a list of works consulted, and an index.

1481. Schmahmann, Brenda. “After Bayeux: The Keiskamma Tapestry and the Making of South African History.” Textile: The Journal of Cloth and Culture 9, no. 2 (2011): 158–92. Schmahmann offers an analysis of the Keiskamma Tapestry which was created in 2004 by women who were part of the Keiskamma Art Project in Hamburg, 432 The Bibliography

South Africa. She explores the textile’s similarities to the Bayeux Tapestry and how its motifs reflect South African history and the details of its hanging in the Houses of Parliament in Cape Town.

1482. Schmidt, Karl. “The Modern-Language Work of the Dorotheen- staedtisches Realgymnasium.” Junior-Senior High School Clearing House 9, no. 8, Adolescent Education Abroad (1935): 454–58. Schmidt, oberstudiendirektor of the Dorotheenstaedtisches Realgymnasium in Berlin, writes about his work with the school’s students, particularly their travels to both England and Normandy. Highlighting their experiences in Normandy, Schmidt describes how he and the students brought home “the complete series of postcards” representing the full length of the Bayeux Tapestry. He suggests that the Tapestry’s artistic value consists of “its being contemporary with the epoch-making events; for it is said that William’s wife Mathilda embroidered this tapestry in the ten years following the conquest of England by her husband and dedicated it to Bayeux Cathedral in 1077.” Professor P.W.L. Cox, in his editor’s note, states that Schmidt’s “acceptance of the National Socialist Revolution and his appreciation of Adolf Hitler are typical of many earnest educated German liberals.” He goes on to write that they “are phenomena that American antifascists must consider carefully if they would understand the world they live in.”

1483. Schuette, Marie, and Sigrid Muller-Christensen. A Pictorial History of Embroidery. New York: Frederick A. Praeger, 1964. Notes: Translated by Donald King. Originally published by Verlag Ernst Was- muth, Tubingen in 1963. In a chapter on materials and techniques, the Bayeux Tapestry is mentioned as a major work on linen, “the usual foil for courtly embroideries and those made for domestic use.” In the “Historical Introduction” chapter, the authors discuss the monumentality of the Tapestry and its patronage and use. They also comment on the depiction of the battle writing that it is “so spontaneous and alive that we can only suppose that the designer was himself one of the combatants and that the work dates from the years immediately following the conquest (1066–77).” Includes three large black-and-white photographs of Tapestry scenes among its hundreds of pages of images.

1484. Schwartz, M. The Buildings in the Bayeux Tapestry: Their Context and Relationship to Contemporary Manuscript Art. York, U.K.: University of York, 1994. Notes: Unpublished M.A. thesis at the University of York.

1485. Scott, A. F. Every One a Witness: The Norman Age. London: White Lion, 1976. Seven black-and-white images from the Bayeux Tapestry are included with lengthy captions describing the scenes. They discuss Duke William as a self- The Bibliography 433 made man with an iron will, the two shrines on which Harold takes his oath and the relics contained therein, Archbishop Stigand’s presence in the Tapestry, the “hairy star” or Halley’s Comet, the depiction of arms and armor, and the embroidery as a source of knowledge about eleventh-century material culture. Includes a select bibliography, a helpful list of brief biographies of notable figures of the time, and an index.

1486. Scott-Giles, C. W., and J. P. Brooke-Little. Boutell’s Heraldry. London: Frederick Warne and Company, 1966. Notes: Revised edition. Originally published in 1950. Other revised editions published in 1954, 1958, and 1963. In a brief section titled “Monsters” within their chapter on heraldic charges, the authors note that, “A forerunner of the wyvern appears on the Bayeux Tap- estry as the dragon of Wessex, the standard of the English.” The Tapestry is also mentioned in a discussion of the earliest examples of flags, noting their depiction on the embroidery as “small” and generally with three points. The work is also referenced in the book’s introductory chapter. Includes index.

1487. Scott-Giles, C. Wilfrid. The Romance of Heraldry . London: J.M. Dent & Sons, 1965. Notes: Revised edition. Illustrated by the author. Published in New York by E.P. Dutton. Originally published in 1929. This study of the historical development of heraldic visual vocabulary notes that the golden dragon standard of Wessex as seen in the Bayeux Tapestry remained in high regard after the Norman Conquest. He notes that any attempts to ascribe personal identity to any of the shield or banner images in the Tapestry are unconvincing; however, he quotes Wace for comments on the “cognisances” on the shields of William’s men at the Battle of Hastings functioning as identity emblems. Includes two drawings from the Tapestry and an index.

1488. Scragg, Donald. The Return of the Vikings: The Battle of Maldon, 991. Stroud, U.K.: Tempus, 2006. Notes: Part of The Anglo-Saxons: A Series of Accessible Histories of Key Aspects of Anglo-Saxon England, Donald Scragg, series editor. Scragg, Emeritus Professor of Anglo-Saxon Studies at the University of Man- chester, presents this account of the Battle of Maldon, a fight between Viking raiders and Anglo-Saxon defenders under the leadership of the nobleman Byrht- noth. In his chapter on Viking boats, Scragg uses the Bayeux Tapestry as evidence for the construction techniques of the ships, including a brief comparison of a small Gokstad burial ship with a dinghy depicted in the Tapestry. He notes that the heroic poem “The Battle of Maldon” mentions a defensive shield-wall, much like the one shown in the Battle of Hastings scene in the Tapestry. Accord- ing to the Liber Eliensis (The Book of Ely), by twelfth-century chronicler Symeon of Durham, Byrhtnoth’s widow gave the cathedral of Ely a hanging embroidered 434 The Bibliography with her husband’s deeds, noting that it was customary at that time for the lady and maids of a noble house to engage in needlework. No bibliography or citations, but there is a useful section of further reading for each chapter.

1489. Seaby, W. A., and P. Woodfield. “Viking Stirrups From England and Their Background.” Medieval Archaeology 14 (1980). An image from the Tapestry is included showing its depiction of stirrups.

1490. Searle, Eleanor. Lordship and Community: Battle Abbey and Its Ban- lieu, 1066–1538. Toronto: Pontifical Institute of Mediaeval Studies, 1974. Notes: Part of the series Studies and Texts (Pontifical Institute of Mediaeval Studies), volume 26.

1491. ———. Predatory Kinship and the Creation of Norman Power, 840–1066: Model and Evidences. Berkeley, CA: University of California Press, 1988. Notes: Also cited as Predatory Kinship and the Creation of Norman Power, 840–1066: Model and Evidences. Eleanor Searle, Professor of History at the California Institute of Technology, examines two centuries of the making of the Norman state. While the Bayeux Tapestry is only mentioned once in the main text of the book (ducal horsemen, such as the Tapestry’s nuntii Willelmi, “could bring a new reality to ducal administrative rights”), it is mentioned in footnotes about the rapid construction of motte-and-bailey castles, and in a brief note about identifying horse breeds in the Tapestry.

1492. Seckel, Dietrich. Emakimono: The Art of the Japanese Painted Hand- Scroll. New York: Pantheon Books, 1959. Notes: Foreword and photographs by Akihisa Hasé. Translated from the Ger- man by J. Maxwell Brownjohn.

1493. Seidel, Linda. “Early Medieval Images of the Horseman Re-Viewed.” The Study of Chivalry: Resources and Approaches. eds Howell Chickering, and Thomas H. Seiler, 373–400. Kalamazoo, MI: Medieval Institute Publica- tions, Western Michigan University, 1988. Notes: Published for The Consortium for the Teaching of the Middle Ages, Inc. Seidel comments on many scenes from both the Tapestry’s main register and its borders, writing “Horses and riders abound in works other than sculpture, such as the Bayeux Tapestry. This long, narrow embroidery on linen, one of the most exceptional of all medieval creations, presents a version of events . . . that invites comparison with contemporary chronicle accounts. Scenes of horsemen are inter- spersed with feasts, with rituals, and with labors in order to establish the correct tone of warfare, to suggest that it is a cultivated and religious activity as well as The Bibliography 435 a political one, and to affirm that it depends upon conventional means of production. Formal patterns of repetition, juxtaposition, and reversal within the tapestry help to organize the events of the invasion and to distinguish the actions as either culpable or praiseworthy. Borders may be used for ‘commentary’ on scenes depicted in the main register; occasionally, especially toward the end in the passages of extended warfare, they offer evidence of activities that occur off-stage and thus provide an area of anecdotal expansion for the story-line. Frequently, the representations in these subordinate areas present themes related to those that have been noted above in association with carved warriors; images of griffins, scenes of booty and sexuality, activities such as the hunt and agricultural labors accompany the knight whose main pursuits are represented throughout as politics, warfare, and feasting. A close commentary between margin and main scene is often clear.” She goes on to describe these, explaining how some are based on Aesop’s fables. Noting that “bawdy scenes occur in three places,” Seidel explains that “one appears under a clearly titled representation of Harold shown riding out, falcon on his wrist, to meet William, an amalgamation of several of the same motifs that have been observed at Parthanay-le-Vieux.” She writes that “It is not at all clear exactly how these associations are to be understood, but the tendency in scholarship to ignore them or make light of them is not acceptable. They recall in their juxtapositions Erich Auerbach’s characterization of the composition of The Song of Roland and are as much a part of the narrative foreground of the hanging as are the figures in the main field.” The article includes notes and illustrations though none are from the Tapestry.

1494. Sekules, Veronica. Medieval Art. New York: Oxford University Press, 2001. Notes: Paperback. Part of the Oxford History of Art series. Compared to other general texts on medieval art, Sekules writes extensively on the Bayeux Tapestry and highlights several points of scholarly discussion and debate. In a caption to a color photograph of a battle scene from the embroidery, she writes: “An emphasis on the drama of storytelling extends to the main protagonists. It has been noted that the Normans are characterized as masterful and aggressive, whereas the Anglo-Saxons are feminized and made to appear submis- sive. The episode immediately after the death of Harold shows how an almost symmetrical grouping of clashing Norman and Anglo-Saxon soldiers is used as visual device both to demonstrate the power of the event, but also to give this passage emphasis and a sense of energy following the confusion of the preceding scene.” In a section on palace decoration, Sekules provides basic facts about the Tapestry and notes that “Attempts to read the embroidery as an equivalent to an historical chronicle have been frustrated by its occasional divergences from known fact and its occasional emphasis on minor events and characters.” She also mentions its emphasis on banquet scenes, the “apparent discrediting of a mysterious Aelfgiva,” and the intent for the Tapestry to serve as decorative art. Sekules’ 436 The Bibliography narrative also explores border imagery and its purposes, narrative traditions from manuscripts, Old Testament images from Canterbury illuminated manuscripts, William of Poitiers’ biography of William, the chanson de geste genre, and the Tapestry as an extremely important source for studying early armor. She notes, however, that the details of arms and armor are conventionalized. A seven-page timeline is provided at the end of the book where the Tapestry is included. Also included are a bibliography arranged by chapter, a list of museums and websites with brief descriptions, a list of the 136 illustrations, and an index.

1495. Sellar, Walter Carruthers, and Robert Julian Yeatman. 1066 and All That: A Memorable History of England. New York: E.P. Dutton, 1966. Notes: Twenty-seventh printing. Illustrated by John Reynolds. Originally published by E.P. Dutton in 1931. Published in paperback with an introduction by Frank Muir in 1993 by Sutton Publishing, Stroud. Extended subtitle: “Compris- ing, All the Parts You Can Remember Including One Hundred and Three Good Things, Five Bad Kings, and Two Genuine Dates.” This very funny and famous book presents an irreverent look at the history of England from Julius Caesar through World War I; while it does not mention the Bayeux Tapestry, it is notable in that it informs on the study of the Tapestry. Numerous scholarly books on medieval England, the Bayeux Tapestry, and the Norman Conquest mention this book for its importance in, if nothing else, making a whole generation of readers remember the date 1066. Further, the titles of many articles and other publications about the Norman Conquest and the Bayeux Tapestry contain the phrase “and All That” in homage to this work. Each chapter is but a one- to two-minute read; the chapter on Edward the Confessor informs us that the king received his moniker from the fact that he confessed to everything, even to things he did not do; William the Conqueror’s chapter corrects any notions we may have had about William’s invention, the “Feutile System,” in which “everyone had belonged to somebody else” and that he wrote the Doomsday Book to prove to everybody that he owned all of their possessions.

1496. Setton, Kenneth M. “900 Years Ago: The Norman Conquest.” Na- tional Geographic 130, no. 2 (1966): 206–51. Commemorating the 900th anniversary of the Battle of Hastings, National Geographic claims to be the first magazine ever to have reproduced for its readers the entire Bayeux Tapestry in full color. The author presents readers with accounts of his own personal visits to places mentioned in the Tapestry, as well as other relevant sites such as the fortress at Falaise, the monastery of Jumièges, and various battlefields, abbeys, and other places of interest. A unique photograph of the Tapestry shows it in its previous home in the palace of the Bishop of Bayeux while visitors listen to recorded commentary on portable handsets. Also noteworthy are four paintings created for the article that realistically depict The Bibliography 437 scenes from the Tapestry or of events related to it. Particularly intriguing is the painting of Normans at the mouth of the Dives loading ships, with details faithful to the Tapestry. The Tapestry was photographed by National Geographic staff photographers by special arrangement; the photographs are accompanied by interpretive commentary. Page 141 gives information on the ordeal of photographing the entire Tapestry for this issue. Includes maps of Bayeux Tapestry lands and the Hastings battlefield.

1497. Severy, Merle, ed. The Age of Chivalry. Washington, DC: National Geographic Society, 1969. This collection of six richly illustrated essays features “Tracing William the Conqueror,” a work largely re-tooled from the August, 1966 article “900 Years Ago: The Norman Conquest” by Kenneth M. Setton. The actual text of the essay mentions the Bayeux Tapestry infrequently, but quite outstanding are the 16 full- color fold-out pages on heavy paper showing the entire Tapestry, with as much as the equivalent of 40 feet of the Tapestry in each stretch. Fold-out pages include translations of the Tapestry’s text directly under each Latin inscription, and author’s commentary and explanatory notes. Includes many modern-day paintings depicting scenes based on Bayeux Tapestry images, and many photographs of sites related to the Conquest. An interesting photograph shows the Tapestry in its previous home in the bishop’s palace in Bayeux while museum visitors hear commentary on portable handsets. The book’s index, comprehensive across all six essays, includes handy little mounted-knight icons indicating where subjects are referenced in the various panels of the fold-out pages of the Tapestry.

1498. Sewell, Brian. “Tapestry and Swimming Pools.” Art and Artists, no. 196 (1983): 28. This short and humorous article describes the proposed project of giving the Bayeux Tapestry a much-needed cleaning by immersing it in an Olympic swimming pool in Paris in 1983. Sewell points out that (at the time of his writing) the Tapestry was “downright filthy,” being damaged by fungus, aerosol fluids used in polishing the glass, and static electricity from the action of polishing. Bayeux officials would hear nothing of sending their treasure to the “hated capital” for this project; Sewell points out the many ways that the pool idea was not thought through very well. He also comments briefly on French politicians’ refusal of an offer by Swiss textile experts to clean it free of charge, as this was seen as a “scandalous slur on French technology.” He paraphrases the British Professor Charles Dodwell in that the French ought to keep us [the British] informed, as the Tapestry is “much more ours than theirs.” The author ends by suggesting a “commando raid” to recover the Tapestry from Normandy and makes an irresistible wisecrack about “an eye for an eye” and “poor Harold.” 438 The Bibliography

1499. Seymour, William. Battles in Britain and Their Political Background, Volume I, 1066–1547. New York: Hippocrene Books, 1975. Notes: Drawings and battle plans by W.F.N. Watson. Cover title: Battles in Britain, 1066–1547. First published in two separate volumes by Sidgwick and Jackson Limited, London, in 1975. Special edition in paperback published by Sidgwick and Jackson Limited in 1979. This volume provides a description and historical background for several British domestic battles from Fulford and Stamford Bridge in 1066 through the Battle of Pinkie Cleuch in 1547. For the chapter on the Battle of Hastings, the Bayeux Tapestry provides evidence of trees in the author’s description of the topography and vegetation at the Hastings battlefield. Seymour calls the Tapes- try and William of Poitiers’ accounts “our best guide[s] to the battle.” Includes six photographs of Stothard’s Tapestry drawings, one of the Leek Embroidery Society’s replica, and one of the actual Tapestry itself, all black and white. An index is also included.

1500. Shadrake, Dan, and Susanna Shadrake. Barbarian Warriors: Saxons, Vikings, Normans. London: Brassey’s, 1997. Notes: Part of the Brassey’s History of Uniforms series, edited by Tim Newark. This heavily illustrated book intended for a general audience presents a comparative overview of warriors and their gear in the British Isles from the end of the Roman Empire to the Norman Conquest. Numerous photographs of battle re-enactors and recreated weapons as well as of archaeological finds support the authors’ well-researched and informative text. The Bayeux Tapestry is mentioned throughout the work in discussions of mail and mail coifs, the various ways in which the texture of mail is depicted in the Tapestry, all types of weapons, the Tapestry’s absence of crossbows despite the fact that William of Poitiers mentions them, shields and shield grip arrangements, ships, naval horse transport, and the logistics of war preparation. Includes two black-and-white photographs of the Tapestry, a bibliography, an index, and a “Dark Ages Directory” which lists addresses for numerous re-enactment societies and services, historical societies and publications, and museums (but not the Bayeux Tapestry’s museum).

1501. Shaffner, Mary H. “Vanes and Weathercocks.” Bulletin of the Penn- sylvania Museum 5, no. 17 (1907): 12–16. Notes: Published by the Philadelphia Museum of Art. In this short article on the earliest of meteorological instruments, Shaffner explains that the weather vane may have its origins in the pennon-shaped banners on early ships. She writes: “It is probable that the vane was first used upon ships, taking the form of a small flag, or banner, pennon-shaped. Gradually it came to bear distinguishing marks. Thus the Greek seamen would place upon a spear or pole a colored bit of cloth or ribbon, for the double purpose of designating their particular ship and telling whence the wind blew. The Bayeux Tapestry, that The Bibliography 439 famous record of a bygone age, shows, floating from the mast heads of several ships, these little pennon-shaped banners, which doubtless were used for the same purpose as the present-day dog-vane.” The article includes several illustrations.

1502. Shaw, Henry. Dress and Decoration of the Middle Ages. Cobb, CA: First Glance Books, 1998. Notes: Edited by William Yenne. This volume is adapted from the original edition produced in 1858 by Henry Shaw. The 1998 edition was also designed by Yenne with assistance from Azia Yenne, and based on the 1840–1858 illustration and engraving work of Shaw and his collaborators. In a discussion of military costume and the Anglo-Norman soldiers’ wearing of the hauberk (he uses the spellings hauberc and halberc), Shaw points out that the Normans in the Bayeux Tapestry are dressed exactly like the Spanish warriors of the eleventh century, except for the round shield. He discusses the Norman shield at length but does not reference the Tapestry here. Later, in a chapter on Spanish warriors and minstrels, Shaw writes again about the similarities between the two in their costume and in the style of depiction. Illustrations of Spanish warriors are included though there are no images from the Tapestry. He also suggests the hauberk was probably borrowed from the Arabs. Shaw, a noted watercolor artist and medieval scholar, was a Fellow of the Society of Antiquarians. He died in 1873 having produced many books on illuminated manuscripts and Elizabethan art and architecture. This recent volume is filled with beautiful full-color illustrations.

1503. Sheppard, Thomas. Illustrated Guide to the Facsimile of the Bayeux Tapestry. Hull, UK: Hull Museums & Art Galleries, 1949. Notes: Hull Museum Publications, no. 160. Second edition.

1504. Short, Ian. “The Language of the Bayeux Tapestry Inscription.” Anglo-Norman Studies 23 (2001): 267–80.

1505. ———. “Tam Angli Franci: Self-Definition in Anglo-Norman Eng- land.” Anglo-Norman Studies 18 (1996): 153–75.

1506. Siddorn, J. Kim. Viking Weapons and Warfare. Tempus Publishing, 2000.

1507. Simpson, Jacqueline. Everyday Life in the Viking Age. New York: Dor- set Press, 1967. Notes: Drawings by Eva Wilson. First published by B.T. Batsford, London. Although the book’s index does not list the Bayeux Tapestry, Simpson offers multiple references to the work throughout the book in discussions of agriculture, shipbuilding, and armor. On the representation of ship figureheads in the Tapes- try, she writes that “The snake figurehead of the Oseberg ship itself is a fixed part 440 The Bibliography of the structure, but we know from other sources that figureheads usually could be detached. Icelandic law states that this must be done on nearing the coast, lest the good spirits of the land should take fright; on the Bayeux Tapestry William’s fleet is seen sailing with figureheads, but the same ships, when beached, are mostly shown as headless.” The Tapestry is also mentioned in a reference to the straight nosepiece on helmets. Black-and-white images from the embroidery of digging, sailing, and ploughing are featured.

1508. Siple, Ella S. “Growth of the Museums.” The Burlington Magazine for Connoisseurs 49, no. 284 (1926): 257–58. Siple, also referenced as Mrs. W.H. Siple, writes about museum activity in the United States in her regular column titled “Art in America.” In this column, she reports on an acquisition at the Boston Museum of eight fifteenth-century tapestries made for Cardinal Ferry de Clugny, Bishop of Tournai. She notes that an “important fragment” that is similar to these tapestries was given to the Pennsyl- vania Museum by Sir Joseph Duveen. In describing the engaging subject matter of the piece, Siple notes that while the “pictorial representation is, of course, far more advanced” than in the Bayeux Tapestry, the subject matter and the “naive spirit” of the panel are reminiscent of “that early narrative in cloth.”

1509. Slater, Stephen. The Complete Book of Heraldry: An International His- tory of Heraldry and Its Contemporary Uses. London: Hermes House/Anness Publishing, 2003. Notes: Originally published in 1999. In this attractive and engaging full-color book, the Bayeux Tapestry is the subject of chapter one, sentence one. Slater immediately points out that what look like heraldic emblems in the Tapestry are simply not heraldic devices. Addition- ally, a suggestion about heraldry having emerged just after Charlemagne’s death is discussed briefly. The Tapestry scene of William throwing back his helmet to show himself to his troops is discussed briefly in a passage on identification in battle; he notes that Robert Wace’s verses on the Battle of Hastings state that the Normans “made cognizances so that one Norman would recognize another.” The flags and pennons, as depicted in the Tapestry are examined, as is the appearance of the wyvern, or two-legged dragon, of Wessex. Includes glossary and index.

1510. Slatkin, Wendy. Women Artists in History: From Antiquity to the 20th Century. Englewood Cliffs, NJ: Prentice-Hall, 1985. In a three-page section on medieval embroidery, Slatkin provides a dedicated narrative on the Bayeux Tapestry, dating it to around 1070 and giving basic facts about its subject matter and construction. She describes it as being “Worked in brightly dyed wool on linen.” She emphasizes that the reliability of the Tapes- try’s depiction of history is “less important than the fact that the tapestry was almost certainly executed by teams of women, following the cartoons of a single The Bibliography 441 designer of undetermined sex.” Describing the embroidery itself, Slatkin writes that the “elaborate detail, lively movement of men and animals, and sophisticated composition provide that it is a work of highest quality.” Referencing the Normans’ banquet scene, she writes: “Roasted poultry on skewers is taken off the fires and placed on a sideboard. The horn informs the company that dinner is served. Bishop Odo, seated in the center of the semicircular table, says grace; William the Conqueror is seated at his right. The scene uses green, red, and yellow thread that retains some of its original brilliance. The precision of the needlework demonstrates the exceptional technical capabilities of the workers. The decorative borders, enlivened with composite animals, provide additional scope for inventive designs.” She also suggests that this scene shows the “energy and activity of the narrative” in the Tapestry. A page on opus Anglicanum follows. Includes an annotated bibliography arranged by chapter and an index.

1511. Slocum, Kay. Medieval Civilisation. London: Laurence King Publish- ing, 2005. Notes: Paperback. This work, apparently intended for a university course, presents a good survey of the history and culture of all of Europe from the late Roman Empire through 1400. The Bayeux Tapestry is given a full page in the chapter on Romanesque culture, and the author provides the introductory basics: the content of the story it tells, its dimensions, Odo’s patronage, and its Canterbury manufacture. The Tapestry is then described in terms of its similarities with The Song of Roland. The chapter sub-heading on The Song of Roland gives an excellent overview/refresher of the poem’s content and cultural impact. Slocum also provides a passage on the now- lost embroidery of the Battle of Maldon. Something infrequently found in surveys of the middle ages, for those interested, is a four-page overview of medieval music theory, instruments, and practice immediately following the Bayeux Tapestry passage. Includes one black-and-white photograph of the Tapestry and an index.

1512. Slote, Sam. “1904: A Space Odyssey.” Joyce Studies Annual (2008): 163–71.

1513. Smith, Bradley. France, A History in Art. Garden City, NY: Double- day, 1984. Notes: “A Gemini-Smith, Inc. book.” A large two-page color photograph of the Tapestry accompanies a brief article about the Norman Conquest, which does not mention the Tapestry at all. The photo caption, however, states that the English appear clean-shaven in the Tap- estry because it “has been conjectured that the Norman needleworkers at Bayeux . . . had never seen Saxons and so portrayed them beardless like the Normans.” 442 The Bibliography

1514. Smith, E. Baldwin. Architectural Symbolism of Imperial Rome and the Middle Ages. Princeton, NJ: Princeton University Press, 1956. Notes: Part of the series Princeton Monographs in Art and Archaeology, XXX. Published for the Department of Art and Archaeology at Princeton University. Smith’s arguments rely heavily on the Bayeux Tapestry’s depictions of architecture, specifically in discussing crowning arcades, the royal meaning of cupolas, and representations of royal residences. Smith believes that the buildings of the Tapestry are convincing evidence “that a crowning arcade was recognized as the distinguishing feature of a palatium, which throughout the Middle Ages was considered to be the seat of government and an architectural symbol of divine authority.” He goes on to note twice in the book that the embroidery “was not executed until after the middle of the twelfth century.” Later, Smith links images of cupolas on imperial and monastic coins with Tapestry depictions: “Against the background of the numismatic evidence it is of historical significance that on the Bayeux tapestry the towers flanking the ‘palatium’ have skenelike domes, that the palace of Edward the Confessor at Westminster has a towered facade with conical cupolas capped with the orbis finial, that two of the castles of William the Conqueror are distinguished by a central tower with a great dome, and that over the hall in which Harold is enthroned there are three little cupolas. It is this persistent use of cupolas to designate an aula Regia on the Norman tapestry and earlier on the German coins of the eleventh century which proves that we are dealing with imperial symbolism and that the city portal with a cupola over its double archway on the Norman drawing of Canterbury is a Royal Gate.” Regarding royal residences, Smith points out that all depictions in the Tapestry are distinguished “in one way or another by flanking towers whose domical, or conical, roofs have the striations of the celestial skene.” In his discussion of the theocratic conception of the ruler as both king and priest, he cites the towered facade as the dominant feature over royal abbey churches and emphasizes that the representation of palaces on the Bayeux Tapestry is convincing evidence. Includes many notes, an index, and black-and-white drawings of Tapestry scenes amid numerous images of coins, mosaics, frescoes, architectural features, ivories, and seals.

1515. Smith, Greg M. “Surveying the World of Contemporary Comics Scholarship: A Conversation.” Cinema Journal 50, no. 3 (2011): 135–47. This article consists of a conversation among scholars about the current state of comics scholarship moderated by Greg M. Smith, professor of moving image studies at Georgia State University. In a discussion of comics’ position within the broader social hierarchy of media, Smith argues there is a tendency “to want to find noble ancestors to provide that comics have a long tradition, and that this tradition comes from acknowledged classics.” He then references Scott Mc- Cloud, author of Understanding Comics: “And so McCloud looks at the Bayeux Tapestry and proclaims it’s a comic!” Smith suggests other scholars offer analysis “in a much more careful fashion as they look at narrative painting traditions as comics’ ancestors.” The Bibliography 443

1516. Smothers, E. R. “The Bayeux Tapestry.” Catholic World 160 (1944): 164–67.

1517. Snook, Barbara. English Embroidery. London: Mills & Boon, 1974. Notes: First published in 1960 by B.T. Batsford, London. Snook, former art mistress of Chislehurst and Sidcup Grammar School for Girls, offers two pages on the Bayeux Tapestry. She provides all the basic facts and comments on the use of color, references to fables, origin and provenance, and the use of couching, laid-work, and outline stitching. She also muses as to the reasons for its survival, pointing out that “linen is tough and enduring and the wool embroidered upon it could not be reclaimed for any other use.” Snook also provides quotes from Professor Talbot Rice (“The story is told in a completely dispassionate, historical manner, favouring neither one side nor the other, yet it is amazingly vivid. The tapestry is in fact one of the most enchanting pieces of narrative art in existence.”) and G.W. Digby (“It was designed to tell a story to a largely illiterate public; it is like a strip cartoon, racy, emphatic, colourful, with a good deal of blood and thunder and some ribaldry. But it is also very exact in detail, full of contemporary life, and it shows the artist’s imagination which seizes on the essentials and has the power of transmitting them over the centuries.”) She notes that the story is “vigorously told and not entirely lacking in humour.” Acknowledging the Tapestry’s historical and entertainment value, she suggests that “as with all mediaeval art its purpose was religious.” Quoting Professor Le- thaby, Snook writes that “its aim was to show the fulfillment of God’s judgement on the violated oath sworn by Harold at Bayeux.” In a chapter on ecclesiastical embroidering, she references the Bayeux Tapestry as “a primitive piece of drawing.” One illustration of the English being attacked on a hillock is included. Also includes a brief bibliography and index.

1518. Snow, Peter, and Dan Snow. Battlefield Britain: From Boudicca to the Battle of Britain. London: BBC Books, 2004. Notes: This book was published to accompany Battlefield Britain, a broadcast first aired on BBC2 in 2004 with Jane Aldous, executive producer, and Danielle Peck, series producer. The Snows, father and son, mention the Bayeux Tapestry on a number of occasions in this text. In their chapter on the Battle of Hastings, they reference the Tapestry as a Norman propaganda tool and include a sidebar factoid that says “During the French Revolution it was removed and used to cover military carts. It was retrieved before the carts left town and narrowly survived subsequent wars and revolutions.” A color photograph of the oath scene is included here. Later, they write “Fresh troops were arriving all the time: the northern earls Edwin and Morcar were on their way south, and the Bayeux Tapestry shows that troops were turning up even as the battle started.” A full-color photograph of a battle scene from the Tapestry is included to assist in explaining how “the tightly packed Saxon shield wall” was instrumental in “inflicting early casualties 444 The Bibliography on the Normans.” In a detailed description of the battle, the authors mention that the Bayeux Tapestry “suggests that some of the bloodiest fighting took place” at the point when the Saxons “were caught on open ground outside their protective shield wall.” Two additional color images from the Tapestry are included later in the book. Includes numerous color illustrations and an index.

1519. Snyder, James. Medieval Art: Painting-Sculpture-Art, 4th-14th Century. New York: Harry N. Abrams, 1989. In his textbook survey of Medieval art, Snyder provides readers with a typical description of the Bayeux Tapestry and comments on what he deems as the futility of some historians to draw stylistic parallels between the Tapestry and contemporary English book illumination. He makes a brief comparative statement on the Tapestry and contemporary Cluniac manuscripts. The Normanization of English churches (like those depicted in the Tapestry) is discussed. He later compares the figures in the frescoes of the church of St-Savin-sur-Gartempe (near Poitiers) to those in the Bayeux Tapestry. Includes one black-and-white photo and one color plate.

1520. Society for the Diffusion of Useful Knowledge. The Penny Cyclopædia of the Society for the Diffusion of Useful Knowledge. London: Knight, 1842. Notes: Volume 24, Tai-Wan–Titlarks.

1521. Softly, Barbara. The Queens of England. New York: Bell Publishing, 1979. In this short review of 47 queens, Softly notes the connection often made between Matilda of Flanders and the Bayeux Tapestry writing that “it is not likely that she had any part in the making of the famous Bayeux tapestry.” She suggests it is far more likely to have been made by the Saxons in Kent. Softly goes on to note the various depictions included in the Tapestry, from Westminster Abbey to Halley’s Comet. Includes a brief bibliography, index, and an easy to read chart listing the kings and queens of England and their reigns.

1522. Solomon, Hermes. “What Is the Value of a Single Stitch?” Cyprus Mail (2009). In Solomon’s article about an embroidery revival of sorts in Cyprus among Chinese immigrants, she provides significant background on the Bayeux Tapes- try. She references the legend of Queen Matilda, the commissioning by Bishop Odo, hints of Anglo-Saxon perspective in the Latin texts, opus Anglicanum, various stitch types, and vegetable dyes in cloth woven in England. The focus of the story, an immigrant named Lucy, is creating a large (3.5m x 1.45m) canvas that she hopes to sell; three-quarters of the cloth is covered in embroidery. The Bibliography 445

1523. Souchal, François. Art of the Early Middle Ages. New York: Harry N. Abrams, 1968. Notes: Translated from the French by Ronald Millen. Introduction by Hans H. Hofstatter. In this heavily illustrated survey of artistic achievements in the early Middle Ages, Souchal includes a two-page color photo of the scene depicting William crossing the Channel. Featured in the opening chapter on Romanesque art in France, the photo’s caption notes the work is “mistakenly known as ‘Queen Matilda’s Tapestry’” and the scenes “might be said to be the remote ancestors of present-day comic strips.”

1524. Southern, R. W. The Making of the Middle Ages. New Haven, CT: Yale University Press, 1973. Notes: Nineteenth printing. Originally published by Hutchinson, London, in 1953. A note in Southern’s chapter titled “Latin Christendom and Its Neighbors” makes a reference to the Tapestry in a discussion of hounds used for payment between the Kings of Lombardy and England: “Examples of these hounds (which were apparently more like mastiffs than modern greyhounds) can be seen with their great collars in the Bayeux tapestry in the retinue of King Harold.” Includes bibliography and index.

1525. Spear, David S. “Recent Publications on the Bayeux Tapestry.” An- nales De Normandie-Caen-Revue Trimestrielle D’Etudes Regionales 57, no. 1/2 (2007): 172–77.

1526. Spear, David S. “Recent Scholarship on the Bayeux Tapestry.” An- nales De Normandie 42, no. 2 (1992): 221–26.

1527. ———. “Robert of Mortain and the Bayeux Tapestry.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Mu- seum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 75–80. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Spear, Professor of History at Furman University, Greenville, South Carolina, asks why earlier doubts of Count Eustace of Boulogne’s appearance in the Bay- eux Tapestry have not been taken more seriously and calls into question various past attempts to positively identify as Eustace the mustached figure pointing to Duke William in the Tapestry. The broken word E . . .TIVS is examined and the missing letters are discussed. He then points out the reasons that one should be skeptical of the widely accepted notion that this figure is the Count, especially 446 The Bibliography when considering that Charles Stothard, who first claimed this figure was Eu- stace, is also the one who reconstructed the letters in support of his own proposition. Spears proposes that this figure may very well be Count Robert of Mortain, William’s half-brother. His four main talking points: the restored letters could easily have once been ROTBERTVS; the standard being carried by the figure in question cannot be positively tied to Eustace, and it may be the banner of Mont- Saint-Michel to which Robert had devotional ties; there is no doubt that Robert fought at Hastings; a Robert, not Robert of Mortain for certain, appears named in the Tapestry in council with William and Odo. Spear also makes the interesting point that artistically, if the figure in question is Robert, then the Tapestry depicts “three brothers versus three brothers at the battle’s artistic crescendo.” Also highlighted are the importance of Robert’s actions in King William’s administration and Robert’s connections to places named in the Tapestry. Wrapping it up, Spears notes that substituting Robert for Eustace in the battle scene severs the various difficulties with Eustace appearing in the storyline of the Tapestry, most significantly, Eustace’s “awkward invasion of Dover in 1067.” Includes a photograph of the “Eustace scene” drawing by Stothard and one photo of a contemporary coin depicting the same design as that which appears on Eustace’s/Robert’s banner in the Tapestry. Includes notes. Unfortunately, there is no photograph of the Tapestry scene in question within this article.

1528. Speed, Peter, ed. Those Who Fought: An Anthology of Medieval Sources. New York: Italica Press, 1996. Notes: Paperback. This book is part of a three-volume series of medieval sources in English translation. In his first chapter, Speed writes that “the Bayeux Tapestry shows Bishop Odo charging with the rest of the Norman army at the Battle of Hastings, a bellator if ever there was one, his only concession to the rule that churchman should not shed blood being to carry a large, blunt instrument rather than a sword. Nor was Odo the only battling bishop, by any means.” A color image from the Tapestry featuring the Norman cavalry attacking the Anglo-Saxon infantry is featured prominently on the book’s cover. A bibliography and index are included.

1529. Spies, Nancy. Ecclesiastical Pomp & Aristocratic Circumstance: A Thousand Years of Brocaded Tabletwoven Bands. Jarretsville, MD: Arelate Studio, 2000. Notes: Foreword by Peter Collingwood.

1530. Spiller, Ethel M. “A Holiday Experiment.” The Metropolitan Museum of Art Bulletin 11, no. 9 (1916): 200–203. This fascinating narrative gives an overview of a summer program at the Victoria and Albert Museum in an effort to “brighten the holidays of the many school children who were unable this year to go into the country.” It was also The Bibliography 447 explained to be an “experiment of interesting children intelligently in some of the treasures of our museums.” Spiller writes about the preferences of the children and how different sets of twelve year old boys enjoyed making sketches of the armor of Roman soldiers and nymphs from Versailles. Interestingly, she notes that “The Bayeux tapestry proved a perilous but captivating subject, its position high up around the balcony of one of the large halls made it physically exhaust- ing to look at.”

1531. Spurrier, Peter. The Heraldic Art Source Book. London: Blandford, 1997. Notes: A Cassell imprint. In Spurrier’s chapter titled “The History and Origins of Heraldry,” he references the Tapestry in a discussion of the earliest depictions of heraldic art. He writes: “If we examine the Bayeux tapestry, we can see that the pennons at the soldiers’ lance points are decorated in a haphazard way and with no apparent system, and the flags on the ships are no better than wind vanes. Indeed Duke William used a lantern and a horn for signaling purposes rather than flags. Her- aldry was born of necessity in handling and organizing large numbers of illiterate men not only on the battlefield but in camp before and after engagements.” Com- menting on what are believed to be some of the earliest depictions of shields in the Tapestry, Spurrier explains that “Although they are not truly of an heraldic nature, they have devices worked upon them. These shields and the tapestry itself were produced before heraldry blossomed in Europe and give us an accurate picture of the designs selected by the soldiers involved.” He goes on to describe the embroidery’s portrayal of these shields in detail. The book offers an outstanding glossary of heraldic terms, a short list of organizations and associations, a bibliography, and an index. However, the Bayeux Tapestry is not listed in the index. The author is the design director of Maritime Insignia.

1532. St. John Hope, W. H. “English Fortresses and Castles of the 10th and 11th Centuries.” Archeological Journal 60, no. 72–95 (1903). The author makes two references to the Bayeux Tapestry, the first commenting on the “throwing up” of a castle by Duke William upon his landing at Pevensey and the Latin inscription castellum on the embroidery, and the second mentioning the motte and bailey type of earthwork introduced by the Normans. Here, the author writes how the Tapestry depicts “several notable examples in Normandy itself” and the castle under construction at Hastings.

1533. ———. A Grammar of English Heraldry. Cambridge, U.K.: Cambridge University Press, 1953. Notes: Second edition. Revised by Anthony R. Wagner. Includes the preface to the first edition, dated October 1913. The preface to this edition is dated August 1952. 448 The Bibliography

In the author’s opening chapter, “Definitions and Origin of Heraldry,” the author writes: “Quite a gallery of distinctive emblems may be seen upon the famous Bayeux Stitchwork; but it is clear that at the time of the Norman Conquest such devices did not follow any definite system, and there was nothing in the nature of descent from father to son such as arose later.” The short book is heavily illustrated and includes a glossary of heraldic terms and an index.

1534. Stafford, Pauline. Queen Emma and Queen Edith: Queenship and Women’s Power in Eleventh-Century England. Malden, MA: Blackwell, 1997.

1535. ———. Unification and Conquest: A Political and Social History of Eng- land in the Tenth and Eleventh Centuries. London: Edward Arnold, 1989. Stafford, senior lecturer in the Department of Humanities at Huddersfield Polytechnic, offers a rather lengthy discussion of what she terms “a developing process” following the Norman Conquest. She notes how English nobles and churchmen, reacting to defeat, preferred to see themselves as having given the throne to William, how they struggled to keep their land, and how the Normans needed to prove their right to the throne against other claimants. Highlighting William of Jumièges, William of Poitiers, and the Bayeux Tapestry for representing the Norman side of the debate, Stafford does point out that the Tapestry “hints at an alternative English version.” She goes on to write, “As Norman actions and accounts took shape, English views reacted. Some sought to counter by emphasizing the legitimacy of Harold, or denying details of the Norman case against him. Thus the Bayeux tapestry depicts the designation of Harold by the dying Edward, Eadmer counters the Norman version of Harold’s visit to the continent.” Includes bibliographical notes and an index.

1536. Stalley, Roger. Early Medieval Architecture. Oxford, U.K.: Oxford University Press, 1999. Notes: Part of the Oxford History of Art series. Paperback. Stalley references the Bayeux Tapestry in a chapter titled “Secular Architec- ture in the Age of Feudalism.” In writing about when Brionne was besieged by William the Conqueror between 1047 and 1050, Stalley notes that “the castle was described as ‘a stone-built hall serving the defenders as a keep (arx).’” He then suggests that the Tapestry scene showing King Harold feasting at Bosham features a good example of such a hall. A color photograph of this scene is included with a caption that points out that “The action evidently takes place in a ‘first- floor hall,’ reached by an external staircase and constructed above what may have been intended as a vaulted basement.” Includes index and a very helpful, detailed timeline of notable architectural moments as well as historical and religious events. Stalley is professor of the history of art at Trinity College in Dublin. The Bibliography 449

1537. Stamp, Gavin. “High Victorian Gothic and the Architecture of Nor- mandy.” Journal of the Society of Architectural Historians 62, no. 2 (2003): 194–211. Notes: Published by the University of California Press. Stamp, an architectural historian on the faculty of the Mackintosh School of Architecture at The Glasgow School of Art, writes of Napoleon’s role in a renewed interest in the Tapestry: “English interest in the antiquities and architecture of Normandy had burgeoned after the long hiatus of the Revolutionary and Napoleonic Wars. Bonaparte had something to do with this reawakened interest as, contemplating invasion in 1803, he had commandeered that earlier record of a successful sea-born assault on the British Isles, the Bayeux Tapestry, and had exhibited it in Paris. In return, the English seem to have become more conscious of the Norman origins of their ultimately victorious kingdom.” Stamp also comments on references to the Tapestry during the Napoleonic period, writing about John Murray’s commentary in Hand-book for Travellers in France and the first account in English by Dr. Andrew Ducarel in Anglo-Norman Antiquities Consid- ered, in a Tour through Part of Normandy (London, 1767). He also references Charles Stothard’s, Rev. Thomas Dibdin’s, and Dawson Turner’s recollections.

1538. Staniland, Kay. Medieval Craftsmen: Embroiderers. London: British Museum Press, 1991. Notes: Part of the Medieval Craftsmen series. Referencing the Bayeux Tapestry frequently, Staniland highlights its application of the craft of embroidery for purposes of decoration and status. She notes how the creation of such large hangings certainly influenced the size and management of early workshops. Her references include: split- and chain-stitches in a section on outline and filling stitches, the use of couched woollen threads to give solid form to the main elements of the Tapestry, widely spaced couched threads, and the threat to it during the French Revolution. Staniland includes a lengthy paragraph that discusses provenance, patronage, and purpose. She mentions the theory that Matilda and her ladies worked the Tapestry, but notes it is “romantic but baseless.” She suggests the artist was a monk from Canterbury and that it was most likely intended to be hung “at approximately eye-level around a large stone and wood medieval hall, with other hangings of embroidery or silk above it.” Includes a color image. Staniland is curator of clothing and textiles in the Department of Later London History and Collections at the Museum of London.

1539. Starbuck, George. “A Tapestry for Bayeux.” Bone Thoughts. George Starbuck. New Haven, CT: Yale University Press, 1960. Starbuck writes a jarring and graphic tribute to the fallen at the D-Day Invasion of June 6, 1944 in his poem of one, two, or three words per line. He alludes to the Bayeux Tapestry numerous times: “Over the/seaworthy/cavalry/arches a/rock- etry/wickerwork;” “opulent/fretwork: on/turquoise and/emerald,/red instants/ accenting/neatly a/dearth of red;” and “Or that/man at the/edge of the/tapestry.” 450 The Bibliography

1540. Steane, John. The Archaeology of Medieval England and Wales. Athens, GA: University of Georgia Press, 1984. Steane, Keeper of the Field Section at the Oxfordshire County Museum, briefly compares the Bayeux Tapestry’s depiction of the gang-planks leading into the fortification at Dinan to the bridges of the excavated ruins of an English castle. In his passage “The Economics of Church Building,” the author comments on the Tapestry’s depiction of the completion of Westminster Abbey and Edward the Confessor’s personal financial contributions that made the construction possible. The Tapestry’s ships are compared to a ninth-century clinker-built boat unearthed in 1970 in Faversham, Kent and to a series of five wrecked ships discovered in Denmark. Steane mentions a Norman wine barrel discovered at Pevensey Castle and notes that it is not unlike one shown in the Tapestry being carried over a man’s shoulder.

1541. ———. The Archaeology of the Medieval English Monarchy. London: B.T. Batsford, 1993. In his section entitled “Portraits of Kings,” the author notes that Edward the Confessor is depicted bearded both on coins and in the Bayeux Tapestry. He then contrasts that with images of William I stamped onto coins with a long moustache but the Tapestry showing a clean-shaven William. On the topic of hawking, the author indicates that Anglo-Saxon monarchs enjoyed the sport, quotes William of Malmesbury’s description of Edward the Confessor’s delight in hawking, and refers to the Tapestry’s depictions of Harold and Guy of Ponthieu carrying hawks.

1542. Steel, John, and Michael Wright. The English House: 1000 Years of Domestic Architecture. Antique Collectors’ Club.

1543. Steele, Philip. Knights. New York: Kingfisher, 1998. In this richly illustrated hardback for youth, a color image of a battle scene from the Tapestry is included along with a caption that notes William the Con- queror “rewarded his loyal knights by giving them large areas of land, so many of them settled in England.” Includes glossary and index.

1544. Steenstrup, Johannes C. H. R. Bayeux-Tapetet. Copenhagen: I. Cohens Bogtrykkeri, 1885. Notes: Republished in German in 1905.

1545. Stein, Robert M. “The Trouble With Harold: The Ideological Context of the Vita Haroldi.” New Medieval Literatures 2 (1998): 181–204. The article begins with a discussion of the reason for representing Harold’s death in the Tapestry with an arrow in the eye. Stein writes that the best-known contemporary representation of Harold’s death was the Bayeux Tapestry. He explains, “As historical pictures tend to do, whatever their actual degree of vi- The Bibliography 451 sual representational skills, the Bayeux Tapestry presents itself as a simple and unmediated representation of reality: Harold is depicted with an arrow in his eye because, the tapestry seems to say to us, he was shot in the eye by an arrow. Let us, however, remind ourselves, as a way of beginning, that modes of representation, including conscious and unconscious decisions about what to represent and what to gloss over, are always driven by a variety of considerations and that blinding, for example, was a frequent punishment for a variety of crimes from theft to multiple arrest. Harold may well be depicted in the Bayeux Tapestry with an arrow in his eye because it is a legible sign of the justice of his defeat at Hast- ings rather because it is what ‘actually happened to him’ on the battlefield. When we turn to narrative sources, we find that, rather than clarifying the question of ‘what happened,’ the multiplicity of sources throws the problematic representation into very high relief.” Includes extensive notes and numerous quotes from contemporary narrative sources.

1546. Stenton, Doris Mary. English Society in the Early Middle Ages (1066– 1307). Harmondsworth, U.K.: Penguin Books, 1962. Notes: Part of the series The Pelican History of England, volume 3. First published in 1951. Second edition published in 1952 and reprinted in 1955 and 1959. “Pelican Books A252.” In her examination of the development of English government and the lives of ordinary medieval English people, Stenton brands the Bayeux Tapestry a “contemporary representation of masculine society” in terms of its depictions of everyday life, especially of architecture and food. After commenting on the Tapes- try’s feast scene at Pevensey, the author briefly discusses the nature of William’s feasts in England. She also discusses the napkin- and bowl-bearing servant from the same scene and what a near-contemporary counterpart could have expected in wages and expenses, based on a household survey from King Stephen’s time. Includes a narrative bibliography and an index.

1547. Stenton, Frank M. Anglo-Saxon England. Oxford, U.K.: Oxford Uni- versity Press, 1971. Notes: Third edition. Part of The Oxford History of England series, edited by Sir George Clark. This title is the second volume in the series. Originally published in 1943. Second edition published in 1947. The preface to the third edition is written by Doris Mary Stenton, wife of the author. She notes that this edition had been unfinished when he died on September 15, 1967. Stenton’s contribution to the monumental 15-volume Oxford History of Eng- land stands out as one of the finest authorities on the history of Anglo-Saxon England. In the chapter “The Last Years of the Old English State,” the author discusses why Harold would have sworn an oath to William; he claims that the Bayeux Tapestry, being a piece of stitchwork, provides only the “simplest, and on the whole most probable” version of the superficialities of this story. He goes 452 The Bibliography on to say that “it is probably safe to follow the Norman writers who make Harold swear to help William secure the English throne.” Offering his own view, Stenton offers that even by 1064 Harold may have been doubting the strength of his following in England, coupled with the fact that the king of Norway posed a threat, so he may have thought it best to ally himself with Duke William. Even more probable, he adds, is that Harold found himself in an embarrassing situation, and that taking the oath was the easy way out, thinking he could later claim the oath was taken under duress. Stenton includes a 43-page annotated bibliography of works in which he discusses the Tapestry as a primary authority on the personal relations between Harold and William. To study the detail of the Tapestry, Sten- ton directs readers to F. R. Fowke’s 1898 work The Bayeux Tapestry (“The scale of the plates is small, but the reproduction is admirably clear”) and to his own work of the same title from 1957. He notes that Francis Wormald “examined all possible comparative material for his article in [Stenton’s] The Bayeux Tapestry” and concluded that the Tapestry was most likely made at the order of Bishop Odo soon after the events it celebrates. Includes a large fold-out map of Anglo-Saxon England and an index.

1548. ———, ed. The Bayeux Tapestry: A Comprehensive Survey. London: Phaidon, 1965. Notes: Second edition, revised and enlarged. Originally published in 1957 by Phaidon. The photographs reproduced in this book were taken in April 1956 by Percy Hennell. Stenton’s salient edition is a collection of six articles by some of the most prominent commentators of the time on the Bayeux Tapestry. Articles include: “The Historical Background” by Stenton himself, “Style and Design” by Francis Wormald, “Technique and Production” by George Wingfield Digby, “Arms and Armour” by James Mann, “The Costumes” by John L. Nevinson, and “The His- tory of the Tapestry” by Simone Bertrand. Each article is annotated separately. Includes black-and-white photographs of the entire Tapestry and extensive commentary, as well as numerous full-color plates of details of the Tapestry. An appendix lists all of the Tapestry’s inscriptions with English translations, preceded by a passage on the shapes of the letters and abbreviations. He states that the letter colors beginning with ET. hIC. EPISCOPVS are alternating because “a new workman . . . began work at this point.” The Latin inscriptions are presented in typeface as the embroidered letter-shapes in the Tapestry with abbreviation symbols and punctuation, for example: VBI: hAROLd DVX. Includes bibliography and index.

1549. ———. The First Century of English Feudalism, 1066–1166. Westport, CT: Greenwood Press, 1979. Notes: Reprint of the second edition published in 1960 by Clarendon Press, Oxford, U.K. as part of The Ford Lectures delivered in the University of Oxford The Bibliography 453 in Hilary term, 1929. Second edition, revised and reset, published in 1961. Origi- nally published in 1932. In a footnote, Stenton asserts that the Bayeux Tapestry is the “fundamental authority” for the “equipment of the knights in the army of Hastings.” The book offers an extremely thorough index of subjects, persons, and places.

1550. ———. “The Historical Background.” The Bayeux Tapestry: A Compre- hensive Survey. ed Frank M. Stenton, 9–24. London: Phaidon, 1965. Notes: Second edition, revised and enlarged. Originally published in 1957 by Phaidon. The photographs reproduced in this book were taken in April 1956 by Percy Hennell. Stenton’s article, a work that presumes the reader is very familiar with the story of the Norman Conquest and its sources of information, examines issues surrounding the verity of the Bayeux Tapestry and of contemporary literary sources on both sides of the Channel. He states that the Tapestry is “a link between the English and Norman versions of the Conquest” and supports this view on artistic grounds and Odo’s bishopric in Kent. Ecclesiastical politics as part of the historical background to the Conquest are discussed. Stenton writes of the rising level of concern beginning in the early 1050s over who would succeed Edward the Confessor to the throne, a problem intensified by the growing influence of Godwin’s sons. He makes a strong case for the opening scenes of the Tapestry being in 1064, citing Harold’s campaigns on the Welsh border and what the written sources have to say (or not say) on the matter. That Harold swore an oath to William is without question, writes Stenton, but the content of the oath is the matter of conflicting stories. On the scene-reversal of the death of the Confessor, Stenton concedes that it is “perhaps unlikely that the true reason for this aberration will ever be discovered” and offers that the Tapestry designer’s ingenuity was possibly taxed trying to depict a saint’s bestowal of his kingdom unto a man who was regarded by the patron of the Tapestry as a perjurer. Stenton examines the elements that give such an impressive air to the Harold-in-Majesty scene, yet points out the components of Harold’s accession and coronation that the Tapestry neglects to show. The author notes the difficulties in determining the legitimacy of Harold’s kingship when one considers that Stigand was indeed an excommunicated prelate present at the coronation, but it may not have been him who anointed Harold; he cites the reliability of Florence of Worcester who writes that Harold was consecrated by very legitimate Ealdred, Archbishop of York. The venue for the coronation, Stenton admits, is a matter of conjecture, but he leans toward Westminster Abbey. He makes little of the appearance of the comet and the mysterious ships in outline below the enthroned Harold, and rushes as hurriedly as the Tapestry does into the ship-building scenes in Normandy, of which “nothing in the Tapestry is more admirable than the skill with which the artist managed the contrast between these bustling activities and the majestic procession of vessels transporting the duke, his men, and their horses across the Channel 454 The Bibliography

. . .” Stenton provides a quick summary of the episodes in the north between Har- old and Tostig. For the remainder of the article, Stenton gives a play-by-play of the Norman landing and the Battle of Hastings and notes that the Tapestry more or less follows the written accounts of the battle itself. The embroidered word pueri is discussed as perhaps a Latin equivalent of the English cnihtas, “young household retainers who had not completed their apprenticeship to arms.” From here, Stenton writes even more economically to the end of the Tapestry: the two figures under Hic Harold rex interfectus est are briefly described and Stenton believes that at very least the falling figure under the Norman knight is Harold. In an interesting footnote, Stenton points out that although the end of the Tapestry has disappeared, it likely did not end with a coronation scene of William and that the picture of the fleeing English “is an appropriate termination” of the Tapestry; the Tapestry’s designer was concerned mostly with the “course of Harold’s personal fortunes” than with the history of the Norman Conquest. In closing, he stands by the general historical reliability of the Tapestry in that it “never sinks to the denigration of Harold which soon became part of the accepted canon of Anglo- Norman history” and that Bishop Odo, as patron of the work, gave such generous treatment to the story of a defeated enemy. Includes notes.

1551. Stephens, Alan D. “The Germanic Heroic Tradition and the Cultural Context of the Bayeux Tapestry.” Medieval History 3 (1993).

1552. Stephenson, Carl. Medieval Feudalism. Ithaca, NY: Great Seal Books (A Division of Cornell University Press), 1960. Notes: Fourth printing. First printing for Great Seal Books in 1956. This concise, pocket-sized historical explanation of the feudal system refers to the Bayeux Tapestry in a discussion of what became known as adoubement (giving of arms). The Tapestry also figures in discussions of war materiel such as chain mail, weapons, shields, and saddles. In a passage on motte-and-bailey castles, the author highlights the Tapestry’s contribution to our knowledge of what they may have looked like. Includes five drawings of Tapestry scenes.

1553. Stephenson, Carl, and Bryce Lyon. Mediaeval History: Europe From the Second to the Sixteenth Century. New York: Harper and Row, 1962. Notes: Fourth edition. Edited and revised by Bryce Lyon, professor of history at the University of California at Berkeley. Stephenson is listed on the title page as the late professor of history at Cornell University. Part of Harper’s Historical Series, edited by Dean Guy Stanton Ford. Originally published in 1935 by Harper and Brothers and subsequently in 1943 and 1951 by Harper and Row. In Stephenson’s chapter on feudal society, he includes significant narrative on the Bayeux Tapestry and its depiction of civil costume, arms and armor, feudal warfare, and castles. He describes the Tapestry’s greatest value as in its “realistic presentation of contemporary life.” Dating it to “before 1100,” Stephenson states The Bibliography 455 the embroidery was made to decorate the interior of the Bayeux Cathedral. In his discussion of costume, he contrasts the regalia of Edward with the lone mace of William. On arms, he notes that the Norman knights are not shown using battle- axes though other sources suggest they did. Regarding castles, Stephenson writes about the donjon: “Such a crude fortress, in an age that had forgotten Roman siegecraft, could offer stout resistance to attack, but as illustrated on the Bayeux Tapestry it was especially vulnerable to fire.” Two black-and-white images from the Tapestry depicting William embarking for England are included. Stephenson is a professor of history at Cornell University.

1554. Stephenson, I. P. The Late Anglo-Saxon Army. Stroud, U.K.: Tempus, 2007. Stephenson presents a close look at Anglo-Saxon warfare from the late tenth century through the Battle of Hastings, or as the author calls it, “the War of the English Succession.” He attempts to dispel the notion that the late Anglo-Saxon army was inadequate and backward through efficient examinations of the battles of Maldon and Hastings. The Bayeux Tapestry makes appearances in numerous discussions: the implausibility of the shield-wall in battle, Harold’s versatility as a cavalryman and as infantryman, the Tapestry’s lone Anglo-Saxon archer, armor, the neck ribbon that comes out of William’s helmet, the dominance of kite shields, shield bosses, the manner in which shields were held, the Tapestry’s lack of scabbards, and Halley’s Comet. Included are several of what appear to be the author’s own photographs of museum displays and artifacts, including one of the Leek Embroidery Society’s replica of the Bayeux Tapestry, as well as photographs of battle sites (none of Hastings, however). He also provides several drawings of Tapestry details. Includes a select bibliography and an index. Stephenson teaches Roman Warfare at the School of Continuing Education at the University of Reading and has published a work on Anglo-Saxon shields.

1555. Stephenson, Patricia. “Where a Cleric and Ælfgyva . . . ” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Mu- seum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 71–74. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Stephenson, a teacher and translator, presents her theory that the Bayeux Tapestry’s Ælfgyva was Harold’s sister, and a nun then later an abbess at Wil- ton, and that the Tapestry was at least begun at Wilton under Ælfgyva’s abbacy. She posits that the widowed Queen Edith, also a sister of Harold, had a part in its manufacture, herself being an accomplished embroideress and a nun at Wil- ton. The author recounts a story of Ælfgyva’s accidental blindness, cured by a Saint Edith of the same abbey, who died a century earlier. Goscelin, Ælfgyva’s chaplain, is the cleric depicted in the Tapestry drawing attention to her healed 456 The Bibliography eyes. Harold, shown in the Tapestry’s previous scene, is gesturing toward the scene of Ælfgyva and Goscelin, perhaps to remind William that his sister, being a nun, was not marriageable; another reason might be that Harold, aware of the perilous situation he was now in, sought the blessing of Saint Edith of Wilton. The structure in which Ælfgyva stands in the Tapestry, the author states, is “her own splendid gateway at Wilton Abbey, as the Abbess of Wilton appears on her Anglo-Saxon seal.” Stephenson writes that the naked man below this scene is not connected with Ælfgyva, but rather to Wilton Abbey itself, but she does not elaborate on this. A Wilton style of architecture, she adds, is shown in the checker-board tower to the right of the scene. To answer why Odo, as the Tapestry’s patron, would have chosen Wessex workshops rather than Kentish ones “where connections with design in the Tapestry are so very strong,” Ste- phenson turns to the Wilton nun Muriel, who may have been Odo’s sister, and who returned to Wilton widowed after 1066. Her husband was, according to Wace, a certain Yon, a councilor of Duke William, and who Stephenson identifies in the Tapestry as perhaps seated at the feast table at Hastings. The author suggests that Muriel and her abbey, of which William was now a benefactor, may have wanted to promote Odo, thus explaining the bishop’s prominence in the Tapestry. She notes that Archbishop Stigand was Queen Edith’s friend and that Wadard had connections to the Abbey, thereby explaining their presence in Tapestry.

1556. Stevens, Helen M. Helen M. Stevens’ World of Embroidery. Newton Ab- bot, U.K.: David and Charles, 2007. Notes: Paperback. Originally published in 2002. Stevens presents a collection of her embroideries and explanations of her techniques. In her chapter “Sea Fever,” she notes that the “tradition of rendering ships in embroidery is ancient indeed.” For example, Helen of Troy is recorded as having embroidered a huge curtain showing a Trojan flotilla; Viking ship burials and the Bayeux Tapestry are noted as valuable documents detailing eleventh-century ships. “Bringing the tradition right up to date” is the Overlord Embroidery, depicting naval exploits of World War II. Stevens provides a drawing of one of the Tapestry’s ships “disembarked” of most of its passengers to allow the ship’s structure to be easily seen. Includes bibliography and index.

1557. ———. The Myth and Magic of Embroidery. Newton Abbot, U.K.: David and Charles, 2005.

1558. ———. The Timeless Art of Embroidery (Helen Stevens’ Masterclass Embroidery). Newton Abbot, U.K.: David & Charles Publishers, 2001. Notes: First published in 1997. The Bibliography 457

1559. Stockton, David. “The Death of Ephialtes.” The Classical Quarterly. New Series 32, no. 1 (1982): 227–28. Notes: This piece is within the section titled “Shorter Notes,” pages 227–241, and may be cited as “Shorter Notes: The Death of Ephialtes.” In his opening paragraph on how there are certain “facts” which every school- boy knows, Stockton notes the example of how most think that King Harold was killed in the Battle of Hastings by a shot in his eye from an arrow despite the fact that this is quite unlikely. He references Stenton’s The Bayeux Tapestry as demonstrating this fallacy.

1560. Stokstad, Marilyn. Art: A Brief History. Englewood Cliffs, NJ: Pren- tice-Hall, 2004. Notes: Second edition.

1561. ———. Medieval Art. New York: Harper & Row, 1986. Notes: Icon Editions imprint. Writing for the student and lay reader, Stokstad’s survey of medieval art refers to the Bayeux Tapestry in a section on Romanesque art in Western Europe. She points out that the production of fine embroidered textiles is “closely related to the manuscript production of the scriptoria.” Labeling the Tapestry a political document, she suggests it was worked in southern England, highlights it as a source of visual information of daily life in the eleventh century, and argues its images are depicted in “an energetic style” more akin to late Anglo-Saxon drawing than to the new Romanesque style of the Albani Psalter. Stokstad also observes that “Accuracy in reporting is prized over calculated composition, specific details over idealized views, energy over elegance.” Includes a photograph of the Storming of Dinant scene from the Tapestry.

1562. Stone, Elizabeth, Countess of Wilton. The Art of Needle-Work. London: Henry Colburn, 1842. Notes: The monograph contains a brief section titled “The Bayeux Tapestry” where Stone comments on the narrative and presumes it was completed by Queen Matilda.

1563. Stone, Norman, ed. The Makers of English History. New York: Mac- millan, 1987. Notes: Foreword by Asa Briggs. A black-and-white image from the Bayeux Tapestry depicting William giving orders for the building of the invasion fleet is included. The photograph reveals some of the three-dimensionality of the embroidery, showing folds and shadow- ing. A brief caption accompanies the image. The volumes index does not include the Tapestry. Stone is professor of modern history and a fellow at Worcester College, Oxford. 458 The Bibliography

1564. Stothard, Charles Alfred. “Some Observations on the Bayeux Tapes- try.” Archaeologia 19 (1821): 184–91. This article was reprinted in Richard Gameson’s The Study of the Bayeux Tap- estry and is annotated under the citation for its publication there.

1565. ———. “Some Observations on the Bayeux Tapestry.” The Study of the Bayeux Tapestry. ed Richard Gameson, 1–6. Woodbridge, U.K.: Boydell Press, 1997. Stothard, having studied the Bayeux Tapestry in minute detail in the late 1810s, presents his observations in this paper to the Society of Antiquaries. He comments on the Tapestry’s condition, missing embroidery threads and the needle-holes they left behind, repairs he made to the Tapestry, and his belief that four missing letters in the upper border spell “Eustatius.” He notes that moustaches and haircuts on men in the Tapestry denote national identity, and turns to The Song of Roland, continental sculpture, and William of Malmesbury for conflicting evidence for men’s hair length. The use of pre-heraldic devices on the Tapestry’s shields is discussed, and Stothard refers to an image of Geof- frey Plantagenet from the time of Henry I as a “time when heraldic bearings assumed a more decided character than in the Tapestry.” Stothard presumes the figure holding a column to the right of the seated Guy of Ponthieu to be a court jester, based on the “singularity of his costume.” The Tapestry’s three female figures, he notes, resemble images of women in Saxon manuscripts. Some brief general remarks about armor, lances, axes, and shields, are made. The confined space into which Leofwine and Gyrth are depicted and named makes the subject confusing, Stothard states; he adds that the same is true of the scene of Harold’s death. “The supposition that Taillefer is depicted throwing up his sword is a mistake so evident that the slightest observation of the Tapestry must correct it. The weapon in the in air is clearly a mace.” Here the author is referring to the missile to the left of the Saxon shield-wall. The Tapestry’s lack of attempts at light, shade, and perspective is discussed, as are the unnatural uses of color. He comments on the relative unimportance of the characters Turold, Wadard, and Vital to the story. Finishing the article, Stothard apologizes to the Society for writing more here than he originally intended and hopes that the interesting subject he presented them “will plead my excuse for having so long trespassed upon your time.”

1566. ———. The Tapestry of Bayeux. New York: Pageant Book Company, 1955. Notes: Originally published in 1819.

1567. Street, G. E. “On Medieval Embroidery.” The Ecclesiologist 34 (1863): 255–80. The Bibliography 459

1568. Streissguth, Thomas. The Greenhaven Encyclopedia of the Middle Ages. San Diego, CA: Greenhaven Press, 2003. Notes: Bruno Leone, consulting editor. Part of the Greenhaven Encyclopedia series. Alternate title: The Middle Ages. This one-volume reference book, aimed at readers ages 12–18, contains entries pertaining to medieval Europe and the Middle East. The entry for the Bayeux Tapestry provides a physical description of it, remarks about its patronage, and gives a summary of the story it tells. The entry adds that about 20 feet of the end of the Tapestry are missing and “may have been deliberately removed and destroyed for its celebration of the newly established authority of the Normans over the English.” Includes index.

1569. Strickland, Agnes, and Elisabeth Strickland. “Matilda of Flanders.” Lives of the Queens of England, 21–105. Vol. 1. London: Henry Colburn, 1840. Notes: Also published in Philadelphia in 1850 under the title Lives of the Queens of England from the Norman Conquest; with Anecdotes of Their Courts. Many subsequent editions have been published under various versions of the above title. The Stricklands attribute the Bayeux Tapestry to Matilda and her ladies.

1570. Strickland, Matthew, ed. Anglo-Norman Warfare: Studies in Late Anglo-Saxon and Anglo-Norman Military Organization and Warfare. Wood- bridge, U.K.: Boydell Press, 1992. Notes: The book is dedicated to the memory of scholar Reginald Allen Brown. This collection of 15 essays on the organization and conduct of war in eleventh- and twelfth-century Normandy and England includes three works that discuss the Bayeux Tapestry: “The Status of the Norman Knight” by R. A. Brown, “The Battle of Hastings” also by Brown, and “Battles in England and Normandy, 1066–1154” by J. Bradbury. See separate citation for each.

1571. ———. ed. Armies, Chivalry and Warfare in Medieval Britain and France: Proceedings of the 1995 Harlaxton Symposium. Stamford, U.K.: Paul Watkins, 1998. Notes: Part of the Harlaxton Medieval Studies series, volume 7.

1572. ———. War and Chivalry: The Conduct and Perception of War in Eng- land and Normandy, 1066–1217. Cambridge, U.K.: Cambridge University Press, 1996. Notes: Part of the Cambridge Studies in Medieval Life and Thought series. In this “first specific, large-scale study of conduct in warfare and the nature of chivalry in the Anglo-Norman period,” Strickland uses the Bayeux Tapestry to support a variety of discussion points. Strickland notes that the Tapestry’s images 460 The Bibliography of barrels of wine as provisions for the invasion were a necessity, not a luxury, as wine was safer than contaminated water. He suggests that the use of the couched lance (as depicted in the Tapestry) in combat was not an eleventh-century innovation. The Tapestry depicts only “the greatest lords” having chain mail leggings, which evolved into forearm and mitten coverage, and became more widespread as costs of armor fell in the twelfth century. The Tapestry’s conical helmets are compared to those depicted in a detail from the Maciejowski Bible. He uses the Tapestry’s scene of a Norman knight holding an Anglo-Saxon ceorl by the hair in order to behead him and a knight gashing the already-fallen Harold on the thigh as examples of the shamefulness of attacking a disadvantaged opponent, which some twelfth-century sources looked down upon. In a discussion of honorable surrender, the author provides the Tapestry’s image of Conan’s surrender of the keys along with commentary in the caption. His chapter on ravaging and attri- tion shows the Tapestry’s images (and the author’s commentary) of the Normans foraging for food and of the woman and child fleeing the burning house. He discusses the Tapestry’s images of battle survivors stripping corpses of their armor and swords and William the Conqueror’s subsequent banning of this practice. Strickland asks whether the Tapestry’s missing portion may have “shown the ultimate fate of Harold’s body.” Strickland is professor of Medieval History at the University of Glasgow.

1573. Strong, Roy C. The Spirit of Britain: A Narrative History of the Arts. New York: Fromm International, 2000. Notes: Originally published by Hutchinson, London, in 1999. This beautiful and richly illustrated volume examines the visual arts of Britain from Pax Romana through contemporary consumer culture. Strong writes that Edward the Confessor’s Westminster Abbey was an indicator of the waning glories of Anglo-Saxon civilization, and the Bayeux Tapestry as the work by which Anglo-Saxon England “passes away in a final sunburst of glory.” Strong states that it “remains one of the ironies of history that one of the greatest works of Anglo-Saxon art was commissioned to justify William I’s conquest of England in 1066.” Includes a photograph of a Tapestry scene. Includes index.

1574. Stuart, D. G. The History of the Leek Embroidery Society: An Introduc- tory Essay. Staffordshire, U.K.: 1984. Notes: Also cited as published by the University of Keele, Department of Adult Education in 1969.

1575. Sullivan, Daniel, Iver Langmoen, Christopher B. T. Adams, Christian Sainte-Rose, and Michael L. J. Apuzzo. “The Bayeux Tapestry: A Charter of a People and a Unique Testimony of Creative Imagery in Communication.” Neurosurgery 45, no. 3 (1999): 663–69. The Bibliography 461

1576. Sullivan, Robert, ed. The Royals: An Illustrated History of Monarchy— From Yesterday to Today. New York: Life Books, 2010. In this heavily illustrated book, a color photograph of a battle scene from the Tapestry is accompanied by a lengthy caption which describes the work as “woven” and dates its creation as “probably within a decade of the episodes it records.” There is no index.

1577. Sulzberger, C. L. “Reading the Great Tapestry.” New York Times, 11 August 1991, sec. 5, p. 9. This article introduces its readers to the Bayeux Tapestry, a “famous and flamboyant” monument of medieval Europe, with a description of its material and of the story it tells, noting that it “appears to justify an unjustified invasion that even some early historians described as a piratical venture.” The article concludes with remarks about the repercussions of the Norman victory “that had an ultimately important influence in what we call the Western World.” The article misidentifies Harold’s father as Edward the Confessor; a correction was made in the newspaper’s August 29, 1991 issue, noting that Harold’s father was indeed Godwin, Earl of Wessex. Includes two photographs; one of a Tapestry scene, the other of visitors looking at the Tapestry.

1578. Suppe, Frederick. “Interpretive Essay (for Chapter 1).” Events That Changed Great Britain From 1066 to 1714. eds Frank W. Thackeray, and John E. Findling. Westport, CT: Greenwood Press, 2004. Suppe, associate professor of history at Ball State University, calls the Bayeux Tapestry “woven” and notes its use of “cartoon-like characters.” He continues, “Although it is sympathetic to the victorious Norman side of the conflict, the tapestry does provide some visual details about armaments and clothing.” Includes index.

1579. Swanton, Michael J. “The Bayeux Tapestry: Epic Narrative, Not Stichic but Stitched.” The Formation of Culture in Medieval Britain: Celtic, Latin, and Norman Influences on English Music, Literature, History, and Art. 1995.

1580. Swarzenski, Hanns. Monuments of Romanesque Art: The Art of Church Treasures in North-Western Europe. London: Faber, 1967. Notes: Second edition. Also published by the University of Chicago Press in 1967.

1581. ———. “Two Oliphants in the Museum.” Bulletin of the Museum of Fine Arts 60, no. 320 (1962): 27–45. Notes: Published by the Museum of Fine Arts, Boston. 462 The Bibliography

In discussing two examples of oliphants, horns made from elephant ivory, Swarzenski notes that the Bayeux Tapestry features a servant who “sounds a summoning horn to announce that dinner is ready” and also how “one of the party at Harold’s feast at Bosham drinks from an oliphant.” Numerous images of the oliphants are included; however, there is no image from the embroidery.

1582. Switten, Margaret. “Chevalier in Twelfth-Century French and Occitan Vernacular Literature.” The Study of Chivalry: Resources and Approaches. eds Howell Chickering, and Thomas H. Seiler, 403–47. Kalamazoo, MI: Me- dieval Institute Publications, Western Michigan University, 1988. Notes: Published for The Consortium for the Teaching of the Middle Ages, Inc. Switten suggests that the Bayeux Tapestry may be used by students to interpret the descriptions of arms and armor as well as Roland’s “warlike temperament, pride, confidence, endurance, and loyalty to his lord” in The Song of Roland. Includes extensive notes.

1583. Sykes, Naomi Jane. The Norman Conquest: A Zoological Perspective. Oxford, U.K.: Archaeopress, 2007. Notes: Part of the BAR International Series, 1656. Originally presented as the author’s doctoral thesis at the University of Southampton, 2001. Filled with charts, graphs, and a great variety of illustrations including the Bay- eux Tapestry, Sykes dissects the Norman Conquest for evidence of its effect on animals. Noting the depiction of William’s men raiding Hastings for cattle, she muses on the adverse effect the indiscriminate slaughter may have had on stock quality and how famine often followed harrying as people were apt to sacrifice prized breeding animals for food. Additionally, Sykes mentions the Tapestry’s use of falcons to “denote aristocratic figures.” In Chapter 6, titled “Deer Hunt- ing: Methods and Rituals,” she discusses the differences in weaponry between the Normans and the English. Beginning the narrative with a reference to the ideological linkage of warfare and hunting, Sykes goes on to mention Lewis’ argument that “the association of Normans with archery may have been a device on the part of the Tapestry’s designer to identify the players of the different sides: although he accepts that the depictions may have been grounded in truth.” She acknowledges that Saxons certainly knew archery and points out the illustration of one Saxon archer in the embroidery. The archaeological scarcity of arrows in pre-Conquest England is also mentioned. Discussing the introduction of rabbits, she points out that “Iconographic evidence is frequently cited in support of a Norman introduction date for rabbits: lagomorphs are famously depicted in the Bayeux Tapestry.” Sykes does note that it is debatable whether the Tapestry is depicting rabbits or hares and that their presence in the embroidery does not necessarily indicate the presence of the species in England at the time as “lions, camels, centaurs and griffins” are also illustrated there. Lastly, she draws con- The Bibliography 463 trasts between images of William and his men dining “in a pious light” staged in a Last Supper scene while Harold’s retinue is shown “quaffing alcohol from vast drinking horns.” Acknowledging that the depictions are dramatic devices, Sykes does suggest they reflect “contemporary perceptions of the two ethnic groups.” Includes images of the Tapestry’s two dining scenes.

1584. Synge, Lanto. Antique Needlework. Poole, U.K.: Blandford Press, 1982. In the introductory chapter on early needlework, Synge provides an excellent four-page overview of the Bayeux Tapestry. Describing the Tapestry as “not of outstanding workmanship,” he acknowledges that “its historical nature and charm make it justly famous.” He writes that “The hanging is representative of ecclesiastical and non-ecclesiastical decorations of the period and has probably survived due to the fact that no gold was employed but only simple materials.” He goes on to comment of the account of Baudri, Abbot of Bourgueil, noting that he wrote of a much more elaborate tapestry, one that was “of finer workmanship and precious materials” than the Bayeux Tapestry. Later in the special section on the embroidery, Synge writes that “The workmanship appears to be English and the lively design was probably drawn out by an illuminator of manuscripts, perhaps at Canterbury; conventions of manuscript illustration are reflected in border patterns and a diagrammatic portrayal of architecture. Apart from these aspects, there is an extraordinary wealth of detail displaying the genius of an observant and knowledgeable man.” He goes on to comment on the Latin text and describes the story depicted. Synge also offers basic facts on the Tapestry’s dimensions and suggests Bishop Odo as the patron. He also writes that “A small part is probably missing at the end but in all an extraordinary cross-section of life is portrayed.” He offers the quantity of figures shown and mentions the Tapestry’s value to social historians for the details of medieval life it records. Writing of the stitching, Synge notes that “Under the influence of the Normans the development of underside couching, whereby laid threads were secured to the surface by a slighter thread pulling them through from the back of the material, meant that designs could be more flexible and free flowing. This led to the special expres- siveness of English mediaeval needlework.” Primitive recreated black-and-white drawings of border scenes from the Tapestry are included. Charles Dawson and A.F. Kendrick are referenced in Synge’s notes at the end of the section. A black- and-white image from the embroidery, stretching across the tops of two pages, is also included. In his final chapter titled “Modern Needlework,” Synge offers brief commentary on the Overlord Embroidery along with the famous image depicting King George VI, General Dwight Eisenhower, Field Marshal Bernard Montgomery, Field Marshal Sir Alan Brooke, and Sir Winston Churchill. The commentary points out that the Overlord Embroidery’s “artistry is in reflecting the illustrative techniques of the period such as newspaper photography; it does this remarkably, and very much with the favoured colours and textures of the 464 The Bibliography times. The subject depicted is suitably momentous and eminently worthy of such a large-scale work.” Includes numerous illustrations, a seven-page glossary, and three-page bibliography.

1585. Szarmach, Paul E., M. Teresa Tavormina, and Joel T. Rosenthal, eds. Medieval England: An Encyclopedia. New York: Garland, 1998. Notes: Part of the Garland Reference Library of the Humanities.

1586. Tabraham, Chris J. Scotland’s Castles. London: B.T. Batsford, 1997. Notes: Part of the series Historic Scotland. In a discussion of mottes, the author mentions that there are several depictions in the Bayeux Tapestry. He notes that this includes Dol in Brittany, “the castle of the steward of the bishop of Dol, from whom our own Stewart dynasty of kings and queens was descended.” No images of the Tapestry are included. Tabraham is a principal inspector of ancient monuments with Historic Scotland.

1587. Tadgell, Christopher. The West: From the Advent of Christendom to the Eve of Reformation. New York: Routledge, 2009. Notes: Part of the Architecture in Context series, volume IV. In a section on Norman castles, Tadgell mentions that there are several examples of motte-and-bailey castles illustrated in the Bayeux Tapestry. He also includes a color photograph of a Tapestry scene with a caption that dates the work “between late-11th and mid-12th centuries” and notes that “this great work is associated with the circle of William the Conqueror’s consort, Queen Matilda.”

1588. Tames, Richard. 1066: A Decisive Battle. Chicago: Heinemann Educa- tional Books, 1999. Notes: Part of the Turning Points in History series.

1589. Tanner, Lawrence E., and A. W. Clapham. “Recent Discoveries in the Nave of Westminster Abbey.” Archaeologia 83 (1933): 227–36. This article is in two sections, the first by Tanner and the second by Clapham. In the latter, Clapham describes in detail the discoveries in the nave of the Ab- bey. Here, he mentions the representation of Edward the Confessor’s church in the Bayeux Tapestry and how it shows “a cruciform building with a central tower (which we know existed), and five bays west of the tower.” He continues, “But it does not show, as we should have expected, the two towers at the west end which we know from the recent excavations, and from written evidence, certainly existed when Henry III started to rebuild the church in 1245.” Clapham notes that many agree the embroidery is English work and that it is contemporary with the events it depicts. He writes that “if this is so, it may be said that the designer represents, with sufficient accuracy, exactly what the bearers would have seen on that winter’s day when they brought the body of the Confessor to be laid before The Bibliography 465 the High Altar of the great church which he had indeed ‘brought to a most happy completion,’ so far as the essential service of the Monastery were concerned, although the less important ritual nave (which after all was only required for processional purposes), had yet, as we believe, to be built.”

1590. Tapin, L. Abbe. “La Tapisserie De La Reine Mathilde.” Revue Art Chrétien 9 (1865): 1–34.

1591. Tarr, Judith. Rite of Conquest. New York: New American Library/ Penguin, 2004. Notes: “A ROC Book.” This work of historical fantasy set around the Norman Conquest centers on William the Conqueror and how his lover and sorceress-teacher Mathilda helped him discover his own magical powers. In the author’s note, Tarr credits the Bayeux Tapestry as one of her reliable sources, “Harold’s exploits . . . occurred exactly as I have written them. They are all depicted in the Bayeux Tapestry.”

1592. Tarrant, Naomi E. A. The Development of Costume. Edinburgh, U.K.: National Museums of Scotland in conjunction with Routledge, 1994. Notes: Published as part of The Heritage: Care-Preservation-Management program, Andrew Wheatcroft, editor-in-chief. Tarrant’s work focuses on the structure of western European dress, rather than its complete history, and she is interested in emphasizing the worth of costume study and museum display of historical dress. The Bayeux Tapestry is mentioned briefly as an exception to the paucity of evidence of early medieval clothing. In a passage examining the development of the desire for fitted garments, the Tap- estry is noted for depicting what appear to be fitted garments underneath mail armor. Tarrant is Curator of Costume and Textiles in the National Museums of Scotland, Edinburgh, and a former secretary of the Costume Committee of the International Council of Museums. Includes a bibliography and an index.

1593. Tatlock, J. S. P. “The Dragons of Wessex and Wales.” Speculum 8, no. 2 (1933): 223–35. Notes: Published by the Medieval Academy of America. Writing of Hastings, Tatlock notes that “Here none of the many early written authorities mentions the dragon-ensign as such; it appears vaguely as his vexillum, or (probably) gonfanon. But the Bayeux tapestry suffices, the astonishing accuracy of which is recognized by everybody. Almost at the end of it Harold is seen falling with an arrow in his face, as stated by the written accounts, directly by the dragon-ensign; which is the modeled image of a chunky, twisting snake with two legs and small wings, red and probably gold in color, and streaming horizontally from its head on the top of a shaft.” Hilaire Belloc’s Book of the Bayeux Tapestry (London, 1914) is cited. 466 The Bibliography

1594. Tattersall, C. E. Cecil. “Mr. E.L. Franklin’s Petit Point Panel.” The Burlington Magazine for Connoisseurs 33, no. 185 (1918): 41–45. Tattersall references the Bayeux Tapestry along with embroideries from Egyptian tombs and other articles of embroidered costume, as some of the very few examples of decorative needlework that were not designed for ecclesiastical uses. The article ends with a mention of the incorrect attribution of an embroidery panel to Mary, Queen of Scots.

1595. Tavernier, W. “The Author of the Bayeux Embroidery: A Case for Turold, 1020–1080.” Archeological Journal 71 (1914): 171–86.

1596. Taylor, A. J., ed. Chateau Gaillard European Castle Studies, III: Con- ference at Battle, Sussex, 19–24 September 1966. London: Phillimore, 1969. Notes: Conference publication. In his editor’s preface dated August 23, 1969, Taylor writes that most of the papers included in the volume appear substantially as they were delivered at the Battle Conference in September 1966. Those referencing the Bayeux Tapestry are: “The Norman Conquest and the Genesis of English Castles” by R. Allen Brown; “Hen Domen, Montgomery: Excavations, 1960–7” by Philip Barker; “Early Earthwork Castles: A New Model” by Brian K. Davison; and “Evidence for a Pre-Conquest Origin for the Chapels in Hastings and Pevensey Castles” by A.J. Taylor, who notes in the preface that this was not delivered as a formal paper, yet “springs directly from the Battle Conference.” The book’s foreword is by Professor Michel de Bouard of Caen. The end of the volume features several black-and-white plates, the first of which is the Tapestry scene where Duke Wil- liam learns of Harold’s capture. The caption suggests that the Tower of Rouen may be in the background. There is no index.

1597. ———. “Evidence for a Pre-Conquest Origin for the Chapels in Hast- ings and Pevensey Castles.” Chateau Gaillard European Castle Studies, III: Conference at Battle, Sussex, 19–24 September 1966. ed A. J. Taylor, 144–51. London: Phillimore, 1969. Notes: Conference publication. Also published as Chapter 21 in Taylor’s Stud- ies in Castles and Castle-Building, cited separately. In his attempt to identify the tall building depicted next to the Hestenga ceastra in the Bayeux Tapestry, Taylor examines the text of a late thirteenth-century peti- tion as well as archaeological evidence that point to it perhaps being to a certain church of frère le Roi Seint Edward. He adds that the structure behind William in the hic milites exierunt de Hestenga scene may also be the same structure, noting that William may have used it for his war headquarters, of which Taylor provides an elaborate description. The Bibliography 467

1598. Taylor, Arnold J. Studies in Castles and Castle-Building. London: Hambledon Press, 1985. Notes: Part of the History series, volume 39. In his chapter, “Evidence for a Pre-Conquest Origin for the Chapels in Hastings and Pevensey Castles,” Taylor attempts to positively identify the actual remains of the Bayeux Tapestry’s castellum at Hestenga ceastra and perhaps provide evidence that there had already been a structure in place at the time William the Conqueror erected his castle there. Arnold also closely examines the Tapestry’s building complex to the left of William as he holds a gonfalon and is ready to mount his horse at Hastings, one of the more thorough examinations of this structure to be found anywhere. Includes dozens of photograph of existing castles, many of them laid side-by-side for comparing features such as finials, arches, helicoidal scaffold lines, garderobes, windows, and other features. Includes index.

1599. Tebbutt, C. F. “Correspondence: Comment on ‘Merlin’s Island.’” Folklore 63, no. 2 (1952): 111–12. In a letter, Tebbutt takes issue with a comparison drawn by T.C. Lethbridge in his piece, “Merlin’s Island.” He writes: “Mr. T.C. Lethbridge refers to the interesting fact that the gable ends of thatched East Anglian barns and cottages, unlike those of southern and western England, are turned up in a curious manner, like a horse’s neck with no head on it. He sees in these the degenerate relics of the great carved finials or heads of dragons depicted on the Bayeux Tapestry and still existing on the ‘Stave Churches’ of Norway, and suggests that this is a survival from the days of the Danelaw and not found outside it.” He goes on to make his own personal observations of thatched roofs and the East Anglian style.

1600. Tekippe, Rita. “Full-Size Replica of the Bayeux Tapestry.” Peregrina- tions: International Society for the Study of Pilgrimage Art 2, no. 4 (2009). Notes: This issue, titled Bayeux Tapestry Revisited, was edited by John Mi- cheal Crafton, professor of English at the University of West Georgia. Tekippe, executive editor of Peregrinations, briefly describes the full-size replica of the Bayeux Tapestry painted on canvas by Atlanta artist Margaret ReVille and located at the University of West Georgia where she is a professor. The replica was commissioned by Dr. E.D. Wheeler, a former judge and former dean at Oglethorpe University. It was donated to the University of West Georgia in 1997. Tekippe refers to John Micheal Crafton and muses whether the replica influenced his pursuit of the Bayeux Tapestry as a research topic.

1601. Terkla, Dan. “The Bayeux Tapestry: A Selective Bibliography.” The Bayeux Tapestry: New Interpretations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 176–210. Rochester, NY: Boydell Press, 2009. In an introductory paragraph preceding the 34-page unannotated bibliography, Terkla explains that the effort began informally in 1994 but “really came to life” 468 The Bibliography during Howard Block’s 2005 NEH Summer Seminar. He notes that the bibliography depends heavily on Shirley Ann Brown’s 1988 work and acknowledges the work of Molly McLay, a former student at Illinois Wesleyan University and “bibliographical drudge.” Terkla also emphasizes that “creating an exhaustive bibliography of Tapestry studies is not feasible” and that his bibliography “does not claim comprehensivity.” Terkla is a professor of English at Illinois Wesleyan University.

1602. ———. “From Hastingus to Hastings and Beyond: Inexorable Inevita- bility on the Bayeux Tapestry.” The Bayeux Tapestry: New Interpretations. eds Martin K. Foys, Karen Eileen Overbey, and Dan Terkla, 141–57. Roch- ester, NY: Boydell Press, 2009. Notes: Terkla presented what he termed a “skeletal version” of this essay at the 2006 International Medieval Congress at Leeds during Bayeux Tapestry sessions organized by him and Ilicia Sprey. Terkla introduces readers to the three threads of Normannitas (the Norman imperial self-concept), and illustrates how the Bayeux Tapestry incorporates all three in its story. 1. The will to power and its legitimization are seen in the Tap- estry where Harold’s treason is underscored by the appearance of fables and Nor- man chevron motifs in the Tapestry’s borders, as well as in various uses of right and left feet and hands. The Tapestry also has a general message that “glorifies Norman achievement and legitimizes William’s rule in Britain.” 2. The Normans’ proclivity for assimilating themselves into and adapting to other cultures, which eventually turned the Normans into Englishmen. The Tapestry incorporates artistic devices and tastes, language (verbal, pictorial, and kinesthetic), and architecture from a diversity of cultures (Byzantine, Scandinavian, English, Nubian, Ottonian), as well as Norman. 3. The perceived divinity of Norman imperialism which is indicated in the Tapestry’s supposed depiction of papal blessing in the cruciform design atop William’s personal ship, Mora. He supposes that it is this combination of ideals that made the Tapestry appealing to Napoleon and the leaders of the Third Reich.

1603. Terkla, Daniel. “The Centrality of the Peripheral: Illuminating Bor- ders and the Topography of Space in Medieval Narrative and Art, 1066– 1400.” University of Southern California, 1992.

1604. ———. “Cut on the Norman Bias: Fabulous Borders and Visual Glosses on the Bayeux Tapestry.” Word & Image: A Journal of Verbal/Visual Enquiry 11, no. 3 (1995): 264–90. Terkla examines the Bayeux Tapestry designer’s “intratextual, interactive use” of Aesopic fables, Norman chevrons, and imaginal marginalia to show “how the Tapestry’s Norman bias was manifested and emphasized . . . ” The article begins with a summary of the events depicted in the Tapestry “for the reader unfamiliar The Bibliography 469 with the historical events,” but cautions readers that the Tapestry contains much historical fiction.

1605. Terry, Melissa Raelyn. Unique Contributions of the Bayeux Tapestry. Wichita, KS: Wichita State University, 2000. Notes: Terry’s May 2000 Master of Arts dissertation submitted to the Depart- ment of History, Wichita State University. Original contains a fold-out Tapestry reproduction. Terry states her intent is to discuss the Bayeux Tapestry’s importance “as an historical document and its contributions to our understanding of the events of 1066” and presents a very good general overview of many aspects of the Tap- estry study. Terry opens by examining in detail Harold’s trip to Normandy, the “dynastic feud” that ensued after Edward the Confessor’s death, and what the Tapestry is trying to say about the death of Harold. She compares the Tapestry to contemporary literary accounts and other works of visual art and demonstrates their influences on the embroidery’s designer. She recounts the story told along the entire length of the Tapestry, bringing up major points of scholarly debate, focusing especially on the question of its intended use: secular or ecclesiastical. Her section on the historiography of the Tapestry presents an economical run- down of the Tapestry’s history from 1476 through its present hanging in Bayeux. The construction and composition of the Tapestry are discussed. Terry suggests some generalizations for the various “dominant groups of images” in the work: people, horses, armor, weapons, ships, etc. She examines some scenes in closer detail for their value in providing insight on eleventh-century material culture. In her conclusion, “The Value of the Bayeux Tapestry,” she doesn’t clearly state her opinion on what that value is. A three-page appendix provides a quick, scene- by-scene synopsis of the Tapestry. Table of contents page numbers often do not match the actual pagination. Includes a bibliography. There are six illustrations, including an interesting historical image, perhaps an engraving, showing women transferring embroidery designs using frames.

1606. Tetlow, Edwin. The Enigma of Hastings. New York: St. Martin’s Press, 1974. Notes: Published in paperback by Westholme, Yardley, Pennsylvania, in 2008. Journalist Tetlow presents a twenty-first-century war correspondent’s take on the Battle of Hastings and why Harold, despite his tactical skill and shrewdness, fell to the Normans. In the opening chapter, “An Embroidered Tale,” Tetlow cautions readers that “[w]e shall be doing well to admire the Tapestry but to mistrust it.” He examines the Tapestry’s depiction of Harold’s alleged trip to Normandy and how that visit was unlikely because of a lack of documentary evidence, especially in the Anglo-Saxon Chronicle. This visit may very well have been a visit by Harold to the continent in 1056 in which he was in the presence of Count Guy of Ponthieu but the Tapestry’s creators “conveniently altered the dates and 470 The Bibliography circumstances in concocting their story of Harold’s visit to William, which probably never took place at all.” In a five-page discussion of the identity of the Tapestry’s Ælfgyva, the author, with a bit of amusement, discusses the naked characters in the Tapestry, especially the “quaint exhibitionist” and his “enormous genitalia” below the Ælfgyva scene and his possible connection with the characters in the main register. The author leans toward identifying the lady as Harold’s sister or his mother-in-law, who was in turn the daughter-in-law of Lady Godiva. The author ends this chapter by sharing his slight frustration at the complete lack of archaeological evidence at the battlefield of Hastings. In other chapters, Tetlow mentions the Tapestry within the context of various topics such as Harold as heroic soldier, the Norman Tapestry designer’s intentional placement of the illegitimate Archbishop Stigand at Harold’s coronation (when it was really officiated by Archbishop Ealdred of York), William’s invasion flagship Mora, the particulars of the Channel crossing (number of occupants per boat, time of departure, William of Poitiers’ mention of a storm at sea), Ed- ward’s friend and William’s informant Robert Fitzwymark, several aspects of the Battle of Hastings, Harold’s and Edward’s likenesses in the Tapestry compared with their faces on coins, William raising his visor in the battle to show that he was still alive. Finally, the author asserts that Harold was not killed by an arrow to the eye, but that the poet Baudri of Bourgueil created this rumor in a poem in which he apparently describes what he had seen and misunderstood in the Bayeux Tapestry.

1607. Teubner-Schoebel, S. “Das Zummanwirken Von Schrift Und Bild Auf Dem Teppich Von Bayeux.” Vinculum Societatis Joachim Wollasch Zum 60 Geburtstag. Vol. 314–25. Sigmaringen: Verlag Glock und Lutz, 1991.

1608. Thackeray, Frank W., and John E. Findling, eds. Events That Changed Great Britain From 1066 to 1714. Westport, CT: Greenwood Press, 2004. In their introductory chapter on the Norman Conquest, the authors note that “two remarkable treasures” came from the accession and reign of William the Conqueror: the Domesday Book and the Bayeux Tapestry. They suggest the Tapestry was made in the 1080s for “William’s half-brother Do [sic], bishop of Rochester.” Each chapter of the book offers an interpretive essay; the essay accompanying this chapter, by Frederick Suppe, also mentions the Bayeux Tapestry and is annotated separately. Thackeray and Findling are both professors of history at Indiana University Southeast.

1609. Thierry, Augustin. History of the Conquest of England by the Normans: Its Causes, and Its Consequences, in England, Scotland, Ireland, & on the Continent, Volume I. London: Bell & Daldy, 1871. Notes: Translated from the “seventh Paris edition” by William Hazlitt. The Bibliography 471

1610. Thomas, Hugh M. The English and the Normans: Ethnic Hostility, As- similation, and Identity, 1066–c.1220. Oxford, U.K.: Oxford University Press, 2003. Thomas presents a scholarly study of how the English and Norman cultural and ethnic identities merged into a new Englishness. The author approaches his discussions through anthropological theory and examines personal relationships, gender issues, stereotypes, the aristocracy, peasantry, townspeople, the religious, language, government, and other topics. Thomas points to William of Poitiers’ description of the French, immediately after the Conquest, marveling at the long hair of the English (as depicted in the Bayeux Tapestry), and William of Malmesbury’s anecdote that Harold’s scouts thought the invading army were all priests because of the shaven backs of their heads. He notes that if English women did embroider the Tapestry, they contributed to the Englishness of the work and helped to “preserve English culture and contribute to the acculturation of the two peoples” while at the same time possibly undermining the Norman message of the Tapestry by embroidering it with subversive double meaning, if indeed the Tapestry can be read that way. On the topic of the new Anglo-Norman state quickly becoming a participant in the European mainstream, Thomas notes that Richard Gameson argued that Tapestry is an Anglo-Norman artifact. Includes index.

1611. ———. The Norman Conquest: England After William the Conqueror. Lanham, MD: Rowman & Littlefield, 2008. Notes: Part of the Critical Issues in History series, Donald T. Critchlow, consulting editor. University of Miami history professor Hugh Thomas presents a background of the conquest and the Normans’ impact on English law, politics, landholding, economy, society, religion, art, architecture, language, and literature. The author claims to differ from other overviews of the Norman Conquest in that he focuses on specific changes and consequences experienced by conquered England, rather than try to give a comprehensive overview of post-conquest England. This book reads like an informative and useful university textbook, with important names and vocabulary in boldface type in the text, as well as a handy glossary (in which “Bayeux Tapestry” is one entry). The author comments on the unreliability of the Tapestry to provide convincing facts, although he does use eight black-and-white photos of it to illustrate his talking points. The only other mention of the Tapestry is in a remark about English embroideresses, Queen Matilda I of Flanders, and the artistic influence of Canterbury.

1612. Thomas, Michel, Christine Mainguy, and Sophie Pommier. Textile Art. New York: Rizzoli International, 1985. Notes: Translated from the French by Andre Marling. This survey of textile arts through the ages (many millennia B.C. through the 1980s) and across many lands (Peru, Byzantium, Italy, China, Africa, and many 472 The Bibliography others) discusses the Bayeux Tapestry in the chapter “Tapestry and Embroidery,” and the authors are quick to rename the work “the Bayeux Embroidery.” Besides a recounting of the story of the events depicted in the Tapestry, and a general description of the work, the authors remark that the ensembles or scenes within the Tapestry’s scenes are two to three feet long, “which is the length of a sheep- skin, [and] Simone Bertrand, who for many years was the keeper of the work, has suggested that the preliminary design many have been drawn on skins before being transferred to the linen.” The authors note that the early thirteenth-century Norwegian tapestry, “The Twelve Months,” because of its technique, highly stylized figures, and sharp outlines, “is related to the Bayeux Embroidery.”

1613. Thomason, W. G. A History of Tapestry From the Earliest Time Until the Present Day. London: Wakefield, 1973. Notes: Third edition. Originally published by Hodder and Stoughton, London in 1906. Includes four color plates and numerous illustrations in black and white.

1614. Thompson, A. Hamilton. The English House. London: G. Bell and Sons, 1936. Notes: Published for The Historical Association. Historical Association Pam- phlet #105. Also cited as published in the Royal Archaeological Society Journal, February 1952. In this 40-page publication, Thompson references the Bayeux Tapestry early in his second section. He describes how the Tapestry’s depiction of Harold’s man- sion at Bosham in Sussex informs the history of eleventh-century English houses. He notes that this depiction “may be regarded as typical of the larger houses of the eleventh century.” He goes on to say that “like the pictures of castles and churches in the same work of art, it is a purely conventional representation of the sort of building with which the makers of the tapestry were thoroughly familiar. Above a vaulted substructure of stone carried by piers is an upper story, apparently of timber with a shingled roof rising to a central apex crowned by a dragon- like figure which does duty for a weathercock. The house is shown in section, the upper story forming a large undivided room in which Harold and his company are feasting, entered at one end by an outside stair.” Noting the odd positioning of one of the Tapestry’s characters, Thompson points out that “The messenger who has come from Duke William stands upon the stair and appears to be supporting one end of the roof with his head, as the artist no doubt found it difficult to give his figure sufficient prominence without suppressing at this end the roof-post whose counterpart is shown at the other side of the hall.” Thompson also writes of the artist’s intentions with the representation of architecture and people and the accuracy of structures depiction: “In this picture the artist’s object was to tell a story clearly, and just so much of the house is shown as was necessary for the purpose. It is not therefore entirely accurate, and the cross-section reveals only The Bibliography 473 the principal room in the upper stage. We cannot point to any existing English house which is of so early a date, but a considerable number of houses remain from the middle of the twelfth century in which we can still see the characteristics of the house of the Bayeux Tapestry.” At the end of the section, he discusses the location of kitchens or cooking spaces within houses of the period and that it “may be noted that the picture in the Bayeux Tapestry, in which it is unnecessary to discover any kitchen or fireplace, gives no indication of a chimney; and the wall-fireplace, though not uncommon, was by no means universal until a much later period.” Includes architectural drawings, a list of recommended books, and a list of pamphlets issued by the Association. Thompson is a professor of history at the University of Leeds.

1615. ———. “The English House.” Social Life in Early England: Historical Association Essays. ed Geoffrey Barraclough, 139–78. New York: Barnes & Noble, 1960. Notes: Second edition. See monographic annotation under the same title.

1616. Thompson, Logan. Ancient Weapons in Britain. Barnsley, U.K.: Pen and Sword Military, 2004. Thompson’s work covers the development of weapons in Britain from prehistory through the Battle of Hastings. A whole passage on the Bayeux Tapestry provides a detailed overview of armor, shields, archers, and cavalry. Mail is discussed in terms of its manufacture, fit on the body, weight, impracticalities, and effectiveness. The author also comments on the Tapestry’s depiction of the scattered Norman French groups called “contoi.” The book contains a great deal of useful text and photographs of swords, spear-heads, shield bosses, and axes. Includes an index and notes.

1617. Thompson, Michael Welman. “Recent Excavations in the Keep of Farnham Castle, Surrey.” Medieval Archaeology 4 (1960): 81–99. Thompson, assistant inspector of ancient monuments for the Ministry of Works, presents a lengthy report on the findings from the archaeological excavations of a Surrey Castle. He calls up the Bayeux Tapestry for how “elaborate” structures atop mottes may have been constructed. Includes notes.

1618. ———. The Rise of the Castle. Cambridge, U.K.: Cambridge University Press, 1991. Notes: Published in paperback in 2008. Thompson takes readers through a historical development of castles and cites the Bayeux tapestry as a source of information on French mottes, particularly wooden ones, the exception being the apparently stone structure beside the seated Duke William as he learns of Harold’s detainment by Guy of Ponthieu, which 474 The Bibliography

Thompson notes is clearly a gatehouse. He also points to the structure housing Harold’s feast at Bosham in the Tapestry, perhaps a “French form of [a] first- floor hall.” The quick construction of the castle at Hastings in the Tapestry is also discussed.

1619. Thompson, Victoria. “Kingship-in-Death in the Bayeux Tapestry.” Reading Medieval Studies: Annual Proceedings of the Graduate Centre for Medieval Studies in the University of Reading 25 (1999): 107–21.

1620. Thomson, Francis Paul. Tapestry: Mirror of History. New York: Crown Publishers, 1980. Notes: Alternate title: The History of Tapestry and Tapestry Making. Thomson includes one black-and-white image of the scene in the Bayeux Tapestry of Edward the Confessor’s funeral. He references the issue regarding “embroidery” vs. “tapestry” and mentions the likely patronage of Bishop Odo and its likely creation “between 1066–8 in England, perhaps in the monastery of Westminster.” The book includes an index, though the Tapestry is not included. A superb glossary is also included.

1621. Thomson, R. M., and M. Winterbottom. William of Malmesbury: Gesta Regum Anglorum, Volume II: General Introduction and Commentary. New York: Oxford University Press, 1999. Notes: Part of the Oxford Medieval Texts series.

1622. Thorne, P. F. “Clubs and Maces in The Bayeux Tapestry.” History Today 32 (1982): 48–50. Thorne attempts to prove that the weapons William and Odo are seen carrying in the Bayeux Tapestry are certainly intended to be clubs symbolic of power on the battlefield. After discussing the historical development and practical combat uses of the blunt force weapons, the author begins to examine why the Tapestry’s designer chose to depict clubs rather than maces. William of Poitiers’ categorical statement that Odo never carried arms and never wished to is called into question for two reasons: Odo, who was forbidden to shed blood, carries a club nearly identical to that of William, who had no such rule on him; in order for Odo to have successfully “comforted” the young men in battle, his baculus could have had “em- blematic significance far greater than the routine blunt weapon allegedly carried by warlike ecclesiastics.” Similarly, the clubs carried by William are thought by the author to represent an extraordinary source of William’s power, beyond feudal or military. At variance with the Tapestry, William of Poitiers called the Duke’s weapon hasta (spear). Thorne poses two theories for this discrepancy: by the close of the Battle of Hastings it was dark out and hard to see what Duke William may have been carrying; William of Poitiers, an archdeacon, may have chosen to use a euphemism, hasta, instead of emphasizing a pagan club. Includes one photograph of the Tapestry and two of Stothard’s Tapestry engravings. The Bibliography 475

1623. Thornhill, Patrick. The Battle of Hastings. London: Methuen, 1966. This unusual and interesting examination and analysis of the Battle, presented as a pocket-sized 48-page booklet, and whose intended audience was likely young adults, engages the reader with a variety of tactics: stopping frequently to ask questions that require critical thinking (“What was the main reason for including this scene in the Tapestry? Might there be a second reason?”), presenting multiple-choice answers and exploring why the wrong answers are wrong, frequent page-turning directives (“If you want to see the events of 1066 in their historical setting, read on, but if you simply want a short cut to Hastings, you had better skip to page 19.”), fill-in-the-blank questions, a family tree, maps (including a topographical map of the battlefield), a diary of events from the Norman landing at Pevensey until the Battle, and several drawings of the Bayeux Tapestry, which is referenced in the text. The author presents a discussion on the Tapestry’s oath scene and whether it took place at Bonneville-sur-Touques (per William of Poitiers) or at Bayeux (per the Tapestry) and if it even matters.

1624. Thornton, Robinson. “The Language and Literature of the English Before the Conquest, and the Effect on Them of the Norman Invasion.” Transactions of the Royal Historical Society 2 (1885): 197–214.

1625. Thorpe, Lewis G. M. The Bayeux Tapestry and the Norman Invasion: With an Introduction and a Translation From the Contemporary Account of William of Poitiers. London: The Folio Society, 1973. Notes: Second impression. The historical background provided by Thorpe is an economical, to-the-point recount of events necessary for an understanding of the events in the Tapestry. He often quotes or cites useful information from William of Poitiers, William of Jumièges, Wace, Florence of Worcester, Henry of Huntingdon, Guy of Amiens, and the Anglo-Saxon Chronicle. The author offers a half page on the Norman invasion fleet’s use of lanterns to communicate in the nighttime Channel crossing. The Tapestry figure who delivers news concerning Harold to William after the invasion is identified by Thorpe as “Robert, son of Guimara, a Norman resident of England.” He also downplays the idea that Harold was shot in the eye with an arrow. A chapter on authorities examines in further detail the above-mentioned sources, plus the “Chronicle of Chronicles.” A very brief essay on William of Poitiers notes that his work, the Gesta Guillelmi Ducis Normannorum et Regis Anglorum, is “by far the most complete account written in the eleventh century which we have of the happenings depicted in the Tapestry.” Thorpe then provides 21 pages of a new translation of Poitiers’ chapters 1.41 to 1.46 and 2.1 to 2.25, chapters most pertinent to the story told in the Tapestry. The final chapter, “The Bayeux Tapestry,” opens with a description with details on dimensions, thread colors, embroidery techniques, its purpose/intended venue, and a brief comparison with other works of art from the same time period. Thorpe then provides a 476 The Bibliography skeletal history of the Tapestry from its manufacture in England through the first full-scale photographic project of the 1870s. On the importance of the Tapestry, the author comments at length on its significance as a source of information. For its uniqueness as a work of art, Thorpe lauds the Tapestry artist and embroiderers for their attention to detail in depicting everyday objects, and nuanced aspects of character. As a social document, he remarks about the range of information the Tapestry provides in terms of eleventh-century clothes, food preparation and dining, buildings, ship construction, and arms and armor. Before presenting the entire Tapestry in full color, Thorpe provides some interesting commentary on the challenges of photographing the Tapestry in its then-present hanging in the Hôtel du Doyen. Some of these issues are attempting to show the Tapestry photographs in a book “as unbroken as possible,” photographing it around the gallery’s curves, and overlapping the content from one “transparency” to another in order to main “continuous verisimilitude.” The reproduction in the second half of the book shows the Tapestry about four inches high, about one-fifth scale. The images are clear and the colors true. Thorpe provides his own English translation of the Latin text under the photographs, with some word choices quite different from other translations. The bibliography lists medieval “prime sources” and a short list of “reproductions of the Bayeux Tapestry and books about it” from 1856 through 1958. Thorpe is a professor at the University of Nottingham.

1626. Tierney, Brian, and Sidney Painter. Western Europe in the Middle Ages, 300–1475. Boston: McGraw-Hill College, 1999. Notes: Sixth edition. Previously published under the title A History of the Middle Ages, 284–1500. British-born Cornell University (New York) professor Tierney presents a university text that is essentially an expanded and enhanced version of Sidney Painter’s earlier edition. A passage on the routine work of a feudal wife in a castle mentions that feudal ladies were regularly trained in needlework and that the Bayeux Tapestry is an extraordinary example of such skill. A photograph from the Tapestry accompanies a discussion of the causes and effects of the Battle of Hastings. Includes genealogical tables, a list of medieval popes, and an index.

1627. Tilliette, J. Y. “La Chambre De La Comtesse Adèle . . . ” Romania CII (1981): 145–71.

1628. Tilton, Rafael. Rulers of the Middle Ages. Farmington Hills, MI: Lu- cent Books, 2005. Notes: Part of the History Makers series. In the brief section on the Battle of Hastings, Tilton writes, “In France . . . Bishop Odo commissioned skilled needleworkers to commemorate William’s victory in embroidery on seventy-seven yards of linen, which came to be known as the Bayeux Tapestry. Among the tapestry’s images of knights dressed in The Bibliography 477 helmets and chain mail is an image of the proud William, his head thrown back, exclaiming, ‘Look at me well! I am still alive and by the grace of God I shall yet prove victor.’” Includes a list of titles for further reading and an index.

1629. Timmers, J. J. M. A Handbook of Romanesque Art. New York: Mac- millan, 1979. Notes: This edition first published in Great Britain by Thomas Nelson and Sons in 1969. First published in the Netherlands by N.V. Uitgeversmaatschappij Elsevier in 1965. Translated by Marian Powell. In a section on Romanesque fabrics and needlework, Timmers discusses the Bayeux Tapestry over two pages and provides one photograph of a Tapestry battle scene. He writes that the narrative is “vividly and imaginatively told with very simple means, and shows undeniable talent.” He also suggests that the Tap- estry’s place in Romanesque art could be compared with that of Trajan’s column in Roman art. A leading authority on Romanesque art, Timmers is the former director of both the Archiepiscopal Museum in Utrecht and the Bonnefantenmu- seum in Maastricht. He also was professor of the history of art at both Nijmegen University and the Jan Van-Eyck Academy in Maastricht.

1630. Titterton, A. F. The Bayeux Tapestry. London: Ginn, 1954. Notes: Part of the History Bookshelves series.

1631. Toman, Rolf, ed. Romanesque: Architecture, Sculpture, Painting. Co- logne, Germany: Ullmann & Könemann, 2004. Notes: Photos by Achim Bednorz. Original title: Romanik. Translated from the German by Fiona Hulse and Ian Macmillan. This richly illustrated volume on the Romanesque presents articles by various scholars on architecture, sculpture, painting, and crafts. Two articles mention the Bayeux Tapestry: “Romanesque Architecture in Great Britain” by Heinfried Wischermann and “Romanesque Painting” by Ehrenfried Kluckert. See separate citations. Includes index.

1632. Tomkeieff, O. G. Life in Norman England. London: B.T. Batsford, 1966. Notes: Simultaneously published by G.P. Putnam’s Sons, New York. Tomkeieff presents a survey of the aristocracy, village and town life, the church, learning and literature, medicine, law, building crafts, and arts and entertainments in England from 1042 through the end of the Norman period in 1154 and beyond. Photographs of the Bayeux Tapestry are used throughout to illustrate the author’s discussions of the Confessor’s palace, motte-and bailey castles, aristocratic diets, armor, naval transport of horses, and village dwellings. There is a photograph of a wall painting from Claverly Church in Shropshire which bears a remarkable resemblance to Tapestry images. Includes index. 478 The Bibliography

1633. Tortora, Phyllis G., and Robert S. Merkel. Fairchild’s Dictionary of Textiles. New York: Fairchild Publications, 1996. Notes: Seventh edition.

1634. Toy, Sidney. The Castles of Great Britain. London: William Heine- mann, 1954. Notes: Second edition. Illustrated with plans and photographs by the author. First published in 1953. Toy traces the historical development of castles in Britain from pre-historic fortifications to forts of the eighteenth-century. He makes brief remarks about the Bayeux Tapestry in discussions of timber fortifications, timber bridges, and moats, and the author’s observation that one of the castles in the Tapestry is built of stone. Includes an index.

1635. ———. Castles: Their Construction and History. New York: Dover Pub- lications, 1985. Notes: Reprint. Originally published by W. Heinemann, London in 1939.

1636. ———. A History of Fortification, From 3000 B.C. to A.D. 1700. London: William Heinemann, 1955. In his chapter titled “Fortifications of Western Europe from the Fifth to the Twelfth Century,” Toy writes that, “Of the Norman castles represented on the Bayeux tapestry, one is clearly built of stone, and stands on the ground; while two others are represented much in the same manner as is the Westminster Abbey of the period, known to have been stone.” The book is illustrated and includes an index.

1637. Tozer, Basil. The Horse in History. London: Methuen, 1908. Tozer writes an entertaining treatise on the horses that appear in the history and literature of Western and Middle Eastern civilizations. On the topic of Anglo-Saxons, he notes that the Bayeux Tapestry affirms they did not fight on horseback. He adds that the Tapestry shows heavy saddles that were difficult to fall out of and that Giraldus tells of identical saddles in use in Ireland a century later. Includes a good photograph of Stothard’s drawing of the Tapestry.

1638. Trent, Lynda. The Viking Longship. San Diego, CA: Lucent Books, 1999. Notes: Part of the Building History Series. Trent’s book for young readers aged 12–16 is an outstanding examination of Viking culture, history, shipbuilding, navigation, exploration and trade, warfare and conquest, and Viking legacy. She has a one-page aside on the Bayeux Tap- estry, providing an accurate description of the Tapestry and tells readers how the Tapestry provides information about Viking material culture, even though it was The Bibliography 479 created at the end of the Viking age. A passage on shipbuilders’ tools mentions those shown in the Tapestry. The photographs of Charles Stothard’s Tapestry engravings that are included are printed backwards. Includes a noteworthy and very detailed illustration of how the rudder oar, like one depicted in the Tapestry, was attached to the ship. Includes numerous maps, a glossary, and an index.

1639. Trevor-Battye, Aubyn. The Artist, Volumes 27–28. London: 1900.

1640. Trugny, Rene. “La Tapisserie De La Reine Mathilde.” Le Val De Com- mes (1854).

1641. Tryckare, Tre. The Viking. Greenwich, CT: International Book Soci- ety, 1966. Notes: Edited by Bertil Almgren, professor and archaeologist at Uppsala University, Sweden. “Designed by Tre Tryckare, Cagner & Co., and is based on the ideas and plans of Ewert Cagner. The work is the result of comprehensive teamwork by scientists and specialists from a number of countries.” Slipcased. The International Book Society is a division of Time-Life Books. This large, heavily illustrated volume presents a historical and cultural overview of the Vikings, placing great importance on the most recent archaeological finds and research. The Bayeux Tapestry’s depiction of William’s preparations for invasion is mentioned under a subheading on the end of the Viking age in England. The equipment and cavalry equipment in one of the Tapestry’s battle scenes is discussed in a lengthy caption for a large, full-color photograph of the scene. A chapter on weapons turns several times to the Tapestry for evidence of javelins, archers, and axes in battle. A two-page spread of a photograph of the Tapestry scene of the Normans charging into battle is captioned with an interesting remark on how the Normans hated discipline, but handled their horses perfectly as an ensemble, and that the women who embroidered this scene took pains to depict the Norman cavalry as a “formidably professional force.” Includes index and a sizeable bibliography mostly of works published in Scandinavian languages, but also German, English, and other languages.

1642. Tsurushima, Hirokazu. “The Eleventh Century in England Through Fish-Eyes: Salmon, Herring, Oysters, and 1066.” Anglo-Norman Studies 29 (2006): 193–213. In this fascinating examination of the fish culture of England during the eleventh century, Tsurushima references both the Domesday Book and the Bayeux Tapestry on multiple occasions. However, he acknowledges that “the sources available for reconstructing the culture of sea fishing in the eleventh century are thin.” In addition to European sources, Tsurushima also finds it instructive to consider the fishery in Japan. He references a Japanese medieval historian, the late Professor Yoshikiko Amino. He looks at the political context surrounding the 480 The Bibliography

Godwin family in studying the role of the fishery, writing, “The organization of the herring fishery must be contextualized in eleventh-century political history, since fisherman might form some kind of community. Therefore, we must examine the politics of the English Channel in the mid eleventh century. The Godwine family had close ties to mariners from their first appearance on the historical stage. The Anglo-Saxon Chronicle records that in 1009, the year after the revival of the naval system by King Æthelred, Wulfnoth, father of Earl Godwine, led twenty ships and overthrew the king’s fleet. In 1049 Earl Godwine commanded forty-two ships of local people (landes manna) and two royal ships captained by his sons Harold and Tostig. No single manor could provide so large a number as twenty or forty-two ships. However, as we may say that they were locally assembled and either under the lordship of Godwine or belonging to his affinity. The character of the Godwine family and its relationship to the life of the sea had not been changed by 1066, as is shown by both the Anglo-Saxon Chronicle and the Bayeux Tapestry. They still dominated the people living by the sea in Sussex and the Channel shore of Kent.” Later, in an examination of communication in the Channel, Tsurushima references the Tapestry’s depiction of Vitalis as a scout “who gave Duke William warning of Harold’s march.” Includes maps, charts, a photograph of Horse Pill fishery, Woolaston in 1958, and numerous notes.

1643. ———. “Hic Est Miles: Some Images of Three Knights: Turold, Wadard and Vital.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen- Crocker, and Dan Terkla, 81–91. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Tsurushima, Professor at Kumamoto University, examines the Tapestry’s use of the term milites by studying the careers and landholdings of the Bayeux Tapestry’s Turold, Wadard, and Vital and notes that milites does not necessarily imply the status of a lowly knight. On Turold, Tsurushima begins by pointing out difficulties in identifying which of two figures in the Tapestry is the named TVROLD and briefly cites various scholars’ opinions on the matter. The many possibilities of who Turold was are listed, and Tsurushima settles on the fact that at very least the Tapestry’s Turold was a vassal of Odo and was probably Turold of Rochester. In a narrative of landholding and court records, a large data table, and a map, the author shows the extent of this Turold’s landholdings. Wadard is identified as a household knight and provision officer of Odo and a tenant of St. Augustine’s who may have been one of Earl Harold’s thegns. Includes a map of Wadard’s landholdings, clustered around Canterbury, Oxford, and Lincoln. The author identifies the Tapestry’s Vital as a vassal of Odo, but whose major lord was Lanfranc, Archbishop of Canterbury. Apparently a capable and literate administrator and a capable of discussing maritime matters, Vital had as his bailiwick Kent and Essex. As to why these three men appeared in the Tapestry, Tsurushima suggests that they “might have been informants for the designer of The Bibliography 481 the Tapestry: Turold for Beaurain castle, Vital for the operation of ships, and Wadard for the scenes showing foraging for food” all of which support the theory that the Tapestry was manufactured in Canterbury. Two pie graphs do not appear to match their accompanying figures. Includes notes.

1644. ———. “Three Knights Depicted on the Bayeux Tapestry.” Rekishi, Tohoku Historical Journal 64 (1985): 38–74.

1645. Tuchman, Maurice. “Richard Diebenkorn: The Early Years.” Art Journal 36, no. 3 (1977): 206–20. Notes: Published by the College Art Association. In an article with more references to Robert Motherwell, Mark Rothko, and color-field painting than Anglo-Saxon embroidery, there is a notable reference to the Bayeux Tapestry in a discussion of Diebenkorn’s 1952–53 painting “Urbana #2 (The Archer)” where Tuchman offers several quotes from the artist and then a connection to the Tapestry: “The tensions implied by a cross-bow are close to the heart of Diebenkorn’s painterly objective. He has spoken of a ‘kind of tension that would involve a large flex,’ a sense that ‘potentially, something was to happen’; he is attracted to something that may ‘spring, a cocking apparatus, arm- like fulcrum mechanisms’; themes of ‘potency and impotency.’ Earlier devices continue here: the red centrally spotted smear ‘nails’ the picture space down while simultaneously evoking blood associations and recalling the vivid image in the Bayeux Tapestry that implies Harold is being slain by an arrow in his eye.” Includes an image of the painting.

1646. Tudor-Craig, Pamela. “A Seal Bag of 1095 at Burghley House.” New Offerings, Ancient Treasures: Studies in Medieval Art for George Henderson. eds Paul Binski, and William Noel, 237–55. Stroud, U.K.: Sutton, 2001. Describing the Pantheon at San Isidoro in Leon and its silver shrine, Tudor- Craig writes: “Inside . . . it is a simple wooden structure that may not have been changed. It is lined with a remarkable embroidery that relates to Islamic pieces. Motifs include deer, eagles, birds and circles, each confined to a square. I find the conjunction of this pattern of embroidered animals and the lean, mean figura- tive style of the scenes on the silver shrine curiously reminiscent of the Bayeux Tapestry, which is usually dated before 1082, the year of Bishop Odo’s disgrace.” Continuing her commentary, she suggests that “The girdle from the tomb of Pope Clement II and the border of an eleventh century chasuble from the same cathedral have another motif that brings them into the orbit of the Bayeux Tapestry: the zoomorphic motifs are separated by diagonal strips, frequently ornamented with foliage. While creatures contained in clasped roundels are common to both the Byzantine and the Islamic traditions, diagonal divisions are a rarity.” Then, commenting on what may have influenced the Tapestry borders, Tudor-Craig writes, “To this striking group of braids, made up of strips of tablet weaving ornamented with creatures between diagonal lines, Frances Pritchard adds the trimmings of 482 The Bibliography the alb of St. Bernard of Utrecht, probably added to the simple vestment after the saint’s death in 1056. There is a case for suggesting that the borders of the Bayeux Tapestry may have been influenced by such strips of tablet weave, which Fleury-Lemberg believes came from Sicily.” At the end of her article, she writes about the “most enigmatic seal bag of all” at Westminster. Describing its design and decoration, she notes that “The foliage is far from the highly organised pat- tering we associate with the early twelfth century, and is more akin to the vague tendrils of the Bayeux Tapestry, which David Wilson has confessed difficult to date much later that the mid-eleventh century.” Includes appendix by Frances Pritchard and 81 notes.

1647. Tunis, Edwin. Weapons: A Pictorial History. New York: Thomas Y. Crowell Company, 1999. Notes: Paperback published by Johns Hopkins University Press, Baltimore, MD in 1999. Illustrated by the author. American artist and author Tunis’ book on arms through the ages discusses the Bayeux Tapestry as an unreliable source of information on military equipment. For example, “it is known from other sources that the Saxons wore kilts, but the Tapestry shows them dressed like Normans in divided knee-length hauberks . . .” In a passage on archery in the Battle of Hastings, he asserts that Harold was killed by an arrow, and that the Tapestry shows that the English had the “occasional” archer. No index.

1648. Turgis, Suzanne. La Reine Mathilde Et La Tapisserie, Broderie De Bay- eux. Paris: H. Champion, 1912. Notes: Published by Tostain, Bayeux in 1912. Second edition published in Paris and Caen in 1928 with the title La reine Mathilde et la Tapisserie de Bayeux.

1649. ———. “Un Beau Livre En Preparation: Le Tapisserie De Bayeux.” Image De France 15 (1943).

1650. Turner, Dawson. Account of a Tour in Normandy Undertaken Chiefly for the Purpose of Investigating the Architectural Antiquities of the Duchy. London: Arch, 1820. Notes: Published in two volumes. Turner’s account of visiting the Bayeux Tapestry is an extremely early description of the embroidery following it eighteenth-century discovery. He mentions the deterioration it had withstood.

1651. Tyerman, Christopher. Fighting for Christendom: Holy War and the Crusades. Oxford, U.K.: Oxford University Press, 2004. Tyerman, a lecturer in medieval history at Hertford College and New College, Oxford, mentions the Bayeux Tapestry in his introductory chapter where he dis- The Bibliography 483 cusses and describes the Bosham church. He writes, “More intimate evocation of personal responses and the strenuous conviction of individuals thirty to fifty generations ago can be found in quiet corners like the eleventh century church at Bosham, Hampshire, on the edge of Chichester Harbor, whose great chancel arch saw Harold Godwineson on his way across the Channel to a fateful meeting with Duke William of Normandy in 1064 and earned a place in the Bayeux Tapestry.” Includes an index.

1652. UCLA AIDS Institute, Fowler Museum at UCLA, Art/Global Health Center at UCLA, and Artists for a New South Africa. The Keiskamma Altar- piece. Los Angeles: UCLA AIDS Institute, 2006. Notes: This is a promotional collateral for an exhibition featuring the Keis- kamma Altarpiece at the Fowler Museum at UCLA. The UCLA Department of World Arts and Culture collaborated on the exhibit which was on display for three months in early 2007. This eight-page full-color brochure measuring 11" by 11" features vivid images from the altarpiece and two narrative sections: “Bringing Women Together—To Sew, Teach, and Inspire” by Edwin Bayrd, associate director of the UCLA AIDS Institute and “Hope Restored, History Reclaimed” by Carol Brown, art director and curator at the Durban Art Gallery in South Africa. Brown’s narrative notes the connection to the Bayeux Tapestry as she describes Dr. Carol Hofmeyr’s initial idea of teaching embroidery to impoverished women. Hofmeyr’s project began with unemployed women making cushion covers and then “led them to undertake a much more ambitious project: their own version of the famed Bayeux Tapestry. Unlike the original, . . . the Keiskamma Tapestry is devoted to more mundane and less fanciful subject matter—the history of South Africa’s East- ern Cape, up to the end of apartheid.” This work then led to the creation of the Keiskamma Altarpiece which was inspired by the Isenheim Altarpiece, a work of the German Renaissance. Vivid images of the Altarpiece, including its textile components, are included along with an image of the Isenheim Altarpiece. The brochure also notes that the funding to make the Keiskamma Altarpiece came from the National Arts Festival South Africa, the National Department of Arts and Culture South Africa, the Eastern Cape Department of Sport, Recreation, Arts, and Culture, and First Rand Bank South Africa. A detailed list of sponsors and patrons of the UCLA exhibit is included.

1653. Underwood, Richard. Anglo-Saxon Weapons and Warfare. Stroud, U.K.: Tempus, 2001. Notes: First paperback edition. Originally published in 1999. The first two-thirds of this work are essentially a useful inventory of Anglo- Saxon weapon types with numerous drawings and photographs, black-and-white and full-color, of archaeological finds and modern recreations in combat reenactment scenes. The last part of the book discusses the social contexts and the 484 The Bibliography nature of warfare. The Bayeux Tapestry is referenced many times throughout the book in passages about archers, axes, shield-walls, sling hunting, spears, the stripping of corpses, and swords; the author provides drawings of the respective Tapestry scenes in almost every instance. Includes and index an a short bibliography.

1654. University of West Georgia Public Relations Office. “Lecture and Viewing of Famous Bayeux Tapestry.” (2006). This press release promotes a lecture and viewing of the University of West Georgia’s full-size replica of the Tapestry on February 10, 2006. The lecture is by John Micheal Crafton, professor of English at the University. The release quotes Crafton and provides details about the replica’s production, noting “more than 1,000 hours were spent in research, testing and comparison of design and colors” and “more than 3,000 hours were dedicated to the replica.” It mentions both Margaret ReVille, the artist, and Dr. E.D. Wheeler, the former judge who commissioned the work. The replica was dedicated in 1998.

1655. Vagts, Alfred. “Battle-Scenes and Picture Politics.” Military Affairs 5, no. 2 (1941): 87–103. Vagts begins the article writing, “Battle pictures have belonged on the whole to minor art. The great masters have rather avoided the problems involved in depicting the clash of armies.” He later suggests the Bayeux Tapestry is an early example of “art-politics” noting, “The iconocrats, if it is permissible to call them so, the governors and governing societies who practiced art-politics, have long shown a considerable predilection for battle-pieces. Although this predilection showed itself early, the Bayeux tapestry . . . is perhaps the best known medieval example, it was only after the formation of the standing armies of modern states in the seventeenth century that the ‘specialists’ in battle pictures appeared.”

1656. Van Dommelen, David B. Decorative Wall Hangings: Art With Fabric. New York: Funk and Wagnalls, 1962. Although the book celebrates textiles of the mid-twentieth century, Van Dom- melen does provide an introductory chapter on historical background. Here, he writes that “The Bayeux Tapestry . . . was completed in the latter part of the 12th century.” Explaining the uniqueness of the work, he notes that “the unusual thing about the Bayeux Tapestry is that it commemorates and records historical events of the time, rather than a religious story.” Van Dommelen also describes the embroidery as similar to “the work by Icelandic craftsmen on the Holar Altarpiece.” A black-and-white photo of a Tapestry scene is included along with caption that dates the work to “about 1180 A.D.” and mentions that it is “sometimes referred to as the Tapestry of Queen Matilda.” Includes a bibliography but no index. The author teaches design at the University of Maine. The Bibliography 485

1657. van Houts, Elisabeth. “The Echo in the Conquest in the Latin Sources: Duchess Matilda, Her Daughters and the Enigma of the Golden Child.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 135–53. Caen, France: Presses Universitaires de Caen, 2004. Van Houts offers biographical sketches of three of William the Conqueror’s daughters: Cecelia, Adelida, and Adela. The “role[s] of Mathilda as encouraging wife, present mother, and pregnant mother-to-be” and as the donor of William’s flagship Mora, are examined. The origins of the ship’s name are also discussed. She puts forth a “modest” theory about the enigmatic “golden child” figurehead at the prow of the Bayeux Tapestry’s Mora: that it is a “prophecy of the next ducal child and of the new future of England” based on Virgilian poetry. The description of this figurehead in the twelfth-century Ship List of William the Conqueror is compared favorably to the image of it in the Tapestry. Van Houts is a Fellow of Emmanuel College, University of Cambridge.

1658. ———, ed. The Normans in Europe. Manchester, U.K.: Manchester University Press, 2000. Notes: Part of the Manchester Medieval Sources series, Rosemary Horrox and Janet L. Nelson, series advisers. van Houts also translated the text. Following brief references to the Bayeux Tapestry as an example of a source defending the conquest of England by the Normans and as a source for motte- and-bailey castles, van Houts introduces a translation of the “Poem for Adela” by Baudri of Bourgueil by noting that one of the four walls of Adela’s chamber features a tapestry depicting the story of the Norman Conquest, “but it is unlikely that Adela’s tapestry is the same as the Bayeux Tapestry, which can be securely located at Bayeux.” She goes on to write that, “This does not preclude the possibility that the poet was inspired by the Bayeux Tapestry or that Adela had a similar embroidery in her house.” Includes genealogical charts, maps, and an index.

1659. ———. “The Memory of 1066 in Writing and Oral Tradition.” Anglo- Norman Studies 19 (1997): 167–79.

1660. van Kempen, Ad. Uitweg Uit Normandië: Reisverslag, Belofte En Woordbreuk Op Het Tapijt Van Bayeux. Alphen aan de Maas, Netherlands: Veerhuis, 2007. Notes: Paperback. This publication, in Dutch (no English translation is currently available), carefully examines the story told in the Bayeux Tapestry of Harold’s trip to Normandy. The author contends that Harold traveled to the continent in 1064 to politic with Count Baldwin of Flanders, perhaps to ask the count to pressure Harold’s brother Tostig into respecting Harold’s primogeniture. Desperate to escape Normandy after falling into the hands of Duke William, Harold is left with 486 The Bibliography no choice but to come up with a plausible excuse for his presence in France, a story that will assure his release. That fictitious story, his way out of Normandy, is that he has come to inform the Duke of King Edward’s desire that William be his successor to the throne of England. Van Kempen also assures his readers that recent discussions of a “dual reading” of the Tapestry, that is, hidden subversive messages visible to the Anglo-Saxons, are untrue: “The Tapestry . . . is absolutely and unambiguously Norman propaganda . . . [t]here is no Anglo-Saxon code on the Tapestry.” The mysterious Ælfgyva and the image of Harold pulling Nor- man soldiers from the quicksands, the author states, are both part of the Norman political message. Numerous full-color photographs of the Tapestry accompany the text, many of them very close-up. A three-page English-language abstract of the book titled “Escape from Normandy: An Abstract” is provided, as well as the same in French: “Évasion de la Normandie: sommaire.” Van Kempen is a professor of history at Fontys University of Applied Sciences. There is no index.

1661. van Kempen, Ad F. J. “The Mercian Connection, Harold Godwine- son’s Ambitions, Diplomacy and Channel-Crossing, 1056–1066.” History 94, no. 313 (2009): 2–19. Van Kempen attempts to show that Earl Harold’s journey to France in 1064 was a mission of “diplomacy, intelligence, and bribery” to further Harold’s own ambitions for the throne of England. He asserts that Harold did not travel to Normandy to firm up Duke William’s succession, nor did he go there to win the release of the hostages Wulfnoth and Hakon. English and Norman politics are studied and the author closely examines written sources of the time, particularly the Vita Ædwardi and the Gesta Guillelmi of William of Poitiers; the Bayeux Tapestry’s details of Harold’s time in Ponthieu and Normandy are also mentioned throughout the article. In 1064, Harold firmed up a cunning deal with the sons of Ælfgar of Mercia whereby Harold secretly acquired Northumbria, which at the time was ruled by Harold’s brother and rival Tostig. Van Kempen sees Harold’s voyage to Normandy as a continuation of this act of diplomacy in the Midlands. The various reasons that Harold’s ship ended up on the shores of Ponthieu are discussed. The author states that Harold was not likely to have been treated as hospitably by Guy of Ponthieu or by William as is commonly believed. Van Kempen believes that William released Harold to return to England because Harold lied to him: Harold let William hear what he wanted to hear. “An expedition in the name of the ageing king, to confirm this thirteen-year-old nomination this story was certainly believable.” “Harold was in need of a good story to re- gain his freedom,” and it worked. But this backfired on Harold after he took the throne himself: “the most plausible explanation for the heat of the forthcoming struggle between these men is a reversed causation . . . [Harold’s] fabrications about a state mission willy-nilly revived or stimulated William’s latent interest in the English succession” and fueled William’s wrath when Harold’s perjury was realized. The Bibliography 487

1662. Vandersall, Amy L. “The Date and Provenance of the Franks Casket.” Gesta 11, no. 2 (1972): 9–26. Notes: Published by the National Center of Medieval Art. Vandersall, discussing the scenes on the Franks Casket, writes, “The remaining scenes from northern myth would then derive from a second, hitherto unidentified pictorial source, possibly a textile belonging to the tradition from which the Bayeux Tapestry derives. This suggestion is advanced on the basis of a number of unusual decorative details that seem best explained with reference to embroidery procedure such as is seen on the Bayeux Tapestry.” In a note linked to this commentary, Vandersall explains the correspondences between the two, mentioning the dimensions of the Tapestry, its narrative and historical aspects, and the use of decorative animals in the border. Several others are also provided.

1663. Verlet, Pierre, Michel Florisoone, Adolf Hoffmeister, and François Tabard. Great Tapestries: The Web of History From the 12th to the 20th Cen- tury. Lausanne, Switzerland: Edita S.A. Lausanne, 1965. Notes: Edited by Joseph Jobé. Translation of Le grand livre de la tapisserie. Translated by Peggy Rowell Oberson.

1664. Verney, Antoine. Discover Bayeux. Cully, France: OREP Editions, 2009. Notes: Paperback. This glossy, full-color souvenir book of the town of Bayeux provides a general introduction to the Bayeux Tapestry, including a physical description, a summary of the story of the Norman Conquest according to the Tapestry, and some historical background to the story. A heading on The Old Bayeux Tour briefly describes the system of 23 information posts and the numerous bronze “pins” (more like medal- lions) that are secured to the ground and act as path markers for the self-guided tour; these “pins” are adorned with images of the Tapestry’s trees. Includes several Tapestry photographs, including one of the Tapestry in its current installation.

1665. Verrier, Jean. The Bayeux Embroidery Known As Queen Matilda’s Tapestry. Paris: Editions ‘Tel,’ 1946. Notes: Translated by R. Schoedelin. In this 52-page publication, Verrier attributes the Tapestry’s commissioning to Bishop Odo and dates the work between 1066 and 1077. He also gives a brief history of the Tapestry and discusses the likelihood of the embroidery’s designer having a familiarity with the techniques used in mural painting.

1666. Vesey, A., and Bethune Norman. The Medieval Soldier. London: Barker, 1971. Notes: Part of the Medieval Life series. Line drawings by Don Pottinger. Pub- lished by Barnes & Noble in 1993. 488 The Bibliography

1667. Vial, Gabriel. “The Bayeux Embroidery and Its Backing Strip.” The Bayeux Tapestry: Embroidering the Facts of History. eds Pierre Bouet, Brian Levy, and François Neveux, 111–16. Caen, France: Presses Universitaires de Caen, 2004. Before his analysis of the Bayeux Tapestry’s numbered backing cloth, Vial provides statistics on the average thread count of the embroidery linen: 22 warp threads and 18 weft threads per centimeter. For the backing linen, the author concerns himself with the faint blue “decorations” woven into the fabric: crosses, horizontal and vertical lines, and an oriflamme. The spacing of these items is noted and the weaving technique for them is explained. The author provides several hand-drawn diagrams showing the placement of these items. Vial explores possibilities of what the original purpose of this cloth was before it was cut up for the Tapestry in perhaps the sixteenth century. A linen, perhaps seventh-century, with comparable decorations found at Chelles Abbey outside Paris and another from a tomb at Qum’ram in the Judaean desert are examined for the weaving methods of their blue decorations, somewhat different from the methods in the Tapestry’s backing. Includes photographs of the backing from the Tapestry and from the Chelles and Qum’ram examples, plus technical drawings detailing the weaving techniques observed.

1668. Villion, Pierre. “Tapisserie De La Reine Mathilde.” Tourisme Culturel 25 (1957): 38–40.

1669. ———. Vision Secrete De La Tapisserie De Bayeux: Mystères Et Sym- boles. Caen, France: Editions de Neustrie, 1987.

1670. Wace, A. J. B. “Weaving or Embroidery?” American Journal of Ar- chaeology 52, no. 1 (1948): 51–55. In his five-page article, Wace mentions that Walter Leaf and M.A. Bayfield, translators of Homer’s the Iliad, “draw a parallel between Helen’s work and the Bayeux tapestry” in their notes.

1671. Waddell, W. G. “A Plea for Aesop in the Greek Classroom.” The Clas- sical Journal 32, no. 3 (1936): 162–70. Notes: Published by The Classical Association of the Middle West and South. Waddell, of the University of Durham, mentions in a note that “the fringes of the Bayeux Tapestry are adorned with pictures from several fables.”

1672. Wagner, Anthony Richard. Heralds and Heraldry in the Middle Ages: An Inquiry into the Growth of the Armorial Function of Heralds. New York: Oxford University Press, 1956. Notes: Second edition. Originally published in 1939. A later edition was published as part of the Oxford Scholarly Classics series in 2000. The Bibliography 489

This survey of the developments of heraldry in Europe mentions in a passing comment in a chapter in heraldic origins, that the Tapestry’s shields bearing painted devices had no heraldic character. Includes index.

1673. Walker, David. The Normans in Britain. Oxford, U.K.: Blackwell, 1995. Notes: Part of the Historical Association Studies series, Muriel Chamberlain and H.T. Dickinson, general editors. This concise examination of Norman influence in England, Wales, Scotland, and Ireland refers to the Bayeux Tapestry four times, and only as passing commentary in the author’s remarks about Edward’s death and about the Battle of Hastings. Includes handy lists of rulers of the four British Isles’ nations from the eleventh to the thirteenth centuries, a summary timeline of events in those nations, and a chronological list of major architectural projects during those centuries.

1674. ———. William the Conqueror. London: Oxford University Press, 1968. Notes: Part of the series The Clarendon Biographies, volume 22, C.L. Mowat and M.R. Price, general editors. Describing William of Poitiers’ description and the Bayeux Tapestry’s depiction of events surrounding Harold and William leading up to the Conquest, Walker suggests that the story “takes on the qualities of a ritual dance.” He references the Tapestry multiple times in his chapter on the Conquest, drawing particular attention to the oath scene and how it contrasts with literary sources which place the oath at Bonneville-sur-Touques. Additionally, he notes the prominent role of Odo in the embroidery as well as the design commissioned by a Norman patron. Walker, a senior lecturer in history at University College at Swansea, provides a one-page narrative of suggestions for further reading. The cover of this 55-page hardcover book features an image from the Tapestry.

1675. Walker, Ian W. Harold: The Last Anglo-Saxon King. Stroud, Glouces- tershire: Sutton, 1997. This biography and critical analysis of Harold Godwinson’s career has several brief references to the Bayeux Tapestry, most only a sentence’s length. Notable longer remarks, however, include: the authors acknowledgement that the Tapes- try is an important, albeit allusive, source for information on Harold’s career; a paragraph indicating the frustration over the Tapestry showing Harold traveling to Normandy but not indicating why; inclusion of the Tapestry in a discussion on what King Edward, on his deathbed, may or may not have said to Harold; and an interesting passage on what Harold probably looked like, using the Tapestry and coins as primary sources. Includes two full-color plates and over two dozen black-and-white photographs of Tapestry scenes. Although Walker’s many 490 The Bibliography references to the Tapestry in the text are minimal, he sometimes uses its images and their captions to illustrate his discussion points. He often writes captions for Tapestry images to illustrate events that are not in the Tapestry. For example, he shows a photograph of the Tapestry scene in which Harold and his men feast before crossing the Channel with the caption, “Harold at a feast, perhaps like that of Easter 1053.” One image of the Brittany campaign against Duke Conan is erroneously captioned “Norman cavalry ride out to quell English unrest.” Includes three genealogical charts and several maps of Europe and of English earldoms. Despite numerous references in the text, the Tapestry is not included in the index.

1676. Wall, James Charles. Ancient Earthworks. London: Talbot, 1908. Notes: Part of the Antiquaries’ Primers series.

1677. Walls, F. Sidney. “The Bayeux Tapestry: Its Sources and Influences.” Scripta Humanistica Kentuckiensa (1962). Notes: Supplement to the Kentucky Foreign Language Quarterly. Walls, in this eight-page article summarizes the states of various areas of Bayeux Tapestry study as they were at the time of his publication: equine accoutrements used in dating the Tapestry’s manufacture, circumstantial evidence of Bishop Odo’s patronage, the Anglicized spellings of Latin words in the Tapestry’s text, the reputation of Anglo-Saxon needlewomen as evidence of English provenance, the influence of the Winchester style on the Tapestry, the arguments of Jean Verrier for a French provenance of the Tapestry, Aesop’s fables, the rural and agricultural scenes in the Tapestry’s borders (Walls asks whether the eel-catcher in the Tapestry might not depict Harold as “a second Beowulf”), the Norman versus the Anglo-Saxon point-of-view in the Tapestry, the comparison of the Gokstad ship burial to the Tapestry’s ships, and various popular culture references to the Tapestry, such as parodies of it in Life and The New Yorker, and others.

1678. Wardle, Mrs. Thomas Elizabeth. Guide to the Bayeux Tapestry. Lon- don: Bemrose and Sons, 1996. Notes: Extracted from J. Collingwood Bruce’s volume.

1679. Warner, Pamela. Embroidery: A History. London: B.T. Batsford, 1991. Warner, a teacher of practical embroidery for the ILEA and the London Bor- ough of Bromley, offers a four-page section on the Bayeux Tapestry illustrated with black-and-white drawings illustrating types of stitches and simple drawings of figures from the embroidery. Referring to the work as “Norman embroidery” in the opening line, Warner comments briefly on two works related to the Bayeux Tapestry: the piece depicting the deeds of Byrhtnoth from the tenth century and the Icelandic tapestry c. 1000 depicting the life of the Virgin Mary. She goes on to provide numerous facts and details on the Tapestry, commenting “The colours are not used in a naturalistic way; some horses, for example, have ‘odd’ legs. The Bibliography 491

The solid shapes are worked in laid and couched work, a technique that was widely used in Europe until the sixteenth century, and which is used in Iceland to the present day. All the details are in stem stitch. These two techniques are used throughout. On the representation of Mont St. Michel there appears to be some chain stitch, but this is probably a later incorrect repair mistaking two rows of stem stitch. The actual drawing is very simple and cartoon-like, but closer inspection reveals the quality of design in the placing of the birds and animals, the interlacing of the trees, and the sense of pattern and movement.” She writes briefly about the commissioning by Bishop Odo, the Bayeux Cathedral inventory in 1476, and its likely manufacture between the time of the events depicted and Odo’s imprisonment in 1082. Warner comments on the border scenes and the depiction of domestic scenes, costume, boat-building, architecture, use of horses, and tools. The renewal of interest in the Tapestry following the reading of a paper in Paris in 1724 is discussed. Information on the work’s provenance is also included. Additionally, Warner mentions the replica in Reading made by the Leek Embroidery Society and its cleaning by Karen Finch “when her conservation workrooms were in Ealing.” Another section of the book is devoted to the Tapestry of the Creation at the cathedral in Gerona, Spain. Includes a superb timeline and chronology of embroidery in the context of world history, as well as an appendix listing museums, collections, and ecclesiastical vestments; the Centre Guillaume le Conquérant is listed. Includes index.

1680. Warner, Philip. The Medieval Castle: Life in a Fortress in Peace and War. London: Penguin Books, 2001. Notes: Part of the Classic History series. First published by Weidenfeld & Nicolson, London in 1971. Calling the Bayeux Tapestry “a mine of information” on the motte and bailey castle, Warner references the embroidery’s depictions of the castles at Rennes, Dinan, and Hastings. Of the latter, he suggests the mound looks like “multi-storey sandwich.” He goes on to note that until excavations elsewhere showed evidence of their construction, it was thought that these illustrations were merely artistic license. Warner also writes about the scene featuring a conflict between workers: “Another curious feature of the same section is that two of the workmen are having a fight with spades (behind the overseer’s back of course). No doubt there were occasions when the labour force, which would be made up of conquered tribes, nurtured stronger hate for fellow-victims than it did for the comparatively new enemy which had forced them into slavery. In other sections there are vigorous attacks; cavalry are prominent but the main damage is being done by arrows, or by the bearers of incendiary weapons which look like long torches.” Includes a helpful glossary of terms, a select bibliography and an index. Warner, a graduate of Cambridge University and author of 50 books, was a senior lecturer and head of communication studies at the Royal Military Academy Sandhurst. 492 The Bibliography

1681. ———. Sieges of the Middle Ages. New York: Barnes and Noble Books, 1994. Notes: Originally published in 1968. This interesting volume is Warner’s study of English sieges from the Norman Conquest through the War of the Roses. A chapter “The Castle as an Instrument of Conquest” mentions the Bayeux Tapestry for its depiction of motte construction and two workers hitting each other with shovels. He briefly discusses Hum- phrey of Tilleul, commander of the castle at Hastings, who chose to return to Normandy, “henpecked” by his wife back home who, like many Norman wives, threatened to look for a new lover if he didn’t come home soon. Contains numerous photographs, diagrams, a glossary, notes, bibliography, and an index.

1682. Warren Schloat Productions. The Bayeux Tapestry. Notes: Part of the series Great Works of Art Explained. This 72-frame 35mm filmstrip lasts 17 minutes and includes a teacher’s guide. It provides basic information on the Bayeux Tapestry highlighting its role as an important historical document and as “the only known example of the technique of narrative needlework surviving from the middle ages.” Warren Schloat Pro- ductions was an educational publishing company founded in the 1960s and sold to Prentice-Hall in 1970. Schloat was an animator and children’s author.

1683. Webb, Brian Albert. Transitions in Artistic Renderings: Evolution of the Human Condition Through Fabrications of War. Louisville, KY: Univer- sity of Louisville, 2009. Notes: This was the author’s thesis for his Master of Arts degree. It explores the visual narrative and historiographic logic captured within the Fabrications of War Thesis Show 2009, which displays paintings and prints completed from 2007 to 2009.

1684. Webb, Geoffrey. Architecture in Britain: The Middle Ages. Baltimore, MD: Penguin, 1956. Notes: Part of The Pelican History of Art series, edited by Nikolaus Pevsner. In his chapter titled “Romanesque and Early Gothic Buildings Other Than Churches,” Webb writes, “The other halls of the eleventh century of which we have remains are all parts of large castles, as Chepstow, Richmond, and possibly Corfe, and have not retained any very remarkable characteristic qualities except that, unlike Westminster, they are all raised on undercrofts, and compare in this way with the well-known illustration of Harold’s Hall at Bosham in the Bayeux Tapestry.” Includes index. Webb, who may be cited as Geoffrey Franklin Webb, served as Secretary to the Royal Commission on Historical Monuments in Eng- land. The Bibliography 493

1685. Webber, Nick. The Evolution of Norman Identity, 911–1154. Rochester, NY: Boydell Press, 2005. Webber presents issues of Norman identity, ethnicity, and nation through an examination of modern and medieval history, literature, and social sciences. On the topic of a Norman positive self-image after the Battle of Hastings, the Bay- eux Tapestry is mentioned alongside William of Jumièges, William of Poitiers, and Guy of Amiens as sources of information about Norman identity. He goes on to note that in battle, the Tapestry calls the Normans Franci, which may be a word-choice of an English embroiderer, and he points to the issues of the Tap- estry’s text that support an English origin of the inscriptions. On the other hand, he takes a look at the Norman bent in the Tapestry’s “exhorts his soldiers that they prepare themselves manfully and wisely for battle against the English,” text which supports the notion that the Normans “had no doubt of their own great- ness . . .” Whether the animal fables in the borders favor the Normans or present a pro-English subtext is briefly studied. Webber is resources coordinator for the Department of Media and Communication, University of Central England. In- cludes bibliography and index.

1686. Weber, Francis J., and Regis Graden. The Bayeux Tapestry. Mission Hills, CA: Junipero Serra Press, 2003. Notes: This book was designed, printed letterpress, and bound by Regis Graden at his Nut Quad Press at Oceanside, California in an edition of 275. Four libraries own the title, including the McGehee Lindemann Miniature Book Col- lection (University of Virginia); 3 1/4” x 2 5/16,” paper wrapper.

1687. Webster, Armelle. “The Bayeux Tapestry: A Medieval Document In- spires Students.” Learning Languages 1, no. 2 (1996): 3–7. The article describes the six-week visit to Normandy by a middle school French teacher funded by a National Endowment for the Humanities grant. She researched the Bayeux Tapestry and William the Conquerer and incorporated her findings into integrated lessons for her students.

1688. Wedgwood, Cicely Veronica. Battlefields in Britain. New York: Hast- ings House. Notes: Part of the series Britain in Pictures: The British People in Pictures, W.J. Turner, general editor. First edition published by W. Collins in 1944. Wedgwood mentions the Bayeux Tapestry in her discussion of William’s bowmen who she notes are “not generally regarded as a very important branch of his troops.” She notes that the embroidery shows the “few hundred” of them as “lightly armed, carrying a quiver of small arrows and the childish-looking little bows, not a yard long, which they hold before their faces and draw back to their noses, no further.” Includes a colorplate of the Tapestry’s death scene of Harold as well as a black-and-white detail of the Saxon shield wall scene and a border scene of dying men in battle. No index. 494 The Bibliography

1689. Weeks, Jeanne G., and Donald Treganowan. Rugs and Carpets of Europe and the Western World. Philadelphia: Chilton Book Company, 1969. Notes: Also cited as published by Weathervane Books, New York, 1969. The authors briefly mention the Bayeux Tapestry in a discussion of the influence of hand embroideries on the production of carpets for wealthier households. Noting that Matilda “was said to have created the famous Bayeux tapestry while waiting for her husband to return from the battlefield,” they write that “it was the delightful light and brightly colored threads these women used for their handi- work which finally influenced the colorations and patterns peculiar to the English hand-knotted and woven rugs and carpets.” Includes a bibliography and index where the embroidery is listed as the “Beyeux [sic] tapestry.”

1690. Weigert, Laura. “Reconstructing Medieval Pictorial Narrative: Louis Joubert’s Tapestry Restoration Project.” Art Journal 54, no. 2, Conservation and Art History (1995): 67–72. Notes: Published by the College Art Association. In her discussion of chronological order in the Life of Gervasius and Protasius tapestry, Weigert uses a note to reference the use of reverse chronological order in the Bayeux Tapestry’s depiction of Edward the Confessor’s burial, noting that it precedes his death. Includes images of the Life of Gervasius and Protasius tapestry at Saint-Julien, Le Mans. Weigert wrote this article soon after receiving her doctorate from Northwestern University; her dissertation was on the narrative structure and liturgical use of late medieval choir tapestries.

1691. Weigert, Roger-Armand. French Tapestry. London: Faber and Faber, 1962. Notes: Translated by Donald and Monique King. Originally published by Societé Encyclopédique Universelle Paris in 1956. Also published by Charles T. Branford Company, Newton, MA in 1962. In a chapter titled “The Origins and Early History of Tapestry in the West,” Weigert notes the representation of a mail-clad horsemen in the Oslo Tapestry and how it is in the style of the figures in the Bayeux Tapestry. He also mentions the erroneous extension of the word tapestry to include needlework or embroidery, noting the “most celebrated instance” as the Bayeux Tapestry. Includes bibliography arranged by chapter and an index.

1692. Weir, Judith. Thread!: After a Text From the Upper Horizontal Border of the Bayeux Tapestry. London: Novello, 1981. Notes: A facsimile study score. Commissioned by the New Music Group of Scotland with financial assistance from the Scottish Arts Council. The “Com- poser’s Note” has a 1995 copyright. This study score of an 18-minute piece, scored for woodwinds, string quartet, piano, percussion, and reciter, layers a loose interpretation of the Bayeux Tapes- The Bibliography 495 try’s Latin text over an energetic, expressive, and often atonal score. In the com- poser’s note, she states her intention that the reciter declaim the text “severely,” “dead-pan, unhurried, and unexaggerated” so that he or she may blend with the musical setting. Weir notes that she has, for dramatic reasons, made “small alterations” to the English translation of the text and has added “the occasional word.” While she often does indicate faithful translations of the Latin, and does indeed alter the text slightly in places, several invented lines of text appear, for example: “Duke William makes a treaty of friendship with Harold” “and swears allegiance on the holy relics of St. Ravennus,” “Harold imagines that the flying star is a portent of disaster” and “and here he has raised aloft the banner which was the Pope’s gift.” The score calls for a battery of percussion instruments consisting “largely of post-industrial junk found around the streets of Glasgow, where the piece was written.” One measure from the end, after a spoken “Amen,” Weir indicates that a percussionist or the reciter should shut the cover of a heavy book at mezzo-forte.

1693. Weisser, Henry. England: An Illustrated History. New York: Hippo- crene Books, 2000. Weisser, in his section on the Norman Conquest, writes that “the famous Bay- eux tapestry records this desperate struggle in the woods of southeastern England where a mere eight thousand men changed the whole history of the island.” In- cludes an index, but the Tapestry is not listed. The author is a professor of history at Colorado State University.

1694. Wells, Kate Gannett. “Fancy Work or Nature Studies.” The North American Review 167, no. 503 (1898): 504–7. Wells begins her short piece with the line “The prevalence of abortive effects in art through the medium of fancy work is pathetic, though from an anthropological point of view it is an interesting contribution to the study of woman, for it shows her tireless energy in doing something.” Later, she references the famous embroidery, writing, “If fancy work were restricted to embroidery, the evil in its misuse might wear itself out, just as fashions vanish, but it is a movable term or occupation which, invoking art on its behalf, poses before the public as expressions of the beautiful or as opportunity for self-support. It has its artistic side in imitations of the Bayeux tapestry; its noble purpose in High Church embroidery alas for the congregation which each Sunday views a calla lily wrought as if it were a flat flower, its exquisite tracery in laces and its coarse imitations in crochet edgings for cotton skirts; though it is absurd that fine work done with a hook commands less price than when executed by the needle.”

1695. Werckmeister, Otto K. “The Political Ideology of the Bayeux Tapes- try.” Studi Medievali, 3rd Series 17, no. 2 (1976): 535–96. 496 The Bibliography

1696. West, John. “Frieze Frame.” The Times Educational Supplement, 17 February 1989, sec. No. 3790, Section B, p. 26.

1697. West, Willis Mason. Modern History: Europe, From Charlemagne to the Present Time. Boston: Allyn and Bacon, 1907. Notes: Revised edition. Part of the Allyn and Bacon’s Series of School His- tories.

1698. ———. The Story of World Progress. Boston: Allyn and Bacon, 1928. Notes: Part of the Allyn and Bacon’s Series of School Histories.

1699. Westerfield, Nancy Gillespie. “And Here the Soldiers Have Come Rap- idly to Hastings.” College English 39 (1978): 943. Notes: The poem is dated April 1970. Westerfield’s poem references Harold’s march, Battle, “ancient symmetrical heraldry,” “Saxon pillboxes,” and a “Japanese shieldwall.”

1700. Wexler, Victor G. David Hume and the History of England. Philadel- phia: American Philosophical Association, 1979. Notes: Part of the series Memoirs of the American Philosophical Association, volume 131.

1701. Wheatley, Henry B. “Revival of Art Needlework As a Decoration.” The Decorator and Furnisher 1, no. 1 (1882): 16. In an article lauding the recent end of a two-century lag in the industry of decorative needlework, Wheatley notes that medieval needlework was almost without exception ecclesiastical, that exception being, of course, the Bayeux Tapestry “worked by court ladies under the direction of Queen Matilda.”

1702. Wheeler, Candace. The Development of Embroidery in America. New York: Harper & Bros., 1921.

1703. Wheeler, Edd. “The Battle of Hastings: Math, Myth and Melee.” Mili- tary Affairs 52, no. 3 (1988): 128–34. Wheeler, the patron of the western hemisphere’s only full-scale replica of the Bayeux Tapestry on display at the University of West Georgia, intends to “clear the debris” around the persistent question, “what number of contestants stood and fought near Hastings on 14 October 1066?” The various contemporary sources for the figures are considered, not the least of which is the Bayeux Tapestry. He presents three scenarios, based on fleet size and composition and the extent of William’s commitment to cavalry, for calculating the size of the Norman army, each scenario resulting in different figures. Across his three proposals, Wheeler provides data tables showing that William had anywhere from 8,568 to 17,257 The Bibliography 497 men transported over the Channel to invade England; the author provides explanations for how his calculations were performed. Harold’s army was possibly outnumbered three to one with a force of no more than 5,000 men, a figure determined by looking at Harold’s available levies, the terrain where the Battle took place, and the effectiveness of the Anglo-Saxon shield-wall; for the Anglo-Saxon army, there are no tables or intricate calculations provided. Wheeler also briefly examines the sizes of the forces at Stamford Bridge. Includes a small topographical map of the battle site and four photographs of the Tapestry. Wheeler is a retired U.S. Air Force lieutenant colonel and an Atlanta-area attorney.

1704. White Jr., Lynn. “The Crusades and the Technological Thrust of the West.” Technology and Society in the Middle East. eds Vernon J. Parry, and Malcolm E. Yapp. London: Oxford University Press, 1975. Notes: This article was reprinted in White’s Medieval Religion and Technol- ogy: Collected Essays. References to the Bayeux Tapestry in this article are included in the annotation for White’s monograph. Parry and Yapp’s volume presents papers presented at an international conference held at the School of Oriental and African Studies, University of London in 1970.

1705. ———. “Eilmer of Malmesbury, and Eleventh Century Aviator: A Case Study of Technological Innovation, Its Context and Tradition.” Tech- nology and Culture 2 (1961): 97–111. Notes: This paper was delivered as a presidential address to the Society for the History of Technology in New York City on December 29, 1960. This article was reprinted in White’s Medieval Religion and Technology: Collected Essays. References to the Bayeux Tapestry in this article are included in the annotation for the monograph.

1706. ———. “The Legacy of the Middle Ages in the American Wild West.” Speculum 40, no. 2 (1965): 191–202. Notes: Published by the Medieval Academy of America. In a discussion of three medieval inventions related to horse traction and a relationship with the Conestoga wagon, White mentions the Bayeux Tapestry as offering the earliest evidence of the whipple-tree in a border scene. The Tapestry is then dated as no later than 1077.

1707. ———. “The Life of the Silent Majority.” Life and Thought in the Early Middle Ages. ed Robert S. Hoyt, 85–100. Minneapolis: University of Min- nesota Press, 1967. Notes: This article was reprinted in White’s Medieval Religion and Technol- ogy: Collected Essays. References to the Bayeux Tapestry in this article are included in the annotation for White’s monograph. Originally a lecture, this was delivered with the above title at the University of Minnesota on April 17, 1963. 498 The Bibliography

1708. ———. Medieval Religion and Technology: Collected Essays. Berkeley, CA: University of California Press, 1978. Notes: A publication of the Center for Medieval and Renaissance Studies at the University of California, Los Angeles. In this collection of 20 intriguing and very readable essays over 50 years, selected by the author from among his many “scattered” essays on medieval technology, White discusses the Bayeux Tapestry in five. “Technology and In- vention in the Middle Ages” discusses the appearance of a horse-drawn plough in the Tapestry, the first known depiction of a horse so engaged, and that the horse’s fuel, grain, was far more costly than an ox’s, hay. “Eilmer of Malmes- bury, an Eleventh Century Aviator: A Case Study of Technological Innovation, Its Context and Tradition” provides a fascinating story of a Benedictine monk who built and flew a flying apparatus, an account that was recorded by the historian William of Malmesbury as he was discussing the comet that appeared above England in the spring of 1066 and which is of course depicted in the Tapestry. “The Legacy of the Middle Ages in the American Wild West” compares lasting attitudes, ideals, and behavioral patterns from the pioneer western United States to the Middle Ages; the Tapestry’s image of a “whipple-tree,” the device being dragged behind the harnessed horse in the lower border of the scene where Guy is confronted by William’s messengers, is described with the horseshoe and horse harness as being three elements of the Conestoga wagon of the American West. In “The Life of the Silent Majority,” White examines medieval history from the standpoint of the agrarian peasant and once again mentions the innovation of the horse-drawn whipple-tree plough. He mentions this device one last time briefly in “The Crusades and the Technological Thrust of the West.” Includes an index.

1709. ———. “Technology and Invention in the Middle Ages.” Speculum 15 (1940): 141–59. Notes: Published by the Medieval Academy of America. This article was reprinted in White’s Medieval Religion and Technology: Collected Essays without the concluding “Note on the Sources.” References to the Bayeux Tapestry in this article are included in the annotation for the monograph.

1710. White, R. J. A Short History of England. Cambridge, U.K.: Cambridge University Press, 1967. Calling the Bayeux Tapestry “an eloquent witness of the Norman point of view” in a discussion of whether Harold committed perjury, White notes the central scene of the work depicts “the shipwrecked Harold swearing allegiance to Duke William “over the sacred relics of Bayeux.” Later, in a chapter titled “The Anglo-Norman State,” White alludes to the Tapestry’s possible Norman origin, “William’s attitude can be shown from the old story of his seizing a couple of handfuls of the soil when he took a toss from his horse on landing at Pevensey. He was, in feudal terms, ‘taking seisin’ of what, according to Norman propaganda, and especially as we see it in the Bayeux Tapestry, the most famous The Bibliography 499 example of the Norman genius for making everything, even needlework, serve the cause of public relations, had been promised by Edward the Confessor, if not by Harold when he visited William on the occasion of his celebrated shipwreck on the Norman shore in 1064.” The author is a fellow of Downing College, lecturer in history at the University of Cambridge. Includes a postscript and index.

1711. White, Reginald James. The Horizon Concise History of England. New York: American Heritage, 1971. This volume is part of a series of “innovative, well-illustrated history books” that are “quick, easily grasped, and highly readable” and that “provide brief, adult, absorbing and memorable” reading experiences. The Bayeux Tapestry is mentioned as the “priceless, if somewhat biased” relic embroidered to tell the story of the Battle of Hastings. Includes a large, full-color two-page spread photograph of a Tapestry scene. Includes index.

1712. White, Stephen D. Custom, Kinship, and Gifts to Saints: The “Laudatio Parentum” in Western France, 1050–1150. Chapel Hill, NC: University of North Carolina Press, 1988. Notes: Part of the series Studies in Legal History.

1713. Whitelock, Dorothy. “The Anglo-Saxon Achievement.” The Norman Conquest: Its Setting and Impact. Dorothy Whitelock, David C. Douglas, Charles H. Lemmon, and Frank Barlow, 13–43. New York: Charles Scrib- ner’s Sons, 1966. Notes: “A Book Commemorating the Ninth Centenary of the Battle of Hast- ings, Compiled by The Battle and District Historical Society.” Whitelock’s essay highlights the achievements of Anglo-Saxon poetry, history, law, government, commerce, church, scholarship, and manuscript illumination and other visual arts, in which the Tapestry is mentioned with St. Cuthbert’s stole as remarkable examples of medieval English embroidery. He also notes that the Tapestry passes over William’s raising of his army.

1714. ———. The Beginnings of English Society. New York: Penguin Books, 1981. Notes: Part of the series The Pelican History of England. Originally published in 1952. There are several revisions and reprints. The Bayeux Tapestry is referenced briefly both in a discussion of Saxon domestic architecture and a chapter on Anglo-Saxon art.

1715. ———. History, Law and Literature in 10th-11th Century England. Lon- don: Variorum Reprints, 1981. Notes: Part of the Collected Studies series. Variorum Reprint CS128. Whitelock, in her opening chapter titled “Changing Currents in Anglo-Saxon Studies,” discusses the Anglo-Saxon influence on illumination and its survival 500 The Bibliography beyond the Conquest. Here, she references the scholarship of Dodwell, Pächt, and Wormald, but notes that the “progress that has been made in establishing this influence is perhaps best shown by Professor Wormald’s quiet little remark in the photographic reproduction of the Bayeux Tapestry published last year: ‘. . .the identification of its place of origin is much handicapped by the fact that both English and Norman MSS. of the second half of the eleventh century were deeply indebted to the great Anglo-Saxon school of illumination which had flourished in the second half of the tenth and in the first half of the eleventh centuries.’ This magnificent reproduction of the Bayeux Tapestry, which includes a definitive chapter on ‘Style and Design’ by Professor Wormald, is among the outstanding contributions of this generation to Saxon studies.” In Chapter VI, “The Anglo-Saxon Achievement,” Whitelock emphasizes the Tapestry “is Eng- lish work” and that it is an example of the quality of English embroidery along with the stole found in St. Cuthbert’s coffin, likely made between 909 and 916. Includes detailed index.

1716. Whitelock, Dorothy, David C. Douglas, Charles H. Lemmon, and Frank Barlow. The Norman Conquest: Its Setting and Impact. New York: Charles Scribner’s Sons, 1966. Notes: “A Book Commemorating the Ninth Centenary of the Battle of Hast- ings, Compiled by The Battle and District Historical Society.” This volume presents four excellent essays, albeit very general in scope, on the Norman Conquest by noteworthy authorities, three of which mention the Bayeux Tapestry. Essays include “Introduction: with Notes on Harold and the Bayeux Tapestry” by C.T. Chevallier; “The Anglo-Saxon Achievement” by Dorothy Whitelock, professor of Anglo-Saxon poetry and history at Cambridge Univer- sity; “William the Conqueror: Duke and King” by David C. Douglas, professor of history at the University of Bristol; “The Campaign of 1066” by Lt.-Col. Charles H. Lemmon, Royal Artillery president of The Battle and District Historical So- ciety; and “The Effects of the Norman Conquest” by noted medieval biographer Frank Barlow, professor of history at the University of Exeter. Douglas’ informative biography of William begins with a lively look at the Conqueror’s ubiquity in today’s England. Each essay is annotated separately. Surprisingly, Douglas makes no mention of the Tapestry in his essay, although a photograph of the Tapestry’s oath scene is included. Includes bibliography and an unreliable index.

1717. Whitlock, Ralph. The Warrior Kings of Saxon England. New York: Dorset Press, 1991. Whitlock profiles Saxon leaders from the departure of the Romans in the fifth century through Edmund Ironside in the early eleventh century. The Bayeux Tapestry is mentioned briefly a few times in passages about shields and axes. Includes a genealogical chart from Egbert in the ninth century through Edward the Confessor. The Bibliography 501

1718. Whyte, Kathleen. Design in Embroidery. London: B.T. Batsford, 1969. Notes: Also published by Charles T. Branford Company in Newton Centre, MA. In an early chapter that provides a historical review of embroidery, Whyte calls the Bayeux Tapestry “probably the best-known piece of stitchery in the Western World, and certainly the most alive in design.” She writes that it “seems unique in its portrayal of secular of that time” and that it “has the topicality and excitement of a strip cartoon.” Whyte also comments on the coarse workmanship of the embroidery, describing it though as “vigorous and accurate in drawing, losing nothing of the designer’s original skill.” This heavily illustrated book is useful for broad audiences, from hobbyists to scholars. Includes an index and list of books for further study. Whyte is senior lecturer in charge of embroidery and weaving at Glasgow School of Art.

1719. Wiesner, Merry E., William Bruce Wheeler, and Kenneth Robert Cur- tis. Discovering the Medieval Past: A Look at the Evidence. Boston: Houghton Mifflin, 2003. Intended as a textbook for students enrolled in medieval history courses, this volume offers 11 chapters, each divided into sections: The Problem, Sources and Methods, The Evidence, Questions to Consider, and Epilogue. In the authors’ third chapter, titled “The Development of the Medieval State,” a scene from the Bayeux Tapestry depicting King Harold seated on the throne with Englishmen pointing at Halley’s comet is provided in the Sources and Methods section. Other than a brief description of this scene, there is little notable content.

1720. Wieton, C. “Bayeux Tapestry.” The Art of Needlework, 84–116. Lon- don: 1844.

1721. Wilder, Jesse Bryant. Art History for Dummies. Hoboken, NJ: Wiley, 2007. This bare-bones survey of artworks, artists, and art concepts presents the Bayeux Tapestry over three full pages in casual and often cheeky language. In an “aside” on how to read a visual narrative, the Tapestry is used as an example. A very terse and tidy account of the political events that led up to the Battle of Hastings is provided. The author notes how the Tapestry has been useful to historians in determining aspects of daily material culture in eleventh-century England and Normandy: skewered chickens, weapons, and the Saxons’ “Beatles- style haircuts.” The illegitimacy of Stigand’s archbishopric is clearly laid out and William’s gain of papal support is discussed as part of his winning the “PR war before the battle even started.” The two sides of the designer’s intentions in the Tapestry’s borders are examined briefly, and the author leans toward the argument of subversive messages from the “losers’ side of the story.” One black-and- white photo of the Tapestry is included. Wilder is an art critic, author, and editor. 502 The Bibliography

1722. Wilkins, David G., Bernard Schultz, and Katheryn M. Linduff. Art Past, Art Present. Upper Saddle River, NJ: Pearson/Prentice Hall, 2009. Notes: Originally published in 1990. In this exceptional textbook and survey of the world’s art, the authors offer a brief narrative on the Bayeux Tapestry and a vivid color photograph of the scene depicting Harold receiving a messenger. This narrative, contained within a section on Romanesque art in Europe, describes the action in the illustrated scene, noting the appearance of Halley’s comet. The authors write that “The sequence of historical events is narrated in a lively manner. The curving axes of the figures of Harold and the messenger help to animate the scene, while the abstracted tree to the right with its undulating rhythm, demonstrates the continuation of Anglo- Saxon interlace motifs and asserts a vitality that permeates much of the work. The limited colors are used decoratively rather than descriptively, and the abstract rhythms of the composition enliven the historic narrative.” Includes a glossary, bibliography arranged by art period, and an index. Wilkins is professor emeritus of the history of art and architecture at the University of Pittsburgh; Schultz is dean of the College of Creative Arts at West Virginia University; and Linduff is professor of the history of art and architecture as well as a professor of anthropology at the University of Pittsburgh.

1723. Wilkinson, Frederick. Battle Dress: A Gallery of Military Style and Or- nament. Garden City, NY: Doubleday, 1970. Notes: Published in Great Britain by Guinness Signatures, London. Author, lecturer, and London schoolteacher Wilkinson presents this work “for the interest of collector and general reader alike some of the most significant milestones in the evolution of military dress.” In his chapter on mail and plate armor, he discusses at length the Bayeux Tapestry’s mail in terms of its fitting and comfortableness, and that the Tapestry’s mail trousers were merely a conventional representation of a hauberk split front and back to allow the fighter to sit on his horse. He notes that although the Tapestry depicts dead soldiers as naked beneath the mail that is being stripped from them, they certainly must have worn some type of undergarment. The mysterious rectangular chest sections shown on some of the Tapestry’s mail-clad men are mentioned and Wilkinson states that trying to understand what these were “is hardly fruitful as there is simply no concrete evidence to settle the matter.” The inside padding and the system of hand straps in Tapestry’s kite shields are discussed. A passage on belts and buckles through the ages mentions the Tapestry’s depictions of them, especially where Harold is shown holding his sword in its scabbard with the belt and buckle dangling. The Tapestry’s banners and gonfanons are discussed briefly, and the author notes that they are primarily used as indicators of rank, with the exception of a possible semi-circular papal banner. Includes index. The Bibliography 503

1724. Wilkinson, James, and C. S. Knighten. Crown & Cloister: The Royal Story of Westminster Abbey. London: Scala Publishers Ltd, 2010. Notes: Introduction by the Dean of Westminster.

1725. Williams, Ann. “A Bell-House and a Burh-Geat: Lordly Residences in England Before the Norman Conquest.” Medieval Knighthood IV: Papers From the Strawberry Hill Conference 1990. eds Christopher Harper-Bill, and Ruth Harvey, 221–40. Woodbridge, U.K.: Boydell Press, 1992. This examination of burhs and bell-houses mentions the Bayeux Tapestry in passing comments dealing with gate-houses and mottes, and in “the only surviving pictorial representation of an English manor, that of Bosham in the Bayeux Tapestry.”

1726. ———. “A Bell-House and a Burh-Geat: Lordly Residences in England Before the Norman Conquest.” Anglo-Norman Castles. ed Robert Liddiard, 23–40. Woodbridge, U.K.: Boydell Press, 2003. Notes: This chapter also appeared in Medieval Knighthood IV: Papers From the Strawberry Hill Conference 1990, edited by Christopher Harper-Bill and Ruth Harvey, and is annotated separately.

1727. ———. The English and the Norman Conquest. Woodbridge, U.K.: Boydell Press, 1995.

1728. ———. “How to Be Rich: The Presentation of Earl Harold in the Early Sections of the Bayeux Tapestry.” The Bayeux Tapestry: New Approaches, Proceedings of a Conference at the British Museum. eds Michael J. Lewis, Gale R. Owen-Crocker, and Dan Terkla, 66–70. Oxford, U.K.: Oxbow Books, 2011. Notes: Also cited, prior to publication, as New Research on the Bayeux Tapes- try: The Proceedings of a Conference at the British Museum. Williams, Senior Research Fellow at the University of East Anglia, Norwich, almost apologizing for yet “another paper on status in the Bayeux Tapestry” admits there “may be some mileage left” in analyzing the Tapestry’s depiction of Harold Godwinson. Harold is shown with many indicators of high status: a close relationship with the king; his maintaining a hired, or retinue of household retainers; the sumptuous eating and drinking at his Bosham manor, a residence which is close to an important church; and finery such as his clothes, well-bred horses and their tack, hunting dogs, and hawks. Williams samples archaeological, literary, and documentary evidence to support her observations.

1729. ———. The World Before Domesday: The English Aristocracy 871–1066. London: Continuum, 2012. 504 The Bibliography

1730. Williams, Brenda. The Saxons. Andover, U.K.: Pitkin Guides, 2004. Notes: Paperback. Part of the Pitkin Guides series of historical titles. Three color images from the Bayeux Tapestry are included in this introductory text to Saxon history. Captions for the images reference the “chain-mailed might of the Normans,” the deathbed of Edward the Confessor and how his demise “foreshadowed the end of Saxon rule in England,” and the chainmail, sword, and helmet of a Norman knight being presented with his mount for battle by a squire. The 20-page booklet is heavily illustrated and includes an excellent map of Saxon England on the back cover.

1731. ———. Saxons and Vikings. Andover, U.K.: Pitkin Guides, 2009. Notes: Paperback. Part of the Pitkin Guides series of historical titles. Originally published in 2001. In this 21-page richly illustrated introduction to the Vikings and the Anglo- Saxons, the Bayeux Tapestry is boldly featured in the final section titled “Last of the Earls.” Shown is a color scene from the Tapestry depicting the English shield- wall formation. The caption notes that the “tightly packed soldiers stand shoulder to shoulder, parrying blows from sword, lance, axe and arrows.” The author goes on to write, “When the Saxons broke rank, the battle was lost.” Includes a map of Saxon and Viking Britain and a list of places to visit.

1732. ———. Secrets of the Domesday Book. Andover, U.K.: Pitkin Publish- ing, 2008. Notes: Paperback. Reprint. Originally published in 2004. The Bayeux Tapestry features prominently in this short, but extremely informative guide to the Domesday Book. Seven color images from the embroidery are used throughout the text to illustrate the story of the Norman Conquest, the nature of warfare in the eleventh century, to reference major characters in the Tapestry, and to highlight agricultural themes. Captions are offered for each, one noting King Harold riding “with hawk and hounds through pre-Domesday countryside” and drawing attention to the Saxons’ “luxuriant moustaches; most Normans shaved their top lips.” This heavily illustrated paperback includes numerous photographs and other images, including an image of William from the Tapestry on the book’s cover.

1733. Williams, Brenda, and Brian Williams. Secrets of the Bayeux Tapestry. Andover, U.K.: Pitkin Publishing, 2008. Notes: Paperback. Foreword by Sylvette Lemagnen, Bayeux Tapestry curator. Part of the Pitkin Guides series of historical titles. This richly illustrated souvenir book is a concise introduction to the Bayeux Tapestry, recounting the story within the Tapestry and the events not depicted, such as Tostig’s attacks and Eustace of Boulogne’s attack on Dover. Contains dozens of full-color photographs of the Tapestry, manuscripts, related artifacts, The Bibliography 505 and buildings. Includes a map of Tapestry lands, a list of key dates from the first century BC to 1983, and several side-bars such as “The Five Ælfgyvas,” “Miss- ing Bones,” and “Where was Harold Crowned?” The caption of one photograph of the Tapestry misidentifies Guy as William; another caption incorrectly states that William is shown giving orders to ruin Harold when he is actually ordering his messengers to free Harold from Guy.

1734. Williams, Nia. Normandy. Basingstoke, U.K.: AA Publishing, 2008. Notes: Part of the Essential Spiral series. Paperback. In this spiral-bound guide for visitors, Williams offers a two-page section on the Bayeux Tapestry, including it in a list of the ten best places to see in Nor- mandy. She suggests that Bishop Odo “decided to decorate his new cathedral with a spectacular wall-hanging to impress pilgrims and local people coming to the church.” Describing the experience of visiting the museum, she writes, “Be- fore seeing the tapestry, visitors are led past a long but useful exhibition, which suggests the tapestry deliberately includes flashbacks and split-screen effects for dramatic impact. An audio-visual commentary then guides you all too quickly past the genuine article. The wealth of detail deserves a much longer browse: spies listening to royal conversations; the Saxons sporting droopy moustaches; Halley’s Comet shooting ominously over Harold’s coronation; food and wine being loaded for the invasion fleet; and, in the final battle scenes, horses mustering, galloping and falling while, in the tapestry margins, soldiers’ corpses are stripped of their armour. It’s so fresh and energetic that you can almost hear the din of a battle fought over 900 years ago.” Includes a color image from the tapestry and a photograph of the Tapestry on display. A caption notes that “all the colour, character and action of a good film are captured” in the embroidery. Includes maps and index.

1735. Williamson, David. Debrett’s Guide to Heraldry and Regalia. London: Headline, 1992. Notes: Foreword by Sir Colin Cole. Discussing the “shields and standards painted with devices of one sort or another” in the Bayeux Tapestry, Williamson suggests they “appear to have been purely decorative and by no means exclusive to an individual.” Later in the opening chapter titled “The Origins and Development of Heraldry,” he writes that “The arms attributed to the unfortunate Harold II (1066) are far more elaborate, being blazoned as gules crusily argent, two bars between six leopards’ faces, three, two and one. However, the Bayeux Tapestry shows the old dragon standard of Wessex being borne in Harold’s army and the dragon as a symbol is certainly of great antiquity in Britain, possibly deriving from a Roman military ensign.” The book is thoroughly illustrated with both black-and-white and color images. It also includes a glossary, bibliography, and index. 506 The Bibliography

1736. Wilson, David. The Bayeux Tapestry. New York: Knopf, 1985. Notes: Published as The Bayeux Tapestry: The Complete Tapestry in Colour by Thames & Hudson, London in 2004. This large, famous book is most notable for its large full-color photographs of the Bayeux Tapestry without interruptions of text or glosses. The foreword is by the mayor of Bayeux at the time of publication, Jean le Carpentier. Wilson’s introduction considers the Tapestry from a historical and an artistic perspective. The photographs are 54 percent of actual size and allow the reader see the finest details of original stitching technique, damage, repairs, and restoration efforts. A smaller black-and-white reproduction of the entire Tapestry follows with scene- for-scene commentary. Noteworthy is an interesting photograph (in black and white) of the reverse side of a scene in the tapestry showing loose ends of thread and a unique opportunity to view the pattern of couch-stitching minus the “laid” threads. A concise chapter tells the story in the Tapestry. Wilson explores the Tapestry’s provenance, patronage, literary influence, style, art, form, buildings, dress, and objects illustrated by photographs of other graphic textiles, art works, manuscript drawings, one architectural detail, and artifacts such as the Oseberg “great bed,” and a few objects of medieval warfare. Wilson writes an informative passage (accompanied by a photograph) on the “Helmet of St. Wenceslas” and its parallels to the Tapestry. He also features a family tree of the English and Nor- man ruling families and map of Tapestry lands and waters. 331 endnotes. A note on the dedication page comments on the photography, its lighting, scale, and the photographs taken while the Tapestry was removed from its case. For its large, full-color photographs of the entire Tapestry, this is an essential resource.

1737. Wilson, David M. Anglo-Saxon Art: From the Seventh Century to the Norman Conquest. Woodstock, NY: The Overlook Press, 1984. In a discussion on Anglo-Saxon stone sculpture, Wilson compares a fragment of sculptural frieze from the demolished Old Minster at Winchester to the Bayeux Tapestry’s chain mail and swords. In the closing section, Wilson quotes Charles Dodwell, saying that “the immediate effect of the Conquest was not to accelerate the Romanesque development, but rather to impede it . . . ” Wilson then uses the Tapestry to illustrate this point. Included are numerous photographs of Anglo- Saxon manuscript illustrations which have been repeatedly compared to the Bayeux Tapestry by many scholars.

1738. ———. The Anglo-Saxons. New York: Frederick A. Praeger, 1960. Notes: Volume 16 of the Ancient People and Places series, Dr. Glyn Daniel, general editor. Wilson presents a “general view of Anglo-Saxon culture as seen through the eyes of the archaeologist.” He refers to the Bayeux Tapestry several times throughout the book for its value to our understanding of material culture. He lightly cautions readers, however, that Anglo-Saxon artists were likely to have The Bibliography 507 been copying manuscript illustrations rather than drawing from life, as in the case of the Tapestry’s depiction of a plow, but he seems satisfied that the Tapestry provides “suggestions as to [a plow’s] structure.” He suggests that the Tapestry depicts spades with “shoes.” The Tapestry’s wheeled wine barrel is mentioned in a brief passage on the trade of perishable goods, and he notes that the remains of a post-Conquest barrel of this type have been found at Pevensey. A longer passage on Anglo-Saxon glass observes that the Tapestry shows drinking glasses that lie down rather than stand up, and this is supported by archaeological evidence. On the shape of the Tapestry’s shields, he notes the discrepancy between manuscripts and the Tapestry and he suggests that certain decorations on the shield were likely signs of a clan or a sept. The Tapestry is very briefly mentioned in passages about bows and coats of mail. Wilson mentions the tapestry presented to the Abbey of Ely by Byrhtnoth’s widow, and presents a truncated passage from the poem “The Battle of Maldon.”

1739. ———. La Tapisserie De Bayeux. Paris: Editions Albin Michel, 1985. Notes: This edition features a foreword by Georges Ruby.

1740. Windsor, Grace. English Monarchs: The Norman Dynasty, King Wil- liam I, Including Harold Godwinson, the Battle of Hastings, the Bayeux Tap- estry, the Domesday Book and More. Webster’s Digital Services, 2011. Notes: This is a book from Project Webster which allows disparate content from a variety of content sources to be curated and combined into a single book.

1741. Wingfield, Kyle. “Masterpiece: History’s Warp and Woof.” Wall Street Journal (2006): 24. Notes: Alternate subtitle: “The Bayeux Tapestry Is One of the Earliest Ex- amples of Government Propaganda.” Wingfield, an editorial page writer for The Wall Street Journal Europe, states that the Bayeux Tapestry, “[as] works of art go . . . is not the most impressive thing you’ll ever see” and provides his readers, in a casual voice, with a general description of the Tapestry and the background on the story it tells. He notes that the borders show “religious messages, such as a section outlining sexual taboos.”

1742. Winston, Clara, and Richard Winston. The Horizon Book of Daily Life in the Middle Ages. New York: American Heritage, 1973. Notes: Alternate title: Daily Life in the Middle Ages. The Winstons use the Bayeux Tapestry’s illustration of Bishop Odo “wielding a club” as an example of sine sanguinis effusione or “without the spilling of blood,” pointing out that “Bishops rode to the hounds and rode to war, although on the battlefield they inclined to carry a mace rather than a sword; cannon law forbade the ecclesiastic to shed blood, and with a mace a strong-armed bishop could crush an enemy’s skull.” Includes index. 508 The Bibliography

1743. Winters, Anne. “The Armada.” The Key to the City. Anne Winters Chicago: University of Chicago Press, 1986. Winters’ ten-stanza poem reflects the anxiety and tension of a Navy making its way to Normandy, apparently the D-Day invasion of 1944. The Bayeux Tap- estry is not mentioned, but makes an appearance nonetheless in this reference to the Tapestry having been stowed away for its protection during World War II: “Now the Cathedral at Bayeux, with its window and views, is rolled up/and the Conqueror’s navy on its blue worsted waves/and Hengist and Horsa, the Escorial with its green shoals of ships, are safely rolled up.”

1744. Winters, William. “Passages in the Life and Reign of Harold, the Last of the Saxon Kings.” Transactions of the Royal Historical Society 5 (1877): 173–215. Winters provides readers with some background on the Bayeux Tapestry for his lengthy article. He states that it is 214 feet long and that the “finest copy” of it can be seen in the South Kensington Museum, but that Stothard’s copy in the Vetusta Monumenta is also “good.” He makes sure his readers are aware that the Tapestry was created on orders by none of the various Matildas often credited, but that it was indeed Bishop Odo. Harold’s coronation in the Tapestry is examined and the author asks what the two men addressing Harold are saying, then points out that early writers affirm that Harold was crowned by Ealdred, Arch- bishop of York, and not by the Tapestry’s Archbishop Stigand.

1745. Wischermann, Heinfried. “Romanesque Architecture in Great Brit- ain.” Romanesque: Architecture, Sculpture, Painting. ed Rolf Toman, 216–51. Cologne, Germany: Ullmann & Könemann, 2004. Notes: Photos by Achim Bednorz. Original title: Romanik. Translated from the German by Fiona Hulse and Ian Macmillan. Wischermann describes the Bayeux Tapestry as a detailed source of information on cultural history and of the events of the Battle of Hastings. In a discussion of motte-and-bailey fortifications, he points to the Tapestry’s depictions of them.

1746. Wise, Terrence. Saxon, Viking and Norman. Oxford, U.K.: Osprey. Notes: Illustrated by Gerry Embleton. Part of the Men-at-Arms series, volume 85.

1747. Wissolik, Richard David. The Bayeux Tapestry: A Critical, Annotated Bibliography With Cross-References and Summary Outlines of Scholarship, 1729–1990. Greensburg, PA: Eadmer Press, 1990. Notes: Paperback. Part of the Scholars’ Bibliography Series, no. 3. Second edition, revised and expanded. The preface to the first edition is included here. Written by A.R.L. Bell, the preface is dated 1986, apparently in error as it refers to Wissolik’s 1988 lecture at the Center for Mediaeval and Renaissance Studies’ The Bibliography 509

Conference on The Bayeux Tapestry and Anglo-Norman Studies at the California State University at Long Beach. Wissolik begins with a two-page foreword where he describes the need for such a work, acknowledges Shirley Ann Brown’s The Bayeux Tapestry: History and Bibliography, and offers thanks to those who provided assistance in accessing material and answering questions. The annotated bibliography fills 67 pages and is followed by an extremely useful index. The bibliography’s entries are grouped into four sections: “The Earliest Sources: The Battle of Hastings and Its Prologue,” “A Note on Guy of Amiens and Laporte,” “Later Accounts,” and “Studies: 1729–1990.” The great majority of the citations are included in the last section; most are annotated. The annotations are indeed critical and descriptive of each work’s content. Wissolik is an associate professor of English at Saint Vincent College in Latrobe, PA. He is also a Fellow of the Center for Mediaeval and Renaissance Studies at California State University at Long Beach.

1748. ———. The Bayeux Tapestry: A Critical, Annotated Bibliography With Cross-References and Summary Outlines of Scholarship, 1729–1995. Greens- burg, PA: Eadmer Press, 1995. Notes: Computer file; 3.5 inch disc; new edition, revised and enlarged; first electronic edition. This title has been cited as The Bayeaux [sic] Tapestry: A Critical, Annotated Bibliography with Cross-References and Summary Outlines of Scholarship, 1729–1995.

1749. ———. The Bayeux Tapestry: A Critical, Annotated Bibliography With Cross-References and Summary Outlines of Scholarship, 1729–1988. Greens- burg, PA: Eadmer Press, 1988. Notes: Also cited as published in 1989. Wissolik’s original version of this work is described by A.R.L. Bell, author of the book’s preface, as a “private, Xe- roxed bibliography” which Wissolik provided upon request to Bayeux Tapestry scholars and researchers.

1750. ———. The Bayeux Tapestry: Its English Connection and Its Peripheral Narrative. Greensburg, PA: Eadmer Press, 1990. Notes: Part of Humanities Series II. Originally an unpublished doctoral dissertation, 1988. Abstract in Dissertation Abstracts International (50) 451–2A.

1751. ———. “Duke William’s Messengers: An ‘Insoluble, Reverse-Order’ Scene in the Bayeux Tapestry.” Medium Aevum 51 (1982): 102–7. Wissolik proposes that the scene reversal in the Ponthieu episode in the Bay- eux Tapestry is evidence that the Tapestry’s designer referred not only to Norman accounts of the Conquest, but also to oral and written English accounts, representing the Anglo-Saxon point of view. The accounts of Eadmer, based on Eng- lish traditions and most certainly written after the Tapestry was made, correspond 510 The Bibliography to the Ponthieu scene reversal, whereas no Norman account does. Wissolik notes that most Bayeux Tapestry scholars seem to have forgotten the fact that Eadmer entered the monastic community of Christ’s Church four years before the Con- quest and that he most likely saw the Tapestry being made. Includes notes.

1752. ———. “The Monk Eadmer As Historian of the Norman Succession: Korner and Freeman Examined.” American Benedictine Review 30, no. 1 (1979): 32–43. Wissolik, coming to the defense of the currently discredited and largely “ig- nored” monk-historian Eadmer, sharply criticizes the misrepresented passages from the monk’s Historia and suggests where such misrepresentations may have originated: the careless treatment of Eadmer by E. A. Freeman and Sten Körner. He believes that Körner’s The Battle of Hastings has perpetuated Eadmer’s marred reputation as a historian, and goes on to show that Körner was not careful with Eadmer’s words and that he was simply falling into step with “traditional scholarly authority.” Freeman, he adds, mistranslated certain passages in Eadmer, and is therefore responsible for maiming the monk’s reputation. He calls for a critical examination of Körner’s work and for a re-evaluation of Eadmer as a credible source for information on the Norman Conquest. The Bayeux Tapestry, he adds, uses allegorical devices that suggest a Saxon “code” in the embroidery, an English account of the events which exactly corresponds to Eadmer.

1753. ———. “The Saxon Statement: Code in the Bayeux Tapestry.” Annuale Médiévale 19 (1979): 69–97. Notes: Herbert H. Petit, editor emeritus; Frank Zbozny, editor. Published by Humanities Press, Atlantic Highlands, NJ. Wissolik explores the possibility of a subversive Anglo-Saxon message in the Bayeux Tapestry, a message not intended to incite rebellion, but rather to indicate protest. He calls for a re-evaluation of the monk Eadmer as a credible source of information about events that also appear in the Tapestry and that “certain particulars of Eadmer’s account” which are at variance with the Norman chroniclers, appear covertly in the Tapestry. In particular is Eadmer’s position that Harold went to Normandy under Edward’s orders not to confirm William’s succession to the English throne, but to secure the release of two English hostages in Normandy, Hakon and Wulfnoth. Wissolik gives several pages to the Tapes- try’s Ælfgyva scene and offers an interesting observation: the captions HIC DVX WILGELM CUM HAROLDO VENIT AD PALATIUM SUUM, VBI VNVS CLERICVS ET ÆLFGYVA together form a complete sentence with a Latin form of the verb “to be” being understood, thereby tying the Ælfgyva episode to the preceding Council scene: “Here Duke William and Harold come to his palace where [are] a cleric and Ælfgyva.” He even got support for this theory by conducting an experiment with several members of an archabbey, all of whom were thoroughly familiar with Latin, by showing them the combined clauses The Bibliography 511 and then asking for translations, all of which included a form of “to be.” The grammatical and syntactical uses of ubi and hic in the Tapestry are discussed at considerable length. He also points out the ways that structural consistencies support the notions that the Council and Ælfgyva scenes are one unit. He concludes that Ælfgyva is Harold’s sister and that the nude man below Ælfgyva may be a metaphor for her “transition to a future conjugal state,” indicating her betrothal to a Norman noble as part of Harold’s oath to William as stated by Eadmer. The author makes convincing arguments from a variety of angles for his assertion that the man to whom Harold is pointing in the Council scene is his nephew, Hakon. One curious observation, however, is that the nude figure below Ælfgyva may identify Hakon in the Council scene: a variant of the Germanic name “Hakon” is Hagan, which happens to be the Anglo-Saxon word for “genitals.” Finally, he offers his interpretation of one of the Tapestry’s Aesopic fables in particular, “The Stag and the Lion in a Cave,” a codified Anglo-Saxon commentary that Harold made his oath to William under duress.

1754. Withers, Benjamin C., and Jonathan Wilcox, eds. Naked Before God: Uncovering the Body in Anglo-Saxon England. Morgantown, WV: West Vir- ginia University Press, 2003.

1755. Wittfogel, Karl A., and Feng Chia-Sheng. “History of Chinese Society Liao (907–1125).” Transactions of the American Philosophical Society 36 (1946): 1. In a footnote citing Belloc in the introductory section on the army, the authors write: “The Tapestry of Bayeux, the most authoritative contemporary document on the Norman side, pictures the Normans as predominantly horsemen, the Sax- ons as predominantly footsoldiers. Both the invaders and the Saxons had stirrups, but the disparity in the number of their horsemen is evident. While many Norman bowmen fought on foot, some were mounted.”

1756. Wolf, Mari Artzner. The Bayeux Tapestry: History in Stitches. John- stown, OH: Pudding House Publications, 2000. Notes: Poetry. Printed on heavy white paper in six columns. Illustrations of women holding strips of cloth at left and right of title and below text; initial block.

1757. Wolf, Norbert. Romanesque Art. Cologne, Germany: Taschen, 2007. Notes: Cover title: Romanesque. This 95-page paperback, richly illustrated in full color, opens with a treatise on the historical background and artistic foundations of the Romanesque. Giving each of 35 works of Romanesque art a two-page spread, Wolf presents a survey of conveniently packaged outstanding art samples of the period. In his article on the Bayeux Tapestry, Wolf provides a basic description of the Tapestry, a few remarks on its patronage and provenance, and remarks about other continuous 512 The Bibliography narratives (the Joshua Roll and Trajan’s Column). For such a concise article, he offers numerous strong opinions on the quality and value of the work with remarks such as “strongly elongated, insect-like figures,” “anti-naturalistic,” “suspenseful dramaturgy,” and “masterwork of the creative imagination.” Wolf is an art historian and has held numerous academic appointments in Germany.

1758. Wood, Charles T. The Quest for Eternity: Manners and Morals in the Age of Chivalry. Hanover, NH: University Press of New England for Dart- mouth College, 1983. Notes: Reprint. Originally published under the title The Age of Chivalry by Weidenfeld & Nicolson in 1970. In a discussion of a peace movement that arose in the eleventh century as bishops attempted to “restrain the warlike activities of their flocks,” Wood writes that as provincial synods made it a point of canon law that no priest should shed blood, some adopted the mace, which could crush skulls without shedding any blood. He goes on to note that, “Others refused to change their ways at all, and if William the Conqueror was the victor at Hastings, the Bayeux Tapestry makes it apparent that his success owed not a little to the club and right arm of his half- brother Odo, the bishop of Bayeux.” Includes a bibliography arranged by subject and an index. Wood is the Daniel Webster Professor of History at Dartmouth College.

1759. Wood, Harriet Harvey. The Battle of Hastings: The Fall of Anglo- Saxon England. London: Atlantic Books, 2008. Wood, author, editor, and head of the British Council’s Literature Department, presents a very readable, to-the-point account of the Norman Conquest, using the Bayeux Tapestry numerous times as possible evidence for elements of the Battle of Hastings, including the dubious presence of a papal banner and the manner of Harold’s death. An appendix provides an excellent summary of the content as well as her assessment of the validity and value of various sources such as Anglo- Saxon and Norman chronicles, epic poems, and the Bayeux Tapestry. Includes six full-color photographs of the Tapestry, an index, notes, and a bibliography of primary texts and secondary sources.

1760. Wood, Margaret Mrs. E. G. Kaines-Thomas. The English Mediaeval House. London: Bracken Books, 1985. Notes: First reprint. This edition originally published in 1983. Preface by Sir Mortimer Wheeler. Originally published in 1965. Archaeological writer Wood presents this large volume on the architecture of the homes of ordinary English people covering the period from the Norman Conquest to 1540. The Bayeux Tapestry depicts the aula of Harold’s house in Bosham as a hall over a vaulted basement, and Wood notes that this is contemporary with raised halls such as that “in Yorkshire stone country at Richmond The Bibliography 513

Castle.” First-floor wood halls would have been unlikely, states Wood, because of fire hazard, with the exception of a hall raised on a motte, as depicted in the Tapestry. In her chapter on roof covering, she points out that the Tapestry depicts oval shingles, “resembling Norman scale ornament as used in the treforium of Christchurch Priory, Hampshire.” She goes on to discuss the rooflines of medieval houses as more elaborate than today’s homes and that the Tapestry shows roofs with finials at the gable ends. Discussing the placement of staircases, the author notes that while steps often run parallel to the wall, the steps at Bosham in the Tapestry show them at right angles to the house. The chapter on interior decoration discusses woven woolen hangings, but often embroidered with gold, in medieval homes, but that the Tapestry is indeed an embroidery. Includes a glossary, bibliography, and an index.

1761. Wood, Michael. Domesday: A Search for the Roots of England. New York: Facts on File, 1986. Notes: Reprint. Originally published by BBC Books, London in 1986. Wood includes three black-and-white images from the Tapestry, only one with a caption. Pointing out that it is an image of William the Conqueror, it reads “too relentless to care though the world might hate him.” Include an index and a short, but very well-done glossary of terms.

1762. ———. In Search of the Dark Ages. New York: Facts on File, 1987. Historian and television documentary host Michael Wood presents a popular history of England from the reign of Boadicea (Boudica) in the first century through William the Conqueror, with each of its nine chapters focusing on a different leader. The final chapter, an economical and to-the-point account of the events of 1066, employs several photographs of the Bayeux Tapestry to illustrate the author’s narrative. Includes map of Tapestry-related lands and thorough genealogies of the Norman and West Saxon dynasties.

1763. Woodcock, Thomas, and John Martin Robinson. The Oxford Guide to Heraldry. Oxford, U.K.: Oxford University Press, 1988. The authors claim their work differs from other works on the topic in that theirs is economical in size, written in layman’s language, and is not “based on, or cribbed from” great standard works from the late nineteenth and early twentieth centuries. They discuss the possibility that the Tapestry depicts the proto-heraldic symbol of the Counts of Boulogne (evidence later pointed out by Andrew Bridgeford in his work 1066: The Hidden History in the Bayeux Tapestry). There is brief mention of the possible papal banner in the Tapestry. “The thirty or more lance flags” on the Tapestry, the authors state, should not be dismissed as some may be attributed to identifiable families. Includes a glossary of heraldic terms, a bibliography, and an index. 514 The Bibliography

1764. Woodford, Susan. Looking at Pictures. Cambridge, U.K.: Cambridge University Press, 1983. Notes: Paperback. Part of the Cambridge Introduction to the History of Art series. This short book, “for the student or general reader coming to the history of art for the first time,” guides readers in taking an analytical approach to visual art through examining history, formal arrangement, composition, and space. The Bayeux Tapestry is used to introduce a chapter on history and mythology. The author provides a very brief description of the Tapestry and what it depicts, then exclaims “What a fascinating spectacle the Bayeux Tapestry makes of recent history!” then goes on to show how David, Goya, Picasso, and Rubens do the same. Includes index and numerous illustrations.

1765. Wooding, Jonathan. The Vikings. New York: Rizzoli, 1998. Notes: First published by Lansdowne Publishing, Sydney, Australia in 1997. The dust jacket indicates this title is part of a series though it is unnamed. Wooding, a historian and archaeologist, includes two color images of ship scenes from the Bayeux Tapestry. In his captions, he draws attention to the use of multi-colored thread to depict the overlapping planks of the “clinker-building method.” He also discusses a connection between the animal heads on the prows of the ships and an inscription on a walking stick from Bergen, Norway. A photograph of the Viking longboat carving on the walking stick is featured on the opposite page. Later, Wooding points out similarities between the side rudders on the ships in the Tapestry and those of the Oseberg ship. The book is heavily illustrated and includes a list of titles for further reading and an index. Full-color images from the Tapestry are used as endpapers.

1766. Woods, J. Douglas, and David A. E. Pelteret, eds. The Anglo-Saxons: Synthesis and Achievement. Waterloo, Ontario: Wilfred Laurier University Press, 1985.

1767. Woolgar, C. M., D. Serjeantson, and T. Waldron, eds. Food in Medieval England: Diet and Nutrition. Oxford, U.K.: Oxford University Press, 2006. Notes: Part of the Medieval History and Archaeology series.

1768. Woosnam-Savage, Robert C., and Anthony Hall. Brassey’s Book of Body Armor. Washington, DC: Brassey’s, 2001. Notes: Illustrations by Ray Hutchins, Julian Mason, and Graham Bingham. Cover title: Body Armour. First published in the United Kingdom by Pegasus Publishing. Arms and armor specialist Woosnam-Savage and writer-historian Hall present an overview of armor from civilizations the world over. A sub-heading on Nor- man armor discusses how the Bayeaux [sic] Tapestry provides information on The Bibliography 515 the cut of hauberks and how they were worn. Large realistic images of both sides of a kite shield show in good detail the arm and hand-strap configurations from the Tapestry. Includes detailed illustrations of the manners in which individual mail rings were linked and closed. Images from the Tapestry are the endpapers.

1769. Wormald, Francis. “Style and Design.” The Bayeux Tapestry: A Com- prehensive Survey. ed Frank M. Stenton, 25–36. London: Phaidon, 1965. Notes: Second edition, revised and enlarged. Originally published in 1957 by Phaidon. The photographs reproduced in this book were taken in April 1956 by Percy Hennell. Wormald, a noted historian of Anglo-Saxon illuminated medieval painting, presents an overview of major design considerations of the Bayeux Tapestry. He points out that embroidery can never give the “spontaneous rapidity of outline” that a pen can. The continuity between the scenes as punctuated by trees and buildings is discussed, and such devices, the author adds, were used in the art of antiquity. The Tapestry’s lack of, or very naive, attempts to render perspective are noted. Wormald points out that figures occasionally overstep the physical borders, a feature not unique to the Tapestry, but is found in manuscript drawings as well. He compares animals and “monsters” in the Tapestry’s borders to similar treatments in other eleventh-century documents. On the topic of the origins of the fables used in the Tapestry, Wormald references Mademoiselle Chefneux who in turn points to the eleventh-century poetess Marie de France, who claimed to have derived her fables from one Alfred. He affirms that the fables and erotic images of the borders have no connection with the story of the Conquest; they are purely decorative. Wormald explains that the string of figures in the lower border between the Cosnonis and Dol scenes looks as if they were derived from constellations. Whether the Tapestry was made in England or in Normandy is, as the author states, equally likely either way; his supporting evidence indicates he believes it was indeed England. The gestures embroidered into some of the figures are discussed for their vitality, finely tuned nuance, and drama; he makes similar remarks later about clothing, hair, and facial hair (the Confessor’s beard looks “rather like a fringe of small carrots”). The Tapestry’s trees and ship figureheads are compared to those drawn in manuscripts. The expressive, and often extraordinary, quality of various embroidered faces is discussed. He also notes the striking resemblances of some figures in the Tapestry to figures found in manuscripts. In a passage on for whom the Tapestry was made and why, he breezes past Queen Matilda and the poet Baudri of Bourgueil, and cuts soon to Bishop Odo, efficiently enumerating the reasons why we know that the patron was almost certainly him. Wormald believes that because the Tapestry shows events of “peculiar significance,” such as the Ælfgyva episode, the burning house, and Odo cheering on the boys, these indicate that the planning stages of the embroidery began “very soon after the Battle of Hastings.” Includes numerous 516 The Bibliography

black-and-white photographs of the Tapestry, manuscripts, and other textiles. Includes notes.

1770. Wright, Peter Poyntz. Hastings, Great Battles. Moreton-in-Marsh, Gloucestershire, U.K.: Windrush Press, 1996.

1771. Wyon, Alfred Benjamin. The Great Seals of England. London: Chis- wick Press, 1887. Notes: 217 pages with 54 plates. The Bayeux Tapestry is referenced on pp. 5–7.

1772. Yapp, W. Brunsdon. “Animals in Medieval Art: The Bayeux Tapestry As an Example.” Journal of Medieval History 13, no. 1 (1987): 15–73.

1773. Yarwood, Doreen. Costume of the Western World: Pictorial Guide and Glossary. New York: St. Martin’s Press, 1980. Notes: Illustrated by the author. In her introduction, Yarwood references how the Bayeux Tapestry “depicts the dress of noblemen and kings, soldiers and peasants.” Noting the embroidery is a “unique source material for the second half of the eleventh century,” she explains that the Norman Conquest “led to a more sophisticated cut and style than the simple garments which had been worn before this.” A majority of the book’s 192 pages is devoted to a superb glossary of terms with detailed illustrations on every page. Includes a list of museums and galleries in North America, Britain, and Western Europe. There is no index.

1774. Youf, Sophie. “William the Conqueror: The Stages of His Life.” Cully, France: OREP Editions, 2009. Notes: Full-color fold-out map. Cover title: William the Conqueror in 58 Stages. Text written by Annie Fettu and Stephane William Gondoin.

1775. Young, Helen. “Athelston and English Law: Plantagenet Practice and Anglo-Saxon Precedent.” Parergon 22, no. 1 (2005): 95–118.

1776. Young, Peter. The Fighting Man: From Alexander the Great’s Army to the Present Day. New York: Routledge Press, 1981. Notes: The author is listed on the title page with his title “Brigadier Peter Young, DSO MC.” Introduction by Lieutenant General Haim Laskov, Israeli Army. Young profiles various armies and their individual soldiers from ancient Greece through the Six-Day War of 1967. The chapter “The Normans of the First Crusade” shows a large photograph from the Bayeux Tapestry as a semi-reliable source for information on Norman knights. More interesting is the photograph, The Bibliography 517 provided for comparison on the same page, of a high-relief sculpture from Angoulême cathedral showing a similarly outfitted and mounted Saint George stabilized by stirrups and wielding a sword. Includes index.

1777. Young, Peter, and John Adair. Hastings to Culloden: Battles of Britain. Stroud, U.K.: Sutton Publishing, 1996. Notes: Revised edition. First published in 1964 by G. Bell and Sons, London, under the title Hastings to Culloden. Enlarged edition first published in 1979 by the Roundwood Press, Warwick. The authors present one-battle-per-chapter descriptions of several of the most important battles fought on British soil since the Conquest, although admittedly, they have left out pre-Conquest battles and the ones which had less influence on the country. Preferring to write fresh perspectives on old authorities rather than on recent research, the authors make direct contextual references of the Bayeux Tapestry in passing a few times, but never directly cite other chroniclers’ works in this chapter. The authors also clearly state that they do not concern themselves in this book too much with the causes of the battles, but rather, with the art of war. An appendix provides visitors’ information about the battle sites covered in the chapters and the authors stress that one must really visit these places to fully understand the battles. The book includes a preface to the first edition (1964) by both authors and a preface by Adair to the current, revised, and third edition, where Adair mentions Young’s passing. Includes a general index and an index of persons. Young was Reader in Military History at Sandhurst.

1778. Zarnecki, George. 1066 and Architectural Sculpture. London: Oxford University Press, 1966. Notes: Lecture on Aspects of Art, Henriette Hertz Trust of the British Acad- emy, read on February 9, 1966. From the Proceedings of the British Academy, Volume LII. In a discussion of how there may have been Norman and Anglo-Saxon cooperation in sculpture, Zarnecki notes that the foliage and animals in the borders of the Bayeux Tapestry are two-dimensional as are those on Ely Cathedral capitals. He suggests that “It has been demonstrated that the Tapestry, although produced for Norman patrons, was made by and in the style of the Anglo-Saxons.” Includes notes and two black-and-white photographs of the Tapestry’s borders.

1779. ———. The Early Sculpture of the Ely Cathedral. London: 1958.

1780. ———. “An Invasion Delineated.” Times Literary Supplement (1986): 301. Notes: A review of David M. Wilson’s The Bayeux Tapestry: The Complete Tapestry in Colour. 518 The Bibliography

Praising the book for its beauty and sound scholarship, Zarnecki does criticize the unfortunate though inevitable color reproductions being “unable to take account of complete scenes, with the result that many compositions are cruelly cut.” He uses the oath of Harold as an example. His commentary spans from theories on the designer to the miscalculation between the upper border and the main register to the role of Turold in the Tapestry. Zarnecki notes the coincidence of the book’s publication date with its proximity to the passing of Halley’s Comet and how it follows the recent cleaning and remounting of the embroidery under the supervision of the French Ministry of Culture.

1781. ———. Romanesque. New York: Universe Books, 1989. Notes: Part of The Universe History of Art and Architecture series. Copy- righted in 1971. In his 196-page survey of Romanesque art, Zarnecki, former deputy director of the Courtauld Institute of Art in London, notes the “strong evidence for Eng- lish workmanship, perhaps at Canterbury,” the “lively figure style derived from English manuscript painting,” and that the Bayeux Tapestry was “probably commissioned by Bishop Odo of Bayeux for his cathedral.” He dates the embroidery c. 1080 and includes one color photograph of a fleet building scene.

1782. ———. “Sculpture.” English Romanesque Art, 1066–1200. eds George Zarnecki, Janet Holt, and Tristram Holland, 146–209. London: Arts Council of Great Britain in association with Weidenfeld & Nicolson, 1984. Notes: “Catalogue of an exhibition held in the Hayward Gallery, London, 5 April–8 July 1984.” Alternate title: English Romanesque Art, 1066–1200: Hay- ward Gallery, London, 5 April–8 July 1984. Preface by Joanna Drew, director of art at the Hayward Gallery. In the introduction to this section of the exhibition catalogue, Zarnecki states, “Narrative subjects on capitals were rare, and so it is all the more remarkable to find carved in William Rufus’ Westminster Hall an extensive series of secular objects which present a striking parallel with the borders of the Bayeux Tapestry.”

1783. Zarnecki, George, Janet Holt, and Tristram Holland, eds. English Romanesque Art, 1066–1200. London: Arts Council of Great Britain in association with Weidenfeld & Nicolson, 1984. Notes: “Catalogue of an exhibition held in the Hayward Gallery, London, 5 April–8 July 1984.” Alternate title: English Romanesque Art, 1066–1200: Hay- ward Gallery, London, 5 April–8 July 1984. Preface by Joanna Drew, director of art at the Hayward Gallery. This richly illustrated title offers three articles that reference the Bayeux Tap- estry, each annotated separately: “English Romanesque Architecture” by Richard Gem; “The Historical Background” by Christopher Brooke (his first name is misspelled on the article’s first page); and “Sculpture” by George Zarnecki. The The Bibliography 519 second-to-last item described in the 552-item catalogue is the collection of 32 hand-colored engravings of the Tapestry done by Charles Stothard in the nineteenth century. The catalogue entry provides a general description of the Tapestry and comments briefly on issues of patronage, provenance, and purpose. On the engravings themselves, the entry says very little but for the fact that Stothard made them at the expense of the Society of Antiquaries, and that the engravings reveal the state of the Tapestry before many of its repairs. The catalogue itself opens with large, full-color photographs of two of the engravings. Includes bibliography with commentary on each subject area; detailed chronology; lengthy glossary; but no index.

1784. Zieber, Eugene. Heraldry in America: A Guide With 1000 Illustrations. Mineola, NY: Dover Publications, 2006. Notes: Originally published by the Department of Heraldry of Bailey, Banks & Biddle, Philadelphia, in 1895.

1785. Ziezulewicz, William. “Abbatial Elections at Saint Florent-De-Saumur (Ca. 950–1118).” Church History 57, no. 3 (1988): 289–97. Notes: Published by Cambridge University Press on behalf of the American Society of Church History. In a discussion of the election of William of Dol, the oldest son of the Breton lord Rivallo, at Marmoutier, the author references a scene in the Bayeux Tapes- try depicting Duke William coming to the aid of Rivallo “by raising the siege of Dol undertaken by Count Conan II of Rennes, Rivallo’s Breton overlord.” David Charles Douglas and G.W. Greenway’s English Historical Documents are cited as the source.

1786. Zumthor, Paul. Guillaume Le Conquérant. Paris: Editions Tallandier, 1978. Notes: Paperback. Also cited as published as recently as 2003. Six black-and-white images from the Bayeux Tapestry are included in this 468-page biography. The cover features an image of William the Conquerer from the Tapestry.

1787. ———. Toward a Medieval Poetics. Minneapolis: University of Min- nesota Press, 1991. Notes: Translated by Philip Bennett.

Appendix A Dramatis Personae

Persons depicted in the Tapestry (in order of appearance):

Edward the Confessor (c. 1003–1066) King of England (1042–1066) Son of Æthelred the Unready and Emma of Normandy. With the ascent of Danish kings to the English throne, he was exiled to Nor- mandy with his mother and siblings in 1016. Returned to England in 1042 to become king. Married to Edith, Harold’s sister; the marriage remained childless. Died in early January 1066. Later dubbed “the Confessor” because of his piety; canonized in 1161.

Harold Godwinson (1022–1066) Earl of East Anglia (1045–1051 and 1052–1053) Earl of Wessex (1053–1066) King of England (January 5–October 14, 1066) Son of Godwin, Earl of Wessex and Gytha Thorkelsdóttir. Brother-in-law of King Edward through his sister Edith. Selected by the Witanagemot to succeed Edward. Killed at the Battle of Hastings. Orderic Vitalis described him as “tall and handsome, remarkable for his physical strength, his courage and eloquence, his ready jests and acts of valor.”

Guy (VVido) I (1020s–October 13, 1100) Succeeded his brother Enguerrand II as Count of Ponthieu (1053–1100) A vassal of Duke William who had a history of antagonizing the duke. Harold, when coming ashore in Ponthieu in 1064 or 1065, was arrested by Guy and later released to William.

521 522 Appendix A

Turold Most likely the dwarf pictured under the inscribed name in the Tapestry, although some researchers contend that Turold is the tall messenger to the left of the name. Numerous theories offer many possible identities for Turold. Some scholars associate the Tapestry’s Turold with the Turold who signed his name to the only known manuscript of The Song of Roland; others believe he was a retainer of Bishop Odo.

William (Wilgelm, Willem, Willelm) (c. 1028–1087) Duke of Normandy (July 3, 1035–September 9, 1087) King of England (December 25, 1066–1087) Bastard son of Herlève of Falaise and Duke Robert I of Normandy. Became Duke at the age of seven or eight upon his father’s death in 1035. Half-brother of Bishop Odo and Robert of Mortain. Defeated King Harold at the Battle of Hastings on October 14, 1066. Crowned King of England Christmas Day, 1066. Ordered the compilation of the Domesday Book in 1085. Died in 1087, presumably from an abdominal injury sustained while horseback riding.

Ælfgyva Theories identify her variously as Ælfgyva of Northampton, lover of King Cnut and mother of Harold Harefoot; Ælfgyva of Normandy, the first wife of Æthelred the Unready; Queen Emma, second wife of Æthelred, who changed her name to Ælfgyva, and who was Edward’s mother; a sister of Harold; a daughter of William whom Harold was offered for marriage; and others.

Conan (Cunan) II (c. 1033–December 11, 1066) Duke of Brittany (1040–1066) A member of the House of Rennes. Fought against Duke William and Harold Godwinson, who came to the aid of Rivallon of Dol in 1064 or 1065. The Tap- estry depicts Conan escaping down a rope at Dol, but eventually surrendering to William at Dinan. Allegedly died from wearing poisoned riding gloves while campaigning against Anjou.

Odo of Conteville (early 1030s–1097) Bishop of Bayeux (1049–1097) Earl of Kent (1066–deposed 1082) Became Bishop of Bayeux in his teens. Imprisoned by William in 1082, perhaps for his ambitions to become Pope. Released by the dying King William in 1087. Attempted to overthrow his nephew King William Rufus on 1088, and was subsequently banished from England. He was never deposed of his position as Bishop of Bayeux. Died in early 1097 in Palermo, Sicily on his way to participate in the Crusades. He was entombed there in the cathedral which no longer stands. Most scholars today believe that Odo was the patron of the Bayeux Tapestry. In French his name is Odon or Eudes. Dramatis Personae 523

Edith of Wessex (c. 1025–December 18, 1075) Queen of England (1045–1066) (Not named in the Tapestry) Edward’s wife, who, according to the Vita Ead- wardi, was present at Edward’s deathbed, warming her husband’s feet in her lap, as shown in the Tapestry. Daughter of Godwin and sister of Harold. Raised in Wilton Abbey. She was crowned Queen of England, unlike most other wives of English kings in the tenth and eleventh centuries. Her marriage to Edward produced no children. Maintained a good relationship with William, despite the fact that three of her brothers were killed in the Battle of Hastings.

Robert fitzWimarch (d. before 1075) (Not named in the Tapestry) A Breton steward in Edward’s palace, named in the Vita Eadwardi. Perhaps depicted in the Tapestry attending to the dying King Edward.

Stigand (d. 1072) Archbishop of Canterbury (1052–April 11, 1070) Served as archbishop under six kings, but was excommunicated by several popes for holding two bishoprics (Winchester and Canterbury) and finally deposed in 1070, and died imprisoned at Winchester. Depicted in the Tapestry as the celebrant for Harold’s coronation; as an excommunicated churchman, a coronation performed by him would not have been legitimate. Norman sources name Stigand as the priest who crowned Harold. However, most scholars today concede that Ealdred, Archbishop of York, was the officiating cleric at Harold’s coronation.

Robert (Rotbert) (c. 1038–c. 1095) Count of Mortain (1049–c. 1095) William’s half brother. Characterized by William of Malmesbury as “dense and slow-witted.” Depicted in the Tapestry seated with William and Odo at Hast- ings, although no contemporary source indicates that Robert fought in the battle. Possibly became Earl of Cornwall after the Conquest. As William lay dying in 1087, Robert urged William to release Odo from prison.

Vital Norman Knight whom William questions about a sighting of Harold’s army. The Domesday Book lists a certain Vital as a tenant of Odo who became a great landholder after the Conquest.

Wadard Norman knight who appears to be overseeing logistical operations upon the Norman landing in England. The Domesday Book names a Wadard as a recipient of land in Kent from Odo after the Conquest. 524 Appendix A

Eustace II (late 1010s–c. 1087) Count of Boulogne (1049–1087) (Perhaps named in the Tapestry, the embroidered name in question has been partially removed from the Tapestry.) One of the proven companions of Duke William at the Battle of Hastings. Was an ally of King Edward, but remained hostile toward the Godwins. Received large grants of land from William, after the Conquest, but led a failed siege attempt of Dover Castle in 1067, and was forced to give up his lands; he was soon reconciled with William who restored a portion of the forfeited fiefs.

Gyrth (Gyrđ) Godwinson (c. 1032–October 14, 1066) Earl of East Anglia, Cambridgeshire, and Oxfordshire (1057–1066) Brother of Harold who died in the Battle of Hastings.

Leofwine (Lewine) Godwinson (c. 1035–October 14, 1066) Earl of Kent, Essex, Middlesex, Hertford, Surrey, and perhaps Buckingham- shire (mid-1050s–1066) Brother of Harold who died in the Battle of Hastings. * * * Other persons related to the story of the English succession, the Battle of Hast- ings, the Normans and their neighbors, and the Bayeux Tapestry:

Adela (mid-1060s–March 8, 1137) Countess of Blois (1089–May 19, 1102) William’s daughter and the subject of a poem by Baudri of Bourgueil, a poem which describes a textile that many believe is the Bayeux Tapestry. She was the mother of Stephen, King of England.

Ælfflaedd Byrhtnoth’s widow who presented Ely Cathedral with a textile hanging (now lost) depicting her late husband’s heroic deeds at the Battle of Maldon.

Ælfgyva (Ælfgifu) of Northampton (c. 990–after 1040) Cnut’s first wife, mother of Sweyn Knutson and Harold Harefoot.

Ælfwine (d. 1047) Bishop of Winchester (1032–1047) Accounts tell of an affair that he had with Emma, Edward and Harthacnut’s mother.

Æthelred II (“the Unready,” a mistranslation of unræd, which is better translated as “ill-advised”) (late 960s–April 23, 1016) King of England (978–1013 and 1014–1016) Edward’s father by Emma. Æthelred was Emma’s second husband. Dramatis Personae 525

Alexander II (d. 1073) Pope (1061–1073) Granted a blessing and, according to tradition, a papal ring and banner to Wil- liam prior to his invasion of England.

Alfonso VI (1030s–1109) King of León (1065–1109) and Castile (1072–1109) May have given William his prize warhorse, like the one shown being delivered to William in the Tapestry just before the Battle of Hastings. He is thought to have been betrothed to one of William the Conqueror’s daughters.

Alfred (“the Great”) (849–899) King of Wessex (871–899) May have translated Aesop’s fables from Latin into Anglo-Saxon English, fables which became part of the Tapestry’s borders.

Alfred the Ætheling (Ælfred Æþeling) (d. 1036) King Edward’s brother and Eustace II of Boulogne’s brother-in-law who was called back to England after Cnut’s death that he may become king, restoring the House of Wessex to the English throne. Upon his arrival in England, Alfred was being escorted by Earl Godwin to King Harold Harefoot; Alfred was blinded and brutally murdered en route. Although Godwin denied involvement in Alfred’s death, King Edward mistrusted Godwin and his sons (including Harold) thereafter.

Anselm (c. 1033–1109) Archbishop of Canterbury (1093–1109) According to Eadmer, Anselm noted that King William’s Norman followers were committing acts of violence against conquered property and against English women.

Åsa Haraldsdóttir of Agder (d. c. 834) A Scandinavian queen who was interred with the Oseberg ship burial in Nor- way.

Baldwin V (1012–1067) Count of Flanders (1035–1067) William the Conqueror’s father-in-law; married Adela of France, Countess of Flanders.

Baldwin VI (c. 1030–1070) Count of Flanders (1067–1070) William the Conqueror’s brother-in-law. Died three years after becoming count; with Baldwin’s son Arnulf III as claimant to the county’s throne, opposing 526 Appendix A his uncle Robert the Frisian, Flanders fell into civil war. William and Eustace II of Boulogne sided with Arnulf.

Baudri of Bourgueil (c. 1050–1130) Abbot of Bourgueil (1079–1106) Ecclesiastic and poet who penned the now-controversial Adela Comitissae, a poem which describes an embroidered hanging that many scholars argue is the Bayeux Tapestry.

Benedict X (d. 1073–1080) Pope/Antipope (1058) Antipope who recognized Stigand’s archbishopric.

Byrhtnoth Ealdorman of Essex who died in the Battle of Maldon in 991 leading Anglo- Saxon warriors against Danish invaders. According to the Liber Eliensis, his widow donated to Ely Cathedral an embroidery or some other textile celebrating his deeds.

Charles III (“the Simple”) (879–929) King of Western Francia (898–922) Ceded land in Normandy to Rollo in 911 in the Treaty of Saint-Clair-sur-Epte in exchange for an end to Viking raids.

Cnut IV (c. 1042–1086) King of Denmark (1080–1086) Along with his uncle, Robert the Frisian, Count of Flanders, threatened to invade England in the 1080s, which hastened the compilation of the Domesday Book, enabling William to efficiently collect taxes thereby funding England’s defenses.

Cnut (“the Great”) (c. 985 or 995–1035) King of England (1016–1035) King of Denmark (1018–1035) King of Norway (1028–1035) Husband of Emma-Ælfgyva of Normandy, father of King Harold (“Harefoot”) and Harthacnut. Cnut, while King of England, ruled Norway with his son Svein and Svein’s mother Ælfgyva of Northampton as regents of Norway.

Copsi (Copsig, Cōpsige) (d. 1067) Earl of Northumbria (1067) Replaced Earl Morcar after the Norman Conquest. Supported Tostig at Stam- ford Bridge. Dramatis Personae 527

Drogo of Mantes (996–1035) Count of Valois and the Vexin (1027–1035) Husband of Godgifu (Goda), sister of Edward the Confessor.

Ealdred (d. 1069) Archishop of York (1060–1069) Advisor to King Edward. John of Worcester states that he was the priest present at Harold’s coronation, not Stigand. Ealdred crowned William King of England.

Edith (Eadgyth/Ælfgyva/Ælfgifu) (961–984) Abbess of Wilton, the subject of a biography by the monk Goscelin.

Edith (Ealdgyth, Ealdgȳð, Aldgyth) of Mercia (1034–1086) Harold’s wife, sister of Earls Edwin and Morcar, widow of King Gruffydd of Wales who was killed by Harold in 1063.

Edgar II the Ætheling (c. 1051–c. 1126) Son of Edward the Exile and grand-nephew of Edward the Confessor. Edgar was born in Hungary to his exiled father. Edward the Exile was called back to England upon the Confessor’s death, but died mysteriously soon after arrival in England; Edgar was six years old at the time. At the Confessor’s death in 1066, Edgar was in his early teens and was a legitimate hereditary heir to the throne of England, however, the Witanagemot elected Harold Godwinson as the successor to the Confessor. Edgar was technically the King of England upon Harold’s death at the Battle of Hastings and until William’s coronation several weeks later, but was never crowned.

Edith Swan-Neck (Ealdgȳð Swann hnesce [lit. Edith the Gentle Swan], Edith the Fair) (1025–1086) Harold’s mistress. According to William of Poitiers, she was brought to the scene of carnage at the Hastings battlefield and was able to identify her lover’s corpse only by marks on his body known to her.

Edmund II (“Ironside,”) (Eadmund Isen-Healf) (c. 989–1016) King of England (April 23–October 18, 1016) King of Wessex (April 23–November 30, 1016) Son of Æthelred the Unready, half-brother of Edward the Confessor. Father of Edward the Ætheling. Defeated the Danish Cnut in the Battle of Assadun in 1016, after which they agreed to divide the kingdom, Edmund taking Wessex, and Cnut taking the rest of England. Edmund died on November 30 that year after only 6 months as king, making Cnut king of all of England. 528 Appendix A

Edward the Exile (Edward Ætheling ) (1016–1057) Son of King Edmund Ironside who was sent away from England as an infant by Cnut. Edward was raised in Hungary, and was called back to England in 1056 by Edward the Confessor to be his heir. Two days after his arrival in England in 1057, Edward died of causes now unknown.

Edwin (Ēadwine) (d. 1071) Earl of Mercia (1062–1071) Brother-in-law of Harold through his sister Edith, brother of Earl Morcar of Northumbria. Fought against Tostig and Harald Hardraada at the Battles of York and Stamford Bridge in September 1066.

Emma (c. 985–1052) Queen of England Second wife of wife of Æthelred the Unready (1002–1016), second wife of Cnut the Great (1017–1035). Edward the Confessor’s mother (by Æthelred). Great aunt of William the Conqueror. She used the English name Ælfgyva when she married Æthelred.

Geoffrey III (1040–1096) Count of Anjou (1060–1068) Came to the aid of Rivallon in the Breton-Norman War, an event depicted in the Tapestry.

Goda (Godgifu) of England (1004–c. 1047) Daughter of Æthelred the Unready and Emma of Normandy. Sister of King Edward and wife of Count Eustace II of Boulogne.

Godiva (Godgifu) (d. before 1087) The “Lady Godiva” of popular legend, wife of the Aelfgar, Earl of Mercia. According to the Domesday Book, she was one of few Anglo-Saxons after the Conquest to continue as a major land-holder.

Godwin (c. 1001–April 15, 1053) Earl of Wessex (1020–1053) Father of Harold, Tostig, Leofwine, and Gyrth. A powerful subregulus in his time, Godwin essentially controlled much of Edward’s England.

Gruffydd ap Llywelyn (c. 1007– c. 1063) King of Wales (1055– c. 1063) Killed by Earl Harold’s forces in 1063. His widow Ealdgyth married Harold.

Gunnhild (1055–1097) Harold’s daughter, raised in the nunnery at Wilton. Dramatis Personae 529

Gytha Thorkelsdóttir (Gȳða Þorkelsdōttir) (c. 997–c. 1069) Mother of Harold, Leofwine, Gyrth, Tostig, Edith of Wessex, others.

Hakon A nephew of Harold who may have been given as a hostage in 1052 by God- win to Edward while Edward was in exile in Normandy.

Harald (“Hardraada”/“Hard Ruler”) Sigurdsson (Haraldr Sigurðarson) (c. 1015–September 25, 1066) King of Norway (1046–September 25, 1066) Claimant to the throne of England upon Edward’s death. Allied with Harold’s renegade brother Tostig, he led the invasion of England in the later summer of 1066 that resulted in the Battle of Fulford Gate in York and the Battle of Stam- ford Bridge, where he was killed by King Harold’s forces.

Harold I (“Harefoot”) (c. 1015–1040) King of England (1035–1040) Cnut’s son by Ælfgyva of Northampton. A popular myth of the time states that Harold was the son of a cobbler and whom Ælfgyva had adopted; pretended to have given birth to him in order to deceive Cnut.

Harthacnut (“Tough Knot”) (c. 1018–1042) King of Denmark (as Cnut III) (1035–1042) King of England (1040–1042) Queen Emma’s son by King Cnut. Succeeded by Edward the Confessor.

Henry I (c. 1068–1135) King of England (1100–1135) William the Conqueror’s youngest son who, early in his reign, successfully invaded Normandy, which was under the rule of his brother Robert Curthose, thereby reuniting England with Normandy.

Henry I (1008–1060) King of the Franks (1031–1060) Capetian king of the Franks who supported his young nephew-in-law, Duke William of Normandy. As William’s influence rose, Henry tried unsuccessfully to wrest Normandy from William in the 1050s.

Herlève (Herleva, Arlette, Arletta, Arlotte) (c. 1003–c. 1050) Daughter of a tanner of Falaise. She was the lover of Robert I of Normandy with whom she bore William; because of the illegitimacy of this union, William became known as “the Bastard.” She later married Herluin of Conteville and they were parents of Odo of Conteville and Robert of Mortain. 530 Appendix A

Herluin (1001–1066) Viscount of Conteville Husband of Herlève, father of Bishop Odo and Robert of Mortain, stepfather of Duke William.

Hugh of Montfort Named by William of Poitiers as one of William the Conqueror’s companions at the Battle of Hastings.

Lanfranc (d. 1089) Archbishop of Canterbury (1070–1089) Italian-born monk who succeeded the deposed Stigand as Archbishop of Can- terbury.

Malcolm (Máel Coluim mac Donnchada) III (1031–1093) King of Scotland (1058–1093) Granted asylum to Tostig when the Northumbrians drove him out. Provided sanctuary to Anglo-Saxon nobles fleeing Norman rule.

Margaret of Wessex (c. 1045–1093) Queen of Scotland (c. 1070–1093) Daughter of Edward the Exile, sister of Edgar the Ætheling. Following the Norman Conquest, she fled to Scotland, where she married Malcolm III c. 1070. Supervised embroidery workshops in her palace.

Matilda (Maud) of Boulogne (c. 1105–1152) Queen Consort of England (1136–1152) Wife of King Stephen (of Blois), daughter of Eustace III of Boulogne.

Matilda (Maud) of England (1102–1167) Holy Roman Empress (1110s–1125) Duchess of Normandy (1144–1149) Daughter of King Henry I of England, granddaughter of William the Con- queror , mother of the Plantagenets, she was the uncrowned ruler of the Kingdom of England for a few months in 1141. She may be the Maud that the eighteenth- century scholar William Stukeley was referring to when calling the Tapestry “Queen Maud’s Tapestry.”

Matilda (Maud) of Flanders (c. 1031–1083) Queen Consort of England (1066 [crowned 1068]–1083) Duchess of Normandy (c. 1052–1083) Dramatis Personae 531

Wife of William the Conqueror. She provided William with his flagship, Mora, for his invasion of England in 1066. For many years, the creation of the Bayeux Tapestry was attributed to her.

Matilda (born Edith) of Scotland (c. 1080–1118) Queen Consort of England (1100–1118) Granddaughter of King Malcolm, first wife of King Henry I of England

Morcar (Morkere, Mōrcǣr) (d. 1087) Earl of Northumbria (1065–1066) Brother-in-law of Harold through Morcar’s sister Edith. Brother of Earl Edwin of Mercia. Became earl after violent uprisings against Earl Tostig which forced Tostig to flee to Flanders. Fought against Tostig and Harald Hardraada at the Battles of York and Stamford Bridge in September 1066, assisting King Harold in the latter. After the Conquest, Morcar was replaced by Copsi as Earl of Nor- thumbria.

Olaf (Ólafr Haraldsson ) (c. 995–1030) King of Norway (1015–1028) Traditionally said to have brought Christianity to Norway. He was killed in 1030 in the Battle of Stiklestad. Canonized in 1164.

Osbern the Seneschal (d. c. 1040) A guardian of the child Duke William. He was likely murdered while protecting William from assassins.

Philip II (“the Bold”) (1342–1404) Duke of Burgundy (1363–1404) See entry for Philip the Good.

Philip the Good (1396–1467) Duke of Burgundy (1419–1467) A 1420 inventory of the treasures of the Dukes of Burgundy, ordered by Philip the Good, describes a large tapestry depicting Duke William of Normandy’s conquest of England. The implication is that the Bayeux Tapestry was for a while in Burgundy during the reign of Philip the Bold.

Philip I (1052–1108) King of France (1059–1108) Became king as a child, his co-regents were Count Baldwin V of Flanders, William the Conqueror’s father-in-law, and his mother, Anne of Kiev. 532 Appendix A

Robert (“the Frisian”) (1035–1093) Count of Flanders (1071–1093) Became count in 1071 after a victory in a civil war with his nephew, Arnulf III.

Richard I (“the Fearless”) (933–996) Duke of Normandy (942–996) Queen Emma’s father, King Edward the Confessor’s grandfather. Often credited with stabilizing the young duchy and building strategic alliances with neighboring states.

Richard II (“the Good”) (c. 980–1026) Duke of Normandy (996–1026) Queen Emma’s brother, Duke William’s great-grandfather. Richard endured hostile relations with England after a battle on the Cotentin Peninsula, but soon his sister Emma married King Æthelred (and later Cnut), and relations improved.

Richard III (1001–1027) Duke of Normandy (1026–1027) Brother of Robert I, who was rumored to have poisoned Richard. Married to Adela of France, Countess of Flanders.

Rivallon (1015–c. 1065) Count of Dol-Combourg (to 1065); ally of Duke William, Rivallon was attacked by Duke Conan II of Brittany in 1064 or 1065, an event recorded in the Tapestry.

Robert Curthose (c. 1054–1134) Duke of Normandy (1087–1106) William the Conqueror’s eldest son who rebelled against him. He eventually became Duke of Normandy while his brother William Rufus became King of England. Plotted with his uncle Bishop Odo in the late 1080s in a failed overthrow of William Rufus.

Robert I (“the Magnificent”) (1000–1035) Duke of Normandy (1027–1035) (Robert of Hiésmois) father of the illegitimate William the Conqueror, lover of Herluin. Brother of Richard III. Died 1035 when William was seven or eight years old. He is often referred to as Robert II if his ancestor Rollo, who took the baptismal name Robert, is counted as Robert I.

Robert of Beaumont (1040s–1118) Earl of Leicester (1107–1118) Dramatis Personae 533

Named by William of Poitiers as one of William the Conqueror’s companions at the Battle of Hastings

Robert of Jumièges (Robert Chambert/Champart) (d. c. 1053) Abbot of Jumièges (1037–1044) Bishop of London (1044–1051) Archbishop of Canterbury (1051–1052) The first Norman Archbishop of Canterbury; deposed and exiled 18 months after his accession due to conflicts with the house of Godwin. Succeeded by Sti- gand. According to William of Jumièges, Robert traveled to Normandy in 1051 or 1052 to tell Duke William that King Edward wished for William to be his heir to the throne of England.

Rollo of Normandy (c. 846–c. 931) He founded the Duchy of Normandy in 911 in the Treaty of Saint-Clair-sur- Epte with King Charles (“the Simple”). William the Conqueror’s great-great- great grandfather.

Scolland (Scollandus, Scotland) Abbot of St. Augustine’s (1070–1087) It has been suggested that Scolland appears in the Tapestry’s upper border next to Mont St Michel.

Stephen of Blois (1092 or 1096–1154) King of England (1135–1154) William the Conqueror’s grandson. The last Norman King of England.

Svein (Swein, Svejn, Swegen) Godwinson (c. 1020–1052) Harold’s oldest brother. Father of Hakon, a hostage in Normandy.

Svein (Swein, Svejn, Swegen) Knutsson (1016–1035) King of Norway (1029–1034) Son of King Cnut the Great and Ælfgyva of Northampton. Svein and his mother, co-regents of Norway at the appointment of Cnut, were unpopular with the Norwegians and were expelled in 1034.

Taillefer (d. 1066) A jongleur who, according to Wace’s Roman de Rou, sang The Song of Roland to the Normans before the Battle of Hastings while juggling with his sword.

Tostig Godwinson (c. 1026–September 25, 1066) Earl of Northumbria (1055–1065) 534 Appendix A

Harold’s brother. He was the ousted Earl of Northumbria who allied himself with Harald Hardraada in vengeance against Harold in order that he may take the throne of England. He was killed at the Battle of Stamford Bridge in September 1066.

Urban II (c. 1042–1099) Pope (1088–1099) Appealed to Christians at the Council of Clermont in 1095 to take part in the re-taking of the Holy Land from the Seljuk Turks. Odo died on his way to participate in this Crusade.

Walter Giffard (d. c. 1084) Lord of Longueville (Normandy) Named by William of Poitiers as one of William the Conqueror’s loyal companions at the Battle of Hastings. Walter may have been one of the magnates William assembled upon learning of Harold’s accession to the throne of Eng- land. He has been confused with his son of the same name who was First Earl of Buckingham.

Walter (d. 1063) Count of Maine Edward’s last surviving nephew who might have been a contender for the English throne. William conquered Maine in 1063, and Walter and his wife mysteriously died soon thereafter while in William’s custody.

William fitzOsbern (c. 1020–1071) First Earl of Hereford (1067–1071) Named by William of Poitiers as one of William the Conqueror’s companions at the Battle of Hastings.

William of Warenne (d. 1088) First Earl of Surrey Named by William of Poitiers as one of William the Conqueror’s companions at the Battle of Hastings.

William II (William Rufus) (c. 1056–1100) King of England (1087–1100) William’s son who succeeded him as King of England, while his brother Rob- ert Curthose became Duke of Normandy, a division which led to a contentious rivalry. Shot dead by an arrow while hunting.

Witanagemot (IPA: [‘witena je’mo:t] ) In Old English witena gemōt “meeting of wise men.” Also known as the Witan. A political body of nobles and ecclesiastics in Anglo-Saxon England whose func- Dramatis Personae 535 tion was to advise the king. Probably began in the sixth century and continued until the Norman Conquest. The men in the Tapestry who are handing the crown of England to Harold may be representatives of the Witanagemot.

Wulfnoth Godwinson (1040–1094) Harold’s last surviving brother. Was a hostage of the Normans for over 40 years. Died a prisoner at Winchester after being brought to England by William Rufus.

Appendix B Medieval Sources

Robert Wace (c. 1110–c. 1174) Norman poet and canon of Bayeux Cathedral. His Roman de Rou, completed in the mid-1170s, consists of some 16,000 lines of verse covering the history of the Norman dukes from Rollo through the Battle of Tinchebray in 1106. Much of the work focuses on William the Conqueror and his preparations for the Battle of Hastings.

William of Poitiers (c. 1020–1090) Norman priest and Duke William’s personal chaplain and biographer. His Gesta Willelmi ducis Normannorum et regis Anglorum (The Deeds of William, Duke of Normandy and King of England) chronicles the Norman Conquest of England. Completed around 1077, the work justifies William’s claim to the throne and glorifies William’s character; it also provides detailed descriptions of the Battle of Hastings.

William of Jumièges (c. 1000–post-1170) Norman Monk who compiled the Gesta Normannorum Ducum (Deeds of the Dukes of Normandy) in about 1070, which included one of the first written accounts of the Norman Conquest. (Orderic Vitalis and Robert of Torigni later appended the Gesta.)

William of Malmesbury (c. 1095–c. 1143) English monk and historian. His Gesta regum Anglorum (Deeds of the Kings of England), completed in 1125 and covering the years AD 449–1120, is considered one of the great histories of England.

537 538 Appendix B

Eadmer (c. 1060–c. 1126) English monk, historian, and author of ecclesiastical biographies, most notably of St. Anselm. His Historia novorum in Anglia covers English history from the Norman Conquest through 1122, with emphasis on church affairs.

Bishop Guy of Amiens (d. 1075) French ecclesiastic and author of Carmen de Hastingae Proelio (Song of the Battle of Hastings). Guy of Amiens was the uncle of Guy of Ponthieu, who appears in the Bayeux Tapestry. The Carmen is an 835-line poem generally recognized as the earliest known written account of the Battle of Hastings, probably composed in 1067. Beginning with the arrival of William’s invasion fleet at Saint-Valery-sur-Somme and ending with his coronation at Westminster on Christmas day in 1066, Guy provides a great deal of detail, though many details are omitted in favor of epic grandeur, and the poem highlights Eustace of Bou- logne and the French more than the Normans.

Orderic Vitalis (1075–c. 1142) English Benedictine monk and chronicler. His Historia Ecclesiastica is composed of 13 books, two of which focus on William the Conqueror, and much of the material is derived from William of Jumièges and William of Poitiers, though his chronicles from the 1070s onward are more independent.

Henry of Huntingdon (c. 1088–c. 1154) Archdeacon of London and English historian. His Historia Anglorum (continually appended until his death) is notable for its entertaining detail. His account of the Battle of Hastings has the Normans retreating in a feigned flight, luring the English to follow.

John of Worcester (d. c. 1140) English monk and author of Chronicon ex chronicis, a world history from creation until the year 1140.

Florence of Worcester (d. 1118) English monk and chronicler traditionally credited with having written the portion John of Worcester’s Chronicon ex chronicis before 1118, although modern scholarship has widely discredited him. Nevertheless, John acknowledges his debt to Florence for laying much of the research groundwork that he used in his entries for the period between the ninth and eleventh centuries.

Anglo-Saxon Chronicle This collection of annals chronicling the history of the Anglo Saxons, written in Old English, survives today in the form of nine manuscripts, each independently updated from copies of an original that had been distributed throughout England’s monasteries. None of the surviving versions is the original. Begun Medieval Sources 539 during the reign of Alfred the Great, the earliest recoded date in any version of the ASC is 60 BC; at least one version was still being updated as late as 1154. The ASC often records events that other sources omit; different versions of the ASC often contradict one another, and may reflect the biases of local scribes. Ad- ditionally, there are errors in dates and copying errors. Historians such as John of Worcester and Henry of Huntingdon referred to copies of the ASC in their own works. The surviving versions are nicknamed for the places where they had been written or housed, and are often referred to by a single letter for convenience.

• Winchester Chronicle (A), also known as the Parker Chronicle, spans 60 BC to the final entry in Old English in 1070, after which Latin is used. • Abingdon Chronicle I (B) spans 60 BC to 977. • Abingdon Chronicle II (C) contains material from version B as well as material derived from other sources. These annals stop in 1066 with an entry about the Battle of Stamford Bridge. • The Worcester Chronicle (D) was updated regularly until 1054 and contains more information on Scottish and northern affairs than other manuscripts. • The Peterborough Chronicle (E), also known as the Laud Chronicle, was updated until 1154. • The Canterbury Bilingual Epitome (F) contains entries in Old English, each followed by a Latin version. • Copy of the Winchester Chronicle (A2 or G), is a copy of A, and stops at the year 1001. • The Cottonian Fragment (H) is a single leaf recording events for 1113 and 1114. • Easter Table Chronicle (I) contains date calculation tables, and records events in Christ Church, Canterbury.

The Life of King Edward (Vita Ædwardi Regis) Biography and history of King Edward the Confessor commissioned by his wife, Queen Edith. Completed in 1067 by an unknown author, possibly the monks Goscelin or Folcard of St Bertin Abbbey, St Omer.

In Praise of Queen Emma (Encomium Emmae Reginae) A biography celebrating the life of Emma of Normandy, wife of Æthelred the Unready and later Cnut the great, mother of Edward the Confessor, and great- aunt of William the Conqueror. * * * A note about the indexing system of Cotton Manuscripts: After the dissolution of English monasteries, priories, convents, and friaries by Henry VIII in the mid-sixteenth century, the library collections of these houses fell into the hands of numerous owners. Soon after, Sir Robert Bruce Cotton M.P. 540 Appendix B

rounded up many of these manuscripts, which eventually became the foundation of the British Library. His son and grandson added to the collection over the years and it came to house a great collection of works in Old English and Middle English, including Beowulf manuscripts and the Lindisfarne Gospels. Cotton’s indexing system for his manuscripts was based on busts of the Classical heads of state that sat atop the bookcases: Augustus, Caligula, Claudius, Cleopatra, Domitian, Faustina, Galba, Julius, Nero, Otho, Tiberius, Titus, Vespasian, and Vitellius. This was followed by a shelf designation and the work’s position on the shelf. For example, the Worcester Chronicle is located at “Cotton Tiberius B.iv.” In Cotton’s original archive, this indicated that it was in the bookcase surmounted by the bust of Tiberius, second shelf down, fourth item over. The British Library still uses this system to catalogue these works. Index

Note: Each locator refers to an entry number rather than a page number. “BT” in subentries refers to the Bayeux Tapestry.

Abbey of St. Florent de Saumur, 1450 Ælfric, 1307 Aber, Rolf, 1024 Aelred, 283 Abingdon Chronicle, 456 Aesop’s fables, 28, 71, 116, 171, 191, 193, Abinger Castle, 281 225, 306, 469, 514, 567, 718, 882, 908, Ackerman, Phyllis, 305, 1371 949, 1072, 1147, 1313, 1326, 1329, Adela, Countess of Blois. See Baudri of 1371, 1384, 1493, 1604, 1671, 1753 Bourgueil: Adelæ Comitissæ Æthelred the Unready, 1007, 1642 Adela (William’s daughter), 1657 Agatha, 335, 624, 664, 735 Adelard, 787 Agnes II, Abbess of Quedlimburg, 869 Adelard of Bath, 1251 agriculture, 702, 711, 995, 1009, 1289 Adèle of Blois, 315 Ahnenerbe (Nazi Ancestral Heritage Adelida (William’s daughter), 1657 Bureau), 312 Adémar of Charbanne, 171 Albani Psalter, 1561 “The Adoration of the Magi” (Norwegian Alderney, 632, 1232 Tapestry), 62 Alexander II, Pope, 429, 486, 625, 830, adoubement, 1552 1117, 1179 Ælfgar (mother of Harold’s wife Alfred the Ætheling, 192, 237 Ealdgyth), 664 Alfred the Great, King, 42 Ælfgar of Mercia, 1661 Algitha, 317 Ælfgyva, 34, 225, 231, 260, 267, 305, American Historical Association, 23 306, 317, 335, 345, 385, 538, 544, 624, American Philological Association, 23 664, 668, 722, 735, 804, 813, 857, 944, Amino, Yoshikiko, 1642 969, 1006, 1007, 1071, 1081, 1121, anchors, 873, 1262 1144, 1145, 1162, 1163, 1280, 1291, “and all that,” 1495 1299, 1373, 1494, 1555, 1606, 1660, Anglo-Saxon Chronicle, 240, 295, 369, 1753 379, 654, 680, 717, 721, 763, 934,

541 542 Index

1173, 1175, 1606, 1625, 1642. See also architecture, 684: British, 1684; BT as Abingdon Chronicle source of information on, 64, 72, 139, Anglo-Saxons: archaeology of, 760, 921; 222, 810, 841, 1110, 1380, 1418, 1514; arms and armor of, 55, 220, 235, Gothic cathedrals, 1247; of London, 274, 1160, 1653; art of, 1737; battle 1473; materials of, 204; medieval, strategy and tactics of, 184, 243, 844, 975, 992, 1039; Norman, 120, 1039; 1032; BT as source of information on, perception and, 387; two-story, 44, 1037; concept of, 305; costume and 218, 810, 1365, 1614. See also personal appearance of, 385, 528, 984, houses 1279, 1435; demise of, 821, 1172, Arch of Constantine, 1072 1759; everyday life of, 876, 1546; aristocracy. See nobility government of, 342; history and culture Armada tapestries, 751 of, 69, 377, 405, 437, 438, 807, 833, armies. See military 950, 989, 1037, 1547, 1713, 1730, arms and armor, 49, 553, 578, 1158, 1323: 1731, 1738, 1766; houses of, 67, 1714; Anglo-Saxon, 55, 220, 235, 274, 1160, kings of, 865, 1717; military of, 55, 1653; Breton, 112; BT as source of 669, 714, 835, 984, 1005, 1375, 1554, information on, 100, 139, 147, 189, 1746, 1755; post-Conquest fate of, 217, 235, 275, 296, 321, 379, 436, 457, 225; ships of, 646, 851; and sport, 370; 551, 552, 594, 621, 627, 628, 659, 676, and warfare, 844, 1001, 1554, 1570, 693, 701, 702, 714, 739, 785, 830, 852, 1572, 1653; women among, 622; for 853, 931, 984, 1060, 1071, 1079, 1080, young readers, 537. See also England 1108, 1154, 1236, 1237, 1248, 1324, Anglo-Scandinavian art and culture, 158 1344, 1375, 1382, 1389, 1461, 1494, Angoulême Cathedral, 1776 1500, 1518, 1552, 1554, 1572, 1578, animals: in BT, 678, 1254, 1271; fables 1582, 1616, 1641, 1647, 1653, 1723, about, 224, 1107, 1462 (see also 1768; cultural influences on, 1229; Aesop’s fables); in medieval culture, development of, 95, 139, 217, 321, 1462, 1772; Norman Conquest’s effect 436, 1109; making and maintenance on, 1583; Norse conception of, 62, of, 629; Norman, 55, 112, 235, 1222, 305, 1371; posts decorated with, 1280; 1502; overviews of, 1768; Spanish, as symbols of authority, 301. See also 1502; types of armor, 100, 379; specific animals; figureheads Viking, 1506; weight of, 108. See also Antiquités Anglo-Normandes de Ducarel, individual pieces; military; warfare 539 art history: study guide for, 413; surveys Arcangel, Cory, 9 of, 1, 66, 175, 894, 1113, 1721; for Archaeological Institute of America, 23 young readers, 895 archaeology: Anglo-Saxon, 760, 921; of Arundel Passional, 780 Battle of Hastings, 1606; and BT, 23, auctoritas, 301 535, 636, 716, 769, 1058, 1061, 1541; audience engagement: with actual of England, 69, 281, 377, 433, 890; work vs. reproductions, 1421; with of Hastings Castle, 125; maritime, digital BT, 656; of eleventh-century 493; and naval horse transport, 111; viewers, 680, 811, 1203, 1275; with of Norman Conquest, 1449, 1452; inscriptions, 265; intended audience of residences, 843; of Westminster of BT, 1072; kinetic, 1203; narrative Abbey, 690 techniques and, 1065; optimal viewing archers and archery, 100, 213, 214, 248, point for, 473, 596, 1538 1071, 1151, 1312, 1583, 1647, 1688 Auerbach, Erich, 1493 Index 543 augers, 1131 for young readers, 487, 518, 738, 982, Australian National University, 7 1427, 1475, 1623 auxilium, 301 Battle of Lincoln, 247 axes, 206, 550, 686, 873, 885 Battle of Maldon, 556, 1065, 1198, 1488, 1511 Bachrach, Bernard S., 183, 225 Battle of Normandy. See D-Day Baldishol Tapestry, 1348, 1460 Battle of Pinkie Cleuch, 1499 Baldwin, 1472 Battle of Stamford Bridge, 552, 674, 801, Baldwin of Flanders, Count, 1660 1116, 1139, 1499, 1703 banners and flags, 94, 141, 305, 429, 486, Battle of Tinchebrai, 247 490, 545, 625, 670, 671, 672, 972, Battle of York, 1116 1114, 1262, 1372, 1392, 1486, 1501, battle pictures, 1655 1723, 1763 Baudi of Dol, 811 banquet scenes, 263, 269, 275, 400, 542, Baudri of Bourgueil, 168, 195, 275, 556, 963, 1208, 1275, 1383, 1494, 1510, 561, 1075, 1198, 1584, 1606, 1769; 1536, 1546, 1583, 1619. See also food Adelæ Comitissæ, 171, 306, 315, 511, and drink 513, 697, 735, 797, 954, 1065, 1081, Bari archivolt, 1080 1313, 1627, 1658 Barry, Charles, 978 Bayeux, town of, 7, 54, 178, 260, 451, Battle Abbey, 1490 604, 720, 1015, 1664 Battle Museum, 488 Bayeux Castle, 249, 285, 291, 467, 947, Battle of Alençon, 247 990 Battle of Bourgthéroulde, 247 Bayeux Cathedral, 28, 181, 193, 199, 207, Battle of Bouvines, 584 225, 260, 306, 389, 393, 406, 451, 466, Battle of Brémule, 247 532, 561, 596, 624, 642, 647, 649, 650, Battle of Fulford Gate, 552, 1499 665, 680, 699, 724, 755, 788, 875, 939, Battle of Hastings, 288, 290, 673, 675, 969, 985, 987, 1041, 1065, 1081, 1084, 715, 801, 1004, 1005, 1103, 1136, 1112, 1152, 1198, 1201, 1217, 1241, 1175, 1235, 1306, 1314, 1588, 1606, 1364, 1409, 1553 1770; anniversary of, 12; archaeology Bayeux Tapestry, 1059; alternate names of, 1606; armies in, 55, 173, 262, 714; of, 193, 207, 353, 480, 699, 770, ballad tradition concerning, 97; Bayeux 1198, 1315, 1523, 1656; Anglo-Saxon Tapestry created soon after, 23; BT as character of, 7, 22, 23, 106, 192, 208, source of information on, 120, 184, 225, 263, 284, 322, 535, 942, 953, 987, 222, 243, 246, 247, 250, 289, 343, 1081, 1472, 1521, 1584, 1610, 1750; 369, 408, 445, 454, 504, 512, 588, animated version of, 1263; artistic 674, 687, 734, 788, 838, 852, 853, quality of, 30, 123, 180, 245, 1584, 866, 905, 913, 934, 1034, 1073, 1139, 1625, 1718, 1757 (see also style of); 1260, 1427, 1475, 1499, 1518, 1606, art works associated with, 114, 158, 1745, 1759, 1762; events leading to, 168, 171, 175; authenticity of, 756, 246, 408, 592, 830, 859, 905, 1626, 813; borders of, 57, 267, 311, 469, 1721; field of, 445; film on, 961; name 561, 605, 735, 768, 798, 814, 919, of, 1173; overviews of, 317, 452, 522, 949, 964, 1147, 1270, 1271, 1371, 844, 872, 905, 913, 1034, 1116, 1260; 1493, 1603, 1646, 1769, 1778, 1782; participants in, 1703; reenactments of, BT as source of information on, 474, 40, 830, 1034; spies in, 1349; strategy 487; casts made from, 890, 944, 1056, and tactics of, 243, 250, 289, 1032; 1095; complete views of, 7, 14, 193, 544 Index

475, 476, 654, 735, 896, 1029, 1053, quality of); drawings and prints of, 6, 1058, 1062, 1147, 1198, 1200, 1263, 54, 69, 110, 177, 270, 275, 317, 543, 1270, 1457, 1482, 1496, 1497, 1548, 655, 827, 834, 890, 897, 965, 982, 1625, 1736; composition of, 188, 225, 983, 1168, 1185, 1313, 1351, 1463, 241, 596, 1113, 1510; construction 1499, 1638, 1783 (see also copies and of (see material and construction of); replicas of; photographic and digital copies and replicas of, 3, 11, 12, 30, reproductions of); as embroidery vs. 38, 54, 190, 225, 260, 330, 378, 397, tapestry, 221, 225, 229, 385, 509, 532, 480, 488, 533, 724, 819, 828, 901, 556, 869, 982, 1084, 1089, 1612, 1620, 902, 1162, 1174, 1188, 1234, 1367, 1691; faces of, 1268, 1769; fiction and 1377, 1385, 1387, 1404, 1499, 1503, poetry based on, 119, 187, 242, 341, 1554, 1600, 1654, 1679, 1703, 1744 538, 1083, 1134, 1140, 1168, 1170, (see also casts made from; drawings 1411, 1539, 1591, 1699, 1743, 1756; and prints of; photographic and digital frame of (see borders of); French reproductions of); creation of, 1, 7, 16, origins of, 168, 171; gestures in, 81, 22, 23, 107, 168, 171, 187, 195, 201, 231, 306, 473, 735, 897, 942, 1064, 225, 235, 263, 294, 306, 339, 355, 390, 1291, 1769; history of, 54, 197, 205, 400, 462, 466, 521, 538, 596, 649, 662, 207, 212, 260, 306, 312, 394, 400, 679, 680, 735, 770, 775, 780, 897, 918, 498, 521, 536, 556, 595, 650, 699, 939, 942, 972, 985, 1024, 1059, 1072, 724, 808, 813, 982, 1023, 1024, 1134, 1077, 1081, 1089, 1101, 1152, 1155, 1198, 1223, 1424, 1443, 1464, 1625; 1170, 1196, 1198, 1211, 1232, 1247, images of, in popular culture, 478, 1267, 1268, 1270, 1282, 1294, 1422, 634, 813, 978, 1029; individuals in, 1424, 1431, 1450, 1466, 1769, 1781 900; as information source, 72, 80, 86, (see also designer of; material and 89, 102, 109, 111, 120, 129, 146, 147, construction of); cultural components 163, 219, 222, 225, 246, 247, 248, 249, of, 225; dating of, 23, 87, 100, 102, 269, 275, 295, 305, 306, 307, 326, 328, 177, 202, 222, 229, 234, 237, 275, 362, 369, 390, 401, 408, 420, 433, 451, 306, 308, 317, 339, 383, 390, 397, 400, 473, 573, 636, 648, 659, 662, 664, 665, 457, 461, 473, 513, 535, 538, 561, 680, 717, 725, 746, 755, 776, 784, 859, 665, 669, 703, 784, 799, 960, 1000, 866, 899, 918, 1020, 1051, 1108, 1139, 1059, 1079, 1081, 1096, 1214, 1218, 1153, 1179, 1181, 1211, 1218, 1259, 1483, 1514, 1553, 1576, 1587, 1608, 1313, 1344, 1351, 1376, 1438, 1485, 1620, 1656, 1706, 1781; designer 1494, 1547, 1550, 1553, 1604, 1605, of, 18, 123, 158, 187, 225, 317, 335, 1606, 1611, 1625, 1680, 1721, 1759; 665, 694, 735, 1058, 1062, 1077, intended setting of, 1, 20, 181, 193, 1595 (see also creation of); digital 199, 225, 260, 269, 275, 351, 393, 406, reproductions of (see photographic and 466, 473, 561, 596, 641, 647, 680, 717, digital reproductions of); dimensions 735, 788, 804, 899, 918, 920, 987, 999, of, 16, 17, 38, 123, 165, 226, 382, 1093, 1275, 1409, 1472, 1538, 1553, 538, 604, 699, 903, 1084, 1313, 1605 (see also display of); lectures 1394, 1744; display of, 5, 12, 16, 92, on, 4; material and construction of, 123, 165, 207, 226, 265, 353, 473, 165, 198, 225, 355, 382, 404, 560, 478, 555, 581, 680, 801, 1026, 1029, 616, 642, 941, 1026, 1059, 1098, 1074, 1082, 1198, 1273, 1388, 1496, 1101, 1155, 1250, 1270, 1273, 1327, 1497, 1734 (see also intended setting 1483, 1517, 1538, 1563, 1584, 1667 of); draughtsmanship of (see artistic (see also creation of); meanings and Index 545

interpretations of, 71, 192, 193, 199, tactics of, 1071; style of, 1, 155, 158, 222, 225, 237, 260, 262, 269, 271, 275, 193, 259, 334, 387, 510, 894, 942, 985, 306, 307, 308, 335, 656, 680, 717, 941, 1171, 1270, 1406, 1472, 1519, 1757, 948, 949, 969, 987, 1024, 1064, 1065, 1769 (see also artistic quality of); 1146, 1184, 1198, 1240, 1271, 1280, triple-patterning in, 1045; unlabeled 1326, 1427, 1493, 1610, 1660, 1695, figures in, 306; Viking influence on, 1711, 1721, 1751, 1752, 1753; missing 312, 461, 1025; for young readers, 21, portions of, 27, 157, 195, 199, 265, 144, 487, 544, 761, 764, 1030, 1031, 322, 330, 461, 632, 653, 755, 804, 813, 1035, 1134, 1479 816, 827, 829, 905, 944, 1045, 1056, Bayeux Tapestry Digital Edition, 479 1065, 1081, 1095, 1163, 1232, 1234, Bayeux Tapestry Institute, 190 1263, 1270, 1278, 1313, 1394, 1550, Bayeux Tapestry Museum, 8, 28, 38, 157, 1568, 1584; music based on, 1692; 181, 201, 260, 352, 757, 813, 1082, Norman influence on, 222, 225, 260, 1186 262, 322, 735, 941, 1610, 1710; Norse BBC History Magazine, 43 influence on, 62, 158, 972, 1409, 1480; beards, 203 objects depicted in, 30, 81, 225, 301, Beardsley, Eleanor, 162 775, 835, 1051, 1053, 1058, 1062; bears, 311, 1389 overviews of, 21, 30, 66, 85, 120, 123, Beatus. See Commentary of Beatus on the 159, 193, 199, 201, 207, 211, 270, 294, Apocalypse 318, 339, 347, 348, 352, 389, 411, 413, Beatus of Liebana, 1460 462, 469, 558, 571, 699, 766, 793, Beaurain Castle, 1450 797, 800, 812, 863, 896, 936, 958, Bédat, Isabelle, 1273, 1391, 1394 1015, 1021, 1063, 1096, 1097, 1113, Bede, 1193 1127, 1157, 1197, 1334, 1369, 1386, Beech, George, 12, 1163, 1196, 1207 1421, 1450, 1457, 1467, 1510, 1511, bell-houses, 1725 1516, 1517, 1566, 1605, 1625, 1630, Belloc, Hilaire, 30, 306, 1593 1664, 1677, 1678, 1733, 1741, 1757; Benin, 1209 photographic and digital reproductions Bennett, Matthew, 543 of, 7, 20, 45, 212, 222, 330, 479, 650, Benoît de Sainte-Maure, Antoine, 240, 654, 656, 658, 724, 827, 829, 961, 400, 543, 592, 655, 657, 827, 829, 983, 983, 1053, 1058, 1062, 1081, 1263, 1318 1496, 1605, 1625, 1715, 1736 (see also Beowulf, 802, 1154, 1299 copies and replicas of; drawings and Bernard of Utrecht, Saint, 1646 prints of); places depicted in, 8; Roman Bernstein, David J., 242, 248, 260, 284, influence on, 1298; Scandinavian 306, 543, 655, 806, 811, 908, 919, 948, influence on, 225, 305, 972, 1280; 1064, 1072 scene reversals in, 62, 193, 199, 260, Bernward of Hildersheim, 987 317, 389, 479, 603, 680, 735, 809, Bertrand, Simone, 389, 1313, 1394, 1612 1071, 1072, 1198, 1211, 1550, 1690, Bettini, Maurizio, 266 1751; scenes of, 16, 26, 28, 30, 69, 71, Biblical symbolism, 192, 193, 480, 929, 86, 212, 266, 389, 544, 650, 780, 804, 941, 1278 805, 896, 939, 1198, 1201, 1313, 1387, birds, 1295. See also falconry 1605, 1736; secular character of, 561, Bishop’s Palace. See Bayeux Tapestry 566, 568, 582, 641, 680, 699, 790, 839, Museum 920, 1072, 1093, 1384, 1409, 1594, Black, Pauline, 1232 1701; sounds in, 266; strategy and Bobrick, Bruce, 902 546 Index

Bond, Gerald, 303 Carilef, William, 942 bookland tenure, 55 Carmen de Hastingæ Proelio. See under Bosham church, 24, 488, 873, 881, 947, Guy of Amiens 969, 1094, 1204, 1356, 1357, 1651 Carpentier, Jean le, 1736 Bosham manor house, 104, 746, 810, 881, carpets, 1689 947, 1365, 1536, 1614, 1619, 1684, cartoons, preparatory, 165, 199, 400, 490, 1725, 1760 556, 972, 1072, 1267, 1298 Boston Museum, 1508 castles, 140, 251, 285, 287, 292, 1066, Bouet, Pierre, 720 1445; archaeology of, 125, 281; BT bowling, 9 as source of information on, 433, 527, Boy-o Tapestry, 1209 542, 644, 691, 737, 792, 824, 862, Bray, Eliza. See Stothard, Eliza 911, 915, 945, 947, 990, 991, 1366, Bretons, 112, 168, 171 1390, 1392, 1420, 1532, 1552, 1596, Brevis Relatio de Guillelmo nobilissimo 1598, 1617, 1618, 1634, 1636, 1680, comité Normannorum, 240 1745; Crusader, 943; daily life in, Bridgeford, Andrew, 1186, 1763 705; Edward I’s, 107; history of, 285, bridges, 126, 691 291, 337, 464, 483, 644, 1634, 1635; Brilliant, Richard, 479, 1064, 1318 motte-and-bailey, 117, 120, 227, 249, Brionne Castle, 1536 250, 285, 291, 293, 325, 433, 524, 527, Britain. See England and Britain 528, 583, 644, 691, 737, 792, 801, 810, Brønsted, Johannes, 305 817, 907, 915, 945, 947, 990, 991, Brooke, Alan, 611, 1584 1366, 1390, 1420, 1491, 1532, 1552, Brooks, Nicholas P., 294, 405, 543, 919, 1586, 1587, 1617, 1618, 1680, 1745; 1313, 1318 Norman, 1230, 1377; roles of, 285, Brown, R. Allen, 1377 610, 945; sieges of, 741, 868, 911, 943, Brown, Shirley Ann, 12, 1064, 1196, 1366, 1681; timber, 824; vulnerability 1326, 1747 of, 467; for young readers, 337, 737, Bunjes, Hermann, 1024, 1332, 1333 817, 907 Burgundy, Philip the Good, Duke of, 169 cathedrals, 441, 466, 1247 burhs, 1725 Cather, Willa, 118 Burt, Richard, 855 cattle, 1583 Byrhtnoth, 556, 707, 939, 1198, 1488, cavalry, 296, 457, 525, 552, 913, 931, 1679 1117, 1154, 1338, 1465, 1641, 1755 byrnies, 274 Cecelia (William’s daughter), 1657 Byzantium, 62, 83, 111, 225, 321, 959, Centre Guillaume-le-Conquérant, 207, 969, 985 260, 1183, 1197 chain mail. See mail Caedmon Genesis, 780, 1052, 1110 chain stitch, 31, 165, 723, 1679 Canterbury and Canterbury manuscripts, Chanson de Roland. See Song of Roland 22, 43, 123, 158, 193, 275, 511, 512, chansons de geste, 265, 390, 473, 560, 564, 678, 780, 781, 782, 918, 919, 987, 561, 567, 659, 699, 1087, 1494 1051, 1090, 1107, 1110, 1232, 1294, Charles Edward, Prince, 494 1422, 1472, 1494, 1511, 1538, 1584, Le Charroi de Nîmes, 1045 1611, 1643, 1781 Chenciner, Robert, 756 Canterbury Cathedral, 780, 1382 Chepstow Castle, 1684 Canterbury Illustrated OE Miscellany, chess, 752 780 Chickering, Benjamin, 110 Index 547

Cholakian, Rouben, 303 conservation. See preservation and Choltitz, General Leiutenant von, 174, restoration 1223 consilium, 301 Christ Church, Canterbury, 780 Constable, John, 1335 Christian symbolism, 192 contoi, 1616 Churchill, Winston, 278, 611, 1584 Corbie Gospel Book, 894 Church of England, 648 Corfe Castle, 1684 Cicero-Aratea, 782, 1294 Corney, Bolton, 306 Clarke, Howard B., 18 Coronation Mantle of the Holy Roman Claverley church, 1360 Empire, 155 clinker-building method, 856, 1131, 1412, costume and personal appearance, 442, 1540, 1765 1592; Anglo-Saxon, 385, 528, 984, Clinton, Bill, 944 1279, 1435; authority indicated by, clothing. See costume and personal 1278; BT as source of information appearance on, 38, 42, 46, 72, 234, 271, 613, 693, clubs, 837, 1248, 1622. See also maces 784, 861, 921, 1218, 1239, 1279, 1391, Cluniac manuscripts, 1519 1456, 1578, 1592, 1773; clerical, 501; Cnut, 272 contemporary textiles compared on, Cnut, King, 857, 1007 1267; dating of BT based on, 1081; coats of arms. See heraldry of Edward, 618, 1121, 1278; English, Cock and Fox fable, 514 442, 615; French, 609; gender and, cognitive psychology, 266 385; of government and church leaders, Cohl, Émile, 1029 132; of Guy, 1285; hair styles, 203, coinage, 272 213, 214, 282, 528, 861, 1435, 1513, Collingwood Bruce, John, 30, 514, 619, 1610; of Harold, 488, 1075, 1606, 665, 1147, 1153 1675; medieval, 1206; military, 599, Colmieu, Jean de, 1390 1159, 1444, 1502, 1723; morality and, color, 158, 165, 188, 245, 275, 387, 396, 1405; of nobility, 131, 271, 609, 1278; 423, 451, 596, 642, 735, 1250, 1273, Norman, 203, 213, 214, 282, 385, 1284, 1301 515, 861, 984, 1456; reproduction of, Columbine High School, Colorado, 1162 1205; of soldiers, 629, 1236, 1237; of Column of Marcus Aurelius, 193, 225, Vikings, 613; of William, 1075, 1417, 479, 998, 1298 1470, 1606; women’s, 1301 comets, 240, 260, 307, 561, 567, 832, 966, Cotton Cleopatra manuscript, 1280 993, 1162, 1257, 1550, 1708. See also Council of Arras, 195, 201 Halley’s Comet Cox, P.W.L., 1482 comic strip, BT as, 12, 88, 188, 258, 338, Crafton, John Michael, 1600 353, 379, 541, 589, 598, 631, 1118, Creation hanging, Gerona Cathedral, 777, 1119, 1132, 1163, 1198, 1346, 1515, 869, 875, 1679 1517, 1523, 1718 crewel embroidery, 521, 596, 909 Commentary of Beatus on the Apocalypse, crewel-stitch, 423 535, 942, 1081 crossbows, 247, 248, 1500 commission, of BT. See patronage Crummy, Andrew, 1429 Conan II, Duke, 1211, 1212, 1572, 1675, Crusades, 891, 943 1785 cuir-bouilli, 379 Conestoga wagons, 1708 Cunliffe-Owen, Philip, 1404 conferences, 12 cupolas, 1514 548 Index

Curthose, 1077 Duby, George, 711 Cyprus, 1522 Ducarel, Andrew, 400, 406, 813, 1537 Dulverton, Lord, 279, 643, 1321, 1423 daily life. See everyday life Dumézil, Georges, 1045 Danes, 133, 431 Dupont, Jean-Léonce, 720, 1168 Davison, Brian K., 433 Durham manuscripts, 942 Dawson, Charles, 813, 1584 Duveen, Joseph, 1508 D-Day, 277, 278, 279, 323, 611, 643, 811, 896, 1092, 1166, 1186, 1321, 1473, Eadgyfu, 306, 345 1539, 1743 Eadmer, 405, 934, 1535, 1751, 1752, 1753 Dee, Julian, 751 Eadwine Psalter, 780 De la Rue, Abbe, 306, 570 Ealdred, Archbishop, 574, 602, 864, 1550, Delauney, Honoré, 306, 1081 1606, 1744 Denny, Norman, 1069 earthworks, 1676 Deschamps, Eustache, 1079 East Anglian houses, 1599 desire, 231 eating. See food and drink Diana, Princess of Wales, 904 Edith, Queen of England, 385, 494, 813, Diebenkorn, Richard, 1645 815, 923, 969, 1163, 1196, 1373, 1450, Digby, G. W., 1517 1534, 1555 Dinan Castle, 249, 281, 291, 433, 467, Edmund Ironside, 1717 574, 792, 868, 911, 990, 1071, 1377, education and pedagogy, 361, 366, 368, 1680 369, 371, 1069, 1162, 1195, 1238, dining scenes. See banquet scenes 1308, 1482, 1530, 1582, 1682, 1687, Dixon, Pierson, 85 1764. See also young readers DMX Krew, 559 Edward I, King of England, 107 Dodwell, C. R., 699, 1064, 1193, 1299, Edward the Ætheling, 1071 1498, 1715, 1737 Edward the Confessor, 351, 1597; church Dol Castle, 249, 467, 574, 1071, 1586 of (see Bosham church; Westminster Domesday Book, 222, 512, 557, 758, 995, Abbey); coinage showing, 272; 1433, 1452, 1608, 1642, 1732 costume and personal appearance of, donjon, 1553 618, 1121, 1278; death and funeral of, doors, 694 240, 260, 271, 358, 385, 389, 459, 473, Dorotheenstaedtisches Realgymnasium, 606, 858, 919, 923, 1071, 1135, 1380, 1482 1472, 1550, 1589, 1620, 1675, 1690, Dossetter, E., 827 1730; dream of, 480; and falconry, Douglas, David, 306, 866 26; gestures of, 81; life and character Dover Bible, 1107 of, 128, 129, 130, 283, 641, 858, 859, Dover Castle, 804 1007, 1139; lion associated with, 62; Doyle, Richard, 978 palace and castles of, 64, 249, 843, dragons, 62, 225, 252, 317, 797, 889, 919, 1380, 1514; portrayals of, 925, 1278; 972, 994, 1065, 1242, 1412, 1480, role of, in Norman Conquest, 129; 1486, 1487, 1509, 1593, 1599, 1735 successor to, 129, 130, 237, 240, 260, dreams, 480 271, 283, 409, 424, 480, 640, 689, 821, drinking. See food and drink 1139, 1162, 1255, 1289, 1438, 1450, drinking horns, 1208 1455, 1535, 1550, 1605, 1660, 1710 Dubosq, René, 312 eels, 663 Dubuffet, Jean, 503 Ehrén, Svenolov, 965 Index 549

Eisenhower, Dwight, 611, 1584 Europe, history of, 147, 1376, 1402, 1697 Elizabeth II, Queen of England, 12, 212, Eustace II, Count of Boulogne, 128, 222, 279, 1186 260, 261, 262, 306, 309, 486, 545, 746, Ely Cathedral, 1488, 1778, 1779 1105, 1211, 1450, 1527, 1733, 1763 Emakimono, 19, 1029, 1492 everyday life: Anglo-Saxon, 876, 1546; embroidery, 820, 1557, 1558; American, BT as source of information on, 21, 86, 1702; Anglo-Saxon, 446, 1156; artistic, 225, 390, 482, 503, 567, 624, 735, 776, 423, 500; Celtic, 1156; Chinese 784, 788, 918, 1051, 1075, 1335, 1546, techniques of, 340; crewel, 521, 596, 1553; in castles, 705; English, 1451; of 909; diverse practices of, 428; English, knights, 1151; in Middle Ages, 946; in 786, 939, 940, 1124; as historical Norman England, 1632; pastimes, 365, record, 996, 1152, 1240, 1371; history 376; sport, 370, 374, 375; of Vikings, of, 616, 1679, 1702; medieval, 1567; 1507 narrative use of, 1226; ships as subject Eyck, Jan van, 192 of, 1556; tapestry vs., 221, 225, 229, 385, 509, 532, 556, 869, 982, 1084, fables, 460, 1107. See also Aesop’s fables 1089, 1612, 1620, 1691; technical Falaise fortress, 1496 analysis of, 165; Vikings and, 1156; falconry, 26, 497, 787, 922, 1087, 1102, women associated with, 385, 390, 1251, 1288 879, 1124, 1315, 1626. See also opus Fallue, René, 312, 1024 Anglicanum; stitches fancy work, 1694 Emma, Queen of England, Denmark, and farming. See agriculture Norway, 1006, 1007, 1245, 1373, 1534 Farnham Castle, 1617 Encomium Emmæ Reginæ, 1065 Fauntleroy, Little Lord, 356 England and Britain: archaeology of, 433; feast scenes. See banquet scenes art and architecture of, 1187, 1335, Ferry de Clugny, Bishop of Tournai, 1508 1407, 1413, 1573, 1684; battles of, feudal system, 301, 561, 1552, 1626 1777; costume and personal appearance figureheads, 158, 856, 1221, 1242, 1280, in, 442, 615; embroidery associated 1507, 1599, 1765 with, 1124; history and culture of, 146, film: BT images used in, 305, 332, 813, 250, 357, 429, 440, 488, 511, 519, 961; silent, 266; theory of, applied to 524, 688, 708, 745, 795, 801, 854, 871, BT, 306, 855, 1065, 1198, 1243, 1313, 967, 1076, 1085, 1124, 1164, 1167, 1424 1172, 1354, 1365, 1413, 1468, 1471, Filmer-Sakey, Josephine, 1069 1477, 1495, 1535, 1546, 1585, 1624, Finch, Karen, 1679 1632, 1693, 1700, 1711, 1761, 1762; Fingeroth, 1118 monarchs of, 1740; national identity of, fish and fishing, 663, 1642 429; needlework associated with, 617; Fitzwymark, Robert, 1606 queens of, 831, 1077, 1521; royal line flags. See banners and flags in, 133, 195, 993, 1430; Saxon origins Florence of Worcester, 574, 1550, 1625; of, 257; southeast, 250; warfare in, Chronicle of Chronicles, 1175 889, 951, 1500. See also Anglo-Saxons flying apparatus, 1708 epic poetry, 1065, 1093, 1193 food and drink, 417, 531, 756, 818, 963, Ergyng Castle, 1337 1078, 1105, 1151, 1208, 1289, 1355, Erikson, Leif, 305 1767. See also banquet scene Estrithson, Svein, 1139 Foucault, Nicolas-Joseph, 813, 827, 829, Estrup, Hector, 305 1318 550 Index

Fowke, Frank Rede, 15, 30, 63, 536, 649, Gotland picture stones, 1478 827, 939, 1239, 1547 government, religion in relation to, 132, Foys, Martin, 20, 479, 1163, 1196, 1207 257 France, Marie de, 1769 Grande Chronique de Normandie, 981 Franks, culture of, 583, 968, 1154, 1208, Grape, Wolfgang, 47, 680 1465 graphic novels, 1118, 1168 Franks casket, 319, 1662 Great Tapestry of Scotland, 1429 Freeman, E. A., 131, 1145, 1201, 1218, Green, J. H., 909 1446, 1752 Greenaway, George, 866 French epic poetry, 1065, 1093 Gregory VII, Pope, 1179 French Revolution, 939, 1043, 1186, 1518 Grimald Gospels, 267 Fulford Tapestry, 305 Grinnell, Claudia, 20 furniture, 44, 1178 Guillard, Alfred, 624 fylgja, 62, 305 Guy of Amiens, 405, 811, 1211, 1625, fyrd service, 55, 1001, 1236 1685; Carmen de Hastingæ Proelio, 127, 240, 260, 306, 408, 592, 717, 735, Gaillard, Alfred, 201 1065, 1175, 1182; Song of the Battle Gall, E., 121 of Hastings, 369, 543 Gameson, Richard, 107 Guy of Ponthieu, 16, 78, 183, 260, 271, garters, 1286 922, 929, 1071, 1198, 1278, 1280, Geddes, Jane, 107 1285, 1450, 1565, 1606, 1661, 1751 gender, 231, 385, 390, 923, 924, 929. See Gwent Castle, 1337 also women Gyrth, 520, 1001, 1176, 1565 genealogies, 480, 541, 574, 654, 857, 1116, 1717, 1736 Hadstock Church, 694 geomancy, 233 Hager, W., 121 George VI, King of England, 611, 1584 Hakon, 128, 151, 260, 345, 1661, 1753 Gerald of Wales, 248, 721 halberd, 1248 Germanic heroic tradition, 1551 Hale, Sarah Josepha, 1322 Giotto, 1258 Halley’s Comet, 13, 72, 156, 222, 317, 338, Girault-Kurtzeman, Beatrice, 1273, 1391, 347, 359, 480, 487, 511, 512, 602, 640, 1394 875, 983, 1065, 1075, 1139, 1147, 1171, glasses, drinking, 1738 1194, 1258, 1441, 1485, 1521, 1554, Gleichen, H. S. H. Count, 42 1722, 1734, 1780. See also comets Godiva, Lady, 1606 halls, 1355, 1365, 1380, 1536, 1619, 1684, Godwin, Earl of Wessex, 128, 134, 192, 1760. See also houses 237, 250, 360, 1139, 1577, 1642, 1675 hanging textiles, 107, 109, 201, 394, 556, Godwin family, 822, 1121, 1642 561, 695, 777, 1072, 1656 Godwinson, Swein, 345 Hannah, Ian C., 35 Gokstad ship, 89, 268, 305, 517, 700, 856, Harald Hardraada, 225, 305, 592, 735, 994, 1412, 1488, 1677 859, 1075, 1139 goldsmithery, 560 Harley Psalter, 193, 780, 1110, 1280 Gombrich, E. H., 1129, 1184 Harold Harefoot, King of England, 260 gonfanons. See banners and flags Harold II (Godwinson), King of Goscelin, 722, 1555 England, 470, 1397; army of, 55, 669, Gothic art and architecture, 1165, 1247, 714, 1606, 1703; BT as source of 1459 information on, 1675; burial site of, Index 551

24, 1357; coronation of, 120, 260, 269, Hastings Embroidery, 1157 602, 690, 864, 959, 993, 1065, 1350, hauberks, 629, 693, 701, 785, 1236, 1324, 1472, 1550, 1606, 1744; costume and 1502, 1723 personal appearance of, 488, 1075, Hauser, Arnold, 1315 1606, 1675; death/blinding of, 102, hawking. See falconry 123, 192, 193, 213, 214, 220, 248, 260, Healing Arts Project, 27 270, 275, 280, 321, 324, 326, 359, 408, H. Earl Hoover Foundation, 32 474, 512, 543, 588, 592, 610, 655, 662, hearses, 606 697, 721, 735, 746, 756, 806, 923, 982, Hedeby, 493 993, 1065, 1072, 1087, 1139, 1163, Helen of Troy, 1371, 1556, 1670 1427, 1545, 1559, 1565, 1593, 1605, Helmet of St. Wenceslas, 1736 1606, 1625, 1647, 1688; ethnicity of, helmets, 95, 693, 701, 984, 1108, 1229, 305; and falconry, 26, 62, 922, 1087, 1324, 1344 1105, 1251; favorable views of, 237, Henry IV, Emperor, 1179 269, 403, 471, 473, 602, 663, 1087, Henry of Huntingdon, 222, 240, 543, 655, 1606, 1728; fiction based on, 1140; 806, 811, 1318, 1625 gestures of, 81; house of, 104, 204, heraldry, 68, 80, 133, 139, 486, 490, 534, 746, 810, 843, 881, 1365, 1536, 1614, 545, 649, 651, 671, 672, 703, 705, 732, 1619, 1684, 1760; knighting of, 63; life 931, 946, 976, 1090, 1342, 1343, 1401, and character of, 225, 351, 822, 857, 1486, 1487, 1509, 1531, 1533, 1565, 859, 1075, 1087, 1139, 1292, 1320, 1672, 1735, 1763, 1784 1399, 1675; Norman journey of, 78, Hereward, 797, 1398 129, 149, 151, 260, 306, 345, 381, 717, Herrman, Leon, 306 748, 823, 864, 934, 1065, 1071, 1139, Hestenga Castle. See Hastings Castle 1162, 1211, 1455, 1605, 1606, 1651, Hexateuch. See Old English Illustrated 1660, 1661, 1675, 1710, 1753; oath of, Hexateuch 102, 104, 151, 205, 222, 235, 237, 258, Hicks, Carola, 221, 969, 1163, 1196 297, 307, 351, 408, 661, 692, 861, 864, Hicks, George Elgar, 1315 1071, 1117, 1162, 1211, 1217, 1264, Hildebert of Le Mans, 811 1334, 1384, 1438, 1450, 1455, 1485, Hildesheim Cathedral, 193 1517, 1518, 1547, 1550, 1623, 1674, Hill, Arthur, 1404 1710, 1753; Odo and, 1275; portrayals Hill, David, 983 of, 192, 237, 925, 1278, 1722; ship Himmler, Heinrich, 43, 489, 813, 983, of, 94, 396, 677; status of, 1728; 1223 succession of, 240, 271, 409, 821, Historia Eliensis, 556 1450, 1535, 1550, 1661; unfavorable historical writing, 731, 765, 1463 views of, 192, 208, 311, 354, 385, 469, historyteachers, 50 471, 663, 941; William and, 63, 78, Hitler, Adolf, 174, 278, 755, 983, 1092, 104, 260, 583, 912, 934, 1007, 1071, 1482 1117, 1547, 1661, 1710 Hogarth, William, 1335 Harold II, King of England, 471 Holar Altarpiece, 1656 harrows, 1009 horses, 431, 623, 645, 1493; BT as Harthacnut, 858, 1007 source of information on, 877, 1637; Haskell, Francis, 1463 in England, 930; gender of, 385, 525, Hastings Castle, 125, 285, 325, 467, 524, 929; meanings and interpretations of, 574, 603, 737, 774, 817, 945, 990, 929; pack-horses, 444; royalty and, 1122, 1470, 1597, 1598, 1619, 1680 344; sexuality of, 449; size of, 108, 552 Index

110, 659, 783, 877; trappings of, 1288; Jankuhn, Herbert, 225, 1024 types of, 449; warhorses, 83, 96, 108, javelins, 99, 122, 523, 701, 714 109, 111, 117, 148, 183, 444, 449, 525, Jerusalem, 486 714, 783, 877, 1121, 1637; working John of Worcester, 240, 552, 690, 1450 horses, 702, 703, 704, 711, 995, 1708 Joshua Roll, 193, 802, 998, 1072, 1757 horseshoes, 702 Jumièges monastery, 1496 hounds, 1524 Junius Manuscript, 1052, 1280 housecarls, 734, 797, 850, 1139, 1212 houses, 103, 1542: Anglo-Saxon, karfi, 646 67, 1365, 1714; BT as source of kebabs, 400 information on, 843, 1365, 1418, 1614; Keighley, William, 4 construction of, 1418; East Anglian, Keiskamma Altarpiece, 32, 1652 1599; furniture in, 44; medieval Keiskamma Art Project, 32, 468, 1481 English, 1760; one- vs. two-story, 44, Keiskamma Tapestry, 32, 468, 1481, 1652 218, 810, 1365, 1614; roof materials Kendrick, A. F., 1584 for, 204. See also halls Kennedy, John F., 1140 Howard, E., 1153 Kent, 1, 275 Hume, David, 1700 Kiff, Jennie, 1001 Humphrey of Tilleul, 746, 1681 kingship, 271 hunting, 375, 749, 1105, 1289 knights, 140, 578, 740, 744, 772, 1460, Hyland, Ann, 83 1644; armor of, 628; BT as source hypertext, 479, 653, 656, 1275 of information on, 752, 912, 918, 931, 1460, 1549; daily life of, 1151; Iceland, 1679 knighting ritual, 63, 912, 1342; identity, 1054, 1505. See also national misconceptions about, 68; Norman, identity and nationalism 743, 1470; overviews of, 853, 912; illuminated manuscripts. See manuscript social status of, 149, 299, 375; for art young readers, 739, 1543 Imme Gram experiment, 727 Körner, Sten, 1752 inscriptions, 1504; analysis of, 306, 680, Kurukshetra embroidery, 724 1033, 1198, 1282, 1378, 1548; Anglo- Saxon elements in, 260, 942, 1081; lacemaking, 904 audience engagement with, 265; and Ladby ship experiment, 111, 1432 BT’s country of origin, 306; French laid-and-couched (Bayeux) stitch, 162, influence on, 260; grammar in, 167; 189, 225, 556, 695, 723, 724, 887, Latin, 22, 30, 167, 201, 260, 385, 389, 1157, 1234, 1352, 1679 430, 513, 654, 678, 699, 805, 942, 949, Lancelot, Antoine, 201, 306, 400, 657, 954, 1122, 1147, 1198, 1232, 1282, 665, 813, 827 1497, 1548, 1692, 1753; Old Norse, lances, 99, 110, 122, 124, 393, 457, 523, 48; spelling in, 225, 275; translation 693, 701, 702, 706, 1080, 1108, 1229, of, 86, 201, 260, 654, 699, 805, 1096, 1440, 1465 1147, 1282, 1497, 1548 Landstrom, Bjorn, 1317 Isenheim Altarpiece, 1652 Lanfranc of Bec, 242 ivory horns, 1581 Latin, 22, 30, 167, 201, 260, 385, 389, 430, 513, 654, 678, 699, 805, 942, 949, James, Chantal, 162 954, 1122, 1147, 1198, 1232, 1282, James, E. R., 1032 1497, 1548, 1692, 1753 Index 553

Latin poetry, 1381 mail, 95, 457, 594, 659, 701, 1108, 1174, law, 1775 1180, 1324, 1500, 1616 Lawrence, Sandra, 277, 278, 279, 643, Maldon Embroidery, 1157 1003 Malfosse, 1001 Lawson, Ken, 1001 malfosse incident, 289 Lawson, M. K., 543 Mallard, Sylvie, 904 Leek Embroidery, 883, 1188 Mann, James, 457 Leek Embroidery Society, 11, 30, 54, 225, manuscript art, 969; Anglo-Saxon, 193, 260, 384, 654, 724, 1188, 1367, 1377, 225, 267, 339, 1302; BT compared to, 1385, 1387, 1404, 1499, 1554, 1574, 225, 1096, 1484, 1519, 1561, 1584, 1679 1715, 1769, 1781; Edward’s portrayal Leiden Book of Maccabees, 147 in, 128; frames in, 267; pre-Columbian, Lemagnen, Sylvette, 12, 225, 312, 1101, 1132; sounds in, 266. See also specific 1196, 1198 manuscripts and manuscript centers Lemmon, Colonel, 173 Marbod of Rennes, 811 Lenin, Vladimir, 354 Marie de France, 1371 Leofwine, 520, 1001, 1176, 1565 Marignan, Albert, 306 Lethaby, William R., 596, 1517 maritime archaeology, 493 Lethbridge, T. C., 1599 Mary, Virgin, 1679 Le Thieullier, Smart, 1373 masculinity, 385, 1198, 1546 letters. See inscriptions material culture, BT as source of Leve, Albert, 1247 information on, 86, 222, 306, 326, 451, Levy, Brian, 720 680, 775, 784, 812, 841, 876, 958, Lewes Group of paintings, 158 999, 1051, 1075, 1313, 1342, 1369, Lewis, Michael, 12, 944, 1196 1376, 1485, 1605, 1638, 1721. See also Lewis, Suzanne, 303, 1318 Bayeux Tapestry, objects depicted in; Liber Eliensis, 1488 everyday life Life of Gervasius and Protasius tapestry, Matilda (Mathilda), Queen of England 1690 (Matilda of Flanders), 16, 30, 38, 106, Lindley, Philip, 107 181, 193, 195, 201, 306, 317, 347, 353, Linwood, Miss (crewel painter), 17 382, 390, 423, 424, 451, 466, 481, 494, Lloyd, Alan, 1418 521, 538, 617, 624, 642, 665, 699, 724, London, architecture of, 1473 776, 788, 790, 831, 897, 901, 966, 979, longbows, 1259, 1312 985, 1077, 1084, 1089, 1099, 1126, long stitch, 31 1152, 1170, 1201, 1218, 1239, 1240, Loomis, Roger Sherman, 23, 535 1247, 1315, 1322, 1373, 1376, 1411, Lorenzetti, Ambrogio, 1358 1431, 1442, 1450, 1474, 1482, 1521, Loyd-Lindsay, Colonel, 42 1522, 1523, 1538, 1561, 1569, 1587, Luttrell Psalter, 1045 1611, 1689, 1701, 1744, 1769 Lyttleton, Lord, 306 Matilda, Empress (daughter of Henry I), 306, 521, 642 maces, 166, 729, 898, 1108, 1141, 1221, Matilda, Empress (wife of Geoffrey 1248, 1742, 1758. See also clubs Plantagenet), 306 MacGregor, Neil, 1163 Matilda of Scotland, 831 Maciejowski Bible, 1572 McCloud, Scott, 1515 Maclagan, Eric, 30, 1443 McNulty, J. Bard, 267, 1064 MacRaild, Donald, 159 McSween, John, 983 554 Index medieval art and architecture, 386, 677, 1366, 1390, 1420, 1491, 1532, 1552, 974, 975, 992, 1070, 1138, 1256, 1586, 1587, 1617, 1618, 1680, 1745 1561 Mughal painting, 266 mercenaries, 1106 mules, 444 Messent, Jan, 157, 242 mural painting, 1665 Michel, Francisque, 225 Muriel (nun), 1555 Middle Ages, 1719: BT as source of Murray, John, 1537 information on, 903; clothing and Murray’s Hand-book for Travelers in textiles, 1206; history and culture of, France, 1074 352, 505, 506, 610, 773, 774, 1010, Museum of Reading. See Reading 1137, 1328, 1348, 1511; occupations Museum, 1188 in, 678; original sources on, 713; Musgrove, Dave, 22 warfare in, 540, 852, 932, 1225, 1434, music, 1511, 1692 1571; women in, 388, 974; for young Musset, Lucien, 215, 305 readers, 678, 1143, 1568. See also medieval art Napoleon, 16, 43, 54, 225, 260, 278, 306, Middlesex, 1150 312, 400, 406, 494, 724, 751, 813, 901, military: Anglo-Saxon, 55, 669, 714, 835, 939, 1074, 1084, 1092, 1424, 1450, 984, 1005, 1375, 1554, 1746, 1755; BT 1537, 1602 as source of information on, 110, 1375; narrative art, 580; Anglo-Saxon, 123, costume of, 599, 1159, 1444, 1502, 1307; BT and, 193, 273, 326, 390, 518, 1723; French medieval, 1228; history 802, 941, 953, 956, 966, 1064, 1065, of, 1776; mercenaries, 1106; Norman, 1146, 1147, 1184, 1243, 1244, 1299, 173, 182, 262, 359, 429, 432, 523, 1313, 1438, 1463, 1480, 1493, 1517, 526, 669, 714, 840, 913, 1106, 1641, 1575, 1579, 1750; chansons de geste 1746, 1755; obligations to, 55, 56, compared to, 561; comics and, 1515; 1001; soldiers, 1236; special forces in, conventions of eleventh-century, 735; 1017; Viking, 1746. See also arms and examples of, 193, 225, 273; film and, armor; soldiers; warfare 1243; and historical understanding, milites, 1643 1463; Japanese, 19; space and time in, Modena archivolt, 1080 1202; techniques of, 188; underlying Moffat, Alistair, 1429 motivations for, 1545; Viking, 1432; monasticism, 1130 for young readers, 956. See also comic Montfaucon, Bernard de, 201, 260, 306, strip, BT as 352, 400, 543, 654, 655, 657, 813, 829, National Geographic (magazine), 1496 839, 1318, 1378 national identity, 107 Montgomery, Bernard L., 611, 1584 national identity and nationalism, 75, 107, Mont Saint-Michel, 74, 160, 179, 205, 406, 429, 679, 1196, 1315, 1685 379, 735, 811, 969, 1211, 1527, 1679 naval horse transport, 108, 111, 148, 225, Monuments Men, 595 444, 727, 750, 896, 1350, 1500 Moore, Naomi, 555 navigational instruments, 646, 685, 873 Mora (ship), 62, 94, 120, 151, 360, 574, Nazi Germany, 174, 225, 260, 305, 306, 624, 717, 935, 994, 1190, 1221, 1606 312, 400, 489, 498, 595, 747, 813, motte-and-bailey castles, 117, 120, 227, 1024, 1062, 1223, 1331, 1332, 1333, 249, 250, 285, 291, 293, 325, 433, 524, 1482, 1602 527, 528, 583, 644, 691, 737, 792, 801, Neckam, Alexander, 841 810, 817, 907, 915, 945, 947, 990, 991, needles, 556, 596 Index 555 needlework, 390, 617, 1036, 1584, 1701. 149, 205, 297, 353, 379, 405, 407, See also embroidery 480, 491, 526, 573, 788, 897, 1012, Nelson, Theodore, 656 1071, 1117, 1126, 1186, 1212, 1230, Nesmond, Monsignor, 1082 1491, 1602; knights, 743; military of, Netherton, Robin, 1279 173, 182, 262, 359, 429, 432, 523, Neveux, François, 720 526, 669, 714, 840, 913, 1106, 1154, Newfoundland, 29, 1261 1641, 1746, 1755; national identity of, New Yorker (magazine), 811 1685; queens of, 481; royal line of, New York Pro Musica Antiqua, 85 133; ships of, 493, 550, 662, 700, 792, Nigerian art, 510 1134, 1190; and sport, 370; Viking ties Nilantii, Romulus, 1107 of, 1120; and warfare, 1570, 1572; for nobility: Anglo-Saxon, 1729; costume young readers, 418, 721, 1128 and personal appearance of, 131, 271, Northumbria, 1661 609, 1278; historical development of, nudity, 175, 225, 379, 384, 385, 923, 933; knighthood and, 149; in Norman 1606, 1753, 1754 England, 1047, 1535; overviews of, 746; wealth of, 1311. See also peerage oath scene, 102, 104, 151, 205, 222, 235, Norman Conquest, 742, 1092, 1125, 237, 258, 297, 307, 351, 408, 661, 1310, 1716, 1727; animals after, 1583; 692, 861, 864, 1071, 1117, 1162, 1211, archaeology of, 1449, 1452; arms 1217, 1264, 1334, 1384, 1438, 1450, and armor in, 1222; BT as source of 1455, 1485, 1518, 1623, 1674, 1710 information on, 269, 333, 401, 408, Odo, Bishop, 153, 230, 309; arrest of, 357; 784, 801, 983, 1073, 1330, 1449, and Harold, 1275; life and character 1452; Edward’s role in, 129; effects of, 150, 152, 569, 891, 898, 955, 1013, of, 131, 138, 193, 317, 357, 667, 721, 1217, 1241, 1373, 1450; patronage of, 838, 914, 1013, 1068, 1451, 1452, 1, 7, 23, 30, 62, 72, 102, 106, 150, 171, 1535, 1577, 1583, 1611, 1624, 1632, 181, 187, 193, 201, 207, 212, 222, 229, 1673; events leading to, 138, 193, 408, 237, 242, 260, 263, 271, 275, 294, 306, 667; fiction based on, 1168, 1591; 349, 359, 365, 383, 393, 424, 486, 494, medieval manuscripts on, 981; military 512, 520, 535, 536, 538, 539, 557, 561, campaigns of, 182; overviews of, 137, 596, 641, 642, 643, 649, 650, 661, 665, 182, 212, 298, 666, 690, 763, 870, 699, 724, 735, 747, 770, 799, 839, 854, 914, 1073, 1086, 1210, 1396, 1609; 875, 897, 918, 939, 941, 954, 966, 969, political and military background of, 982, 984, 987, 1071, 1090, 1112, 1119, 65; prediction of, 62; ships’ role in, 1126, 1163, 1196, 1201, 1232, 1239, 1002; for young readers, 72, 144, 761, 1240, 1241, 1314, 1319, 1384, 1438, 1031, 1168 1450, 1475, 1511, 1522, 1547, 1550, Normandy Invasion. See D-Day 1555, 1584, 1608, 1620, 1628, 1665, Normans and Normandy, 70; arms and 1674, 1679, 1734, 1744, 1769, 1781; armor of, 55, 112, 235, 1502; art and portrayals of, 106, 150, 152, 166, 269, architecture of, 120, 1039, 1469; art 375, 379, 491, 501, 574, 584, 596, 699, of, 511; battle strategy and tactics of, 712, 811, 854, 874, 925, 929, 941, 955, 184, 243, 250, 1032; BT as source of 1019, 1065, 1096, 1105, 1138, 1141, information on, 665, 1117, 1755, 1776; 1211, 1248, 1275, 1278, 1319, 1450, costume and personal appearance of, 1470, 1510, 1528, 1622, 1742, 1758; 203, 213, 214, 282, 385, 515, 861, and William, 480, 520, 604 984, 1456; history and culture of, 69, Oldenburg, Claes, 503 556 Index

Old English Illustrated Hexateuch, 780, peace movement, 1758 peacocks, 484 929, 1198, 1280, 1294 peerage, 450. See also nobility oliphants, 1581 Pelvillain, Hervé, 238, 1091 Oman, Charles, 1312 Penelope (Odysseus’s wife), 1084, 1099, opus Anglicanum, 1, 31, 106, 952, 972, 1371 1435 pennons. See banners and flags Orderic Vitalis, 110, 152, 240, 408, 1001, Pennsylvania Museum, 1508 1071, 1081 personal appearance. See costume and Osbert, 283 personal appearance Oseberg ship, 380, 613, 959, 1507, 1765 perspective, 30, 724, 735, 998, 1769 Oseberg Tapestry, 613, 1198, 1351 Peter, Saint, 459 Overlord Embroidery, 90, 157, 263, 277, Pevnser, Nikolaus, 2 278, 279, 311, 323, 428, 611, 643, 896, Philip the Bold, 346 1003, 1157, 1166, 1321, 1363, 1423, Pican, Pierre, 901 1473, 1556, 1584 Pigott, Mark, 751 Owen-Crocker, Gale, 804, 1196 Pine, John, 751 plows, 451, 702, 726, 995, 1361, 1708, Pächt, Otto, 1715 1738 Pantheon, San Isidoro, Leon, 1646 poetics, 1787 Paris, Matthew, 387, 821 postcolonialism, 917 Paris Psalter, 1280 posts, animal-headed, 1280 Parisse, Michel, 306, 1064 Pot, Philippe, 858 Parker, Rozsika, 390 power, 231, 390, 997, 1064, 1065, 1289 Parker Chronicle, 934 pre-Columbian manuscripts, 1132 pastimes, 365, 376. See also sport preservation and restoration, 84, 529; Patenall, Andrew, 1326 current state of, 109, 1780; descriptions patronage, 346, 403, 808, 1483; of Abbey of, 165, 555, 1026, 1273, 1650; history of St. Florent de Saumur, 1450; of of, 735, 1084; problems resulting from, Edith, 813, 815, 969, 1163, 1196, 827, 829; proposals for, 813, 1498; 1450; of Empress Matilda, 642; of scientific tests on BT, 1250; Stothard Eustace, 128, 260, 261, 262, 1105, on, 1565; transportation as issue of, 1450; of Odo, 1, 23, 62, 72, 102, 106, 1196; in World War II, 489, 1443 150, 171, 181, 187, 193, 201, 207, 212, Prestonpans Tapestry, 494, 1429 222, 229, 237, 242, 260, 263, 271, 275, Pritchard, Frances, 1646 294, 306, 349, 359, 365, 383, 393, 424, propaganda, 21, 71, 107, 162, 212, 260, 486, 494, 512, 520, 535, 536, 538, 307, 311, 312, 349, 351, 365, 439, 679, 539, 557, 561, 596, 641, 642, 643, 747, 813, 983, 1119, 1358, 1438, 1518 649, 650, 661, 665, 699, 724, 735, prophecy, 480 747, 770, 799, 839, 854, 875, 897, 918, provenance, 11, 23, 62, 201, 275, 403, 939, 941, 954, 966, 969, 982, 984, 987, 1084, 1214 1071, 1090, 1112, 1119, 1126, 1163, Prudentius, 929, 1294 1196, 1201, 1232, 1239, 1240, 1241, 1314, 1319, 1384, 1438, 1450, 1475, Quaker Tapestry, 1157 1511, 1522, 1547, 1550, 1555, 1584, 1608, 1620, 1628, 1665, 1674, 1679, Rabanus Maurus manuscripts, 1081 1734, 1744, 1769, 1781; of Stigand, rabbits, 1583 1450; of William, 72, 168, 171, 1163 Ramsey Psalter, 780 Index 557

Reading Museum, 11, 12, 30, 384, 488, saddles, 163, 525, 607, 702, 1108, 1637 533, 1385, 1387, 1404, 1679 sailors, 360, 767 realism, 1129 sails, 268, 635, 994, 1412, 1425, 1478 refil stitch, 695 Saint-Savin-sur-Gartempe, 273, 566, 1442, relief sculpture, 1198 1519 religion: BT and, 225, 969, 1041, 1517; Salisbury, Joyce E., 449, 908 clerical dress, 132, 501; feudal system San Baudilio de Berlanga, 1189 and, 561; government in relation to, Sansonetti, Victor, 829, 869 132, 257; textile art and, 880 Saracens, 794 reliquaries, 692, 1264 Sarkozy, Nicolas, 12, 43 remediation, 479 Sarrazinois tapestries, 394, 508, 509 Rennes Castle, 249, 467, 574, 990, 1680 Scandinavian folk patterns, 633 restoration. See preservation and restoration Schloat, Warren, 1682 ReVille, Margaret, 378, 902, 1600, 1654 scholarship, 303, 306, 310, 652, 682, 957, Rex, Peter, 221 1055, 1056, 1057, 1064, 1072, 1095, Rice, Talbot, 1517 1207, 1213, 1216, 1265, 1325, 1525, Richard of Barking curtains, 641 1526, 1601, 1747, 1748, 1749 Richmond Castle, 1684 Scolland, Abbot, 18, 1319 Riley, Brent A., 116 scorched earth tactics, 516 Ringerike style, 735, 972, 1280 Scotland, 1429 ring mail. See mail Scott, Walter, 1248 Rivallo, Lord, 1785 seal bags, 1646 Robert (son of Guimara), 1625 seals, 1403, 1771 Robert of Mortain, 285, 1527 Sears, Adeline Harris, 1322 Rollo, 1412 “Sexyback” (song), 50 Rollo Tapestry, 597 Shakespeare, William, 578 romances, medieval, 265 Shelton, John, 550 Roman de Rou. See under Wace, Robert shields, 95, 490, 671, 676, 750, 1108, Romanesque art and architecture, 171, 1139, 1403, 1500, 1738 566, 642, 790, 791, 894, 895, 1161, shield wall, 352, 396, 419, 444, 457, 738, 1165, 1178, 1204, 1334, 1459, 1523, 947, 1139, 1221, 1314, 1449, 1488, 1580, 1629, 1631, 1757, 1781, 1783 1518, 1688, 1703, 1731 Roslvøy Tapestry, 1198 shingles (building material), 204, 1760 Ross, D. J. A., 551 ships and ship-building, 79, 94, 435, Rouen Castle, 1450 1133, 1425; Anglo-Saxon, 646, 851; Rouen Tower, 285, 296 archaeological finds related to, 493; Round, J. H., 131 arts and crafts associated with, 767; Roy, Christina, 29 BT as source of information on, 46, 48, Roy, Jean Claude, 29, 1261 72, 89, 380, 397, 398, 493, 496, 635, Royal Archaeological Institute, 125 637, 646, 662, 686, 700, 710, 856, 873, royal lines, 133 935, 970, 994, 1046, 1149, 1176, 1317, Royal School of Needlework, 1003, 1453 1336, 1412, 1419, 1432, 1437, 1476, Rufus, William, 1782 1478, 1480, 1488, 1556; culture and rugs, 1689 history of, 1002; decoration of, 994; Ruskin, John, 1074, 1170 embroidery of, 1556; English, 493, Russell, Kate, 1232 860; figureheads of, 158, 856, 1221, Russolo, Luigi, 266 1242, 1280, 1507; history of, 1046; 558 Index

illustration tradition based on, 1018; sport, 370, 374, 375. See also pastimes medieval, 1437; navigation of, 646, spurs, 1108 685, 873; Norman, 493, 550, 662, 700, Stalin, Joseph, 354 792, 1134, 1190; sails of, 268, 635, Staniland, Kay, 107 994, 1412, 1425, 1478; timber for, 727; Stanley, Arthur Penrhyn, 257 tools for, 206, 305, 493, 646, 727, 873, status, 1054; arms and armor as signs of, 888, 970, 1131, 1638; Viking, 206, 1221; of Harold, 1728; of knights, 149, 268, 305, 329, 380, 381, 396, 443, 517, 299, 375; of women, 385, 390, 482 590, 635, 637, 727, 988, 1190, 1221, St. Augustine’s Abbey, 260, 780, 811, 1412, 1437, 1476, 1488, 1638, 1765; 955, 1275, 1319, 1472 for young readers, 1638. See also naval St. Augustine’s Gospels, 275, 780, 1280, horse transport 1294 Sicily, 892 St. Cuthbert’s stole, 114, 157 siege warfare, 741, 868, 911, 943, 1366, Steenstrup, Johannes, 305 1681 stem stitch, 225, 887, 1234, 1391, 1679 silent film, 266 Stenton, Frank M., 112, 267, 294, 306, silk, 638 312, 409, 642, 801, 837, 866, 1069, Simmonds, Joan, 29, 1261 1559 Skog Tapestry, 1198 Stephenson, Patricia, 1163 Skuldelev ships, 305, 493, 686, 1046, St. Gereon Tapestry, 90 1412, 1432 Stigand, Archbishop, 132, 237, 260, 501, Sleeman, Moira, 1232 574, 602, 609, 864, 959, 969, 1130, Smith, Alexander McCall, 1429 1245, 1278, 1391, 1450, 1472, 1485, snekkes, 1221 1555, 1606, 1721, 1744 Society of Antiquaries, 890, 1565, 1783 stirrups, 122, 163, 525, 702, 1049, 1108, Society of Biblical Literature and 1489 Exegesis, 23 stitches, 953; chain, 31, 165, 723, soldiers, 1236, 1666, 1776. See also 1679; crewel, 423; laid-and-couched military (Bayeux), 162, 189, 225, 556, 695, Soltes, Ori Z., 4 723, 724, 887, 1157, 1234, 1352, 1679; Song of Roland, 225, 260, 269, 304, 306, long, 31; refil, 695; South Kensington, 311, 410, 412, 457, 561, 572, 680, 802, 423; split, 165, 723; stem, 225, 887, 891, 1048, 1096, 1113, 1229, 1233, 1234, 1391, 1679 1244, 1493, 1511, 1565, 1582 Stone, Elizabeth, 1315 South Africa, 468, 1481, 1652 Stothard, Charles, 6, 54, 96, 254, 255, South Kensington Museum, 650, 816, 260, 270, 306, 317, 330, 400, 515, 543, 983, 1744. See also Victoria and Albert 556, 654, 655, 657, 735, 813, 827, 829, Museum 834, 944, 982, 983, 1056, 1095, 1108, South Kensington stitch, 423 1168, 1185, 1351, 1499, 1527, 1565, space, 412, 1202 1638, 1744, 1783 spades, 451, 524, 1298, 1680, 1738 Stothard, Eliza (née Bray), 813, 816, 938, Spanish arms and armor, 1502 944 spears, 432, 485, 701, 706, 714, 750, 931, Strickland, Agnes, 665, 1152 1108, 1142 Strickland, Elizabeth, 1152 special forces, 1017 stripping and spoiling, of dead warriors, spies, 1349 605, 1341, 1572, 1723 split stitch, 165, 723 Stukeley, William, 813 Index 559

Sturluson, Snorri, 1139, 1478 Unicorn Tapestries, 90 Sutton Hoo, 225, 319, 493, 608, 802, United Nations Educational, Scientific 1154 and Cultural Organization (UNESCO), swords, 583, 729, 1324 5 Symeon of Durham, 1488 University of West Georgia, 190, 378, 480, 901, 902, 904, 1162, 1600, 1654, tapestry, history of, 1191, 1613, 1663, 1703 1691 Ut, Hung Cong, 326 textiles, 695, 1099, 1218, 1252, 1431, Utrecht Psalter, 193, 780, 809, 942, 1469, 1529, 1612, 1633. See also 1294 embroidery; hanging textiles thegns, 707, 717, 778 Van Houts, Elisabeth, 543 Thierry, Augustin, 1463 Vehse, Otto, 1024 third sex, 385 Vendel art, 319 Thorpe, Lewis, 866 Verrier, Jean, 1677 threadwork, 157 Vetusta Monumenta, 1744 Timberlake, Justin, 50 Victoria and Albert Museum, 699, 983, time, 412, 1202 1530 Tolkien, J. R. R., 1299 viewers. See audience engagement tools: agricultural, 451; carpentry, 433; Vikings: arms and armor of, 968, 1506; ship-building, 206, 305, 493, 646, 727, BT associated with, 305; BT as source 873, 888, 970, 1131, 1638. See also of information on, 757, 839, 1351, specific tools 1638; costume and personal appearance Tostig, 237, 269, 592, 640, 735, 859, of, 613; everyday life of, 1507; history 1139, 1177, 1550, 1642, 1660, 1661, and culture of, 48, 69, 79, 154, 206, 1733 396, 448, 646, 727, 965, 970, 1088, tournaments, 124 1351, 1412, 1476, 1641, 1731; military towers, 1514 of, 1746; military strategy and tactics toy soldiers, 1227 of, 432, 750; narrative art of, 1432; Trajan’s Column, 193, 225, 275, 479, 998, Norman ties to, 1120; ships of, 206, 1072, 1113, 1298, 1757 268, 305, 329, 380, 381, 396, 443, 517, travel guides and travel writing, 205, 492, 590, 635, 637, 727, 988, 1190, 1221, 512, 536, 801, 1074, 1092, 1183, 1204, 1412, 1437, 1476, 1488, 1638, 1765; 1210, 1496 warriors, 779; women among, 1240; trees, 480, 1371 for young readers, 683, 733, 1120, triple-patterning, 1045 1638 Trumbull, John, 326 The Vikings (film), 305 Turold, 62, 177, 186, 187, 225, 260, 306, Villion, Pierre, 260 317, 665, 735, 811, 1022, 1030, 1233, Villon, François, 1083 1373, 1447, 1450, 1565, 1595, 1643 Vinogradoff, Paul, 837 Turold, Abbot, 1373 violence, depiction of, 1162 Turold of Brémoy, 1373 Virgil, 1072 Turoldus Hostarius, 1373 Vita Ædwardi Regis, 240, 295, 473, 480, Twain, Mark, 487 1661 The Twelve Months (tapestry), 1612 Vital, 260, 306, 665, 811, 1319, 1373, two-story buildings, 44, 218, 810, 1365, 1450, 1565, 1643 1614 Völsunga Saga, 202, 802 560 Index

Wace, Robert, 203, 317, 516, 543, 655, Wheeler, Edd, 190, 378, 901, 902, 1600, 933, 1211, 1447, 1487, 1509, 1625; 1654, 1703 Roman de Rou, 240, 260, 306, 592, Wheeler, Frances, 190 1034, 1096, 1104, 1236, 1378, 1379 Whicker, Robin, 1232 Wadard, 145, 260, 306, 665, 811, 1073, whipple-tree, 1706, 1708 1311, 1319, 1373, 1450, 1555, 1565, Wilgelmus, 1080 1643 Wilhelm, Kaiser, 789 Walker, H. E., 294, 543, 919, 1313, 1318 Wilkinson, Andy, 1174 wall hangings. See hanging textiles William, Duke of Normandy, “the Wang, Marit Monsen, 305 Conqueror,” 51, 53, 309, 548, 1123, Wardle, Elizabeth, 11, 12, 30, 260, 384, 1136, 1215, 1314, 1786; army of, 173, 884, 1188, 1367, 1377, 1404 262, 359, 429, 432, 669, 714, 1106, Wardle, Thomas, 11, 884, 1367, 1404 1703; BT as source of information on, Wardle family, 30 541; castles of, 1514; costume and Wareham Castle, 1395 personal appearance of, 1075, 1417, warfare, 172, 185, 216, 414; in Anglo- 1470, 1606; as Edward’s successor, Norman art, 73; Anglo-Saxon, 844, 129, 130, 237, 240, 260, 271, 409, 480, 1001, 1554, 1570, 1572, 1653; BT as 1045, 1162, 1255, 1270, 1455, 1660, source of information on, 601, 659, 1661, 1710; gestures of, 81; governance 834, 868, 889, 943, 971, 1001, 1176, of, 237; and Harold, 63, 78, 104, 260, 1221, 1572; English/British, 889, 583, 912, 934, 1007, 1071, 1117, 1547, 951, 1500; horses in (see warhorses); 1661, 1710; horses of, 109; invasion by, medieval, 540, 852, 932, 1225, 1434, 173, 225, 408, 419, 424, 429, 625, 659, 1571; military obligations and, 55, 56; 710, 714, 728, 830, 960, 1017, 1075, Norman, 1570, 1572; overviews of, 1105, 1177, 1379, 1500, 1523, 1563, 96, 1221; siege, 741, 868, 911, 943, 1577, 1606, 1641; leopard associated 1366, 1681; sport and, 375; strategy with, 62; life and character of, 50, 52, and tactics of, 148, 184, 247, 432, 436, 119, 138, 151, 225, 538, 559, 574, 589, 706, 1176; stripping and spoiling of the 763, 859, 928, 1075, 1077, 1089, 1139, dead, 605, 1341, 1572, 1723; values 1320, 1485, 1774; Odo and, 480, 520, associated with, 707. See also arms and 604; patronage of, 72, 168, 171, 1163; armor; Battle of Hastings; military portrayals of, 102, 151, 173, 203, 222, warhorses, 83, 96, 108, 109, 111, 117, 223, 383, 486, 491, 499, 626, 758, 925, 148, 183, 444, 449, 525, 714, 783, 1044, 1278, 1510; raising of helmet by, 877, 1121, 1637. See also naval horse 151, 173, 223, 383, 486, 491, 690, 844, transport 1211, 1343, 1403, 1509, 1606, 1628; Warren Schloat Productions, 1682 Rouen hall of, 843; rumors of death in Waterhouse, Alfred, 1188 battle, 173; ship of, 94, 120, 947 (see weapons. See arms and armor also Mora [ship]); for young readers, weather-cocks, 560, 1501 589, 747, 1089, 1345 West, Jeffrey, 208 William fitz Rivallon, Abbot of St Florent, Westminster Abbey, 120, 123, 133, 252, 168, 171 253, 257, 260, 269, 358, 389, 441, 455, William of Dol, 1785 459, 488, 495, 602, 680, 690, 696, 969, William of Jumièges, 203, 237, 293, 294, 1039, 1135, 1148, 1380, 1514, 1521, 307, 369, 401, 405, 680, 1378, 1535, 1540, 1550, 1589, 1636, 1724 1625, 1685; Gesta Normannorum Westminster Hall, 1782 Ducum, 240, 408, 717, 735, 941, 1175 Index 561

William of Malmesbury, 212, 317, 543, 1565; status of, 385, 390, 482; Viking, 592, 655, 721, 806, 811, 830, 1139, 1240. See also gender 1476, 1565, 1610, 1705, 1708; Gesta Woodruff, Helen, 3 Regnum Anglorum, 240, 934, 1621 world progress, 1698 William of Poitiers, 127, 151, 171, 237, Wormald, Francis, 311, 998, 1294, 1547, 293, 294, 307, 317, 369, 379, 401, 405, 1715 680, 690, 721, 811, 1071, 1211, 1212, writing. See inscriptions 1318, 1378, 1499, 1500, 1535, 1606, Wulfnoth, 128, 151, 260, 345, 1642, 1661, 1610, 1622, 1625, 1674, 1685; Gesta 1753 Guillelmi, 222, 240, 408, 654, 735, Würzberg, Konrad von, 1248 941, 1096, 1175, 1455, 1494, 1625, wyvern. See dragons 1661 William the Breton, 584 X-frame chair, 1178 Wilson, David, 302, 342, 1186, 1309, 1646 young readers: Anglo-Saxons, 537; art Wilton, Abbess of, 1163, 1555 history, 895; Battle of Hastings, 487, Winchester, 1232 518, 738, 982, 1427, 1475, 1623; BT, Winchester frieze, 202, 274, 802, 1737 21, 144, 487, 544, 761, 764, 1030, Winchester manuscripts, 942 1031, 1035, 1134, 1479; castles, 337, Winchester style, 193, 987 737, 817, 907; European history, 1376; wine barrels, 1540, 1738 knights, 739, 1543; medieval art, Wissolik, Richard, 306, 311 1256; Middle Ages, 678, 1143, 1568; women: Anglo-Saxon, 622; costume narrative art, 956; Norman Conquest, and personal appearance of, 1301; 72, 144, 761, 1031, 1168; Normans embroidery associated with, 385, 390, and Normandy, 418, 721, 1128; ships, 879, 1124, 1315, 1626; feudal, 1626; 1638; Vikings, 683, 733, 1120, 1638; historical documentation by, 1152, William the Conqueror, 589, 747, 1240, 1371; in the Middle Ages, 388, 1089, 1345. See also education and 979; portrayals of, 347, 385, 923, 979, pedagogy

About the Authors

John F. Szabo is the City Librarian of Los Angeles. He was previously director of the Atlanta-Fulton Public Library System. Szabo has also headed the public libraries in Clearwater and Palm Harbor, Florida as well as Robinson, Illinois. He holds a bachelor’s degree in telecommunication and film from the University of Alabama and a master’s degree in information and library studies from the University of Michigan. He is the author of Death and Dying: An Annotated Bibliography of the Thanatological Literature (Scarecrow, 2010) and Mortuary Science: A Sourcebook (Scarecrow, 1993).

Nicholas E. Kuefler is a Los Angeles area educator. He received his bachelor of music education and master of arts administration degrees from Florida State University and has directed numerous youth arts organizations. He has studied the Bayeux Tapestry and its uses in the classroom for many years.

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