Bayeux Tapestry Writing Assignment You Do Not Have to Be A

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Bayeux Tapestry Writing Assignment You do not have to be a needlepoint enthusiast to appreciate the magnificent Bayeux Tapestry, which chronicles the events leading up to the conquest of England by Duke William of Normandy in the year 1066. Technically speaking it is not a tapestry at all – but an embroidery, stitched with wool on a linen background by a team of needle workers. But the interesting question is: was it made just to celebrate a great victory? To answer this question you have to consider the political situation at the time. Duke William claimed that the King, Edward the Confessor, had promised him the throne of England. However this event had not been properly witnessed or recorded. He also claimed that Harold, the future King of England, had previously sworn allegiance to him. But Harold had been imprisoned in France at that time, and his actions could have been misunderstood. On Edward’s death, William of Normandy had expected to ascend the English throne. But instead Harold disputed his claims, insisting that the Kingdom had been bequeathed to him by the dying monarch, and was duly crowned King. William replied to this by invading England, defeating the English army and killing King Harold at the Battle of Hastings. Now the new King William had to ensure that history told the story his way. What better way to achieve this than with a huge 230 feet long tapestry – a priceless work of art, which would be preserved for centuries, and confirm his right, and that of his successors, to the throne of England. Thus the whole scene of Edward promising his crown to William, and Harold swearing allegiance, was stitched into the tapestry, and recorded for all time. Picture an era when very few people could read, and imagine the visual impact of this story told in vivid images, complete with the mangled bodies of the dead in battle. Even today you can walk along beside the Tapestry, and the whole epic story unfolds before your eyes, just as William the Conqueror intended, a thousand years ago. The Da Vinci Code was an example of a good, but unconvincing attempt to re-write history. But the Bayeaux Tapestry succeeded! Write a multi paragraph composition explaining why you think the Bayeux Tapestry may have been used to re-write history. Make sure you consider why there might have been a need to re-write the truth, or if the Tapestry really does tell us the truth. Even if the Tapestry isn’t completely truthful, what else does it do for us. Be clear, have an opinion, and make your writing interesting for the reader. .

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Gale Owen-Crocker (Ed.), the Bayeux Tapestry. Collected Papers, Aldershot, Hampshire (Ashgate Publishing) 2012, 374 P
Francia-Recensio 2013/1 Mittelalter – Moyen Âge (500–1500) Gale Owen-Crocker (ed.), The Bayeux Tapestry. Collected Papers, Aldershot, Hampshire (Ashgate Publishing) 2012, 374 p. (Variorum Collected Studies Series, CS1016), ISBN 978-1-4094-4663-7, GBP 100,00. rezensiert von/compte rendu rédigé par George Beech, Kalamazoo, MI Scholarly interest in the Bayeux Tapestry has heightened to a remarkable degree in recent years with an increased outpouring of books and articles on the subject. Gale Owen-Crocker has contributed to this perhaps more than anyone else and her publications have made her an outstanding authority on the subject. And the fact that all but three of the seventeen articles published in this collection date from the past ten years shows the degree to which her fascination with the tapestry is alive and active today. Since her own specialty has been the history of textiles and dress one might expect that these articles would deal mainly with the kinds of materials used in the tapestry, the system of stitching, and the like. But this is not so. Although she does indeed treat these questions she also approaches the tapestry from a number of other perspectives. After an eight page introduction to the whole collection the author groups the first three articles under the heading of »Textile«. I. »Behind the Bayeux Tapestry«, 2009. In this article she describes the first examination of the back of the tapestry in 1982–1983 which was accomplished by looking under earlier linings which had previously covered it, and the light which this shed on various aspects of its production – questions of color, type of stitching used, and later repairs.
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Dark Age Tablet Weaving
Dark Age Tablet Weaving for Viking and Anglo-Saxon re-enactors 1 Introduction Tablet weaving, also known as card weaving, is a method of using square tablets with holes in the corners to weave narrow decorative bands made of wool, linen or silk threads. Tablet weaving was widespread in Europe and Britain in the first millenium AD and is an excellent craft for historical re-enactors as it is portable, interesting, little known nowadays and you can make beautiful bands to decorate your outfit. However, creating replicas of Dark Age bands is challenging. Many of the surviving historic bands are difficult to weave, and so most re-enactors either buy in tablet-weaving or weave simplified bands, and may use patterns and techniques that aren't appropriate to the Dark Ages. The aim of this document is to describe the characteristic styles and methods of Dark Age tablet- weaving. There is also information about materials, equipment and tablet-weaving techniques. Perhaps the most striking theme of the historic bands is inventiveness, and the advantage of the historic techniques is that they allow the weaver to create a far wider range of patterns than the modern methods, which were mostly developed in the 19th and 20th centuries as tablet-weaving was 'rediscovered' in Europe1. This document isn't exhaustive, and I recommend that the interested reader explore further patterns and techniques. There are many good patterns available online. Just remember, as I once read on the internet, the first instruction in tablet weaving is “remove the cat”. Please contact me with any comments or corrections.
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Re-Embroidering the Bayeux Tapestry in Film and Media: the Flip Side of History in Opening and End Title Sequences
Exemplaria Medieval, Early Modern, Theory ISSN: 1041-2573 (Print) 1753-3074 (Online) Journal homepage: https://www.tandfonline.com/loi/yexm20 Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences Richard Burt To cite this article: Richard Burt (2007) Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences, Exemplaria, 19:2, 327-350, DOI: 10.1179/175330707X212895 To link to this article: https://doi.org/10.1179/175330707X212895 Published online: 18 Jul 2013. Submit your article to this journal Article views: 148 View related articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yexm20 EXEMPLARIA, VOL. 19, NO. 2, SUMMER 2007, 327 – 350 Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences RICHARD BURT University of Florida This essay explores homologies between the Tapestry and cinema, focusing on the opening title sequences of several ﬁ lms that cite the Bayeux Tapestry, including The Vikings; Robin Hood, Prince of Thieves; Bedknobs and Broomsticks; Blackadder; and La Chanson de Roland. The cinematic adaptation of a medieval artifact such as the Bayeux Tapestry suggests that history, whether located in the archive, museum, or movie medievalism, always has a more or less obscure and parodic ﬂ ip side, and that history, written or cinematic, tells a narrative disturbed by uncanny hauntings
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Kane, Tina. Woven Stories: Tapestry And
T a p e s t r y T o p i c s Feature Article ”2003 American Tapestry Alliance A Quarterly Review of Tapestry Art Today Fall 2003, Vol 29 No 4 Woven Stories: Tapestry and Text in the Middle Ages and Early Renaissance Tina Kane INTRODUCTION In the Fall of 2002 I team-taught a course at Vassar College, in Poughkeepsie, New York with Nancy Willard, an English professor, author and poet, and specialist in medieval literature. The tapestries were from the fourteenth to the sixteenth century, and many of the texts, such as Le Roman de la Rose and Gawain and the Green Knight were drawn from around the same period. We also looked at film and drama, as well as poetry, both medieval and contemporary. The students—mainly juniors and seniors—were also asked to learn to weave simple tapestry samplers and to construct their own visual narratives. It was a complex and various course and it provoked a number of ideas, some of which I would like to present here. Initially, the students expected to study tapestries as more or less woven illustrations. Illustration that is auxiliary to text clarifies or explains the text by means of decorative images or diagrams. Although there are some instances where tapestries do indeed function in this way, most tapestries from this period have a more complicated relationship with the text or texts that inspired them and require a more complex narrative decipherment. For our study, we found ourselves in need of both a framework - 2 - and terms to describe the relationships between tapestry and text.
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Weaving Pictures 15Th Century Tapestry Production at Lengberg Castle
Beatrix Nutz and Claudia Ottino Weaving Pictures 15th Century Tapestry Production at Lengberg Castle Abstract This article, based on finds made during an archaeological investigation carried out at Lengberg Castle, East-Tyrol, explores the possibility of small scale tapestry production at castles of the minor nobility in the medieval period. Seven finds could be identified as textile tools, two of which were used for weaving. A tapestry bobbin and a pin beater suggest tapestry production. This article introduces the technique of tapestry and the use of a tapestry bobbin. It describes the tapestry bobbin and pin beater from Lengberg in detail, together with the results of the botanical analyses. Comparable finds from Great Britain and Denmark are considered and the proper function of a bobbin is examined. The extent to which tapestry production took place at Lengberg is discussed, who could have been employed in it, and what the results of this study signify with respect to possible tapestry production at other small castles in Europe. Key words: tapestry bobbin, pin beater, tapestry production, 15th century, Lengberg Castle Weaving Pictures Besides more than 2700 textile fragments, such as pieces of linen underwear, shirts, dress linings with no • • Arachne was the first person to create the remnants of the outer woollen layer, fragments of arts of dyeing wool in different colours and of woollen trousers and various silk fabrics (Nutz and producing what we would call fine tapestries Stadler 2012, 79), several tools for textile production from weaving pictures on cloth to make them were discovered among the discarded goods. The tools look like paintings." Christine de Pizan, The consist of five wooden spindle shafts together with two Book of the City of Ladies, 1405, Chapter 39 lead spindle whorls and an object that turned out to (Pizan and Brown-Grant 1999, 73).
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The Arms and Armour of 1066
Suitable for ages 11-16 KS3 & KS4 History KS3 & KS4 English The Arms and Armour of 1066 The year 1066 is famous for changing the course of English history. The death of Edward I, also known as Edward the Confessor, caused a succession crisis. Three contenders would ﬁght for the English crown and the right to rule the country. ° Harold Godwinson of Saxon England ° Harald Hardrada of Norway ° William the Duke of Normandy All three believed they had a right to the English throne. In order to ﬁght for the crown they needed armies with weapons, armour and battle tactics. The ensuing epic battles of Fulford, Stamford Bridge and Hastings have earned their place in the history books, and led to William Duke of Normandy becoming King of England. Let’s focus on the Battle of Hastings and have a look at the weapons and armour the warriors used nearly 1,000 years ago. Additional resources Watch a video all about the arms and armour of 1066 on our YouTube channel. Arms & Armour of 1066 / © Royal Armouries / April 2020 / 1/5 The Saxons Axes Types of Saxon warriors Axes were a very common weapon in Europe at that time. Saxon Housecarls are often depicted armed with axes on the Bayeux Tapestry, and the Viking warriors of Hardrada’s army would certainly have wielded them too. This axe head, from our collection, is possibly of Viking origin. These weapons caused a huge amount of damage and injury. The axe head would be mounted on a long handle, between 1.5 and 2 metres in length.
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Mongol Scrolls & Bayeux Tapestry
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The Bayeux Tapestry and the Vikings
Peregrinations: Journal of Medieval Art and Architecture Volume 2 Issue 4 9-50 2009 The Bayeux Tapestry and the Vikings Shirley Ann Brown York University Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Brown, Shirley Ann. "The Bayeux Tapestry and the Vikings." Peregrinations: Journal of Medieval Art and Architecture 2, 4 (2009): 9-50. https://digital.kenyon.edu/perejournal/vol2/iss4/3 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Brown 1 The Bayeux Tapestry and the Vikings By Shirley Ann Brown, York University, Toronto In 1958, Hollywood produced The Vikings, a blockbuster featuring first-rank stars like Kirk Douglas, Tony Curtis, Janet Leigh, and Ernest Borgnine. The director, Richard Fleischer, wanted the utmost authenticity, so he filmed the action in the fjords of Norway. One of the intriguing aspects of the film’s visuals was the rolling credits at the beginning and end of the movie for which the Bayeux Tapestry served as the basis. Figure 1: Opening credits from The Vikings, Metro Goldwyn Mayer, 1958. 1 This article is an expansion of a paper originally read in French for the colloquium “La Tapisserie de Bayeux: une chronique des temps vikings?” held 29-30 March 2007 in Bayeux, organized by Sylvette Lemagnen, Conservateur of the Bayeux Tapestry.
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The Bayeux Tapestry: Norman and English Perspectives Intertwined
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2004 The Bayeux Tapestry: Norman and English Perspectives Intertwined Maria Dajcar University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the European History Commons Recommended Citation Dajcar, Maria, "The Bayeux Tapestry: Norman and English Perspectives Intertwined. " Master's Thesis, University of Tennessee, 2004. https://trace.tennessee.edu/utk_gradthes/4652 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Maria Dajcar entitled "The Bayeux Tapestry: Norman and English Perspectives Intertwined." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in History. Robert Bast, Major Professor We have read this thesis and recommend its acceptance: ARRAY(0x7f6ff822e9e0) Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Maria Dajcar entitled "The Bayeux Tapestry: Norman and English Perspectives Intertwined". I have examined the final paper copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in History.
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The Stitches
Stitchery Series Part III – The Stitches Heather Daveno Contact: [email protected] AugustPhoenixHats.com Embroidery stitches in China Satin stitch appears to date from the Shang Dynasty (1523-1027 BCE). Appliqué and silverwork have been found in tombs in Mongolia from the Chou Dynasty (6th century BCE). Textiles from Han Dynasty tombs show that the stitches used during this time period included1: • Satin (ping) – also called flat stitch • Stem (xian wen) – sometimes referred to as outline stitch • Peking Knot (da zi) – called seed knot in early centuries and came to be known as Forbidden Stitch, when it was outlawed from embroidery factories during the 1940’s because it was thought that women were going blind in their extensive use of it, although modern literature attributes this to an old urban legend. I have personally lost more of my eyesight from working with metallics, than I have working with this stitch. • Chain (suo) - also known as lock or loop stitch • Couching (ding) – also called nail stitch Appliqué, buttonhole, net stitch, pine needle stitch and quilting stitches were also used during the Han Dynasty, but are not detailed in this article. No new stitches appeared in China until the Ming Dynasty (1368-1644). Counted stitches (Florentine and petit-point) came into use during the Ch'ing Dynasty (1644-1912). Embroidery stitches in Europe (My Cliff Notes version) During the Viking era, embroidery stitches were employed more as seam finishing techniques than as decorative elements. When decorative stitches were used, they included stem, back, herringbone, Vandyke, blanket, and chain stitch. Couching was used to secure metal or leather strips around applique, or to secure cords and braids.2 The Bayeux Tapestry that was featured in Part I of this series was worked in wools on bleached linen, in stem and outline stitch, with laid and couched work used as a fill stitch.
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Bayeux Style Initials
©Ava, 2014 Bayeux style initials Drachenwald Crown Tourney 2014 workshop by Ava van Allecmere [email protected] Introduction: The Bayeux Tapestry is an embroidered cloth—not an actual tapestry—nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. The word tapestry comes from French tapisser, which means ‘to cover the wall’, thus wall covering. The tapestry consists of some fifty scenes with Latin tituli (captions), embroidered on linen with coloured woollen yarns. It is likely that it was commissioned by Bishop Odo, William's half- brother, and made in England—not Bayeux—in the 1070s. In 1729 the hanging was rediscovered by scholars at a time when it was being displayed annually in Bayeux Cathedral. The tapestry is now exhibited at Musée de la Tapisserie de Bayeux in Bayeux, Normandy, France. In a series of pictures supported by a written commentary the tapestry tells the story of the events of 1064–1066 culminating in the Battle of Hastings. The two main protagonists are Harold Godwinson, recently crowned King of England, leading the Anglo-Saxon English, and William, Duke of Normandy, leading a mainly Norman army, sometimes called the companions of William the Conqueror. Construction, design and technique: The Bayeux tapestry is embroidered in wool yarn on a tabby-woven linen ground 68.38 metres long and 0.5 metres wide (224.3 ft × 1.6 ft) and using two methods of stitching: outline or stem stitch for lettering and the outlines of figures, and couching or laid work for filling in figures.
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The Bayeux Tapestry As a Medieval Educational Tool
OUR Journal: ODU Undergraduate Research Journal Volume 6 Article 1 2019 It’s Elementary: The Bayeux Tapestry as a Medieval Educational Tool Sarah Bulger Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/ourj Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Medieval Studies Commons Recommended Citation Bulger, Sarah (2019) "It’s Elementary: The Bayeux Tapestry as a Medieval Educational Tool," OUR Journal: ODU Undergraduate Research Journal: Vol. 6 , Article 1. Available at: https://digitalcommons.odu.edu/ourj/vol6/iss1/1 This Article is brought to you for free and open access by ODU Digital Commons. It has been accepted for inclusion in OUR Journal: ODU Undergraduate Research Journal by an authorized editor of ODU Digital Commons. For more information, please contact [email protected]. It’s Elementary: The Bayeux Tapestry as a Medieval Educational Tool Cover Page Footnote Thesis Advisor: Dr. Anne H. Muraoka This article is available in OUR Journal: ODU Undergraduate Research Journal: https://digitalcommons.odu.edu/ourj/ vol6/iss1/1 Bulger: The Bayeux Tapestry as a Medieval Educational Tool IT’S ELEMENTARY: THE BAYEUX TAPESTRY AS A MEDIEVAL EDUCATIONAL TOOL By Sarah Bulger Published by ODU Digital Commons, 2019 1 OUR Journal: ODU Undergraduate Research Journal, Vol. 6 [2019], Art. 1 TABLE OF CONTENTS List of Figures ……………………………………………………………………… ii Introduction ……………………………………………………………………….... 1 State of Scholarship ……………………………………………………………....... 2 The
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