Professional Documents
Culture Documents
The Bayeux Tapestry New Interpretations
The Bayeux Tapestry New Interpretations
New Interpretations
Edited by
Martin K. Foys, Karen Eileen Overbey & Dan Terkla
First published
The Boydell Press, Woodbridge
Index
The editors, contributors and publishers are grateful to all the institutions and persons
listed for permission to reproduce the materials in which they hold copyright. Every
effort has been made to trace the copyright holders; apologies are offered for any
omission, and the publishers will be pleased to add any necessary acknowledgement
in subsequent editions.
and the meaning of so many scenes; for example, the opening conversation
between Harold and William, the reason for Harolds trip to Normandy,
the identities of named figures such as lfgyva and Turold, Edwards
reception of Harold upon his return from Normandy, the deathbed gather-
ing around Edward, the events behind Harolds subsequent acceptance of
the throne, the possible presence of Eustace of Boulogne on the battlefield,
the death of Harold, the content of the borders, and the events represented
in the missing final scene(s). Like a halftone print or pointillist painting, the
big picture of the Tapestry breaks up the more closely we scrutinize it.
Such obstacles occasionally fatigue the field of study that seeks to over-
come them, but they can also inspire that field to reinvent itself. About ten
years ago, Martin Foys received an email from David Bernstein, author of
the stimulating study, The Mystery of the Bayeux Tapestry. Bernstein
was writing in response to an early prototype he had seen of the Bayeux
Tapestry Digital Edition, and said paraphrasing here, as the email is long
gone how exciting it was to see new work being done on the Tapestry. He
understood that every time it seemed the field had exhausted its subject,
new approaches would spring up to reinvigorate its study. Such resurgences
prove that the Tapestrys interpretative depth continues to exceed its con-
siderable length. And for the past fifty years, each decade of Tapestry study
has been marked by decisive publications that reworked the critical field
and in turn initiated a flurry of new industry. The reductive summary below
cannot, of course, include all significant work on the Bayeux Tapestry, but it
does provide a representative sampling.
The s saw Sir Francis Stentons edition The Bayeux Tapestry: A
Comprehensive Survey (), a watershed collection of essays by luminary
English medievalists that marked the beginning of the most fertile period
in Tapestry scholarship. The s were marked by Simon Bertrands La
Tapisserie de Bayeux (), one of the first works to focus on the mate-
rial qualities of the artefact, and C. R. Dodwells The Bayeux Tapestry
and the French Secular Epic (), which brought the discussion of
locale and purpose to the forefront of critical debate. In the s, Charles
Gibbs-Smiths The Bayeux Tapestry () and N. P. Brooks and H. E.
Walkers The Authority and Interpretation of the Bayeux Tapestry ()
drew the battle lines for a number of interpretations of the textiles origin,
sources, content, purpose and literary influence. The s were defined
by Bernsteins book and Bard McNultys The Narrative Art of the Bayeux
Tapestry Master (), both of which addressed the narrative function
of the Tapestry, especially in relation to analogous expressive forms. This
decade also saw Shirley Ann Browns formidable corralling of three centu-
ries of scholarship in The Bayeux Tapestry: History and Bibliography ().
Scholars in the s broke considerable and new interpretative ground,
while simultaneously taking a retrospective stance. Richard Brilliants The
Bayeux Tapestry, A Stripped Narrative for Their Eyes and Ears (), with
its emphasis on performativity and spatiality, embodied a growing shift
toward new theoretical approaches to the embroidery. Wolfgang Grapes
The Bayeux Tapestry (), while advancing some provocative arguments,
largely re-covered familiar territory, albeit with plenty of new visual ana-
logues. Likewise, the The Study of the Bayeux Tapestry, edited by
Richard Gameson, surveyed the critical ground that had been well travelled
by collecting one hundred and seventy years of significant scholarship.
In (with only a few notable exceptions), the scholarly state of the
art could be loosely described as having settled firmly into its own tradition,
with time-honoured approaches to date, patron, purpose, and artistic ana-
logues continuing to receive most of the academic attention. The prior forty
years of study made reasonable cases for the date of the Tapestrys compo-
sition as sometime before ; its likely locale of design and production
as Canterbury; the leading candidate for its patron as Odo, half-brother
of William; and its space of display as either a Norman nave or an Anglo-
Saxon hall (ora peripatetic space between these options, if the Tapestry was
designed to be portable). In any case, the critical debates, if not settled, cer-
tainly had begun to feel a bit played out.
But if, as David Bernstein felt, the study of the Tapestry had begun to run
its course, the past ten years has witnessed an explosion of new approaches
and interpretations, with a bevy of new methodologies and arguments that
run the critical gamut. In , Suzanne Lewiss Rhetoric and Power in the
Bayeux Tapestry applied a host of new hermeneutic approaches to the textile,
most notably in the areas of post-colonial aspects of territory and reception
theory. In that same year, the landmark Cerisy conference on the Bayeux
Tapestry was held, and its proceedings, published in French in , and in
English in as Embroidering the Facts of History: Proceedings of the Cerisy
Colloquium, made available new and vital information on, for example, the
history, reception, construction and restoration of the Tapestry. The Digital
Edition of the Bayeux Tapestry, which appeared in , was framed by a
series of events that continued the push for new modes of scholarship: the
conference at the University of Manchester on Harold Godwineson
and the Bayeux Tapestry, organized by Gale Owen-Crocker and David Hill
(proceedings of which were published in ); the NEH Summer
Seminar on the textile at Yale University conducted by Howard Bloch; and,
most recently, the conference, BT @ the BM, organized by Michael
Lewis of the British Museum, along with Gale Owen-Crocker and Dan
Terkla. This is to say nothing of the array of conference panels and papers
that continue these threads of investigation.
Indeed, subsequent work has made clear the value of applying current
theoretical modes of interpretation to this famous textile, and has inspired,
informed and, in several cases, constituted the work contained herein. We
have assembled here ten essays and a comprehensive bibliography from
both new and established scholars. We hope that this work takes the reader
down roads that lead to new thinking about the Bayeux Tapestry or
Bayeux Embroidery, as some of our contributors would have it, in an act
of resignification that emblematizes the collections frequent call for revi-
sionary accuracy. The book combines research first developed during a
NEH Summer Seminar on the Bayeux Tapestry at Yale University
with essays notable for their fresh theoretical perspectives and that encom-
pass a web of critical concerns: the historical and New Historical layering
of meaning; visuality, memory and architecture; representational systems
of gender difference; the revisionary power of crossing cultural and liter-
ary belief with material repair, synaesthesia and the graphic rhetoric of the
Finally, a note on references, figures and plates. All citations of the Bayeux
Tapestry in this collections are keyed to two readily available sources: as
plate numbers to David Wilsons colour facsimile, which recently has been
republished in affordable paperback format; and as scene numbers to the
Bayeux Tapestry Digital Edition (BTDE), available in CD-ROM format. In
addition, we include colour reproductions of scenes from the Tapestry to
which multiple essays refer. These are grouped together for ease of reference,
along with images from early pre-photographic reproductions of the textile.
,
Contributors
Valerie Allen is Associate Professor of English at John Jay College of Criminal
Justice in New York. Her publications include a long survey of Old and Middle
English literature in English Literature in Context (Cambridge, ); On Farting:
Language and Laughter in the Middle Ages (Palgrave, ); and an edited col-
lection, New Casebooks: Chaucer (Macmillan, ). She has also published on a
variety of other topics and writers: medieval grammar, chivalry, medieval women
and shame, Seen, Chaucer, Emmanuel Levinas, Friedrich Nietzsche, and Martin
Heidegger.
Richard Brilliant is Professor of Art History & Archaeology and the Anna S.
Garbedian Professor of Humanities at Columbia University (emeritus) in New
York. His publications include The Bayeux Tapestry, a Stripped Narrative for Their
Eyes and Ears , in The Study of the Bayeux Tapestry, ed. Richard Gameson (Boydell,
); My Laocon: Alternative Claims in the Interpretation of Artworks (University
of California Press, ); Commentaries on Roman Art: Selected Studies (Pindar
Press, ); Portraiture (Harvard University Press, ); and Visual Narratives:
Storytelling in Etruscan and Roman Art (Cornell University Press, ).
Michael John Lewis is Deputy Head of the Department of Portable Antiquities &
Treasure in the British Museum. He is a Fellow of the Society of Antiquaries and
Advisor to the All Party Parliamentary Archaeology Group. His PhD was on the
archaeological authority of the Bayeux Tapestry, which was published as a British
Archaeological Report. He has published articles on the Bayeux Tapestry and
archaeological small finds and was the primary organizer for July s The BT @
the BM: New Research on the Bayeux Tapestry: An International Conference at
the British Museum.
Acknowledgments
T had its genesis in an NEH Summer Seminar, The Bayeux
Tapestry and the Making of the Anglo-Norman World , held at Yale
University () under the direction of R. Howard Bloch. That six-week
conversation led to multiple sessions on the Tapestry at Leeds Universitys
th International Medieval Congress () and to presentations and
further refinement at a conference on the Tapestry, The BT @ The BM ,
held at the British Museum (). We, the editors, would like to express
our gratitude to Howard Bloch for generating the chain of events that has
led to the publication of this volume and, as valuably for us, to provocative
scholarly conversations, renewed intellectual interests, and long-distance
friendships.
All of the contributors have thanks to offer and do so in their essays. We
editors have additional debts to pay here: to our first reader from Boydell &
Brewer, whose comments were instructive and encouraging; to the British
Library, the Pierpont Morgan Library, the Victoria & Albert Museum, the
Winchester Cathedral Library, the Mount Holyoke College Archives and
Special Collections, The Stiftsbibliothek, Heiligenkreutz and the Cathedral
of St Godehard, Hildesheim for images and permission to reproduce them;
and to Sylvette Lemagnen, Conservateur de la mdiathque municipale
Mdiathque Municipale at the Centre Guillaume le Conqurant, for her
assistance with Tapestry images. We also thank Drew University; Provost
and Dean of Faculty, Beth Cunningham at Illinois Wesleyan University;
and the School or Arts and Sciences and Department of Art and Art
History at Tufts University for the funding that enabled us to illustrate this
collection. Finally, and most importantly, we must thank Caroline Palmer,
Editorial Director non-pareil, without whose calmness, understanding, and
good humour this project would never have come to fruition.