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Drawing on Biblical texts and Roman Sibylline prophecies known at the time, van Houts suggests that to Mathilda the golden child may have been an allusion to the child she was herself then bearing, as well as to "the birth of a new future in England.


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This is to be seen as part of William the Conqueror's conciliatory moves toward the English in the months immediately after in order to overcome opposition and win their support. That this attitude gave way to one of implacable force after means that, in Bouet's view, the tapestry dates to that two year period after With virtual unanimity modern scholars have believed that bishop Odo of Bayeux commissioned this tapestry though his precise motivation in so doing is not obvious and various explanations have been proposed.

Drawing upon the nature of Odo's interventions in the narrative, Valerie Flint, in her article "The Bayeux Tapestry, the bishop, and the Laity," believes that the Conqueror's brother, whom she sees as the designer as well as the commissioner, used the tapestry to defend the authority and rights of feudal bishops such as himself, then under attack by Gregorian Reform.

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Many military historians have mined the tapestry for its wealth of images of weapons, armor, defensive structure, cavalry, archers, tactics and the like. In his article "The Importance of the Bayeux Tapestry for the history of war," John France warns against the tendency to accept the tapestry depictions of a military affairs as literally accurate.

It may be trusted with regard to matters of detail--weaponry for instance--but in the portrayal of battle scenes the designer has oversimplified or resorted to convention. The historical accuracy of the tapestry narrative in comparison with that of written accounts continues to preoccupy historians and Francois Neveux focuses mainly on it in his "The Bayeux Tapestry, Original Source.

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At the same time he sees it as viewing events from a pro-Norman, and especially pro-Odo, perspective. The question of accuracy of the tapestry's images of clothing and armor is raised by Olivier Renaudeau, a specialist in the history of dress. Treating both civilian and knightly apparel, with special attention to chain mail armor, he concludes that the artist and the embroiderers have depicted these with care and precision in "The Bayeux Tapestry and its Depiction of Costume: Problems of Interpretation" Two scholars approach the tapestry from the art historical perspective.

The Identity of Aelfgyva in the Bayeux Tapestry

Barbara English carries out an analysis of a single scene, the crowning of Harold as king following the death of Edward, "The Coronation of Harold in the Bayeux Tapestry" Her concern was to find parallels or analogies for the essential elements in this scene--the throne, arrangement of the figures present, the crown, robe, insignia, etc. From the artist's uncompromising presentation of Harold's coronation, Barbara English concludes that it dates "in the early years after when the Normans were less hostile to Harold than they were to become later.

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In the second art historical essay, "The Bayeux Tapestry and Decoration in North-western Europe: Style and Composition," Maylis Bayle, who has written extensively on Romanesque sculpture and architecture in Normandy, returns to the critical, and much discussed, question of the artistic world to which the tapestry belonged.

Summarizing the findings of recent research on the topics of scene layout, style and decoration, the use of figures and drapery, and of colors, she concludes that the tapestry reflects the artistic conventions of what she calls the Anglo-Scandinavian region of northwestern Europe, and supports the arguments of the Anglo-Saxon school for a Canterbury provenance.

In the past literary historians have paid less attention to the Bayeux Tapestry than their colleagues from the other disciplines. Nonetheless a few have argued that its narrative structure deserves careful analysis according to literary conventions of the day, and Brian Levy joins this small group with a suggestive essay, the only one of its kind in this colloquium, "Trifunctionality and Epic Patterning in the Bayeux Tapestry.

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Francois Neveux introduces this volume with a brief statement about the objectives of the Cerisy colloquium and a resume of the main directions and accomplishments of tapestry scholarship in the past two centuries, "The Great Bayeux Debate, 19thth centuries" Diane Mountford. Scott Russell. If I'm on the Chemistry space, can I take the Chemistry bonus if I roll a science symbol on the science die?


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