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The Saxon Tapestry [Sile Rice] on leondumoulin.nl *FREE* shipping on qualifying offers. In eleventh century England, King Edward the Confessor relinquishes his.
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Bayeux tapestry: a brag, a lament, an embodiment of history's complexity

Furthermore, there is no certainty that William could not have marched a very large army rapidly to Battle, even if there was such a march, which is very doubtful. Spatz relied here on William of Poitiers ed. Davis and Chibnall, pp. Darlington and McGurk, ii. These are not precise parallels, but William of Jumieges ed.

Bayeux Tapestry

Smith gave generously of his time on the subject of ancient warfare. I am grateful to them. Maddicott and D. We thank M. Lawson for his permission to republish this article. Lawson The Medieval State: Essays Presented to James Campbell If a relative plethora of sources provides more evidence on the battle of Hastings than any other event in Anglo-Saxon history, there is surpris—ingly little of which we can be certain.

Appendix Limitations of space prevent full consideration here of the reasons advanced by Spatz, Baring and Ramsay for limiting the armies to less than 10, men apiece; none carry much conviction, but here is a little of the argument. The Gesta Guillelmi of William of Poitiers, ed. Davis and M. Chibnall Oxford, , pp. Brooks and H. The Bayeux Tapestry , ed. Wilson London, , plates Spatz, Die Schlacht von Hastings Berlin, , pp.

Archer and Kate Norgate is listed by J. Ramsay, The Foundations of England 2 vols, London, , ii. Ramsey ii.


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For example, F. Stenton, Anglo-Saxon England 3rd edn, Oxford, , pp. Morino Woodbridge, , pp. For further discussion of the size of the armies, see Appendix, below, pp. Two of the Saxon Chronicles Parallel , ed. Plummer 2 vols, Oxford, , i. The date of D is uncertain. John of Worcester, Chronicon , ed.

Bibliography

Darlington and P. McGurk Oxford, ii. William of Poitiers , ed. Freeman, Norman Conquest , iii. Whitelock et al.

London, , p. Stubbs, Rolls Series, 2 vols London, , ii. Stenton London, , p. Plummer, i. Swanton London, , p. Whitelock 2nd edn, London, , p. Wilson, pp. Wace, Roman de Rou , ed. Holden 3 vols, Paris, , lines , , ; ii. Reuter London, , pp. Kurze Hanover, , s. Above, p. Holt Woodbridge, , pp. It is edited by Dr van Houts at Roman de Rou , ed. Holden, lines ; ii. Holden, lines , ; ii. See also C. Rice Holmes Oxford, , p. Holden, line ; i. I have measured the distance from Bavent to Dives-sur-Mer on the Michelin map no.

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Gillmor gives 4. The form of the lower Dives at this date is not, of course, known with any preci—sion; see further R. These calculations have been made from the map prepared by J. The tapestry even shows characters playing practical jokes on one another, all of which make this piece of art a surprisingly human one.

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Elements of the supernatural and mythological are included throughout the tapestry, too. A strange and colorful bestiary of heraldic birds, beasts, and entities cavort along the margins as if dancing to the beat of music. This celestial body trailed through the sky in in the months before the invasion and was interpreted by many as a sign from God of the impending victory of the Normans.

But the real highlight of the tapestry is its scenes of battle, which capture the grittiness and totality of war and its aftermath. Archers fire arrows into the sky that land on shields or men, axes and war hammers cleave skulls or limbs, while swords or spears are run through the bodies of warriors and warhorses.

The Norman cavalry charge clashes into the human wall of Saxon warriors, breaking through in some places and being repelled in others. But far from invincible warriors, the Norman soldiers themselves are shown as just as mortal and fallible as their Saxon foes and the dead and dying of both armies litter the battlefield.

An armor-clad figure labeled as King Harold is shown grimacing as an arrow passes through his eye and brain, killing him in the manner that the chronicles describe he died. Intriguingly, the tapestry seems to suggest that he was a tragic figure, which perhaps indicates that he was seen as an admirable adversary by the conquerors of his people. William the future king, on the other hand, is shown with a degree of aloofness and clinical distance.

He is portrayed as a composed and able military leader who rides with a dignified air with his men during cavalry charges and is wearing his new crown by the end of the battle. The museum is open from 9 a. Tickets unfortunately can only be bought at the site. The town of Bayeux also has a museum and many war memorials from more recent world history to see, as it was the first landing point of the Allied forces during the invasion of Normandy in World War II. Sign up for our newsletter and get the best of Atlas Obscura in your inbox.

Bayeux Tapestry: Design, History, Photograph

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