“Cathedrals of the Moscow Kremlin” - The icons of the cathedral were painted by the wonderful Russian icon painter Andrei Rublev. Why are historical monuments national shrines of the Fatherland? The facade of the chamber is lined with white faceted stone, hence the name of the chamber. Archangel Cathedral of the Moscow Kremlin Architect: Aleviz Novy. Annunciation Cathedral of the Moscow Kremlin.
"Churches, Temples and Cathedrals" - Cathedral of Christ the Savior in Moscow. The temple consists of 9 churches on one foundation. Holy Dormition Cathedral. Which architectural ensemble is a miracle of Russian wooden architecture? The ingenious architect serf Yakov Bukhvostov was illiterate. Annunciation Cathedral of the Moscow Kremlin. Central - Pokrovsky.
"Cathedral" - Cathedral. Construction began in 1386 and ended in 1856. The abundance of keeled zakomaras and kokoshniks resembles stone lace. A. Amadeo, K. Solari, P. Tibaldi and others. Notre Dame Cathedral. There are several cathedrals in the city. Paul in London, St. Sophia Cathedrals in Kyiv and Novgorod). Zemsky Cathedral.
Sophia Cathedral - The frescoes were painted with water-based paints, which absorbed the primer well into the damp surface. The presence of choirs in many churches Old Russian state was a typical occurrence. With the adoption of Christianity, the construction of temples and monasteries begins. Saint Sophia Cathedral had the so-called "pozakomarnoe" coating. Monuments of ancient Russian architecture testify to high development construction industry in the state.
"Assumption Cathedral in Vladimir" - Here at that time there were meat, shoe, dye rows. Museum reserve. The plateau is divided by transverse ravines into three parts. Assumption Cathedral became even more majestic. The central part, or the Kremlin, has always played a leading role. In the banner armorial of 1730. for the first time the head of a lion is turned in front.
"Resurrection Cathedral" - the Cathedral is surrounded on three sides by two-tier galleries. Once again I look at the cathedral, Unable to hide the delight and amazement. Resurrection Cathedral (1652-1675). Likeness of lace - color pattern Bewitched by skillful execution. The whole temple is like a white stone marvel! K. Konyushev. The cathedral is crowned with a powerful five domes with simple slender eight-pointed crosses.
During a long French trip, we managed to get acquainted with two unusual works of ancient weaving and embroidery. The first is in Angers, the second is the tapestry in Bayeux. You should come to this city only to see with your own eyes the grandiose creation of embroiderers (or embroiderers?), which is almost 1000 years old! Of course, no Internet source can replace the impression of the real thing. But it can give an idea of the grandiose work of the ancient masters. And at the same time, refresh the memory of the most important episode medieval history England - its conquest by William (Guillaume) the Conqueror in 1066.
With a brief historical background and let's start - so it will be clearer to understand the events of the tapestry.
1051 year. On the lands of the Anglo-Saxons, King Edward the Confessor, the nephew of the Duke of Normandy Richard II, rules. The Lord did not give him children (there is a legend that he did not love his wife and remained a virgin), he proclaimed as his heir the young Duke of Normandy Guillaume (in England they call him William) - his cousin.
1064-1065 years. Another contender for the throne, Harold was the brother of Queen Edith, wife of Edward the Confessor. In 1064-1065, Harold was captured by Guy I de Ponthieu. William the Conqueror redeemed him from captivity and Harold was forced to recognize the savior as the heir to the throne, swore allegiance and promised him his support.
1066 year. Death of King Edward the Confessor. The English Council of the Witengamot recognized Harold as king. They did not need Wilhelm, because the stranger would begin to oppress the local nobility, take away their lands, titles and bestow gifts on their close associates, the Normans. Harold took the throne. William immediately accused him of perjury, gathered a squadron, defeated the English troops at Hastings and reigned on the English throne. Harold died during the battle.
Technical and historical details will be given below when we consider the numerous scenes of the tapestry. “Tapestry” in this case is called so conditionally. In fact, it is made using the technique of embroidery with woolen threads on linen. The pictures are taken from the official website of the Bayeux Tapestry Museum.
The events of 1064-1066 depicted on the tapestry form an independent view of the events, which is somewhat different from the surviving written sources. And if the descriptions of the main events generally coincide with written sources, then in details they often contradict them. The laconic nature of the tapestry text does not explain the reason for the discrepancies.
It should be noted that some events are deliberately not clearly described. For example, about the mission entrusted to Harold by Edward the Confessor at the beginning of the story, or about the contents of King Edward's will. The author was undoubtedly aware of the different interpretations of events on both sides of the English Channel.
JOURNEY TO NORMANDY
Scene 1. At the very beginning, the carpet was badly damaged, but it was carefully restored. King of England since 1042 Edward the Confessor talking to his brother-in-law Harold the Earl of Wessex, probably at the Palace of Westminster. Harold at that time was the most powerful aristocrat of the country and a pretender to the throne. Then Harold (right), hawk in hand, sets off for the south coast to his Bosham in Sussex estate with his entourage and hunting dogs.
Scene 2 Harold and his companion enter the Beauchamp Temple to pray for safe sailing. They feast in one of the many palaces of Harold's estate in Bosham (pay attention to the drinking horn, such dishes were extremely common in Scandinavian circles) and set off on a peaceful campaign - none of the retinue is armed. Why - historians do not know anything. Harold enters the ship and sets sail. He still holds the hawk in his hands.
Scene 3. A fair wind carries the ships and Harold crosses the English Channel. From the mast through the fog they watch the shore. This is Ponthieu, the land of the mighty duke Guy I de Ponthieu. Harold is shown here twice. On the left, he stands on a ship, ready to step ashore. As soon as his feet touched the ground, he was seized by the duke's men, who lead them from his horse on the right.
CAPTURED
Scene 1. Although Harold is now a prisoner, he is treated with respect. In the center of the scene, he is depicted on a horse with his hawk, he gallops into the Beaurain. On the right, Guy I de Ponthieu, on the throne, is talking to Harold.
Scene 2. In the next three parts, the sequence of events is shown in reverse order. Two envoys arrive from the sovereign William of Normandy to the Duke de Guy and demand the release of Harold. It is known that Turold, the nephew of Bishop Odo of Bayeux, is depicted on this scene. Turold - either little man to the left of the center of the scene, or one of the two messengers to the right. It is conveyed with what fury these riders - the envoys of Wilhelm - are galloping - their hair fluttering in the wind, they are full of serious intention to announce de Guy the will of his master.
Scene 3 This scene should actually be the first of three. Wilhelm receives word that Duke Guy has captured Harold. Guy obeys the order and brings Harold to meet Wilhelm. Guy on a blue horse, he points to Harold riding behind him, both holding hawks.
STRANGER
Scene 1. Wilhelm and Harold, accompanied by soldiers, gallop to William's palace in Rouen. (Norman now depicted with a hawk!) Wilhelm is seated when Harold speaks to him. Here is a mysterious episode. Two figures appear on the tapestry: a lady, her name is Aelfgyva (she is definitely English) and a clergyman. They seem to have nothing to do with what is happening, but this event must have been well known in the 11th century. Most likely, the scene is connected with a love scandal. In lower case, a naked person is depicted.
BROTHERS IN ARMS
Scene 1. Harold accompanies William and Norman soldiers on a campaign against the Duke of Brittany, Conan of Brittany. They pass Mount Saint-Michel - the border of Normandy and Brittany.
To get to Brittany you need to cross the river and the army can hardly take its feet from the quicksand. Warriors raise their shields over their heads to keep them from getting wet. Several soldiers fall into quicksand and Harold saves two at once!
Scene 2. The Norman army attacks Dale and Duke Conan escapes by rappelling from the castle - in the center is a little man rappelling from the tower. In pursuit of Conan, the Normans reach Rennes, the capital of Brittany.
Scene 3. The Normans overtook Conan at Dinan. In battle, horsemen throw spears, soldiers try to set fire to defensive fortifications. Conan surrenders. On the tip of the spear, he gives Wilhelm the keys to Dinan. Campaign ended. For his faithful service, Wilhelm rewards Harold with weapons and knights him. This ritual was well known in France, but such a tradition did not exist in England at that time. This scene also signifies Harold's recognition of Wilhelm as his overlord. From a Norman point of view, this scene is extremely important.
OATH
Scene 1 Wilhelm and Harold return to Normandy and arrive in Bayeux. In this episode there is an illustration of the castle in Bayeux, it was built in the 10th century and destroyed in the 18th.
This is the climactic scene, on the holy relics, Harold takes an oath of allegiance to William (image in the center). In the presence of the Duke of Normandy, Harold places his hands on two relics and swears allegiance to his overlord. The text of the oath is not known, but, most likely, Harold gave his word in the event of the death of King Edward not to prevent William from taking the vacant English throne. But did Harold really promise support to Wilhelm? This scene is the key to the entire tapestry drama unfolding - it will be followed by the death of Harold and the collapse of his entire family. But at least the English earl is free and returns to England.
RETURN
Scene 1 Harold talks to King Edward the Confessor and tells him about his adventures. The king is depicted as old, weak and sick. However, in fact, at that time he was quite healthy, although at that time he was already 62 years old.
DEATH OF THE KING
Scene 1. The events of the following year are left unattended by the author of the tapestry. The story continues with the events of January 5, 1066, when King Edward the Confessor of England died. Here the chronology of the story is broken. The tapestry shows first a scene of burial and then death. To the left we see a funeral procession to the great new church of Westminster Abbey. Edward was very ill and did not attend the consecration of the new church on December 28, 1065. Although the temple is his brainchild, he built a cathedral on a scale hitherto unheard of on the north side of the English Channel. The palace is depicted in the center. In the upper chamber, we see King Edward in bed talking to his loyal subjects, including Harold and his wife, Queen Edith. He called Harold or Wilhelm his successor on his deathbed - it is not known, each researcher offers his own version. In the lower chamber of the palace, the king is shown dead, with a priest standing next to him. On the right, two noble courtiers are holding out a crown and an ax to Harold, symbols royal power. Harold accepts the regalia.
LONG LIVE THE KING!
Scene 1. On the morning of January 6, 1066, the king was buried, and in the afternoon Harold's coronation ceremony takes place, the new king sits on the throne, on his left hand close associates are standing, on the right - the Archbishop of Canterbury Stigand (Archbishop Stigand). The Anglo-Saxon nobles present at the coronation are easily recognizable by their weapons: they are armed with large battle axes. In the background, the people welcome the new king. A "star with hair" appears - this is Halley's comet. An earlier depiction of her than on the Bayeux tapestry has not yet been found.
Halley's Comet in the upper row on the right above the three-domed building The people are horrified - the appearance celestial body taken as an ominous sign. Scene on the left - Harold is reported about the comet and the newly-made king accepts the news with fear. In the lower case, several ghost ships are depicted, this is an indication of the impending Norman invasion.
CONSIDERING THE INVASION
Scene 1. News of Edward's death and Harold's accession has reached Duke William of Normandy across the English Channel: we see an English ship sailing to warn him of what has happened. The duke is furious - he already saw himself as the English king and considered Harold a usurper. He decides to go to war with England and collects a fleet of ships. To his left is Bishop Bayo Odo, his half-brother by mother. In this scene, Odo appears for the first time.
Scene 2. Wilhelm's men prepare an invasion and build a fleet. Lumberjacks cut down trees and make boards out of them. Ships are built from boards and lowered into the sea. These tapestry scenes are the most famous and are very bright and lively. We see carpenters with axes, fitting boards and the appearance of a ship, in the bow it is decorated with a dragon. We know that Wilhelm also requisitioned all the ships that the Norman nobles had, but this is not reflected in the tapestry.
Scene 3. Food and drink are delivered to the ships on hands and carts. They also bring weapons - chain mail, helmets, swords and spears. They bring wine in vessels made of animal skins, in barrels, in bags and other most diverse containers.
CROSSING
Scene 1. Wilhelm leads his army to board the ships and they set off. The author of the tapestry missed many of the events of the beginning of the campaign - the long wait for a fair wind in Dives-sur-mer (Dives-Sur-mer), wandering along the coast in search of a convenient marina in Saint-Valery-sur-Somme (Sent-Valery-sur-Somme ). Only a direct crossing of the English Channel is shown - the creator shows the beginning of the Normandy march to victory.
But even better on the tapestry are the boats of the Normans - decorated with carved dragon heads, they rush forward, driven by a fair wind. You can clearly see the multi-colored sails and shields inserted into the holes for the oars of ships carrying warriors and, finally, a ship with horses on board.
Scene 2. There are many ships at sea, the ships are full of soldiers and horses. Wilhelm sails on the Mora ship, a gift from his wife Matilda. His ship is easy to distinguish from others - a little man blows a trumpet, a flag with a cross is visible above the mast - without a doubt, this is the “standard of St. Peter”, presented by Pope Alexander II, who blessed the duke for his enterprise.
BEACHHEAD
Scene 1 On September 28, William's army landed on the English coast at Pevense, now a few miles from the sea. The ships are hauled up and dry high on the shore. The warriors gallop towards Hastings and stock up on provisions, taking away the cattle from the farmers.
Scene 2. On September 29, 1066, the operation begins. The necessary provisions are obtained on the shore and an unprecedented feast is prepared in the open air - chickens on skewers, meat is stewed on an open fire, dishes are taken out of the oven. Here you can appreciate how food was prepared at that time.
Bishop Odo of Bayeux blesses food and wine. Wilhelm is depicted on the right, seated at the table, feasting with his two half-brothers, who sit with dignity on either side of the duke. Servants load food onto shields and bring it to the banquet. Wadard, close to Odo, is shown on the left at the table.
Scene 3. Duke Wilhelm enters into a dispute with his half-brothers Bishop Odo and Robert, Count of Mortain.
Bishop Odo, Robert, Count of Morten
To strengthen the base of the Normans in Hastings, a motte was erected - a building similar to a castle. A messenger brings word of the arrival of Harold and his troops. Wilhelm clears the battlefield - he orders to burn several houses. On the right, a woman with a child escapes from a burning house.
WILHELM RIDES TO WAR
Scene 1. The morning of the battle is depicted, October 14, 1066. Wilhelm leaves Hastings and, fully equipped, is about to mount his horse. William's Norman cavalry rides towards Harold's English army. The meeting took place about 8 miles from the current shore where an abbey was later built.
Scene 2. Here Wilhelm is depicted twice: first on a dark horse at the head of his army. Then immediately to the right, he asks one of Odo Vital's associates if he has already noticed the enemy army.
Scene 3. The English side is now shown. The guard warns Harold about the approach of the Norman army. And the Normans are shown again: Wilhelm, with a mace in his hand, makes a speech to cheer up his soldiers, he encourages them to be brave and courageous.
BATTLE OF HASTINGS
Scene 1. The Normans attack and the Battle of Hastings begins. The fast pace of the French cavalry is defended by archers on foot
Scene 2 Arrows and lances fill the air, the warriors fall dead. The English side is on foot, the soldiers are armed with battle axes and lances, they defend themselves with a wall of shields. The Normans are advancing on both sides. The lower register of the carpet is filled with pictures of the bodies of dead and wounded soldiers.
Scene 3. Violence continues, people hack and stab each other to death. Both of Harold's brothers died in this battle.
Death of Harold's brothers. 
Scene 4. The battle is shown in full swing: people and horses fall dead to the ground, the bottom row is littered with dead warriors and horses.
Mace in hand, Bishop Odo appears, brandishing his weapon and cheering his followers. Please note that the clergyman does not have a sword, but a mace, his dignity prohibits the shedding of human blood.
Scene 5. Wilhelm fell off his horse. But to show that he was alive, the duke raised the visor of his helmet and revealed his face. His warriors must see this, he encourages the soldiers to continue the battle. Count Eustace carries a decorated banner, possibly the same banner that the Pope gave to William as a token of support for his intention to invade England.
Scene 6. The Normans seem to be gaining the upper hand in the battle, but the battle is still going on. Many soldiers died, one was cut off his head. On the right is the most famous scene: the Normans killing King Harold. But how was he really killed? It seems that in this scene he was depicted twice: first he pulls an arrow from his eye, the second time he is defeated by a Norman knight. In this part, the carpet is very difficult to decipher, but the researchers agree that the scene of Harold's death is shown.
Scene 7. The battle ends with the death of the king. The victors pursue the surviving Anglo-Saxons.
The final scene of the carpet has not been preserved. Did it depict the coronation ceremony of William the Conqueror as king of England at Wenstminster? It is hardly possible to answer this, but this scene was perfect for the beginning of the story - the coronation of King Edward the Confessor, who established himself on the throne just two years before the events described.
The final scenes of the tapestry were restored in the 19th century and very crudely.
- GENERAL INFORMATION ABOUT THE BAYELO TAPESTRY
Bayeux Carpet is not only an amazing work of art, it is also priceless. historical document. Historians find many important details in it. Even after two hundred years of research, the meaning of many elements is not clear and scientists still have to work hard to decipher their true meaning.
In any textbook on the history of the Middle Ages, there are always illustrations of some part of the Bayeux carpet. There are even more of them in English, American, Scandinavian books than in French ones. The famous tapestry attracts not hundreds, but thousands of tourists every year, many books and countless articles have been written about it, but it has not been fully studied.
The tapestry has been talked about in comparatively recent sources. It was first mentioned in 1476 among the treasures of Bayeux Cathedral and before early XVIII Nothing was known about him for centuries. Therefore, the exact date of its manufacture is highly controversial. It was most likely woven shortly after the conquest of England by William of Normandy in 1066. It is possible that the tapestry appeared between 1070 and 1080. There is reason to believe that the tapestry was embroidered for the solemn illumination of the newly built cathedral in Bayeux.
It is certain that the work was done by English craftsmen, possibly from the County of Kent. Now no one will say whether women or men were engaged in its embroidery. But there is no doubt that these people were related to the temples of Canteberry. There is every reason to believe that Bishop Odo of Bayeux, half-brother of William the Conqueror, when he was the first Earl of Kent, commissioned and paid for the work. In the Middle Ages and until the French Revolution itself, the carpet was regularly hung in the cathedral in early July, to commemorate the events that are depicted on it.
During the Revolution, the city fathers managed to save the priceless tapestry. By decree of Napoleon, it was declared a national treasure and Bayeux was obliged to keep and take care of it. In the 19th century, the tapestry was restored several times. In 1982, careful research determined that the last few scenes of the carpet had been lost. Since 1983, it has been exhibited in the building of the former main diocesan seminary. Inspection of the tapestry is organized very competently - tourists are given audio guides for different languages, including in Russian. The Russian text is excellent - the announcer narrates the events in a lively and interesting way, draws attention to the details that are numbered. Tourists move in the same direction without interfering with each other. Photo and video filming is prohibited, so no one stands in front of you with a camera and does not interfere with studying the carpet.
- THE TECHNICAL ASPECT OF THE BAYELO TAPESTRY
We emphasize once again that although this work is called a tapestry, it was by no means made by weavers, but by embroiderers. The carpet consists of eight wide linen strips of unequal length. The scenes are embroidered with woolen threads. The length of the carpet is about 70 meters, the width is about 50 cm. Later, all the work was sewn onto another linen, coarser in quality. This made it possible to number all the scenes, which was almost certainly done in the 18th century.
All scenes are embroidered with eight different colors of yarn. They stand quite high above the biscuit-colored background. The contours of the figures are underlined with a stalked stitch, they contrast with the even sections of the seam with a satin stitch. Despite the fact that the tapestry is over 900 years old, the threads have retained their original color! Only a few threads were pulled out of the tapestry, maybe in the Middle Ages, maybe later, but the seams and stitches are so clearly visible that you can trace the whole technique of work. The only scenes that have suffered the most from time are the scenes after Harold's death. They are not subject to restoration. Yes, and the scenes of the retreat of the British troops are considered a rather crude fake. No one can now say what was depicted in the final paintings, but it is clear that not much was lost at all.
Almost along its entire length, the tapestry is divided from top to bottom into three segments: the upper and lower parts are separated from the main central composition by an almost continuous line. They depict figures that are not related to the main narrative. It is still a mystery why they were placed on the carpet. It depicts mainly fantastic animals that are mentioned in Romanesque art (lions with raised tails, griffins, etc.), leaf ornaments, and various curls. In the first half of the carpet, the lower strip is occupied by live scenes, partly taken from the plots of ancient legends, but most often without any definite meaning.
Are there any parallels in these images with the main action? To this day, this has not been found. As the scenes of the main narrative become tense, the figures in the upper and lower strips complete the story, especially in the second part of the story: archers surrounding the cavalry, scattered bodies of the dead, marauders removing weapons and ammunition from the dead. At the top of the central strip is a commentary in Latin. The narrative is embroidered capital letters, some of the main characters are named. This short description events is of no literary interest, but is one of the main sources of the history of the conquest and the events preceding it. The spelling of names and titles - for example, King Edward, the mystical Aelfgyva, the cities of Bayeux, Pevensey and Hastings, and finally the names of Harold's brothers - prove that the text was composed by an Englishman.
The sequence of events is shown in fairly modern ways - the action develops from one scene to another. The movement is conveyed by several images of almost identical figures - when the cavalry gallops or attacks, when the fleet crosses the English Channel. Throughout the tapestry in the background there is not a single image of the landscape, the only exception is Mount Saint-Michel. But contrasting colors, such as between the legs of horses, emphasize the idea of perspective.
- THE AUTHORS OF THE BAYEUTO TAPESTRY
From the point of view of the authorship of the tapestry, three, or even four levels of performers should be named.
1. The person who commissioned this work was probably Bayeux Bishop Odo or Edo Conteville (1045-1096), half-brother (maternal brother) of William the Conqueror. On the tapestry itself, he is shown at least three times: blessing the food, when the Normans landed on the English coast, when the French were building their camp, and, most recently, at the climax of the battle. It is likely that he was also depicted, though not named, in the scene where Wilhelm receives word of Harold's coronation. It is known that Odo was a very strong personality, had a sharp mind, and appreciated art. He was more attracted to politics than the ministry of the church.
2. The author of the tapestry drawings was without a shadow of a doubt an Englishman. He was familiar with early works in the same technique, as well as with ancient manuscripts from the beginning of the 11th century, kept in Canterbury. Different approaches to the depiction of these events gave him complete freedom, and he did not fail to use them.
3. Whether the author of the drawings was also the author of the text is unknown, but almost certainly he was also an Englishman. This man clearly received an excellent education. Some of his figurative expressions are surprising and have a literary aspect, such as the speech of William the Conqueror during the battle.
4. And, finally, the embroiderers or embroiderers who completed the work. They spent long months at the meticulous work entrusted to them. The artel of ancient needle craftsmen worked so harmoniously that it is impossible to distinguish sections made by different hands, it seems that the figures were embroidered by one person, which is impossible to even imagine.
It should be added that in the XVIII century there was a legend about the involvement of the wife of William the Conqueror, Queen Matilda, in the execution of the tapestry. The legend has no basis, Queen Matilda has nothing to do with the outstanding work of the ancient masters.
- THEME FROM BAYEUTO TAPESTRY
At first glance, the main theme of the tapestry was the Battle of Hastings and the death of King Harold of England. This plot was named the main one at the end of the 15th century, when the tapestry was discovered. But such a scene is absolutely unacceptable for a temple, and it would never be kept or exhibited in a cathedral! And if the main plot of the composition would really be the victory of the Normans, then why start the story from 1064?
In fact main idea the narrative has a deep religious meaning - it is a punishment for perjury, for the fact that a person did not keep his word given on holy relics and the inevitable punishment of the guilty for deception, shown in the sequence of events.
That is why, by all means, it was necessary to show the oath given by Harold on the holy relics. The narrative ends with the death of the perjurer, the punishment shows the power of the Almighty. Consequently, the moral aspect of the image prevails over the military and political. All the necessary scenes that help to understand the reasons for the invasion and the details of the battle itself are left without attention. We see no reason why Wilhelm has the right to claim English throne, neither the intrigues of the younger brother Harold Tostig, nor the coronation at Westminster on December 25, 1066. All this is known from other sources and is not reflected in any of the scenes of the tapestry.
But there is no reason to say that the tapestry does not glorify the victory of the Normans at Hastings and their leaders - William the Conqueror himself and his half-brothers - Bishop Odo and Count Robert. But at the same time, this is done surprisingly restrained: neither in the text nor in the illustrations, the English are humiliated by either a single word or a single action. The blame for the Lord's punishment lies entirely with Harold and this in no way reflects on their human qualities, nor more than the aspirations of military prowess in battle, which is put on the same level with the courage of the Normans. “Here the English and French die together in battle,” says scene 53 of the tapestry. It is surprising that the winners are called "French", and not "Normans", as they always said north of the English Channel, and not "Normans", as all the authors of the duchy wrote.
- Bayeux Tapestry as a Historical Document
Unprecedented wealth is expressed, first of all, by a multitude of scenes - 626 figures, 202 horses, 41 ships, 37 buildings, and other details can be counted. There is also an amazing amount of detail about every aspect of life in the 11th century - weapons, clothing, horse harness, ship building, hunting and cooking scenes. It is impossible even to list all the details, let's focus on the most important ones.
First of all, in most cases artistic ideas carpet taken from the point of view English side English Channel, where its creator worked. Except for some scenes, the author was not interested in the difference between the English and the Normans. On the battlefield, the warriors of both sides are dressed in the same chain mail (with trousers, very convenient for the English infantry and completely useless for the Norman cavalry), they have the same helmets on their heads, they fight with the same swords and spears. At sea, English and Norman ships cannot be distinguished. However, at least in the early scenes, the English are depicted with long hair and mustaches, while the Normans are shaved, their hair cut to the level of the neck. In battle, the Normans are mostly archers, and Harold's Anglo-Danish guards are armed with the famous Viking battle axes.
It should be noted that the author, most likely, was an eyewitness to what was happening. Professional cavalrymen and horse breeders, in any case, take him for their own: he was a lover of horses and did not disregard any possible movement of the horse. Also, the creator of the tapestry was so well versed in ships and navigation, which has not yet been observed since the time of the ancient Greeks. He also knew a lot about the reliquaries in which holy relics were kept: one of them is shown in the scene of Harold's oath, this reliquary surprisingly resembles the only Scandinavian relic of that time. In addition, the author of the tapestry is familiar with knightly traditions and royal burial ceremonies. From this we deduce that he was a man of broad interests and had an undoubted talent for conveying in a few strokes (embroidery possibilities are limited) the essence of the plot, which he showed so vividly.
Many tapestry scenes, even those that are not directly related to the action, have been studied very carefully. Harold sets sail for Ponthieu after visiting a church in Bosham. This temple is depicted with a high and narrow arch.
This is the exact form of the arches of the Saxon churches, such arches still separate the nave and the choirs of the temples. Harold leaves the ship with a hawk in his hand - from the sources of the XII century it is known that he owned a book about the habits and breeding of hawks. During the siege of Dol, the fugitive descends from the watchtower on a rope.
The fugitive descends from the watchtower on a rope
The same method is described by the chronicler Orbderic Vital shortly after the siege of Antioch. When Dinan surrenders, Duke Conan gives the Normans the keys to the city, they seem huge.
Danish archaeologists have discovered similar keys. Here and there, buildings with arched roofs and buildings that look like an inverted ship hull appear - the existence of such houses is confirmed by the finds of Norwegian and English archaeologists.
Did the author convey events with chronological accuracy? I would like to ask him for clarification about the obvious fact - King Edward the Confessor is first shown on his deathbed, and on the next scene he is shown giving instructions to his entourage. Here the author applied inversion, why is not known. However, temporal relations are conveyed with different intensity: in some scenes, time passes slowly, the action is shown in detail, in others, on the contrary, the creator jumps from one temporal event to another very quickly, for example, what happened in 1065 is not shown at all. Many modern scholars have declared the tapestry's author guilty of flagrantly violating the sequence of events. But more careful research has shown that they are wrong.
- Bayeux Tapestry and Military History
Only a few documents have survived to this day, presenting such vivid pictures of such a large-scale military operation, including both weapons and combat tactics.
The carpet shows three types of ammunition: chain mail, helmets and shields. About two hundred horsemen, both English and Norman, are dressed in the same chain mail. They protect the body, the arms to the elbow or slightly lower, the legs are covered with something like chain mail trousers (although, in fact, the riders hardly wore such trousers). A removable plate is often shown on the chest. During the battle, the soldiers are wearing the so-called “mail cap” - a mesh that protects the neck. In a time when every ring and every connection was forged by hand, you can imagine how much a full armament cost.
All helmets were conical with a nose plate, but the helmet lacked neck protection. Most shields are oval or almond-shaped with the point down. The shields, most likely wooden, are covered with leather. Shields have different colors. Those that belong to the commanders have distinctive signs. Several English infantrymen are depicted with round shields.
Of the weapons on the tapestry, a sword is shown - long and double-edged; pike, it is put under the arm and thus the rider can use it in a frontal attack (one of the earliest references to such use of the pike on the Bayeux tapestry) or when the hand is raised like a javelin; a Viking battle ax is also depicted, Harold's bodyguards swinging it with both hands.
Archers are armed with rather short bows and this is their only weapon. The quiver is fixed either on the shoulder or on the belt. Several nobles are shown with clubs or maces, such as Bishop Bayeux Odo, as mentioned above, a clergyman cannot shed blood, and Duke Wilhelm.
Of interest and horse harness. The horses are wearing heavy saddles, the rider sits firmly and securely in them, the body is fixed both in front and behind: stirrups descend from the saddle, they were a new invention of the West. In this position, the rider could withstand the blow of the enemy's lance, while not being too at risk of being knocked over from the saddle. In those days everyone wore spurs.
The English usually fought on foot, even if Harold himself was on horseback. The Normans struck the main blow with heavy cavalry. But the tactics of the beginning of the battle can hardly be called Scandinavian: first, a detachment of archers stepped forward, which retreated immediately after the main forces entered. In battle, commanders can be recognized by their standard, which is held by the retinue surrounding him. Undoubtedly, Wilhelm's banner has the image of a cross, because he received the blessing of the Pope. Harold's standard depicts a beast like a dragon, probably carved from a sheet of bronze, exactly the same are found in Norway and are used as weathercocks on the roofs of churches.
It is worth noting that the tapestry also serves as the main source of the history of the fortifications of some areas and cities: Brittany, Bayeux and Hastings. Castles are built of wood and are located on mounds: they are fundamental for the Normans in the 11th century, but hardly existed in England at the time of Edward the Confessor.
- Bayeux Tapestry and the History of the Navy
From this point of view, the tapestry has been studied most carefully. Without this, many aspects of the construction and use of the naves (esnèques) would have remained unknown. Esnèque - (from the Scandinavian snekkja) - in the 11th - 12th centuries in Normandy, the boats used by the Vikings were called so. Until now, archaeologists have not found a single beast like a dragon that adorns the prows of these ships. And although many sources mention such decorations, they can only be seen on the Bayeux tapestry. In the same way, illustrations of sails and other equipment of ships are found only on fuzzy images on columns in the Swedish islands of Gotland and date back to the 8th-9th centuries.
All ships on the tapestry are of the same Scandinavian type, with a few exceptions. They come from the same type of Viking ships found in Norwegian royal burials or found during archaeological sites in the Danish fjords. This type of ship dominated throughout northern Europe from the 8th to the 12th century. They were adapted for military needs, or for transporting people and goods. They made them of their wood, the boards were not fitted “end-to-end”, but with an overlap, the keel was empty. The ships were distinguished by a rather low bulwark with holes for oars, the last oars could be removed. On such boats there was neither a deck nor a hold. Their draft was quite shallow, such ships did not need a harbor: the crew simply dragged the ship to the shore, the mast was removed. The ships were large enough, moved by sails. The sail was one, more triangular in shape than rectangular, attached below to the central mast. These boats could also move with the help of rowers, but there are no rowing scenes on the tapestry.
These ships were quite reliable and served for a long time, they were distinguished by maneuverability, but were extremely inconvenient. The Bayeux Tapestry does not answer the question of how many people such a ship could accommodate, but Scandinavian sources say that 30-40 people could sit on an ordinary ship. Therefore, one can imagine that in the campaign of 1066 the entire fleet consisted of several hundred ships.
Horses, apparently, were loaded on wide gangways made of logs, this can be seen on the tapestry, the Vikings knew this technology. It was perfected in Normandy during the campaign against Sicily in 1060 and became one of the decisive reasons for the success of William the Conqueror.
In conclusion, we attach a video recording of the animation of the tapestry. Some scenes of the tapestry are omitted, but the video gives a great insight into the events depicted on the tapestry.
Usually, the museum is open daily, but sometimes it is closed for restoration.
In 2014, it is closed from 6 to 31 January. It is also closed from 24 to 26 December 2014.
The museum closes every year at 12:30 pm on 31 December and opens at 2 pm on 2 January.
On other days it is open:
From March 15 to November 15 - from 9 to 17.45, from May to August - until 18.15.
From November 16 to March 14, the museum is open from 9.30 to 11.45 and from 14.00 to 17.15.
Link to the museum's schedule page.
The authors of the article traveled around France by car, the destination was set in the navigator - the center of the city of Bayeux. Address: Musée de la Tapisserie de Bayeux Center Guillaume le Conquerant 13 bis rue Nesmond.
Attached is a link to the Google map of the museum.
On our website you can get acquainted with another unusual work of weaving - the Carpet of the Apocalypse
In the morning we went to the place that I really wanted to see, but about which I knew almost nothing - the carpet museum, located in the small town of Bayeux.
A little history of the city. Bayeux appeared as a Roman camp to protect against attacks by the Germans in the 1st century BC. BC. under the name of Augustodurum. Although fortifications between the sea and the river Or existed before, no evidence of the existence of a Celtic city has been found. In the Gallo-Roman era, it was an important center on the road between the present day Lisieux and Valogne, at the ford over the Or, which crosses the city from south to north. Since the settlement was located on the territory of the Gallic tribe of the Bayokassians (as Pliny called them), in the 4th century. it is already referred to as Baiocassium.
At first, a settlement of artisans and merchants developed on the western bank of the river. Nearby was Mount Faunus, where even the Celtic Druids performed their ritual rites. This mountain was also associated with the first martyrs of the new religion - Christianity. All this, apparently, contributed to the further transformation of the settlement into a religious center. By the end of the Roman Empire, it becomes an episcopal center, one of the oldest.
The city of Roman times had a clear rectangular layout, which was also preserved in the medieval city, which for a long time did not go beyond the walls: craftsmen lived in the north, nobles lived in the southwest, and church possessions were in the southeast. Moreover, church possessions are becoming more and more important and extensive, and the Norman castle that once existed disappears completely (the current De Gaulle Square).
The Bishopric of Bayeux is one of the oldest in Normandy. The first bishops came from the Gallo-Roman nobility, close to the kings. Episcopal power increased after the fall of the Roman Empire. After the formation in the X century. the duchy's bishops were from the Norman ducal family. Under William the Conqueror, religious power flourished in the city. Not far from Bayeux was Caen, which in the time of William was the main city of the duchy. The duke appoints Odon, his half-brother, as bishop. It was under him that the construction of the current cathedral began. And it is Odon who places the famous carpet in this cathedral for centuries.
During the war for the throne between the sons of William, Bayeux suffered great destruction and decline. In the XIII century. he, as part of Normandy, passes under the authority of the French king. But the religious power of the clerics remains very strong in the city, because, possessing enormous wealth, they were able to buy benefits from the king. Only after the Hundred Years War did a strong secular power that resists the religious. Religious wars weakened the church, split the inhabitants and thus again slowed down the development of the city. Episcopal power increased in the 17th century, when the city went beyond the city walls, which ran approximately along the border of the still Roman camp. A number of monasteries of different orders appear around the center. The revolution ended religious power in the city.
Bayeux is located 12 km from the beaches where the Allies landed in June 1944. During Operation Overlord, the city was the first to be liberated, therefore it avoided destruction. Here settled the first French government in the liberated territory. To prepare for the operation to liberate Kan, the allies even built a bypass road (now the district boulevard) so that the vibration of heavy equipment would not destroy the ancient city and its cathedral. On the ring road, there is currently a cemetery for the allies who died during the liberation of Normandy and a museum dedicated to this.
Since Bayeux was for a long time the episcopal center, it is necessary to tell about the main cathedral of the city. Cathedral of Our Lady of Bayeux built from the 11th to the 15th century, it was the main cathedral of the bishopric that existed here from the 4th to the 19th century. Bishop Hugo of Evry began construction, but the cathedral was completed and consecrated under Odon. Odon participated in the conquest of England, received significant financial resources and after that was able to quickly complete the construction. The temple was consecrated in the presence of Wilhelm and Matilda. But this one has already been used, because on the carpet of Queen Matilda, Harold takes an oath of allegiance on the relics of this cathedral.
Cathedral of Our Lady of Bayeux
A quarter of the clergy was formed around the cathedral: the houses of the clergy (XIV-XVIII centuries), the episcopal palace, the library of the chapter, the canon's house.
The oldest parts of the cathedral are the crypt (with decorative elements from the 11th century and murals from the 15th century) and the foundations of the towers of the western façade. Only the crypt was preserved after the war of succession of the sons of William the Conqueror, when the cathedral burned out almost completely. Then the cathedral burned again at the end of the 12th century. For almost a century and a half, the crypt was walled up. When they decided to rebuild the cathedral, the Romanesque style had already given way to the Gothic. Therefore, they began to rebuild it in a new style. So the cathedral was one of the first buildings of this style. This was perhaps the first example of the construction of a high central nave in architecture, which made it possible to better illuminate the temple.
Cathedral crypt
Outside, the cathedral is a building that can be almost completely attributed to the XIII century. The Romanesque towers were built on with Gothic lancet completions.
West portal of the cathedral outside
The western façade has three portals. The sculptures were lost during religious wars. The tympanum of the left portal is dedicated to the passions of Christ, the right - to the last judgment. During the Hundred Years War, the northern tower served as a sentinel.
Western portal of the cathedral from the inside; 13th century stained glass
The most unusual is the southern facade. The tympanum of the canon's portal depicts scenes from the life of the English saint Thomas Becket. This saint was popular in France in the 13th century. Descriptions of his life were translated and read. He visited Bayeux during his exile from England. So scenes from his life ended up in a French cathedral. There is also a sculpture not broken by vandals, inscriptions on the wall dedicated to the deceased sister of one of the bishops.
The northern portal did not exist before. It was broken only in the 19th century. On this side, the chapter library adjoins the cathedral, where documents and books were copied and stored. From the same side is clearly visible back side towers of the western portal.
The high central tower, characteristic of Norman-style buildings, began to be built only in the 14th century. It was built for a long time, was destroyed by fires, changed by "restorations", completed only in the 19th century already in the neo-Gothic style.
The interior of the cathedral has preserved several interesting places. The lower part of the cathedral is Romanesque. The decor contains elements of the Norman style. In the southern part, you can see on the bas-reliefs, including the so-called lovers from Bayeux, and a repetition of Harold's oath from the carpet. The first bishops are depicted in medallions on the ceiling of the choir.
Lovers from Bayeux
On the wall near the southern portal (canonical) are the Annunciation, the Trinity, the Crucifixion and scenes from the life of St. Nicholas - all of the 13th century, the martyrdom of St. Thomas Becket (19th century).
Trinity - above and the Annunciation - below (XIII century)
From the life of St. Nicholas (XIII century) - below, The murder of Thomas Becket (XIX century) - above
Near the northern wall there is a treasury (entrance only with a group), where a carpet was kept for centuries, and now there are objects of the 12th-13th centuries (the riza of St. Regnobert, a casket of Arabic work, a cupboard with medieval paintings). Next to the entrance is a stained-glass window of the 13th century (another one is on the western portal, where the organ is). Behind the north tower is a passage to the chapter hall (only with a group), where the labyrinth has been preserved. The chapels of this side are connected with the library, the episcopal palace.
If you leave the cathedral through the western portal, turn left and walk along the street along the southern facade and further, cross the Or, then you will come to the one located in the former seminary Center of William the Conqueror. The Bayeux Tapestry or the Queen Mathilde carpet is located there today. Throughout the city there are signs to the Carpet Museum. The museum occupies 2 floors. The upper one is the history of the creation of the carpet, and below, in the semi-darkness, under the glass is this miracle, which is described below. Audio guides in 14 languages are given at the entrance, incl. in Russian. The tour along the carpet takes approximately 1 hour. The maximum cost of a visit now is 9 euros, students and schoolchildren over 10 years old - 4 euros.
River Or
Some call this object a "carpet", some a "tapestry", but it's actually an embroidery. Some details do not fit in my head: how did this tapestry carpet manage to be preserved for almost 1000 years, how many people embroidered it (and its length is amazing), why did this miracle appear on the UNESCO World Heritage List only in 2007?
The carpet (we will call it that, because it is called tapisserie) was embroidered immediately after the Battle of Hastings. There are two alleged customers (because at all times such work was carried out by order): Duchess-Queen Matilda, wife of William the Conqueror, and Bishop Odon, his half-brother. The second version seems to many to be more realistic for many reasons. Bishop Odon himself was a participant in the Battle of Hastings. After the conquest he took possession of the lands in Kent, and the style of embroidery, which has long been studied, is the south-eastern Anglo-Saxon. The carpet depicts three approximate bishops. He stood for a long time at the head of the bishopric of Bayeux (from 1049 to 1097), on his orders they began to build the Cathedral of Our Lady. The carpet depicts an oath scene on relics from the cathedral in Bayeux. The carpet was kept for many centuries in the Cathedral of Our Lady of this town, from where it was taken out “for public viewing” once a year in July on the occasion of the feast of relics (i.e. it was a story in pictures about the conquest of England by William for illiterate parishioners).
Bishop Odon participates in the Battle of Hastings
Now I will state the figures related to embroidery. The carpet is embroidered on linen, threads of 8 colors are used. Width - about 50 cm, length - about 70 m. The carpet includes 58 scenes. It is believed that for almost 1000 years 2 scenes have been lost (perhaps, William's entry into London, his coronation in Westminster, the construction of the Tower). The carpet depicts in detail the events that took place from 1064 to 1066. More than 600 people, 200 horses, 50 dogs, 30 buildings, 40 ships were embroidered, the total number of subjects is more than 1500. After studying the embroidery, we came to the conclusion that the carpet was made by two (!) embroiderers in 2 years. Above, the embroidered events are summarized in Latin. The embroidery shows tools, hairstyles, clothes of the 11th century, real events (the appearance of Halley's comet), mythological creatures from the stories known at that time (fables, ancient myths). Contemporaries (Guillaume from Poitiers and Guillaume from Jumièges) told about the historical events depicted on the carpet, a century later they were supplemented by two more authors, i.e. embroidery is documented.
Halley's Comet was seen during Harold's coronation
By whomever and wherever the carpet was embroidered, it was made in order to prove the legitimacy of William's conquest of England. It is a story about the triumph of good over evil, because Harold first swore allegiance to William as his overlord, and then broke it, for which he was punished, dying during the Battle of Hastings.
A few words about the characters on the carpet and the events that took place before those embroidered on it. I talked about Wilhelm in the previous part. Edward the Confessor was the son of one of the Norman duchesses (his mother Emma was the sister of William's grandfather). After the murder of her first Anglo-Saxon husband, she married his murderer, the Dane Knut. Then Edward long years hiding with relatives in Normandy. Harold was the brother-in-law of the English king Edward the Confessor (he was married to his sister), a descendant of a wealthy Anglo-Saxon family in Wessex. Thus, William was the heir to the blood of the English king. Harold was supported by the Anglo-Saxon nobility, who elected him king after Edward's death.
Edward the Confessor
The story begins in 1064, when Harold goes to William to convey the desire of Edward the Confessor to make him heir to the English throne. There is a version that he went to Normandy to ransom his brother, who was taken hostage. During a storm, he does not go where he planned. He is taken prisoner. Wilhelm ransoms Harold from captivity. He lives in Normandy, participates in William's campaigns in Brittany. Then follows the scene of the vassal oath on the relics of the cathedral in Bayeux.
Harold takes an oath on the relics of the Cathedral of Our Lady
Then Harold returns to England. Two years later, the childless Edward dies. Harold is crowned. Wilhelm becomes aware of the events in England. He equips the fleet, sails to England to receive his inheritance. Since in those days perjury was a serious sin, it is supported by the Pope, many European mercenaries join the army.
During the Battle of Hastings, William was thought to have been killed. He opens his visor to show he's alive
What follows is the story of the Battle of Hastings when Harold is killed. For a long time it was believed that he died from an arrow in his right eye. But there is a version that his brother died from an arrow, and Harold was killed with a sword. All this, as in a comic book, is told on the carpet. And this comic can be viewed endlessly - it does not bother.
Harold is killed by an arrow
The first written mention of the carpet dates back to the 15th century. During the religious wars it was hidden. Scientists became interested in the carpet only in the 17th century. Until the 18th century, it was kept in the treasury of the Cathedral of Our Lady in Bayeux. During the revolution, when the churches were closed, the carpet was almost cut into pieces to pack the exported valuables. Fortunately, Lambert-Leforestier's lawyer intervened. Then Napoleon took the carpet to Paris, where it became a means of promoting his idea of a second conquest of the British Isles. The carpet was then exhibited to the public in the Louvre. When the conquest failed, the carpet was returned. In the 19th century they make a copy of it for England. During the Second World War, the carpet is in one of the castles, where it is studied by German scientists. Then he is transported to the Louvre to an exhibition of primitive art, from where they are supposed to be taken to Germany, but they do not have time. The carpet returns to Bayeux in 1945, where it remains to this day.
In the city, you can also see the art museum of Baron Gerard (in part of the former episcopal palace, the rest is occupied by the city hall); next to the square Liberty Tree grows Liberty, planted during the revolution; a British military cemetery, a museum-memorial of the Battle of Normandy and a memorial dedicated to the journalists who died since 1944 (on the district boulevard). The oldest churches are dedicated to the first bishops: St. Exupery (in the east of the city, bishops were buried here), St. Vigor, St. Patrick. Half-timbered houses of the 14th-16th centuries and mansions of the 17th-19th centuries have been preserved in the city.
Liberty Tree
In Bayeux, the art of bobbin lace and porcelain production developed.
Every year on the first weekend in July, the town hosts a medieval festival.
Where is: Bayeux (Normandy), the museum can be reached from the tourist office: first south along rue Larcher, to the intersection with rue de Nesmond, and then along it west to number 13.
How does it work: from mid-September to April 9.00 / 9.30-12.30 and 14.00-18.00; the rest of the year until 19.00. It is recommended to take an audio guide (available in Russian).
Ticket price: 7.80 euros.
Website
What to look at: The Bayen tapestry is a strip of coarse linen fabric about 70 m long and 50 cm wide, on which the history of the conquest of England by the Normans under the leadership of William is embroidered with multi-colored wool.
Manufacturing history.
It was made between 1066 and 1082. The exact customer of the work is unknown. There are three versions.
According to the traditional view, the carpet was embroidered by order queen matilda, the wife of William the Conqueror, her court weavers. In France, the carpet is known as the "Queen Mathilde Carpet". (Biography of the Queen)
In the 20th century, another hypothesis was put forward: the customer for the creation of the carpet could be Odo, Bishop of Bayeux, half-brother and one of the closest associates of King William I. The following facts are usually cited as confirmation of this thesis:
The carpet depicts three of the bishop's servants, whose names are also contained in the Book of the Last Judgment;
The carpet was kept in Bayeux Cathedral, built by Odo. Perhaps the carpet was created at the time when the construction of the cathedral was underway (1070s) and, probably, was intended for its decoration.
In the event that Bishop Odo really was the customer of the carpet, its authors were probably English weavers, since the bishop's main land holdings were in Kent. This is indirectly confirmed by the fact that some of the Latin names on the carpet are derived from the Anglo-Saxon ones, and the vegetable dyes used to create the carpet were widespread in England.
The more difficult question is who was the designer of the image. If you take a look at the entire tapestry as a whole, it becomes clear that it glorifies great victory. And it is clear that the authorship of the idea belongs to one person. Who could it be - a man or a woman? Most likely, a man, a direct participant in the events. The battle scenes on the tapestry are depicted very vividly and with bloody details. It is unlikely that a lady could know about such details without having been in the thick of things.
The tapestry is made up of eight individual pieces of linen joined together lengthwise. It is believed that at first a pattern was applied to the fabric, then embroidered, and only after that it was combined into a single canvas. In total, 58 scenes are applied to the fabric, following one after another in chronological sequence. Each of them is provided with comments made in "dog" Latin. The paintings scrupulously reproduce weapons, tools and even food traditional for the Normans and Saxons. The Saxons on the tapestry are depicted with mustaches, and the Normans with shaved heads. In 1066, Halley's comet approached the Earth - it is also embroidered on the tapestry. It can be seen that before the tapestry was longer, over 1000 years of its existence, at least 7 m was lost. How, when and why one part was lost is unknown. It probably depicted events after the Battle of Hastings, including the coronation of William the Conqueror, which took place on Christmas Day 1066. Perhaps it depicted his arrival in London and the erection of the Tower.
Having carefully studied the tapestry, historians came to the conclusion that only two people wove it, working with four hands. There is nothing like the Bayeux tapestry anywhere in the world - even if it had been embroidered not a thousand, but twenty years ago, it would have attracted many admiring spectators.
Interesting Facts
.
The tapestry depicts:
- 623 human figures;
- 55 dogs;
- 202 horses;
- 41 ships;
- 49 trees;
- almost 2000 Latin words;
- more than 500 mythical characters (like dragons);
- you can distinguish at least 8 shades of woolen threads: purple, blue, green and black;
- when embroidering, the chain stitch technique, the stalk stitch technique, as well as a simple “set” were used.
History of the tapestry.
After the completion of the carpet, it was taken to Bayeux and exhibited in Notre Dame Cathedral, erected by Bishop Odo. It is known that for more than 400 years the tapestry was on the walls of the cathedral - this becomes obvious when studying the inventory of church property of those times. The earliest written evidence of the carpet is contained in an inventory of the property of the Cathedral of Notre Dame in Bayeux, dated 1476. Inventories were not kept for the next three hundred years, but it can be assumed that the tapestry remained in its place. The first reproductions of the carpet were published in the 1730s. Bernard de Montfaucon. In 1750 he was sent to study in England, in the historical community of Palaeographia Britannicus. On his return, the tapestry was in danger. During the French Revolution, some Republicans from Bayeux wanted to make a cover for a wagon with military ammunition from the carpet, but the lawyer Lambert Leonard Leforestier, who understood the value of the carpet, saved it by providing another fabric.
In 1803, Napoleon took the carpet to Paris to promote the planned French invasion of England. However, when the invasion plan failed, the carpet was returned to Bayeux. There it was stored rolled up, although this caused the embroidery to stretch, but at least the tapestry was safe. In 1818, the British showed interest in the masterpiece. A restorer arrived, who studied the tapestry for more than two years and drew up a restoration plan, but death prevented him from proceeding with its implementation. However, the restoration was nevertheless carried out in 1842. At the same time, the tapestry was first placed under glass. In 1870, it was again rolled up and put into hiding places - there was a Franco-Prussian war, no one wanted to take risks. Two years later, the masterpiece again revealed itself to the world. Until 1913, it was open to the public, and then the outbreak of World War I again forced the inhabitants of Bayeux to roll up the carpet and hide it in hiding places. The authorities did the same during World War II, knowing the desire of the Nazis to collect works of art in the conquered territories. Therefore, the carpet spent most of the wartime in the dungeons of the Louvre. After the surrender of Germany, the tapestry was exhibited in Paris in all the splendor of its glory. A year later he returned to Bayeux.
Currently, the carpet is exhibited in a special museum in Bayeux (the former seminary, and now the "Center Guillaume the Conqueror"), and, in order to avoid deterioration of this work of art, it is placed under glass, and special low lighting is maintained in the room.
Plot
The story of King Harold and William the Conqueror is known to every schoolchild - in 1066, the English ruler Harold fought at Hastings with an invader, a visiting Norman William. Harold died in battle, the Saxons were defeated, and in England the Duke of Normandy sat on the throne. The battle was historical - it is not for nothing that it has been sung for many centuries in novels and ballads: " The abbot of Waldham sighed heavily, overwhelmed by the news that the Saxon leader, King Harold, fell with honor at Hastings.".
In the museum, on the way to the tapestry, visitors look at the wax figures of Guillaume and his warriors, battle maps, layouts and many other exhibits of similar subjects, the inspection seems endless - but in the end you find yourself in front of the door with the cherished word "tapestry". And at the same time, you find yourself completely unprepared to meet this amazing creation - it is impossible to imagine that in the 11th century. could be illustrated historical events in such a poignant and witty way. The tapestry is stretched out in a black room, protected by glass and well lit - all 58 scenes are dedicated to the history of Harold and Guillaume, history, as the guide kindly explains, of betrayal and perjury. Each scene is accompanied by rather caustic inscriptions made in Latin, but, in principle, one can do without explanations. Harold and other Englishmen can be identified by their lush cockroach mustaches, while the Norman warriors appear clean-shaven in the tapestry. The story begins long before Hastings - and tells of friendship and brotherhood between future enemies. Guillaume, according to the French, helped Harold fight, freed him from captivity and only asked for one thing - not to occupy the English throne. The treacherous Harold (and believe Heine after that!) broke his promise, and the Normans, led by Guillaume, went on a long campaign to put the presumptuous king in his place. The scenes of gathering troops, boarding ships and landings in England are perhaps the strongest in the entire tapestry, especially the embroidered horses and the elaborate design of weapons are striking. And even if the colors have faded a little over time, the canvas still surprises with its bright colors and extremely accurate images. Before the first discovery of archaeologists in the swamps near Schleswig in 1862 by the boat of the famous Vikings, historians knew about their appearance only from the descriptions of Tacitus and their images on the Bayeux tapestry!
King Harold, as everyone knows, died on the battlefield - the arrow of the Norman warrior hit him in the eye, and the ensuing death caused panic in the Saxon troops. The scene of his death is very often "quoted" on all kinds of souvenirs that are sold in Bayeux literally at every turn. Cups, boxes of butter cookies, mouse pads and even a DIY embroidery kit are all adorned with familiar motifs. The French are just as proud of the Bayeux tapestry as they are of William the Conqueror - after all, for the English he is the Conqueror, and for the French he is the hero and King Guillaume. Modern fashion designers have turned their attention to a sample of ancient embroidery: in the summer collections there are women's silk scarves, decorated with fragments of the tapestry from Bayeux.
Tapestry proper.
King Edward. Harold, Duke of England and his entourage ride to Bosham.
King Edward the Confessor of England in 1064 gave an unpleasant task to his subject Duke Harold to go to Normandy to pay tribute to the Duke of Normandy William. The humiliation of the event for Harold was strengthened by the fact that in 1051 Edward and William entered into an agreement according to which the throne after Edward would go to the Duke of Normandy. However, Harold used his mission for personal purposes - he organized the release of his nephews Wulfnot (Wulfnot) and Harkon (Harkon). Unfortunately, the ship on which Harold was moving to the shores of Normandy fell into a severe storm, and the poor duke was captured by a certain Guy of Ponthieu. Pay attention to the fashion for mustaches of those times.
Church. From here, Harold sets out to sea...
... to sail in full sail into the territory of Count Guy.
Harold. Guy captures Harold and sends him to Beaurain, where he keeps him by force.
Harold and Guy are having a conversation.
Duke Wilhelm's envoy arrives at Guy's.
Guy's envoys arrive at Duke Wilhelm.
Guy Pontue informs William that he has captured Duke Harold. To this day, the question remains whether a ransom was paid for the captive. Some say that Wilhelm forked out to free a noble prisoner. Others believe that he categorically refused. Slightly pressing on Guy, using the method of a delicate threat, he tried to convince him of the fallacy of his behavior.
Guy takes Harold to William, Duke of Normandy.
The scene on the tapestry shows the moment of handing over Duke Harold to William. On the left, we assume that this is Guy pointing at Harold, addressing Wilhelm, standing on the right.
Duke Wilhelm arrives at his palace with Harold. Here is a certain church servant and Aelfgiva (Aelfgyva).
Wilhelm and Harold discuss actual problems. Many meetings like this one have been organized. These men were worthy rivals also in intelligence, so it must have been interesting for them to listen to each other. Harold understood that he was in fact a hostage, so he had to be very careful in these meetings, so Harold and Wilhelm became good friends and fought side by side. It was assumed that if Harold ever returned to England, he would immediately take an oath of allegiance to William.
Duke Wilhelm and his army come to Mont Saint-Michel.
They cross the river Cuesnon.
Duke Harold pulls them out of the sands.
And together they arrive at Dol (Dol), and Conan flees.
Rennes.
Duke Wilhelm's soldiers fight the people of Dinan and Conan hands over the keys.
Wilhelm gives Harold a weapon.
Wilhelm arrives in Bayeux.
Harold takes an oath of allegiance to Duke William.
Harold realizes that he has no choice but to swear allegiance to Wilhelm if he ever wants to get home and free Wulfnoth and Harkon. The scene depicts an act of worship in front of holy relics. It was the last thing he wanted to do. Being a cunning politician, he even used this oath of allegiance to his advantage. Like, he brought it under pressure and being in actual captivity, so this oath has no legal force. However, in this moment Harold's goal was achieved: Harkon, his nephew, followed his uncle to England. His brother Valfnot was held hostage for obvious reasons.
Duke Harold returns home to England.
And he came to King Edward. King Edward in bed talking to his subjects. And here he dies.
The body of Edward the Confessor was transferred to Westminster, where he was buried, for the abbey was built by him. Now the events that followed 10 months later have become irreversible.
Harold is presented with the royal crown.
Now on the throne of England - Harold.
People admire the star.
Edward the Confessor died on January 6, 1066. One of the characters in this scene must be Harold, for last words Edward were: "I entrust my wife to your cares and with her - all my kingdom." Whether these words were actually spoken by Edward is still in question. If they were, then they can be interpreted in different ways. Harold had no doubts.
The day after the death of Edward the Confessor, Harold was crowned in Westminster Abbey. He became the first king to be enthroned in this place. To his left is Stigand, the excommunicated Archbishop of Canterbury, who, along with the Godwins, made the coronation possible.
Halley's Comet was first seen on April 24, 1066. The Saxons considered it a bad omen. It was calculated that then the comet was much brighter than in the winter of 1985. It is clear that in those days any celestial anomalies were considered a sign of God, sent for support or warning. Omens were given great importance in the Middle Ages.
Harold is warned of a comet.
An English ship lands on the lands of Duke William.
Wilhelm orders to build a ship.
The news of Harold's coronation angers Wilhelm. He convinces his counts and barons to join him in this crusade. In addition, he enlists the support of the Pope. So preparations for the conquest of England begin. The scene shows the construction of ships. Notice how similar they are to Viking boats.
Ships are launched.
People are loading weapons onto ships.
Pay attention to the chain mail carried on poles - this tells us how heavy they were. They also carry swords. The cart on the right contains a barrel of water or even wine. Above everything are spears and helmets.
Wilhelm crosses the sea in a big ship...
Wilhelm joined his fleet at St Valery sur Somme, waiting for ideal conditions to cross the English Channel and begin the conquest.
... and arrives in Pevensey.
William's army lands at Pevensey. This process did not go well. Firstly, the soil in that area, due to frequent floods, was too marshy. And secondly, Wilhelm had the misfortune to fall into the mud on his face (in literally this word), which in those days was considered a bad omen. However, the duke hastened to put the idea of signs out of his mind, but it is still believed that only a small part of his troops landed on the ground at this place to reach Hastings. The rest remained on the ships and sailed 20 km east to meet their leader there.
The horses land on the shore.
And the soldiers rush to Hastings to expropriate food from the locals.
Final landing of ships at Hastings. Wilhelm immediately took care of the construction of wooden protective structures, which were taken to the ships in disassembled form. They were set on the tops of rocks. His Scandinavian blood again made itself felt when Viking tactics were used.
Wadard.
The meat is being prepared. Servants set the tables.
Dinner.
Bishop Odo blesses food and wine.
William.
Robert.
In Hastings.
Wilhelm receives news about Harold.
The house is set on fire.
This image shows Wilhelm learning about Harold, his location and the likelihood of his victory at Stamford Bridge. On the right, the Normans are setting fire to a house, one of many to be burned in the conquered territories.
Battle.
The right side is interesting, where we see two shooters. The top one has no armor, while the bottom one does. Perhaps there were special arrows that were used in a closed row, or the answer lies in the next image.
Duke William urges his soldiers to prepare for battle with the English army.
Attack of the Normans on the wall of shields of the Saxons. The spears were held over the shoulder for greater impact efficiency. This technique was often used in jousting. However, it was hard enough to break through the barrier of shields, which protected well from both arrows and spears. Wilhelm had never seen such a defensive tactic before, and was therefore a bit taken aback. Pay attention also to the shape of the shields - in the form of a kite, right? It is known that round shields were also used in the battle, and on both sides, but this is not depicted on the tapestry, as far as I can see. The Saxons were not inclined to use archers, but still the position of this shooter behind the screen of Saxon shields convinces us that he is a supporter of King Harold. Along the lower edge of the tapestry we see numerous bodies of people and animals.
Pali Leofwine and Gyrth, Harold's brothers.
This part of the tapestry tells from the death of Harold's brothers - Jirta and Leofvin. It looks like they weren't around Harold at his hillside command headquarters. Most likely, they were on the right flank of the Saxon army and were involved in chasing the Bretons down the hill, believing that the entire army was retreating. It is not known whether Harold himself made this tactically wrong step, or impulsive brothers, but the fact is obvious: it was this mistake that caused the defeat of the Saxons.
The death of the French and British in battle.
A living illustration of the effectiveness of the Danish war axe. These long-handled axes could take down both rider and horse. It was a sinister weapon and was originally used by the Danes, especially the bodyguards of King Knut.
Bishop Odo, staff in hand, encourages the soldiers.
Duke Wilhelm.
Things did not go well for Wilhelm when his left flank weakened. In addition, rumors spread about his death. To show his men that he was still alive, Wilhelm raised his visor and revealed his face to the soldiers. If he hadn't, the battle might have ended there.
Eustace. The French are fighting here.
Following the approved successfully implemented tactics false retreat, Wilhelm decided to break through the line of the Saxons. His archers could do little after firing, as they needed time to reload their weapons. In addition, since the Saxons do not use archers on their side, then there were no arrows from their side. The archers were forced to retreat to replenish their stocks of throwing weapons with stones, and await further instructions from their superiors. Wilhelm decided to unleash them forward and use them as firearms so they could throw their arrows over the shields while his foot soldiers and cavalry could get ahead. The depleted wall of the Saxons collapsed under this tactic and it was the signal for the end of the battle.
And those who were with Harold fell. And King Harold was killed.
Harold is depicted holding or trying to remove an arrow from his eye. Even if he had not been killed, the bravery of his defenders would not have been sufficient to protect him from the Normans. So that there is certainly no doubt about the death of Harold, the Normans finish him off.
And the British are fleeing the battlefield.
This final part of the tapestry shows us the retreat of the remnants of the Saxon army.
In preparing the material, information was used from sites dedicated to the battle of Hastings, incl. from Wikipedia.
Tapestry in the panorama can be viewed.
Carpet from Bayeux - a huge linen cloth embroidered with woolen threads of 8 colors. Its width reaches 53 cm, and its length is 68.38 meters. For the sake of objectivity, it should be noted that this masterpiece of the early Middle Ages is not a tapestry carpet. This is embroidery with multi-colored threads. It belongs to the UNESCO World Heritage Sites. Stored in the city hall of Bayeux (France - Normandy). This masterpiece was created in the XI century. In the 9th-10th centuries, the inhabitants of the northern coastal regions of France were regularly attacked Vikings. They not only robbed, but also settled in the plundered territories near the sea. Thus, the Duchy of Normandy appeared at the mouth of the Seine River. The French king assigned this territory to the Viking leader Rollon as a fief.
The Normans mastered horseback riding and became a formidable force not only at sea, but also on land. In the 11th century they began to claim the English throne. It all resulted in a military campaign of a descendant of Rollon Wilhelm to England in 1066. The Normans landed on the English coast and at the Battle of Hastings inflicted a crushing defeat on the Anglo-Saxons, led by King Harold. After that, Norman rule was established in England, and William the Conqueror was added to his name.
The Bayeux carpet reflects the above historical events. Moreover, the scenes are embroidered in chronological order. The main canvas is sewn from 9 canvases from 3 to 14 meters long. The joints are masked by embroidery. The boundaries between the first and second canvases do not coincide somewhat, but then the technique was improved, and subsequent junctions are almost invisible.
626 human figures, 202 horse figures, 55 dogs, 505 other various animals, 41 ships, 37 houses and 49 trees are embroidered on the canvas. Embroidery begins with the departure of the heir to the throne, Harold, to Normandy. Then other historical vicissitudes are depicted, including the coronation of Harold, the appearance of a comet in the sky, indicating future misfortunes, the invasion of William's fleet into England. The Battle of Hastings and the death of King Harold are also depicted. The last part of the tapestry (presumably over 6 meters long) has not been preserved. Most likely, the coronation of William the Conqueror was embroidered on it.
Romanesque architecture of France at the end of the 11th - 19th centuries: regional schools, their origins and artistic specificity.
The term "Romanesque architecture" was introduced into scientific use in 1825 by the French archaeologist Arcisse de Caumont as a definition of Western European architecture immediately preceding the Gothic (Under the "Gothic" architecture, the publicists and artists of the Italian Renaissance meant the architecture that arose after the fall of antiquity, although actually "Gothic "Could only be called the mausoleum of the Ostrogoth Theodornkh in Ravenna. What is now called "Gothic", they called the "modern French style" (opus francigenum), contrasting it with the classics reviving in Italy. Later, until the appearance of the term "Romanesque architecture ”, all the architecture of medieval Europe, in contrast to the architecture of the Renaissance, was called “Gothic”.). In the modern sense, this term covers all the diverse construction on the territory Western Europe from the beginning of the 11th century. before the emergence of "Gothic" architecture. This architecture was called “Romanesque” because it saw the revival of some Roman structures and forms (cylindrical and cross vaults, semicircular arches, rubble-concrete core of walls and supports with hewn stone facing, etc.), and also because it originated in the territory inhabited by peoples speaking the languages of the "Romance" group.
Both are true only relatively. The similarity of some constructive techniques does not yet make Romanesque architecture a derivative of Roman architecture, since, for all its importance as a means of solving various spatial problems, far from constructions alone create such a complete architectural system as Romanesque. In addition, a number of purely constructive techniques in the system of supports and vaults were created by the builders of the Romanesque era, regardless of the Roman heritage. Already in the previous period, the direct opposite of Roman compositions was the restless combination of volumes in the architecture of the Carolingians. Only in the interiors of the early basilicas of Rome itself, the ancient perception of space was preserved for a relatively long time.
