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Memory of the World; 2012 - unesdoc - Unesco

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� The death <strong>of</strong> King Edward � Border details depict scenes <strong>of</strong> work.<br />

<strong>of</strong> fealty that Harold, Earl <strong>of</strong> Wessex – later King Harold<br />

II <strong>of</strong> England and William’s rival – was said to have sworn<br />

to <strong>the</strong> duke at Bayeux.<br />

The tapestry is unique in size and scope. Works<br />

<strong>of</strong> art celebrating military victories were common<br />

but virtually none remain now beyond references in<br />

contemporary accounts.<br />

The political and military events <strong>of</strong> <strong>the</strong> mid-1060s are<br />

related in pictorial chronological narrative. The scenes<br />

on <strong>the</strong> tapestry’s main section appear between two<br />

narrower upper and lower borders depicting animal,<br />

possibly fabulous, and everyday rural scenes. At moments<br />

<strong>of</strong> tension in <strong>the</strong> main action, <strong>the</strong> central image overlaps<br />

<strong>the</strong> upper border in a technique that implies energy and<br />

movement, while <strong>the</strong> raised strands <strong>of</strong> wool create a lightand-shadow<br />

effect suggestive <strong>of</strong> a cartoon technique.<br />

82<br />

Bayeux Tapestry<br />

Little is known <strong>of</strong> <strong>the</strong> tapestry’s origins, but <strong>the</strong> details<br />

<strong>of</strong> its manufacture <strong>of</strong>fer some clues. It is believed that a<br />

cleric skilled in Latin and with a knowledge <strong>of</strong> illumination<br />

techniques designed and oversaw production, ensuring<br />

<strong>the</strong> remarkable consistency <strong>of</strong> style throughout.<br />

The design may have been influenced by <strong>the</strong> mural<br />

cloths <strong>of</strong> nor<strong>the</strong>rn Europe – <strong>the</strong> only o<strong>the</strong>r equivalents<br />

remaining are fragments from Scandinavia, where<br />

<strong>the</strong> Normans originated. Ano<strong>the</strong>r possible influence<br />

was a similar narrative style used in Anglo-Saxon Bible<br />

manuscripts. The tapestry was probably sewn in <strong>the</strong> south<br />

<strong>of</strong> England. Fur<strong>the</strong>rmore <strong>the</strong>re is distinct English influence<br />

in its colours and dyes, and in its etymology.<br />

Odo, bishop <strong>of</strong> Bayeux and William’s half-bro<strong>the</strong>r,<br />

may have commissioned <strong>the</strong> work for <strong>the</strong> consecration<br />

<strong>of</strong> Bayeux Ca<strong>the</strong>dral in 1077. The church was <strong>the</strong> foremost<br />

artistic patron in <strong>the</strong> medieval period, and appropriately<br />

for a clerical commission and creation, <strong>the</strong> tapestry is<br />

said to use religious allegory and imagery interwoven<br />

with historical record – in this case, <strong>the</strong> conquest <strong>of</strong> Judah<br />

by Babylon.<br />

� The tapestry on display in Bayeux today.

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