PREFACE
1. Manuscript 199 in the departmental archives of Calvados at Caen, Normandy, titled “Inventory of the Treasury of the Cathedral, 1476” contains the following entry: “Item, a very long and narrow linen embroidered with images and writing, representing the conquest of England, which is suspended around the nave of the church the day and throughout the Octave of Relics.” (Republished in Shirley Ann Brown, The Bayeux Tapestry: History and Bibliography [Suffolk: Boydell Press, 1988], appendix I, A, p. 161.)
CHAPTER 2: PERILS AND SURVIVAL
1. For an account of Hitler’s attempt to capture the Tacitus Germania, see Simon Schama, Landscape and Memory (New York: Vintage Books, 1995), pp. 75-81.
2. Sylvette Lemagnen, “L’Histoire de la Tapisserie de Bayeux à l’heure allemande,” in La Tapisserie de Bayeux: L’art de broder l’Histoire, eds. Pierre Bouet, Brian Levy, François Neveux (Caen: Presses Universitaires de Caen, 2004), pp. 53–54. This article is the major source of knowledge about the Jankuhn mission.
3. This journal was presented to the Centre Guillaume le Conquérant in Bayeux on November 18, 1994, by Jankuhn’s widow and son.
4. See Shirley Ann Brown, “The History of the Bayeux Tapestry,” in The Bayeux Tapestry: History and Bibliography (Suffolk: Boydell Press, 1988), pp. 18-19.
5. René Dubosq, La Tapisserie de Bayeux: Dix années tragiques de sa longue histoire (Caen: Ozanne et Cie., 1951), pp. 50–63.
6. Von Choltitz, “Pourquoi, en 1944, je n’ai pas détruit Paris,” Le Figaro, October 12, 1949, p. 5.
7. Paul Chutkow, “Update: The Bayeux Tapestry Still Smells,” Connoisseur 213 (March 1983): 18.
8. Mémoires de littérature tirés des registres de l’Académie Royale des Inscriptions et Belles-Lettres, vol. 6 (Amsterdam: François Changuion, 1729), p. 739.
9. The sources for the history of the Tapestry, which I have used as a guide, are Simone Bertrand, “The History of the Tapestry,” in Frank Stenton, The Bayeux Tapestry: A Comprehensive Survey (Greenwich, Conn., Phaidon: 1957), pp. 88–97; and the more detailed Shirley Ann Brown, The Bayeux Tapestry: History and Bibliography (Suffolk: Boydell Press, 1988), pp. 1– 44. The suggestion that Anne Foucault made the drawings is contained in Aase Luplau Janssen, “La Redécouverte de la Tapisserie de Bayeux,” Annales de Normandie 11 (October 1961): 179-95.
10. “La Conquête de l’Angleterre par Guillaume le Bâtard, Duc de Normandie, dit le Conquérant,” Les Monumens de la Monarchie Françoise, vol. 2 (Paris: Gandouin et Giffart, 1730), pp. 1–31.
11. Bertrand, “History,” pp. 90–91.
12. Visconti, Notice historique sur la Tapisserie brodée de la reine Mathilde, épouse de Guillaume le Conquérant (Paris, Imprimerie des Sciences et Arts, 1803).
13. John Collingwood Bruce, The Bayeux Tapestry: The Battle of Hastings and the Norman Conquest (New York: Dorset Press, 1987; first published 1856), p. 17
14. “Some Observations on the Bayeux Tapestry,” Archaeologica 19 (1821): 185.
15. The well-known editor, historian, and literary specialist Achille Jubinal accused Stothard of removing the piece (“Tapisserie de Bayeux,” L’Artiste, first series, vol. 12 [1836]: 42–44); the return of the piece is detailed by Ernest Lefébure (“A Propos de la Tapisserie de Bayeux,” La Chronique des Arts et de la Curiosité 35 [October 10, 1872]: 357–58); and Mrs. Stothard’s nephew exonerates her in a letter to the London Times (Charles N. Kempe, “The Bayeux Tapestry,” London Times, September 24, 1881, p. 10).
16. Mildred Budny “The Byrhtnoth Tapestry or Embroidery,” in The Battle of Maldon, ed. Donald Scragg (Oxford: Basil Blackwell, 1991), pp. 263–79.
17. Despite the mention of hangings dedicated to religious institutions, few of which have survived, we know next to nothing about their size or whether they were decorative or put to liturgical use as, say, altar coverings or clerical vestments.
18. Simone Bertrand, La Tapisserie de Bayeux et la manière de vivre au onzième siècle (Saint-Leger-Vauban, Yonne: Zodiaque, 1966), p. 12.
19. The Cistercians: Monastic Writings of the Twelfth Century, ed. Pauline Matarasso (New York: Penguin, 1993), p. 57
20. Beowulf tr. Seamus Heaney (New York: Farrar, Straus & Giroux, 2000), v. 994.
21. Richard Brilliant, “The Bayeux Tapestry: A Stripped Narrative for Their Eyes and Ears,” in Richard Gameson, The Study of the Bayeux Tapestry (Wood-bridge: Boydell Press, 1997), p. 118.
22. Anglo-Saxon Poetic Records, vol. 3 (New York: Columbia University Press, 1931–1953), p. 159.
23. G. I. Christie, English Medieval Embroidery (Oxford: Clarendon Press, 1938), appendix I, pp. 31-32; C. R. Dodwell, Anglo-Saxon Art: A New Perspective (Ithaca: Cornell University Press, 1982), pp. 57–72.
24. Cited, David J. Bernstein, The Mystery of the Bayeux Tapestry (London: Weidenfeld & Nicolson, 1986), p. 200.
25. The case for Samur is made in a recent book by George Beech, Was the Bayeux Tapestry Made in France? (New York: Palgrave Macmillan, 2005).
CHAPTER 3: WAR BY OTHER MEANS
1. Quoted in Dorothy Doolittle, “The Relations Between Literature and Mediaeval Studies in France from 1820 to 1860” (dissertation: Bryn Mawr College, 1933), p. 98. Cited, William Roach, “Francisque Michel: A Pioneer in Medieval Studies,” Proceedings of the American Philosophical Society 114, no. 3 (June 1970): 169.
2. Harry Redman Jr., The Roland Legend in Nineteenth-Century French Literature (Lexington: University Press of Kentucky, 1991), p. 77
3. Journal des débats (January 8, 1814); Chateaubriand, Oeuvres complètes, vol. 9 (Paris: Garnier, 1859), p. 440.
4. Cited, Joseph Bédier, “De L’Edition princeps de la Chanson de Roland aux éditions les plus récentes,” Romania 63 (1937): 448.
5. Archaelogia 12 (1796): 299, 76.
6. Letter cited in Bédier, “Edition princeps,” p. 458.
7. Cited in Laurent Thies, “Guizot et les Institutions de Mémoire” in Les Lieux de Mémoire, vol. 2, ed. Pierre Nora (Paris: Gallimard, 1997), p. 580.
8. Ibid., p. 588.
9. Chronique des Ducs de Normandie par Benoit, trouvère Anglo-Normand du XIIe siècle, vol. I (Paris: Imprimerie Royale, 1836), p. ii.
10. “La Chanson de Roland et la nationalité française,” in La poésie du moyen âge (Paris; Hachette, 1913), p. 118.
11. Léon Gautier, Les Epopées françaises: Étude sur les origines et l’histoire de la littérature nationale (Paris: Librairie Universitaire, 1892), p. 749.
12. L’armée à travers les âges: Conférences faites en 1900 (Paris, 1902), cited in Andrew Taylor, “Was There a Song of Roland?” Speculum 76 (2001): 36.
13. Cited in Claudine I. Wilson, “A Frenchman in England: Francisque Michel,” Revue de littérature comparée 17 (1937): 740.
14. “De la Manière d’écrire l’histoire en France et en Allemagne depuis cinquante ans,” Revue des deux mondes 101 (1872): 245. See also Maurice Wilmotte, L’Enseignement de la philologie romane à Paris et en Allemagne (1883–1885): Rapport à M. le ministre de l’intérieur et de l’instruction publique (Bruxelles: Imprimerie Polleunis, Centerick & Lefébure, 1886), pp. 16–17
15. “Chronique,” in Revue des Questions Historiques 9 (1870): 496.
16. Gabriel Monod, Allemands et français: Souvenirs de campagne (Paris: Sandoz et Fischbacher, 1872), p. 39; see also pp. 130, 131.
17. Paul Meyer, Rapport sur l’état actuel de la philologie des langues romanes (London: Transactions of the Philological Society, 1873–1874), pp. 411–12.
18. Cited in Janine Dakyns, The Middle Ages in French Literature, 1851-1900 (Oxford: Oxford University Press, 1973), p. 34.
19. Ibid., p. 36.
20. See article “La France” by Louis Halphen in Histoire et historiens depuis cinquante ans: Méthodes, organisations et résultats du travail historique de 1876 à 1926; recueil publié à l’occasion du cinquantenaire de la Revue historique (Paris: Félix Alcan, 1927), pp. 148–67
21. Stephanie L. Barczewski, Myth and National Identity in Nineteenth-Century Britain: The Legends of King Arthur and Robin Hood (Oxford: Oxford University Press, 2000), p. 30.
22. England and Spain; or, Valour and Patriotism (London: T. Cadell and W Davies, 1808), p. 7
23. Sir Walter Scott, Ivanhoe (New York: Random House, 2001), pp. 287, 8, 4.
24. See Barczewski, Myth and National Identity, p. 34.
25. Thomas Carlyle, Chartism (London: Chapman & Hill, 1890), p. 45.
26. Jules Michelet, Le Moyen Age, (Paris: Robert Laffont, 2000), p. 221.
27. Thomas Arnold, Introductory Lectures on Modern History (Oxford: J. H. Parker, 1842), p. 30.
28. According to Philippa Levine in The Amateur and the Professional: Antiquarians, Historians, and Archaeologists in Victorian England, 1838–1886 (New York: Cambridge University Press, 1986), p. 179.
29. Frederick Dixon, “The Round Table,” The Temple Bar 109 (1896): 210.
30. The Queens Reign and Its Commemoration, 1837–97 (London: Warner, 1897), p. 60.
31. Chateaubriand, Génie du Christianisme (Paris: Imprimerie Mignaret, 1803), p. 153; Victor Hugo, “La Bande noire,” in Oeuvres poétiques, vol. i (Paris: Pléiade, 1964), p. 342.
CHAPTER 4: A STITCH IN TIME
1. William of Malmesbury, Gesta Regum Anglorum, ed. Roger Mynors, vol. I (Oxford: Clarendon Press, 1998), book 3, p. 451.
2. “A Swallow and Other Birds,” in Aesop, Fables (New York: Dover Publications, 1967), pp. 64–65.
3. Marie de France, Fables, ed. Harriet Spiegel (Toronto: University of Toronto Press, 1994), p. 77
4. Cited in Agnes Geijer, A History of Textile Art (London: Pasold Research Fund, 1979), p. 77.
5. The technical analysis that follows is based upon Marie-Hélène Didier, “La Broderie, une oeuvre textile: Les expertises et les analyses effectuées en 1982–1983; la mise en place de l’opération,” and Isabelle Bédat and Béatrice Girault-Kurtzeman, “Etude technique de la Broderie de Bayeux,” in La Tapis-serie de Bayeux: L’art de broder l’histoire, eds. Pierre Bouet, Brian Levy, and François Neveux (Caen: Presses Universitaires de Caen, 2004), pp. 77–82, 83–109.
6. One wonders why the Tapestry’s wool is not tested by radiocarbon methods to determine the date of the embroidery itself. One might also contemplate DNA testing of the wool, in conjunction with sheep bones buried in the ground of the most likely sites of its making, to supplement the scientific determination of time with that of place.
7. M. L. Ryder, Sheep and Man (London: Duckworth, 1983), p. 185.
8. William Stubbs, Memorials of St. Dunstan (London: Rolls Series, 1874), pp. 20-21.
9. Agnes Strickland, Lives of the Queens of England, vol. I (London: Henry Col-burn, 1851), p. 65.
10. For a description of the techniques of embroidery, see George Wingfield Digby, “Technique and Production,” in Frank Stenton, The Bayeux Tapestry: A Comprehensive Survey (Greenwich, Conn.: Phaidon, 1957), pp. 37–55; Simone Bertrand, La Tapisserie de Bayeux et la manière de vivre au onzième siècle (Saint-Leger-Vauban, Yonne: Zodiaque, 1966), pp. 23–32; Bédat and Girault-Kurtzeman, “Etude Technique.”
11. Hudson Gurney “Observations on the Bayeux Tapestry,” Archaeologia 18 (1817): 359; Thomas Frognall Dibdin, A Bibliographic, Antiquarian and Picturesque Tour in France and Germany (London: Robert Jennings & John Major, 1829), p. 247
12. See Richard Brilliant, “The Bayeux Tapestry: A Stripped Narrative for Their Eyes and Ears,” in Richard Gameson, The Study of the Bayeux Tapestry (Woodbridge: Bydell Press, 1997), pp. 125ff.
CHAPTER 5: BURIED TREASURE
1. “Basil Brown’s Diary of the Excavations at Sutton Hoo in 1938–39,” in Rupert Bruce-Mitford, Aspects of Anglo-Saxon Archaeology: Sutton Hoo and Other Discoveries (New York: Harper’s Magazine Press, 1974), p. 146.
2. Sutton Hoo Archive X2/3.4. Cited in Martin Carver, Sutton Hoo: Burial Ground of Kings? (London: British Museum Press, 1998), p. 5.
3. Bruce-Mitford, Anglo-Saxon Archaeology, p. 161.
4. As reported by Robert Markham, Sutton Hoo Through the Rear View Mirror, 1937–1942 (Woodbridge, Suffolk: Sutton Hoo Society, 2002), p. 22.
5. A report on the inquest regarding treasure trove is to be found in Rupert Bruce-Mitford, The Sutton Hoo Ship-Burial, vol. I (London: British Museum, 1975), pp. 719–25.
6. Cited in Peter Anker, The Art of Scandinavia, vol. I (London: Paul Hamlyn, 1970), p. 60.
7. See Lucien Musset, La Tapisserie de Bayeux (Paris: Zodiaque, 2002), p. 20; David M. Wilson and Ole Klindt-Jensen, Viking Art (Minneapolis: University of Minneapolis Press, 1963), pp. 82–83.
8. King Harald’s Saga, tr. Magnus Magnusson (New York: Penguin, 1984), p. 111.
9. Ibid., p. 108
10. Wolfgang Grape, The Bayeux Tapestry: Monument to a Norman Triumph (Munich and New York: Prestel, 1994), p. 64.
11. Agnes Strickland, Lives of the Queens of England, vol. I (London: Henry Col-burn, 1851), p. 66.
12. The edition used is that of Harriet Spiegel, The Fables of Marie de France (Toronto: University of Toronto Press, 1994).
13. The Alexiad of Anna Comnena, tr. E. R. A. Sewter (London: Penguin Books, 1969), p. 360.
CHAPTER 6: WEAVING TO BYZANTIUM
1. Snorri Sturluson, Harald’s Saga, tr. Magnus Magnusson and Hermann Páls-son (New York: Penguin Books, 1984), p. 48.
2. Michael Psellus, Fourteen Byzantine Rulers: The Chronographia of Michael Psellus, tr. E. R. A. Sewter (Baltimore: Penguin Books, 1966), p. 91.
3. The Alexiad of Anna Comnena, tr. E. R. A. Sewter (London: Penguin Books, 1969), p. 95.
4. Njal’s Saga, tr. Magnus Magnusson and Hermann Pálsson (Baltimore: Penguin books, 1964), p. 176.
5. Lucien Musset, Introduction à la runologie (Paris: Aubier-Montaigne, 1965).
6. Orderic Vitalis, The Ecclesiastical History, vol. II, ed. Marjorie Chibnall (Oxford: Clarendon Press, 1969), p. 143.
7. Ibid.
8. Sturluson, Harald’s Saga, p. 138.
9. William of Poitiers, Gesta Guillelmi, eds. Marjorie Chibnall and R. H. C. Davis (Oxford: Clarendon Press, 1998), p. 111.
10. Guy of Amiens, Carmen de Hastengae Proelio, eds. Catherine Morton and Hope Muntz (Oxford: Clarendon Press, 1972), p. 7
11. Michael Hendy, “Michael IV and Harald Hardråda,” The Numismatic Chronicles 10 (series 7 1970): 187–97
12. Adam of Bremen III, 52, Schol, 83, see Hilda R Davidson, The Viking Road to Byzantium (London: George Allen, 1976), pp. 227–28.
13. Guy of Amiens, Carmen de Hastengae Proelio, p. 13.
14. These examples are taken from Anna Muthesius, Byzantine Silk Weaving A.D. 400 to A.D. 1200 (Vienna: Fassbaender, 1997), p. 125.
15. Robert S. Lopez, “Silk Industry in the Byzantine Empire,” Speculum 20 (1945): 28.
16. Laxaedala Saga, tr. Magnus Magnusson and Hermann Pálsson (Baltimore: Penguin Books, 1969), p. 236.
CHAPTER 7: GO EAST, YOUNG NORMAN
1. David C. Douglas, William the Conqueror (Berkeley: University of California Press, 1967), p. 266.
2. The quotation is contained in Orderic Vitalis, Ecclesiastical History, vol. II, ed. Marjorie Chibnall (Oxford: Oxford University Press, 1969), p. 203.
3. The figure of 350 ships is given in the Icelandic Saga of Edward the Confessor published in the Rolls Series 88, vol. III (London: Public Records Office, 1894), pp. 424–28.
4. Lynn White, Medieval Technology (London: Oxford University Press, 1962), p. 37
5. Guy of Amiens, Carmen de Hastengae Proelio, p. 25.
6. O. K. Werckmeister, “The Political Ideology of the Bayeux Tapestry,” Studi medievali 17 (1976): 540.
7. Amatus of Montecassino, The History of the Normans, eds. Prescott N. Dunbar and Graham A. Loud (Suffolk: Boydell Press, 2004), p. 50.
8. Bernard S. Bachrach, “Some Observations on the Military Administration of the Norman Conquest,” Anglo-Norman Studies 8 (1985): 1–25.