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A scene from the Bayeux Tapestry depicting Bishop Odo rallying Duke William's army during the Battle of Hastings in 1066. The Bayeux Tapestry [a] is an embroidered cloth nearly 70 metres (230 feet) long and 50 centimetres (20 inches) tall [1] that depicts the events leading up to the Norman Conquest of England in 1066, led by William, Duke of Normandy challenging Harold II, King of England ...
The Bayeux Tapestry tituli are Medieval Latin captions that are embroidered on the Bayeux Tapestry and describe scenes portrayed on the tapestry. These depict events leading up to the Norman conquest of England concerning William, Duke of Normandy , and Harold, Earl of Wessex, later King of England , and culminating in the Battle of Hastings .
The Bayeux Tapestry is a fascinating slice of history, both visual and textual,” she said in an email. “The Battle of Hastings and the resultant Norman Conquest is seen as a key turning point ...
Bayeux is a major tourist attraction, best known to British and French visitors for the Bayeux Tapestry, made to commemorate events in the Norman Conquest of England in 1066. According to French tradition, the tapestry was made by the attendants of Matilda of Flanders, wife of William the Conqueror.
The Bayeux Tapestry is an embroidered cloth which depicts the events leading up to the Norman conquest of England in the 11th century. - Charles Platiau/Reuters. Editor’s note: ...
The tapestry is housed in the town of Bayeux in Normandy, France. By conducting a geophysical survey and analyzing maps and records, historians were able to gather new information about the site ...
Odo of Bayeux (died 1097) was Bishop of Bayeux in Normandy and was also made Earl of Kent in England following the Norman Conquest. He was the maternal half-brother of duke, and later king, William the Conqueror , and was, for a time, William's primary administrator in the Kingdom of England, although he was eventually tried for defrauding ...
Engravings from Stothard's drawings of the Bayeux Tapestry were made by James Basire, and published in 1823. [7] They show the complete tapestry, and were described by the art historian Eric Maclagan as "exquisite plates [which] still provide what is in many ways the most adequate representation of the original". [8]