authors
data
Product: Book
ISBN-10: 0-8027-1450-1
ISBN-13: 9780802714503
Publisher: Walker & Company
Country:
Year: March 1, 2005
Size: 16.00 x 22.35 x 3.81cm
Number of pages: 354
Weight: 658gr
Binding: Hardcover
ISBN-10: 0-8027-1450-1
ISBN-13: 9780802714503
Publisher: Walker & Company
Country:
Year: March 1, 2005
Size: 16.00 x 22.35 x 3.81cm
Number of pages: 354
Weight: 658gr
Binding: Hardcover
editions
order
catalog
description
Product Description
For more than 900 years the Bayeux Tapestry has preserved one of history's greatest dramas: the Norman Conquest of England, culminating in the death of King Harold at the Battle of Hastings in 1066. Historians have held for centuries that the majestic tapestry trumpets the glory of William the Conqueror and the victorious Normans. But is this true? In 1066, a brilliant piece of historical detective work, Andrew Bridgeford reveals a very different story that reinterprets and recasts the most decisive year in English history. Reading the tapestry as if it were a written text, Bridgeford discovers a wealth of new information subversively and ingeniously encoded in the threads, which appears to undermine the Norman point of view while presenting a secret tale undetected for centuries-an account of the final years of Anglo-Saxon England quite different from the Norman version. Bridgeford brings alive the turbulent 11th century in western Europe, a world of ambitious warrior bishops, court dwarfs, ruthless knights, and powerful women. 1066 offers readers a rare surprise-a book that reconsiders a long-accepted masterpiece, and sheds new light on a pivotal chapter of English history.
For more than 900 years the Bayeux Tapestry has preserved one of history's greatest dramas: the Norman Conquest of England, culminating in the death of King Harold at the Battle of Hastings in 1066. Historians have held for centuries that the majestic tapestry trumpets the glory of William the Conqueror and the victorious Normans. But is this true? In 1066, a brilliant piece of historical detective work, Andrew Bridgeford reveals a very different story that reinterprets and recasts the most decisive year in English history. Reading the tapestry as if it were a written text, Bridgeford discovers a wealth of new information subversively and ingeniously encoded in the threads, which appears to undermine the Norman point of view while presenting a secret tale undetected for centuries-an account of the final years of Anglo-Saxon England quite different from the Norman version. Bridgeford brings alive the turbulent 11th century in western Europe, a world of ambitious warrior bishops, court dwarfs, ruthless knights, and powerful women. 1066 offers readers a rare surprise-a book that reconsiders a long-accepted masterpiece, and sheds new light on a pivotal chapter of English history.
reviews
Great Historical Info plus Fun Interpretation 
1066 is definitely recommended for those interested in Anglo-Saxon and Norman history, the history of embroidery, and even just those looking for a fun interpretive history about this famous Tapestry. He covers the tapestry's story and the theories about its origins. But, he also provides a wealth of background story about the major players pictured in the Tapestry or its production. I haven't seen this kind of info in this depth gathered in any other books I've read on this subject. The author's writing style is journalistic, making the book an enjoyable read, and his interpretations of what the Tapestry shows and how that was manipulated by both its patrons and its artisans seems plausible.
1066 is definitely recommended for those interested in Anglo-Saxon and Norman history, the history of embroidery, and even just those looking for a fun interpretive history about this famous Tapestry. He covers the tapestry's story and the theories about its origins. But, he also provides a wealth of background story about the major players pictured in the Tapestry or its production. I haven't seen this kind of info in this depth gathered in any other books I've read on this subject. The author's writing style is journalistic, making the book an enjoyable read, and his interpretations of what the Tapestry shows and how that was manipulated by both its patrons and its artisans seems plausible.
History and Detective Novel Rolled into One 
A true delight in print, Andrew Bridgeford's »1066: The Hidden History in the Bayeux Tapestry« reads more like a well-written mystery book than a history text. Many a past author has tried to make history »interesting« with unusual and sometimes ludicrous literary devices, but this book doesn't stoop to such silliness. Instead, the history we read here is indeed real history, but woven with a most intriguing claim, transforming the story of the Bayeux Tapestry into a page-turner of scholarship from start to finish. The main contention of the work, which I will present here without spoiling the details and supporting evidence for the reader, is that the prevailing view concerning the Tapestry, commonly reckoned a work of Norman propaganda supporting William the Conqueror's claim to the English throne, is incorrect. Rather, Bridgeford argues, the Tapestry is actually a truly English (not Norman) work which gives more credit to a Frenchman (not a Norman) for the 1066 battle victory, and was created to serve as continual reminder that William's taking of the English throne may have been successful, but was not morally just. In this sense, the Tapestry can, in a way, be considered a »subversive« work, because its message of the invalidity of William's ascent was played out in full view under the noses of all the Norman entourage, and indeed, full public scrutiny, without detection. The makers of the Tapestry could only do this by creating a work that passes the »scratch and sniff« test for supporting the Norman cause, but only for those wishing to read that preconceived notion into what they see in the work, and for creating a series of images that, on its superficial elements, appears to do just that. But woven into the threads of this work is a contrary view that becomes apparent if one rejects the temptation to skim over and »read into« each of the Tapestry's scenes, and it is a message quite different that it might at first appear to be. Bridgeford's prose is consistently up to this challenging task. Each page of the text further illuminates our understanding, not only of what we already know about 1066, but of those things we »know« that really may not »fit« into the Tapestry's message, if we but took the time to further reflect on it. After carefully considering each of the pieces of evidence presented, we come to feel there is good reason to support the author's claims. In fact, the book at times lays out its evidence and persuasion much like a lawyer might do in court, and if we find ourselves in this jury of opinion, we tend to find ourselves convinced. And although the reader here might think the author will have to resort to fantastic claims and that we'll have to check credulity at the front cover, we quickly find we can rest easy. The author's case is logical, cogent, and reasonable; the work never veers outside of accepted scholarship for evidence, and rejects many surrounding claims even if some of those might further buttress the argument. This is a solid book that is a fascinating addition to the library of works surrounding the Tapestry. Bridgeford's text begins by laying out what must be considered an epic drama of the history of the Tapestry itself, a history which begins in the 11th century but, much like an Indiana Jones movie, finds itself the target of Nazi's, governments, and various nefarious forces throughout the centuries. Once we have followed the Tapestry's journey throughout the years, we settle into an examination of the tapestry itself, a scene by scene look at each element with the work. Thankfully, the entire Tapestry is photographically reproduced in full color with additional scene numbers and annotated text to translate the Latin so that we can refer to the Tapestry itself while the author makes his points and explanations. Historical background is provided within the narrative whenever necessary, helping us understand the possible motivations for the prime characters and serving as a historical backdrop to the story. Bridgeford makes his case scene by scene, and is not unconvincing. It is a true adventure to pry open the explanations of each of the scenes, and regardless of how convinced the reader may be of the ultimate assertions of the book, the result is likely to be a newfound interest in the Tapestry itself, and perhaps even a desire to make a trip to see the Tapestry in person. But much of the charm of this book remains in the prose which relates Harold's and William's story, with characters whose motives and intentions come alive, settings that jump out of the past, and the ebb and flow of history once again surging past us when we thought it was already finished. And that is indeed, according to the author, the whole purpose of those enigmatic creators of the Bayeux Tapestry: to serve as a constant witness of historical fact that would hopefully guide those of future generations who were willing to listen to its message. They may well have succeeded. It's now approaching 1,000 years since the Tapestry was woven, and we are still here examining, debating, and enjoying it.
A true delight in print, Andrew Bridgeford's »1066: The Hidden History in the Bayeux Tapestry« reads more like a well-written mystery book than a history text. Many a past author has tried to make history »interesting« with unusual and sometimes ludicrous literary devices, but this book doesn't stoop to such silliness. Instead, the history we read here is indeed real history, but woven with a most intriguing claim, transforming the story of the Bayeux Tapestry into a page-turner of scholarship from start to finish. The main contention of the work, which I will present here without spoiling the details and supporting evidence for the reader, is that the prevailing view concerning the Tapestry, commonly reckoned a work of Norman propaganda supporting William the Conqueror's claim to the English throne, is incorrect. Rather, Bridgeford argues, the Tapestry is actually a truly English (not Norman) work which gives more credit to a Frenchman (not a Norman) for the 1066 battle victory, and was created to serve as continual reminder that William's taking of the English throne may have been successful, but was not morally just. In this sense, the Tapestry can, in a way, be considered a »subversive« work, because its message of the invalidity of William's ascent was played out in full view under the noses of all the Norman entourage, and indeed, full public scrutiny, without detection. The makers of the Tapestry could only do this by creating a work that passes the »scratch and sniff« test for supporting the Norman cause, but only for those wishing to read that preconceived notion into what they see in the work, and for creating a series of images that, on its superficial elements, appears to do just that. But woven into the threads of this work is a contrary view that becomes apparent if one rejects the temptation to skim over and »read into« each of the Tapestry's scenes, and it is a message quite different that it might at first appear to be. Bridgeford's prose is consistently up to this challenging task. Each page of the text further illuminates our understanding, not only of what we already know about 1066, but of those things we »know« that really may not »fit« into the Tapestry's message, if we but took the time to further reflect on it. After carefully considering each of the pieces of evidence presented, we come to feel there is good reason to support the author's claims. In fact, the book at times lays out its evidence and persuasion much like a lawyer might do in court, and if we find ourselves in this jury of opinion, we tend to find ourselves convinced. And although the reader here might think the author will have to resort to fantastic claims and that we'll have to check credulity at the front cover, we quickly find we can rest easy. The author's case is logical, cogent, and reasonable; the work never veers outside of accepted scholarship for evidence, and rejects many surrounding claims even if some of those might further buttress the argument. This is a solid book that is a fascinating addition to the library of works surrounding the Tapestry. Bridgeford's text begins by laying out what must be considered an epic drama of the history of the Tapestry itself, a history which begins in the 11th century but, much like an Indiana Jones movie, finds itself the target of Nazi's, governments, and various nefarious forces throughout the centuries. Once we have followed the Tapestry's journey throughout the years, we settle into an examination of the tapestry itself, a scene by scene look at each element with the work. Thankfully, the entire Tapestry is photographically reproduced in full color with additional scene numbers and annotated text to translate the Latin so that we can refer to the Tapestry itself while the author makes his points and explanations. Historical background is provided within the narrative whenever necessary, helping us understand the possible motivations for the prime characters and serving as a historical backdrop to the story. Bridgeford makes his case scene by scene, and is not unconvincing. It is a true adventure to pry open the explanations of each of the scenes, and regardless of how convinced the reader may be of the ultimate assertions of the book, the result is likely to be a newfound interest in the Tapestry itself, and perhaps even a desire to make a trip to see the Tapestry in person. But much of the charm of this book remains in the prose which relates Harold's and William's story, with characters whose motives and intentions come alive, settings that jump out of the past, and the ebb and flow of history once again surging past us when we thought it was already finished. And that is indeed, according to the author, the whole purpose of those enigmatic creators of the Bayeux Tapestry: to serve as a constant witness of historical fact that would hopefully guide those of future generations who were willing to listen to its message. They may well have succeeded. It's now approaching 1,000 years since the Tapestry was woven, and we are still here examining, debating, and enjoying it.
A Worthy Read
I found this to be a very interesting book. I did not think all the conclusions he arrived at where justified by the data provided, there was a touch of making mountains out of mole hills (IMHO). However, most of the discussion was well thought out, well presented, and very thought provoking. It was also well written. I would recommend this one for anyone interested in the period.
I found this to be a very interesting book. I did not think all the conclusions he arrived at where justified by the data provided, there was a touch of making mountains out of mole hills (IMHO). However, most of the discussion was well thought out, well presented, and very thought provoking. It was also well written. I would recommend this one for anyone interested in the period.
Fascinating Theories
As I'm going to be visiting Normandy the first time in June, I figured I should read up on what I'll be seeing there. I'm a huge history addict, but never got into medieval history, so when I first heard of the Bayeux Tapestry, I was totally clueless. Mr Bridgeford makes for a lovely introduction to this monumental work, and his theory is intriguing as well. The whole »the winners write the history books« idea is true, but if the »writers« (artists, etc) are hired losers, then they may be able to get their subversive say as well. I wonder if there are other such instances besides the Bayeux Tapestry, and what we might learn if the theory were applied to those artworks. Mr Bridgeford's writing is exceptionally engaging for a historian (and an attorney, for that matter). Not everyone has the ability to get a reader so involved in figures whose story ended a millenium ago. There are some points he makes that sound to me like grasping at threads (so to speak), but then that might just be due to my general ignorance of medieval art. At the least, Bridgeford's gotten me excited about going to see the Bayeux Tapestry this summer. The Aesop fables were a childhood favorite, and I remember the Fox and Crow tale distinctly. The idea of seeing it stiched into 900 year old fabric is chilling.
As I'm going to be visiting Normandy the first time in June, I figured I should read up on what I'll be seeing there. I'm a huge history addict, but never got into medieval history, so when I first heard of the Bayeux Tapestry, I was totally clueless. Mr Bridgeford makes for a lovely introduction to this monumental work, and his theory is intriguing as well. The whole »the winners write the history books« idea is true, but if the »writers« (artists, etc) are hired losers, then they may be able to get their subversive say as well. I wonder if there are other such instances besides the Bayeux Tapestry, and what we might learn if the theory were applied to those artworks. Mr Bridgeford's writing is exceptionally engaging for a historian (and an attorney, for that matter). Not everyone has the ability to get a reader so involved in figures whose story ended a millenium ago. There are some points he makes that sound to me like grasping at threads (so to speak), but then that might just be due to my general ignorance of medieval art. At the least, Bridgeford's gotten me excited about going to see the Bayeux Tapestry this summer. The Aesop fables were a childhood favorite, and I remember the Fox and Crow tale distinctly. The idea of seeing it stiched into 900 year old fabric is chilling.
Another Da Vinci Code in a 900 Year-Old Cloth?
I have always been fascinated with the Bayeux Tapestry and avidly devour any written material I can get my hands on that pertain to it. This book puts a new spin on the accepted presumption of who sponsored the work on the tapestry and offers speculation as to a subversive counter story hidden within the images. The tapestry is actually a 70 meter long piece of linen (comprised of 8 sections) upon which is embroidered the tale of King Edward the Confessor and Harold Godwinson (Harold II) of England and the invasion of England by William the Conqueror that ended in his victory at the Battle of Hastings in 1066. Although some of the theories posed in this book may or may not be valid, it is well written, provides an excellent birds-eye view of the political situation at the time and engrosses the reader from the very start. My only complaint is that the images in the book are in black and white and are so small that it is sometimes difficult to make out the details. To solve that problem, I recommend that the reader refer to larger color images of the tapestry when reading the book. I read it simultaneously with my Thames and Hudson edition of The Bayeux Tapestry, With Commentary by David M. Wilson, which has full color plates of the complete tapestry that are so large that you can see the individual stitches. I would highly recommend this book to anyone remotely interested in English history or in the Bayeux Tapestry.
I have always been fascinated with the Bayeux Tapestry and avidly devour any written material I can get my hands on that pertain to it. This book puts a new spin on the accepted presumption of who sponsored the work on the tapestry and offers speculation as to a subversive counter story hidden within the images. The tapestry is actually a 70 meter long piece of linen (comprised of 8 sections) upon which is embroidered the tale of King Edward the Confessor and Harold Godwinson (Harold II) of England and the invasion of England by William the Conqueror that ended in his victory at the Battle of Hastings in 1066. Although some of the theories posed in this book may or may not be valid, it is well written, provides an excellent birds-eye view of the political situation at the time and engrosses the reader from the very start. My only complaint is that the images in the book are in black and white and are so small that it is sometimes difficult to make out the details. To solve that problem, I recommend that the reader refer to larger color images of the tapestry when reading the book. I read it simultaneously with my Thames and Hudson edition of The Bayeux Tapestry, With Commentary by David M. Wilson, which has full color plates of the complete tapestry that are so large that you can see the individual stitches. I would highly recommend this book to anyone remotely interested in English history or in the Bayeux Tapestry.
keywords
related products
Hudson, Thames, David M. Wilson, David MacKenzie Wilson
Thames & Hudson; 2004
Hardcover
- search