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Medi-Cal
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The California Medical Assistance Program (Medi-Cal or MediCal) is California's Medicaid program serving low-income individuals, including families, seniors, persons with disabilities, children in foster care, pregnant women, and childless adults with incomes below 138% of federal poverty level. Benefits include ambulatory patient services, emergency services, hospitalization, maternity and newborn care, mental health and substance use disorder treatment, dental (Denti-Cal), vision, and long term care and supports.[1] Approximately 12.5 million people were enrolled in Medi-Cal as of May 2015, or about 32.4% of California's population; in Tulare County and Merced County, more than 50% of county residents were enrolled as of September 2015.[2][3]
Contents
[hide]
1 Eligibility
1.1 Immigration status
2 Benefits
3 Administration
3.1 Management structure
3.2 Government agencies
3.3 Law
3.4 Costs
4 Related programs
4.1 Partnership for Long-Term Care
4.2 Covered California
4.3 Indigent health programs
5 See also
6 References
7 External links
Eligibility[edit]
Medi-Cal provides health coverage for people with low income and limited ability to pay for health coverage, including the aged, blind, disabled, young adults and children, pregnant women, persons in a skilled nursing or intermediate care home, and persons in the Breast and Cervical Cancer Treatment Program (BCCTP).[4][5][6] People receiving federally funded cash assistance programs, such as CalWORKs (a state implementation of the federal Temporary Assistance for Needy Families (TANF) program), the State Supplementation Program (SSP) (a state supplement to the federal Supplemental Security Income (SSI) program), foster care, adoption assistance, certain refugee assistance programs, or In-Home Supportive Services (IHSS) are also eligible.[4][6]
As a means-tested program, Medi-Cal imposes asset limits on prospective enrollees. This limit depends on the number of individuals being considered for coverage; for one enrollee, this limit is $2,000, while for two enrollees, the limit is $3,000[7]. Each additional individual being considered results in an additional $150 of permitted assets, up to a total of ten individuals covered. If applicants possess property whose total value exceeds the allowed amount, they are required to reduce ("sell down") their assets through activities such as purchasing clothes, purchasing home furnishings, paying medical bills, paying a home mortgage, paying home loans, and paying off other debts[7].
Beginning in 2014 under the Patient Protection and Affordable Care Act (PPACA), those with family incomes up to 138% of the federal poverty level became eligible for Medi-Cal (pursuant to 42 U.S.C. § 1396a(a)(10)(A)(i)(VIII)), and individuals with higher incomes and some small businesses may choose a plan in Covered California, California's health insurance marketplace, with potential federal subsidies.[citation needed]
Immigration status[edit]
See also: Immigration to the United States
Legal permanent residents (LPRs) with a substantial work history (defined as 40 quarters of Social Security covered earnings) or military connection are eligible for the full range of major federal means-tested benefit programs, including Medicaid (Medi-Cal).[8] LPRs entering after August 22, 1996, are barred from Medicaid for five years, after which their coverage becomes a state option, and states have the option to cover LPRs who are children or who are pregnant during the first five years. Noncitizen SSI recipients are eligible for (and required to be covered under) Medicaid. Refugees and asylees are eligible for Medicaid for seven years after arrival; after this term, they may be eligible at state option.
Nonimmigrants and unauthorized aliens are not eligible for most federal benefits, regardless of whether they are means tested, with notable exceptions for emergency services (e.g., Medicaid for emergency medical care), but states have the option to cover nonimmigrant and unauthorized aliens who are pregnant or who are children, and can meet the definition of "lawfully residing" in the United States. Special rules apply to several limited noncitizen categories: certain "cross-border" American Indians, Hmong/Highland Laotians, parolees and conditional entrants, and cases of abuse.
Benefits[edit]
Medi-Cal health benefits include ambulatory patient services, emergency services, hospitalization, maternity and newborn care, mental health and substance use disorder treatment, dental (Denti-Cal), vision, and long term care and supports.[1]
California is one of a few US states that provide Medicaid dental benefits to adults.[9] But given Denti-Cal's bare-bones coverage and the widespread absence of participating dentists in the program, a patchwork of supplemental programs has grown up to fill in some of the gaps, including Federally Qualified Health Centers (FQHC), a designation that refers to hundreds of health clinics and systems that operate in underserved, low-income and uninsured communities that private-practice dentists tend to avoid, and the state's First 5 county commissions, which are funded by tobacco sales taxes, as well as a sprinkling of county-funded dental care.[9]
Administration[edit]
Management structure[edit]
Many of these benefits for most beneficiaries are contracted out to Medicaid managed care organizations. Mental health benefits for the seriously and persistently mentally ill and dental benefits are universally excluded from managed care contracts.[citation needed] As of July, 2015, 9.7 million people were enrolled in a managed care plan, representing about 78% of all enrollees.[10] California has several models of managed care which are designated at the county level:[11][12]
a County Organized Health System (COHS) model, with one health plan per county,
a "two plan model" with one community health plan and one commercial health plan in the county,
a geographic managed care model with multiple plans per county,
a regional managed care model with 1-2 commercial health plans in many counties,
and unique one-county models in San Benito and Imperial counties.
In Denti-Cal, the majority of beneficiaries are covered through fee-for-service arrangements, where the state pays dentists directly for services, instead of the managed care model.[9] However, more than 879,000 Denti-Cal enrollees do receive dental care through managed care plans started as experimental alternatives in the 1990s: in Los Angeles County where managed care plans are optional for beneficiaries, and in Sacramento County where they are mandatory.[9] Eleven counties had no Denti-Cal providers or no providers willing to accept new child patients covered by Denti-Cal: Del Norte, Tehama, Yuba, Sierra, Nevada, Amador, Calaveras, Alpine, Mariposa, Mono and Inyo counties.[9] Delta Dental, operating in the same building as DHCS' Denti-Cal division, enrolls dentists into DentiCal, processes claims by dentists, pays dentists and authorizes treatments, and also handles customer service operations and outreach.[9]
Government agencies[edit]
Medi-Cal is jointly administered by the Centers for Medicare and Medicaid Services (CMS) and the California Department of Health Care Services (DHCS), while the county welfare department in each of the 58 counties is responsible for local administration of the Medi-Cal program.[13][14] C4Yourself and CalWIN are statewide online application systems that allows you to apply for benefits.[15][16]
County welfare departments and Medi-Cal Managed Care Plans[17]
[show]County
Department/Agency
SAWS consortium
Managed care model
Managed care plan(s)
Alameda Social Services Agency CalWIN Two-plan Alameda Alliance for Health, Anthem Blue Cross
Alpine Department of Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Amador Department of Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Butte Department of Employment and Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Calaveras Department of Calaveras Works and Human Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Colusa Department of Health and Human Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Contra Costa Department of Employment and Human Services CalWIN Two-plan Contra Costa Health Plan, Anthem Blue Cross
Del Norte Department of Health and Human Services C4Yourself COHS Partnership HealthPlan of California
El Dorado Department of Human Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Fresno Department of Social Services CalWIN Two-plan Anthem Blue Cross, CalViva Health[permanent dead link]
Glenn Human Resources Agency C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Humboldt Department of Health and Human Services C4Yourself COHS Partnership HealthPlan of California
Imperial Department of Social Services C4Yourself Imperial California Health & Wellness, Molina Healthcare
Inyo Department of Health and Human Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Kern Department of Human Services C4Yourself Two-plan Health Net, Kern Family Health Care
Kings Human Services Agency C4Yourself Two-plan Anthem Blue Cross, CalViva Health[permanent dead link]
Lake Department of Social Services C4Yourself COHS Partnership HealthPlan of California
Lassen Lassen WORKS C4Yourself COHS Partnership HealthPlan of California
Los Angeles Department of Public Social Services LEADER Two-plan L.A. Care Health Plan, Health Net
Madera Department of Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Marin Department of Health and Human Services C4Yourself COHS Partnership HealthPlan of California
Mariposa Department of Human Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Mendocino Health and Human Services Agency C4Yourself COHS Partnership HealthPlan of California
Merced Human Services Agency C4Yourself COHS Central California Alliance for Health
Modoc Department of Social Services C4Yourself COHS Partnership HealthPlan of California
Mono Department of Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Monterey Department of Social and Employment Services C4Yourself COHS Central California Alliance for Health
Napa Department of Health and Human Services C4Yourself COHS Partnership HealthPlan of California
Nevada Human Services Agency C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Orange Social Services Agency CalWIN COHS CalOptima
Placer Department of Health and Human Services CalWIN Regional Anthem Blue Cross, California Health & Wellness
Plumas Department of Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Riverside Department of Public Social Services C4Yourself Two-plan Inland Empire Health Plan, Molina Healthcare
Sacramento Department of Human Assistance CalWIN Geographic Managed Care (GMC) Molina Healthcare, Anthem Blue Cross, Health Net, Kaiser Permanente
San Benito Health and Human Services Agency C4Yourself San Benito Anthem Blue Cross
San Bernardino Department of Human Services C4Yourself Two-plan Inland Empire Health Plan, Molina Healthcare
San Diego Health and Human Services Agency CalWIN Geographic Managed Care (GMC) Molina Healthcare, Care 1st Health Plan, Health Net, Kaiser Permanente, Community Health Group San Diego
San Francisco Human Services Agency CalWIN Two-plan San Francisco Health Plan, Anthem Blue Cross
San Joaquin Human Services Agency C4Yourself Two-plan Health Net, Health Plan of San Joaquin
San Luis Obispo Department of Social Services CalWIN COHS CenCal Health
San Mateo Human Services Agency CalWIN COHS Health Plan of San Mateo
Santa Barbara Department of Social Services CalWIN COHS CenCal Health
Santa Clara Social Services Agency CalWIN Two-plan Santa Clara Family Health Plan, Anthem Blue Cross
Santa Cruz Department of Human Services CalWIN COHS Central California Alliance for Health
Shasta Health and Human Services Agency C4Yourself COHS Partnership HealthPlan of California
Sierra Department of Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Siskiyou Department of Human Services C4Yourself COHS Partnership HealthPlan of California
Solano Department of Health and Social Services CalWIN COHS Partnership HealthPlan of California
Sonoma Department of Human Services CalWIN COHS Partnership HealthPlan of California
Stanislaus Community Services Agency C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Sutter Department of Human Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Tehama Department of Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Trinity Dept of Health and Human Services C4Yourself COHS Partnership HealthPlan of California
Tulare Health and Human Services Agency CalWIN Regional Anthem Blue Cross, California Health & Wellness
Tuolumne Department of Social Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Ventura Human Services Agency CalWIN COHS Gold Coast Health Plan
Yolo Department of Employment and Social Services CalWIN COHS Partnership HealthPlan of California
Yuba Department of Health and Human Services C4Yourself Regional Anthem Blue Cross, California Health & Wellness
Law[edit]
Federal law mostly consists of the Social Security Amendments of 1965 which added Title XIX to the Social Security Act (42 U.S.C. § 1396 et seq.), and state law mostly consists of California Welfare and Institutions Code (WIC) Division 9, Part 3, Chapter 7 (WIC § 14000 et seq.). Federal regulations are mostly found in Code of Federal Regulations (CFR) Title 42, Chapter IV, Subchapter C (42 C.F.R. 430 et seq.) and state regulations are contained in California Code of Regulations (CCR) Title 22, Division 3 (22 CCR § 50005).
Costs[edit]
Medi-Cal costs are estimated at $73.9 billion ($16.9 billion in state funds) in 2014-15. For comparison, the entire California state budget in 2014-2015 is $156 billion, of which about $108 billion was general funds (not allocated for special expenditures, such as bonds).[18]
Related programs[edit]
Partnership for Long-Term Care[edit]
The Long-Term Care Partnership Program is a public-private partnership between states and private insurance companies, designed to reduce Medicaid expenditures by delaying or eliminating the need for some people to rely on Medicaid to pay for long-term care services. To encourage the purchase of private partnership policies, long-term care insurance policyholders are allowed to protect some or all of their assets from Medicaid spend-down requirements during the eligibility determination process, but they still must meet income requirements.[19] The California Partnership for Long-Term Care Program links Medi-Cal and the In-Home Supportive Services program, i.e., private long-term care insurance and health care service plan contracts that cover long-term care for aged, blind, or disabled persons.[20]
Covered California[edit]
Main article: Covered California
Covered California is the health insurance marketplace in California, the state's implementation of the American Health Benefit Exchange provisions of the Patient Protection and Affordable Care Act.
Indigent health programs[edit]
Further information: Welfare in California § Indigent programs
Since 1933, California law has required counties to provide relief to the poor, including health care services and general assistance.[21] County indigent medical programs can be categorized as California Medical Service Program (CMSP) and Medically Indigent Service Program (MISP) counties.[22] There are 34 CMSP counties and 24 MISP counties. The CMSP county programs are largely managed by the state, whereas MISP counties manage their own programs with their own rules and regulations. Many patients from both the CMSP and MISP county programs transitioned to Medi-Cal when the Patient Protection and Affordable Care Act took effect in 2014.[23]
See also[edit]
California portal
Health portal
Welfare in California
Local government in California
Health care districts in California
References[edit]
^ Jump up to: a b California Department of Healthcare Services. "What are the Medi-Cal Benefits?". Retrieved 2017-05-29.
Jump up ^ California Department of Healthcare Services. "Medi-Cal Eligibles 24-Month Trend at May 2015 - Advance Counts" (PDF). Medi-Cal Statistical Brief. Retrieved 22 August 2015.
Jump up ^ California Department of Healthcare Services, Proportion of California Population Certified Eligible for Medi‐Cal By County and Age Group – September 2015 (PDF), Medi-Cal Statistical Brief, retrieved 2017-05-29
^ Jump up to: a b O'Shaughnessey 2001, footnote 1, pg. 25.
Jump up ^ O'Shaughnessey 2001, p. 6.
^ Jump up to: a b [1][dead link]
^ Jump up to: a b "Medi-Cal General Property Limitations" (PDF). State of California — Health and Human Services Agency. Retrieved 24 Feb 2018.
Jump up ^ RL33809 Noncitizen Eligibility for Federal Public Assistance: Policy Overview (Report). Congressional Research Service. December 12, 2016. This article incorporates text from this source, which is in the public domain.
^ Jump up to: a b c d e f Little Hoover Commission (April 2016), Report #230: Fixing Denti-Cal
Jump up ^ California Department of Healthcare Services (July 2015). "Medi-Cal Managed Care Enrollment Report" (PDF). DHCS. Retrieved 22 August 2015.
Jump up ^ "Medi-Cal Managed Care Models" (PDF). Retrieved 6 December 2014.
Jump up ^ "Medi-Cal Managed Care Division". Retrieved 6 December 2014.
Jump up ^ WIC § 10800 et seq.
Jump up ^ 22 CCR § 50004
Jump up ^ "County Offices to Apply for Medi-Cal". California Department of Health Care Services. Retrieved 18 January 2013.
Jump up ^ "Consolidating California's Statewide Automated Welfare Systems" (PDF). California Legislative Analyst's Office. 13 February 2012. Retrieved 18 January 2013.
Jump up ^ "Medi-Cal Managed Care Health Plan Directory".
Jump up ^ Governor's Office Enacted 2014-2015 California State Budget summary., June 2014
Jump up ^ Dicken, John E.; Friday, Krister; Mamerow, Clare; Theisen-Olson, Anna (2005-10-11). GAO-05-1021R Overview of the Long-Term Care Partnership Program (Report). Government Accountability Office. This article incorporates text from this source, which is in the public domain.
Jump up ^ WIC § 22000 et seq. WIC § 12300 et seq. 22 CCR § 58000 et seq.
Jump up ^ "Understanding County Health Services in California: A Brief Overview". Institute for Local Government. Retrieved 2012-10-08.
Jump up ^ "County Programs for the Medically Indigent in California" (PDF). California HealthCare Foundation. 1 October 2009. Retrieved 20 November 2012.
Jump up ^ DHCS Research and Analytic Studies Division. "MEDI-CAL MONTHLY ELIGIBLES TREND REPORT FOR JANUARY 2014" (PDF).
O'Shaughnessey, Molly (2001). Losing Ground: Declining Medi-Cal Enrollment After Welfare Reform. California Budget Project.
External links[edit]
BenefitsCal.org (to apply) from the County Welfare Directors Association
C4Yourself system from C-IV
CalWIN system from WCDS
YourBenefitsNow! system for Los Angeles County
Official website
California Medical Assistance Program in the California Code of Regulations
Medicaid State Plan information for California
State Waivers for Medicaid program in California
Retrieved from "https://en.wikipedia.org/w/index.php?title=Medi-Cal&oldid=836917941"
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Bayeux Tapestry
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A segment of the Bayeux Tapestry depicting Odo, Bishop of Bayeux, rallying Duke William's troops during the Battle of Hastings in 1066
The Bayeux Tapestry or Bayeux Embroidery[1][2][3] (English: /baɪˈjɜːr/ or US: /bɑːˈjuː/,/bɑːˈjə/ ,/beɪˈjuː/; French: Tapisserie de Bayeux, IPA: [tapisʁi də bajø], or La telle du conquest; Latin: Tapete Baiocense) is an embroidered cloth nearly 70 metres (230 ft) long and 50 centimetres (20 in) tall, which depicts the 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.
According to Sylvette Lemagnen, conservator of the tapestry:
The Bayeux tapestry is one of the supreme achievements of the Norman Romanesque .... Its survival almost intact over nine centuries is little short of miraculous ... Its exceptional length, the harmony and freshness of its colours, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating.[4]
The tapestry consists of some fifty scenes with Latin tituli, embroidered on linen with coloured woollen yarns. It is likely that it was commissioned by Bishop Odo, William's half-brother, and made in England—not Bayeux—in the 1070s. In 1729 the hanging was rediscovered by scholars at a time when it was being displayed annually in Bayeux Cathedral. The tapestry is now exhibited at the Musée de la Tapisserie de Bayeux in Bayeux, Normandy, France (49°16′28″N 0°42′01″W / 49.2744°N 0.7003°W / 49.2744; -0.7003).
The designs on the Bayeux Tapestry are embroidered rather than woven, so that it is not technically a tapestry.[5] Nevertheless, it has always been called a tapestry until recent years, when the more correct name "Bayeux Embroidery" has gained ground among art historians. The tapestry can be seen as the final and best known work of Anglo-Saxon art, and though made after the Conquest was both made in England and firmly in an Anglo-Saxon tradition, points now accepted by French art historians.[6] Such tapestries adorned both churches and wealthy houses in England, though at 0.5 by 68.38 metres (1.6 by 224.3 ft, and apparently incomplete) the Bayeux Tapestry is exceptionally large. Only the figures and decoration are embroidered, on a background left plain, which shows the subject very clearly and was necessary to cover large areas.
Contents
[hide]
1 Origins
2 Construction, design and technique
3 Background to the events depicted
4 Events depicted in the tapestry
5 Latin text
6 Recorded history
7 Later reputation
8 Mysteries
9 Reliability
10 Artistic context
11 Replicas and continuations
12 In popular culture
13 Notes
14 References
15 Further reading
16 External links
Origins[edit]
Bishop Odo of Bayeux
Bayeux Cathedral, home of the tapestry in the middle ages and until the beginning of the 19th century
The earliest known written reference to the tapestry is a 1476 inventory of Bayeux Cathedral,[7] but its origins have been the subject of much speculation and controversy.
French legend maintained the tapestry was commissioned and created by Queen Matilda, William the Conqueror's wife, and her ladies-in-waiting. Indeed, in France it is occasionally known as "La Tapisserie de la Reine Mathilde" (Tapestry of Queen Matilda). However, scholarly analysis[8] in the 20th century concluded it was probably commissioned by William's half-brother, Bishop Odo, who, after the Conquest, became Earl of Kent and, when William was absent in Normandy, regent of England.
The reasons for the Odo commission theory include: 1) three of the bishop's followers mentioned in the Domesday Book appear on the tapestry; 2) it was found in Bayeux Cathedral, built by Odo; and 3) it may have been commissioned at the same time as the cathedral's construction in the 1070s, possibly completed by 1077 in time for display on the cathedral's dedication.
Assuming Odo commissioned the tapestry, it was probably designed and constructed in England by Anglo-Saxon artists (Odo's main power base being by then in Kent); the Latin text contains hints of Anglo-Saxon; other embroideries originate from England at this time; and the vegetable dyes can be found in cloth traditionally woven there.[9][10][11] Howard B. Clarke has proposed that the designer of the tapestry was Scolland, the abbot of St Augustine's Abbey in Canterbury, because of his previous position as head of the scriptorium at Mont Saint-Michel (famed for its illumination), his travels to Trajan's Column, and his connections to Wadard and Vital, two individuals identified in the tapestry.[12][13] The actual physical work of stitching was most likely undertaken by female needle workers. Anglo-Saxon needlework of the more detailed type known as Opus Anglicanum was famous across Europe. It was perhaps commissioned for display in the hall of his palace and then bequeathed to the cathedral he built, following the pattern of the documented but lost hanging of Byrhtnoth.[14]
Alternative theories exist. Carola Hicks has suggested it could possibly have been commissioned by Edith of Wessex.[15] Wolfgang Grape has challenged the consensus that the embroidery is Anglo-Saxon, distinguishing between Anglo-Saxon and other Northern European techniques;[16] Medieval material authority Elizabeth Coatsworth[17] contradicted this: "The attempt to distinguish Anglo-Saxon from other Northern European embroideries before 1100 on the grounds of technique cannot be upheld on the basis of present knowledge."[18] George Beech suggests the tapestry was executed at the Abbey of St. Florent in the Loire Valley, and says the detailed depiction of the Breton campaign argues for additional sources in France.[19] Andrew Bridgeford has suggested that the tapestry was actually of English design and encoded with secret messages meant to undermine Norman rule.[20]
Construction, design and technique[edit]
Detail of stem stitching and laid work.
In common with other embroidered hangings of the early medieval period, this piece is conventionally referred to as a "tapestry", although it is not a true tapestry in which the design is woven into the cloth; it is in fact an embroidery.
The Bayeux tapestry is embroidered in crewel (wool yarn) on a tabby-woven linen ground 68.38 metres long and 0.5 metres wide (224.3 ft × 1.6 ft) and using two methods of stitching: outline or stem stitch for lettering and the outlines of figures, and couching or laid work for filling in figures.[10][11] Nine linen panels, between fourteen and three metres in length, were sewn together after each was embroidered and the joins were disguised with subsequent embroidery.[21] At the first join (start of scene 14) the borders do not line up properly but the technique was improved so that the later joins are practically invisible.[21] The design involved a broad central zone with narrow decorative borders top and bottom.[21] By inspecting the woollen threads behind the linen it is apparent all these aspects were embroidered together at a session and the awkward placing of the tituli is not due to them being added later.[21] Later generations have patched the hanging in numerous places and some of the embroidery (especially in the final scene) has been reworked.[21] The tapestry may well have maintained much of its original appearance—it now compares closely with a careful drawing made in 1730.[21]
The main yarn colours are terracotta or russet, blue-green, dull gold, olive green, and blue, with small amounts of dark blue or black and sage green. Later repairs are worked in light yellow, orange, and light greens.[10] Laid yarns are couched in place with yarn of the same or contrasting colour.
The tapestry's central zone contains most of the action, which sometimes overflows into the borders either for dramatic effect or because depictions would otherwise be very cramped (for example at Edward's death scene). Events take place in a long series of scenes which are generally separated by highly stylised trees. However, the trees are not placed consistently and the greatest scene shift, between Harold's audience with Edward after his return to England and Edward's burial scene, is not marked in any way at all.[22]
The tituli are normally in the central zone but occasionally use the top border. The borders are otherwise mostly purely decorative and only sometimes does the decoration complement the action in the central zone. The decoration consists of birds, beasts, fish and scenes from fables, agriculture and hunting. There are frequent oblique bands separating the vignettes. There are nude figures, some of corpses from battle, others of a ribald nature.[22] A harrow, a newly invented implement, is depicted (scene 10) and this is the earliest known depiction. The picture of Halley's Comet, which appears in the upper border (scene 32), is the first known picture of this comet.[22]
The end of the tapestry has been missing from time immemorial and the final titulus "Et fuga verterunt Angli" ("and the English left fleeing") is said to be "entirely spurious", added shortly before 1814 at a time of anti-English sentiment.[22] Musset speculates the hanging was originally about 1.5 metres longer.[22] At the last section still remaining the embroidery has been almost completely restored but this seems to have been done with at least some regard to the original stitching.[22] The stylised tree is quite unlike any other tree in the tapestry.[22] The start of the tapestry has also been restored but to a much lesser extent.[22]
In 1724 a linen backing cloth was sewn on comparatively crudely and, in around the year 1800, large ink numerals were written on the backing which broadly enumerate each scene and which are still commonly used for reference.[22]
The entire Bayeux Tapestry. Individual images of each scene are at Bayeux Tapestry tituli.
Background to the events depicted[edit]
In a series of pictures supported by a written commentary the tapestry tells the story of the events of 1064–1066 culminating in the Battle of Hastings. The two main protagonists are Harold Godwinson, recently crowned King of England, leading the Anglo-Saxon English, and William, Duke of Normandy, leading a mainly Norman army, sometimes called the companions of William the Conqueror.[22]
The messengers with Guy, with portrayal of medieval agriculture in the border
Edward the Confessor sends Harold to Normandy
William was the illegitimate son of Robert the Magnificent, Duke of Normandy, and Herleva (or Arlette), a tanner's daughter. William became Duke of Normandy at the age of seven and was in control of Normandy by the age of nineteen. His half brother was Bishop Odo of Bayeux.
King Edward the Confessor, king of England and about sixty years old at the time the tapestry starts its narration, had no children or any clear successor. Edward's mother, Emma of Normandy, was William's great aunt. At that time succession to the English throne was not by primogeniture but was decided jointly by the king and by an assembly of nobility, the Witenagemot.
Harold Godwinson, earl of Wessex and the most powerful noble in England, was Edward's brother-in-law. The Norman chronicler William of Poitiers[23] reported that Edward had previously determined that William would succeed him on the throne, and Harold had sworn to honour this, and yet later that Harold had claimed Edward, on his deathbed, had made him heir over William. However, other sources dispute this claim.
Events depicted in the tapestry[edit]
The tapestry begins with a panel of Edward the Confessor sending Harold to Normandy.(scene 1) Later Norman sources say that the mission was for Harold to pledge loyalty to William but the tapestry does not suggest any specific purpose.[21] By mischance, Harold arrives at the wrong location in France and is taken prisoner by Guy, Count of Ponthieu.(scene 7) After exchanges of messages borne by mounted messengers, Harold is released to William who then invites Harold to come on a campaign against Conan II, Duke of Brittany. On the way, just outside the monastery of Mont Saint-Michel, the army become mired in quicksand and Harold saves two Norman soldiers.(scene 17) William's army chases Conan from Dol de Bretagne to Rennes, and Conan finally surrenders at Dinan.(scene 20) William gives Harold arms and armour (possibly knighting him) and Harold takes an oath on saintly relics.(scene 23) Although the writing on the tapestry explicitly states an oath is taken there is no clue as to what is being promised.[21]
Harold leaves for home and meets again with the old king Edward, who appears to be remonstrating with him.(scene 25) Harold is in a somewhat submissive posture and seems to be in disgrace.[21] However, possibly deliberately, the king's intentions are not made clear.[21] The scene then shifts by about one year to when Edward has become mortally ill and the tapestry strongly suggests that, on his deathbed, he bequeaths the crown to Harold.[note 1][22] What is probably the coronation ceremony[note 2] is attended by Stigand, whose position as Archbishop of Canterbury was controversial.[22](scene 31) Stigand is performing a liturgical function, possibly not the crowning itself.[22] The tapestry labels the celebrant as "Stigant Archieps" (Stigand the archbishop) although by that time he had been excommunicated by the papacy who considered his appointment unlawful.[21]
Detail of comet
A star with a streaming tail then appears: Halley's Comet.[note 3] Comets, in the beliefs of the Middle Ages, were a bad omen. At this point the lower border of the tapestry shows a fleet of ghost-like ships thus hinting at a future invasion.[21](scene 33) The news of Harold's coronation is taken to Normandy, whereupon we are told that William is ordering a fleet of ships to be built although it is Bishop Odo shown issuing the instructions.(scene 35) The invaders reach England, and land unopposed. William orders his men to find food, and a meal is cooked.(scene 43) A house is burnt, which may indicate some ravaging of the local countryside on the part of the invaders.(scene 47) News is brought to William.[note 4] The Normans build a motte and bailey at Hastings to defend their position. Messengers are sent between the two armies, and William makes a speech to prepare his army for battle.(scene 51)
Battle of Hastings
The Battle of Hastings was fought on 14 October 1066 less than three weeks after the Battle of Stamford Bridge but the tapestry does not provide this context. The English fight on foot behind a shield wall, whilst the Normans are on horses.[note 5] Two fallen knights are named as Leofwine and Gyrth, Harold's brothers, but both armies are shown fighting bravely.[21] Bishop Odo brandishes his baton or mace and rallies the Norman troops in battle.(scene 54)[note 6][21] To reassure his knights that he is still alive and well, William raises his helmet to show his face.[22] The battle becomes very bloody with troops being slaughtered and dismembered corpses littering the ground. King Harold is killed.(scene 57) This scene can be interpreted in different ways, as the name "Harold" appears above a number of knights, making it difficult to identify which character is Harold. The final remaining scene shows unarmoured English troops fleeing the battlefield. The last part of the tapestry is missing but it is thought that the story contained only one additional scene.[21]
Latin text[edit]
Main article: Bayeux Tapestry tituli
Tituli are included in many scenes to point out names of people and places or to explain briefly the event being depicted.[22] The text is in Latin but at times the style of words and spelling shows an English influence.[22] A dark blue wool, almost black, is mostly used but towards the end of the tapestry other colours are used, sometimes for each word and other times for each letter.[22] The complete text and English translation are displayed beside images of each scene at Bayeux Tapestry tituli.
Recorded history[edit]
The first reference to the tapestry is from 1476 when it was listed in an inventory of the treasures of Bayeux Cathedral. It survived the sack of Bayeux by the Huguenots in 1562; and the next certain reference is from 1724.[22] Antoine Lancelot sent a report to the Académie Royale des Inscriptions et Belles-Lettres concerning a sketch he had received about a work concerning William the Conqueror. He had no idea whether the original was a sculpture or painting though he mooted it could be a tapestry.[24] Despite his further enquiries he discovered no more.
Montfaucon / Benoît drawing showing Harold's death
However, the Benedictine scholar Bernard de Montfaucon made more successful investigations and found that the sketch was of a small portion of a tapestry preserved at Bayeux Cathedral. In 1729 and 1730 he published drawings and a detailed description of the complete work in the first two volumes of his Les Monuments de la Monarchie française. The drawings were by Antoine Benoît, one of the ablest draughtsmen of that time.[24]
The tapestry was first briefly noted in English in 1743 by William Stukeley, in his Palaeographia Britannica.[25] The first detailed account in English was written by Smart Lethieullier, who was living in Paris in 1732–3, and was acquainted with Lancelot and de Montfaucon: it was not published, however, until 1767, as an appendix to Andrew Ducarel's Anglo-Norman Antiquities.[26]
During the French Revolution, in 1792, the tapestry was confiscated as public property to be used for covering military wagons.[22] It was rescued from a wagon by a local lawyer who stored it in his house until the troubles were over, when he sent it to the city administrators for safekeeping.[24] After the Terror the Fine Arts Commission, set up to safeguard national treasures, in 1803 required it to be removed to Paris for display at the Musée Napoléon.[24] When Napoleon abandoned his planned invasion of Britain its propaganda value was lost and it was returned to Bayeux where the council displayed it on a winding apparatus of two cylinders.[24] Despite scholars' concern that the tapestry was becoming damaged the council refused to return it to the Cathedral.[24]
In 1816 the Society of Antiquaries of London commissioned its historical draughtsman, Charles Stothard, to visit Bayeux to make an accurate hand-coloured facsimile of the tapestry. His drawings were subsequently engraved by James Basire jr., and published by the Society in 1819–23.[27] Stothard's images are still of value as a record of the tapestry as it was before 19th-century restoration.
By 1842 the tapestry was displayed in a special-purpose room in the Bibliothèque Publique. It required special storage in 1870 with the threatened invasion of Normandy in the Franco-Prussian War and again in 1939–1944 by the Ahnenerbe during the German Occupation of France and the Normandy landings. On 27 June 1944 the Gestapo took the tapestry to the Louvre and on 18 August, three days before the Wehrmacht withdrew from Paris, Himmler sent a message (intercepted by Bletchley Park) ordering it to be taken to "a place of safety", thought to be Berlin.[21] It was only on 22 August that the SS attempted to take possession of the tapestry by which time the Louvre was again in French hands.[21] After the liberation of Paris, on 25 August, the tapestry was again put on public display in the Louvre, and in 1945 it was returned to Bayeux[24] where it is exhibited at the Musée de la Tapisserie de Bayeux.
Later reputation[edit]
The inventory listing of 1476 shows that the tapestry was being hung annually in Bayeux Cathedral for the week of the Feast of St. John the Baptist; and this was still the case in 1728, although by that time the purpose was merely to air the hanging, which was otherwise stored in a chest.[21] Clearly, the work was being well cared for. In the eighteenth century the artistry was regarded as crude or even barbarous—red and yellow multi-coloured horses upset some critics. It was thought to be unfinished because the linen was not covered with embroidery.[21] However, its exhibition in the Louvre in 1797 caused a sensation, with Le Moniteur, which normally dealt with foreign affairs, reporting on it on its first two pages.[21] It inspired a popular musical, La Tapisserie de la Reine Mathilde. It was because the tapestry was regarded as an antiquity rather than a work of art that in 1804 it was returned to Bayeux, where in 1823 one commentator, A. L. Léchaudé d'Anisy, reported that "there is a sort of purity in its primitive forms, especially considering the state of the arts in the eleventh century".[21]
The tapestry was becoming a tourist attraction, with Robert Southey complaining of the need to queue to see the work.[note 7] In the 1843 Hand-book for Travellers in France by John Murray III, a visit was included on "Recommended Route 26 (Caen to Cherbourg via Bayeux)", and this guidebook led John Ruskin to go there; he would describe the tapestry as "the most interesting thing in its way conceivable". Charles Dickens, however, was not impressed: "It is certainly the work of amateurs; very feeble amateurs at the beginning and very heedless some of them too."[21]
During the Second World War Heinrich Himmler coveted the work, regarding it as "important for our glorious and cultured Germanic history".[21]
Mysteries[edit]
Harold's death. Legend above: Harold rex interfectus est, "King Harold is killed"
Detail of arrow
Ubi unus clericus et Ælfgyva
The tapestry contains several mysteries:
The identification of Harold II of England in the vignette depicting his death is disputed. Some recent historians disagree with the traditional view that Harold is the figure struck in the eye with an arrow. The view that it is Harold is supported by the fact that the words Harold Rex (King Harold) appear right above the figure's head. However, the arrow is a later addition following a period of repair,[22] as can be seen by comparison with Bernard de Montfaucon's engravings of the tapestry as it was in 1729, in which the arrow is absent (see illustration above). However, needle holes in the linen do suggest that something had originally been in the place of the arrow, though it may have been a lance rather than an arrow.[22] A figure is slain with a sword in the subsequent plate, and the phrase above the figure refers to Harold's death (interfectus est, "he is slain"). This would appear to be more consistent with the labeling used elsewhere in the work. It was common medieval iconography that a perjurer was to die with a weapon through the eye. Therefore, the tapestry might be said to emphasize William's rightful claim to the throne by depicting Harold as an oath breaker. Whether he actually died in this way remains a mystery and is much debated.[28]
There is a panel with what appears to be a clergyman touching or possibly striking a woman's face. No one knows the significance of this scene or the caption above it: ubi unus clericus et Ælfgyva ("where [or in which] a certain cleric and Ælfgyva"), where Ælfgyva is the Latinised spelling of Ælfgifu, a popular Anglo-Saxon woman's name (literally "elf-gift").[21] The use of the grapheme Æ shows familiarity with English spelling.[21] There are two naked male figures in the border below this figure; the one directly below the figure is squatting and displaying genitalia, a scene that was frequently censored in former reproductions. However, similar naked figures appear elsewhere in the lower border where there seems to be no connection at all with the main action.[22] Harold had a younger sister named Ælfgifu (her name is spelt Alveva in Domesday) who was possibly promised to William by Harold or even betrothed to him, but she died c. 1066, prior to the invasion.[29]
At least two panels of the tapestry are missing, perhaps even another 6.4 m (7.0 yd) worth. This missing area would probably have included William's coronation.
Reliability[edit]
The Bayeux Tapestry was probably commissioned by the House of Normandy and essentially depicts a Norman viewpoint. However, Harold is shown as brave and his soldiers are not belittled. Throughout, William is described as "dux" (duke) whereas Harold, also called dux up to his coronation, is subsequently called "rex" (king).[21] The fact that the narrative extensively covers Harold's activities in Normandy (in 1064) indicates that the intention was to show a strong relationship between that expedition and the Norman Conquest starting two years later. It is for this reason that the tapestry is generally seen by modern scholars as an apologia for the Norman Conquest.
Coronation of Harold
The tapestry's narration seems to place stress on Harold's oath to William although its rationale is not made clear.[22] Norman sources claimed that the English succession was being pledged to William but English sources gave varied accounts.[22] Today it is thought the Norman sources are to be preferred.[30] Both the tapestry and Norman sources[31] named Stigand, the excommunicated Archbishop of Canterbury, as the man who crowned Harold, possibly to discredit Harold's kingship; English sources[32] suggested that he was crowned by Ealdred, Archbishop of York and favoured by the papacy, making Harold's position as legitimate king more secure. Contemporary scholarship has not decided the matter although it is generally thought Ealdred performed the coronation.[33][34]
While political propaganda or personal emphasis may have somewhat distorted the historical accuracy of the story, the Bayeux tapestry presents a unique visual document of medieval arms, apparel, and other objects unlike any other artifact surviving from this period. There is no attempt at continuity between scenes either for individuals' appearance or clothing. The knights carry shields, but show no system of hereditary coats of arms—the beginnings of modern heraldic structure were in place, but would not become standard until the middle of the 12th century.[22] It has been noted that the warriors are depicted fighting with bare hands, while other sources indicate the general use of gloves in battle and hunt.
Artistic context[edit]
Tapestry fragments have been found in Scandinavia dating from the ninth century and it is thought that Norman and Anglo-Saxon embroidery developed from this sort of work. Examples are to be found in the grave goods of the Oseberg ship and the Överhogdal tapestries.[22]
A monastic text from Ely, the Liber Eliensis, mentions a woven narrative wall-hanging commemorating the deeds of Byrhtnoth, killed in 991. Wall-hangings were common by the tenth century with English and Norman texts particularly commending the skill of Anglo-Saxon seamstresses. Mural paintings imitating draperies still exist in France and Italy and there are twelfth century mentions of other wall-hangings in Normandy and France. A poem by Baldric of Dol might even be describing the Bayeux Tapestry itself.[22] The Bayeux Tapestry was therefore not unique at the time it was created: rather it is remarkable for being the sole surviving example of medieval narrative needlework.[35]
Replicas and continuations[edit]
Start of the Bayeux Tapestry replica in Reading Museum
There are a number of replicas of the Bayeux Tapestry in existence. Through the collaboration of William Morris with textile manufacturer Thomas Wardle, Wardle's wife Elizabeth, who was an accomplished seamstress, embarked on creating a reproduction in 1885.[21] She organised some 37 women in her Leek School of Art Embroidery[note 8] to collaborate working from a full-scale water-colour facsimile drawing provided by the South Kensington Museum. The full-size replica was finished in 1886 and is now exhibited in the Museum of Reading in Reading, Berkshire, England.[36] The naked figure in the original tapestry (in the border below the Ælfgyva figure) is depicted wearing a brief garment because the drawing which was worked from was similarly bowdlerised.[21]
Ray Dugan of University of Waterloo, Ontario, Canada, completed a stitched replica in 1996.[37] Since its completion, it has been displayed in various museums and galleries in Canada and the United States.[38]
In 2000, the Danish-based Bayeux Group, part of the Viking Group Lindholm Høje, began making an accurate replica of the Bayeux Tapestry, using the original sewing techniques.[39] The replica was completed in June 2014 and went on permanent exhibition at Børglum Abbey in May 2015.[40]
Dr. E. D. Wheeler, former judge and former dean at Oglethorpe University, commissioned a hand-painted, full-size replica of the Bayeux Tapestry and donated it to the University of West Georgia in Carrollton in 1994. In 2014, the replica was acquired by the University of North Georgia in Dahlonega.
Sections of the 1066 Medieval Mosaic re-creation in New Zealand
An approximately half scale mosaic version of the Bayeux Tapestry was formerly on display at Geraldine, New Zealand.[41] It was made up of 1.5 million 7 mm2 pieces of spring steel – off-cuts from patterning disks of knitting machines – and was created by Michael Linton over a period of twenty years from 1979. The work was in 32 sections, and included a hypothetical reconstruction of the missing final section leading up to William the Conqueror's coronation at Westminster Abbey on Christmas Day, 1066.[42]
Jason Welch, a woodcarver from North Creake, Norfolk, England, created a replica of the Tapestry between 2011 and 2014 in carved and painted wooden relief on 25 five-foot planks. He undertook the project to help cope with the grief of losing his 16-year-old son.[43]
Other modern artists have attempted to complete the work by creating panels depicting subsequent events up to William's coronation, though the actual content of the missing panels is unknown. In 1997, the embroidery artist Jan Messent completed a reconstruction showing William accepting the surrender of English nobles at Berkhamsted (Beorcham), Hertfordshire, and his coronation.[44][45][46] In early 2013, 416 residents of Alderney in the Channel Islands finished a continuation including William's coronation and the building of the Tower of London.[47]
In popular culture[edit]
Street art in Bayeux referencing the Tapestry
Because it resembles a modern comic strip or movie storyboard, is widely recognised, and is so distinctive in its artistic style, the Bayeux Tapestry has frequently been used or reimagined in a variety of different popular culture contexts. George Wingfield Digby wrote in 1957:
It was designed to tell a story to a largely illiterate public; it is like a strip cartoon, racy, emphatic, colourful, with a good deal of blood and thunder and some ribaldry.[48]
It has been cited by Scott McCloud in Understanding Comics as an example of early narrative art;[49] and Bryan Talbot, a British comic book artist, has called it "the first known British comic strip".[50]
It has inspired many modern political and other cartoons, including:
John Hassall's satirical pastiche Ye Berlyn Tapestrie, published in 1915, which tells the story of the German invasion of Belgium in August 1914[51]
Rea Irvin's cover for the New Yorker magazine of 15 July 1944 marking D-Day[52]
George Gale's pastiche chronicling the saga leading up to Britain's entry into the European Economic Community, published across six pages in The Times's "Europa" supplement on 1 January 1973[53]
The tapestry has also inspired modern embroideries, notably:
The Overlord embroidery commemorating the Normandy landings invasion, now at Portsmouth
The Prestonpans Tapestry, which chronicles the events surrounding the Battle of Prestonpans in 1745
A number of films have used sections of the tapestry in their opening credits or closing titles, including Disney's Bedknobs and Broomsticks, Anthony Mann's El Cid, Zeffirelli's Hamlet, Frank Cassenti's La Chanson de Roland, Kevin Reynolds' Robin Hood: Prince of Thieves, and Richard Fleischer's The Vikings.[54]
The design and embroidery of the tapestry form one of the narrative strands of Marta Morazzoni's 1988 novella The Invention of Truth.
The tapestry is referenced in Tony Kushner's play Angels in America. The apocryphal account of Queen Matilda's creation of the tapestry is used, perhaps in order to demonstrate that Louis, one of the main characters, holds himself to mythological standards.[55]
Notes[edit]
Jump up ^ 5 January 1066.
Jump up ^ 6 January 1066.
Jump up ^ The first appearance of the comet would have been around 24 April 1066, nearly four months after Harold's coronation.
Jump up ^ Possibly about Harold's victory in the Battle of Stamford Bridge, although the Tapestry does not specify this.
Jump up ^ This reflected the military reality.
Jump up ^ Clerics were not supposed to shed blood, hence Odo has no sword. Rather than just praying for the Norman knights, however, which ought to have been his role, Odo seems militarily active.
Jump up ^ A situation that has not since improved.
Jump up ^ See Leek, Staffordshire and Art needlework.
References[edit]
Jump up ^ Caviness, Madeline H. (2001). Reframing Medieval Art: Difference, Margins, Boundaries. Medford, MA: Tufts University – via http://dca.lib.tufts.edu/caviness/. Yet in modern times, this piece of eleventh-century women's work has been wrongly called a "tapestry," a term that is readily associated with the large male-dominated workshops of northern Europe in the late middle ages that produced images woven into the fabric. The correct term "Bayeux Embroidery" evokes the manual work of women, probably the very reason that previous attempts to call this famous work a Broderie have not prevailed.
Jump up ^ Koslin, Desirée (1990). "Turning Time in the Bayeux Embroidery". Textile & Text. 13: 28–29.
Jump up ^ Bertrand, Simone (1966). La tapisserie de Bayeux. La Pierre-qui-Vire: Zodiaque. p. 23. et combien pauvre alors ce nom de broderie nous apparaît-il!
Jump up ^ Sylvette Lemagnen, Preface, p. 9; Musset, Lucien; Rex, Richard (translator); (1 November 2005) [1989]. La Tapisserie de Bayeux: œuvre d'art et document historique [The Bayeux Tapestry] (annotated edition) (First ed.). Woodbridge, United Kingdom: Boydell & Brewer Ltd. p. 272. ISBN 978-1-84383-163-1.
Jump up ^ Saul, Nigel. "Bayeux Tapestry". A Companion to Medieval England. Stroud, UK: Tempus. pp. 32–33. ISBN 0-7524-2969-8
Jump up ^ Golden Age, 195; Dodwell (1982), 138–39. However a number of fringe theories persist – see the article. See also Henderson, pp. 168–77 for an extended appreciation.
Jump up ^ Fowke, Frank Rede. The Bayeux Tapestry – A History and Description, London: G. Bell & sons, 1913.
Jump up ^ Sir Frank Stenton (ed) et al, The Bayeux Tapestry. A comprehensive survey London: Phaidon, 1957 revised 1965.
Jump up ^ UNESCO World Heritage nomination form, in English and French. Word document. Published 9 May 2006.
^ Jump up to: a b c Wilson, David M.: The Bayeux Tapestry, Thames and Hudson, 1985, pp. 201–27
^ Jump up to: a b Coatsworth, Elizabeth (2005). "Stitches in Time: Establishing a History of Anglo-Saxon Embroidery". In Netherton, Robin; Owen-Crocker, Gale R. Medieval Clothing and Textiles. 1. Suffolk, UK: Boydell & Brewer. pp. 1–27.
Jump up ^ Clarke, Howard B. (2013). "The Identity of the Designer of the Bayeux Tapestry". Anglo-Norman Studies. 35.
Jump up ^ "Designer of the Bayeux Tapestry identified". Medievalists.net. Retrieved 30 October 2013.
Jump up ^ Dodwell (1982), pp. 134–36
Jump up ^ "New Contender for The Bayeux Tapestry?", from the BBC, 22 May 2006. The Bayeux Tapestry: The Life Story of a Masterpiece, by Carola Hicks (2006). ISBN 0-7011-7463-3
Jump up ^ See Grape, Wolfgang, The Bayeux Tapestry: Monument to a Norman Triumph, Prestel Publishing, 3791313657
Jump up ^ "Oxford Bibliographies Online – Author (Contributor: Elizabeth Coatsworth)". Oxford University Press. Retrieved 4 August 2013.
Jump up ^ Coatsworth, "Stitches in Time: Establishing a History of Anglo-Saxon Embroidery", p. 26.
Jump up ^ Beech, George: Was the Bayeux Tapestry Made in France?: The Case for St. Florent of Saumur. (The New Middle Ages), New York, Palgrave Macmillan 1995; reviewed in Robin Netherton and Gale R. Owen-Crocker, editors, Medieval Clothing and Textiles, Volume 2, Woodbridge, Suffolk, UK, and Rochester, New York, the Boydell Press, 2006, ISBN 1-84383-203-8
Jump up ^ Bridgeford, Andrew, 1066: The Hidden History in the Bayeux Tapestry, Walker & Company, 2005. ISBN 1-84115-040-1
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab Hicks, Carola (2006). The Bayeux Tapestry. The Life Story of a Masterpiece. Chatto and Windus. ISBN 0-7011-7463-3.
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa Musset, Lucien (2005). The Bayeux Tapestry. Boydell Press. ISBN 1-84383-163-5.
Jump up ^ William of Poitiers: Gesta Willelmi ducis Normannorum et regis Anglorum, c.1071.
^ Jump up to: a b c d e f g Bertrand, Simone (1965). "The History of the Tapestry". In Frank Stenton. The Bayeux Tapestry. Phaedon Press.
Jump up ^ Brown 1988, p. 47.
Jump up ^ Brown 1988, p. 48.
Jump up ^ Brown 1988, p. 153.
Jump up ^ Foys, Martin (2009). Pulling the Arrow Out: The Legend of Harold's Death and the Bayeux Tapestry. Woodbridge, UK: Boydell and Brewer. pp. 158–75. ISBN 978-1-84383-470-0.
Jump up ^ Mason, Emma (2004). The House of Godwine: the history of a dynasty. London: Hambledon and London. ISBN 1852853891.
Jump up ^ Bates, David (2004). "William I". Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/29448. (subscription or UK public library membership required)
Jump up ^ William of Poitiers: Gesta Willelmi ducis Normannorum et regis Anglorum, c.1071. Orderic Vitalis Historia Ecclesiastica, c.1123-1131.
Jump up ^ Florence of Worcester / John of Worcester Chronicon ex Chronicis completed c.1140.
Jump up ^ Gibbs-Smith, Charles (1965). "Notes on the Plates". In Frank Stenton. The Bayeux Tapestry. Phaedon Press.
Jump up ^ Cowdrey, H. E. J. (2004). "Stigand (d. 1072)". Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/26523. (subscription or UK public library membership required)
Jump up ^ Wingfield Digby, George (1965). "Technique and Production". In Stenton, Frank. The Bayeux Tapestry (2nd ed.). Phaidon Press. pp. 37–55 (37, 45–48).
Jump up ^ "Britain's Bayeux Tapestry at the Museum of Reading". Archived from the original on 19 July 2011. Retrieved 17 August 2011.
Jump up ^ "Ray Dugan's Bayeux Tapestry". Dugansbayeuxtapestry.com. Retrieved 30 April 2012.
Jump up ^ "Bayeux Tapestry, topic of seminar". Newsrelease.uwaterloo.ca. 15 March 2001. Retrieved 30 April 2012.
Jump up ^ "Vikingerne kommer!" [The Vikings Are Coming!] (in Danish). Kristeligt Dagblad. 30 November 2005.
Jump up ^ "Nu hænger Bayeux-tapetet i en hestestald i Vendsyssel" [The "Bayeux tapestry" displayed in a horse stable in North Jutland]. Politiken. 8 September 2016. Retrieved 5 June 2017.
Jump up ^ Linton, Michael. "The Medieval Mosaic The Recreation of the Bayeux Tapestry, as a 34 metre Medieval Mosaic Masterpiece.". Archived from the original on 24 July 2011. Retrieved 17 August 2011.
Jump up ^ "A Medieval Mosaic (Medieval Mosaic)". 1066. Retrieved 7 February 2014.
Jump up ^ Hall, John (12 January 2014). "Grandfather hand-carved 230 FOOT wooden scale model of Bayeux Tapestry to help get over the death of his teenage son (despite missing three fingers on his left hand)". Mail Online. Retrieved 11 June 2016.
Jump up ^ "Berkhamsted Castle". Berkhamsted Local History Society. Retrieved 9 February 2013.
Jump up ^ "Invasion of England, Submission to William" (PDF). Castle Panels. Berkhamsted Castle. Archived from the original (PDF) on 8 July 2011. Retrieved 9 February 2013. (discussed in "Castle Panels". 2014. Archived from the original on 19 February 2014. Retrieved 11 February 2014. )
Jump up ^ Messant, Jan (1999). Bayeux Tapestry Embroiderers' Story. Thirsk, UK: Madeira Threads (UK) Ltd. p. 112. ISBN 978-0-9516348-5-1.
Jump up ^ "Bayeux Tapestry ending made in Alderney". BBC News. 9 February 2013.
Jump up ^ Wingfield Digby, "Technique and Production", p. 37.
Jump up ^ McCloud 1993. Understanding Comics pp. 11–14
Jump up ^ The History of the British Comic, Bryan Talbot, The Guardian Guide, 8 September 2007, p. 5.
Jump up ^ Hassall, John (2014) [1915]. Ye Berlyn Tapestrie. Oxford: Bodleian Library. ISBN 978-1-85124-416-4.
Jump up ^ "The New Yorker". Condé Nast. 15 July 1944. Retrieved 30 October 2014.
Jump up ^ Steven, Alasdair (24 September 2003). "George Gale: Obituary". The Scotsman. Retrieved 3 November 2014.
Jump up ^ "Re-embroidering the Bayeux Tapestry in Film and Media: The Flip Side of History in Opening and End Title Sequences" (PDF). Richard Burt, University of Florida. 18 August 2007. Archived from the original on 8 September 2006. Retrieved 31 August 2007.
Jump up ^ SparkNotes Editors. "SparkNote on Angels in America". SparkNotes.com. SparkNotes LLC. Retrieved 30 October 2014. Louis's problem is exacerbated by his tendency towards abstraction and his unreasonably high standards for himself. In Scene Three, he tells Emily about La Reine Mathilde, who supposedly created the Bayeux Tapestry. Louis describes La Reine's unceasing devotion to William the Conqueror and laments his own comparative lack of devotion. But as critic Allen J. Frantzen has pointed out, this popular story about Mathilde and the tapestry is wrong—it was actually created in England decades after the conquest. Louis, then, is holding himself to a mythological standard of loyalty, and he curses himself based on a positively unreal example. This is part of a larger pattern of excessive guilt and harshness toward himself, which, paradoxically, prevents him from judging his own weaknesses accurately and trying to correct them. Because no one could possibly live up to Mathilde's example, Louis initially justifies his moral failure. Later, in Perestroika, he will arrive at a more genuine remorse and an honest understanding of what he has done. CS1 maint: Extra text: authors list (link)
"Dodwell (1982)": Dodwell, C. R., Anglo-Saxon Art, A New Perspective, 1982, Manchester UP, ISBN 0-7190-0926-X
"Golden Age": Backhouse, Janet, Turner, D.H., and Webster, Leslie, eds.; The Golden Age of Anglo-Saxon Art, 966–1066, 1984, British Museum Publications Ltd, ISBN 0-7141-0532-5
Henderson, George. Early Medieval, 1972, rev. 1977, Penguin.
Further reading[edit]
Bernstein, David J. "The Mystery of Bayeux Tapestry" Weidenfeld and Nicolson, 1986. ISBN 0-297-78928-7
Bloch, Howard. A Needle in the Right Hand of God: The Norman Conquest of 1066 and the Making and Meaning of the Bayeux Tapestry. Random House, 2006. ISBN 978-1-4000-6549-3
Bridgeford, Andrew. 1066 : the hidden history in the Bayeux Tapestry Walker & Company, 2005. ISBN 978-0-8027-7742-3
Brown, Shirley Ann (1988). The Bayeux Tapestry: History and Bibliography. Woodbridge: Boydell. ISBN 978-0-85115-509-8.
Burt, Richard, "Loose Threads: Weaving Around Women in the Bayeux Tapestry and Cinema", in Medieval Film, ed. Anke Bernau and Bettina Bildhauer (Manchester: Manchester UP, 2007).
Burt, Richard, "Re-embroidering the Bayeux Tapestry in Film and Media: the Flip Side of History in Opening and End Title Sequences," special issue of Exemplaria on "Movie Medievalism," 19.2. (Summer 2007), 327-50, co-edited by Richard Burt.
Burt, Richard, "Border Skirmishes: Weaving Around the Bayeux Tapestry and Cinema in Robin Hood, Prince of Thieves and El Cid." In Medieval Film. Ed. Anke Bernau and Bettina Bildhauer (Manchester: Manchester UP, 2009), pp. 158-18.
Burt, Richard, Medieval and Early Modern Film and Media. (New York and London: Palgrave Macmillan, 2008), xiv; 279 pp. Paperback edition, 2010.
Campbell, M. W. "Aelfgyva : The Mysterious Lady of the Bayeux Tapestry" Annales de Normandie, V. 34, n. 2, pp. 127–45. (http://www.persee.fr/doc/annor_0003-4134_1984_num_34_2_5553)
Foys, Martin K. Bayeux Tapestry Digital Edition. Individual licence ed; CD-ROM, 2003. On-line version, 2013: http://www.sd-editions.com/bayeux/index.html
Foys, Martin K., Overbey, Karen Eileen Overbey and Terkla, Dan (eds.) The Bayeux Tapestry: New Interpretations, Boydell and Brewer, 2009, ISBN 978-1783271245.
Hicks, Carola (2006). The Bayeux Tapestry: The Life Story of a Masterpiece. London: Chatto & Windus. ISBN 978-0-7011-7463-7.
Jones, Chas. "The Yorkshire Preface to the Bayeux Tapestry" The Events of September 1066 – Depicted In a Community Tapestry, Writers Print Shop, first edition (2 October 2005). ISBN 978-1-904623-37-3
Pastan, Elizabeth Carson, and Stephen White, with Kate Gilbert. The Bayeux Tapestry and its Contexts: A Reassessment. Boydell Press, 2014, ISBN 978-1-84383-941-5.
Rud, Mogens, "The Bayeux Tapestry and the Battle of Hastings 1066", Christian Eilers Publishers, Copenhagen 1992; contains full colour photographs and explanatory text
Werckmeister, Otto Karl. "The Political Ideology of the Bayeux Tapestry." Studi Medievali, 3rd Series 17, no. 2 (1976): 535–595.
Wilson, David McKenzie (ed.). The Bayeux Tapestry: the Complete Tapestry in Color, Rev. ed. New York: Thames & Hudson, 2004. ISBN 978-0-500-25122-5. ISBN 0-394-54793-4 (1985 ed.). LC NK3049.
Wissolik, Richard David. "Duke William's Messengers: An Insoluble, Reverse-Order Scene of the Bayeux Tapestry." Medium Ævum. L (1982), 102–107.
Wissolik, Richard David. "The Monk Eadmer as Historian of the Norman Succession: Korner and Freeman Examined." American Benedictine Review. (March 1979), 32–42.
Wissolik, Richard David. "The Saxon Statement: Code in the Bayeux Tapestry." Annuale Mediævale. 19 (September 1979), 69–97.
Wissolik, Richard David. The Bayeux Tapestry. A Critical Annotated Bibliography with Cross References and Summary Outlines of Scholarship, 1729–1988. Greensburg: Eadmer Press, 1989.
External links[edit]
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Normandy portal
Wikimedia Commons has media related to Bayeux Tapestry.
Bayeux Tapestry – Bayeux Museum
High quality panoramic image of Bayeux Tapestry (Bibliotheca Augustana)
A Guide to the Bayeux Tapestry – Latin-English translation
The Bayeux Tapestry – collection of videos, articles and bibliography
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values: نسيج بايو – Arabic

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values: Гоблен от Байо – Bulgarian

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values: فرشینه بایو – Persian

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values: Таписерија из Бајеа – Serbian

values: பேயூ திரைக்கம்பளம் – Tamil

values: พรมผนังบาเยอ – Thai

values: Гобелен з Байо – Ukrainian

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