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A Needle in the Right Hand of God: The Norman Conquest of 1066 and the Making and Meaning of the Bayeux Tapestry
The Bayeux Tapestry is the world’s most famous textile–an exquisite 230-foot-long embroidered panorama depicting the events surrounding the Norman Conquest of 1066. It is also one of history’s most mysterious and compelling works of art. This haunting stitched account of the battle that redrew the map of medieval Europe has inspired dreams of theft, waves of nationalism, visions of limitless power, and esthetic rapture. In his fascinating new book, Yale professor R. Howard Bloch reveals the history, the hidden meaning, the deep beauty, and the enduring allure of this astonishing piece of cloth.
Bloch opens with a gripping account of the event that inspired the Tapestry: the swift, bloody Battle of Hastings, in which the Norman bastard William defeated the Anglo-Saxon king, Harold, and laid claim to England under his new title, William the Conqueror. But to truly understand the connection between battle and embroidery, one must retrace the web of international intrigue and scandal that climaxed at Hastings. Bloch demonstrates how, with astonishing intimacy and immediacy, the artisans who fashioned this work of textile art brought to life a moment that changed the course of British culture and history.
Every age has cherished the Tapestry for different reasons and read new meaning into its enigmatic words and images. French nationalists in the mid-nineteenth century, fired by Tapestry’s evocation of military glory, unearthed the lost French epic “The Song of Roland,” which Norman troops sang as they marched to victory in 1066. As the Nazis tightened their grip on Europe, Hitler
sent a team to France to study the Tapestry, decode its Nordic elements, and, at the end of the war, with Paris under siege, bring the precious cloth to Berlin. The richest horde of buried Anglo-Saxon treasure, the matchless beauty of Byzantine silk, Aesop’s strange fable “The Swallow and the Linseed,” the colony that Anglo-Saxon nobles founded in the Middle East following their defeat at Hastings–all are brilliantly woven into Bloch’s riveting narrative.
Seamlessly integrating Norman, Anglo-Saxon, Viking, and Byzantine elements, the Bayeux Tapestry ranks with Chartres and the Tower of London as a crowning achievement of medieval Europe. And yet, more than a work of art, the Tapestry served as the suture that bound up the wounds of 1066.
Enhanced by a stunning full-color insert that includes reproductions of the complete Tapestry, A Needle in the Right Hand of God will stand with The Professor and the Madman and How the Irish Saved Civilization as a triumph of popular history.
From the Hardcover edition.
Bloch opens with a gripping account of the event that inspired the Tapestry: the swift, bloody Battle of Hastings, in which the Norman bastard William defeated the Anglo-Saxon king, Harold, and laid claim to England under his new title, William the Conqueror. But to truly understand the connection between battle and embroidery, one must retrace the web of international intrigue and scandal that climaxed at Hastings. Bloch demonstrates how, with astonishing intimacy and immediacy, the artisans who fashioned this work of textile art brought to life a moment that changed the course of British culture and history.
Every age has cherished the Tapestry for different reasons and read new meaning into its enigmatic words and images. French nationalists in the mid-nineteenth century, fired by Tapestry’s evocation of military glory, unearthed the lost French epic “The Song of Roland,” which Norman troops sang as they marched to victory in 1066. As the Nazis tightened their grip on Europe, Hitler
sent a team to France to study the Tapestry, decode its Nordic elements, and, at the end of the war, with Paris under siege, bring the precious cloth to Berlin. The richest horde of buried Anglo-Saxon treasure, the matchless beauty of Byzantine silk, Aesop’s strange fable “The Swallow and the Linseed,” the colony that Anglo-Saxon nobles founded in the Middle East following their defeat at Hastings–all are brilliantly woven into Bloch’s riveting narrative.
Seamlessly integrating Norman, Anglo-Saxon, Viking, and Byzantine elements, the Bayeux Tapestry ranks with Chartres and the Tower of London as a crowning achievement of medieval Europe. And yet, more than a work of art, the Tapestry served as the suture that bound up the wounds of 1066.
Enhanced by a stunning full-color insert that includes reproductions of the complete Tapestry, A Needle in the Right Hand of God will stand with The Professor and the Madman and How the Irish Saved Civilization as a triumph of popular history.
From the Hardcover edition.
256 pages, Hardcover
First published November 28, 2006
36 people are currently reading
313 people want to read
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Displaying 1 - 30 of 47 reviews
October 1, 2022
I found this fascinating! Lots of history I was familiar with and also lots I didn’t know—like all of the WW2 ties to the tapestry! If you’re an AO mom reading Island Story or doing Year 7, it goes along nicely with the history and literature selections!
November 25, 2011
Completely disappointed with this book. This could have been a lively historical narrative about the creation and historical context of the tapestry. The tapestry is such an amazing one-of-a-kind artifact created during a time of fascinating European events. Instead, the author gives us a dull, disjointed account. The book contains many interesting tidbits of information, but arranged in such a way as to wring out every ounce of life and energy.
I wish an author like Ross King (Brunelleschi's Dome) had written this.
I wish an author like Ross King (Brunelleschi's Dome) had written this.
March 28, 2017
Hard to rate, because the parts that were fascinating rocked. The sections less interesting to me... well, not sure it was the fault of the author. And I might have found them more interesting in print and with illustrations, assuming there were some. My attention wandered a bit with the audio CD, and I might have missed some great parts, also. The parts where I drifted: stitchery, linen, etc. Though when he connected it to the history of trading relationships and whether flax might have been native to Normandy and Britain I did perk up.
The parts I loved were the discussions about the interactions among the Norman, Viking, and Anglo-saxon cultures, and also discovering how widespread the Norman culture was prior to Hastings. I didn't realize that Normans controlled so much of Italy, for instance, or had penetrated so far into the Middle East. The medieval world was far more complicated and sophisticated than we often realize.
It's interesting how we're conditioned to see the ages as so DARK and dreary, and then poof, along comes about the year 1000 and everything's flooded in sunshine. We have the poet Taillifer's sword flashing in the light as he juggles it before Harold's amassed troops, declaiming the Song of Roland. Apparently the troops are so awestruck at this sight and sound, they allow him to decapitate a prominent knight before the battle is met. I mean.
Those parts I just loved. And I did come to see the Tapestry in my mind's eye, which may be as close as I come IRL. If otherwise, I will allot a couple of days for a closer examination.
And now I'm very much looking forward to Bloch's book on Marie de France.
The parts I loved were the discussions about the interactions among the Norman, Viking, and Anglo-saxon cultures, and also discovering how widespread the Norman culture was prior to Hastings. I didn't realize that Normans controlled so much of Italy, for instance, or had penetrated so far into the Middle East. The medieval world was far more complicated and sophisticated than we often realize.
It's interesting how we're conditioned to see the ages as so DARK and dreary, and then poof, along comes about the year 1000 and everything's flooded in sunshine. We have the poet Taillifer's sword flashing in the light as he juggles it before Harold's amassed troops, declaiming the Song of Roland. Apparently the troops are so awestruck at this sight and sound, they allow him to decapitate a prominent knight before the battle is met. I mean.
Those parts I just loved. And I did come to see the Tapestry in my mind's eye, which may be as close as I come IRL. If otherwise, I will allot a couple of days for a closer examination.
And now I'm very much looking forward to Bloch's book on Marie de France.
January 10, 2019
An excellent book that is quite unique, partly a history of 1066, partially a history on creation of the tapestry, the processes involved speculation on who was it's patron, partially a history of what happened to the tapestry throughout time. The author interweaves it all to make a smart readable book. Highly recommend though I want to go visit Bayeux now.
October 24, 2024
This book was deadly boring. It was as if the professor was required to write a book (any book, just write one!) and so he padded the topic, and rambled, until he reached 200 pages. Though it was supposed to be about the Bayeux Tapestries, probably less than 50% of the book discusses them.
At one point he writes something like, "we don't know when they were made, why they were made, or who made them." And I said out loud, "then why are you writing a book about them?" After that confession, the author then proceeds to recite a history of France, completely out of chronological order, to make it even less fun.
If you're interested in the tapestries, find another book. For me, I'll only be using this audio book to get back to sleep at night.
At one point he writes something like, "we don't know when they were made, why they were made, or who made them." And I said out loud, "then why are you writing a book about them?" After that confession, the author then proceeds to recite a history of France, completely out of chronological order, to make it even less fun.
If you're interested in the tapestries, find another book. For me, I'll only be using this audio book to get back to sleep at night.
April 11, 2021
An intermittently fascinating account of the making of the tapestry (really an embroidery), the history of the events it depicts, and the influences on it from cultures all around the Mediterranean. The last is a theme of most books I've been reading about trade and culture at the turn of the last millennium, to say nothing of Dorothy Dunnett. Unfortuately, Bloch sometimes gets bogged down in artspeak, and at times he stuffs his paragraphs cram-full of dates and names. If I have the strength, I'll seek out the Carola Hicks book, which gets more positive reviews.
March 11, 2018
There was some really great tidbits of information in here. Unfortunately, those gems were embedded deeply in the muck of boring minutae that I cared very little about. This book would be a great read for someone who has recently seen the actual tapestry itself. Otherwise... pass it on by. I would have gladly preferred more history of the tapestry itself or the events it depicts, and less of the technical details of its making, materials used, etc.
October 17, 2017
Interesting examination of the many influences on the design and content of the Bayeux Tapestry - there was much more travel and spread of cultural influences in northwestern Europe at this time than I had known. He doesn't spend as much time on the "making" as the "meaning", which is too bad because I was more interested in the making... he's ok on the textile information except that he crosses up what it means to spin "Z" vs "S." I also think he maybe overstates his case that the tapestry was intended to unite Anglo-Saxons and Normans into a nation, by its neutrality of presentation and its pan-European styles - hard to say that a big tapestry, even one intended for constant public display, would drown out the sounds of the Normans systematically dominating England and dispossessing the Anglo-Saxons. Some of the sections describing how Normans moved south and east across Europe and became important in Italy, Greece, and Constantinople were not too interesting to me and I skimmed to get to his ultimate point, which was the things they brought back.
I also thought while reading this of Bryan Sykes' book called in the US 'Blood of the Isles' which tackles the questions of whether today's English are mostly Normans, Vikings, Saxons, Celts - and if I remember rightly concludes that today's English are mostly descended from the earlier British, that is, Celts. If I have that right, then "1066 And All That" was just a changing of the nobility guard that went on over the heads of regular people.
I also thought while reading this of Bryan Sykes' book called in the US 'Blood of the Isles' which tackles the questions of whether today's English are mostly Normans, Vikings, Saxons, Celts - and if I remember rightly concludes that today's English are mostly descended from the earlier British, that is, Celts. If I have that right, then "1066 And All That" was just a changing of the nobility guard that went on over the heads of regular people.
July 2, 2024
I have been challenging myself to read more non-fiction history books this year and decided I wanted to learn more about the Bayeux Tapestry.
A Needle in the Right Hand of God was short and fairly easy to read. There is a small section of photographs, although, for a book about a piece of art, the pictures could have been better! There were some interesting facts sprinkled throughout the book, but it felt disorganized. There were times when I was confused about why certain topics were being elaborated on, and I couldn't find the immediate connection to the tapestry itself.
The mystery behind who actually embroidered the tapestry, who commissioned it, whether it is French or English in origin may never be discovered. But it is still an incredibly important example of medieval art.
I'd love to be able to see it in person someday!
A Needle in the Right Hand of God was short and fairly easy to read. There is a small section of photographs, although, for a book about a piece of art, the pictures could have been better! There were some interesting facts sprinkled throughout the book, but it felt disorganized. There were times when I was confused about why certain topics were being elaborated on, and I couldn't find the immediate connection to the tapestry itself.
The mystery behind who actually embroidered the tapestry, who commissioned it, whether it is French or English in origin may never be discovered. But it is still an incredibly important example of medieval art.
"The Bayeux Tapestry is a means of understanding the High Middle Ages. It reflects and unlocks the world around it, captures a cultural moment and anticipates historical change, embodies and models understandings and institutions at a critical time in the formation of English culture out of the disparate threads of the Anglo-Saxon, Scandinavian, Viking, Norman, and Continental cultures and even the vestiges of the late roman and Mediterranean worlds."
I'd love to be able to see it in person someday!
October 15, 2020
I would recommend Mr. Bloch's work on the fascinating Bayeux Tapestry and it's production after William the Conqueror's definitive victory at the Battle of Hastings in 1066. Mr. Bloch effectively relays the history before, during and after the events depicted on the tapestry and the various countries and movements that have attempted to co-opt it as their banner in the 1,000 years since. What is less compelling are Mr. Bloch's personal theories about who produced the tapestry, obvious skepticism or misread of the influence of religious Faith of those living in 1066 (attempting to secularize them) and his attempts to overemphasis (create) middle eastern elements within the tapestry itself. A more charitable read is that Mr. Bloch introduces the reader to common theories about the tapestries production, it's intended use (cathedral or palace?), it's sympathies (primarily religious or secular?), and the piety of the men and women depicted. In my opinion, Mr. Bloch goes farther, emphasizing certain pet theories at the expense of others, and displays the religious skepticism so common in academia today; these biases detract from an otherwise interesting read.
January 18, 2019
How am I to rate this?
It was not the dryest book I've read lately, but it was pretty close. Much of the suspect was fascinating, and I'm glad I read it. To be honest, I bumped up my star rating by one because I feel like the depth of information was worthwhile, even if, goodness, a well-written book on this subject would be brilliant.
One of the most interesting areas of discussion is who designed, and then made, the tapestry; whether it was made by men or women. The author speculates that because the Bayeux Tapestry in many ways resembles the illuminated manuscripts of the time, it must have been at least designed by men; manuscript illumination being an all-male field. This seemed like a shortsighted argument when I read it, but I was really delighted by the news of lapis lazuli found in a medieval nun's teeth recently, which suggests that women may have also worked in this field. Oops.
Anyway - if this subject is absolutely fascinating to you, it might be worth a go. If not, skip it.
It was not the dryest book I've read lately, but it was pretty close. Much of the suspect was fascinating, and I'm glad I read it. To be honest, I bumped up my star rating by one because I feel like the depth of information was worthwhile, even if, goodness, a well-written book on this subject would be brilliant.
One of the most interesting areas of discussion is who designed, and then made, the tapestry; whether it was made by men or women. The author speculates that because the Bayeux Tapestry in many ways resembles the illuminated manuscripts of the time, it must have been at least designed by men; manuscript illumination being an all-male field. This seemed like a shortsighted argument when I read it, but I was really delighted by the news of lapis lazuli found in a medieval nun's teeth recently, which suggests that women may have also worked in this field. Oops.
Anyway - if this subject is absolutely fascinating to you, it might be worth a go. If not, skip it.
September 5, 2025
Read mostly while visiting Normandy to see the Bayeux Tapestry earlier this year before the museum shuts down for a few years. (It has since been announced the tapestry is going on loan to the British Museum for a few years.) This book really did enrich my visit. It’s a very serviceable 200 pg. history of the tapestry, which contextualizes the theories of its production and provenance with the geopolitics of the end of the Early Middle Ages. This book paired excellently with Kat Jarman's "River Kings”—which I read nearly simultaneously—to recontextualize the Vikings in Britain and beyond. The Medieval world is simply so much more interconnected than I had ever supposed.
Book rating aside, seeing the tapestry was almost a spiritual experience for me. A tangible, near contemporaneous artifact commemorating one of the most important events in British—even Anglo-American—history. The Conquest synthesized the Anglo-Saxon, Scandinavian and Norman peoples which made England which eventually gave birth to the North American civilization that exists today.
Book rating aside, seeing the tapestry was almost a spiritual experience for me. A tangible, near contemporaneous artifact commemorating one of the most important events in British—even Anglo-American—history. The Conquest synthesized the Anglo-Saxon, Scandinavian and Norman peoples which made England which eventually gave birth to the North American civilization that exists today.
March 24, 2017
Interesting account of the history of the Bayeux tapestry and analysis of its meaning. Bloch goes into great detail about how the tapestry is constructed and the narrative techniques used to make the story move. He offers many comparisons with Byzantine, Viking, and Anglo Saxon art that might have inspired whoever designed the tapestry. I listened to this as an audio book and will now get the paper copy so that I can study the illustrations more fully. If I was teaching World or British History or Literature, this would be a great source for a power point-driven lecture.
May 18, 2017
A little rambling at times, but you can dip in and out of chapters that interest you without losing much continuity. The most interesting parts for me were the chapters about trying to determine who made the tapestry and when, and the detailed description of the piece itself - about the linen, wool, dyes and stitches used to make it.
December 27, 2020
This book did a very good job of illuminating the tapestry (embroidery really). At times, it went a little far afield in terms of the history making some tenuous connections. It shined as it stayed close to and moved across the tapestry.
September 6, 2017
This book intrigued me. I thoroughly recommend it. Not only does it break down the details of the Bayeux Tapestry, it has given me new perspectives to the history of 1066 England/France.
December 5, 2017
All you ever wanted to know about the Bayeux Tapestry and much more. Throw in the history of the era for background.
November 5, 2019
Art history and social history about the Norman Conquest of England. Filling in some gaps in my education.
January 21, 2020
Seems like they don’t really know much about it
Read
December 13, 2022As with most nonfiction I read, some of it was not interesting to me at all, and a lot of it was fascinating.
May 11, 2025
I'll be seeing the tapestry in a month and this was a great book to prepare me for it. Easily accessible review of the tapestry and the mystery surrounding its origin.
July 20, 2025
Will not finish
Want to read
August 10, 2025Hoopla (7 hrs)
May 12, 2012
First let me warn you, this book is a challenge to read. The difficulty lies in that the subject is an expansive visual object which cannot even be fully sensed in person, much less so when forced to flip back and forth from the text to the facsimile insert. Ideally one could read this in the presence of the tapestry to fully understand the richness of the work, but I can't yet retire to Bayeux.
As with his lectures, Professor Bloch shows a great ability to simplify complex ideas to their essential detail. He doesn't gloss over details, but specifically chooses those that most clearly and quickly illuminate the sense of his message. The only time I wanted him to dig deeper and explain his point was the mention of transporting horses as a technological breakthrough. I find myself wanting to understand what makes transporting a horse over water difficult. Is it simply that a larger craft is required or are there specific requirements beyond size? But then, this is a book about the tapestry, not just one scene within it.
Ultimately, the prevailing idea is that the tapestry represents a great melting pot of culture. It takes neither side in the battle, but instead serves to unite the moment into a greater cultural history. Professor Bloch ties this up nicely with the greater situation of European nobles and the desire to unite squabbling knights against a common foe in the First Crusade. I was fascinated to learn how far more mixed the nobility was during this time with Anglo-Saxons and Normans and their more directly Scandinavian comrades taking title as far south as Sicily. With the rapid changes in rule, it is no wonder than Europeans have a much narrower sense of place than Americans, laying more claim to a city than to a country. It would seem like the average family in a European city might not move for a long time but would find themselves Norman, Saxon, Norse, French and Germanic at frequent intervals. And yet the tapestry takes all of these elements and places them together showing that all have their own place in the realm that was to come after the Norman Conquest at Hastings. I couldn't help but think of our own textile symbol, with its changing forms but constant message of unity, Old Glory, meant to unite many peoples (which by the sounds of this had really already experienced quite a mixing of their genes) into a common people, American first and Massholes second (sorry, I don't know what else you actually call someone from that state :P) Massachussetsian? Red Sox citizen?
P.S. If you find Masshole too vulgar, you may not want to look at the tapestry, because most of the horses are quite obviously stallions.
As with his lectures, Professor Bloch shows a great ability to simplify complex ideas to their essential detail. He doesn't gloss over details, but specifically chooses those that most clearly and quickly illuminate the sense of his message. The only time I wanted him to dig deeper and explain his point was the mention of transporting horses as a technological breakthrough. I find myself wanting to understand what makes transporting a horse over water difficult. Is it simply that a larger craft is required or are there specific requirements beyond size? But then, this is a book about the tapestry, not just one scene within it.
Ultimately, the prevailing idea is that the tapestry represents a great melting pot of culture. It takes neither side in the battle, but instead serves to unite the moment into a greater cultural history. Professor Bloch ties this up nicely with the greater situation of European nobles and the desire to unite squabbling knights against a common foe in the First Crusade. I was fascinated to learn how far more mixed the nobility was during this time with Anglo-Saxons and Normans and their more directly Scandinavian comrades taking title as far south as Sicily. With the rapid changes in rule, it is no wonder than Europeans have a much narrower sense of place than Americans, laying more claim to a city than to a country. It would seem like the average family in a European city might not move for a long time but would find themselves Norman, Saxon, Norse, French and Germanic at frequent intervals. And yet the tapestry takes all of these elements and places them together showing that all have their own place in the realm that was to come after the Norman Conquest at Hastings. I couldn't help but think of our own textile symbol, with its changing forms but constant message of unity, Old Glory, meant to unite many peoples (which by the sounds of this had really already experienced quite a mixing of their genes) into a common people, American first and Massholes second (sorry, I don't know what else you actually call someone from that state :P) Massachussetsian? Red Sox citizen?
P.S. If you find Masshole too vulgar, you may not want to look at the tapestry, because most of the horses are quite obviously stallions.
February 12, 2010
The Bayeux Tapestry is one of the few artifacts that is truly unique. Measuring 230 feet long and only 20 or so inches high, it was designed to commemorate the Battle of Hastings. It depicts the death of King Edward the Confessor, the coronation of King Harold and then the invasion of William of Normandy who became known as the Conqueror.
I had high hopes for this book, but it wasn't quite what I was hoping for. It was strongest when it stuck to the story of the tapestry itself. I was fascinated to learn that the tapestry has been used as a symbol by everyone from the Anglo-Saxons, the Normans, the French, the English, and even the Nazis. It was captured by the Nazis after their invasion of France, but recaptured by the Allies. It was also interesting to learn about how the tapestry was made. There was a great chapter about the fabric itself, the stitchwork, the manufacture, and the design.
Where it lost me was in the subsequent chapters, which speculated about the influence of different cultures on the tapestry. From the Anglo-Saxons, the Normans, the Scandinavians, and even the Arabs, the author tried to trace their impact on the work. It was a cool idea, but hardly conclusive, and it went on much too long. In fact, the style made it hard to read in places. The writer used these long, involved sentences that I had to reread to find the verb in all those clauses.
Last year I really enjoyed 1066: The Year of the Conquest by David Howarth. He referred often to the Bayeux Tapestry, and I realized I had no idea what it looked like. Bloch's book did have color pictures of the tapestry, but it was too small to really enjoy the detail. So when the author would refer to the stitchwork or the little animals embroidered in the border, I couldn't really see what he was talking about.
Overall, I would recommend this to those really interested in the subject, but if there is another book out there on the subject I'd give that one a try first.
I had high hopes for this book, but it wasn't quite what I was hoping for. It was strongest when it stuck to the story of the tapestry itself. I was fascinated to learn that the tapestry has been used as a symbol by everyone from the Anglo-Saxons, the Normans, the French, the English, and even the Nazis. It was captured by the Nazis after their invasion of France, but recaptured by the Allies. It was also interesting to learn about how the tapestry was made. There was a great chapter about the fabric itself, the stitchwork, the manufacture, and the design.
Where it lost me was in the subsequent chapters, which speculated about the influence of different cultures on the tapestry. From the Anglo-Saxons, the Normans, the Scandinavians, and even the Arabs, the author tried to trace their impact on the work. It was a cool idea, but hardly conclusive, and it went on much too long. In fact, the style made it hard to read in places. The writer used these long, involved sentences that I had to reread to find the verb in all those clauses.
Last year I really enjoyed 1066: The Year of the Conquest by David Howarth. He referred often to the Bayeux Tapestry, and I realized I had no idea what it looked like. Bloch's book did have color pictures of the tapestry, but it was too small to really enjoy the detail. So when the author would refer to the stitchwork or the little animals embroidered in the border, I couldn't really see what he was talking about.
Overall, I would recommend this to those really interested in the subject, but if there is another book out there on the subject I'd give that one a try first.
January 26, 2009
Genre: History
This book isn't really what I thought it would be: We don't _know_ who made the Bayeaux Tapestry - there are 5 believable patrons, each of which would have a different reason for commissioning the piece. There is no record of where or what workshop created it.
I have learned a bit more about the politics at the time, which is interesting (although the way it's written up is kinda dull). And there is depressingly little on the textile component of the Tapestry - although I found the analysis of the symbology quite interesting. (All done in the context of showing that whoever designed the Tapestry was educated - not exactly rocket science considering the Latin inscription - and was familiar with the international art scene of his time.)
The first chapter imo was totally miss-able - all about how different German, English and French historians have tried to claim the Tapestry as part of creating their national identity. I think my biggest issue with the book is that it's written in a very DRY style. It does give a bit more background into the personal histories (if not personalities) of the main actors in the drama that became the Norman Conquest, which was interesting. I had no idea that so many aristocrats were world-travelers in the 11th century!
This book isn't really what I thought it would be: We don't _know_ who made the Bayeaux Tapestry - there are 5 believable patrons, each of which would have a different reason for commissioning the piece. There is no record of where or what workshop created it.
I have learned a bit more about the politics at the time, which is interesting (although the way it's written up is kinda dull). And there is depressingly little on the textile component of the Tapestry - although I found the analysis of the symbology quite interesting. (All done in the context of showing that whoever designed the Tapestry was educated - not exactly rocket science considering the Latin inscription - and was familiar with the international art scene of his time.)
The first chapter imo was totally miss-able - all about how different German, English and French historians have tried to claim the Tapestry as part of creating their national identity. I think my biggest issue with the book is that it's written in a very DRY style. It does give a bit more background into the personal histories (if not personalities) of the main actors in the drama that became the Norman Conquest, which was interesting. I had no idea that so many aristocrats were world-travelers in the 11th century!
October 15, 2011
This is a good book on the Bayeux Tapestry. I will be visiting a daughter visiting in France this year and want to visit Bayeux, so this is part of my "homework". My interest in Bayeux began with an earlier trip to the Hastings battlefield so going the home of the Tapestry is a logical next step.
The book is very clear about the tapestry itself (which actually isn't a tapestry), the Battle of Hastings, the Norman Conquest, and the history of the Tapestry and its broader social significance. The book ranges from very specific details on specific frames of the work through very broad historical perspectives on Hastings, the Conquest, and its place in modern history. The reader should be prepared to look at the Tapestry and follow the book in its detail, or else the book's richness will be wasted.
What I most liked about the book was the author's perspective that the Tapestry as a cultural artifact of great importance was intended to help unify the combined Anglo-Saxon Norman polity that resulted from the invasion and battle. It is a plausible view that fits the many ambiguities of the Bayeux Tapestry. The book was a good read - probably not for the most general of readers -- but very rewarding if it fits one's interest.
The book is very clear about the tapestry itself (which actually isn't a tapestry), the Battle of Hastings, the Norman Conquest, and the history of the Tapestry and its broader social significance. The book ranges from very specific details on specific frames of the work through very broad historical perspectives on Hastings, the Conquest, and its place in modern history. The reader should be prepared to look at the Tapestry and follow the book in its detail, or else the book's richness will be wasted.
What I most liked about the book was the author's perspective that the Tapestry as a cultural artifact of great importance was intended to help unify the combined Anglo-Saxon Norman polity that resulted from the invasion and battle. It is a plausible view that fits the many ambiguities of the Bayeux Tapestry. The book was a good read - probably not for the most general of readers -- but very rewarding if it fits one's interest.
September 21, 2013
I fell asleep reading this book more than twice, and it wasn't due to the lateness of the hour. I would have enjoyed Mr. Bloch's work more if he had actually written ABOUT the tapestry instead of tap-dancing around it with other historical events that were 'related' to the Bayeux Tapestry. Once in a while he talks about the weaving of the cloth, which I did find interesting, the production of the cloth from flax, again, interesting, I didn't learn anything new or interesting for my own research and fascination with the 900-year old embroidery - such as the artists who created it and its patron. Anglo-Saxon or Norman? Queen Edyth, Consort of Edward the Confessor, or Bishop Eudes of Bayeux? Norman propaganda or Anglo-Saxon subversive statement? Mr. Bloch's writing had a pro-Norman slant to it, which is well and good if you believe William the Bastard of Normandy had a right to the throne of England and invade the island, but again, I didn't learn anything new. Hmmmm....sounds like my review has a definite Anglo-Saxon slant. Moving on to the next book...
November 26, 2014
If William the Conqueror had known this book was going to be turned into an audio DVD, he probably would have stayed home in Normandy...
The book "weaves" from minute descriptions of the tapestry and its workmanship, to fairly mundane historical facts ranging from a slew of battles, to various viking mercenaries in Constantinople and how silk was used in treaties.
It answers the questions who/what/when by offering the generic response - "it's hard to tell with certainty".
What it does very well (hence my second star) is set the context for the battle of Hastings and steer one's attention to the intricacy of the Bayeux Tapestry vignettes and craft.
A Cliff Note version would be very useful if you actually go to Bayeux.
Confirming other reviews - read the book with a (minitiarized of course) print of the tapestry next to it and don't fall asleep at the wheel if this is your audio material for this week.
The book "weaves" from minute descriptions of the tapestry and its workmanship, to fairly mundane historical facts ranging from a slew of battles, to various viking mercenaries in Constantinople and how silk was used in treaties.
It answers the questions who/what/when by offering the generic response - "it's hard to tell with certainty".
What it does very well (hence my second star) is set the context for the battle of Hastings and steer one's attention to the intricacy of the Bayeux Tapestry vignettes and craft.
A Cliff Note version would be very useful if you actually go to Bayeux.
Confirming other reviews - read the book with a (minitiarized of course) print of the tapestry next to it and don't fall asleep at the wheel if this is your audio material for this week.
July 8, 2015
I have read at least 4 or 5 other books about the Bayeux Tapestry; I own a book that is photos of the tapestry in fold-out pages from end to end. That said, this is the BEST book I have ever read about the Bayeux Tapestry. It covers the history, evolution, preservation and stitches used in a comprehensive and entertaining way. Author Bloch explains why the Tapestry is not just an enduring work of art, but a primary source for Norman & Anglo-Saxon history that still has meaning for today's world. He links the Tapestry to cultural traditions from Norway to the Middle East & Byzantium, with documentation to support the links based on the pictures embroidered on the cloth itself. An excellent job and very entertaining history.
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