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The Bayeux Tapestry ( or , ; (フランス語:Tapisserie de Bayeux), , or ''La telle du conquest'') is an embroidered cloth nearly long and 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 colors, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating.〔Sylvette Lemagnen, Preface, page 9; 〕 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 The designs on the Bayeux Tapestry are embroidered rather than woven, so that it is not technically a tapestry.〔Saul, Nigel. "Bayeux Tapestry". ''A Companion to Medieval England''. Stroud, UK: Tempus. pp. 32-33. ISBN 0-7524-2969-8〕 Nevertheless, it is always referred to as such. The tapestry can be seen as the final and surely the 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.〔Golden Age, 195; Dodwell (1982), 138–139. However a number of fringe theories persist – see the article. See also Henderson, 168–177 for an extended appreciation.〕 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 must be 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 very large areas. == Origins == The earliest known written reference to the tapestry is a 1476 inventory of Bayeux Cathedral,〔Fowke, Frank Rede. ''The Bayeux Tapestry – A History and Description'', London: G. Bell & sons, 1913.〕 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〔Sir Frank Stenton (ed) et al, ''The Bayeux Tapestry. A comprehensive survey'' London: Phaidon, 1957 revised 1965.〕 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.〔(UNESCO World Heritage nomination form ), in English and French. Word document. Published 09-05-2006.〕〔Wilson, David M.: ''The Bayeux Tapestry'', Thames and Hudson, 1985, p. 201–227〕〔Coatsworth, Elizabeth: "Stitches in Time: Establishing a History of Anglo-Saxon Embroidery", in Robin Netherton and Gale R. Owen-Crocker, editors, ''Medieval Clothing and Textiles'', Volume 1, Woodbridge, 2005, p. 1–27.〕 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.〔(【引用サイトリンク】url=http://www.medievalists.net/2013/10/29/designer-of-the-bayeux-tapestry-identified/ )〕 The actual physical work of stitching was most likely undertaken by female seamsters. 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.〔Dodwell (1982), pp. 134-136〕 Alternative theories exist. Carola Hicks has suggested it could possibly have been commissioned by Edith of Wessex.〔("New Contender for The Bayeux Tapestry?" ), from the BBC, May 22, 2006. ''The Bayeux Tapestry: The Life Story of a Masterpiece'', by Carola Hicks (2006). ISBN 0-7011-7463-3〕 Wolfgang Grape has challenged the consensus that the embroidery is Anglo-Saxon, distinguishing between Anglo-Saxon and other Northern European techniques;〔See Grape, Wolfgang, ''The Bayeux Tapestry: Monument to a Norman Triumph'', Prestel Publishing, 3791313657〕 Medieval material authority Elizabeth Coatsworth〔(【引用サイトリンク】title=Oxford Bibliographies Online – Author (Contributor: Elizabeth Coatsworth) )〕 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."〔Coatsworth, "Stitches in Time: Establishing a History of Anglo-Saxon Embroidery", p. 26.〕 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.〔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〕 Andrew Bridgeford has suggested that the tapestry was actually of English design and encoded with secret messages meant to undermine Norman rule.〔Bridgeford, Andrew, ''1066: The Hidden History in the Bayeux Tapestry'', Walker & Company, 2005. ISBN 1-84115-040-1〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bayeux Tapestry」の詳細全文を読む スポンサード リンク
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