The Bayeux Tapestry: Norman and English Perspectives Intertwined

The purpose of this thesis was to examine the Bayeux Tapestry, commissioned by the victorious Normans after the Norman Conquest of 1066, in order to determine which, if any, of its scenes bore English influence. The primary sources analyzed were, among others, Ordericus Vitalis, William of Poitiers, William of Jumieges, the Anglo-Saxon Chronicle, and the Bayeux Tapestry itself. The secondary sources included monographs by David J. Bernstein, Wolfgang Grape, Frank Stenton, and Ian Walker.

While the majority of the Tapestry scenes adhere to the interpretation of the Conquest that was popularized by Norman chroniclers, several elements, such as the Aelfgyva scene, Harold’s coronation scene, and the presence of dragon figures in the borders, demonstrate that the English were both reluctant to accept Norman rule and willing to display that reluctance in artistic works such as the Tapestry. That these “anti-Norman” elements were not removed may be indicative of a Norman desire to foster better relations between the two peoples.