How to distinguish a handmade tapestry. Fashion for tapestries for apartment design - the historical fashion trend is back

Literally from the moment of its invention, tapestry has been considered a luxurious and expensive fabric. After all, it was not without reason that even in the Middle Ages, with the help of this material, wealthy people trimmed furniture and created decorations for castles and palaces. In ancient times, tapestries were made by hand. It was a long and painstaking work, as a result of which chic woven paintings, called tapestries, were obtained. Although tapestry fabrics have undergone some changes during their existence, they remain loved and in demand by both designers and ordinary people.

History of the tapestry

Decorative trellis, or tapestry, has been known to mankind for hundreds of years. Clothing made from this material was found in the tombs of the Egyptian pharaohs. The ancient Greeks decorated their dwellings with woven carpets depicting gods and mythical heroes, while Peruvian craftsmen wove burial shrouds.

All work on the production of carpets with various subjects was carried out manually. At the same time, woolen and silk threads were cross-woven, and in special cases, fibers of pure gold or silver were woven into the fabric.

Creating a tapestry is a laborious task that requires an incredible amount of time and patience from the weaver. In a year, one master could weave a carpet measuring 1.5 x 1.5 m, so the cost of such products was incredibly high, and only wealthy people could use tapestry fabric.

At the end of the 17th century, this delightful fabric began to be produced at the French manufactory Gobelin, at the same time the modern name "tapestry" appeared. In Russia, the first tapestry factory appeared under Peter I, and only French craftsmen worked there.

Experts say that it is precisely those fabrics that are made at the manufactory in Paris that can bear such a name, and all the rest should be called tapestries. However, at present, this term refers to any woven fabric.

Material Features

After the Frenchman Joseph Jacquard invented the loom for making complex patterned fabrics in the early 18th century, a new era began for tapestries. Now this luxurious exquisite fabric began to be produced in large quantities.

Nowadays, tapestry fabric is made by. If the production of an ordinary jacquard fabric requires 2-3 threads, then more than ten fibers of different colors and textures will be needed to produce woven paintings.

In tapestry fabrics, the base must meet certain requirements, only then the picture will look natural. The weft threads must be elastic, and the warps must be very strong.

Most often, the following materials are used for the production of tapestries:

• sheep wool - durable natural fibers that are easy to dye in any color;
• linen, cotton - allow you to make light breathable materials;
• silk - natural fibers that give the product elegance and noble shine;
• synthetic threads;
• threads with the addition of metal (Lurex).

Typically, tapestries depict paintings by famous artists, flower arrangements or landscapes. Recently, new technologies have appeared that allow even photographs to be transferred to fabric.

Pros and Cons of Tapestry Fabric

The advantages of tapestry fabrics are due to the properties of the threads used in the creation of matter, and the features of the jacquard weave.

• The fabric has a high density, perfectly holds its shape, is resistant to wear.
• Keeps colors for a long time - does not shed and does not fade in the sun.
• It has antistatic properties - does not attract dust and small debris, does not accumulate static electricity.
• A huge variety of artistic compositions and textures provides a wide application in many areas of human life.
• Does not demand special leaving - special processing protects products from pollution.

The disadvantages include the following fabric qualities:

• increased rigidity and significant weight of matter do not allow sewing clothes from it;
• products cannot be washed and ironed, otherwise bends and creases may appear.

Although matter has some disadvantages, tapestries are popular and sought-after fabrics that cheer up, fill the house with joy and beauty.

Types of tapestry

There are many types of tapestry. Pictures and tablecloths, napkins and pillowcases on sofa cushions, furniture upholstery, handbags, belts, gloves and even shoes are made from tapestry.

A woven picture should fit the overall design of the room and subtly convey the mood of the owner and the atmosphere in the house.

Here are a few common subjects often chosen by tapestry lovers.

• East style. The original and unique plot, full of philosophy and tranquility, distinguishes paintings created in oriental style. Images of people taming wild animals will harmoniously fit into the interior.
• Country. For those who love and appreciate antiques, we have developed tapestry plots that take you back to the past. Such paintings go well with a fireplace and earthenware, rare books and homemade rugs.
• Scandinavian style. Naturalness and simplicity distinguishes this type of tapestry. To decorate a room in a Scandinavian style, paintings in light colors are more suitable: grayish, blue, light turquoise.
• Provence. Tapestries in the Provence style are associated with the sea and the sun. Magnificent flowers, beautiful houses on the river or sea coast remind of summer holidays. Such canvases are often made from coarse cotton or bleached linen.

How to choose a real tapestry

Today, tapestry products can be afforded by everyone. In order for them to really become a decoration of the home and attract the eyes of the owner and guests for a long time, the materials must be of high quality.

When choosing things from tapestry fabric, you need to consider the following points.

• It is better to buy tapestries in specialized stores, where the seller probably has a quality certificate for the product.
• The color and texture of the chosen item should match the overall design of the room, furniture and curtains as best as possible.
• The woven picture should be of such dimensions that it can be seen in its entirety.
• A neat, smooth back and a frame supplied with the picture indicate that the tapestry is of high quality.
• The drawing should be clear and bright, with a well-visible composition.

The tapestry in the house is always a strong visual symbol that can create a mood and shape the image of the owner. Therefore, the choice of a woven picture should be approached as competently as the purchase of furniture or clothing.

Tapestry Care

Tapestry fabric has a rough surface, on the scars of which dust accumulates very quickly. If you do not attach importance to this, then the product will soon be covered with a gray coating and its appearance will be spoiled. In addition, coffee or orange juice can be spilled on furniture, a tablecloth or a pillowcase made of tapestry fabric, and then the product will definitely have to be washed or cleaned. Manufacturers claim that trellises are durable, but this is only true if they are properly cared for.

• Dust can be removed with a vacuum cleaner or a clothes brush. At the end of cleaning, it is advisable to walk on the surface of the material with a damp sponge so that the thing takes on a fresh look.
• If there is a stain from food or street dirt, the product should be washed. A soft sponge or piece of cloth is moistened in a soapy solution and dirt is rubbed off with light stroking movements. You can dry the product outside, in a sunny place with good air circulation.
• Ironing products made from this material is not recommended. In extreme cases, ironing from the wrong side is allowed with an iron heated to no more than 150 ° C.
• Tapestry should not be machine washed. If you need to wash a tablecloth or pillowcase, it is better to do the work by hand with gentle detergents.
• For washing and cleaning tapestry fabric, you should use only special gels and powders. Moreover, before processing the product on the wrong side, you need to check whether the selected agent has a negative effect on the material.
• Woven paintings are best hidden from direct sunlight. Otherwise, the tapestry may crack, saturated colors fade and the picture will take on a grayish tint.

When buying paintings or other things from a tapestry, you should carefully study the manufacturer's recommendations left on the product label, and, if possible, follow them. Then the items will retain their original appearance for a long time.

Tapestry fabrics are a luxurious dense material. They are always fresh, attractive and never go out of style. A huge variety of models and a magnificent view make this material indispensable for the design of premium premises. Despite the fact that modern materials are protected from dirt, they require careful handling and delicate care.

It's funny that now the carpet on the wall is not comme il faut, but a tapestry - it's creative, fashionable, modern.

Handmade tapestries

Today I will talk about tapestries, or rather how to create a creative business based on this craft. Tapestries were known even by the ancient Egyptians and Greeks, medieval knights decorated castles with them, the plots for them were created by artists such as Raphael and Goya, and now they are no less relevant.

Woven paintings are a fairly broad topic, as there are tapestries (trellises) that are industrially created and handmade tapestries. The first is a real fabric used for furniture upholstery, creating bedspreads and other textiles for interiors or, in fact, woven paintings, and in order to create such beauty by hand, you will have to put half your life. The latter are often made deliberately roughly - from thick threads and with a noticeable weave. But this does not make them less beautiful, it's just that it is almost an independent industry, which is united with the first by a common name and some tricks.

classical tapestries

Types of tapestries

Now tapestries are called carpets created in different techniques. Sometimes, even radically different from the traditional.

• smooth (planar) - created using traditional technology;
• textured (embossed) - the technique is traditional, but some parts of the product are distinguished by larger (convex) stitches that create a relief canvas;
• multi-level - different weaving techniques, relief, embroidery, etc. are used.
• non-woven - these are fabric paintings created using other techniques: applique, thread printing, knitting, embroidery, isothread;
• volumetric-spatial - these are actually not so much paintings as constructions, which are an additional element of the design of the premises.

Volumetric tapestries Yu.N. Hovsepyan

If you decide to do this work, it doesn’t matter just for the soul or for making money, you will gradually develop your own style, your own techniques will appear and as a result your work will become unique. That is, something will appear that makes these things interesting for buyers and raises their cost. That is why you should not use ready-made schemes, create your own. No wonder this business is called creative.

Tapestry technique

I will not dwell on all the details, I will list the main ones. You will need a machine for work and the larger your products are, the larger it should be. In fact, this is hand weaving, which is based on the technique of plain weaving of warp and weft threads. Machines can be made by yourself if the family has a handy man or ordered on the Internet. For small items, for example, if you create souvenirs, bags and some other accessories using this technique, you can make a machine from improvised materials. The main thing is that you can evenly stretch the warp threads and then weave in a comfortable position.

If earlier threads from natural materials (wool, linen, silk, cotton) with the addition of gold or silver threads were used for work, now tapestries are mainly woven from artificial and synthetic threads.

First, the future tapestry is drawn, this pattern is applied to the warp threads stretched on the loom (or cardboard with the pattern is placed under the work and guided by it), then they begin to reproduce it in color with threads.

The most important point is to observe the distances between the threads so that a clear, correct pattern is created. Having prepared the warp threads, they begin to create a pattern, fix the first transverse thread and begin to stretch it between them alternately above and below the thread. The finished row is compacted with a wooden lath, which also serves to separate the warp threads into even and odd, and also helps to regulate the tension of the threads.

A pigtail is woven along the edge of the weaving, aligning the edge with it, and a special linen earnings is woven vertically over it, which is then folded onto the end of the stretcher, if the tapestry is going to be stretched and inserted into the frame in the future, or hemmed to the wrong side, if the finished product will hang directly on wall. On the other hand, weaving also ends with earnings.

The work is painstaking, requiring perseverance and accuracy. If necessary, the finished canvas is supplemented with some other elements - embroidery, appliqués, fringe, etc.

How to make money on tapestries

Options, in general, traditional for any needlework and crafts, but I think it’s worth listing them:

1. Making tapestries. This is the main source of income for craftsmen. Moreover, if you modestly distribute them among your friends, looking plaintively into the eyes of each buyer, then the price will be the same, if you start promoting your own brand, participating in exhibitions, advertising your products on the Internet and generally presenting yourself as the discovery of the century :), then the price will be completely different.

On purpose, I write so evilly, in the hope that the craftswomen who read me will also “get angry” and will treat their own talent with great respect. Why is it that often someone's publicized daubing with oil paints costs millions, and a long painstaking work into which the craftswoman puts her whole soul - a penny?

2. Master classes. Now you can transfer your skills by giving both real lessons and conducting classes via Skype. This means that finding students who want to learn this beautiful art is now much easier than before.

3. Video lessons. They can be posted on YouTube, in your own blog, in social networks. But how to make money on it? That's what ads are for. Placed next to the video, it will attract the attention of people, they will click on it, and you will get paid for it.

4. Website. It can be a personal blog, where there will be information not only about your products, but also articles on other topics, video tutorials, diagrams, etc. It can be just an online store where you will sell tapestries and maybe something else, for example, everything needed to create them. Or all of the above can be combined into one portal. This will help to attract not only potential buyers, but also other visitors, and the more traffic, the more earnings on advertising and other ways to monetize the site. Such sites already exist on the Internet, so this is a completely working option.

5. Training course or e-book. Many craftswomen go this way (you can see examples of such courses and books), and they create not only training courses, but also sell schemes for work, ready-made kits, etc.

I hope that this article about such a beautiful creative business will be useful to someone, will lead to some thoughts and make them reconsider their opportunities in terms of earnings.

Luxurious never go out of style. Both two hundred years ago and today they are an indicator of high status, good taste and are in demand both in Russia and abroad. The jacquard weave makes them very strong and durable. And the diverse design of such products allows you to choose the right textile for any interior.

In this review with a selection of photos from the catalog of an online tapestry store in Moscow, we will introduce you to the assortment of the Moscow Weaving and Finishing Plant - which has existed since 1895. We will also tell you about the most popular jacquard furniture and decorative fabrics and textile accessories.

Luxurious tapestry fabrics for stylish interiors

Durable has a unique feature - it is ideal for creating original interiors with a strong personality. At the same time, it does not matter in what style the room is decorated - elegant jacquards look equally good in both classic and modern settings.

Floral drawing

With a floral pattern - recognized leaders in sales. Such textiles are relevant in classic, Provencal and Baroque bedrooms, in traditional English kitchens and living rooms. The main thing is that textiles go well with furniture and other decorative elements.

Juno light

In the photo: Tapestry fabric "Juno light"

In the photo: Tapestry fabric "Juno light" in the interior of the kitchen of a country house

Light lilies, red tulips, pale blue bells - the design feels spring freshness, and the tablecloth sewn from it resembles a meadow strewn with flowers, where you just want to have a picnic. This fabric will be very useful in a classic kitchen with solid wood furniture and original stained glass windows. And to make the interior look complete, Roman curtains can also be sewn from it, using wide ribbons of a neutral sand shade as pickups.

Dutch flowers

In the photo: Tapestry fabric "Dutch flowers"

In the photo: Tapestry fabric "Dutch Flowers" in the interior of the bedroom in the art deco style

A tapestry in turquoise-pinkish tones depicting lush peonies and garden roses is a great choice for a luxurious, bright bedroom in style. Curtains and a bedspread sewn from it will successfully set off white furniture decorated with skillful carvings and patina. And for the role of a companion for such an elegant fabric, you can choose a plain jacquard or velor in a fresh mint shade.

Ekaterina

In the photo: Tapestry fabric "Catherine" in the interior of the bedroom

A spectacular pattern of roses, leaves, feathers and beads, made in a peach-olive color scheme, makes it truly luxurious. Such a fabric will become a worthy decoration of royal apartments with classic boiserie panels, mirrors in expensive bronze frames and elegant sconces with crystal pendants.

geometric pattern

With a geometric pattern, it can rightfully be called the most practical and functional fabrics. They are in consistently high demand, both among connoisseurs of timeless classics and among adherents of modern style in the interior.

Diamond

In the photo: Rhombic tapestry fabric in a classic living room

Durable - the most popular fabric for sofa upholstery. She is loved for her laconic design and practicality. In addition, it is suitable for furniture of any shape, drapes well and can be decorated with buttons and a fashionable carriage tie.

windsor cage

In the photo: Tapestry fabric "Windsor cage"

In the photo: Tapestry fabric "Windsor cage" in the interior of a country house

It is difficult to find a more democratic pattern than multicolor. A tapestry with such a pattern is suitable for upholstery of sofas on a country veranda, and for sewing pillow covers in a modern attic, and even for upholstery of walls in the living room of a hunting lodge, where firewood comfortably crackles in a large fireplace decorated with natural stone.

Abstract floral ornament

To make the interior aristocratic and respectable, it is not enough to buy expensive furniture, you also need to choose the right textiles. The best option in this case would be a tapestry of rich color - wine, scarlet, cobalt, cornflower blue - with an abstract floral ornament.

Dynasty

In the photo: Tapestry fabric "Dynasty" in the interior of the office

An interior fabric with an expressive ornament in wine and golden tones can be used as an alternative to wallpaper and fixed to the wall. This finishing option will be relevant in a classic English office with natural wood panels with golden patina, expensive furniture and a beautiful coffered ceiling.

Rhodes

In the photo: Tapestry fabric "Rhodes" in the interior of the living room

Bright fabrics with a large abstract pattern, like, can literally transform the interior. They are relevant for upholstery of upholstered furniture, suitable for sewing curtains and tablecloths. And in order not to overload the space, it is better to combine them with plain beige, cream or sandy textiles.

Ethnic motifs

Tapestries, in the design of which ethnic motifs are clearly traced, are extremely popular today. The MTOK collection also has a jacquard with a recognizable paisley pattern, and a motley one. Both fabrics can be used in rooms decorated in a modern style, and such textiles look especially advantageous in country attics and living rooms, on verandas, terraces and gazebos.

Mexico

In the photo: Tapestry fabric "Mexico" in the interior of the hookah

Terracotta, olive, mustard and dark turquoise shades, combined with a graphic pattern consisting of straight and zigzag lines, give a special ethnic flavor. So it is not surprising that in the design of a hookah bar with colorful low sofas in covers made of jacquard fabrics of different colors, it looks very organic.

Chile

In the photo: Tapestry fabric "Chili" in the interior of the living room with a fireplace

Colorful tapestries with a pattern reminiscent of patchwork fit perfectly into. At the same time, they are equally good both in furniture upholstery and in accessories: decorative pillows, napkins, chair covers. And if you want variety, decorators recommend using several types of jacquard fabrics with an active pattern in one room. But at the same time, the walls should be light and plain.

New Year's assortment of tapestry accessories: stylish gifts

Very popular as Christmas gifts. The range of such accessories in the MTOK catalog is extremely wide and includes both textiles for serving a festive table and original interior gizmos.

Table textiles

In the photo: A set of napkins "Winter's Tale"

In the photo: Napkin "Christmas mood"

Table textiles with New Year and Christmas symbols will create a special mood in the home environment. A set of bright napkins with an unpretentious winter landscape and a “edging” of fir branches and ribbons is perfect for decorating a festive table. You can decorate the interior with a beautiful oval or rectangular napkin with a themed decor and openwork braid. There are suitable napkins for the nursery with the image of popular fairy-tale characters in the tapestry store.

Decorative pillow cases

In the photo: Cushion cover "Happy New Year!"

Funny little animals, a fabulous snowman or a beautiful winter landscape? Choosing a pillowcase or a pillowcase as a New Year's gift is a great idea, because such accessories create comfort, give a good mood and are appropriate in any interior. In addition, their range is huge and includes products of different sizes and shapes (square, round, rectangular), for living rooms, bedrooms and children's rooms.

Gift wrap

In the photo: New Year's bag "Winter patterns"

In the photo: New Year's boot "Dance of the Snowmen"

For a sweet gift intended for a baby, you must definitely choose the appropriate packaging. It can be decorated with "frosty" patterns with a drawstring or dressed up with a picture of dancing snowmen. In any case, this textile accessory will delight the child even when sweets are eaten, and a merry New Year's holiday will become history.

Calendars

In the photo: Calendar from the tapestry "Sheepdog"

In the photo: Calendar from the tapestry "Doberman"

With the image of a dog - a symbol of the coming year - a great gift for a friend or work colleague. Moreover, you can choose an accessory with the image of dogs of different breeds, made in the traditions of classical painting or in the spirit of avant-garde. Such a thing has a dual purpose: on the one hand, it is a functional calendar indicating working days and days off, and on the other, it is an original interior accent.

Decorative pillowcases for every taste

Large and small decorative pillows are one of the most sought-after interior accessories. With their help, you can make the atmosphere more sincere and cozy, so you can meet these cute little things in any room: from the kitchen in a city apartment to the veranda of a country house. And the ability to change elegant covers for them and thereby constantly update the interior further increases the demand for these textile products.

The MTOK catalog contains tapestry in different sizes:

And in order for the accessory not only to fit in size, but also to become an organic addition to the design of a bedroom, living room or nursery, you need to choose a model in the style of the interior.

Classic

Suggests elegance and sophistication, so if you are looking for the right pillowcase for a living room with a traditional interior, pay attention to models sewn from fabrics of neutral colors (cream, beige, sand) with an unobtrusive but expressive floral pattern in wine or terracotta tones. At the same time, it is better to buy two identical pillowcases for the sofa - this will allow you to observe the principle of symmetry characteristic of the classics in the interior.

Baby

In the photo: Cushion cover "Striped cat"

For a child to love his room and enjoy spending time there, it should be warm and comfortable. So buying decorative pillows for children with elegant tapestry covers is the right decision. These can be models with the image of your favorite fairy tale characters or pillowcases made of bright textiles with an abstract pattern. And if you decide to decorate the nursery with a whole heap of pillows, some of them can be “dressed” in plain pillowcases with different textures (canvas, mat, etc.), which give a pleasant tactile sensation.

ethnicity

In the photo: Cushion cover "Ethno-Turtle"

For sewing pillowcases, tapestries with ethnic design are often used, implemented in a fairly saturated color scheme with the inclusion of shades of terracotta, orange, chocolate, olives. The result is bright and distinctive accessories that can be integrated into almost any modern interior. To make such pillows look more impressive, the upholstery of the sofa should be plain. And ideally, it should repeat one of the colors present in the cover pattern.

Animals

Among the fashionable tapestry covers for pillows, one of the first places is occupied by products with animals. An example of such accessories is the model in the photo with the image of the flag of Great Britain and the English bulldog. And if this option is too bright for you, you can choose a calm in color, but no less original pillowcase with a dog in the image of Sherlock Holmes or a model with funny kittens, sheep or cute puppies playing with a ball.

Vintage

Accessories with vintage design are a fashion trend. And with the original tapestry covers are no exception. These can be products with the image of retro cars, old geographical maps or postcards. A distinctive feature of such models is the use of a large number of shades of terracotta in the decor and the imitation of scuffs characteristic of old things. To reproduce them, the designers of the MTOK factory carefully work out the pattern and use up to a hundred threads from one palette to create it on a loom.

Chalet

Natural shades, unpretentious pattern, geometric elements, images of animals - in the design of decorative tapestry pillowcases in the style there is always a reference to nature, outdoor recreation, active pastime: hunting, fishing, walking in the forest. The decor of these products has light vintage notes and such pillows look like a homely soul, creating an aura of peace and tranquility around them, typical for country houses. They can complement the interior of a small country house, a cozy chill-out in a loft, a living room or a country-style kitchen.

Tapestry paintings are a popular interior accessory

The tradition to use for decorating rooms came to us from time immemorial. It all started in ancient Egypt, where the first ones appeared, which were called the veil. And in Europe, tapestries became widespread - hand-woven, lint-free wall carpets with plot or ornamental images, which served to insulate rooms and became the prototype of tapestries familiar to us.

As for modern tapestry paintings, they are manufactured industrially and can reproduce any image: from paintings by famous painters to family photographs. You can hang one picture in the room or assemble a whole gallery - in any case, such decor will not go unnoticed, and will play an important decorative role in the setting.

cityscapes

In the photo: Tapestry painting "Evening Paris" in a baguette frame

In the photo: Tapestry painting "Evening Paris" in the interior of the living room

Cityscapes, reminiscent of romantic vintage photographs or watercolor paintings created by talented artists, look very realistic thanks to the complex color palette and careful selection of threads. They harmoniously look in the mini-gallery, among products of different sizes, but with similar colors. And the best frame for such a picture will be an elegant baguette frame that will not distract attention from the image.

Story paintings

In the photo: Tapestry painting "Poker" in the interior of the country living room

With an original plot pattern, for example, with the image of dogs playing poker, these are fashionable interior accessories with ironic overtones. Such a decorative element creates a light atmosphere in the room and speaks of an extraordinary sense of humor of the owners of the house. It is suitable for the living room, and for the hall, and for the office, where it can be placed in the recreation area.

Pastorals in the spirit of Van Gogh

In the photo: Tapestry painting "Landscape with olives"

In the photo: Tapestry painting in the interior of the fireplace room

Graphic pastorals in the spirit of Van Gogh's "Landscape with a House and a Plowman" in a tapestry performance amaze with both color and conciseness of the composition. Such a picture is easy to imagine above the fireplace in a classic living room or in a country house library. Rich terracotta, olive and blue shades play the main role in the color scheme of such accessories. And in order not to overload the space, it is better to choose a picture frame as simple as possible: from wood tinted in a dark color or with a narrow metal border.

still lifes

In the photo: Tapestry painting "Lilac" in a baguette frame

During a long French trip, we managed to get acquainted with two unusual works of ancient weaving and embroidery. The first is in Angers, the second is the tapestry in Bayeux. You should come to this city only to see with your own eyes the grandiose creation of embroiderers (or embroiderers?), which is almost 1000 years old! Of course, no Internet source can replace the impression of the real thing. But it can give an idea of ​​the grandiose work of the ancient masters. And at the same time, it will refresh the memory of the most important episode of the medieval history of England - its conquest by William (Guillaume) the Conqueror in 1066.
Let's start with a brief historical background - this way it will be clearer to understand the events of the tapestry.
1051 year. On the lands of the Anglo-Saxons, King Edward the Confessor, the nephew of the Duke of Normandy Richard II, rules. The Lord did not give him children (there is a legend that he did not love his wife and remained a virgin), he proclaimed as his heir the young Duke of Normandy Guillaume (in England they call him William) - his cousin.
1064-1065 years. Another contender for the throne, Harold was the brother of Queen Edith, wife of Edward the Confessor. In 1064-1065, Harold was captured by Guy I de Ponthieu. William the Conqueror redeemed him from captivity and Harold was forced to recognize the savior as the heir to the throne, swore allegiance and promised him his support.
1066 year. Death of King Edward the Confessor. The English Council of the Witengamot recognized Harold as king. They did not need Wilhelm, because the stranger would begin to oppress the local nobility, take away their lands, titles and bestow gifts on their close associates, the Normans. Harold took the throne. William immediately accused him of perjury, gathered a squadron, defeated the English troops at Hastings and reigned on the English throne. Harold died during the battle.

Technical and historical details will be given below when we consider the numerous scenes of the tapestry. “Tapestry” in this case is called so conditionally. In fact, it is made using the technique of embroidery with woolen threads on linen. The pictures are taken from the official website of the Bayeux Tapestry Museum.

The events of 1064-1066 depicted on the tapestry form an independent view of the events, which is somewhat different from the surviving written sources. And if the descriptions of the main events generally coincide with written sources, then in details they often contradict them. The laconic nature of the tapestry text does not explain the reason for the discrepancies.

It should be noted that some events are deliberately not clearly described. For example, about the mission entrusted to Harold by Edward the Confessor at the beginning of the story, or about the contents of King Edward's will. The author was undoubtedly aware of the different interpretations of events on both sides of the English Channel.

JOURNEY TO NORMANDY
Scene 1. At the very beginning, the carpet was badly damaged, but it was carefully restored. King of England since 1042 Edward the Confessor talking to his brother-in-law Harold the Earl of Wessex, probably at the Palace of Westminster. Harold at that time was the most powerful aristocrat of the country and a pretender to the throne. Then Harold (right), hawk in hand, sets off for the south coast to his Bosham in Sussex estate with his entourage and hunting dogs.

Scene 2 Harold and his companion enter the Beauchamp Temple to pray for safe sailing. They feast in one of the many palaces of Harold's estate in Bosham (pay attention to the drinking horn, such dishes were extremely common in Scandinavian circles) and set off on a peaceful campaign - none of the retinue is armed. Why - historians do not know anything. Harold enters the ship and sets sail. He still holds the hawk in his hands.

Scene 3. A fair wind carries the ships and Harold crosses the English Channel. From the mast through the fog they watch the shore. This is Ponthieu, the land of the mighty duke Guy I de Ponthieu. Harold is shown here twice. On the left, he stands on a ship, ready to step ashore. As soon as his feet touched the ground, he was seized by the duke's men, who lead them from his horse on the right.

CAPTURED
Scene 1. Although Harold is now a prisoner, he is treated with respect. In the center of the scene, he is depicted on a horse with his hawk, he gallops into the Beaurain. On the right, Guy I de Ponthieu, on the throne, is talking to Harold.

Scene 2. In the next three parts, the sequence of events is shown in reverse order. Two envoys arrive from the sovereign William of Normandy to the Duke de Guy and demand the release of Harold. It is known that Turold, the nephew of Bishop Odo of Bayeux, is depicted on this scene. Turold is either a small man to the left of the center of the scene, or one of the two messengers to the right. It is conveyed with what fury these horsemen - envoys of Wilhelm - are galloping - their hair fluttering in the wind, they are full of serious intention to announce de Guy the will of his master.

Scene 3 This scene should actually be the first of three. Wilhelm receives word that Duke Guy has captured Harold. Guy obeys the order and brings Harold to meet Wilhelm. Guy on a blue horse, he points to Harold riding behind him, both holding hawks.

STRANGER

Scene 1. Wilhelm and Harold, accompanied by soldiers, gallop to William's palace in Rouen. (Norman now depicted with a hawk!) Wilhelm is seated when Harold speaks to him. Here is a mysterious episode. Two figures appear on the tapestry: a lady, her name is Aelfgyva (she is definitely English) and a clergyman. They seem to have nothing to do with what is happening, but this event must have been well known in the 11th century. Most likely, the scene is connected with a love scandal. In lower case, a naked person is depicted.

BROTHERS IN ARMS
Scene 1. Harold accompanies William and Norman soldiers on a campaign against the Duke of Brittany, Conan of Brittany. They pass Mount Saint-Michel - the border of Normandy and Brittany.

To get to Brittany you need to cross the river and the army can hardly take its feet from the quicksand. Warriors raise their shields over their heads to keep them from getting wet. Several soldiers fall into quicksand and Harold saves two at once!

Scene 2. The Norman army attacks the Dale and Duke Conan escapes by rappelling from the castle - in the center is a little man rappelling from the tower. In pursuit of Conan, the Normans reach Rennes, the capital of Brittany.

Scene 3. The Normans overtook Conan at Dinan. In battle, horsemen throw spears, soldiers try to set fire to defensive fortifications. Conan surrenders. On the tip of the spear, he gives Wilhelm the keys to Dinan. Campaign ended. For his faithful service, Wilhelm rewards Harold with weapons and knights him. This ritual was well known in France, but such a tradition did not exist in England at that time. This scene also signifies Harold's recognition of Wilhelm as his overlord. From a Norman point of view, this scene is extremely important.

OATH
Scene 1 Wilhelm and Harold return to Normandy and arrive in Bayeux. In this episode there is an illustration of the castle in Bayeux, it was built in the 10th century and destroyed in the 18th.

This is the climactic scene, on the holy relics, Harold takes an oath of allegiance to William (image in the center). In the presence of the Duke of Normandy, Harold places his hands on two relics and swears allegiance to his overlord. The text of the oath is not known, but, most likely, Harold gave his word in the event of the death of King Edward not to prevent William from taking the vacant English throne. But did Harold really promise support to Wilhelm? This scene is the key to the entire tapestry drama unfolding - it will be followed by the death of Harold and the collapse of his entire family. But at least the English earl is free and returns to England.

RETURN
Scene 1 Harold talks to King Edward the Confessor and tells him about his adventures. The king is depicted as old, weak and sick. However, in fact, at that time he was quite healthy, although at that time he was already 62 years old.

DEATH OF THE KING
Scene 1. The events of the following year are left unattended by the author of the tapestry. The story continues with the events of January 5, 1066, when King Edward the Confessor of England died. Here the chronology of the story is broken. The tapestry shows first a scene of burial and then death. To the left we see a funeral procession to the great new church of Westminster Abbey. Edward was very ill and did not attend the consecration of the new church on December 28, 1065. Although the temple is his brainchild, he built a cathedral on a scale hitherto unheard of on the north side of the English Channel. The palace is depicted in the center. In the upper chamber, we see King Edward in bed talking to his loyal subjects, including Harold and his wife, Queen Edith. He called Harold or Wilhelm his successor on his deathbed - it is not known, each researcher offers his own version. In the lower chamber of the palace, the king is shown dead, with a priest standing next to him. On the right, two noble courtiers are holding out a crown and an ax to Harold, symbols of royal power. Harold accepts the regalia.

LONG LIVE THE KING!
Scene 1. On the morning of January 6, 1066, the king was buried, and in the afternoon Harold's coronation ceremony takes place, the new king sits on the throne, his entourage are on his left hand, and Archbishop Stigand of Canterbury is on his right. The Anglo-Saxon nobles present at the coronation are easily recognizable by their weapons: they are armed with large battle axes. In the background, the people welcome the new king. A "star with hair" appears - this is Halley's comet. An earlier depiction of her than on the Bayeux tapestry has not yet been found.

The people are horrified - the appearance of a celestial body is perceived as an ominous sign. Scene on the left - Harold is reported about the comet and the newly-made king accepts the news with fear. In the lower case, several ghost ships are depicted, this is an indication of the impending Norman invasion.

CONSIDERING THE INVASION
Scene 1. News of Edward's death and Harold's accession has reached Duke William of Normandy across the English Channel: we see an English ship sailing to warn him of what has happened. The duke is furious - he already saw himself as the English king and considered Harold a usurper. He decides to go to war with England and collects a fleet of ships. To his left is Bishop Bayo Odo, his half-brother by mother. In this scene, Odo appears for the first time.

Scene 2. Wilhelm's men prepare an invasion and build a fleet. Lumberjacks cut down trees and make boards out of them. Ships are built from boards and lowered into the sea. These tapestry scenes are the most famous and are very bright and lively. We see carpenters with axes, fitting boards and the appearance of a ship, in the bow it is decorated with a dragon. We know that Wilhelm also requisitioned all the ships that the Norman nobles had, but this is not reflected in the tapestry.

Scene 3. Food and drink are delivered to the ships on hands and carts. They also bring weapons - chain mail, helmets, swords and spears. They bring wine in vessels made of animal skins, in barrels, in bags and other most diverse containers.

CROSSING
Scene 1. Wilhelm leads his army to board the ships and they set off. The author of the tapestry missed many of the events of the beginning of the campaign - a long wait for a fair wind in Dives-sur-mer (Dives-Sur-mer), wandering along the coast in search of a convenient marina in Saint-Valery-sur-Somme (Sent-Valery-sur-Somme ). Only a direct crossing of the English Channel is shown - the creator shows the beginning of the Normandy march to victory.

But even better on the tapestry are the boats of the Normans - decorated with carved dragon heads, they rush forward, driven by a fair wind. You can clearly see the multi-colored sails and shields inserted into the holes for the oars of ships carrying warriors and, finally, a ship with horses on board.

Scene 2. There are many ships at sea, the ships are full of soldiers and horses. Wilhelm sails on the Mora ship, a gift from his wife Matilda. His ship is easy to distinguish from others - a little man blows a trumpet, a flag with a cross is visible above the mast - without a doubt, this is the “standard of St. Peter”, presented by Pope Alexander II, who blessed the duke for his enterprise.

BEACHHEAD
Scene 1 On September 28, William's army landed on the English coast at Pevense, now a few miles from the sea. The ships are hauled up and dry high on the shore. The warriors gallop towards Hastings and stock up on provisions, taking away the cattle from the farmers.

Scene 2. On September 29, 1066, the operation begins. The necessary provisions are obtained on the shore and an unprecedented feast is prepared in the open air - chickens on skewers, meat is stewed on an open fire, dishes are taken out of the oven. Here you can appreciate how food was prepared at that time.

Bishop Odo of Bayeux blesses food and wine. Wilhelm is depicted on the right, seated at the table, feasting with his two half-brothers, who sit with dignity on either side of the duke. Servants load food onto shields and bring it to the banquet. Wadard, close to Odo, is shown on the left at the table.

Scene 3. Duke Wilhelm enters into a dispute with his half-brothers Bishop Odo and Robert, Count of Mortain.

To strengthen the base of the Normans in Hastings, a motte was erected - a building similar to a castle. A messenger brings word of the arrival of Harold and his troops. Wilhelm clears the battlefield - he orders to burn several houses. On the right, a woman with a child escapes from a burning house.

WILHELM RIDES TO WAR
Scene 1. The morning of the battle is depicted, October 14, 1066. Wilhelm leaves Hastings and, fully equipped, is about to mount his horse. William's Norman cavalry rides towards Harold's English army. The meeting took place about 8 miles from the current shore where an abbey was later built.

Scene 2. Here Wilhelm is depicted twice: first on a dark horse at the head of his army. Then immediately to the right, he asks one of Odo Vital's associates if he has already noticed the enemy army.

Scene 3. The English side is now shown. The guard warns Harold about the approach of the Norman army. And the Normans are shown again: Wilhelm, with a mace in his hand, makes a speech to cheer up his soldiers, he encourages them to be brave and courageous.

BATTLE OF HASTINGS
Scene 1. The Normans attack and the Battle of Hastings begins. The fast pace of the French cavalry is defended by archers on foot

Scene 2 Arrows and lances fill the air, the warriors fall dead. The English side is on foot, the soldiers are armed with battle axes and lances, they defend themselves with a wall of shields. The Normans are advancing on both sides. The lower register of the carpet is filled with pictures of the bodies of dead and wounded soldiers.

Scene 3. Violence continues, people hack and stab each other to death. Both of Harold's brothers died in this battle.

Scene 4. The battle is shown in full swing: people and horses fall dead to the ground, the bottom row is littered with dead warriors and horses.

Mace in hand, Bishop Odo appears, brandishing his weapon and cheering his followers. Please note that the clergyman does not have a sword, but a mace, his dignity prohibits the shedding of human blood.

Scene 5. Wilhelm fell off his horse. But to show that he was alive, the duke raised the visor of his helmet and revealed his face. His warriors must see this, he encourages the soldiers to continue the battle. Count Eustace carries a decorated banner, possibly the same banner that the Pope gave to William as a token of support for his intention to invade England.

Scene 6. The Normans seem to be gaining the upper hand in the battle, but the battle is still going on. Many soldiers died, one was cut off his head. On the right is the most famous scene: the Normans killing King Harold. But how was he really killed? It seems that in this scene he was depicted twice: first he pulls an arrow from his eye, the second time he is defeated by a Norman knight. In this part, the carpet is very difficult to decipher, but the researchers agree that the scene of Harold's death is shown.

Scene 7. The battle ends with the death of the king. The victors pursue the surviving Anglo-Saxons.

The final scene of the carpet has not been preserved. Did it depict the coronation ceremony of William the Conqueror as king of England at Wenstminster? It is hardly possible to answer this, but this scene was perfect for the beginning of the story - the coronation of King Edward the Confessor, who established himself on the throne just two years before the events described.

The final scenes of the tapestry were restored in the 19th century and very crudely.

• GENERAL INFORMATION ABOUT THE BAYELO TAPESTRY

The Bayeux Carpet is not only an amazing work of art, it is also an invaluable historical document. Historians find many important details in it. Even after two hundred years of research, the meaning of many elements is not clear and scientists still have to work hard to decipher their true meaning.

In any textbook on the history of the Middle Ages, there are always illustrations of some part of the Bayeux carpet. There are even more of them in English, American, Scandinavian books than in French ones. The famous tapestry attracts not hundreds, but thousands of tourists every year, many books and countless articles have been written about it, but it has not been fully studied.

The tapestry has been talked about in comparatively recent sources. It was first mentioned in 1476 among the treasures of Bayeux Cathedral and nothing was known about it until the beginning of the 18th century. Therefore, the exact date of its manufacture is highly controversial. It was most likely woven shortly after the conquest of England by William of Normandy in 1066. It is possible that the tapestry appeared between 1070 and 1080. There is reason to believe that the tapestry was embroidered for the solemn illumination of the newly built cathedral in Bayeux.

It is certain that the work was done by English craftsmen, possibly from the County of Kent. Now no one will say whether women or men were engaged in its embroidery. But there is no doubt that these people were related to the temples of Canteberry. There is every reason to believe that Bishop Odo of Bayeux, half-brother of William the Conqueror, when he was the first Earl of Kent, commissioned and paid for the work. In the Middle Ages and until the French Revolution itself, the carpet was regularly hung in the cathedral in early July, to commemorate the events that are depicted on it.

During the Revolution, the city fathers managed to save the priceless tapestry. By decree of Napoleon, it was declared a national treasure and Bayeux was obliged to keep and take care of it. In the 19th century, the tapestry was restored several times. In 1982, careful research determined that the last few scenes of the carpet had been lost. Since 1983, it has been exhibited in the building of the former main diocesan seminary. Inspection of the tapestry is organized very competently - tourists are given audio guides in different languages, including Russian. The Russian text is excellent - the announcer narrates the events in a lively and interesting way, draws attention to the details that are numbered. Tourists move in the same direction without interfering with each other. Photo and video filming is prohibited, so no one stands in front of you with a camera and does not interfere with studying the carpet.

• THE TECHNICAL ASPECT OF THE BAYELO TAPESTRY

We emphasize once again that although this work is called a tapestry, it was by no means made by weavers, but by embroiderers. The carpet consists of eight wide linen strips of unequal length. The scenes are embroidered with woolen threads. The length of the carpet is about 70 meters, the width is about 50 cm. Later, all the work was sewn onto another linen, coarser in quality. This made it possible to number all the scenes, which was almost certainly done in the 18th century.

All scenes are embroidered with eight different colors of yarn. They stand quite high above the biscuit-colored background. The contours of the figures are underlined with a stalked stitch, they contrast with the even sections of the seam with a satin stitch. Despite the fact that the tapestry is over 900 years old, the threads have retained their original color! Only a few threads were pulled out of the tapestry, maybe in the Middle Ages, maybe later, but the seams and stitches are so clearly visible that you can trace the whole technique of work. The only scenes that have suffered the most from time are the scenes after Harold's death. They are not subject to restoration. Yes, and the scenes of the retreat of the British troops are considered a rather crude fake. No one can now say what was depicted in the final paintings, but it is clear that not much was lost at all.

Almost along its entire length, the tapestry is divided from top to bottom into three segments: the upper and lower parts are separated from the main central composition by an almost continuous line. They depict figures that are not related to the main narrative. It is still a mystery why they were placed on the carpet. It depicts mainly fantastic animals that are mentioned in Romanesque art (lions with raised tails, griffins, etc.), leaf ornaments, and various curls. In the first half of the carpet, the lower strip is occupied by live scenes, partly taken from the plots of ancient legends, but most often without any definite meaning.

Are there any parallels in these images with the main action? To this day, this has not been found. As the scenes of the main narrative become tense, the figures in the upper and lower strips complete the story, especially in the second part of the story: archers surrounding the cavalry, scattered bodies of the dead, marauders removing weapons and ammunition from the dead. At the top of the central strip is a commentary in Latin. The narrative is embroidered in capital letters, some of the main characters are named. This brief description of events is of no literary interest, but is one of the main sources for the history of the conquest and the events preceding it. The spelling of names and titles - for example, King Edward, the mystical Aelfgyva, the cities of Bayeux, Pevensey and Hastings, and finally the names of Harold's brothers - prove that the text was composed by an Englishman.

The sequence of events is shown in fairly modern ways - the action develops from one scene to another. The movement is conveyed by several images of almost identical figures - when the cavalry gallops or attacks, when the fleet crosses the English Channel. Throughout the tapestry in the background there is not a single image of the landscape, the only exception is Mount Saint-Michel. But contrasting colors, such as between the legs of horses, emphasize the idea of ​​perspective.

• THE AUTHORS OF THE BAYEUTO TAPESTRY

From the point of view of the authorship of the tapestry, three, or even four levels of performers should be named.
1. The person who commissioned this work was probably Bayeux Bishop Odo or Edo Conteville (1045-1096), half-brother (maternal brother) of William the Conqueror. On the tapestry itself, he is shown at least three times: blessing the food, when the Normans landed on the English coast, when the French were building their camp, and, most recently, at the climax of the battle. It is likely that he was also depicted, though not named, in the scene where Wilhelm receives word of Harold's coronation. It is known that Odo was a very strong personality, had a sharp mind, and appreciated art. He was more attracted to politics than the ministry of the church.
2. The author of the tapestry drawings was without a shadow of a doubt an Englishman. He was familiar with early works in the same technique, as well as with ancient manuscripts from the beginning of the 11th century, kept in Canterbury. Different approaches to the depiction of these events gave him complete freedom, and he did not fail to use them.
3. Whether the author of the drawings was also the author of the text is unknown, but almost certainly he was also an Englishman. This man clearly received an excellent education. Some of his figurative expressions are surprising and have a literary aspect, such as the speech of William the Conqueror during the battle.
4. And, finally, the embroiderers or embroiderers who completed the work. They spent long months at the meticulous work entrusted to them. The artel of ancient needle craftsmen worked so smoothly that it is impossible to distinguish sections made by different hands, it seems that the figures were embroidered by one person, which is impossible to even imagine.

It should be added that in the XVIII century there was a legend about the involvement of the wife of William the Conqueror, Queen Matilda, in the execution of the tapestry. The legend has no basis, Queen Matilda has nothing to do with the outstanding work of the ancient masters.

• THEME FROM BAYEUTO TAPESTRY

At first glance, the main theme of the tapestry was the Battle of Hastings and the death of King Harold of England. This plot was named the main one at the end of the 15th century, when the tapestry was discovered. But such a scene is absolutely unacceptable for a temple, and it would never be kept or exhibited in a cathedral! And if the main plot of the composition would really be the victory of the Normans, then why start the story from 1064?

In fact, the main idea of ​​the story has a deep religious meaning - it is a punishment for perjury, for the fact that a person did not keep his word given on holy relics, and the inevitable punishment of the guilty person for deception, shown in the sequence of events.

That is why, by all means, it was necessary to show the oath given by Harold on the holy relics. The narrative ends with the death of the perjurer, the punishment shows the power of the Almighty. Consequently, the moral aspect of the image prevails over the military and political. All the necessary scenes that help to understand the reasons for the invasion and the details of the battle itself are left without attention. We do not see any reason why William has the right to claim the English throne, nor the intrigues of the younger brother Harold Tostig, nor the coronation at Westminster on December 25, 1066. All this is known from other sources and is not reflected in any of the scenes of the tapestry.

But there is no reason to say that the tapestry does not glorify the victory of the Normans at Hastings and their leaders - William the Conqueror himself and his half-brothers - Bishop Odo and Count Robert. But at the same time, this is done surprisingly restrained: neither in the text nor in the illustrations, the English are humiliated by either a single word or a single action. The blame for the Lord's punishment lies entirely with Harold and this in no way reflects on their human qualities, no more than the aspirations of military prowess in battle, which is put on the same level with the courage of the Normans. “Here the English and French die together in battle,” says scene 53 of the tapestry. It is surprising that the winners are called "French", and not "Normans", as they always said north of the English Channel, and not "Normans", as all the authors of the duchy wrote.

• Bayeux Tapestry as a Historical Document

Unprecedented wealth is expressed, first of all, by a multitude of scenes - 626 figures, 202 horses, 41 ships, 37 buildings, and other details can be counted. There is also an amazing amount of detail about every aspect of life in the 11th century - weapons, clothing, horse harness, ship building, hunting and cooking scenes. It is impossible even to list all the details, let's focus on the most important ones.

First of all, in most cases, the artistic ideas of the carpet are taken from the point of view of the English side of the English Channel, where its creator worked. Except for some scenes, the author was not interested in the difference between the English and the Normans. On the battlefield, the warriors of both sides are dressed in the same chain mail (with trousers very convenient for the English infantry and completely useless for the Norman cavalry), they have the same helmets on their heads, they fight with the same swords and spears. At sea, English and Norman ships cannot be distinguished. However, at least in the early scenes, the English are depicted with long hair and mustaches, while the Normans are shaved, their hair cut to the level of the neck. In battle, the Normans are mostly archers, and Harold's Anglo-Danish guards are armed with the famous Viking battle axes.

It should be noted that the author, most likely, was an eyewitness to what was happening. Professional cavalrymen and horse breeders, in any case, take him for their own: he was a lover of horses and did not disregard any possible movement of the horse. Also, the creator of the tapestry was so well versed in ships and navigation, which has not yet been observed since the time of the ancient Greeks. He also knew a lot about the reliquaries in which holy relics were kept: one of them is shown in the scene of Harold's oath, this reliquary surprisingly resembles the only Scandinavian relic of that time. In addition, the author of the tapestry is familiar with knightly traditions and royal burial ceremonies. From this we deduce that he was a man of broad interests and had an undoubted talent for conveying in a few strokes (embroidery possibilities are limited) the essence of the plot, which he showed so vividly.

Many tapestry scenes, even those that are not directly related to the action, have been studied very carefully. Harold sets sail for Ponthieu after visiting a church in Bosham. This temple is depicted with a high and narrow arch.

This is the exact form of the arches of the Saxon churches, such arches still separate the nave and the choirs of the temples. Harold leaves the ship with a hawk in his hand - from the sources of the XII century it is known that he owned a book about the habits and breeding of hawks. During the siege of Dol, the fugitive descends from the watchtower on a rope.

The same method is described by the chronicler Orbderic Vital shortly after the siege of Antioch. When Dinan surrenders, Duke Conan gives the Normans the keys to the city, they seem huge.

Danish archaeologists have discovered similar keys. Here and there, buildings with arched roofs and buildings that look like an inverted ship hull appear - the existence of such houses is confirmed by the finds of Norwegian and English archaeologists.

Did the author convey events with chronological accuracy? I would like to ask him for clarification about the obvious fact - King Edward the Confessor is first shown on his deathbed, and on the next scene he is shown giving instructions to his entourage. Here the author applied inversion, why is not known. However, temporal relations are conveyed with different intensity: in some scenes, time passes slowly, the action is shown in detail, in others, on the contrary, the creator jumps from one temporal event to another very quickly, for example, what happened in 1065 is not shown at all. Many modern scholars have declared the tapestry's author guilty of flagrantly violating the sequence of events. But more careful research has shown that they are wrong.

• Bayeux Tapestry and Military History

Only a few documents have survived to this day, presenting such vivid pictures of such a large-scale military operation, including both weapons and combat tactics.

The carpet shows three types of ammunition: chain mail, helmets and shields. About two hundred horsemen, both English and Norman, are dressed in the same chain mail. They protect the body, the arms to the elbow or slightly lower, the legs are covered with something like chain mail trousers (although, in fact, the riders hardly wore such trousers). A removable plate is often shown on the chest. During the battle, the soldiers are wearing the so-called “mail cap” - a mesh that protects the neck. In a time when every ring and every connection was forged by hand, you can imagine how much a full armament cost.

All helmets were conical with a nose plate, but the helmet lacked neck protection. Most shields are oval or almond-shaped with the point down. The shields, most likely wooden, are covered with leather. Shields have different colors. Those that belong to the commanders have distinctive signs. Several English infantrymen are depicted with round shields.

Of the weapons on the tapestry, a sword is shown - long and double-edged; pike, it is put under the arm and thus the rider can use it in a frontal attack (one of the earliest references to such use of the pike on the Bayeux tapestry) or when the hand is raised like a javelin; a Viking battle ax is also depicted, Harold's bodyguards swinging it with both hands.

Archers are armed with rather short bows and this is their only weapon. The quiver is fixed either on the shoulder or on the belt. Several nobles are shown with clubs or maces, such as Bishop Bayeux Odo, as mentioned above, a clergyman cannot shed blood, and Duke Wilhelm.

Of interest and horse harness. The horses are wearing heavy saddles, the rider sits firmly and securely in them, the body is fixed both in front and behind: stirrups descend from the saddle, they were a new invention of the West. In this position, the rider could withstand the blow of the enemy's lance, while not being too at risk of being knocked over from the saddle. In those days everyone wore spurs.

The English usually fought on foot, even if Harold himself was on horseback. The Normans struck the main blow with heavy cavalry. But the tactics of the beginning of the battle can hardly be called Scandinavian: first, a detachment of archers stepped forward, which retreated immediately after the main forces entered. In battle, commanders can be recognized by their standard, which is held by the retinue surrounding him. Undoubtedly, Wilhelm's banner has the image of a cross, because he received the blessing of the Pope. Harold's standard depicts a beast like a dragon, probably carved from a sheet of bronze, exactly the same are found in Norway and are used as weathercocks on the roofs of churches.

It is worth noting that the tapestry also serves as the main source of the history of the fortifications of some areas and cities: Brittany, Bayeux and Hastings. Castles are built of wood and are located on mounds: they are fundamental for the Normans in the 11th century, but hardly existed in England at the time of Edward the Confessor.

• Bayeux Tapestry and the History of the Navy

From this point of view, the tapestry has been studied most carefully. Without this, many aspects of the construction and use of the naves (esnèques) would have remained unknown. Esnèque - (from the Scandinavian snekkja) - in the 11th - 12th centuries in Normandy, the boats used by the Vikings were called so. Until now, archaeologists have not found a single beast like a dragon that adorns the prows of these ships. And although many sources mention such decorations, they can only be seen on the Bayeux tapestry. In the same way, illustrations of sails and other equipment of ships are found only on fuzzy images on columns in the Swedish islands of Gotland and date back to the 8th-9th centuries.

All ships on the tapestry are of the same Scandinavian type, with a few exceptions. They come from the same type of Viking ships found in Norwegian royal burials or found during archeological digs in the Danish fjords. This type of ship dominated all of northern Europe from the 8th to the 12th century. They were adapted for military needs, or for transporting people and goods. They made them of their wood, the boards were not fitted “end-to-end”, but with an overlap, the keel was empty. The ships were distinguished by a rather low bulwark with holes for oars, the last oars could be removed. On such boats there was neither a deck nor a hold. Their draft was quite shallow, such ships did not need a harbor: the crew simply dragged the ship to the shore, the mast was removed. The ships were large enough, moved by sails. The sail was one, more triangular in shape than rectangular, attached below to the central mast. These boats could also move with the help of rowers, but there are no rowing scenes on the tapestry.

These ships were quite reliable and served for a long time, they were distinguished by maneuverability, but were extremely inconvenient. The Bayeux Tapestry does not answer the question of how many people such a ship could accommodate, but Scandinavian sources say that 30-40 people could sit on an ordinary ship. Therefore, one can imagine that in the campaign of 1066 the entire fleet consisted of several hundred ships.

Horses, apparently, were loaded on wide gangways made of logs, this can be seen on the tapestry, the Vikings knew this technology. It was perfected in Normandy during the campaign against Sicily in 1060 and became one of the decisive reasons for the success of William the Conqueror.

In conclusion, we attach a video recording of the animation of the tapestry. Some scenes of the tapestry are omitted, but the video gives a great insight into the events depicted on the tapestry.

Usually, the museum is open daily, but sometimes it is closed for restoration.
In 2014, it is closed from 6 to 31 January. It is also closed from 24 to 26 December 2014.
The museum closes every year at 12:30 pm on 31 December and opens at 2 pm on 2 January.
On other days it is open:
From March 15 to November 15 - from 9 to 17.45, from May to August - until 18.15.

From November 16 to March 14, the museum is open from 9.30 to 11.45 and from 14.00 to 17.15.
Link to the museum's schedule page.

The authors of the article traveled around France by car, the destination was set in the navigator - the center of the city of Bayeux. Address: Musée de la Tapisserie de Bayeux Center Guillaume le Conquerant 13 bis rue Nesmond.
Attached is a link to the Google map of the museum.

On our website you can get acquainted with another unusual work of weaving - the Carpet of the Apocalypse

When visiting elite art exhibitions or original gift shops, the first thing that catches your eye, despite the huge rich assortment, is, of course, the sophistication and beauty of tapestry paintings.

The professional performance and variety of subjects of these works delight both art aesthetes and ordinary people who are indifferent to the elements of interior decoration. Today, tapestry paintings are very popular, as they are presented in various stylistic directions.

On them you can see colorful landscapes, religious scenes, realistic still lifes, reproductions of paintings by famous artists - from classical themes to modern design trends.

If you are going to buy a tapestry painting, then you are making the right choice, because with the purchase of this wonderful product, your interior will be distinguished by special sophistication and individuality. The picture will be the finishing touch of the decor. But in order for it to be combined with the interior, its content and features of the room in which it will be located should be taken into account. For example, landscapes with images of cities are neutral, so they can be placed in any room. With still lifes, the situation is different: it is more appropriate to place them in the kitchen or in the dining room than in the bedrooms. Portraits, reproductions of paintings by artists and religious subjects are ideal for decorating the interior of halls, living rooms and bedrooms.

Pictures from tapestry fabric pleasantly surprise with a variety of sizes. Thanks to this, you will be able to choose a picture of the size that is ideal for placement in your room. For such complex sections of walls as niches and narrow walls that are problematic to decorate, vertical tapestry paintings are perfect. Long and narrow horizontal paintings fit perfectly into the free space above the sofa.

Tapestry without frames (without baguette)

Paintings made from tapestry fabric can be purchased in a baguette or without a frame. A tapestry without a baguette is also called a "coupon". What are its benefits? The finished frame may not match your taste or interior design. Therefore, the coupon does not limit you, since you can purchase absolutely any baguette or use your imagination and frame the picture yourself. To do this, you just need to contact the framing workshop, where they will help you choose from hundreds of baguette options exactly the one from which the frame will best match the plot of the picture, interior design and your financial capabilities.

The tapestry coupon is also very convenient for transportation or shipment. It can be easily rolled up and packed, so sending such a tapestry to its destination or taking it with you on a trip as a gift is not a problem. But a picture framed is much more difficult and somewhat problematic to transport.

Tapestry for embroidery with ribbons

Tapestry without frames has another advantage: it is very convenient for creative activities, for example, embroidery with ribbons. You can independently create a unique work of art, or reproduce the plots of domestic and foreign artists such as Goryachev, Dandorf, Weber, Kruger and many others.

With a tapestry for embroidery with ribbons, you will spend your free time with benefit, realizing your creative potential and revealing the secret corners of your imagination. And the product created by your hands will decorate the interior of the house, causing admiration of family members and guests. Be sure to try to do this needlework, perhaps you have a huge talent that you were not aware of before.

Where to buy tapestry paintings in Moscow?

The Literi online store offers a wide selection of tapestry fabric paintings that are perfect not only as an exquisite detail of interior decoration, but also as an original gift to family members, relatives, friends, work colleagues and managers. It is much more profitable to buy tapestry paintings in Moscow from us, unlike many other stores, since we set reasonable prices for this exclusive product.

You can find out the information you are interested in and place an order by phone: 8 495 212 13 80.