Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

2 results

  • II.1 - The Battle of Hastings and Its Aftermath

  • from Eleventh Century
  • Edited with Introduction and Notes by Carolinne White, University of Oxford
  • Preface by Catherine Conybeare, Bryn Mawr College, Pennsylvania
  • Book:
    The Cambridge Anthology of British Medieval Latin
    Published online:
    11 January 2024
    Print publication:
    01 February 2024, pp 33-43

  • Summary

    In the section on the Battle of Hastings of 1066, the first event in the Norman Conquest of Britain, an excerpt is given of the Latin text accompanying the embroidered pictures on the Bayeux tapestry. Then excerpts are given from the early twelfth-century accounts by William of Malmesbury of the Battle itself, and by Orderic Vitalis of the aftermath of the battle, in the following years of violence against the population in the rest of the country, including Northumbria and Cumbria.

The Invention of Norman Visual Culture
  • Art, Politics, and Dynastic Ambition
  • Lisa Reilly
  • Published online:
    09 January 2020
    Print publication:
    20 February 2020
  • In this book, Lisa Reilly establishes a new interpretive paradigm for the eleventh and twelfth-century art and architecture of the Norman world in France, England, and Sicily. Traditionally, scholars have considered iconic works like the Cappella Palatina and the Bayeux Embroidery in a geographically piecemeal fashion that prevents us from seeing their full significance. Here, Reilly examines these works individually and within the larger context of a connected Norman world. Just as Rollo founded the Normandy 'of different nationalities', the Normans created a visual culture that relied on an assemblage of forms. To the modern eye, these works are perceived as culturally diverse. As Reilly demonstrates, the multiple sources for Norman visual culture served to expand their meaning. Norman artworks represented the cultural mix of each locale, and the triumph of Norman rule, not just as a military victory but as a legitimate succession, and often as the return of true Christian rule.