The Alderney Bayeux Tapestry

The famous Bayeux Tapestry ends with the defeat of King Harold's army and the flight of the Anglo-Saxon soldiers. However, most scholars believe that the original tapestry would have ended with the coronation of William the Conqueror. 

Now, a community project from the British island of Alderney has recreated the missing piece of the Bayeux Tapestry. It depicts several scenes that they believe would have been in the original tapestry, including a scene where William is crowned on Christmas Day, 1066. 

Professor Robert Bartlett of the University of St.Andrews tells the BBC: "It has often been pointed out that the opening of the tapestry has a figure of King Edward the Confessor enthroned, and that around the middle point of the tapestry there is an image of William's enemy Harold enthroned.

"It would be a neat symmetry and make perfect sense of the story if the end of the tapestry had showed the victorious William enthroned, which is what the Alderney team have chosen to do. The other 'new' scenes are more speculative, but they are modelled on scenes earlier in the tapestry so look convincing."

The recreation is now being displayed next to the original at the Bayeux Tapestry Museum in France - the exhibition will run until August 31st.

For the full story, please visit the BBC or the Daily Mail.

Click here to visit the Alderney Bayeux Tapestry Project website

Click here to see more photos of the Bayeux Tapestry recreation

Here is a video report about the project from last year:

Andy Wilkinson has recreated a miniature version of the Bayeux Tapestry - the eleventh-century embroidery that depicts William the Conqueror's invasion of England and victory at the Battle of Hastings.  It took him 18 years to sew the 40 foot-long replica and he estimates that he spent about 10,000 hours to complete it.

In an article in the Daily Mail, Mr. Wilkinson explains, "I work a lot of night shifts and used to come home and find myself with not a lot to do for a few hours. I had seen a copied section of the tapestry at a medieval fair and thought that if they can do that so can I.

"Having never done a tapestry before, I came home and found a picture and just started to draw and sew. I had no formal training in sewing or drawing. I just drew the outlines of figures and animals like the horses onto a piece of calico material and then just stitched it."

This version of the Bayeux Tapestry depicts the portion of the Battle of Hastings. It will be going on display at Battle Abbey, the site of the battle that was fought in 1066.



Click here to visit the Battle Abbey website

Click here to learn more about the Bayeux Tapestry

A long-delayed restoration of the Colosseum's only intact internal passageway has yielded ancient traces of red, black, green and blue frescoes � as well as graffiti and drawings of phallic symbols � indicating that the arena where gladiators fought was far more colorful than previously thought. 

Officials unveiled the discoveries Friday and said the passageway � between the second and third levels of the first century Colosseum � would open to the public starting this summer, after the 80,000 euro restoration is completed.

 The frescoes were hidden under decades of calcified rock and grime, and were revealed during a cleaning and restoration project over the last two months. The traces confirmed that while the Colosseum today is a fairly monochrome gray travertine rock, red brick and moss-covered marble, in its day its interior halls were a rich and expensive Technicolor.

 "We're used to thinking that during excavations, archaeological surprises are a risk for builders and for the city's development," Rome archaeological heritage superintendent Mariarosaria Barbera said. "But here is a beautiful archaeological surprise ... a monument that has been studied and known and appreciated across the world, yet still provides surprises."

Click here to read the full article from the Huffington Post

The anonymous 16th-century painter who recorded a scene of everyday life at the king�s fountain (Chafariz d�El Rei) in Lisbon depicted an impressive range of people and animals. In addition to a swan, a seal, fish, horses, dogs and birds, the artist also included more than 150 human figures. There�s so much going on in the busy scene along Lisbon�s port that Joaneath Spicer, the James A. Murnaghan Curator of Renaissance and Baroque Art at the Walters Art Museum in Baltimore, can be forgiven for initially overlooking an important detail. Only after she had finished working on the exhibition catalog did Spicer notice how many Jews appeared in the work.

The artist depicted at least half a dozen Jewish men � the women�s religious identities are more difficult to discern � including two Jewish policemen hauling away a black man who appears, according to the wall text, to be �drunk and sheepish.� The latter figure and several other Africans explain the painting�s appearance in the exhibit �Revealing the African Presence in Renaissance Europe,� which is at the Walters through January 21. It subsequently travels to the Princeton University Art Museum, where it will be shown from February 16 to June 9.


�I was really unaware of the presence of so many Jews in this painting until I began to blow up details of a photo in preparation for installing the work,� says Spicer, who recognized the Jewish figures from research she conducted for a 1996 article, �The Star of David and Jewish Culture in Prague around 1600,� which appeared in The Journal of the Walters Art Gallery. �This is the only image I know of � certainly painting from this period that purports to show Jews from life.�

Click here tor read this article from the Jewish Daily Forward

A 500-year-old gold reliquary, beautifully engraved with the names of the Magi and images of Christ and St Helena, which was found by a four-year-old playing with his father's metal detector, has gone on display for the first time at the British Museum.

It would once have been brilliantly coloured, with enamel work filling in the letters and decoration, and may once have contained a relic of the cross. It probably dropped from the neck of some wealthy and pious person, and lay undiscovered in the field for half a millennium.

Click here to read this article from The Guardian

Art Historians and scientists from the University of Glasgow have completed an international research project to trace the origins of four previously misattributed paintings.

The two year study which was funded by the European Culture Fund and the British Academy traced the paintings, which were previously thought to be by Hieronymus Bosch and Pieter Bruegel the Elder, back to workshops in 16th-century Antwerp.


The project, entitled �Bosch and Bruegel: Four paintings magnified�, involved the collaboration of conservators, conservation scientists and art historians from around Europe. Researchers used state of the art infra-red imaging, X-radiography, dendrochronology, pigment and binding-medium analysis to investigate the works, which all depict Christ driving the Traders from the Temple.

The groundbreaking technology used on the project gave the team a rare glimpse inside the artist�s studio of the era by allowing the experts to look through the layers of paint to see the secrets of composition. This close analysis yielded a greater understanding of materials, techniques and studio practice of the time.

Dr Erma Hermens, Senior Lecturer in Technical Art History, who led the project at the University of Glasgow, said: �Dr Erma Hermens, Senior Lecturer in Technical Art History, who led the project at the University of Glasgow, said: �The theme of Christ driving the Traders from the Temple was popular in the 16th-century merchant and bankers' city of Antwerp and works by Bruegel and Bosch were widely admired, imitated, copied and faked.

�This unique interdisciplinary and international research project made full use of the University of Glasgow's state of the art scientific research facilities, its unique strength in technical art history, and collaboration with colleagues from Copenhagen and Tallinn, to unlock  the many secrets in this intriguing story of the making and meaning of these four paintings, and what a great story it is.�

Councillor Archie Graham, Chair of Glasgow Life said: �Everyone loves a good detective story, especially one with such an international flavour. Working with other international museum organisations on this world class research project and using state of the art techniques, many of the mysteries of this painting are revealed in this exhibition at Kelvingrove Art Gallery and Museum. The exhibition represents a detailed examination of the most up to date methods there are of learning even more about objects in Glasgow�s collection.�

The findings are showcased in a book �On the Trail of Bosch and Bruegel: Four paintings under cross-examination�, and a multimedia exhibition, �Art Detectives: Investigating Bosch and Bruegel�, organised together with Glasgow Museums, which will open in the Kelvingrove Museum on Thursday 22 November 2012, following exhibitions in Tallinn and Copenhagen.

The research used specialist technical art history facilities in Denmark, Estonia and Scotland, including Scanning Electron-Energy Dispersive X-ray Microanalysis at the University of Glasgow�s Imaging Spectroscopy and Analysis Centre (ISAAC).

See more at Four Paintings Magnified

Source: University of Glasgow