The cloth 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 (49.2744°N 0.7003°W).
The designs on the Bayeux Tapestry are embroidered rather than woven, so that it is not technically a tapestry. Nevertheless, it has always been referred to as a tapestry until recent years when the name 'Bayeux Embroidery' has gained ground among certain art historians. It can be seen as a rare example of secular Romanesque art. Tapestries adorned both churches and wealthy houses in Medieval Western Europe, though at 0.5 by 68.38 metres (1.6 by 224.3 ft, and apparently incomplete) the Bayeux Tapestry is 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 large areas.
On 18 January 2018, French President Emmanuel Macron announced that the Bayeux Tapestry would be loaned to Britain for public display. It is expected to be exhibited at the British Museum in London, but not before 2020. It will be the first time that it has left France in 950 years.
Mr. William Shakespeare's Comedies, Histories, & Tragedies is the 1623 published collection of William Shakespeare's plays. Modern scholars commonly refer to it as the First Folio. The First Folio is considered one of the most influential books ever published in the English language.
The contents of the First Folio were compiled by John Heminges and Henry Condell; the members of the Stationers Company who published the book were the booksellers Edward Blount and the father/son team of William and Isaac Jaggard. William Jaggard has seemed an odd choice by the King's Men because he had published the questionable collection The Passionate Pilgrim as Shakespeare's, and in 1619 had printed new editions of 10 Shakespearean quartos to which he did not have clear rights, some with false dates and title pages (the False Folio affair). Indeed, his contemporary Thomas Heywood, whose poetry Jaggard had pirated and misattributed to Shakespeare, specifically reports that Shakespeare was 'much offended with M. Jaggard (that altogether unknown to him) presumed to make so bold with his name.'
Some Shakespeare directors and theatre companies producing Shakespeare believe that while modern editions of Shakespeare's plays, which are heavily edited and changed, are more readable, they remove possible actor cues found in the Folio, such as capitalization, different punctuation and even the changing or removal of whole words. Among the theatre companies that have based their production approach upon use of the First Folio was the Riverside Shakespeare Company, which, in the early 1980s, began a studied approach to their stage productions relying upon the First Folio as their textual guide. In the 1990s, the First Folio was reissued in a paperback format more accessible to the general public.
The Sutton Hoo helmet is a decorated Anglo-Saxon helmet which was discovered during the 1939 excavation of the Sutton Hoo ship-burial. It was buried around 625 and is widely believed to have been the helmet of King Raedwald of East Anglia, and its elaborate decoration may have given it a secondary function akin to a crown. The helmet is 'the most iconic object' from 'one of the most spectacular archaeological discoveries ever made,' and one of the most important Anglo-Saxon artefacts ever found. Its visage features eyebrows, nose, and moustache, creating the image of a man joined by a dragon's head to become a soaring dragon with outstretched wings. It has become a symbol of the Dark Ages and also 'of Archaeology in general.' It was excavated as hundreds of rusted fragments, and was first displayed following an initial reconstruction in 1945-46, and then in its present form after a second reconstruction in 1970-71.
The 1971 reconstruction of the Sutton Hoo helmet was widely celebrated, and in the five decades since it has come to symbolise the Middle Ages, archaeology, and England. It is depicted on the covers of novels, textbooks, and scholarly publications, such as The Winter King by Bernard Cornwell and The Anglo-Saxons by James Campbell, and has influenced artists, filmmakers and designers. At the same time, the helmet has become the face of a time once known as the Dark Ages, but now recognised for its sophistication in part because of the finds from Sutton Hoo and referred to as the Middle Ages. It gives truth to a period of time known from depictions of warriors and mead halls in Beowulf, once thought fanciful, and personifies the Anglo-Saxons in post-Roman Britain. Considered 'the most iconic object' from an archaeological find hailed as the 'British Tutankhamen,' in 2006 it was voted one of the 100 cultural icons of England alongside the Queen's head stamp, the double-decker bus, and the cup of tea.
The best known relic associated with Offa's time is Offa's Dyke, a great earthen barrier that runs approximately along the border between England and Wales. It is mentioned by the monk Asser in his biography of Alfred the Great: 'a certain vigorous king called Offa ... had a great dyke built between Wales and Mercia from sea to sea'. The dyke has not been dated by archaeological methods, but most historians find no reason to doubt Asser's attribution. Early names for the dyke in both Welsh and English also support the attribution to Offa. Despite Asser's comment that the dyke ran 'from sea to sea', it is now thought that the original structure only covered about two-thirds of the length of the border: in the north it ends near Llanfynydd, less than five miles (8 km) from the coast, while in the south it stops at Rushock Hill, near Kington in Herefordshire, less than fifty miles (80 km) from the Bristol Channel. The total length of this section is about 64 miles (103 km). Other earthworks exist along the Welsh border, of which Wat's Dyke is one of the largest, but it is not possible to date them relative to each other and so it cannot be determined whether Offa's Dyke was a copy of or the inspiration for Wat's Dyke.
The construction of the dyke suggests that it was built to create an effective barrier and to command views into Wales. This implies that the Mercians who built it were free to choose the best location for the dyke. There are settlements to the west of the dyke that have names that imply they were English by the 8th century, so it may be that in choosing the location of the barrier the Mercians were consciously surrendering some territory to the native Britons. Alternatively it may be that these settlements had already been retaken by the Welsh, implying a defensive role for the barrier. The effort and expense that must have gone into building the dyke are impressive, and suggest that the king who had it built (whether Offa or someone else) had considerable resources at his disposal. Other substantial construction projects of a similar date do exist, however, such as Wat's Dyke and Danevirke, in what is now Germany as well as such sites as Stonehenge from millennia earlier. The dyke can be regarded in the light of these counterparts as the largest and most recent great construction of the preliterate inhabitants of Britain.