​Earlier this month online members were treated to a fascinating illustrated talk about a truly local textiles project.  Nik Ravenscroft is an experienced teacher and embroiderer, and coordinator of the making of the new ‘Bayeux-style’ narrative hanging which has been commissioned by the Friends of the Norwich Museums as part of the ‘Royal Palace Reborn’ project at Norwich Castle. Over the past few years, with the support of the Heritage Lottery Fund, a massive project has been taking place to restore the Victorian museum in the castle keep to its original state as a twelfth century palace, complete with furnishings.  In her talk, Nik gave us a wonderful insight into the subject matter of the tapestry and the practical issues her team have had to overcome in creating this amazing artefact.

Nik explained that although we are all aware that the Bayeux tapestry is NOT a tapestry in our sense of the word, but an embroidery, the original French word ‘tapisserie’ referred to any fabric wall covering, or even wallpaper, and that for this reason she does refer to their work as a tapestry.  After stressing the importance of textiles in medieval buildings in evoking a sense of wealth and power, as well as providing warmth and comfort, she asked us to consider the part played by pieces like this in reinforcing the impression of the power held by their owners, and said that this was clear in the choice and slant of the subjects they depicted.  

​The new tapestry at the castle will tell two stories of events in the East of England following the Norman Conquest: that of Hereward the Wake’s uprising, and that of the Revolt of the Three Earls.  Both of these events were rebellions against the new Norman rulers, and both are shown as ending in William I’s victory and assertion of his authority over the East.  Nik said that although there was conflicting evidence about exactly what happened to Hereward after his surrender to William, it had been decided that in a Norman castle, it was certain that an outcome most flattering to the Norman king would have been portrayed! 

Further details of these two stories and beautiful pictures of the scenes from the tapestry linked the events described can be found on the Norwich Castle website here:
A Story in Stitch: Hereward the Wake – Norwich Castle Museum & Art Gallery
A Story in Stitch: The Revolt of the Three Earls – Norwich Castle Museum & Art Gallery
​

​Nik then told us in detail about the evolution of the work on the tapestries.  The idea was originally conceived by Tim Pestell, Senior Curator for Archaeology at Norfolk Museums Service, and began in 2017.  It has been undertaken by a team of volunteers, some of whom had little or no previous embroidery experience, and Nik has not only led their training but has also been responsible for researching the materials and approaches to be used.  The team were anxious to keep their work as authentic and accurate as possible, and also to achieve the highest possible standards of needlework.  This has involved a great deal of reading and then practical research, and Nik’s close-up photographs of the numerous samples created in deciding how best to create the tapestry were wonderful; they showed clearly how the evolution of the work was refined by a long process of trial and error.  

​I was particularly impressed by the ways in which such a variety of effects could be created by the thoughtful use of just two basic stitches, as in the Bayeux tapestry.  Nik showed in close detail how the direction of the couching in the Bayeux stitch could be manipulated to create a sense of movement in the body of an animal, or to make a jointed arm look more natural, and this really made me want to return to the detail of the stitching of both the original Bayeux tapestry and the new Norwich work to see how such life has been brought to them.  Nik stressed that although the new tapestry will be adorning the walls in the renovated King’s chamber, numerous digital photographs have been made of it that will be available at ground level to enable visitors to get a really close look at any detail they wish to examine. 

​I think that what has stayed with me from this talk is once again the many ways in which textile projects such as this not only reflect, but also create community.  From the start, this endeavour involved a group of people of vastly differing experience, and brought them together in a joint undertaking that clearly created a strong camaraderie amongst them.  Nik said herself that she was surprised by how quickly working together and sharing their ideas created a uniformity in their stitching that brought the whole piece together very effectively, and it is obvious that their shared hard work and sense of achievement will be something that will stay with them.  They have also made every effort to involve more members of the wider community in their work, taking the tapestry out to be seen and shared at many local events, inviting people to add a stitch or a motif, insisting that museum staff and others involved in the castle project also ‘make their mark’.  And of course, it will soon hang in the King’s Chamber in the Castle Keep, where two stories from our own local history will be seen and recalled again by many people through its medium.  What a very fitting and beautiful way to show and celebrate the way that our lives are interwoven with the past.  I for one cannot wait to see it.