1066 - Andrew Bridgeford [140]
18 Bridgeford, 'Was Count Eustace the Patron?'.
18 Turold the Dwarf
1 For the contention that it is the adjacent knight, not the dwarf, who is the Turold, see Lejeune, 'Turold dans la tapisserie de Bayeux'.
2 This is suggested by Bennett, 'Encore Turold dans la tapisserie de Bayeux'. If the knight is also called Turold, a prime candidate would be Turold of Rochester, another knight of Bishop Odo with land in Kent. He was also accused of encroachments by Archbishop Lanfranc. But the name was common.
3 For the view that Turold is not a dwarf, see Bennett, 'Encore Turold dans la tapisserie de Bayeux'.
4 I am grateful for information in this respect to Dr S. Pavan.
5 Keats-Rohan, Domesday People, pp. 430-32.
6 Adigard des Gautries, Les Noms des personnes scandinaves en Norm-andie de 911 a 1066, pp. 171-3 and 342-7.
7 Wilson, Bayeux Tapestry, p. 176, alludes to this theory. Whether the dwarf is Turold and whether the dwarf designed the tapestry are clearly two different questions but they seem to be conflated by Gibbs-Smith in Stenton (ed.), Bayeux Tapestry, p. 165.
8 J. J. G. Alexander, Medieval Illuminators and Their Methods of Work, pp. 9-16.
9 Ibid., pp. 12-16.
10 Rita Lejeune (herself a noted scholar of the Chanson de Roland), 'Turold dans la tapisserie de Bayeux'. Lejeune, however, thought that the name Turold did not apply to the dwarf-jongleur.
11 Faral, Les Jongleurs en France au Moyen Age.
12 Domesday Book, p. 92. The land of Adelina Joculatrix lay in Upper Catford; Domesday People, p. 124.
13 Domesday Book, p. 445 (Berdic joculator regis).
14 Lomenec'h, Chantres et menestrels a la cour de Bretagne, p. 24.
15 The suggestion that the jongleur accompanied the two Norman knights is made by Lejeune, 'Turold dans la tapisserie de Bayeux', but it simply does not conform to what we see in the tapestry.
16 For Count Guy's family connections, Carmen, introduction. For monkish opinion of him, Hariulf, Chronique de Saint-Riquier, p. 250; William of Malmesbury, Gesta Regum Anglorum, p. 419.
17 For medieval dwarfs generally, Johnson, 'Medieval German Dwarfs'; Harward, The Dwarfs of Arthurian Romance and Celtic Myth; Ver-chere, 'Peripherie et croisement'.
18 Johnson, 'Medieval German Dwarfs', p. 212. Johnson's statement that William the Conqueror had a dwarf and that dwarfs held horses in state processions may be a confusion based upon Turold in the Bayeux Tapestry.
19 Runciman, History of the Crusades, III, p. 93.
20 Orderic Vitalis, Ecclesiastical History, III, p. 319.
21 Hariulf, Chronique de Saint-Riquier, p. 149.
22 Song of Roland, tr. Burgess.
23 Le Gentil, La Chanson de Roland, chapter 3. There is much debate as to whether the poem is the result of successive versions over a long period of time or the product of a single poet. Burgess, Song of Roland, p. 14, concludes: 'My own preference is to see Turoldus as the author, relating his own version of a heroic poem which would have existed in a variety of earlier states.'
24 Moignet, La Chanson de Roland, p. 16.
25 Some specialists (but not all) consider this subsequent episode to be the work of another poet.
26 For example, Maclagan, Bayeux Tapestry, p. 25; S. R. Brown, 'The Bayeux Tapestry and the Song of Roland'. It is often also said that Taillefer, a 'Norman' knight, sang the Chanson de Roland as the Normans advanced at Hastings. A jongleur called Taillefer is mentioned juggling with his sword by the Carmen but there is no mention of him singing the Roland. William of Malmesbury (Gesta Regum Anglorum, 1120s) states that the Normans sang of Roland and Charlemagne as they advanced but does not mention any Taillefer. In the 1160s Wace amalgamated the two traditions. The earliest surviving version of the Roland refers obliquely to the Norman victory (and certain later events) and, therefore, this cannot have been sung