Queen of the Conqueror: The Life of Matilda, Wife of William I by Tracy Joanne Borman Page B
Authors: Tracy Joanne Borman
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active she was in this sphere. Domesday also holds a rare clue to the identity of one of Matilda’s daughters, and as such it has shed much-needed light on a subject that still confounds historians today.
As well as the documentary material, there is a rich background of architectural evidence—from the magnificent abbeys that Matilda and William commissioned at Caen and Rouen to their lavish ducal palaces at Falaise, Bayeux, Bonneville-sur-Touques, and Fécamp and the Conqueror’s imposing fortresses in England, notably the Tower of London and Windsor Castle. Other physical remains help to bring the narrative to life. These include the statues and frescoes representing Matilda and her husband that adorned the walls of cathedrals and abbeys across France, her remarkably preserved tomb at Caen, and—most famously—theunique record of the Bayeux Tapestry, which was for many years believed to be the work of Matilda and her ladies.
The making of the tapestry has in some respects served as a model for the compilation of this biography. On their own, the various threads of evidence have at first appeared fragile and insubstantial, but when carefully and painstakingly bound together, they present a rich and illuminating picture of one of the most remarkable women in history.
To Eleanor, with love
ACKNOWLEDGMENTS
I t is no exaggeration to say that this book could not have been written without the unstinting support of my parents, John and Joan Borman. Between them, they have clocked up so many miles on the East Coast Railway that they deserve shares in the company. My mother in particular has spent many days looking after my daughter in order for me to be able to visit the British Library and other places necessary for research. I am deeply grateful for her kindness, and that of my father, who made regular trips to the London Library on my behalf. I have also been lucky enough to have the support and encouragement of my sister, Jayne, her husband, Rick, and their two lovely daughters, Olivia and Neve.
This book has been greatly enhanced by the dedication and expertise of my publishers. In particular, I would like to thank my editors at Jonathan Cape and Bantam Dell, Alex Bowler, Jessica Waters, and Tracy Devine, for their invaluable insight and meticulous attention to detail. I am also delighted to have been supported by my wonderful publicists Hannah Ross and Lisa Barnes, and I am grateful to Steven Messer for his excellent detective work with the picture research and to Tom Avery for seeing the book through to completion. My agent, Julian Alexander, has—as ever—supported me throughout with his sage advice, patience, and humor.
I have been very fortunate to have had the help and encouragementof my friend and fellow historian Alison Weir, who generously shared her research notes on Matilda with me, as well as her extensive collection of images. I would also like to thank Nicola Tallis for her valuable insights into the castles and abbeys of Normandy that are connected with Matilda’s history. Sincere thanks are also due to Julian Humphrys for sharing his expertise on eleventh-century warfare and for assisting with translations.
My colleagues at the Sandford Award have continued to encourage my writing career, and I am particularly grateful to Jean MacIntyre, John Hamer, and Gareth Fitzpatrick. I also owe an enormous debt of gratitude to the staff at Historic Royal Palaces with whom I have been lucky enough to work, notably Michael Day, John Barnes, David Souden, Ruth Gill, Rhiannon Goddard, and Sam Brown. I would also like to express my thanks to Dr. David Musgrove, editor of BBC History Magazine , and Hugh Alexander of the National Archives.
In a short acknowledgments section such as this, I cannot possibly do justice to the many kindnesses that I have received from the friends who contributed—in different ways—to the crafting of this book. They include Honor Gay, for her infectious enthusiasm about the book
As well as the documentary material, there is a rich background of architectural evidence—from the magnificent abbeys that Matilda and William commissioned at Caen and Rouen to their lavish ducal palaces at Falaise, Bayeux, Bonneville-sur-Touques, and Fécamp and the Conqueror’s imposing fortresses in England, notably the Tower of London and Windsor Castle. Other physical remains help to bring the narrative to life. These include the statues and frescoes representing Matilda and her husband that adorned the walls of cathedrals and abbeys across France, her remarkably preserved tomb at Caen, and—most famously—theunique record of the Bayeux Tapestry, which was for many years believed to be the work of Matilda and her ladies.
The making of the tapestry has in some respects served as a model for the compilation of this biography. On their own, the various threads of evidence have at first appeared fragile and insubstantial, but when carefully and painstakingly bound together, they present a rich and illuminating picture of one of the most remarkable women in history.
To Eleanor, with love
ACKNOWLEDGMENTS
I t is no exaggeration to say that this book could not have been written without the unstinting support of my parents, John and Joan Borman. Between them, they have clocked up so many miles on the East Coast Railway that they deserve shares in the company. My mother in particular has spent many days looking after my daughter in order for me to be able to visit the British Library and other places necessary for research. I am deeply grateful for her kindness, and that of my father, who made regular trips to the London Library on my behalf. I have also been lucky enough to have the support and encouragement of my sister, Jayne, her husband, Rick, and their two lovely daughters, Olivia and Neve.
This book has been greatly enhanced by the dedication and expertise of my publishers. In particular, I would like to thank my editors at Jonathan Cape and Bantam Dell, Alex Bowler, Jessica Waters, and Tracy Devine, for their invaluable insight and meticulous attention to detail. I am also delighted to have been supported by my wonderful publicists Hannah Ross and Lisa Barnes, and I am grateful to Steven Messer for his excellent detective work with the picture research and to Tom Avery for seeing the book through to completion. My agent, Julian Alexander, has—as ever—supported me throughout with his sage advice, patience, and humor.
I have been very fortunate to have had the help and encouragementof my friend and fellow historian Alison Weir, who generously shared her research notes on Matilda with me, as well as her extensive collection of images. I would also like to thank Nicola Tallis for her valuable insights into the castles and abbeys of Normandy that are connected with Matilda’s history. Sincere thanks are also due to Julian Humphrys for sharing his expertise on eleventh-century warfare and for assisting with translations.
My colleagues at the Sandford Award have continued to encourage my writing career, and I am particularly grateful to Jean MacIntyre, John Hamer, and Gareth Fitzpatrick. I also owe an enormous debt of gratitude to the staff at Historic Royal Palaces with whom I have been lucky enough to work, notably Michael Day, John Barnes, David Souden, Ruth Gill, Rhiannon Goddard, and Sam Brown. I would also like to express my thanks to Dr. David Musgrove, editor of BBC History Magazine , and Hugh Alexander of the National Archives.
In a short acknowledgments section such as this, I cannot possibly do justice to the many kindnesses that I have received from the friends who contributed—in different ways—to the crafting of this book. They include Honor Gay, for her infectious enthusiasm about the book
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