After reading the hunter myths, what are some of the qualities that the African tribes who tell these myths consider "heroic"? How are these qualities similar to and/or different from the qualities considered heroic by the ancient Greeks that we considered when reading Homer's epic?

perimeter = 2l +2w, divide total perimeter by 2 for total length of 1 side and 1 width

172/2 = 86 (  total for 1 side and 1 width)

86-24 = 62 (since length is 24 ft longer subtract 24 then divide by 2 for width)

62/2 = 31

width = 31 feet

length = 31 +24 = 55 feet

check: 31*2 = 62, 55*2 = 110,  110+62 = 172

in this piece, the rectangles, the vertical and horizontal lines, and lack of hue create a sense of harmony. there is balance and proportion because although the rectangles are different, no one rectangle overpowers the others, and the size relationship among the rectangles is agreeable to the eye. there is a sense of movement and depth, through the use of shading and shadowing. it almost appears like some of squares are popping out. there is variety created by the different rectangle sizes, the shading, and the shadowing.

aka im the smartest of them all

the bayeux tapestry (uk: /baɪˈjɜː, beɪ-/, us: /ˈbeɪjuː, ˈbaɪ-/; french: tapisserie de bayeux [tapisʁi də bajø] or la telle du conquest; latin: tapete baiocense) is an embroidered cloth nearly 70 metres (230 ft) long and 50 centimetres (20 in) tall,[1][2][3] which depicts the events leading up to the norman conquest of england concerning william, duke of normandy, and harold, earl of wessex, later king of england, and culminating in the battle of hastings. it is thought to date to the 11th century, within a few years after the battle. it tells the story from the point of view of the conquering normans, but is now agreed to have been made in england.

according to sylvette lemagnen, conservator of the tapestry, in her 2005 book la tapisserie de bayeux:

the bayeux tapestry is one of the supreme achievements of the norman romanesque its survival almost intact over nine centuries is little short of miraculous its exceptional length, the harmony and freshness of its colours, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating.[4]

the cloth consists of some seventy scenes, many 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.[5] 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.[6]

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