Plate XII.

The Death of Harold.

The king is seen on the left, pierced through the right eye with an arrow which he is endeavouring to pull out with his hand. This is quite in accordance with tradition on the subject, though it is believed that Harold died, not at the moment of receiving the wound, but possibly some hours later. Three arrows are seen sticking in his shield. On the right there is an English warrior, struck down by the sword of a mounted Norman knight.

Figures Nos. 1 to 4.

These four figures form part of the borders under numbers X., XI., XII.; three represent scenes from the ordinary life of the peasantry—ploughing, harrowing, and slinging at birds; the fourth shows the figure of a lion.

These rural scenes are extremely frequent in mediæval illustrated MSS. An illuminated MS. of the 11th century in the British Museum shows a good example of slinging (see “Social England,” Vol. I., p. 316). The Louterell Psalter, which dates from the early years of the 14th century, gives many scenes of ploughing and harrowing (see Vetusta Monumenta, Vol. VI., especially Plates XXI. and XXII.). The shoulder collars and the iron shoes worn by the horses in these borders are held by some to have been an invention only made at the end of the 11th century.

VII.—BIBLIOGRAPHY.

Mr. F. R. Fowke has written a short and extremely clear account of the Tapestry in “The Bayeux Tapestry; a History and Description” (George Bell & Sons, 1898), with a reproduction of the Tapestry. This invaluable book has been reprinted (1913) by Messrs. Bell in cheaper form. Professor Lethaby (“Embroidery, 1908-9”) holds that the Tapestry may have been made in Kent.

In the study of the subject from an archæological point of view there are two admirable articles by Mr. J. Horace Round: “The Bayeux Tapestry” (“Monthly Review,” December 1904) and “The Castles of the Conquest” (Archæologia, LVIII). Mr. Round has also contributed an article on the Bayeux Tapestry to the “Encyclopædia Britannica.”

In the Archæological Journal, Vol. LX., Sir W. H. St. John Hope has an article on “Fortresses of the 10th and 11th Centuries.” All these books and articles support the belief that the Tapestry is practically contemporary with the events narrated.

M. le Commandant Lefebvre de Noëttes has approached the subject from a different point of view in the “Bulletin Monumental” of April 1912. He discusses the armour, weapons, harness of the horses and kindred subjects, coming to the conclusion that the Tapestry was probably made between 1120 and 1130, a date neither so late nor so early as extremists on either side have asserted.

The antiquity of the Tapestry has been attacked by M. Marignan in his “La Tapisserie de Bayeux” (1902). He wishes to prove that its date cannot be before the middle of the 13th century. His views have, however, met with little support and have been answered by M. Lanore in his volume “La Tapisserie de Bayeux” (1903).

J. C. Bruce, in “The Bayeux Tapestry Elucidated with Coloured Illustrations” (1856), is inaccurate on some points but indulges in much ingenious speculation.

Two fresh books on the Tapestry have appeared in recent years. Mr. Hillaire Belloc (“The Book of Bayeux Tapestry,” London, 1914), assigns the work to the second half of the 12th century. M. A. Levé (“La Tapisserie de la Reine Mathilde,” Paris, 1919) holds that it was made for the consecration of Bayeux Cathedral in 1077.

INDEX.

[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [L], [M], [N], [O], [P], [R], [S], [T], [U], [V], [W], [Y].

[A]
Academy (French), paper before, [11]
Aelfgyva, personality unknown, [5], [9]
Albert Hall, Photograph of Tapestry at, [19]
Alexander II., Pope, blesses William’s enterprise, [23]
Amyot the antiquary, [10], [12]
Angevins, Kings of England, [24]
Anglo-Saxon Calendar, [20]
Antiquaries, Society of, papers before, [21]
“Archæologia,” papers in, [12]
Archæological Journal, papers in, [28]
Architecture, Anglo-Saxon, [25]
” Gothic, [21]
” Norman, [20], [21], [24]
Armitage-Robinson, Dr., Dean of Westminster, [21]
Ashdown, C. H., “British and Foreign Arms and Armour”, [28]
[B]
Battle-axes, [26]
Bayeux Cathedral, burned, [11],
” ” Inventory of, [11]
” City, Hôtel de Ville at, [12]
” ” Public Library at, [12]
” ” sacked by Calvinists, [11]
Beaurain, Harold taken to, [5]
Benoît de Saint Maur, Annalist, [8]
Borders of Tapestry discussed, [9]
Bosham, Harold at Church of, [4]
Boswell, “Tour to the Hebrides”, [23], [24]
Boulogne, Eustace Count of, [8]
Boy on prow of William’s ship, [23]
Bread, [23]
British Museum, Mediæval Horn at, [23]
” Norman Pottery at, [24]
Brittany, Harold arrives in, [5]
Bruce, J. C., Book on Bayeux Tapestry, [28]
Bulletin Monumental, Article in, [28]
Byrnie, Nature of, [25], [26]
[C]
Calvinists sack Bayeux, [11]
Carlyle, Thomas. Letter to Sir Henry Cole, [19]
Castles, Early Norman, [2]
China, Annals of, [22]
” Spurs introduced from, [26]
Christiania, Gulf of, [22]
Chronique des ducs de Normandie. (Footnote), [8]
Civilité, La, by Jean Sulpice, [23]
Clerk, a certain, and Aelfgyva, [5], [9]
Cole, Sir Henry. Letter from Thomas Carlyle, [19]
Comet, Halley’s, appears, [6], [22]
Conan II., Duke of Brittany, [5]
Consecrated Banner, given by the Pope to William, [23]
Cousenon, R., Crossed by Harold and William, [5]
Cundall, Joseph, goes to Bayeux, [19]
[D]
Dol, Siege of, [5]
Dossetter, Mr., the Photographer, [19]
Drinking Horns, [23], [24]
Drinking Vessels, [24]
Ducarel, Dr., Archæologist, [12]
[E]
Eadgyth, Queen of Edward the Confessor, [6]
Ecclesiastical Vestments worn by Stigand, [21], [22]
Edward the Confessor, [1], [4], [6], [20], [21]
Eustace, Count of Boulogne, [8]
[F]
Feast of Relics, Tapestry exhibited during, [11]
Florence of Worcester, Annalist, [4]
Forestier M. le, Commissioner of Police in Bayeux, [11]
Forks, [23]
Fowke, F. R., Book on the Bayeux Tapestry, [28]
Fowling, [25]
Freeman, Professor J. H., [1], [4], [5], [13], [22]
Froude, J. A., mentioned by Thomas Carlyle, [19]
[G]
Gaulish (South) Chronicles, [22]
German Chronicles, [22]
Gokstad, Viking ship discovered at, [22]
Gothic Style of Architecture, [21]
Gurney, Hudson, Antiquarian, [12]
Gyrth, Brother of Harold, killed, [8]
Guy Count of Ponthieu, [4], [5]
[H]
Halley’s Comet, [6], [22]
Harold Hardrada defeated, [8]
Harold, King of England, [1], [2], [4], [5], [6], [7], [8], [20], [21], [26]
Harrowing, [27]
Hastings, Battle of, [1], [8], [25], [26]
” Town of, [7]
Hauberks, [25], [26]
Henry I., [24]
Henry II. (Footnote), [8]
Henry VI., [25]
Herrad von Landsberg, [23]
Holy Land, The, [24]
Hope, Sir W. H. St. John, [28]
“Hortus Deliciarum”, [23]
Hume, David, [12]
[I]
Inscriptions on the Tapestry translated, [14], [15], [16], [17], [18]
[J]
Jumièges, Abbey of, [21]
[L]
Laird of Macleod, The, and Drinking Horns, [24]
Lanore, M., Book on Bayeux Tapestry, [28]
Launcelot, M., reads paper before French Academy, [11]
Lefebvre de Noëttes, Commandant, Article on Bayeux Tapestry, [28]
Leofwyne, Brother of Harold, killed, [8]
Lethaby, Professor, Articles by, [21], [28]
Louterell Psalter, and Agricultural life, [28]
Lyttelton, Lord, on the Bayeux Tapestry, [12]
[M]
Macleod, Lairds of, and Drinking Horns, [23]
Mahommedans, spurs perhaps introduced by, [26]
Marignan, M., book on Bayeux Tapestry, [28]
Matilda, Queen of William the Conqueror, [23]
Maur, Saint, Père Montfaucon of, [11]
Montfaucon, Père, Archæologist, [11]
“Monuments de la Monarchie Française,” Publications, [11]
“Mora,” The, given by Matilda to William, [23]
Musée Napoléon, Bayeux Tapestry exhibited at, [12]
[N]
Napoleon, and the Bayeux Tapestry, [12]
Nasal, [26]
Nicholls, Mr. Bowyer, Antiquarian, [13]
Norman Architecture, [22], [23], [25]
” Castles, [2]
” Chronicles, [22]
” Conquest, [1], [8]
” Pottery, [24]
[O]
Odo, Bishop of Bayeux, [3], [7], [8], [10], [24]
Oman, Professor, [1]
Omen at Harold’s Coronation, [7], [22]
[P]
“Packed Shield” formation, [2], [8], [25]
“Palæographica Britannica,” by Stukeley, [12]
Peter, Church of Saint, at Westminster, [6], [21]
Pevensey, William lands at, [7]
Ploughing, [27]
Ponthieu, Guy Count of, [4], [5]
Prussians near Bayeux, [12]
[R]
Rennes, Harold and William pass, [5]
Robert, Count of Normandy, [7], [24]
Roman d’Enéis. (Footnote), [8]
” de Thèbe, [8]
” de Troie, [8]
Rorie More’s Horn, [24]
Round, Mr. J. Horace, Archæologist, [1], [28]
Rufus, William, [24]
[S]
Slinging, [27]
“Snekkjur” boats, [22]
Spoons, [23]
“Star,” Appearance of strange, [6], [22]
Stigand, Archbishop, [6]
Storm, Question of Harold and, discussed, [4]
Stothard, Charles, [8], [9]
” Mrs. Charles. (Footnote), [9]
Strickland, Miss Agnes, on Bayeux Tapestry. (Footnote), [5]
Stukeley. “Palæographica Britannica”, [12]
Sulpice, Jean, Author of “La Civilité”, [23]
[T]
Throne of King Edward the Confessor, [20]
Tostig, Death of, [8]
“Tour to the Hebrides,” by James Boswell, [23], [24]
Turold, [5], [10]
[U]
Ulphus, Horn of, in Treasury at York, [23]
[V]
“Vetusta Monumenta,” Reproductions in, [13]
Vital, [8], [10]
Vizor, [26]
[W]
Wace, 14th century Historian, [26]
Wadard, [7], [10]
Westminster, Church of Saint Peter at, [6], [21]
” Palace of, [21]
William the Conqueror, [1], [3], [4], [5], [6], [7], [8], [9], [10], [20], [22], [24], [25], [26]
[Y]
York, Horn of Ulphus in Treasury at, [23]

Plate I.

King Edward the Confessor and Harold. ([See p. 20.])

Plate II.

the Oath of Harold. ([See p. 20.])

Plate III.

King Edward in his Palace. ([See p. 21.])

Plate IV.

The Church of St. Peter at Westminster. ([See p. 21.])

Plate V.

The Coronation of Harold. Stigand. ([See p. 21.])

Plate VI.

The Comet. ([See p. 22.])

Plate VII.

Building Ships. ([See p. 22.])

Plate VIII.

A Feast. ([See p. 23.])

Plate IX.

Odo. William. Robert. ([See p. 24.])

Plate X.

Burning a House. ([See p. 24.])

Plate XI.

The Battle of Hastings. ([See p. 25.])

Plate XII.

Death of Harold. ([See p. 26.])

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FOOTNOTES:

[1] Exhibited with the photographic copy of the Bayeux Tapestry in Gallery 79 are two plaster reproductions made by Charles Stothard to show the technique of the embroidery. One piece shows the head of Duke William, and is taken from Scene 17. The second shows the head of Harold at his coronation, and is taken from Scene 33. In the Mediæval Department of the British Museum is a third cast, of the head of a soldier, which has been copied from Scene 23.

[2] The Tapestry is 230 feet 9⅓ inches long and 19⅔ inches broad. 1,512 objects of different kinds are shown in the course of the work, made up of 623 persons, 55 dogs, 202 horses or mules, 505 other animals, 87 buildings, 49 trees, and 41 ships and boats. The subject of each scene is given above in Latin.

[3] For Miss Agnes Strickland’s theory that Turold was the designer of the Tapestry and Freeman’s comments thereon, see Freeman’s Norman Conquest, Vol. III., Appendix A. (2nd Edition).

[4] Conan II., Duke of Brittany, whose capital was Rennes.

[5] Benoît de St. Maur, the 12th century writer, is supposed to have been a native of St. Maur. From his prefix, Maître, he may have been a student at a University. But it is not known if he took orders. He was attached to the Court of Henry II. He was a loyal “Englishman,” and always referred to the French as “they.” He wrote the “Chronique des Ducs de Normandie,” and also “Le Roman de Troie.” The date of the “Chronique” is probably 1172-1176. The “Roman d’Enéis” and the “Roman de Thèbe” have also been attributed to him, but this is not generally accepted, while some even deny that the same hand composed the “Roman de Troie “ and the “Chronique.”

[6] One of these fragments of the Tapestry was sold to Mr. Bowyer Nicholls and was purchased from him by the South Kensington Museum in 1864. It was soon decided to return this fragment to Bayeux, which was done in 1872. Mrs. Stothard has usually been accused of abstracting these two pieces. She was, however, able to show that she was not married to Mr. Stothard till 1818, the third and last year in which he visited Bayeux, and that at this date these fragments were already in his possession. Prior to his marriage he had possessed these two pieces, and said that they were so ragged as to be incapable of restoration. But how he had acquired them was not divulged.

[7] There is no inscription for these two scenes.

[8] This portion of the plate also appears as the Frontispiece.