[201] Twelve o'clock.
[202] Six A.M.
[203] A celebrated antiquary, in his treatise in the "Archaeologia," on the authenticity of the Bayeux tapestry, very justly invites attention to the rude attempt of the artist to preserve individuality in his portraits; and especially to the singularly erect bearing of the Duke, by which he is at once recognised wherever he is introduced. Less pains are taken with the portrait of Harold; but even in that a certain elegance of proportion, and length of limb, as well as height of stature, are generally preserved.
[204] Bayeux tapestry.
[205] AIL. de Vit. Edw.—Many other chroniclers mention this legend, of which the stones of Westminster Abbey itself prated, in the statues of Edward and the Pilgrim, placed over the arch in Dean's Yard.
[206] This ancient Saxon lay, apparently of the date of the tenth or eleventh century, may be found, admirably translated by Mr. George Stephens, in the Archaeologia, vol. xxx. p. 259. In the text the poem is much abridged, reduced into rhythm, and in some stanzas wholly altered from the original. But it is, nevertheless, greatly indebted to Mr. Stephens's translation, from which several lines are borrowed verbatim. The more careful reader will note the great aid given to a rhymeless metre by alliteration. I am not sure that this old Saxon mode of verse might not be profitably restored to our national muse.
[207] People.
[208] Heaven.
[209] Omen.
[210] The Eastern word Satraps (Satrapes) made one of the ordinary and most inappropriate titles (borrowed, no doubt, from the Byzantine Court), by which the Saxons, in their Latinity, honoured their simple nobles.