Guide to the Bayeux tapestry

by Francis Birrell

Fig. 1. A Lion (see[ p. 27]).

I.—THE BAYEUX TAPESTRY.

THE Bayeux Tapestry is probably the most famous and the most remarkable of mediæval embroideries. In it is given the complete story of a great exploit and one that must always be of particular interest to the English and French peoples—the story of the Norman Conquest. None of the main incidents leading up to the Conquest itself are omitted. The arrival of Harold in Normandy, his stay with William, his swearing of loyalty, his return to England, the death of Edward the Confessor, the subsequent election of Harold to the throne of England, with the expedition itself culminating in the Battle of Hastings, are all shown in the course of the story. It is as much a defence of William’s conduct as a history of his triumph.

The Tapestry is generally considered to be contemporary, or almost contemporary, with the events it portrays, and it is evident that if such be the case it is an historical document of the very first importance. Certain archæologists have indeed maintained that it was not made till 50 or even 200 years after the Conquest, but their arguments have not generally been found convincing, and the claims of those who consider the Tapestry a contemporary document may be said to have held their ground. Historians like Freeman, Mr. J. H. Round, and Professor Oman have not hesitated to draw their conclusions from it, and it remains an inexhaustible storehouse of information regarding the social life of England and Normandy during the 11th century.

The interest of the Tapestry is still further increased when it is realised how much care seems to have been spent on giving an accurate rendering of the subjects shown. The representations of Edward and William, for instance, agree with their likenesses as shown to us on their seals and coins. In accordance with the fashion, Harold and his Saxons are given moustaches, while the Normans go clean-shaven. But while Harold and his men are in Normandy they follow the Norman fashion and also go clean-shaven. Again, the English “packed shield” formation, which so much impressed the Conqueror at Hastings, is shown with great clearness. Indeed, the Tapestry corrects many of the errors of mediæval historians, while Mr. Round believes that with its aid he has cleared up the mystery that hangs round early Norman “Castles.” But though the Tapestry has these uses for archæologists and historians, it will have a wider appeal for those who are attracted by sound workmanship. Indeed, it combines beauty with an attention to correctness of detail and fashion to an extent unsurpassed in the memorials of the time.

A word may be added about technique. The “Bayeux Tapestry” always has been, and probably always will be, known under this name. It should, however, be recognised that, properly speaking, it is not a tapestry at all but an embroidery.[1] The figures are worked on linen, probably unbleached, in wool of eight different shades: dark and light blue, red, yellow, dark and light green, black and dove colour. The Latin inscriptions that are placed over most of the scenes are also stitched in wool, and are about an inch in height. It is noticeable that no attempt has been made to give the objects the colours they have in nature, while a difference of colour is the method employed for such effects as perspective. For instance, we see in the case of the horses the difference of the plane of their right and left legs is often suggested by a difference of colour.[2]

The tradition that the embroidery was carried out by Matilda and her ladies is a late tradition and need not be considered too seriously. William would have been more indisputably the hero if this were true, and it is not likely that the work, when completed, would have been sent to Bayeux to adorn Odo’s cathedral. It is more probable that it was commanded by Odo for the decoration of his church. The design would be made by some competent artist in possession of the facts and this design would be worked out by the inhabitants of Bayeux and its neighbourhood. It should be remembered that it was very rare for the same persons to be concerned in the designing and the working out of the design.

II—THE SCENES DESCRIBED.

NOTE.—In the following paragraphs the figures represent the number of the scene. Corresponding numbers will be found on the copy of the Tapestry above the scene described, and in Part IV. (p. 14).

IT may be noticed, generally, that the story is presented with a strong bias in favour of the Normans, and there are large discrepancies between the account given here and that which, descending through Freeman from Florence of Worcester, is served up to English readers, whose sympathies are still supposed to be enlisted on behalf of Harold. It has been usually taught in England, for instance, that Harold only landed in France by mistake through being caught in a storm, and that this advantage was seized by William to the undoing of the man who was his guest. The story told in the Tapestry is very different.