Over most of the scenes are worked Latin inscriptions in Roman capitals about an inch high, explaining the pictures. The reasons for supposing that, although not made by Matilda, it is nevertheless contemporary work, are:
(1) The accurate representation of the civil and military costumes of the eleventh century.
(2) The attempt to represent Edward the Confessor and William I. as they appeared on their seals.
(3) Certain words used in it suggest an English origin, but admit of the explanation that the dialect spoken in Bayeux was a mixture of Saxon and Norman.
(4) The prominence given to Odo and to less-known persons.
(5) The introduction of the local form of wine barrel and certain dialectic peculiarities of the district.
The Bayeux Tapestry is not mentioned in any historical document until 1476, when it appears among an inventory of the ornaments of the Cathedral of Bayeux.
In 1522 its safety was threatened by the Calvinists who pillaged the cathedral, but it was restored to the authorities and was used to decorate the nave on festive occasions.
It remained forgotten till 1724, when, a drawing having been made of it by an antiquarian, public interest was aroused in it, both in France and in our own country.
In order to preserve it, it was lined and strengthened, for it was used to decorate the nave for eight days at the time of St. John’s Day. It has passed through many vicissitudes, and once or twice it was nearly destroyed, but a number of the leading inhabitants of Bayeux formed themselves into a committee to protect it.