53
Wace gives us the story of a friendly baron, whose name he did not know, but who came and warned William of Harold’s movements. As to the burning of the house, there has been a great deal of guesswork about it. I believe it means no more than a bit of conventional symbolism that the war has begun in earnest. To these two incidents in panel [53] succeed the feats of arms which take up the remaining part of the Tapestry, and which I will treat as a whole.
54
This last portion of the document consists in twenty-two panels, from the 54th to the 75th inclusive. In the first you have the conventional representation of a knight fully armed representing the whole body as it were, and riding out from Hastings on the morning of that October day which by sunset had determined the fate of England.
It has been said by more than one modern English writer that the soldier thus pictured is William himself, and consequently that the horse is that Spanish horse which Alphonso had given William, and that its leader is William’s old liegeman, Walter Giffard, who had brought it back with him from Spain.
Now this—like such masses of Freeman!—is not only conjecture, it is also false conjecture. Wherever William appears he is called William, and it is unthinkable under the conditions of the time that his figure should be given under the general name “knights.” Nor is the conventional figure leading forward the stallion an old man; he is, if anything, on the young side.
I will not here repeat what I have said elsewhere with regard to the accoutrement of the knight, though it bears out in this particular panel very strongly the conclusions of the Introduction as to the age of the document.
