68
The next two panels ([66] and [67]) give the death of the two brothers of Harold. Apart from the introduction of the figures of these two princes, Lewine and Gyrth, the interest of these panels also lies in the accoutrements. Thus on four of the charging French knights you see the crossed garters which bound the leg below the suit of mail, and in the hands of one of the English you see the round shield with a boss, which will reappear in the scene of the death of Harold. I would say tentatively and subject to correction, that this symbolised something old-fashioned in the Saxon accoutrement. In the border below, the same type of accoutrement, the round shield with the boss, reappears twice among the dead bodies. Gyrth and Lewine were standing near Harold, and one chronicle makes William himself fell Gyrth with a blow of his mace, but there is nothing of this in the embroidery. There is no figure armed with a mace and no mention of William. The [68th] panel is the liveliest attempt the artist makes anywhere to represent the heat of the attack. It speaks for itself in the exaggerated catastrophes of the mounts and of their riders; but what should be particularly noted is the representation of the Hill of Battle, the horse stumbling at the approach of it and the defence by the Saxon footmen upon the summit.
69
With the [69th] panel we approach the attempts in the latter part of the Tapestry to introduce persons. This attempt has led to a considerable historical controversy, for while some points in the portraiture are obvious, others, as will be seen in a moment, lend themselves to discussion.
70
71
First we have, in the [69th] panel itself, Odo of Bayeux, the Bishop, William’s brother, with the characteristically French inscription, “Pueros suos,” by way of saying “his men.” “Here Odo, the Bishop, holding a stick, heartens his men,” or literally, “his children.” So the modern French army term, “mes enfants” for “men.” All this is quite clear; but the next panel (No. [70]) has led to the controversy of which I speak. Note here three men at the charge. The first brandishes a sword, the second has a mace or sceptre in his hand, and is lifting the nasal of his helm, and the third holds a lance and pennon or, as the French then called it, a Gonfanon. Above the group is written, “Here is Duke William.” It is fairly established that Wace’s poem (which the panels of this part of the Tapestry follow with great fidelity) is here abandoned by the artist and the account of Benoit de Saint More is followed. The incident is, of course, that of William showing his face to his followers when it was feared he had fallen. Further, the first figure carrying the pennon is certainly intended for Eustace of Boulogne. Above his head, in one of the few fragments that have suffered mutilation, is the beginning and ending of the word Eustatius (E——TIUS); while the clear writing of the inscription round the central figure and the obvious reference to the passage in Benoit de Saint More, coupled with the fact that the central figure bears a mace or sceptre, not a sword, leave no doubt that it is William that is intended. It is worth remembering in connection with the date of the Tapestry that the emphasizing of the part which Eustace of Boulogne played in the battle is peculiar to the twelfth-century chroniclers.