The Book of the Bayeux Tapestry / Presenting the Complete Work in a Series of Colour Facsimiles

by Hilaire Belloc

Now, this kind of record demands a Convention; in other words, it must be symbolic much more than it is mimetic, and that is the note you get in the work preserved at Bayeux. Not the reproduction of things seen, but the perpetuation of their ideas: a few figures standing for a host: an emblem defining a man: an episode noticed to its simplest terms.

Now as to the authenticity of, or to be more accurate the date of, this famous document. The more slipshod, earlier, and picturesque historians, with their touch of charlatanism and their eye upon the public (notably Freeman), naturally desired to believe, and even more naturally said, that the embroidery now preserved at Bayeux was exactly contemporary with the Conquest.

We must not include in our criticism or our blame such men as Napoleon, who, after all, did not pronounce himself, but took what he was told; nor men not professedly historians who carried on the tradition that the work came from the needle of William the Conqueror’s wife and her ladies. An unhistorical statement proceeding from one who does not profess acquaintance with the bases of history cannot be seriously criticised. But, as the legend that the Bayeux embroidery is actually contemporary with the Invasion of England has been erected into a sort of University dogma and propagated through English schools and text-books, it is as well to point out to my readers the nature of this simple error.

The Battle of Hastings was fought on the 14th of October 1066. The Bayeux Tapestry is later than the First Crusade, the climax of which campaign was the capture of Jerusalem on July 15, 1099.

It is as certainly later than the First Crusade as a picture of a man in trousers and a top-hat is later than the French Revolution. How much later it is than the First Crusade we cannot yet say, and perhaps will never be able to say. We can say (just as we can say about the gentleman in the trousers and the top-hat) that it is quite appreciably later than the turning-point in history chosen for our fixed date of change. It was the French Revolution which disturbed, woke up, rearranged society. Attaching to that big business any number of external expressions may be discovered—quasi-democratic parliaments, the modern post-office, conscript armies, &c. &c., but the historical date is 1789-1795. One of the products or marks of the change is the change in costume. Even an expert in the distant future might be puzzled to tell you whether the engraving of a man in trousers and a top-hat was twenty or thirty or forty or fifty years later than 1795. But he could be absolutely certain if a proper knowledge of the past had survived that it was some few years, say ten or fifteen years, or, even better, twenty years later than the conclusion of the Revolutionary upheaval.

Now, so it is with the Bayeux Tapestry and the First Crusade.

The dates of the First Crusade are 1096-99. It was accomplished from thirty to thirty-three years after the Battle of Hastings. William was dead some time; men who, as boys, had deployed upon Telham Hill, and charged up the slope of battle were grizzled, were between fifty and sixty, when that squire from Sourdeval first leapt upon the wall of Jerusalem. But the effect of a great change, its external effect in habiliment and the rest, takes some few years to work, and early as we may put the Bayeux Tapestry, we cannot put it earlier than a date in which men who may in youth have seen the fight at Hastings were certainly old, even if they survived to give their testimony.

In rough figures, there must be an interval of at least fifty years. It is more probable that the interval was of greater length than that—but fifty years is the minimum.

Let me briefly lay before the reader the evidence upon which this decision must be accepted. I will enter into no one of the many—I had almost said innumerable—doubtful details. I will not even linger upon one part of the evidence, which is very striking—the fact that the length of the Tapestry exactly coincides with the contour of the nave of Bayeux Cathedral, upon which it was annually hung. And my reason for not pressing this point is that we have no definite evidence upon the date of the nave of Bayeux. Let me make myself clear. We know, of course, that the Gothic is roughly the product of the Crusades. We know that the Romanesque is roughly the pre-Crusade architecture. A man has but to see the interior of Bayeux Cathedral (as I did at Mass three or four months ago during my inspection of this document) to see that that nave is a product of the Transition. But short of documents telling us exactly when the ground plan of the nave was drawn up, we cannot establish a date within fifty years. What adds to our ignorance is the fact that your later work was nearly always and throughout Europe modelled upon your earlier work. Consider, for instance, all the discussion with regard to the extension of the western end of Chartres; or consider the massive Romanesque foundation and pillars of Notre Dame in Paris, with its Gothic superstructure; consider the accident by which we owe the Gothic unity of that monument to the fire which happened to destroy in 1218 the original Romanesque apse. Had evidence of dates not survived in the case of Notre Dame we might be out by anything between fifty and seventy years.

So with Bayeux. The correspondence of the length of the Tapestry to the length of the nave proves that the Tapestry was at least not earlier than the nave, but we do not know that the nave may not have been of just that length before some process of rebuilding.