,illustration3 ,,harold ,,enthroned4 7,see p4 #f47 ,frontispiece ,,victoria ,,albert ,,museum ,,department ,,of ,,textiles ,,guide ,,to ,,the ,,bayeux ,,tapestry ,,by ,f4 ,f4 ,l4 ,,birrell ,,london3 ,,printed ,,under ,,the ,,authority ,,of ,,his ,,majesty',s ,,stationery ,,office1 #aiba ,,publication ,,no4 #ajj,t4 ,crown ,copyright ,reserved4 ,first printed1 ,october1 #aiad4 ,reprinted-,april1 #aiba4 ,this ,guide may be obtained directly from the ,victoria ,albert ,museum1 price #as4 #j;d4 net 7by post #as4 #b;d4 net74 ,it may also be obtained either through any bookseller or directly from ,h4,m4 ,stationery ,office at the following addresses3 ,imperial ,house1 ,kingsway1 ,london 7,w4,c4 #b471 and #bh1 ,abingdon ,street 7,s4,w4 #a72 #cg1 ,peter ,street1 ,manchester2 #a1 ,st4 ,andrew's ,crescent1 ,cardiff2 #bc1 ,forth ,street1 ,edinburgh2 or from ,e4 ,ponsonby1 ,ltd41 #aaf1 ,grafton ,street1 ,dublin4 ,c#ha 7#gfad7 ,wt4 #cjddf_/;,,am#bcfb_/fcg #f_/ba #b,m ,harrow 7,gp4 #ea7 ,illustration ,,prefatory ,,note4 ,although the ,bayeux ,tapestry is not itself included among the collections of the ,museum1 its surpassing interest to ,english students and the existence of two copies here amply justify the appearance of this guide4 ,a full-size photographic reproduction1 coloured by hand1 is exhibited on the walls of the gallery numbered #gi on the first floor4 ,another full-size photograph has been mounted on rollers for the convenience of studenmay be seen on application at the ,students' ,room of the ,department of ,textiles1 adjoining ,room #abc on the first floor4 ,may1 #aiba4 ,,cecil ,h4 ,,smith4 ,,note ,,to ,,the ,,first ,,edition4 ,the preparation of this guide has been entrusted to ,mr4 ,f4 ,f4 ,l4 ,birrell4 ,its chief aim is to present in a handy form the most important of the ascertained facts regarding the ,tapestry4 ,matters which belong to the realm of conjecture1 and even of controversy1 have also been touched upon4 ,students wishing to pursue these further are recommended to consult the authorities quoted in the guide4 ,i have read through the proofs1 and must accept responsibility for such errors as may be found4 ,october1 #aiad4 ,a4 ,f4 ,k4 ,,note ,,to ,,the ,,second ,,edition4 ,when this guide-book was first printed in #aiad1 its author1 ,mr4 ,francis ,birrell1 was for the time being a member of the staff of the ,department of ,textiles4 ,on the publication of a second edition1 they wish to express their regret that circumstances should have frustrated their hopes that he would remain as a colleague on the permanent staff4 ,april1 #aiba4 ,,table ,,of ,,contents4 ,,page ,,the ,,bayeux ,,tapestry #a ,,the ,,scenes ,,described #d ,,history ,,of ,,the ,,tapestry #aa ,,the ,,latin ,,inscriptions ,,with ,a ,,translation #ad ,,the ,,photographic ,,copy ,,of ,,the ,,original #ai ,,notes ,,on ,,the ,,illustrations #bj ,,bibliography #bh ,,index #bi ,,list ,,of ,,illustrations4 ,frontispiece3--,harold ,enthroned ,,plate ,i4 ,king ,edward the ,confessor and ,harold4 0 ,,ii4 ,the ,oath of ,harold4 0 ,,iii4 ,king ,edward in his ,palace4 0 ,,iv4 ,the ,church of ,s4 ,peter at ,westminster4 0 ,v4 ,the ,coronation of ,harold4 ,stigand4 0 ,,vi4 ,the ,comet4 0 ,,vii4 ,building ,ships4 0 ,,viii4 ,a ,feast4 0 ,,ix4 ,odo4 ,william4 ,robert4 0 ,x4 ,burning a ,house4 0 ,,xi4 ,the ,battle of ,hastings4 0 ,,xii4 ,the ,death of ,harold4 ,,fig4 #a4 ,a ,lion p4 #a 8 #b4 ,ploughing p4 #i 8 #c4 ,harrowing p4 #ad 8 #d4 ,fowling p4 #ah ,illustration3 ,,fig4 #a4 ,a ,,lion 7see p4 #bg74 ,i4--,,the ,,bayeux ,,tapestry4 ,the ,bayeux ,tapestry is probably the most famous and the most remarkable of medival embroideries4 ,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 ,conquest4 ,none of the main incidents leading up to the ,conquest itself are omitted4 ,the arrival of ,harold in ,normandy1 his stay with ,william1 his swearing of loyalty1 his return to ,england1 the death of ,edward the ,confessor1 the subsequent election of ,harold to the throne of ,england1 with the expedition itself culminating in the ,battle of ,hastings1 are all shown in the course of the story4 ,it is as much a defence of ,william's conduct as a history of his triumph4 ,the ,tapestry is generally considered to be contemporary1 or almost contemporary1 with the events it portrays1 and it is evident that if such be the case it is an historical document of the very first importance4 ,certain archologists have indeed maintained that it was not made till #ej or even #bjj years after the ,conquest1 but their arguments have not generally been found convincing1 and the claims of those who consider the ,tapestry a contemporary document may be said to have held their ground4 ,historians like ,freeman1 ,mr4 ,j4 ,h4 ,round1 and ,professor ,oman have not hesitated to draw their conclusions from it1 and it remains an inexhaustible storehouse of information regarding the social life of ,england and ,normandy during the #aath century4 ,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 shown4 ,the representations of ,edward and ,william1 for instance1 agree with their likenesses as shown to us on their seals and coins4 ,in accordance with the fashion1 ,harold and his ,saxons are given moustaches1 while the ,normans go clean-shaven4 ,but while ,harold and his men are in ,normandy they follow the ,norman fashion and also go clean-shaven4 ,again1 the ,english 8packed shield0 formation1 which so much impressed the ,conqueror at ,hastings1 is shown with great clearness4 ,indeed1 the ,tapestry corrects many of the errors of medival historians1 while ,mr4 ,round believes that with its aid he has cleared up the mystery that hangs round early ,norman 8,castles40 ,but though the ,tapestry has these uses for archologists and historians1 it will have a wider appeal for those who are attracted by sound workmanship4 ,indeed1 it combines beauty with an attention to correctness of detail and fashion to an extent unsurpassed in the memorials of the time4 ,a word may be added about technique4 ,the 8,bayeux ,tapestry0 always has been1 and probably always will be1 known under this name4 ,it should1 however1 be recognised that1 properly speaking1 it is not a tapestry at all but an embroidery4#a ,the figures are worked on linen1 probably unbleached1 in wool of eight different shades3 dark and light blue1 red1 yellow1 dark and light green1 black and dove colour4 ,the ,latin inscriptions that are placed over most of the scenes are also stitched in wool1 and are about an inch in height4 ,it is noticeable that no attempt has been made to give the objects the colours they have in nature1 while a difference of colour is the method employed for such effects as perspective4 ,for instance1 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 colour4#b ,the tradition that the embroidery was carried out by ,matilda and her ladies is a late tradition and need not be considered too seriously4 ,william would have been more indisputably the hero if this were true1 and it is not likely that the work1 when completed1 would have been sent to ,bayeux to adorn ,odo's cathedral4 ,it is more probable that it was commanded by ,odo for the decoration of his church4 ,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 neighbourhood4 ,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 design4 ,,ii--,,the ,,scenes ,,described4 ,,note4--,in the following paragraphs the figures represent the number of the scene4 ,corresponding numbers will be found on the copy of the ,tapestry above the scene described1 and in ,part ,,iv4 7p4 #ad74 ,it may be noticed1 generally1 that the story is presented with a strong bias in favour of the ,normans1 and there are large discrepancies between the account given here and that which1 descending through ,freeman from ,florence of ,worcester1 is served up to ,english readers1 whose sympathies are still supposed to be enlisted on behalf of ,harold4 ,it has been usually taught in ,england1 for instance1 that ,harold only landed in ,france by mistake through being caught in a storm1 and that this advantage was seized by ,william to the undoing of the man who was his guest4 ,the story told in the ,tapestry is very different4 ,in the first scene 7,,plate ,i47 ,king ,edward the ,confessor is giving instructions to ,harold1 who immediately1 with a large cavalcade of men1 horses1 dogs and falcons 7#b71 sets off in the direction of the coast4 ,he passes ,bosham1 where he enters the church and prays 7#c71 conduct that is1 perhaps1 intended to appear hypocritical in the light of future events4 ,after these religious exercises ,harold and his company repair to a neighbouring house and refresh themselves with food before setting out again on their journey4 ,they then cross the sea 7#d1 #e1 #f74 ,no storm is shown and the ,tapestry has the inscription 8,,hic ,,harold ,,mare ,,navigavit ,,et ,,velis ,,vento ,,plenis ,,venit ,,in ,,terra ,,widonis ,,comitis0 78,here ,harold set sail upon the sea and with sails full of wind came to the land of ,count ,guy074 ,this cannot well mean a storm but a favourable voyage4 ,harold had always intended to come in to ,france4 ,he had in the first scene had an interview with ,edward in which he is presumably intrusted with a message to ,william1 which he crosses the sea to deliver4 ,if this message were to state ,edward's wish that ,william should succeed him on the ,throne of ,england1 how treacherous becomes ,harold's conduct4 ,yet this is what the ,tapestry silently suggests4 ,on landing he is immediately seized 7#g7 by ,count ,guy of ,ponthieu1 into whose territory he is come1 and is carried off by him to his castle of ,beaurain 7#h1 #i74 ,harold and ,guy then converse together 7#aj71 ,harold presumably explaining the reasons for his arrival in the latter's territories4 ,the messengers of ,william arrive at ,guy's castle 7#aa71 one of them1 ,turold1 being mentioned by name4 ,he is portrayed as a dwarf1 either in an attempt at perspective or merely owing to the exigencies of space4#c ,the story here becomes somewhat obscure1 but the envoys go back to ,william 7#ab1 #ac7 and in #ad1 #ae ,harold is brought to him by ,guy in person4 ,william's treatment of ,harold is here surely intended to bring out the excellence of the ,duke's character1 for he behaves towards ,harold with magnificent urbanity and takes him to his palace at ,rouen 7#af1 #ag74 ,in #ah appears the mysterious incident of 8a certain clerk and lfgyva10 which will be mentioned later4 ,after this interval ,harold and ,william1 now apparently on the best of terms1 start off together for a warlike expedition4 ,they reach ,mont ,saint ,michel 7#ai71 cross the ,river ,couesnon 7#bj71 where ,harold drags some ,norman soldiers out of a quicksand 7#ba7 into which they had fallen4 ,in #bb they arrive at ,dol1 and ,conan#d evacuates the town4 ,they then pass ,rechnes 7,rennes71 which is stitched small1 and is only there to show the course of their march4 ,a strenuous fight takes place at ,dinan till ,conan gives up the keys 7#bc1 #bd71 and in 7#be7 ,william presents ,harold with arms as a sign of gratitude for his services4 ,in this high amity with each other they repair to ,bayeux 7#bf71 where takes place the crucial incident in the history of ,harold 7#bg74 ,here there is again a great discrepancy between the ,norman version and that usually taught in ,england4 ,according to the ,english story ,harold was tricked into swearing fealty to ,william on a box1 in which1 unknown to him1 were concealed the bones of saints4 ,this fact1 if true1 is suppressed in the ,tapestry4 ,here1 ,harold's two hands are resting on altars supporting chests of the kind used expressly for containing relics 7,,plate ,,ii474 ,the oath is made as ostentatiously solemn as possible4 ,perhaps ,harold might be able to urge compulsion as invalidating this oath2 his whole position had been from the beginning little better than that of a prisoner4 ,the plea of trickery was out of the question1 and his future conduct makes him appear1 to ,norman eyes1 a perjurer and a blasphemer4 ,after this ,harold returns to ,england 7#bh7 and proceeds at once to ,edward the ,confessor 7#bi71 with whom he has an interview 7,,plate ,,iii474 ,we are next shown 7#cj1 #ca7 the coffin of ,edward the ,confessor being carried in mourning to its interment in the ,church of ,st4 ,peter at ,westminster 7,,plate ,,iv474 ,the order of events has been here slightly transposed1 as in #cb we see ,edward still alive though on his death-bed addressing his 8fideles0 or vassals4 ,the reason for the transposition of scenes will soon become clear2 ,harold is present1 with ,edward's wife1 ,queen ,eadgyth1 an ecclesiastic1 and two other persons4 ,what may have been the nature of the communications passing between ,edward and his 8fideles0 at this solemn moment cannot be said with certainty1 but it is likely that even then the question of the succession was being agitated4 ,immediately below ,edward has fallen into the sleep of death 7,,et ,,hic ,,defunctus ,,est71 and the crown is offered to ,harold1 who sits enthroned1 with ,archbishop ,stigand by his side 7#cc7 7,,plate ,v4 and ,,frontispiece74 ,the reason why the funeral of the ,confessor was represented before his death has now become apparent4 ,the swift change from the death-bed of the saintly ,edward to the triumph of his unscrupulous successor leaves behind it a feeling which must have been highly agreeable to ,norman admirers of the ,tapestry4 ,in #cd 7,,plate ,,vi47 is recorded an interesting event4 ,the inscription reads3 8,,isti ,,mirant ,,stella0 78,they10 i4e4 the ,english1 8wonder at a star071 and this unusual star is portrayed curiously in the border4 ,the ,english are right to be afraid4 ,the heavens themselves blaze forth their disapproval at the conduct of ,harold4 ,a messenger is seen bringing tidings to the ,king1 which he seems to hear with great agitation4 ,it is likely that this message is connected with the strange apparition of the preceding scene4 ,in #ce an ,english ship is shown on its way to ,france1 bearing to ,william news of events in ,england4 ,at this point the story as told in the ,tapestry falls quite naturally into two parts4 ,so far the unscrupulous conduct of ,harold has been crowned with success4 ,his ambitions are realised1 and he sits on the throne of ,england4 ,omens1 however1 are not wanting to foreshadow the shortness of his reign4 ,the second part of the story will show how ,william came into his own4 ,in #cf ,william has heard the news and promptly determines on revenge4 ,with ,bishop ,odo at his side1 he gives orders that a fleet shall be made ready2 the trees are hewn 7#cg1 #ch71 and the ships built 7,,plate ,,vii472 they are dragged down to the sea 7#ci71 arms are carried on board 7#dj71 carts with wine and arms are dragged down to the beach1 ,william crosses in a great ship 7#da1 #db1 #dc71 he arrives at ,pevensey 7#dd1 #de71 the horses are disembarked 7#df71 and the knights push on to ,hastings 7#dg74 ,the whole story moves along with admirable speed1 till the spectator seems to partake in the hurry and bustle of the great expedition4 ,william's determination is as sure as ,harold's4 ,the difference is that his cause is just4 ,after the arrival at ,hastings1 the story continues more slowly to its appointed end4 ,that other side of military life is now shown1 as necessary as1 if less dignified than1 the former glimpses4 ,we see the victualling of ,william's army4 ,in #dg the soldiers are seizing the neighbouring cattle for food4 ,in #dh is a knight on horseback bearing the name ,wadard4 ,he is thought by the designer to be well enough known to need no explanation1 but at this distance of time his appearance seems irrelevant4 #di1 however1 carries on the story from #dg4 ,the food taken then is now being cooked1 the servants serve up the meats which they lay before the soldiery1 and ,bishop ,odo blesses the meat 7#ej74 ,this scene is worked in with real humour2 the soldiers are hardly able to restrain their appetite till grace has been said 7,,plate ,,viii474 ,immediately afterwards 7#ea7 are seen ,bishop ,odo1 the ,conqueror and his eldest son1 ,count ,robert1 the three most distinguished ornaments of the war1 seated together in a tent 7,,plate ,,ix474 ,in 7#eb7 it is ordered that a rampart be thrown up3 the camp is shown4 ,a messenger arrives giving news of ,harold1 and a house is burned 7#ec74 ,then the army leaves ,hastings 7#ed7 to go in to battle against ,harold 7#ee1 #ef71 and ,duke ,william questions one ,vital 7#eg1 #eh7 concerning ,harold and his army4 ,not till #ei is news of ,william brought to ,harold4 ,that ,harold should not have been kept more fully informed of his opponent's movements and only have heard particulars when the enemy were at his very gates seems to suggest a certain incompetence or1 at any rate1 to show that he had been completely surprised by the rapidity of ,william's movements4 ,his other difficulties1 caused by rivals to his throne and foreign enemies1 which had only just been relieved by the glorious victory of ,stamford ,bridge1 and the deaths of ,tostig and ,harold ,hardrada1 are omitted by the ,norman chronicler4 ,in #fj ,william exhorts his men to be brave and prudent1 and they advance gaily into battle 7#fa1 #fb1 #fc1 #fd1 #fe1 #ff71 the whole course of events being splendidly exhibited4 ,at last full justice is done to the ,english enemy4 ,they fight valiantly1 and the celebrated 8packed-shield0 formation is clearly shown 7,,plate ,,xi474 ,bad luck1 however1 pursues the ,english2 ,leofwyne and ,gyrth1 brothers of the ,king1 are slain 7#fg1 #fh1 #fi71 but the fighting still remains even1 ,normans and ,english falling together 7#gj1 #ga74 ,the ,normans are being pressed hard when ,bishop ,odo1 armed with a club1 exhorts the young recruits and saves a panic 7#gb74 ,a cry then goes up that ,duke ,william has been killed2 he shows himself1 however 7#gc71 and confidence is restored4 ,on the left of the ,duke is seen ,eustace 7,e 444 ,,tius is all that remains of the inscription7 carrying a standard4 ,according to the medival historian ,benot de ,saint ,maur#e the ,duke's standard-bearer ,eustace1 ,count of ,boulogne1 had urged the ,duke to leave the field1 believing the day to be lost4 ,this moment proves to be the turning point of the battle2 the ,french fight with renewed vigour 7#gc1 #gd1 #ge71 and beat their way up to ,harold1 who is killed by an arrow 7#gf7 7,,plate ,,xii474 ,the ,english army is discouraged and flies 7#gg1 #gh1 #gi74 ,here the ,tapestry ends1 and it is not quite clear if it had been intended to pursue the subject further4 ,according to ,dr4 ,ducarel the tapestry1 when hung1 exactly filled the nave of the ,cathedral2 so that very likely no more was ever designed4 ,the borders that run above and below well repay study4 ,they not only make an admirable framework for the main narrative1 but have an object of their own in keeping up a kind of running commentary on the events portrayed within their boundaries2 strange birds and beasts1 the subjects of fable1 hybrids1 and human forms1 sometimes pursuing their ordinary avocations1 sometimes engaged in battle or lying dead1 form these borders1 teaching by their actions1 attitudes or expressions1 the import of each scene4 ,they express the hopes and fears of the rival factions and perform almost the functions of a ,greek ,chorus4 ,they are delightful1 too1 in themselves1 and there is in them something truly expressive of the medival mind4 ,illustration3 ,,fig4 #b4 ,,ploughing 7see p4 #bg74 ,there are several interesting features to be observed in connection with the ,tapestry besides that of its evident bias4 ,there runs throughout the assumption that the story will be familiar not only in outline1 but also in detail to the examiners of the ,tapestry--a fact which is in itself strong evidence of a contemporary date4 ,for instance1 in #ag occurs the mysterious subject 8,,ubi ,,unus ,,clericus ,,et ,,lfgyva0 78where a certain clerk and lfgyva074 ,who lfgyva was permits of the widest conjecture2 who a certain clerk may have been no one even pretends to know4 ,but it is evident that the subject was sufficiently well known at the time to be inserted quite naturally and without any further explanation4 ,at this distance of time it is impossible to explain the allusion4 ,again1 who were ,turold 7#ab71 ,wadard 7#di71 ,vital 7#fb78 ,they are honoured in the ,tapestry with their names above them1 and so were evidently thought to be persons of importance4 ,but few can have heard of them to-day4 ,the archologist ,amyot1 indeed1 discovered that there were three vassals of ,bishop ,odo called by these names4 ,if these are the people shown in the ,tapestry1 their appearance would be a compliment to the ,bishop as well as themselves4 ,in fact1 throughout the story ,bishop ,odo appears with a prominence that can hardly have been attractive to his illustrious brother4 ,not only do his three servants appear in this way1 but in #ed he is seated in state with the ,conqueror and the ,conqueror's eldest son1 ,count ,robert1 while in the crisis of the battle it was ,odo1 not ,william1 who rallied the troops and turned into victory what had seemed certain defeat4 ,again1 when ,william was giving his orders for the preparation of the ,expedition 7#da7 ,odo stood by his side ever ready with advice4 ,it may be remembered what ,william thought later of the ambition of his brother1 and how some time after the ,conquest was over he sent him packing back to his ,bishopric4 ,odo was certainly a great benefactor to his ,cathedral of ,bayeux1 and the prominence given to him has been used as an argument that the ,tapestry was ordered by him and the design made by an artist intent on the gratification of his lord4 ,,iii--,,history ,,of ,,the ,,tapestry4 ,the 8,bayeux ,tapestry0 has had an adventurous career since its first mention in the ,inventory of ,bayeux ,cathedral in #adgf1 when it was hung round the nave during the season of the ,feast of ,relics4 ,it is even possible that its adventures may have begun before this1 if the assumption of an early date be correct1 for the cathedral was burnt to the ground in #aajf4 ,however that may be1 in #aefb the town was sacked by ,calvinists3 but1 fortunately1 the ,tapestry was handed over to the civil authority to guard1 and it escaped destruction1 though a tapestry 8de grande valeur0 that used to hang in the choir perished during the troubles4 ,when these disturbances were over1 it was once more in the hands of the ecclesiastical authorities1 hung in the nave on appointed days1 and forgotten for close on #bjj years4 ,in the year #agbd an archologist1 ,m4 ,launcelot1 read a paper before the ,french ,academy on this subject4 ,he had1 however1 only seen a drawing of a portion of the whole1 and was only able to conjecture that the original was a fresco or an embroidery4 ,he was strongly of the opinion that the original was made in the time of the ,conqueror or his immediate successors4 ,better results1 however1 attended the efforts of ,pre ,montfaucon1 a ,benedictine of ,st4 ,maur1 who ran the original to earth after much search4 ,it was published in engraving on a reduced scale in his second volume of 8,monuments de la ,monarchie ,franaise 7#agcj740 ,kept in the repositories of the cathedral and only exhibited on feast days1 the ,tapestry survived in peace the early days of the ,revolution1 but when the ,revolutionaries were going out to scatter their foreign enemies it was turned to account and made to cover an army waggon4 ,it had been laid in position and was on the point of being taken off to the front1 when ,m4 le ,forestier1 the ,commissioner of ,police1 seized on it and hid it in his study4 ,in #agid it was again about to be cut to pieces1 when it was rescued by a self-appointed committee for guarding works of art in the neighbourhood4 ,the ,tapestry was not unknown to ,napoleon1 and in #ahjc it was sent to ,paris and exhibited in the ,muse ,napolon1 doubtless with the intention of stirring the enthusiasm of the ,french into emulating the illustrious deeds portrayed4 ,it was1 however1 returned to ,bayeux in #ahjd and deposited in the ,library1 with permission to be hung in the cathedral1 fifteen days a year1 a concession to the ,church party that was never put into effect4 ,it was exhibited in the ,htel de ,ville in #ahcj1 and is now to be seen in a room built for it in the ,public ,library in #ahdb4 ,in #ahga on the near approach of the ,prussians1 the ,tapestry was hastily taken down and hidden secretly away4 ,when danger was passed it was returned to its former position4 ,the ,bayeux authorities1 however1 refuse to divulge the secret of its hiding-place1 feeling that should adverse circumstances again arise it would be advisable that there should again be this secret spot in which to stow away the ,tapestry4 ,the ,bayeux ,tapestry has since the #ahth century received notice from ,english archologists2 in #agdf1 ,stukeley1 author of the ,palographica ,britannica1 mentions it as 8the noblest monument in the world1 relating to our old ,english history40 ,he was followed by a learned antiquarian1 ,dr4 ,ducarel1 who stated that it was hung round the nave of the cathedral on ,st4 ,john's ,day1 and continued there for eight days more4 ,two distinguished historians1 ,lord ,lyttelton and ,david ,hume1 also discussed the ,tapestry1 the former being the first to doubt its contemporary date1 thereby anticipating some modern criticism4 ,in the early years of the #aith century criticism of the ,tapestry became more serious1 the years #ahaf-ahbj being very important in this respect4 ,the views of ,messrs4 ,stothard1 ,amyot1 ,hudson ,gurney and others can be read in volumes ,,xviii4 and ,,xix4 of ,archologia4 ,in #ahaf ,mr4 ,charles ,stothard was sent by the ,society of ,antiquaries to ,bayeux to make a drawing of the ,tapestry1 and he brought home two small fragments with him4#f ,within two years he had completed his copy of the ,tapestry1 which is to be seen reproduced in ,vol4 ,,vi4 of the ,vetusta ,monumenta4 ,freeman1 in ,appendix ,a41 ,vol4 ,,iii4 7#bnd edition71 devotes a long passage to the subject and states his belief in its being made in ,england1 an opinion which has not been generally shared4 ,illustration3 ,,fig4 #c4 ,,harrowing 7see p4 #bg74 ,,iv4--,,the ,,inscriptions4 ,the ,latin inscriptions above the embroidery run as follows 7an ,english translation has been added1 but no attempt has been made to amend or correct73-- #a4 ,,edward ,,rex ,edward the ,king4 #b4 ,,ubi ,,harold1 ,,dux ,,anglorum1 ,,et ,,sui ,,milites ,,equitant ,,ad ,,bosham ,where ,harold1 ,duke of the ,english1 and his soldiers ride to ,bosham4 #c4 ,,ecclesia ,the ,church 7at ,bosham74 #d4 ,,hic ,,harold ,,mare ,,navigavit ,here ,harold crossed the sea4 #e1 #f4 ,,et ,,velis ,,vento ,,plenis ,,venit ,,in ,,terra ,,widonis ,,comitis ,and with sails full of wind came into the land of ,count ,guy4 #f1 #g4 ,,harold #g4 ,,hic ,,apprehendit ,,wido ,,harlold ,here ,guy seizes ,harold4 #h1 #i4 ,,et ,,duxit ,,eum ,,ad ,,belrem ,,et ,,ibi ,,eum ,,tenuit ,and led him to ,beaurain and held him there4 #aj4 ,,ubi ,,harold 7et7 ,,wido ,,parabolant ,where ,harold and ,guy converse4 #aa4 ,,ubi ,,nuntii ,,willelmi ,,ducis ,,venerunt ,,ad ,,widon4 ,,turold ,where the messengers of ,duke ,william came to ,guy4 ,turold4 #ab4 ,,nuntii ,,willelmi ,the messengers of ,william4 #ac4 ,,hic ,,venit ,,nuntius ,,ad ,,wilgelmum ,,ducem ,here the messenger came to ,duke ,william4 #ad1 #ae4 ,,hic ,,wido ,,adduxit ,,haroldum ,,ad ,,wilgelmum ,,normannorum ,,ducem ,here ,guy led ,harold to ,william1 ,duke of the ,normans4 #af1 #ag4 ,,hic ,,dux ,,wilgelm ,,cum ,,haroldo ,,venit ,,ad ,,palati ,,su ,here ,duke ,william with ,harold came to his ,palace4 #ah4 ,,ubi ,,unus ,,clericus ,,et ,,lfgyva 444 ,where a certain clerk and lfgyva4 #ai4 ,,hic ,,willem ,,dux ,,et ,,exercitus ,,ejus ,,venerunt ,,ad ,,mont ,,michaelis ,here ,duke ,william and his army came to ,mont ,st4 ,michel4 #bj4 ,,hic ,,transierunt ,,flumen ,,cosnonis ,and here they crossed the river ,couesnon4 #ba4 ,,et ,,hic ,,harold ,,dux ,,trahebat ,,eos ,,de ,,arena ,and here ,duke ,harold dragged them out of the quicksand4 #bb4 ,,et ,,venerunt ,,ad ,,dol ,,et ,,conan ,,fuga ,,vertit ,and they came to ,dol1 and ,conon turned in flight4 #bc1 #bd4 ,,rednes4 ,,hic ,,milites ,,willelmi ,,ducis ,,pugnant ,,contra ,,dinantes ,,et ,,cunan ,,claves ,,porrexit ,rennes4 ,here the soldiers of ,duke ,william fight against the men of ,dinan1 and ,conon reached out the keys4 #be4 ,,hic ,,willelm ,,dedit ,,haroldo ,,arma ,here ,william gave ,harold arms4 #bf4 ,,hie 7hic7 ,,willelm ,,venit ,,bagias ,here ,william came to ,bayeux4 #bg4 ,,ubi ,,harold ,,sacramentum ,,fecit ,,willelmo ,,duci ,where ,harold made an oath to ,duke ,william4 #bh4 ,,hic ,,harold ,,dux ,,reversus ,,est ,,ad ,,anglicam ,,terram ,here ,duke ,harold returned to ,england4 #bi4 ,,et ,,venit ,,ad ,,edwardu ,,regem ,and came to ,king ,edward4 #cj1 #ca4 ,,hic ,,portatur ,,corpus ,,eadwardi ,,regis ,,ad ,,ecclesiam ,s,c,i ,,petri ,,apl 7,sancti ,petri ,apostoli7 ,here the body of ,king ,edward is borne to the ,church of ,st4 ,peter the ,apostle4 #cb4 ,,hic ,,eadwardus ,,rex ,,in ,,lecto ,,alloqui,t ,,fideles ,here ,king ,edward in bed addresses his vassals4 ,,et ,,hic ,,defunctus ,,est ,and here he is dead4 ,,hic ,,dederunt ,,haroldo ,,coron ,,regis ,here they gave to ,harold the ,king's crown4 #cc4 ,,hic ,,residet ,,harold ,,rex ,,anglorum ,here sits ,harold ,king of the ,english4 ,,stigant ,,archie,p,s 7,archiepiscopus7 ,archbishop ,stigand4 #cd4 ,,isti ,,mirant ,,stell3 ,,harold ,these men are amazed at a star3 ,harold4 #ce4 ,,hic ,,navis ,,anglica ,,venit ,,in ,,terram ,,willelmi ,,ducis ,here an ,english ship came into the land of ,duke ,william4 #cf1 #cg1 ,,hic ,,willelm ,,dux ,,jussit ,,naves ,,edificare #ch4 ,here ,duke ,william gave orders to build ships4 #ci4 ,,hic ,,trahun,t ,,naves ,,ad ,,mare ,here they draw down the ships to the sea4 #dj4 ,,isti ,,portant ,,armas ,,ad ,,naves ,these men carry arms to the ships4 ,,et ,,hic ,,trahunt ,,carrum ,,cum ,,vino ,,et ,,armis ,and here they drag a cart with wine and arms4 #da1 #db1 ,,hic ,,willelm ,,dux ,,in ,,magno ,,navigio ,,mare ,,transivit #dc4 ,here ,duke ,william crossed the sea in a great ship4 #dd1 #de4 ,,et ,,venit ,,ad ,,pevenes ,and came to ,pevensey4 #df4 ,,hic ,,exeunt ,,caballi ,,de ,,navibus ,here the horses go out of the ships4 #dg4 ,,et ,,hic ,,milites ,,festinaverunt ,,hestinga ,,ut ,,cibum ,,raperentur ,and here the soldiers hurried to ,hastings to find food4 #dh4 ,,hic ,,est ,,wadard ,here is ,wadard4 #di4 ,,hic ,,coquitur ,,caro ,here meat is cooked4 ,,et ,,hic ,,ministraverunt ,,ministri ,and here the servants served4 #ej4 ,,hic ,,fecerunt ,,prandium ,here they made a feast4 ,,et ,,hic ,,episcopus ,,cib ,,et ,,pot ,,benedicit ,and here the ,bishop blesses the food and drink4 #ea4 ,,odo ,,ep,s3 ,,willelm3 ,,rotbert ,bishop ,odo3 ,william3 ,robert4 #eb4 ,,iste ,,jussit ,,ut ,,foderetur ,,castellum ,,at ,,hestenga ,the latter commanded that a rampart should be thrown up at ,hastings4 ,,ceastra ,the ,camp4 #ec4 ,,hic ,,nuntiatum ,,est ,,willelmo ,,de ,,harold ,here news of ,harold is brought to ,william4 ,,hic ,,domus ,,incenditur ,here a house is burned4 #ed4 ,,hic ,,milites ,,exierunt ,,de ,,hestenga ,here the soldiers left ,hastings4 #ee1 #ef4 ,,et ,,venerunt ,,ad ,,prelium ,,contra ,,haroldum ,,rege ,and came into battle against ,king ,harold4 #eg1 #eh4 ,,hic ,,willelm ,,dux ,,interrogat ,,vital ,,si ,,vidisset ,,haroldi ,,exercit ,here ,duke ,william asks ,vital if he had seen ,harold's ,army4 #ei4 ,,iste ,,nuntiat ,,haroldum ,,reg ,,de ,,exercitu ,,willelmi ,,ducis ,this man informs ,harold the ,king concerning the ,army of ,duke ,william4 #fj1 #fa1 ,,hic ,,willelm ,,dux ,,alloquitur ,,suis ,,militibus ,,ut #fb1 #fc1 ,,prepararent ,,se ,,viriliter ,,et ,,sapienter ,,ad #fd4 ,,prelium ,,contra ,,anglorum ,,exercit ,here ,william exhorts his soldiers to prepare themselves manfully and wisely for battle against the ,english ,army4 #fe1 #ff4 ,the ,battle4#g #fg1 #fh1 ,,hic ,,ceciderunt ,,lewine ,,et ,,gyr,d1 ,,fratres ,,haroldi #fi4 ,,regis ,here fell ,leofwyne and ,gyrth1 brothers of ,harold the ,king4 #gj1 #ga4 ,,hic ,,ceciderunt ,,simul ,,angli ,,et ,,franci ,,in ,,prelio ,here fell together ,english and ,french in battle4 #gb4 ,,hic ,,odo ,e,p,s ,,bacul ,,tenens1 ,,confortat ,,pueros ,here ,bishop ,odo1 holding a staff1 rallies the young troops4 #gc4 ,,hic ,,est ,,wilel,m ,,dux ,here is ,duke ,william4 #gc4 ,e 444 ,,tius ,eustace4 #gc1 #gd1 ,,hic ,,franci ,,pugnant ,,et ,,ceciderunt ,,qui ,,erant #ge4 ,,cum ,,haroldo ,here the ,french fight and those who were with ,harold fell4 #gf1 #gg4 ,,hic ,,harold ,,rex ,,interfectus ,,est ,here ,king ,harold was slain4 #gh1 #gi4 ,,et ,,fuga ,,verterunt ,,angli ,and the ,english turned in flight4 ,illustration3 ,fig4 #d4 ,,fowling 7see p4 #bg7 ,v4--,,the ,,photographic ,,copy ,,of ,,the ,,original4 ,on the #crd of ,august #ahga the ,lords of the ,committee of ,council on ,education agreed to ,mr4 ,joseph ,cundall going to ,bayeux to obtain permission to take a full-sized photograph of the ,tapestry4 ,permission having been obtained1 a highly-skilled photographer1 ,mr4 ,e4 ,dossetter1 went to ,bayeux for the purpose4 ,in the first instance quite small photographs were taken1 which were subsequently enlarged to the size of the original4 ,a complete photographic copy enlarged to full-size and coloured after the original was exhibited in the ,albert ,hall at the ,exhibition of #ahgc4 ,this is the copy that is now exhibited in the ,museum 7,gallery #gi74 ,what ,carlyle thought of this copy cannot fail to be of interest--he expresses his enthusiasm in a letter to ,sir ,henry ,cole3-- 8,i went yesterday with two companions for a look at your ,bayeux ,tapestry in the ,albert ,hall and ,i cannot but express to you at once my very great contentment with what ,i saw there4 ,the enterprise was itself a solid1 useful and creditable thing2 and the execution of it seems to me a perfect success far exceeding all the expectations ,i have entertained about it4 ,mr4 ,froude1 who was one of my companions1 was full of admiration1 and a brother of mine who had seen the ,tapestry itself at ,bayeux last year seemed to think that this copy you had managed to make 7,i hope in a permanent and easily repeatable manner7 was superior in vivid clearness1 beauty of colour1 etc41 to the very original4 ,as the work is in essence photographic1 ,i flatter myself you have preserved the negative and other apparatus whereby the thing can be repeated as often as you like and at a moderate expense--in which case it might with evident and great advantage be imparted in the same complete form to all ,british ,colonies1 and even in ,america itself would be precious to every inquiring and every cultivated mind4 ,in a word1 ,i am much obliged to you for sending me to see this feat of yours 7by far the reasonablest in completeness of its kind yet known to me71 and very much obliged above all for your having done it and so done it4 8,yours truly1 with many thanks1 8,t4 ,,carlyle40 ,,vi4--,,notes ,,on ,,the ,,illustrations4 ,,plate ,i4 ,king ,edward gives instruction to two persons1 of whom one is ,harold2 ,edward's clothes are richly embroidered4 ,he is seated on a throne and has a crown and sceptre4 ,the scene shows a room in ,edward's castle2 a portion of the outside wall is given2 but the rest is cut away to give a view of the interior in a manner very common in medival art4 ,it will be seen that the castle is in the ,norman style4 ,on the left is a round ,norman window and there are ,norman turrets above4 ,the throne on which ,edward is sitting is typical of the art of the period1 the animal's head which forms the right arm being a common decoration4 ,in an ,anglo-,saxon calendar of the #aath century 7the ,,ms4 ,cotton and ,julius ,a ,,vi47 a drinking party is shown on a large das1 the two ends of which are in form like the head and front legs of two great dogs4 ,as to the nature of the communications passing between ,edward the ,confessor and ,harold1 it may be added that three reasons are given of ,harold's journey to ,normandy in different versions3 7#a7 ,to release his brother and nephew from imprisonment2 7#b7 that1 owing to a storm when out fishing1 he was shipwrecked on the coast of ,france2 7#c7 to impart to ,william ,edward's intention of making him his heir4 ,the third was the ,norman method of explaining what happened and is apparently the one accepted by the designer of the ,tapestry4 ,,plate ,,ii4 ,harold's ,oath4 ,william of ,normandy1 sword in hand1 sits on the left while ,harold takes a solemn oath of fealty2 each hand rests on an altar1 supporting a box of relics4 ,the cloths that cover the altars are of embroidery1 though in the ,tapestry they look like velvet4 ,the absence of any secrecy in the matter of the relics is here insisted on1 the story being told from the ,norman point of view4 ,,plates ,,iii41 ,,iv4 ,the ,palace of ,westminster1 and ,edward the ,confessor's body borne to the ,church of ,st4 ,peter's4 ,several points of interest arise in connection with these two plates2 it will be seen that the ,palace of ,westminster shows a general similarity to the representation in the first scene4 ,the room in which ,edward receives ,harold is the same shape and similar turrets appear in each case4 ,further historical accuracy is shown in placing ,edward's palace immediately to the left of ,st4 ,peter's ,church4 ,this ,st4 ,peter's ,church is the earliest form of what has since been known as ,westminster ,abbey1 before it was rebuilt in the ,gothic style during the latter part of the #acth century4 ,this picture is of particular interest1 as considerable care seems to have been taken in the reproduction to give an accurate picture4 ,the long series of ,norman arches below and the smaller row above are particularly noticeable4 ,the centre tower is also well portrayed4 ,the hand of ,god appearing through a cloud as if in dedication1 and a man placing a weather-cock on the roof1 seem to suggest that the church was just being completed1 a fact that is nowadays believed to be true1 though before it used to be held that ,edward never finished the church4 ,the foundations of this original edifice are still to be seen in ,westminster ,abbey and in their main features bear a strong resemblance to the ,abbey of ,jumiges 7see 8,social ,england10 ,vol4 ,i41 p4 #cah71 which was built about the same time and very likely designed by the same architect4 ,the whole question of the old building of ,st4 ,peter's at ,westminster has been discussed by ,professor ,lethaby and the ,dean of ,wells1 ,dr4 ,armitage ,robinson 7formerly ,dean of ,westminster71 in the ,proceedings of the ,society of ,antiquaries for #aiaj4 ,,plate ,v4 ,harold enthroned#h with ,archbishop ,stigand by his side4 ,stigand wears an amice1 a pall1 a chasuble1 gloves1 boots1 alb1 stole and maniple4 ,he is1 however1 bareheaded1 which is an argument for an early date for the ,tapestry as the mitre is rare in manuscripts till the #abth century4 ,if the mitre had been known to the designer of the ,tapestry he would surely have given it to ,stigand for so important an occasion4 ,it will be noticed that his chasuble is very long behind though very short in front1 and that his maniple is carried between his thumb and first finger rather than hanging down from the elbow1 as is the fashion to-day4 ,this fact goes to prove the contention of those who hold that the maniple was originally in the nature of a handkerchief4 7,the central portion of this scene is reproduced on a larger scale in the frontispiece47 ,,plate ,,vi4 8,they wonder at a star10 which is shown very curiously in the border4 ,this appearance of ,halley's ,comet is mentioned by ,english1 ,norman1 ,south ,gaulish1 ,german and ,italian chroniclers1 by whom it was generally held to portend the conquest of ,england4 ,it is also thought that there is a reference to it in ,chinese ,annals4 ,the comet appeared nine days after ,easter1 and shone with great brightness for some days4 ,harold had been crowned on the #fth of ,january1 and the ,conqueror anchored off ,pevensey on the #bhth of ,september4 ,halley's ,comet also appeared in #aade1 #abbc1 #acja1 #acgh1 #adef1 #aeca1 #afhb1 #agei1 #ahce and #aiaj4 ,a full account1 with extracts from the contemporary chroniclers1 can be seen in ,freeman's 8,norman ,conquest0 7#bnd ,edition74 ,vol4 ,,iii41 pp4 #fdj-e4 ,,plate ,,vii4 ,building the ,ships4 ,the ships which are being built in this plate are the famous 8,snekkjur0 or serpent vessels of the ,vikings1 so praised by the ,skalds4 ,on the whole the ,normans had altered their marine equipment comparatively little since their ,norwegian days4 ,a #ith century ,viking boat was in #ahhj discovered at ,gokstad on the west coast of the ,gulf of ,christiania4 ,it was about #ge ft4 long1 #af ft4 broad1 #eg ft4 deep1 with a displacement of #cj tons and able to carry #dj men4 ,such a ship would have been a fine one in the days of the ,conqueror4 ,william's fleet consisted of #c1jjj boats of different shapes and sizes1 of which #fif were of the 8,snekkjur0 type4 ,the serpent decoration on the prow and stern of this type of boat was often omitted1 but is shown in the ,tapestry4 ,william's own ship was called the 8,mora10 and was a present to him from ,queen ,matilda4 ,on the prow was the statue of a boy in copper gilt1 who held a bow in his hand in which there was an arrow pointing ever towards ,england4 ,his ship also flew the 8,consecrated ,banner0 of ,pope ,alexander ,,ii41 whose support of the expedition ,william had secured4 ,,plate ,,viii4 ,a ,feast is made4 ,on the left of this ,plate chickens are being handed to the diners on spits1 a spit apparently being provided for each guest4 ,a knife is on the left table1 also a piece of flat round bread1 the common shape in which bread was made during that period4 ,spoons and forks were practically unknown at the time1 and though two rough forks can be seen on a #abth century manuscript1 the 8,hortus deliciarum0 of ,herrad von ,landsberg1 they remain rare even in high society till the #afth century4 ,jean ,sulpice writes as follows in #adhj on 8,la ,civilit03--8,prends la viande avec trois doigts et ne rempli pas la bouche de trop gros morceaux40 ,a round bowl is on the table and one of the men drinks out of a large horn4 ,these drinking horns were particularly popular in ,england1 where practically no wine was drunk and mead was the favourite liquor4 ,they were the same shape as musical horns with some form of stopper at the small end4 ,two horns of this kind are exhibited among the ,ivories 7,room #h7 in this ,museum 7,nos4 #geic1 #hjce-ahfb74 ,a fine ,rhenish drinking horn is in the ,british ,museum1 of which a good illustration is given in the article on ,drinking ,vessels in the 8,encyclopdia ,britannica40 ,the ,british ,museum also possesses a ,scandinavian horn1 illustrated on page #ajj of the ,british ,museum ,guide to the ,medival ,department4 ,the famous horn of ,ulphus 78,homes of ,other ,days10 p4 #dc7 is in the ,treasury of ,york ,cathedral4 ,readers may remember in ,boswell's 8,tour to the ,hebrides0 how 8we looked at ,rorie ,more's horn1 which is a large cow's horn1 with the mouth of it ornamented with silver and curiously carved4 ,it holds rather more than a bottle and a half4 ,every ,laird of ,mc,leod1 it is said1 must1 as a proof of his manhood1 drink it full of claret without laying it down40 7,journal for ,wednesday1 ,sept4 #ahth47 ,these horns were not so universal in ,france1 some forms of goblet being in use even during the #hth and #ith centuries1 one such being seen on the right-hand end of the main table1 where sit the ,bishop and those of higher rank4 ,by the #adth century horns seem to have gone completely out of use4 ,on this right-hand table is a goodly array of knives1 goblets and plates of various sizes2 some pieces of the ,norman pottery shown here are in the ,british ,museum4 ,the figure on the extreme right of this table1 though occupying such an honoured place near the ,bishop1 is tearing a fish to pieces and thrusting it into his mouth with his fingers4 ,the figure coming towards the table holding a porringer is the cup-bearer and wine-taster1 a prominent figure at every banquet4 ,it is difficult to be certain as to the nature of the other object he is holding in his hand1 but it may be a napkin1 which was handed round to the most important people that they might wipe their fingers after the repast4 ,,plate ,,ix4 ,odo4 ,william4 ,robert4 ,this scene shows three portraits1 ,william the ,conqueror being in the centre1 with ,bishop ,odo on his left and on his right ,count ,robert of ,normandy4 ,on ,william's death1 his son1 ,william ,rufus1 succeeded to ,england1 and ,count ,robert to ,normandy4 ,on the death of ,william ,rufus in #aajj1 ,count ,robert was still on an expedition in the ,holy ,land4 ,hence ,henry ,i4 was elected king by the popular voice1 in spite of protests from ,normandy1 and became an ,english as opposed to a ,french monarch4 ,this happy division of powers was1 however1 not permanent1 and ,england1 ,normandy and many other ,french provinces were reunited under the ,angevins1 an event which marked the beginning of that perpetual trouble with ,france which hardly ended with ,king ,henry ,,vi4 ,,plate ,x4 ,burning a ,house4 ,in this plate again there seems to be a rough attempt at a portrayal of ,norman domestic architecture4 ,the ,norman nature of the work is suggested in the house being of two storeys1 the ,saxon dwelling usually being of one4 ,a woman and her child escape from the hall1 which occupies the whole of the ground floor1 and is of nearly as much importance as it would have been in the ,anglo-,saxon period4 ,the room above is smaller and lit by a window with a ,norman arch4 ,no glass1 however1 would be placed in the window4 ,the top storey would be provided with a rough kind of fire-place1 as perhaps might also the ground floor1 though the old fire piled right up in the middle of the hall was still quite common4 ,,plate ,,xi4 ,the ,battle1 showing the 8packed shield0 formation of the ,english4 ,this method of fighting particularly impressed ,william at ,hastings1 and no doubt the ,english employed it with great skill4 ,but whereas the most important part of ,william's army was the cavalry1 ,harold's army consisted entirely of foot soldiers4 ,the ,thanes and other important men might be able to ride up to the scene of battle on horseback1 but they dismounted for the fight4 ,the 8packed shield0 formation they proceeded to employ consisted1 as is seen in the ,tapestry1 of a thick wedge of men1 widening out from about two in front to an uncertain number at the base2 the officers and better armed men formed the front wedge1 backed by a dense column of the inferior troops4 ,the ,english and ,normans wear for the most part the same armour1 the body of which goes down to the knees in one piece1 a type of armour known as the 8hauberk0 or 8byrnie40 ,these hauberks occasionally extended to the ankles1 but the legs were generally cased in leather gaiters1 somewhat resembling the 8puttees0 of to-day4 ,later1 in the border1 the hauberk is correctly shown being pulled off the body of a dead soldier over the head1 like a shirt4 ,in most cases the shields of the two armies are of the same shape1 being pointed at the bottom and rounded at the top1 a type that succeeded the kind which was narrow at each end and broadest in the middle4 ,this old-fashioned shape of shield was still used by the ,english as well as the round embossed shield of yet earlier times4 ,an ,english warrior1 probably ,harold himself1 is to be seen wielding one of those terrible battle-axes that did such execution at ,hastings4 ,this weapon was the mainstay both in attack and defence1 and the glory of the ,saxon army4 ,but1 nevertheless1 it marks a far less advanced point in the history of war4 ,william's army is seen to be wearing stirrups1 which1 according to some authorities1 were new to ,europe at the beginning of the #abth century1 having been introduced from ,china by the ,mahommedans4 ,but it seems extremely doubtful if they were such a late discovery as this4 ,in any case1 their use brought with it great changes in horsemanship1 as the cavalry were enabled to sit forward on their saddles1 often charging with their lances under their arm instead of leaning right back and charging with the arm erect4 ,it will be seen that the helmet is conical with a 8nasal10 that is to say1 with a bar coming down as a shelter for the nose4 ,the huge 8vizor10 covering the whole face and leaving only peep-holes for the eyes1 was a later invention4 ,also the horses are here quite unprotected1 not 8tot couvert de fer0 as ,wace1 a #abth century historian of the ,conquest1 would have had them be4 ,the armour would certainly be very heavy1 but lighter than the massive defences of the #adth and #aeth centuries4 ,but the whole question of this early armour raises many points of difficulty and dispute4 ,the subject of ,saxon and ,norman armour is well treated in ,mr4 ,c4 ,h4 ,ashdown's 8,british and ,foreign ,arms and ,armour0 7#aiji71 where special attention is devoted to the body-armour of the ,bayeux ,tapestry4 ,,plate ,,xii4 ,the ,death of ,harold4 ,the king is seen on the left1 pierced through the right eye with an arrow which he is endeavouring to pull out with his hand4 ,this is quite in accordance with tradition on the subject1 though it is believed that ,harold died1 not at the moment of receiving the wound1 but possibly some hours later4 ,three arrows are seen sticking in his shield4 ,on the right there is an ,english warrior1 struck down by the sword of a mounted ,norman knight4 ,,figures ,nos4 #a to #d4 ,these four figures form part of the borders under numbers ,x41 ,,xi41 ,,xii42 three represent scenes from the ordinary life of the peasantry--ploughing1 harrowing1 and slinging at birds2 the fourth shows the figure of a lion4 ,these rural scenes are extremely frequent in medival illustrated ,,mss4 ,an illuminated ,,ms4 of the #aath century in the ,british ,museum shows a good example of slinging 7see 8,social ,england10 ,vol4 ,i41 p4 #caf74 ,the ,louterell ,psalter1 which dates from the early years of the #adth century1 gives many scenes of ploughing and harrowing 7see ,vetusta ,monumenta1 ,vol4 ,,vi41 especially ,plates ,,xxi4 and ,,xxii474 ,the shoulder collars and the iron shoes worn by the horses in these borders are held by some to have been an invention only made at the end of the #aath century4 ,,vii4--,,bibliography4 ,mr4 ,f4 ,r4 ,fowke has written a short and extremely clear account of the ,tapestry in 8,the ,bayeux ,tapestry2 a ,history and ,description0 7,george ,bell ,sons1 #ahih71 with a reproduction of the ,tapestry4 ,this invaluable book has been reprinted 7#aiac7 by ,messrs4 ,bell in cheaper form4 ,professor ,lethaby 78,embroidery1 #aijh-i07 holds that the ,tapestry may have been made in ,kent4 ,in the study of the subject from an archological point of view there are two admirable articles by ,mr4 ,j4 ,horace ,round3 8,the ,bayeux ,tapestry0 78,monthly ,review10 ,december #aijd7 and 8,the ,castles of the ,conquest0 7,archologia1 ,,lviii74 ,mr4 ,round has also contributed an article on the ,bayeux ,tapestry to the 8,encyclopdia ,britannica40 ,in the ,archological ,journal1 ,vol4 ,,lx41 ,sir ,w4 ,h4 ,st4 ,john ,hope has an article on 8,fortresses of the #ajth and #aath ,centuries40 ,all these books and articles support the belief that the ,tapestry is practically contemporary with the events narrated4 ,m4 le ,commandant ,lefebvre de ,nottes has approached the subject from a different point of view in the 8,bulletin ,monumental0 of ,april #aiab4 ,he discusses the armour1 weapons1 harness of the horses and kindred subjects1 coming to the conclusion that the ,tapestry was probably made between #aabj and #aacj1 a date neither so late nor so early as extremists on either side have asserted4 ,the antiquity of the ,tapestry has been attacked by ,m4 ,marignan in his 8,la ,tapisserie de ,bayeux0 7#aijb74 ,he wishes to prove that its date cannot be before the middle of the #acth century4 ,his views have1 however1 met with little support and have been answered by ,m4 ,lanore in his volume 8,la ,tapisserie de ,bayeux0 7#aijc74 ,j4 ,c4 ,bruce1 in 8,the ,bayeux ,tapestry ,elucidated with ,coloured ,illustrations0 7#ahef71 is inaccurate on some points but indulges in much ingenious speculation4 ,two fresh books on the ,tapestry have appeared in recent years4 ,mr4 ,hillaire ,belloc 78,the ,book of ,bayeux ,tapestry10 ,london1 #aiad71 assigns the work to the second half of the #abth century4 ,m4 ,a4 ,lev 78,la ,tapisserie de la ,reine ,mathilde10 ,paris1 #aiai7 holds that it was made for the consecration of ,bayeux ,cathedral in #ajgg4 ,,index4 ,a ,,page ,academy 7,french71 paper before1 #aa ,aelfgyva1 personality unknown1 #e1 #i ,albert ,hall1 ,photograph of ,tapestry at1 #ai ,alexander ,,ii41 ,pope1 blesses ,william's enterprise1 #bc ,amyot the antiquary1 #aj1 #ab ,angevins1 ,kings of ,england1 #bd ,anglo-,saxon ,calendar1 #bj ,antiquaries1 ,society of1 papers before1 #ba 8,archologia10 papers in1 #ab ,archological ,journal1 papers in1 #bh ,architecture1 ,anglo-,saxon1 #be 0 ,gothic1 #ba 0 ,norman1 #bj1 #ba1 #bd ,armitage-,robinson1 ,dr41 ,dean of ,westminster1 #ba ,ashdown1 ,c4 ,h41 8,british and ,foreign ,arms and ,armour01 #bh ,b ,battle-axes1 #bf ,bayeux ,cathedral1 burned1 #aa1 0 0 ,inventory of1 #aa 0 ,city1 ,htel de ,ville at1 #ab 0 0 ,public ,library at1 #ab 0 0 sacked by ,calvinists1 #aa ,beaurain1 ,harold taken to1 #e ,benot de ,saint ,maur1 ,annalist1 #h ,borders of ,tapestry discussed1 #i ,bosham1 ,harold at ,church of1 #d ,boswell1 8,tour to the ,hebrides01 #bc1 #bd ,boulogne1 ,eustace ,count of1 #h ,boy on prow of ,william's ship1 #bc ,bread1 #bc ,british ,museum1 ,medival ,horn at1 #bc 0 ,norman ,pottery at1 #bd ,brittany1 ,harold arrives in1 #e ,bruce1 ,j4 ,c41 ,book on ,bayeux ,tapestry1 #bh ,bulletin ,monumental1 ,article in1 #bh ,byrnie1 ,nature of1 #be1 #bf ,c ,calvinists sack ,bayeux1 #aa ,carlyle1 ,thomas4 ,letter to ,sir ,henry ,cole1 #ai ,castles1 ,early ,norman1 #b ,china1 ,annals of1 #bb 0 ,spurs introduced from1 #bf ,christiania1 ,gulf of1 #bb ,chronique des ducs de ,normandie4 7,footnote71 #h ,civilit1 ,la1 by ,jean ,sulpice1 #bc ,clerk1 a certain1 and ,aelfgyva1 #e1 #i ,cole1 ,sir ,henry4 ,letter from ,thomas ,carlyle1 #ai ,comet1 ,halley's1 appears1 #f1 #bb ,conan ,,ii41 ,duke of ,brittany1 #e ,consecrated ,banner1 given by the ,pope to ,william1 #bc ,cousenon1 ,r41 ,crossed by ,harold and ,william1 #e ,cundall1 ,joseph1 goes to ,bayeux1 #ai ,d ,dol1 ,siege of1 #e ,dossetter1 ,mr41 the ,photographer1 #ai ,drinking ,horns1 #bc1 #bd ,drinking ,vessels1 #bd ,ducarel1 ,dr41 ,archologist1 #ab ,e ,eadgyth1 ,queen of ,edward the ,confessor1 #f ,ecclesiastical ,vestments worn by ,stigand1 #ba1 #bb ,edward the ,confessor1 #a1 #d1 #f1 #bj1 #ba ,eustace1 ,count of ,boulogne1 #h ,f ,feast of ,relics1 ,tapestry exhibited during1 #aa ,florence of ,worcester1 ,annalist1 #d ,forestier ,m4 le1 ,commissioner of ,police in ,bayeux1 #aa ,forks1 #bc ,fowke1 ,f4 ,r41 ,book on the ,bayeux ,tapestry1 #bh ,fowling1 #be ,freeman1 ,professor ,j4 ,h41 #a1 #d1 #e1 #ac1 #bb ,froude1 ,j4 ,a41 mentioned by ,thomas ,carlyle1 #ai ,g ,gaulish 7,south7 ,chronicles1 #bb ,german ,chronicles1 #bb ,gokstad1 ,viking ship discovered at1 #bb ,gothic ,style of ,architecture1 #ba ,gurney1 ,hudson1 ,antiquarian1 #ab ,gyrth1 ,brother of ,harold1 killed1 #h ,guy ,count of ,ponthieu1 #d1 #e ,h ,halley's ,comet1 #f1 #bb ,harold ,hardrada defeated1 #h ,harold1 ,king of ,england1 #a1 #b1 #d1 #e1 #f1 #g1 #h1 #bj1 #ba1 #bf ,harrowing1 #bg ,hastings1 ,battle of1 #a1 #h1 #be1 #bf 0 ,town of1 #g ,hauberks1 #be1 #bf ,henry ,i41 #bd ,henry ,,ii4 7,footnote71 #h ,henry ,,vi41 #be ,herrad von ,landsberg1 #bc ,holy ,land1 ,the1 #bd ,hope1 ,sir ,w4 ,h4 ,st4 ,john1 #bh 8,hortus ,deliciarum01 #bc ,hume1 ,david1 #ab ,i ,inscriptions on the ,tapestry translated1 #ad1 #ae1 #af1 #ag1 #ah ,j ,jumiges1 ,abbey of1 #ba ,l ,laird of ,macleod1 ,the1 and ,drinking ,horns1 #bd ,lanore1 ,m41 ,book on ,bayeux ,tapestry1 #bh ,launcelot1 ,m41 reads paper before ,french ,academy1 #aa ,lefebvre de ,nottes1 ,commandant1 ,article on ,bayeux ,tapestry1 #bh ,leofwyne1 ,brother of ,harold1 killed1 #h ,lethaby1 ,professor1 ,articles by1 #ba1 #bh ,louterell ,psalter1 and ,agricultural life1 #bh ,lyttelton1 ,lord1 on the ,bayeux ,tapestry1 #ab ,m ,macleod1 ,lairds of1 and ,drinking ,horns1 #bc ,mahommedans1 spurs perhaps introduced by1 #bf ,marignan1 ,m41 book on ,bayeux ,tapestry1 #bh ,matilda1 ,queen of ,william the ,conqueror1 #bc ,maur1 ,saint1 ,pre ,montfaucon of1 #aa ,montfaucon1 ,pre1 ,archologist1 #aa 8,monuments de la ,monarchie ,franaise10 ,publications1 #aa 8,mora10 ,the1 given by ,matilda to ,william1 #bc ,muse ,napolon1 ,bayeux ,tapestry exhibited at1 #ab ,n ,napoleon1 and the ,bayeux ,tapestry1 #ab ,nasal1 #bf ,nicholls1 ,mr4 ,bowyer1 ,antiquarian1 #ac ,norman ,architecture1 #bb1 #bc1 #be 0 ,castles1 #b 0 ,chronicles1 #bb 0 ,conquest1 #a1 #h 0 ,pottery1 #bd ,o ,odo1 ,bishop of ,bayeux1 #c1 #g1 #h1 #aj1 #bd ,oman1 ,professor1 #a ,omen at ,harold's ,coronation1 #g1 #bb ,p 8,packed ,shield0 formation1 #b1 #h1 #be 8,palographica ,britannica10 by ,stukeley1 #ab ,peter1 ,church of ,saint1 at ,westminster1 #f1 #ba ,pevensey1 ,william lands at1 #g ,ploughing1 #bg ,ponthieu1 ,guy ,count of1 #d1 #e ,prussians near ,bayeux1 #ab ,r ,rennes1 ,harold and ,william pass1 #e ,robert1 ,count of ,normandy1 #g1 #bd ,roman d',enis4 7,footnote71 #h 0 de ,thbe1 #h 0 de ,troie1 #h ,rorie ,more's ,horn1 #bd ,round1 ,mr4 ,j4 ,horace1 ,archologist1 #a1 #bh ,rufus1 ,william1 #bd ,s ,slinging1 #bg 8,snekkjur0 boats1 #bb ,spoons1 #bc 8,star10 ,appearance of strange1 #f1 #bb ,stigand1 ,archbishop1 #f ,storm1 ,question of ,harold and1 discussed1 #d ,stothard1 ,charles1 #h1 #i 0 ,mrs4 ,charles4 7,footnote71 #i ,strickland1 ,miss ,agnes1 on ,bayeux ,tapestry4 7,footnote71 #e ,stukeley4 8,palographica ,britannica01 #ab ,sulpice1 ,jean1 ,author of 8,la ,civilit01 #bc ,t ,throne of ,king ,edward the ,confessor1 #bj ,tostig1 ,death of1 #h 8,tour to the ,hebrides10 by ,james ,boswell1 #bc1 #bd ,turold1 #e1 #aj ,u ,ulphus1 ,horn of1 in ,treasury at ,york1 #bc ,v 8,vetusta ,monumenta10 ,reproductions in1 #ac ,vital1 #h1 #aj ,vizor1 #bf ,w ,wace1 #adth century ,historian1 #bf ,wadard1 #g1 #aj ,westminster1 ,church of ,saint ,peter at1 #f1 #ba 0 ,palace of1 #ba ,william the ,conqueror1 #a1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 #bj1 #bb1 #bd1 #be1 #bf ,y ,york1 ,horn of ,ulphus in ,treasury at1 #bc ,illustration3 ,,plate ,i4 ,,king ,,edward ,,the ,,confessor ,,and ,,harold4 7,see p4 #bj47 ,illustration3 ,,plate ,,ii4 ,,the ,,oath ,,of ,,harold4 7,see p4 #bj47 ,illustration3 ,,plate ,,iii4 ,,king ,,edward ,,in ,,his ,,palace4 7,see p4 #ba47 ,illustration3 ,,plate ,,iv4 ,,the ,,church ,,of ,,st4 ,,peter ,,at ,,westminster4 7,see p4 #ba47 ,illustration3 ,,plate ,v4 ,,the ,,coronation ,,of ,,harold4 ,,stigand4 7,see p4 #ba47 ,illustration3 ,,plate ,,vi4 ,,the ,,comet4 7,see p4 #bb47 ,illustration3 ,,plate ,,vii4 ,,building ,,ships4 7,see p4 #bb47 ,illustration3 ,,plate ,,viii4 ,a ,,feast4 7,see p4 #bc47 ,illustration3 ,,plate ,,ix4 ,,odo4 ,,william4 ,,robert4 7,see p4 #bd47 ,illustration3 ,,plate ,x4 ,,burning ,a ,,house4 7,see p4 #bd47 ,illustration3 ,,plate ,,xi4 ,,the ,,battle ,,of ,,hastings4 7,see p4 #be47 ,illustration3 ,,plate ,,xii4 ,,death ,,of ,,harold4 7,see p4 #bf47 ,,notice4 ,this ,guide may be obtained direct from the ,victoria ,albert ,museum1 price #as4 #j;d4 net 7by post #as4 #b;d4 net74 ,it may also be obtained either through any bookseller or directly from ,h4,m4 ,stationery ,office at the following addresses3 ,imperial ,house1 ,kingsway1 ,london 7,w4,c4 #b71 and #bh1 ,abingdon ,street 7,s4,w4 #a72 #cg1 ,peter ,street1 ,manchester2 #a1 ,st4 ,andrew's ,crescent1 ,cardiff2 #bc1 ,forth ,street1 ,edinburgh2 or from ,e4 ,ponsonby1 ,ltd41 #aaf1 ,grafton ,street1 ,dublin4 ,orders should be accompanied by a remittance4 ,other publications of the ,department of ,textiles are shown below4 ,publication ,no4 ,catalogues4 #gb ,t ,english ,ecclesiastical ,embroideries of the ,,xiii4 to ,,xvi4 centuries4 ,second edition1 with one illustration4 pp4 #de4 ,demy #hvo4 #aiaa4 #b;d4 ,by post #c;d4 #aag ,t ,third edition1 pp4 viii and #dg4 #ce illustrations4 ,roy4 #hvo4 #aiaf4 #i;d4 ,by post #as4 #aae ,t ,samplers4 ,second edition1 pp4 vii and #dg2 #ab plates4 ,roy4 #hvo4 #aiae4 #f;d4 ,by post #h;d4 #aah ,t ,algerian ,embroideries4 pp4 #ad2 #d plates4 ,roy4 #hvo4 #aiae4 #d;d4 ,by post #e;d4 #ia ,t ,tapestries4 ,by ,a4 ,f4 ,kendrick4 pp4 #ajd2 #ai plates4 ,crown #dto4 ,paper ,boards4 #aiad4 #as4 ,by post #as4 #f;d4 #abi ,t ,,textiles ,,from ,,burying ,,grounds ,,in ,,egypt4 ,by ,a4 ,f4 ,kendrick4 ,vol4 ,i4 ,graeco-,roman ,period1 pp4 x and #adb2 #cc plates4 ,crown #dto4 #aibj4 #es4 ,by post #es4 #f;d4 ,vol4 ,,ii4 7in the press74 #ada ,t ,franco-,british ,exhibition of ,textiles4 pp4 #bh2 #ah plates4 ,crown #hvo4 #aiba4 #i;d4 ,by post #aj;d4 ,guides4 #if ,t ,tapestries1 ,carpets and ,furniture lent by the ,earl of ,dalkeith1 ,march to ,may1 #aiad4 pp4 #bg4 ,roy4 #hvo4 #a;d4 ,by post #b;d4 #ij ,t ,english ,costumes presented by ,messrs4 ,harrods1 ,ltd4 pp4 iv and #bj2 #af plates4 ,roy4 #hvo4 #aiac4 #f;d4 ,by post #h;d4 #aaa ,t ,the ,collection of ,carpets4 pp4 viii and #hh2 #di plates4 ,roy4 #hvo4 #aibj4 #bs4 #f;d4 ,by post #bs4 #aj;d4 ,cloth #cs4 #f;d4 ,by post #cs4 #aa;d4 #aai ,t ,japanese ,textiles4 ,part ,i4--,textile ,fabrics4 pp4 xi and #fh2 #be plates4 ,roy4 #hvo4 #aiai4 #cs4 #f;d4 ,by post #cs4 #i;d4 #abj ,t ,japanese ,textiles4 ,part ,,ii4--,costume4 pp4 #fe2 #g plates4 #cj figs4 ,roy4 #hvo4 #aibj4 #cs4 #f;d4 ,by post #cs4 #i;d4 #acf ,t ,notes on ,carpet-,knotting and ,weaving4 pp4 #bf2 #ab plates4 ,crown #hvo4 #aibj4 #i;d4 ,by post #aa;d4 ,portfolios4 #hc ,t ,tapestries4 ,part ,i4 #aiac4 #f;d4 ,by post #h;d4 ,part ,,ii4 #aiad4 #f;d4 ,by post #h;d4 ,part ,,iii4 #aiaf4 #as4 #f;d4 ,by post #as4 #i;d4 ,in paper wrappers1 #ae #ab4 ,each plate has descriptive letterpress on the attached flysheet4 #b ,coloured ,reproductions of ,english ,silk ,embroidery of the early #ahth ,century1 #aiac4 #as4 each plate4 #ae #ab4 ,by post #as4 #b;d4 ,,footnotes3 #a ,exhibited with the photographic copy of the ,bayeux ,tapestry in ,gallery #gi are two plaster reproductions made by ,charles ,stothard to show the technique of the embroidery4 ,one piece shows the head of ,duke ,william1 and is taken from ,scene #ag4 ,the second shows the head of ,harold at his coronation1 and is taken from ,scene #cc4 ,in the ,medival ,department of the ,british ,museum is a third cast1 of the head of a soldier1 which has been copied from ,scene #bc4 #b ,the ,tapestry is #bcj feet #i inches long and #ai inches broad4 #a1eab objects of different kinds are shown in the course of the work1 made up of #fbc persons1 #ee dogs1 #bjb horses or mules1 #eje other animals1 #hg buildings1 #di trees1 and #da ships and boats4 ,the subject of each scene is given above in ,latin4 #c ,for ,miss ,agnes ,strickland's theory that ,turold was the designer of the ,tapestry and ,freeman's comments thereon1 see ,freeman's ,norman ,conquest1 ,vol4 ,,iii41 ,appendix ,a4 7#bnd ,edition74 #d ,conan ,,ii41 ,duke of ,brittany1 whose capital was ,rennes4 #e ,benot de ,st4 ,maur1 the #abth century writer1 is supposed to have been a native of ,st4 ,maur4 ,from his prefix1 ,matre1 he may have been a student at a ,university4 ,but it is not known if he took orders4 ,he was attached to the ,court of ,henry ,,ii4 ,he was a loyal 8,englishman10 and always referred to the ,french as 8they40 ,he wrote the 8,chronique des ,ducs de ,normandie10 and also 8,le ,roman de ,troie40 ,the date of the 8,chronique0 is probably #aagb-aagf4 ,the 8,roman d',enis0 and the 8,roman de ,thbe0 have also been attributed to him1 but this is not generally accepted1 while some even deny that the same hand composed the 8,roman de ,troie 8 and the 8,chronique40 #f ,one of these fragments of the ,tapestry was sold to ,mr4 ,bowyer ,nicholls and was purchased from him by the ,south ,kensington ,museum in #ahfd4 ,it was soon decided to return this fragment to ,bayeux1 which was done in #ahgb4 ,mrs4 ,stothard has usually been accused of abstracting these two pieces4 ,she was1 however1 able to show that she was not married to ,mr4 ,stothard till #ahah1 the third and last year in which he visited ,bayeux1 and that at this date these fragments were already in his possession4 ,prior to his marriage he had possessed these two pieces1 and said that they were so ragged as to be incapable of restoration4 ,but how he had acquired them was not divulged4 #g ,there is no inscription for these two scenes4 #h ,this portion of the plate also appears as the ,frontispiece4