Guide to the Bayeux Tapestry
F. F. L. Birrell
9781465659675
213 pages
Library of Alexandria
Overview
THE Bayeux Tapestry is probably the most famous and the most remarkable of mediæval embroideries. 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 Conquest. None of the main incidents leading up to the Conquest itself are omitted. The arrival of Harold in Normandy, his stay with William, his swearing of loyalty, his return to England, the death of Edward the Confessor, the subsequent election of Harold to the throne of England, with the expedition itself culminating in the Battle of Hastings, are all shown in the course of the story. It is as much a defence of William’s conduct as a history of his triumph. The Tapestry is generally considered to be contemporary, or almost contemporary, with the events it portrays, and it is evident that if such be the case it is an historical document of the very first importance. Certain archæologists have indeed maintained that it was not made till 50 or even 200 years after the Conquest, but their arguments have not generally been found convincing, and the claims of those who consider the Tapestry a contemporary document may be said to have held their ground. Historians like Freeman, Mr. J. H. Round, and Professor Oman have not hesitated to draw their conclusions from it, and it remains an inexhaustible storehouse of information regarding the social life of England and Normandy during the 11th century. 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 shown. The representations of Edward and William, for instance, agree with their likenesses as shown to us on their seals and coins. In accordance with the fashion, Harold and his Saxons are given moustaches, while the Normans go clean-shaven. But while Harold and his men are in Normandy they follow the Norman fashion and also go clean-shaven. Again, the English “packed shield” formation, which so much impressed the Conqueror at Hastings, is shown with great clearness. Indeed, the Tapestry corrects many of the errors of mediæval historians, while Mr. Round believes that with its aid he has cleared up the mystery that hangs round early Norman “Castles.” But though the Tapestry has these uses for archæologists and historians, it will have a wider appeal for those who are attracted by sound workmanship. Indeed, it combines beauty with an attention to correctness of detail and fashion to an extent unsurpassed in the memorials of the time.
