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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..155cabf --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #65918 (https://www.gutenberg.org/ebooks/65918) diff --git a/old/65918-0.txt b/old/65918-0.txt deleted file mode 100644 index 8b3d652..0000000 --- a/old/65918-0.txt +++ /dev/null @@ -1,2174 +0,0 @@ -The Project Gutenberg eBook of Guide to the Bayeux tapestry, by F. F. L. -Birrell - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Guide to the Bayeux tapestry - -Author: F. F. L. Birrell - -Release Date: July 25, 2021 [eBook #65918] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Charlene Taylor, Chuck Greif and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK GUIDE TO THE BAYEUX TAPESTRY *** - - - - -[Illustration: HAROLD ENTHRONED. (_See_ p. 6.) - -_Frontispiece_]] - - - - - VICTORIA & ALBERT MUSEUM - - DEPARTMENT OF TEXTILES - - GUIDE TO - THE BAYEUX TAPESTRY - - BY F. F. L. BIRRELL - - LONDON: PRINTED UNDER THE AUTHORITY OF - HIS MAJESTY’S STATIONERY OFFICE, 1921 - - - PUBLICATION NO. 100T. - - _Crown Copyright Reserved._ - - _First printed, October, 1914._ _Reprinted-April, 1921._ - - -_This Guide may be obtained directly from the Victoria & Albert Museum, -price 1s. 0d. net (by post 1s. 2d. net). It may also be obtained either -through any bookseller or directly from H.M. Stationery Office at the -following addresses: Imperial House, Kingsway, London (W.C. 2.), and 28, -Abingdon Street (S.W. 1); 37, Peter Street, Manchester; 1, St. Andrew’s -Crescent, Cardiff; 23, Forth Street, Edinburgh; or from E. Ponsonby, -Ltd., 116, Grafton Street, Dublin._ - -C81 (7614) Wt. 30446/AM2362/637 6/21 2M Harrow (Gp. 51) - - - - -[Illustration] - - - - -PREFATORY NOTE. - - -Although the Bayeux Tapestry is not itself included among the -collections of the Museum, its surpassing interest to English students -and the existence of two copies here amply justify the appearance of -this guide. A full-size photographic reproduction, coloured by hand, is -exhibited on the walls of the gallery numbered 79 on the first floor. - -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 Textiles, adjoining Room 123 on the first floor. - - _May, 1921._ CECIL H. SMITH. - - - - -NOTE TO THE FIRST EDITION. - - -The preparation of this guide has been entrusted to Mr. F. F. L. -Birrell. Its chief aim is to present in a handy form the most important -of the ascertained facts regarding the Tapestry. Matters which belong to -the realm of conjecture, and even of controversy, have also been touched -upon. Students wishing to pursue these further are recommended to -consult the authorities quoted in the guide. I have read through the -proofs, and must accept responsibility for such errors as may be found. - - _October, 1914._ A. F. K. - - - - -NOTE TO THE SECOND EDITION. - - -When this guide-book was first printed in 1914, its author, Mr. Francis -Birrell, was for the time being a member of the staff of the Department -of Textiles. On the publication of a second edition, they wish to -express their regret that circumstances should have frustrated their -hopes that he would remain as a colleague on the permanent staff. - -_April, 1921._ - - - - -TABLE OF CONTENTS. - - - PAGE - -THE BAYEUX TAPESTRY 1 - -THE SCENES DESCRIBED 4 - -HISTORY OF THE TAPESTRY 11 - -THE LATIN INSCRIPTIONS WITH A TRANSLATION 14 - -THE PHOTOGRAPHIC COPY OF THE ORIGINAL 19 - -NOTES ON THE ILLUSTRATIONS 20 - -BIBLIOGRAPHY 28 - -INDEX 29 - - - - -LIST OF ILLUSTRATIONS. - - -_Frontispiece_:--Harold Enthroned - -PLATE I. King Edward the Confessor and Harold. - - ” II. The Oath of Harold. - - ” III. King Edward in his Palace. - - ” IV. The Church of S. Peter at Westminster. - - ” V. The Coronation of Harold. Stigand. - - ” VI. The Comet. - - ” VII. Building Ships. - - ” VIII. A Feast. - - ” IX. Odo. William. Robert. - - ” X. Burning a House. - - ” XI. The Battle of Hastings. - - ” XII. The Death of Harold. - -FIG. 1. A Lion p. 1 - - “ 2. Ploughing p. 9 - - “ 3. Harrowing p. 14 - - “ 4. Fowling p. 18 - - - - -[Illustration: FIG. 1. A LION (_see_ p. 27).] - - - - -I.--THE BAYEUX TAPESTRY. - - -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. - -A word may be added about technique. The “Bayeux Tapestry” always has -been, and probably always will be, known under this name. It should, -however, be recognised that, properly speaking, it is not a tapestry at -all but an embroidery.[1] The figures are worked on linen, probably -unbleached, in wool of eight different shades: dark and light blue, red, -yellow, dark and light green, black and dove colour. The Latin -inscriptions that are placed over most of the scenes are also stitched -in wool, and are about an inch in height. It is noticeable that no -attempt has been made to give the objects the colours they have in -nature, while a difference of colour is the method employed for such -effects as perspective. For instance, 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 colour.[2] - -The tradition that the embroidery was carried out by Matilda and her -ladies is a late tradition and need not be considered too seriously. -William would have been more indisputably the hero if this were true, -and it is not likely that the work, when completed, would have been sent -to Bayeux to adorn Odo’s cathedral. It is more probable that it was -commanded by Odo for the decoration of his church. 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 neighbourhood. -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 design. - - - - -II--THE SCENES DESCRIBED. - -NOTE.--_In the following paragraphs the figures represent the number of -the scene. Corresponding numbers will be found on the copy of the -Tapestry above the scene described, and in Part IV._ (_p._ 14). - - -It may be noticed, generally, that the story is presented with a strong -bias in favour of the Normans, and there are large discrepancies between -the account given here and that which, descending through Freeman from -Florence of Worcester, is served up to English readers, whose sympathies -are still supposed to be enlisted on behalf of Harold. It has been -usually taught in England, for instance, that Harold only landed in -France by mistake through being caught in a storm, and that this -advantage was seized by William to the undoing of the man who was his -guest. The story told in the Tapestry is very different. - -In the first scene (PLATE I.) King Edward the Confessor is giving -instructions to Harold, who immediately, with a large cavalcade of men, -horses, dogs and falcons (2), sets off in the direction of the coast. He -passes Bosham, where he enters the church and prays (3), conduct that -is, perhaps, intended to appear hypocritical in the light of future -events. After these religious exercises Harold and his company repair to -a neighbouring house and refresh themselves with food before setting out -again on their journey. They then cross the sea (4, 5, 6). No storm is -shown and the Tapestry has the inscription “HIC HAROLD MARE NAVIGAVIT ET -VELIS VENTO PLENIS VENIT IN TERRA WIDONIS COMITIS” (“Here Harold set -sail upon the sea and with sails full of wind came to the land of Count -Guy”). This cannot well mean a storm but a favourable voyage. Harold had -always intended to come in to France. He had in the first scene had an -interview with Edward in which he is presumably intrusted with a message -to William, which he crosses the sea to deliver. If this message were to -state Edward’s wish that William should succeed him on the Throne of -England, how treacherous becomes Harold’s conduct. Yet this is what the -Tapestry silently suggests. On landing he is immediately seized (7) by -Count Guy of Ponthieu, into whose territory he is come, and is carried -off by him to his castle of Beaurain (8, 9). - -Harold and Guy then converse together (10), Harold presumably explaining -the reasons for his arrival in the latter’s territories. The messengers -of William arrive at Guy’s castle (11), one of them, Turold, being -mentioned by name. He is portrayed as a dwarf, either in an attempt at -perspective or merely owing to the exigencies of space.[3] The story -here becomes somewhat obscure, but the envoys go back to William (12, -13) and in 14, 15 Harold is brought to him by Guy in person. William’s -treatment of Harold is here surely intended to bring out the excellence -of the Duke’s character, for he behaves towards Harold with magnificent -urbanity and takes him to his palace at Rouen (16, 17). In 18 appears -the mysterious incident of “a certain clerk and Ælfgyva,” which will be -mentioned later. After this interval Harold and William, now apparently -on the best of terms, start off together for a warlike expedition. They -reach Mont Saint Michel (19), cross the River Couesnon (20), where -Harold drags some Norman soldiers out of a quicksand (21) into which -they had fallen. In 22 they arrive at Dol, and Conan[4] evacuates the -town. They then pass Rechnes (Rennes), which is stitched small, and is -only there to show the course of their march. A strenuous fight takes -place at Dinan till Conan gives up the keys (23, 24), and in (25) -William presents Harold with arms as a sign of gratitude for his -services. In this high amity with each other they repair to Bayeux (26), -where takes place the crucial incident in the history of Harold (27). -Here there is again a great discrepancy between the Norman version and -that usually taught in England. According to the English story Harold -was tricked into swearing fealty to William on a box, in which, unknown -to him, were concealed the bones of saints. This fact, if true, is -suppressed in the Tapestry. Here, Harold’s two hands are resting on -altars supporting chests of the kind used expressly for containing -relics (PLATE II.). The oath is made as ostentatiously solemn as -possible. Perhaps Harold might be able to urge compulsion as -invalidating this oath; his whole position had been from the beginning -little better than that of a prisoner. The plea of trickery was out of -the question, and his future conduct makes him appear, to Norman eyes, a -perjurer and a blasphemer. - -After this Harold returns to England (28) and proceeds at once to Edward -the Confessor (29), with whom he has an interview (PLATE III.). - -We are next shown (30, 31) the coffin of Edward the Confessor being -carried in mourning to its interment in the Church of St. Peter at -Westminster (PLATE IV.). The order of events has been here slightly -transposed, as in 32 we see Edward still alive though on his death-bed -addressing his “fideles” or vassals. The reason for the transposition of -scenes will soon become clear; Harold is present, with Edward’s wife, -Queen Eadgyth, an ecclesiastic, and two other persons. What may have -been the nature of the communications passing between Edward and his -“fideles” at this solemn moment cannot be said with certainty, but it is -likely that even then the question of the succession was being agitated. -Immediately below Edward has fallen into the sleep of death (ET HIC -DEFUNCTUS EST), and the crown is offered to Harold, who sits enthroned, -with Archbishop Stigand by his side (33) (PLATE V. and FRONTISPIECE). -The reason why the funeral of the Confessor was represented before his -death has now become apparent. 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 Tapestry. In 34 (PLATE VI.) is recorded an interesting -event. The inscription reads: “ISTI MIRANT STELLA” (“They,” _i.e._ the -English, “wonder at a star”), and this unusual star is portrayed -curiously in the border. The English are right to be afraid. The heavens -themselves blaze forth their disapproval at the conduct of Harold. A -messenger is seen bringing tidings to the King, which he seems to hear -with great agitation. It is likely that this message is connected with -the strange apparition of the preceding scene. In 35 an English ship is -shown on its way to France, bearing to William news of events in -England. - -At this point the story as told in the Tapestry falls quite naturally -into two parts. So far the unscrupulous conduct of Harold has been -crowned with success. His ambitions are realised, and he sits on the -throne of England. Omens, however, are not wanting to foreshadow the -shortness of his reign. The second part of the story will show how -William came into his own. - -In 36 William has heard the news and promptly determines on revenge. -With Bishop Odo at his side, he gives orders that a fleet shall be made -ready; the trees are hewn (37, 38), and the ships built (PLATE VII.); -they are dragged down to the sea (39), arms are carried on board (40), -carts with wine and arms are dragged down to the beach, William crosses -in a great ship (41, 42, 43), he arrives at Pevensey (44, 45), the -horses are disembarked (46), and the knights push on to Hastings (47). -The whole story moves along with admirable speed, till the spectator -seems to partake in the hurry and bustle of the great expedition. -William’s determination is as sure as Harold’s. The difference is that -his cause is just. After the arrival at Hastings, the story continues -more slowly to its appointed end. That other side of military life is -now shown, as necessary as, if less dignified than, the former glimpses. -We see the victualling of William’s army. In 47 the soldiers are seizing -the neighbouring cattle for food. In 48 is a knight on horseback bearing -the name Wadard. He is thought by the designer to be well enough known -to need no explanation, but at this distance of time his appearance -seems irrelevant. 49, however, carries on the story from 47. The food -taken then is now being cooked, the servants serve up the meats which -they lay before the soldiery, and Bishop Odo blesses the meat (50). This -scene is worked in with real humour; the soldiers are hardly able to -restrain their appetite till grace has been said (PLATE VIII.). -Immediately afterwards (51) are seen Bishop Odo, the Conqueror and his -eldest son, Count Robert, the three most distinguished ornaments of the -war, seated together in a tent (PLATE IX.). - -In (52) it is ordered that a rampart be thrown up: the camp is shown. A -messenger arrives giving news of Harold, and a house is burned (53). -Then the army leaves Hastings (54) to go in to battle against Harold -(55, 56), and Duke William questions one Vital (57, 58) concerning -Harold and his army. Not till 59 is news of William brought to Harold. -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 or, at any -rate, to show that he had been completely surprised by the rapidity of -William’s movements. His other difficulties, caused by rivals to his -throne and foreign enemies, which had only just been relieved by the -glorious victory of Stamford Bridge, and the deaths of Tostig and Harold -Hardrada, are omitted by the Norman chronicler. In 60 William exhorts -his men to be brave and prudent, and they advance gaily into battle (61, -62, 63, 64, 65, 66), the whole course of events being splendidly -exhibited. At last full justice is done to the English enemy. They fight -valiantly, and the celebrated “packed-shield” formation is clearly shown -(PLATE XI.). Bad luck, however, pursues the English; Leofwyne and Gyrth, -brothers of the King, are slain (67, 68, 69), but the fighting still -remains even, Normans and English falling together (70, 71). The Normans -are being pressed hard when Bishop Odo, armed with a club, exhorts the -young recruits and saves a panic (72). A cry then goes up that Duke -William has been killed; he shows himself, however (73), and confidence -is restored. On the left of the Duke is seen Eustace (E ... TIUS is all -that remains of the inscription) carrying a standard. According to the -mediæval historian Benoît de Saint Maur[5] the Duke’s standard-bearer -Eustace, Count of Boulogne, had urged the Duke to leave the field, -believing the day to be lost. This moment proves to be the turning point -of the battle; the French fight with renewed vigour (73, 74, 75), and -beat their way up to Harold, who is killed by an arrow (76) (PLATE -XII.). The English army is discouraged and flies (77, 78, 79). - -Here the Tapestry ends, and it is not quite clear if it had been -intended to pursue the subject further. According to Dr. Ducarel the -tapestry, when hung, exactly filled the nave of the Cathedral; so that -very likely no more was ever designed. - -The borders that run above and below well repay study. They not only -make an admirable framework for the main narrative, but have an object -of their own in keeping up a kind of running commentary on the events -portrayed within their boundaries; strange birds and beasts, the -subjects of fable, hybrids, and human forms, sometimes pursuing their -ordinary avocations, sometimes engaged in battle or lying dead, form -these borders, teaching by their actions, attitudes or expressions, the -import of each scene. They express the hopes and fears of the rival -factions and perform almost the functions of a Greek Chorus. They are -delightful, too, in themselves, and there is in them something truly -expressive of the mediæval mind. - -[Illustration: FIG. 2. PLOUGHING (_see_ p. 27).] - -There are several interesting features to be observed in connection with -the Tapestry besides that of its evident bias. There runs throughout the -assumption that the story will be familiar not only in outline, but also -in detail to the examiners of the Tapestry--a fact which is in itself -strong evidence of a contemporary date. - -For instance, in 17 occurs the mysterious subject “UBI UNUS CLERICUS ET -ÆLFGYVA” (“where a certain clerk and Ælfgyva”). Who Ælfgyva was permits -of the widest conjecture; who a certain clerk may have been no one even -pretends to know. But it is evident that the subject was sufficiently -well known at the time to be inserted quite naturally and without any -further explanation. At this distance of time it is impossible to -explain the allusion. Again, who were Turold (12), Wadard (49), Vital -(62)? They are honoured in the Tapestry with their names above them, and -so were evidently thought to be persons of importance. But few can have -heard of them to-day. The archæologist Amyot, indeed, discovered that -there were three vassals of Bishop Odo called by these names. If these -are the people shown in the Tapestry, their appearance would be a -compliment to the Bishop as well as themselves. In fact, throughout the -story Bishop Odo appears with a prominence that can hardly have been -attractive to his illustrious brother. Not only do his three servants -appear in this way, but in 54 he is seated in state with the Conqueror -and the Conqueror’s eldest son, Count Robert, while in the crisis of the -battle it was Odo, not William, who rallied the troops and turned into -victory what had seemed certain defeat. Again, when William was giving -his orders for the preparation of the Expedition (41) Odo stood by his -side ever ready with advice. It may be remembered what William thought -later of the ambition of his brother, and how some time after the -Conquest was over he sent him packing back to his Bishopric. Odo was -certainly a great benefactor to his Cathedral of Bayeux, 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 lord. - - - - -III--HISTORY OF THE TAPESTRY. - - -The “Bayeux Tapestry” has had an adventurous career since its first -mention in the Inventory of Bayeux Cathedral in 1476, when it was hung -round the nave during the season of the Feast of Relics. It is even -possible that its adventures may have begun before this, if the -assumption of an early date be correct, for the cathedral was burnt to -the ground in 1106. - -However that may be, in 1562 the town was sacked by Calvinists: but, -fortunately, the Tapestry was handed over to the civil authority to -guard, and it escaped destruction, though a tapestry “de grande valeur” -that used to hang in the choir perished during the troubles. When these -disturbances were over, it was once more in the hands of the -ecclesiastical authorities, hung in the nave on appointed days, and -forgotten for close on 200 years. - -In the year 1724 an archæologist, M. Launcelot, read a paper before the -French Academy on this subject. He had, however, only seen a drawing of -a portion of the whole, and was only able to conjecture that the -original was a fresco or an embroidery. He was strongly of the opinion -that the original was made in the time of the Conqueror or his immediate -successors. Better results, however, attended the efforts of Père -Montfaucon, a Benedictine of St. Maur, who ran the original to earth -after much search. It was published in engraving on a reduced scale in -his second volume of “Monuments de la Monarchie Française (1730).” Kept -in the repositories of the cathedral and only exhibited on feast days, -the Tapestry survived in peace the early days of the Revolution, but -when the Revolutionaries were going out to scatter their foreign enemies -it was turned to account and made to cover an army waggon. It had been -laid in position and was on the point of being taken off to the front, -when M. le Forestier, the Commissioner of Police, seized on it and hid -it in his study. In 1794 it was again about to be cut to pieces, when it -was rescued by a self-appointed committee for guarding works of art in -the neighbourhood. - -The Tapestry was not unknown to Napoleon, and in 1803 it was sent to -Paris and exhibited in the Musée Napoléon, doubtless with the intention -of stirring the enthusiasm of the French into emulating the illustrious -deeds portrayed. It was, however, returned to Bayeux in 1804 and -deposited in the Library, with permission to be hung in the cathedral, -fifteen days a year, a concession to the Church party that was never put -into effect. It was exhibited in the Hôtel de Ville in 1830, and is now -to be seen in a room built for it in the Public Library in 1842. - -In 1871 on the near approach of the Prussians, the Tapestry was hastily -taken down and hidden secretly away. When danger was passed it was -returned to its former position. The Bayeux authorities, however, refuse -to divulge the secret of its hiding-place, 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 Tapestry. - -The Bayeux Tapestry has since the 18th century received notice from -English archæologists; in 1746, Stukeley, author of the _Palæographica -Britannica_, mentions it as “the noblest monument in the world, relating -to our old English history.” He was followed by a learned antiquarian, -Dr. Ducarel, who stated that it was hung round the nave of the cathedral -on St. John’s Day, and continued there for eight days more. Two -distinguished historians, Lord Lyttelton and David Hume, also discussed -the Tapestry, the former being the first to doubt its contemporary date, -thereby anticipating some modern criticism. - -In the early years of the 19th century criticism of the Tapestry became -more serious, the years 1816-1820 being very important in this respect. -The views of Messrs. Stothard, Amyot, Hudson Gurney and others can be -read in volumes XVIII. and XIX. of _Archæologia_. - -In 1816 Mr. Charles Stothard was sent by the Society of Antiquaries to -Bayeux to make a drawing of the Tapestry, and he brought home two small -fragments with him.[6] Within two years he had completed his copy of -the Tapestry, which is to be seen reproduced in Vol. VI. of the _Vetusta -Monumenta_. Freeman, in Appendix A., Vol. III. (2nd edition), devotes a -long passage to the subject and states his belief in its being made in -England, an opinion which has not been generally shared. - -[Illustration: FIG. 3. HARROWING (_see_ p. 27).] - - - - -IV.--THE INSCRIPTIONS. - - -The Latin inscriptions above the embroidery run as follows (an English -translation has been added, but no attempt has been made to amend or -correct):-- - -1. EDWARD REX - -Edward the King. - -2. UBI HAROLD, DUX ANGLORUM, ET SUI MILITES EQUITANT AD BOSHAM - -Where Harold, Duke of the English, and his soldiers ride to Bosham. - -3. ECCLESIA - -The Church (at Bosham). - -4. HIC HAROLD MARE NAVIGAVIT - -Here Harold crossed the sea. - -5, 6. ET VELIS VENTO PLENIS VENIT IN TERRA WIDONIS COMITIS - -And with sails full of wind came into the land of Count Guy. - -6, 7. HAROLD - -7. HIC APPREHENDIT WIDO HARLOLDŪ - -Here Guy seizes Harold. - -8, 9. ET DUXIT EUM AD BELREM ET IBI EUM TENUIT - -And led him to Beaurain and held him there. - -10. UBI HAROLD (et) WIDO PARABOLANT - -Where Harold and Guy converse. - -11. UBI NUNTII WILLELMI DUCIS VENERUNT AD WIDONĒ. TUROLD - -Where the messengers of Duke William came to Guy. Turold. - -12. NUNTII WILLELMI - -The messengers of William. - -13. HIC VENIT NUNTIUS AD WILGELMUM DUCEM - -Here the messenger came to Duke William. - -14, 15. HIC WIDO ADDUXIT HAROLDUM AD WILGELMUM NORMANNORUM DUCEM - -Here Guy led Harold to William, Duke of the Normans. - -16, 17. HIC DUX WILGELM CUM HAROLDO VENIT AD PALATIŪ SUŪ - -Here Duke William with Harold came to his Palace. - -18. UBI UNUS CLERICUS ET ÆLFGYVA ... - -Where a certain clerk and Ælfgyva. - -19. HIC WILLEM DUX ET EXERCITUS EJUS VENERUNT AD MONTĒ MICHAELIS - -Here Duke William and his army came to Mont St. Michel. - -20. HIC TRANSIERUNT FLUMEN COSNONIS - -And here they crossed the river Couesnon. - -21. ET HIC HAROLD DUX TRAHEBAT EOS DE ARENA - -And here Duke Harold dragged them out of the quicksand. - -22. ET VENERUNT AD DOL ET CONAN FUGA VERTIT - -And they came to Dol, and Conon turned in flight. - -23, 24. REDNES. HIC MILITES WILLELMI DUCIS PUGNANT CONTRA DINANTES ET -CUNAN CLAVES PORREXIT - -Rennes. Here the soldiers of Duke William fight against the men of -Dinan, and Conon reached out the keys. - -25. HIC WILLELM DEDIT HAROLDO ARMA - -Here William gave Harold arms. - -26. HIE (hic) WILLELM VENIT BAGIAS - -Here William came to Bayeux. - -27. UBI HAROLD SACRAMENTUM FECIT WILLELMO DUCI - -Where Harold made an oath to Duke William. - -28. HIC HAROLD DUX REVERSUS EST AD ANGLICAM TERRAM - -Here Duke Harold returned to England. - -29. ET VENIT AD EDWARDU REGEM - -And came to King Edward. - -30, 31. HIC PORTATUR CORPUS EADWARDI REGIS AD ECCLESIAM \S[=C]I PETRI -APLĪ (Sancti Petri Apostoli) - -Here the body of King Edward is borne to the Church of St. Peter the -Apostle. - -32. HIC EADWARDUS REX IN LECTO ALLOQUI[=T] FIDELES - -Here King Edward in bed addresses his vassals. - -ET HIC DEFUNCTUS EST - -And here he is dead. - -HIC DEDERUNT HAROLDO CORONĀ REGIS - -Here they gave to Harold the King’s crown. - -33. HIC RESIDET HAROLD REX ANGLORUM - -Here sits Harold King of the English. - -STIGANT ARCHIE[=P]S (Archiepiscopus) - -Archbishop Stigand. - -34. ISTI MIRANT STELLĀ: HAROLD - -These men are amazed at a star: Harold. - -35. HIC NAVIS ANGLICA VENIT IN TERRAM WILLELMI DUCIS - -Here an English ship came into the land of Duke William. - -36, 37, HIC WILLELM DUX JUSSIT NAVES EDIFICARE - -38. Here Duke William gave orders to build ships. - -39. HIC TRAHUN[=T] NAVES AD MARE - -Here they draw down the ships to the sea. - -40. ISTI PORTANT ARMAS AD NAVES - -These men carry arms to the ships. - -ET HIC TRAHUNT CARRUM CUM VINO ET ARMIS - -And here they drag a cart with wine and arms. - -41, 42, HIC WILLELM DUX IN MAGNO NAVIGIO MARE TRANSIVIT - -43. Here Duke William crossed the sea in a great ship. - -44, 45. ET VENIT AD PEVENESÆ - -And came to Pevensey. - -46. HIC EXEUNT CABALLI DE NAVIBUS - -Here the horses go out of the ships. - -47. ET HIC MILITES FESTINAVERUNT HESTINGA UT CIBUM RAPERENTUR - -And here the soldiers hurried to Hastings to find food. - -48. HIC EST WADARD - -Here is Wadard. - -49. HIC COQUITUR CARO - -Here meat is cooked. - -ET HIC MINISTRAVERUNT MINISTRI - -And here the servants served. - -50. HIC FECERUNT PRANDIUM - -Here they made a feast. - -ET HIC EPISCOPUS CIBŪ ET POTŪ BENEDICIT - -And here the Bishop blesses the food and drink. - -51. ODO EP[=S]: WILLELM: ROTBERT - -Bishop Odo: William: Robert. - -52. ISTE JUSSIT UT FODERETUR CASTELLUM AT HESTENGA - -The latter commanded that a rampart should be thrown up at Hastings. - -CEASTRA - -The Camp. - -53. HIC NUNTIATUM EST WILLELMO DE HAROLD - -Here news of Harold is brought to William. - -HIC DOMUS INCENDITUR - -Here a house is burned. - -54. HIC MILITES EXIERUNT DE HESTENGA - -Here the soldiers left Hastings. - -55, 56. ET VENERUNT AD PRELIUM CONTRA HAROLDUM REGE - -And came into battle against King Harold. - -57, 58. HIC WILLELM DUX INTERROGAT VITAL SI VIDISSET HAROLDI EXERCITŪ - -Here Duke William asks Vital if he had seen Harold’s Army. - -59. ISTE NUNTIAT HAROLDUM REGĒ DE EXERCITU WILLELMI DUCIS - -This man informs Harold the King concerning the Army of Duke William. - -60, 61, HIC WILLELM DUX ALLOQUITUR SUIS MILITIBUS UT - -62, 63, PREPARARENT SE VIRILITER ET SAPIENTER AD - -64. PRELIUM CONTRA ANGLORUM EXERCITŪ - -Here William exhorts his soldiers to prepare themselves manfully and -wisely for battle against the English Army. - -65, 66. The Battle.[7] - -67, 68, HIC CECIDERUNT LEWINE ET GYR[=D], FRATRES HAROLDI - -69. REGIS - -Here fell Leofwyne and Gyrth, brothers of Harold the King. - -70, 71. HIC CECIDERUNT SIMUL ANGLI ET FRANCI IN PRELIO - -Here fell together English and French in battle. - -72. HIC ODO E[=P]S BACULŪ TENENS, CONFORTAT PUEROS - -Here Bishop Odo, holding a staff, rallies the young troops. - -73. HIC EST WILEL[=M] DUX - -Here is Duke William. - -73. E ... TIUS - -Eustace. - -73, 74, HIC FRANCI PUGNANT ET CECIDERUNT QUI ERANT - -75. CUM HAROLDO - -Here the French fight and those who were with Harold fell. - -76, 77. HIC HAROLD REX INTERFECTUS EST - -Here King Harold was slain. - -78, 79. ET FUGA VERTERUNT ANGLI - -And the English turned in flight. - -[Illustration: Fig. 4. FOWLING (_see_ p. 27)] - - - - -V.--THE PHOTOGRAPHIC COPY OF THE ORIGINAL. - - -On the 3rd of August 1871 the Lords of the Committee of Council on -Education agreed to Mr. Joseph Cundall going to Bayeux to obtain -permission to take a full-sized photograph of the Tapestry. Permission -having been obtained, a highly-skilled photographer, Mr. E. Dossetter, -went to Bayeux for the purpose. In the first instance quite small -photographs were taken, which were subsequently enlarged to the size of -the original. A complete photographic copy enlarged to full-size and -coloured after the original was exhibited in the Albert Hall at the -Exhibition of 1873. This is the copy that is now exhibited in the Museum -(Gallery 79). - -What Carlyle thought of this copy cannot fail to be of interest--he -expresses his enthusiasm in a letter to Sir Henry Cole:-- - -“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 there. The enterprise was itself a solid, -useful and creditable thing; and the execution of it seems to me a -perfect success far exceeding all the expectations I have entertained -about it. Mr. Froude, who was one of my companions, was full of -admiration, 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 -(I hope in a permanent and easily repeatable manner) was superior in -vivid clearness, beauty of colour, etc., to the very original. As the -work is in essence photographic, 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 Colonies, and even in America itself would be precious to every -inquiring and every cultivated mind. In a word, I am much obliged to you -for sending me to see this feat of yours (by far the reasonablest in -completeness of its kind yet known to me), and very much obliged above -all for your having done it and _so_ done it. - - “Yours truly, with many thanks, - - “T. CARLYLE.” - - - - -VI.--NOTES ON THE ILLUSTRATIONS. - - -PLATE I. - -King Edward gives instruction to two persons, of whom one is Harold; -Edward’s clothes are richly embroidered. He is seated on a throne and -has a crown and sceptre. - -The scene shows a room in Edward’s castle; a portion of the outside wall -is given; but the rest is cut away to give a view of the interior in a -manner very common in mediæval art. It will be seen that the castle is -in the Norman style. On the left is a round Norman window and there are -Norman turrets above. The throne on which Edward is sitting is typical -of the art of the period, the animal’s head which forms the right arm -being a common decoration. In an Anglo-Saxon calendar of the 11th -century (the MS. Cotton and Julius A VI.) a drinking party is shown on a -large daïs, the two ends of which are in form like the head and front -legs of two great dogs. - -As to the nature of the communications passing between Edward the -Confessor and Harold, it may be added that three reasons are given of -Harold’s journey to Normandy in different versions: (1) To release his -brother and nephew from imprisonment; (2) that, owing to a storm when -out fishing, he was shipwrecked on the coast of France; (3) to impart to -William Edward’s intention of making him his heir. The third was the -Norman method of explaining what happened and is apparently the one -accepted by the designer of the Tapestry. - - -PLATE II. - -Harold’s Oath. - -William of Normandy, sword in hand, sits on the left while Harold takes -a solemn oath of fealty; each hand rests on an altar, supporting a box -of relics. The cloths that cover the altars are of embroidery, though in -the Tapestry they look like velvet. The absence of any secrecy in the -matter of the relics is here insisted on, the story being told from the -Norman point of view. - - -PLATES III., IV. - -The Palace of Westminster, and Edward the Confessor’s body borne to the -Church of St. Peter’s. - -Several points of interest arise in connection with these two plates; it -will be seen that the Palace of Westminster shows a general similarity -to the representation in the first scene. The room in which Edward -receives Harold is the same shape and similar turrets appear in each -case. Further historical accuracy is shown in placing Edward’s palace -immediately to the left of St. Peter’s Church. - -This St. Peter’s Church is the earliest form of what has since been -known as Westminster Abbey, before it was rebuilt in the Gothic style -during the latter part of the 13th century. This picture is of -particular interest, as considerable care seems to have been taken in -the reproduction to give an accurate picture. The long series of Norman -arches below and the smaller row above are particularly noticeable. The -centre tower is also well portrayed. The hand of God appearing through a -cloud as if in dedication, and a man placing a weather-cock on the roof, -seem to suggest that the church was just being completed, a fact that is -nowadays believed to be true, though before it used to be held that -Edward never finished the church. - -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 Jumièges (_see_ “Social England,” Vol. I., p. 318), -which was built about the same time and very likely designed by the same -architect. - -The whole question of the old building of St. Peter’s at Westminster has -been discussed by Professor Lethaby and the Dean of Wells, Dr. Armitage -Robinson (formerly Dean of Westminster), in the Proceedings of the -Society of Antiquaries for 1910. - - -PLATE V. - -Harold enthroned[8] with Archbishop Stigand by his side. - -Stigand wears an amice, a pall, a chasuble, gloves, boots, alb, stole -and maniple. He is, however, bareheaded, which is an argument for an -early date for the Tapestry as the mitre is rare in manuscripts till the -12th century. If the mitre had been known to the designer of the -Tapestry he would surely have given it to Stigand for so important an -occasion. It will be noticed that his chasuble is very long behind -though very short in front, and that his maniple is carried between his -thumb and first finger rather than hanging down from the elbow, as is -the fashion to-day. This fact goes to prove the contention of those who -hold that the maniple was originally in the nature of a handkerchief. -(The central portion of this scene is reproduced on a larger scale in -the frontispiece.) - - -PLATE VI. - -“They wonder at a star,” which is shown very curiously in the border. - -This appearance of Halley’s Comet is mentioned by English, Norman, South -Gaulish, German and Italian chroniclers, by whom it was generally held -to portend the conquest of England. It is also thought that there is a -reference to it in Chinese Annals. The comet appeared nine days after -Easter, and shone with great brightness for some days. Harold had been -crowned on the 6th of January, and the Conqueror anchored off Pevensey -on the 28th of September. Halley’s Comet also appeared in 1145, 1223, -1301, 1378, 1456, 1531, 1682, 1759, 1835 and 1910. A full account, with -extracts from the contemporary chroniclers, can be seen in Freeman’s -“Norman Conquest” (2nd Edition). Vol. III., pp. 640-5. - - -PLATE VII. - -Building the Ships. - -The ships which are being built in this plate are the famous “Snekkjur” -or serpent vessels of the Vikings, so praised by the Skalds. On the -whole the Normans had altered their marine equipment comparatively -little since their Norwegian days. A 9th century Viking boat was in 1880 -discovered at Gokstad on the west coast of the Gulf of Christiania. It -was about 75 ft. long, 16 ft. broad, 5·7 ft. deep, with a displacement -of 30 tons and able to carry 40 men. Such a ship would have been a fine -one in the days of the Conqueror. - -William’s fleet consisted of 3,000 boats of different shapes and sizes, -of which 696 were of the “Snekkjur” type. The serpent decoration on the -prow and stern of this type of boat was often omitted, but is shown in -the Tapestry. William’s own ship was called the “Mora,” and was a -present to him from Queen Matilda. On the prow was the statue of a boy -in copper gilt, who held a bow in his hand in which there was an arrow -pointing ever towards England. His ship also flew the “Consecrated -Banner” of Pope Alexander II., whose support of the expedition William -had secured. - - -PLATE VIII. - -A Feast is made. - -On the left of this Plate chickens are being handed to the diners on -spits, a spit apparently being provided for each guest. A knife is on -the left table, also a piece of flat round bread, the common shape in -which bread was made during that period. Spoons and forks were -practically unknown at the time, and though two rough forks can be seen -on a 12th century manuscript, the “Hortus deliciarum” of Herrad von -Landsberg, they remain rare even in high society till the 16th century. -Jean Sulpice writes as follows in 1480 on “La Civilité”:--“Prends la -viande avec trois doigts et ne rempli pas la bouche de trop gros -morceaux.” A round bowl is on the table and one of the men drinks out of -a large horn. These drinking horns were particularly popular in England, -where practically no wine was drunk and mead was the favourite liquor. -They were the same shape as musical horns with some form of stopper at -the small end. Two horns of this kind are exhibited among the Ivories -(Room 8) in this Museum (Nos. 7593, 8035-1862). A fine Rhenish drinking -horn is in the British Museum, of which a good illustration is given in -the article on Drinking Vessels in the “Encyclopædia Britannica.” The -British Museum also possesses a Scandinavian horn, illustrated on page -100 of the British Museum Guide to the Mediæval Department. The famous -horn of Ulphus (“Homes of Other Days,” p. 43) is in the Treasury of York -Cathedral. Readers may remember in Boswell’s “Tour to the Hebrides” how -“we looked at Rorie More’s horn, which is a large cow’s horn, with the -mouth of it ornamented with silver and curiously carved. It holds rather -more than a bottle and a half. Every Laird of McLeod, it is said, must, -as a proof of his manhood, drink it full of claret without laying it -down.” (Journal for Wednesday, Sept. 18th.) - -These horns were not so universal in France, some forms of goblet being -in use even during the 8th and 9th centuries, one such being seen on the -right-hand end of the main table, where sit the Bishop and those of -higher rank. By the 14th century horns seem to have gone completely out -of use. - -On this right-hand table is a goodly array of knives, goblets and plates -of various sizes; some pieces of the Norman pottery shown here are in -the British Museum. The figure on the extreme right of this table, -though occupying such an honoured place near the Bishop, is tearing a -fish to pieces and thrusting it into his mouth with his fingers. - -The figure coming towards the table holding a porringer is the -cup-bearer and wine-taster, a prominent figure at every banquet. It is -difficult to be certain as to the nature of the other object he is -holding in his hand, but it may be a napkin, which was handed round to -the most important people that they might wipe their fingers after the -repast. - - -PLATE IX. - -Odo. William. Robert. - -This scene shows three portraits, William the Conqueror being in the -centre, with Bishop Odo on his left and on his right Count Robert of -Normandy. - -On William’s death, his son, William Rufus, succeeded to England, and -Count Robert to Normandy. On the death of William Rufus in 1100, Count -Robert was still on an expedition in the Holy Land. Hence Henry I. was -elected king by the popular voice, in spite of protests from Normandy, -and became an English as opposed to a French monarch. - -This happy division of powers was, however, not permanent, and England, -Normandy and many other French provinces were reunited under the -Angevins, an event which marked the beginning of that perpetual trouble -with France which hardly ended with King Henry VI. - - -PLATE X. - -Burning a House. - -In this plate again there seems to be a rough attempt at a portrayal of -Norman domestic architecture. The Norman nature of the work is -suggested in the house being of two storeys, the Saxon dwelling usually -being of one. A woman and her child escape from the hall, which occupies -the whole of the ground floor, and is of nearly as much importance as it -would have been in the Anglo-Saxon period. The room above is smaller and -lit by a window with a Norman arch. No glass, however, would be placed -in the window. The top storey would be provided with a rough kind of -fire-place, as perhaps might also the ground floor, though the old fire -piled right up in the middle of the hall was still quite common. - - -PLATE XI. - -The Battle, showing the “packed shield” formation of the English. - -This method of fighting particularly impressed William at Hastings, and -no doubt the English employed it with great skill. But whereas the most -important part of William’s army was the cavalry, Harold’s army -consisted entirely of foot soldiers. The Thanes and other important men -might be able to ride up to the scene of battle on horseback, but they -dismounted for the fight. The “packed shield” formation they proceeded -to employ consisted, as is seen in the Tapestry, of a thick wedge of -men, widening out from about two in front to an uncertain number at the -base; the officers and better armed men formed the front wedge, backed -by a dense column of the inferior troops. - -The English and Normans wear for the most part the same armour, the body -of which goes down to the knees in one piece, a type of armour known as -the “hauberk” or “byrnie.” These hauberks occasionally extended to the -ankles, but the legs were generally cased in leather gaiters, somewhat -resembling the “puttees” of to-day. Later, in the border, the hauberk is -correctly shown being pulled off the body of a dead soldier over the -head, like a shirt. - -In most cases the shields of the two armies are of the same shape, being -pointed at the bottom and rounded at the top, a type that succeeded the -kind which was narrow at each end and broadest in the middle. This -old-fashioned shape of shield was still used by the English as well as -the round embossed shield of yet earlier times. - -An English warrior, probably Harold himself, is to be seen wielding one -of those terrible battle-axes that did such execution at Hastings. This -weapon was the mainstay both in attack and defence, and the glory of the -Saxon army. But, nevertheless, it marks a far less advanced point in the -history of war. - -William’s army is seen to be wearing stirrups, which, according to some -authorities, were new to Europe at the beginning of the 12th century, -having been introduced from China by the Mahommedans. But it seems -extremely doubtful if they were such a late discovery as this. In any -case, their use brought with it great changes in horsemanship, as the -cavalry were enabled to sit forward on their saddles, often charging -with their lances under their arm instead of leaning right back and -charging with the arm erect. - -It will be seen that the helmet is conical with a “nasal,” that is to -say, with a bar coming down as a shelter for the nose. The huge “vizor,” -covering the whole face and leaving only peep-holes for the eyes, was a -later invention. Also the horses are here quite unprotected, not “tot -couvert de fer” as Wace, a 12th century historian of the Conquest, would -have had them be. The armour would certainly be very heavy, but lighter -than the massive defences of the 14th and 15th centuries. - -But the whole question of this early armour raises many points of -difficulty and dispute. The subject of Saxon and Norman armour is well -treated in Mr. C. H. Ashdown’s “British and Foreign Arms and Armour” -(1909), where special attention is devoted to the body-armour of the -Bayeux Tapestry. - - -PLATE XII. - -The Death of Harold. - -The king is seen on the left, pierced through the right eye with an -arrow which he is endeavouring to pull out with his hand. This is quite -in accordance with tradition on the subject, though it is believed that -Harold died, not at the moment of receiving the wound, but possibly some -hours later. Three arrows are seen sticking in his shield. On the right -there is an English warrior, struck down by the sword of a mounted -Norman knight. - - -FIGURES _Nos. 1 to 4_. - -These four figures form part of the borders under numbers X., -XI., XII.; three represent scenes from the ordinary life of the -peasantry--ploughing, harrowing, and slinging at birds; the fourth shows -the figure of a lion. - -These rural scenes are extremely frequent in mediæval illustrated MSS. -An illuminated MS. of the 11th century in the British Museum shows a -good example of slinging (_see_ “Social England,” Vol. I., p. 316). The -Louterell Psalter, which dates from the early years of the 14th century, -gives many scenes of ploughing and harrowing (_see Vetusta Monumenta_, -Vol. VI., especially Plates XXI. and XXII.). 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 11th century. - - - - -VII.--BIBLIOGRAPHY. - - -Mr. F. R. Fowke has written a short and extremely clear account of the -Tapestry in “The Bayeux Tapestry; a History and Description” (George -Bell & Sons, 1898), with a reproduction of the Tapestry. This invaluable -book has been reprinted (1913) by Messrs. Bell in cheaper form. -Professor Lethaby (“Embroidery, 1908-9”) holds that the Tapestry may -have been made in Kent. - -In the study of the subject from an archæological point of view there -are two admirable articles by Mr. J. Horace Round: “The Bayeux Tapestry” -(“Monthly Review,” December 1904) and “The Castles of the Conquest” -(_Archæologia_, LVIII). Mr. Round has also contributed an article on the -Bayeux Tapestry to the “Encyclopædia Britannica.” - -In the _Archæological Journal_, Vol. LX., Sir W. H. St. John Hope has an -article on “Fortresses of the 10th and 11th Centuries.” All these books -and articles support the belief that the Tapestry is practically -contemporary with the events narrated. - -M. le Commandant Lefebvre de Noëttes has approached the subject from a -different point of view in the “Bulletin Monumental” of April 1912. He -discusses the armour, weapons, harness of the horses and kindred -subjects, coming to the conclusion that the Tapestry was probably made -between 1120 and 1130, a date neither so late nor so early as extremists -on either side have asserted. - -The antiquity of the Tapestry has been attacked by M. Marignan in his -“La Tapisserie de Bayeux” (1902). He wishes to prove that its date -cannot be before the middle of the 13th century. His views have, -however, met with little support and have been answered by M. Lanore in -his volume “La Tapisserie de Bayeux” (1903). - -J. C. Bruce, in “The Bayeux Tapestry Elucidated with Coloured -Illustrations” (1856), is inaccurate on some points but indulges in much -ingenious speculation. - -Two fresh books on the Tapestry have appeared in recent years. Mr. -Hillaire Belloc (“The Book of Bayeux Tapestry,” London, 1914), assigns -the work to the second half of the 12th century. M. A. Levé (“La -Tapisserie de la Reine Mathilde,” Paris, 1919) holds that it was made -for the consecration of Bayeux Cathedral in 1077. - - - - -INDEX. - - -A - - PAGE - -Academy (French), paper before, 11 - -Aelfgyva, personality unknown, 5, 9 - -Albert Hall, Photograph of Tapestry at, 19 - -Alexander II., Pope, blesses William’s enterprise, 23 - -Amyot the antiquary, 10, 12 - -Angevins, Kings of England, 24 - -Anglo-Saxon Calendar, 20 - -Antiquaries, Society of, papers before, 21 - -“Archæologia,” papers in, 12 - -Archæological Journal, papers in, 28 - -Architecture, Anglo-Saxon, 25 - - ” Gothic, 21 - - ” Norman, 20, 21, 24 - -Armitage-Robinson, Dr., Dean of Westminster, 21 - -Ashdown, C. H., “British and Foreign Arms and Armour”, 28 - - -B - -Battle-axes, 26 - -Bayeux Cathedral, burned, 11, - - ” ” Inventory of, 11 - - ” City, Hôtel de Ville at, 12 - - ” ” Public Library at, 12 - - ” ” sacked by Calvinists, 11 - -Beaurain, Harold taken to, 5 - -Benoît de Saint Maur, Annalist, 8 - -Borders of Tapestry discussed, 9 - -Bosham, Harold at Church of, 4 - -Boswell, “Tour to the Hebrides”, 23, 24 - -Boulogne, Eustace Count of, 8 - -Boy on prow of William’s ship, 23 - -Bread, 23 - -British Museum, Mediæval Horn at, 23 - - ” Norman Pottery at, 24 - -Brittany, Harold arrives in, 5 - -Bruce, J. C., Book on Bayeux Tapestry, 28 - -Bulletin Monumental, Article in, 28 - -Byrnie, Nature of, 25, 26 - - -C - -Calvinists sack Bayeux, 11 - -Carlyle, Thomas. Letter to Sir Henry Cole, 19 - -Castles, Early Norman, 2 - -China, Annals of, 22 - - ” Spurs introduced from, 26 - -Christiania, Gulf of, 22 - -Chronique des ducs de Normandie. (Footnote), 8 - -Civilité, La, by Jean Sulpice, 23 - -Clerk, a certain, and Aelfgyva, 5, 9 - -Cole, Sir Henry. Letter from Thomas Carlyle, 19 - -Comet, Halley’s, appears, 6, 22 - -Conan II., Duke of Brittany, 5 - -Consecrated Banner, given by the Pope to William, 23 - -Cousenon, R., Crossed by Harold and William, 5 - -Cundall, Joseph, goes to Bayeux, 19 - - -D - -Dol, Siege of, 5 - -Dossetter, Mr., the Photographer, 19 - -Drinking Horns, 23, 24 - -Drinking Vessels, 24 - -Ducarel, Dr., Archæologist, 12 - - -E - -Eadgyth, Queen of Edward the Confessor, 6 - -Ecclesiastical Vestments worn by Stigand, 21, 22 - -Edward the Confessor, 1, 4, 6, 20, 21 - -Eustace, Count of Boulogne, 8 - - -F - -Feast of Relics, Tapestry exhibited during, 11 - -Florence of Worcester, Annalist, 4 - -Forestier M. le, Commissioner of Police in Bayeux, 11 - -Forks, 23 - -Fowke, F. R., Book on the Bayeux Tapestry, 28 - -Fowling, 25 - -Freeman, Professor J. H., 1, 4, 5, 13, 22 - -Froude, J. A., mentioned by Thomas Carlyle, 19 - - -G - -Gaulish (South) Chronicles, 22 - -German Chronicles, 22 - -Gokstad, Viking ship discovered at, 22 - -Gothic Style of Architecture, 21 - -Gurney, Hudson, Antiquarian, 12 - -Gyrth, Brother of Harold, killed, 8 - -Guy Count of Ponthieu, 4, 5 - - -H - -Halley’s Comet, 6, 22 - -Harold Hardrada defeated, 8 - -Harold, King of England, 1, 2, 4, 5, 6, 7, 8, 20, 21, 26 - -Harrowing, 27 - -Hastings, Battle of, 1, 8, 25, 26 - - ” Town of, 7 - -Hauberks, 25, 26 - -Henry I., 24 - -Henry II. (Footnote), 8 - -Henry VI., 25 - -Herrad von Landsberg, 23 - -Holy Land, The, 24 - -Hope, Sir W. H. St. John, 28 - -“Hortus Deliciarum”, 23 - -Hume, David, 12 - - -I - -Inscriptions on the Tapestry translated, 14, 15, 16, 17, 18 - - -J - -Jumièges, Abbey of, 21 - - -L - -Laird of Macleod, The, and Drinking Horns, 24 - -Lanore, M., Book on Bayeux Tapestry, 28 - -Launcelot, M., reads paper before French Academy, 11 - -Lefebvre de Noëttes, Commandant, Article on Bayeux Tapestry, 28 - -Leofwyne, Brother of Harold, killed, 8 - -Lethaby, Professor, Articles by, 21, 28 - -Louterell Psalter, and Agricultural life, 28 - -Lyttelton, Lord, on the Bayeux Tapestry, 12 - - -M - -Macleod, Lairds of, and Drinking Horns, 23 - -Mahommedans, spurs perhaps introduced by, 26 - -Marignan, M., book on Bayeux Tapestry, 28 - -Matilda, Queen of William the Conqueror, 23 - -Maur, Saint, Père Montfaucon of, 11 - -Montfaucon, Père, Archæologist, 11 - -“Monuments de la Monarchie Française,” Publications, 11 - -“Mora,” The, given by Matilda to William, 23 - -Musée Napoléon, Bayeux Tapestry exhibited at, 12 - - -N - -Napoleon, and the Bayeux Tapestry, 12 - -Nasal, 26 - -Nicholls, Mr. Bowyer, Antiquarian, 13 - -Norman Architecture, 22, 23, 25 - - ” Castles, 2 - - ” Chronicles, 22 - - ” Conquest, 1, 8 - - ” Pottery, 24 - - -O - -Odo, Bishop of Bayeux, 3, 7, 8, 10, 24 - -Oman, Professor, 1 - -Omen at Harold’s Coronation, 7, 22 - - -P - -“Packed Shield” formation, 2, 8, 25 - -“_Palæographica Britannica_,” by Stukeley, 12 - -Peter, Church of Saint, at Westminster, 6, 21 - -Pevensey, William lands at, 7 - -Ploughing, 27 - -Ponthieu, Guy Count of, 4, 5 - -Prussians near Bayeux, 12 - - -R - -Rennes, Harold and William pass, 5 - -Robert, Count of Normandy, 7, 24 - -Roman d’Enéis. (Footnote), 8 - - ” de Thèbe, 8 - - ” de Troie, 8 - -Rorie More’s Horn, 24 - -Round, Mr. J. Horace, Archæologist, 1, 28 - -Rufus, William, 24 - - -S - -Slinging, 27 - -“Snekkjur” boats, 22 - -Spoons, 23 - -“Star,” Appearance of strange, 6, 22 - -Stigand, Archbishop, 6 - -Storm, Question of Harold and, discussed, 4 - -Stothard, Charles, 8, 9 - - ” Mrs. Charles. (Footnote), 9 - -Strickland, Miss Agnes, on Bayeux Tapestry. (Footnote), 5 - -Stukeley. “_Palæographica Britannica_”, 12 - -Sulpice, Jean, Author of “La Civilité”, 23 - - -T - -Throne of King Edward the Confessor, 20 - -Tostig, Death of, 8 - -“Tour to the Hebrides,” by James Boswell, 23, 24 - -Turold, 5, 10 - - -U - -Ulphus, Horn of, in Treasury at York, 23 - - -V - -“Vetusta Monumenta,” Reproductions in, 13 - -Vital, 8, 10 - -Vizor, 26 - - -W - -Wace, 14th century Historian, 26 - -Wadard, 7, 10 - -Westminster, Church of Saint Peter at, 6, 21 - - ” Palace of, 21 - -William the Conqueror, 1, 3, 4, 5, 6, 7, 8, 9, 10, 20, 22, 24, 25, 26 - - -Y - -York, Horn of Ulphus in Treasury at, 23 - -[Illustration: PLATE I. - -KING EDWARD THE CONFESSOR AND HAROLD. (_See_ p. 20.)] - -[Illustration: PLATE II. - -THE OATH OF HAROLD. (_See_ p. 20.)] - -[Illustration: PLATE III. - -KING EDWARD IN HIS PALACE. (_See_ p. 21.)] - -[Illustration: PLATE IV. - -THE CHURCH OF ST. PETER AT WESTMINSTER. (_See_ p. 21.)] - -[Illustration: PLATE V. - -THE CORONATION OF HAROLD. STIGAND. (_See_ p. 21.)] - -[Illustration: PLATE VI. - -THE COMET. (_See_ p. 22.)] - -[Illustration: PLATE VII. - -BUILDING SHIPS. (_See_ p. 22.)] - -[Illustration: PLATE VIII. - -A FEAST. (_See_ p. 23.)] - -[Illustration: PLATE IX. - -ODO. WILLIAM. ROBERT. (_See_ p. 24.)] - -[Illustration: PLATE X. - -BURNING A HOUSE. (_See_ p. 24.)] - -[Illustration: PLATE XI. - -THE BATTLE OF HASTINGS. (_See_ p. 25.)] - -[Illustration: PLATE XII. - -DEATH OF HAROLD. (_See_ p. 26.)] - - - - -NOTICE. - - -This Guide may be obtained direct from the Victoria & Albert Museum, -price 1_s._ 0_d._ net (by post 1_s._ 2_d._ net). It may also be obtained -either through any bookseller or directly from H.M. 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The second shows the head of -Harold at his coronation, and is taken from Scene 33. In the Mediæval -Department of the British Museum is a third cast, of the head of a -soldier, which has been copied from Scene 23. - -[2] The Tapestry is 230 feet 9⅓ inches long and 19⅔ inches broad. 1,512 -objects of different kinds are shown in the course of the work, made -up of 623 persons, 55 dogs, 202 horses or mules, 505 other animals, 87 -buildings, 49 trees, and 41 ships and boats. The subject of each scene -is given above in Latin. - -[3] For Miss Agnes Strickland’s theory that Turold was the designer of -the Tapestry and Freeman’s comments thereon, _see_ Freeman’s _Norman -Conquest_, Vol. III., Appendix A. (2nd Edition). - -[4] Conan II., Duke of Brittany, whose capital was Rennes. - -[5] Benoît de St. Maur, the 12th century writer, is supposed to have -been a native of St. Maur. From his prefix, Maître, he may have been -a student at a University. But it is not known if he took orders. He -was attached to the Court of Henry II. He was a loyal “Englishman,” -and always referred to the French as “they.” He wrote the “Chronique -des Ducs de Normandie,” and also “Le Roman de Troie.” The date of the -“Chronique” is probably 1172-1176. The “Roman d’Enéis” and the “Roman -de Thèbe” have also been attributed to him, but this is not generally -accepted, while some even deny that the same hand composed the “Roman -de Troie “ and the “Chronique.” - -[6] One of these fragments of the Tapestry was sold to Mr. Bowyer -Nicholls and was purchased from him by the South Kensington Museum in -1864. It was soon decided to return this fragment to Bayeux, which was -done in 1872. Mrs. Stothard has usually been accused of abstracting -these two pieces. She was, however, able to show that she was not -married to Mr. Stothard till 1818, the third and last year in which -he visited Bayeux, and that at this date these fragments were already -in his possession. Prior to his marriage he had possessed these two -pieces, and said that they were so ragged as to be incapable of -restoration. But how he had acquired them was not divulged. - -[7] There is no inscription for these two scenes. - -[8] This portion of the plate also appears as the Frontispiece. - - - - -*** END OF THE PROJECT GUTENBERG EBOOK GUIDE TO THE BAYEUX TAPESTRY *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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F. L. Birrell</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Guide to the Bayeux tapestry</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: F. F. L. Birrell</div> - -<div style='display:block; margin:1em 0'>Release Date: July 25, 2021 [eBook #65918]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Charlene Taylor, Chuck Greif and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK GUIDE TO THE BAYEUX TAPESTRY ***</div> -<hr class="full" /> - -<p class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" -height="550" alt="[Image of -the book's cover unavailable.]" /></a> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> - -<p class="c"><a href="#TABLE_OF_CONTENTS">Contents.</a></p> - -<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> - -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<div class="figcenter" id="front" style="width: 410px;"> -<a href="images/frontis.jpg"> -<img src="images/frontis.jpg" width="410" height="563" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Harold Enthroned</span>. (<a href="#page_6"><i>See</i> 6</a>.)</p> - -<p><i>Frontispiece</i>]</p></div> -</div> - -<p class="c"> -VICTORIA & ALBERT MUSEUM<br /> -<br /> -DEPARTMENT OF TEXTILES</p> - -<h1>GUIDE TO<br /> -THE BAYEUX TAPESTRY</h1> - -<p class="c"><span class="smcap">By F. F. L. BIRRELL</span><br /> -<br /><br /> -LONDON: PRINTED UNDER THE AUTHORITY OF<br /> -HIS MAJESTY’S STATIONERY OFFICE, 1921<br /> -<br /><br /><br /><br /> -<span class="smcap">Publication No. 100T.</span></p> - -<p class="c"><i>Crown Copyright Reserved.</i></p> - -<p class="c"><i>First printed, October, 1914.</i> <i>Reprinted-April, 1921.</i></p> - -<p> </p> -<p class="nind"><i>This Guide may be obtained directly from the Victoria & Albert Museum, -price 1s. 0d. net (by post 1s. 2d. net). It may also be obtained either -through any bookseller or directly from H.M. Stationery Office at the -following addresses: Imperial House, Kingsway, London (W.C. 2.), and 28, -Abingdon Street (S.W. 1); 37, Peter Street, Manchester; 1, St. Andrew’s -Crescent, Cardiff; 23, Forth Street, Edinburgh; or from E. Ponsonby, -Ltd., 116, Grafton Street, Dublin.</i></p> - -<p class="nind">C81 (7614) Wt. 30446/AM2362/637 6/21 <span class="smcap">2M</span> Harrow (Gp. 51)</p> - -<h2><a name="PREFATORY_NOTE" id="PREFATORY_NOTE"></a>PREFATORY NOTE.</h2> - -<p class="nind"><span class="letra">A</span>LTHOUGH the Bayeux Tapestry is not itself included among the -collections of the Museum, its surpassing interest to English students -and the existence of two copies here amply justify the appearance of -this guide. A full-size photographic reproduction, coloured by hand, is -exhibited on the walls of the gallery numbered 79 on the first floor.</p> - -<p>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 Textiles, adjoining Room 123 on the first floor.</p> - -<p class="c"> -<i>May, 1921.</i> <span style="margin-left: 30%;">CECIL H. SMITH.</span><br /> -</p> - -<h2><a name="NOTE_TO_THE_FIRST_EDITION" id="NOTE_TO_THE_FIRST_EDITION"></a>NOTE TO THE FIRST EDITION.</h2> - -<p class="nind"><span class="letra">T</span>HE preparation of this guide has been entrusted to Mr. F. F. L. -Birrell. Its chief aim is to present in a handy form the most important -of the ascertained facts regarding the Tapestry. Matters which belong to -the realm of conjecture, and even of controversy, have also been touched -upon. Students wishing to pursue these further are recommended to -consult the authorities quoted in the guide. I have read through the -proofs, and must accept responsibility for such errors as may be found.</p> - -<p class="c"> -<i>October, 1914.</i> <span style="margin-left: 30%;">A. F. K.</span><br /> -</p> - -<h2><a name="NOTE_TO_THE_SECOND_EDITION" id="NOTE_TO_THE_SECOND_EDITION"></a>NOTE TO THE SECOND EDITION.</h2> - -<p class="nind"><span class="letra">W</span>HEN this guide-book was first printed in 1914, its author, Mr. Francis -Birrell, was for the time being a member of the staff of the Department -of Textiles. On the publication of a second edition, they wish to -express their regret that circumstances should have frustrated their -hopes that he would remain as a colleague on the permanent staff.</p> - -<p><i>April, 1921.</i></p> - -<h2><a name="TABLE_OF_CONTENTS" id="TABLE_OF_CONTENTS"></a>TABLE OF CONTENTS.</h2> - -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> -<tr><td class="pdd"><a href="#I_THE_BAYEUX_TAPESTRY">THE BAYEUX TAPESTRY</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr> -<tr><td class="pdd"><a href="#II_THE_SCENES_DESCRIBED">THE SCENES DESCRIBED</a></td><td class="rt" valign="bottom"><a href="#page_4">4</a></td></tr> -<tr><td class="pdd"><a href="#III_HISTORY_OF_THE_TAPESTRY">HISTORY OF THE TAPESTRY</a></td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr> -<tr><td class="pdd"><a href="#IV_THE_INSCRIPTIONS">THE LATIN INSCRIPTIONS WITH A TRANSLATION</a></td><td class="rt" valign="bottom"><a href="#page_14">14</a></td></tr> -<tr><td class="pdd"><a href="#V_THE_PHOTOGRAPHIC_COPY_OF_THE_ORIGINAL">THE PHOTOGRAPHIC COPY OF THE ORIGINAL</a></td><td class="rt" valign="bottom"><a href="#page_19">19</a></td></tr> -<tr><td class="pdd"><a href="#VI_NOTES_ON_THE_ILLUSTRATIONS">NOTES ON THE ILLUSTRATIONS</a></td><td class="rt" valign="bottom"><a href="#page_20">20</a></td></tr> -<tr><td class="pdd"><a href="#VII_BIBLIOGRAPHY">BIBLIOGRAPHY</a></td><td class="rt" valign="bottom"><a href="#page_28">28</a></td></tr> -<tr><td class="pdd"><a href="#INDEX">INDEX</a></td><td class="rt" valign="bottom"><a href="#page_29">29</a></td></tr> -</table> - -<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS.</h2> - -<table border="0" cellpadding="4" cellspacing="0" summary=""> - -<tr><td colspan="3"><i><a href="#front">Frontispiece</a></i>:—Harold Enthroned</td></tr> - -<tr><td class="c">Plate </td><td class="rt"><a href="#plt_1">I.</a></td><td> King Edward the Confessor and Harold.</td></tr> - -<tr><td class="c">” </td><td class="rt"> <a href="#plt_2"> II.</a></td><td>The Oath of Harold.</td></tr> - -<tr><td class="c">” </td><td class="rt"> <a href="#plt_3"> III.</a></td><td>King Edward in his Palace.</td></tr> - -<tr><td class="c">” </td><td class="rt"> <a href="#plt_4"> IV.</a></td><td>The Church of S. Peter at Westminster.</td></tr> - -<tr><td class="c">” </td><td class="rt"> <a href="#plt_5"> V.</a></td><td>The Coronation of Harold. Stigand.</td></tr> - -<tr><td class="c">” </td><td class="rt"><a href="#plt_6"> VI.</a></td><td>The Comet.</td></tr> - -<tr><td class="c">” </td><td class="rt"> <a href="#plt_7"> VII.</a></td><td>Building Ships.</td></tr> - -<tr><td class="c">” </td><td class="rt"><a href="#plt_8"> VIII.</a></td><td>A Feast.</td></tr> - -<tr><td class="c">” </td><td class="rt"><a href="#plt_9"> IX.</a></td><td>Odo. William. Robert.</td></tr> - -<tr><td class="c">” </td><td class="rt"> <a href="#plt_10"> X.</a></td><td>Burning a House.</td></tr> - -<tr><td class="c">” </td><td class="rt"> <a href="#plt_11"> XI.</a></td><td>The Battle of Hastings.</td></tr> - -<tr><td class="c">” </td><td class="rt"> <a href="#plt_12"> XII.</a></td><td>The Death of Harold.</td></tr> -<tr><td class="c" colspan="4">——</td></tr> -<tr><td class="c">Fig. </td><td> <a href="#Fig_1">1.</a> </td><td> A Lion </td><td><a href="#page_1"> p. 1</a></td></tr> - -<tr><td class="c">” </td><td> <a href="#Fig_2">2.</a> </td><td> Ploughing </td><td><a href="#page_9"> p. 9</a></td></tr> - -<tr><td class="c">” </td><td> <a href="#Fig_3">3.</a> </td><td> Harrowing </td><td> <a href="#page_14"> p. 14</a></td></tr> - -<tr><td class="c">” </td><td> <a href="#Fig_4">4.</a> </td><td> Fowling </td><td> <a href="#page_18"> p. 18</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p> - -<div class="figcenter" style="width: 319px;"> -<a name="Fig_1" id="Fig_1"></a> -<a href="images/image001.jpg"> -<img src="images/image001.jpg" width="319" height="119" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Fig. 1. A Lion</span> (<i>see</i><a href="#page_27"> p. 27</a>).</p></div> -</div> - -<h2><a name="I_THE_BAYEUX_TAPESTRY" id="I_THE_BAYEUX_TAPESTRY"></a>I.—THE BAYEUX TAPESTRY.</h2> - -<p class="nind"><span class="letra">T</span>HE 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.</p> - -<p>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<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> conclusions from it, and it -remains an inexhaustible storehouse of information regarding the social -life of England and Normandy during the 11th century.</p> - -<p>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.</p> - -<p>A word may be added about technique. The “Bayeux Tapestry” always has -been, and probably always will be, known under this name. It should, -however, be recognised that, properly speaking, it is not a tapestry at -all but an embroidery.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> The figures are worked on linen, probably -unbleached, in wool of eight different shades: dark and light blue, red, -yellow, dark and light green, black and dove colour. The Latin -inscriptions that are placed over most of the scenes are also stitched -in wool, and are about an inch in height. It is noticeable that no -attempt has been made to give the objects the colours they have in -nature, while a difference of colour is the method employed for such -effects as perspective.<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> For instance, 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 colour.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> - -<p>The tradition that the embroidery was carried out by Matilda and her -ladies is a late tradition and need not be considered too seriously. -William would have been more indisputably the hero if this were true, -and it is not likely that the work, when completed, would have been sent -to Bayeux to adorn Odo’s cathedral. It is more probable that it was -commanded by Odo for the decoration of his church. 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 neighbourhood. -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 design.<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span></p> - -<h2><a name="II_THE_SCENES_DESCRIBED" id="II_THE_SCENES_DESCRIBED"></a>II—THE SCENES DESCRIBED.</h2> - -<p class="nind">NOTE.—<i>In the following paragraphs the figures represent the number of -the scene. Corresponding numbers will be found on the copy of the -Tapestry above the scene described, and in Part IV.</i> (<i>p.</i> 14).</p> - -<p class="nind"><span class="letra">I</span>T may be noticed, generally, that the story is presented with a strong -bias in favour of the Normans, and there are large discrepancies between -the account given here and that which, descending through Freeman from -Florence of Worcester, is served up to English readers, whose sympathies -are still supposed to be enlisted on behalf of Harold. It has been -usually taught in England, for instance, that Harold only landed in -France by mistake through being caught in a storm, and that this -advantage was seized by William to the undoing of the man who was his -guest. The story told in the Tapestry is very different.</p> - -<p>In the first scene (<a href="#plt_1"><span class="smcap">Plate I.</span></a>) King Edward the Confessor is giving -instructions to Harold, who immediately, with a large cavalcade of men, -horses, dogs and falcons (2), sets off in the direction of the coast. He -passes Bosham, where he enters the church and prays (3), conduct that -is, perhaps, intended to appear hypocritical in the light of future -events. After these religious exercises Harold and his company repair to -a neighbouring house and refresh themselves with food before setting out -again on their journey. They then cross the sea (4, 5, 6). No storm is -shown and the Tapestry has the inscription “<small>HIC HAROLD MARE NAVIGAVIT ET -VELIS VENTO PLENIS VENIT IN TERRA WIDONIS COMITIS</small>” (“Here Harold set -sail upon the sea and with sails full of wind came to the land of Count -Guy”). This cannot well mean a storm but a favourable voyage. Harold had -always intended to come in to France. He had in the first scene had an -interview with Edward in which he is presumably intrusted with a message -to William, which he crosses the sea to deliver. If this message were to -state Edward’s wish that William should succeed<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> him on the Throne of -England, how treacherous becomes Harold’s conduct. Yet this is what the -Tapestry silently suggests. On landing he is immediately seized (7) by -Count Guy of Ponthieu, into whose territory he is come, and is carried -off by him to his castle of Beaurain (8, 9).</p> - -<p>Harold and Guy then converse together (10), Harold presumably explaining -the reasons for his arrival in the latter’s territories. The messengers -of William arrive at Guy’s castle (11), one of them, Turold, being -mentioned by name. He is portrayed as a dwarf, either in an attempt at -perspective or merely owing to the exigencies of space.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> The story -here becomes somewhat obscure, but the envoys go back to William (12, -13) and in 14, 15 Harold is brought to him by Guy in person. William’s -treatment of Harold is here surely intended to bring out the excellence -of the Duke’s character, for he behaves towards Harold with magnificent -urbanity and takes him to his palace at Rouen (16, 17). In 18 appears -the mysterious incident of “a certain clerk and Ælfgyva,” which will be -mentioned later. After this interval Harold and William, now apparently -on the best of terms, start off together for a warlike expedition. They -reach Mont Saint Michel (19), cross the River Couesnon (20), where -Harold drags some Norman soldiers out of a quicksand (21) into which -they had fallen. In 22 they arrive at Dol, and Conan<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> evacuates the -town. They then pass Rechnes (Rennes), which is stitched small, and is -only there to show the course of their march. A strenuous fight takes -place at Dinan till Conan gives up the keys (23, 24), and in (25) -William presents Harold with arms as a sign of gratitude for his -services. In this high amity with each other they repair to Bayeux (26), -where takes place the crucial incident in the history of Harold (27). -Here there is again a great discrepancy between the Norman version and -that usually taught in England. According to the English story Harold -was tricked into swearing fealty to William on a box, in which, unknown -to him, were concealed the bones of saints. This fact, if true, is -suppressed in the Tapestry. Here, Harold’s two hands are<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> resting on -altars supporting chests of the kind used expressly for containing -relics (<a href="#plt_2"><span class="smcap">Plate II.</span></a>). The oath is made as ostentatiously solemn as -possible. Perhaps Harold might be able to urge compulsion as -invalidating this oath; his whole position had been from the beginning -little better than that of a prisoner. The plea of trickery was out of -the question, and his future conduct makes him appear, to Norman eyes, a -perjurer and a blasphemer.</p> - -<p>After this Harold returns to England (28) and proceeds at once to Edward -the Confessor (29), with whom he has an interview (<a href="#plt_3"><span class="smcap">Plate III.</span></a>).</p> - -<p>We are next shown (30, 31) the coffin of Edward the Confessor being -carried in mourning to its interment in the Church of St. Peter at -Westminster (<a href="#plt_4"><span class="smcap">Plate IV.</span></a>). The order of events has been here slightly -transposed, as in 32 we see Edward still alive though on his death-bed -addressing his “fideles” or vassals. The reason for the transposition of -scenes will soon become clear; Harold is present, with Edward’s wife, -Queen Eadgyth, an ecclesiastic, and two other persons. What may have -been the nature of the communications passing between Edward and his -“fideles” at this solemn moment cannot be said with certainty, but it is -likely that even then the question of the succession was being agitated. -Immediately below Edward has fallen into the sleep of death (<small>ET HIC -DEFUNCTUS EST</small>), and the crown is offered to Harold, who sits enthroned, -with Archbishop Stigand by his side (33) (<a href="#plt_5"><span class="smcap">Plate V.</span></a> and <span class="smcap">Frontispiece</span>). -The reason why the funeral of the Confessor was represented before his -death has now become apparent. 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 Tapestry. In 34 (<a href="#plt_6"><span class="smcap">Plate VI.</span></a>) is recorded an interesting -event. The inscription reads: “<small>ISTI MIRANT STELLA</small>” (“They,” <i>i.e.</i> the -English, “wonder at a star”), and this unusual star is portrayed -curiously in the border. The English are right to be afraid. The heavens -themselves blaze forth their disapproval at the conduct of Harold. A -messenger is seen bringing tidings to the King, which he seems to hear -with great agitation. It is likely that this message is connected with -the strange apparition of the preceding scene. In 35 an<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> English ship is -shown on its way to France, bearing to William news of events in -England.</p> - -<p>At this point the story as told in the Tapestry falls quite naturally -into two parts. So far the unscrupulous conduct of Harold has been -crowned with success. His ambitions are realised, and he sits on the -throne of England. Omens, however, are not wanting to foreshadow the -shortness of his reign. The second part of the story will show how -William came into his own.</p> - -<p>In 36 William has heard the news and promptly determines on revenge. -With Bishop Odo at his side, he gives orders that a fleet shall be made -ready; the trees are hewn (37, 38), and the ships built (<a href="#plt_7"><span class="smcap">Plate VII.</span></a>); -they are dragged down to the sea (39), arms are carried on board (40), -carts with wine and arms are dragged down to the beach, William crosses -in a great ship (41, 42, 43), he arrives at Pevensey (44, 45), the -horses are disembarked (46), and the knights push on to Hastings (47). -The whole story moves along with admirable speed, till the spectator -seems to partake in the hurry and bustle of the great expedition. -William’s determination is as sure as Harold’s. The difference is that -his cause is just. After the arrival at Hastings, the story continues -more slowly to its appointed end. That other side of military life is -now shown, as necessary as, if less dignified than, the former glimpses. -We see the victualling of William’s army. In 47 the soldiers are seizing -the neighbouring cattle for food. In 48 is a knight on horseback bearing -the name Wadard. He is thought by the designer to be well enough known -to need no explanation, but at this distance of time his appearance -seems irrelevant. 49, however, carries on the story from 47. The food -taken then is now being cooked, the servants serve up the meats which -they lay before the soldiery, and Bishop Odo blesses the meat (50). This -scene is worked in with real humour; the soldiers are hardly able to -restrain their appetite till grace has been said (<a href="#plt_8"><span class="smcap">Plate VIII.</span></a>). -Immediately afterwards (51) are seen Bishop Odo, the Conqueror and his -eldest son, Count Robert, the three most distinguished ornaments of the -war, seated together in a tent (<a href="#plt_9"><span class="smcap">Plate IX.</span></a>).</p> - -<p>In (52) it is ordered that a rampart be thrown up: the camp is shown. A -messenger arrives giving news of Harold, and a house is burned (53). -Then the army leaves Hastings<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> (54) to go in to battle against Harold -(55, 56), and Duke William questions one Vital (57, 58) concerning -Harold and his army. Not till 59 is news of William brought to Harold. -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 or, at any -rate, to show that he had been completely surprised by the rapidity of -William’s movements. His other difficulties, caused by rivals to his -throne and foreign enemies, which had only just been relieved by the -glorious victory of Stamford Bridge, and the deaths of Tostig and Harold -Hardrada, are omitted by the Norman chronicler. In 60 William exhorts -his men to be brave and prudent, and they advance gaily into battle (61, -62, 63, 64, 65, 66), the whole course of events being splendidly -exhibited. At last full justice is done to the English enemy. They fight -valiantly, and the celebrated “packed-shield” formation is clearly shown -(<a href="#plt_11"><span class="smcap">Plate XI.</span></a>). Bad luck, however, pursues the English; Leofwyne and Gyrth, -brothers of the King, are slain (67, 68, 69), but the fighting still -remains even, Normans and English falling together (70, 71). The Normans -are being pressed hard when Bishop Odo, armed with a club, exhorts the -young recruits and saves a panic (72). A cry then goes up that Duke -William has been killed; he shows himself, however (73), and confidence -is restored. On the left of the Duke is seen Eustace (<small>E ... TIUS</small> is all -that remains of the inscription) carrying a standard. According to the -mediæval historian Benoît de Saint Maur<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> the Duke’s standard-bearer -Eustace, Count of Boulogne, had urged the Duke to leave the field, -believing the day to be lost. This moment proves to be the turning point -of the battle; the French fight with renewed vigour (73, 74, 75), and -beat their way up to Harold, who is killed by an arrow (76) (<span class="smcap"><a href="#plt_12">Plate -XII.</a></span>). The English army is discouraged and flies (77, 78, 79).<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span></p> - -<p>Here the Tapestry ends, and it is not quite clear if it had been -intended to pursue the subject further. According to Dr. Ducarel the -tapestry, when hung, exactly filled the nave of the Cathedral; so that -very likely no more was ever designed.</p> - -<p>The borders that run above and below well repay study. They not only -make an admirable framework for the main narrative, but have an object -of their own in keeping up a kind of running commentary on the events -portrayed within their boundaries; strange birds and beasts, the -subjects of fable, hybrids, and human forms, sometimes pursuing their -ordinary avocations, sometimes engaged in battle or lying dead, form -these borders, teaching by their actions, attitudes or expressions, the -import of each scene. They express the hopes and fears of the rival -factions and perform almost the functions of a Greek Chorus. They are -delightful, too, in themselves, and there is in them something truly -expressive of the mediæval mind.</p> - -<div class="figcenter" style="width: 407px;"> -<a name="Fig_2" id="Fig_2"></a> -<a href="images/image009.jpg"> -<img src="images/image009.jpg" width="407" height="91" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Fig. 2. Ploughing</span> (<i>see</i> <a href="#page_27">p. 27</a>).</p></div> -</div> - -<p>There are several interesting features to be observed in connection with -the Tapestry besides that of its evident bias. There runs throughout the -assumption that the story will be familiar not only in outline, but also -in detail to the examiners of the Tapestry—a fact which is in itself -strong evidence of a contemporary date.</p> - -<p>For instance, in 17 occurs the mysterious subject “<small>UBI UNUS CLERICUS ET -ÆLFGYVA</small>” (“where a certain clerk and Ælfgyva”). Who Ælfgyva was permits -of the widest conjecture; who a certain clerk may have been no one even -pretends to know. But it is evident that the subject was sufficiently -well known at the time to be inserted quite naturally and without any -further explanation. At this distance of time it is impossible to -explain the allusion. Again,<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> who were Turold (12), Wadard (49), Vital -(62)? They are honoured in the Tapestry with their names above them, and -so were evidently thought to be persons of importance. But few can have -heard of them to-day. The archæologist Amyot, indeed, discovered that -there were three vassals of Bishop Odo called by these names. If these -are the people shown in the Tapestry, their appearance would be a -compliment to the Bishop as well as themselves. In fact, throughout the -story Bishop Odo appears with a prominence that can hardly have been -attractive to his illustrious brother. Not only do his three servants -appear in this way, but in 54 he is seated in state with the Conqueror -and the Conqueror’s eldest son, Count Robert, while in the crisis of the -battle it was Odo, not William, who rallied the troops and turned into -victory what had seemed certain defeat. Again, when William was giving -his orders for the preparation of the Expedition (41) Odo stood by his -side ever ready with advice. It may be remembered what William thought -later of the ambition of his brother, and how some time after the -Conquest was over he sent him packing back to his Bishopric. Odo was -certainly a great benefactor to his Cathedral of Bayeux, 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 lord.<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span></p> - -<h2><a name="III_HISTORY_OF_THE_TAPESTRY" id="III_HISTORY_OF_THE_TAPESTRY"></a>III—HISTORY OF THE TAPESTRY.</h2> - -<p class="nind">THE “Bayeux Tapestry” has had an adventurous career since its first -mention in the Inventory of Bayeux Cathedral in 1476, when it was hung -round the nave during the season of the Feast of Relics. It is even -possible that its adventures may have begun before this, if the -assumption of an early date be correct, for the cathedral was burnt to -the ground in 1106.</p> - -<p>However that may be, in 1562 the town was sacked by Calvinists: but, -fortunately, the Tapestry was handed over to the civil authority to -guard, and it escaped destruction, though a tapestry “de grande valeur” -that used to hang in the choir perished during the troubles. When these -disturbances were over, it was once more in the hands of the -ecclesiastical authorities, hung in the nave on appointed days, and -forgotten for close on 200 years.</p> - -<p>In the year 1724 an archæologist, M. Launcelot, read a paper before the -French Academy on this subject. He had, however, only seen a drawing of -a portion of the whole, and was only able to conjecture that the -original was a fresco or an embroidery. He was strongly of the opinion -that the original was made in the time of the Conqueror or his immediate -successors. Better results, however, attended the efforts of Père -Montfaucon, a Benedictine of St. Maur, who ran the original to earth -after much search. It was published in engraving on a reduced scale in -his second volume of “Monuments de la Monarchie Française (1730).” Kept -in the repositories of the cathedral and only exhibited on feast days, -the Tapestry survived in peace the early days of the Revolution, but -when the Revolutionaries were going out to scatter their foreign enemies -it was turned to account and made to cover an army waggon. It had been -laid in position and was on the point of being taken off to the front, -when M. le Forestier, the Commissioner of Police, seized on it and hid -it in his study. In 1794 it was again about to be cut to pieces, when it -was rescued by a self-appointed committee for guarding works of art in -the neighbourhood.<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p> - -<p>The Tapestry was not unknown to Napoleon, and in 1803 it was sent to -Paris and exhibited in the Musée Napoléon, doubtless with the intention -of stirring the enthusiasm of the French into emulating the illustrious -deeds portrayed. It was, however, returned to Bayeux in 1804 and -deposited in the Library, with permission to be hung in the cathedral, -fifteen days a year, a concession to the Church party that was never put -into effect. It was exhibited in the Hôtel de Ville in 1830, and is now -to be seen in a room built for it in the Public Library in 1842.</p> - -<p>In 1871 on the near approach of the Prussians, the Tapestry was hastily -taken down and hidden secretly away. When danger was passed it was -returned to its former position. The Bayeux authorities, however, refuse -to divulge the secret of its hiding-place, 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 Tapestry.</p> - -<p>The Bayeux Tapestry has since the 18th century received notice from -English archæologists; in 1746, Stukeley, author of the <i>Palæographica -Britannica</i>, mentions it as “the noblest monument in the world, relating -to our old English history.” He was followed by a learned antiquarian, -Dr. Ducarel, who stated that it was hung round the nave of the cathedral -on St. John’s Day, and continued there for eight days more. Two -distinguished historians, Lord Lyttelton and David Hume, also discussed -the Tapestry, the former being the first to doubt its contemporary date, -thereby anticipating some modern criticism.</p> - -<p>In the early years of the 19th century criticism of the Tapestry became -more serious, the years 1816-1820 being very important in this respect. -The views of Messrs. Stothard, Amyot, Hudson Gurney and others can be -read in volumes XVIII. and XIX. of <i>Archæologia</i>.</p> - -<p>In 1816 Mr. Charles Stothard was sent by the Society of Antiquaries to -Bayeux to make a drawing of the Tapestry, and he brought home two small -fragments with him.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> Within<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> two years he had completed his copy of -the Tapestry, which is to be seen reproduced in Vol. VI. of the <i>Vetusta -Monumenta</i>. Freeman, in Appendix A., Vol. III. (2nd edition), devotes a -long passage to the subject and states his belief in its being made in -England, an opinion which has not been generally shared.<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p> - -<div class="figcenter" style="width: 409px;"> -<a name="Fig_3" id="Fig_3"></a> -<a href="images/image014.jpg"> -<img src="images/image014.jpg" width="409" height="97" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Fig. 3. Harrowing</span> (<i>see</i> <a href="#page_27">p. 27</a>).</p></div> -</div> - -<h2><a name="IV_THE_INSCRIPTIONS" id="IV_THE_INSCRIPTIONS"></a>IV.—THE INSCRIPTIONS.</h2> - -<p class="nind">THE Latin inscriptions above the embroidery run as follows (an English -translation has been added, but no attempt has been made to amend or -correct):—</p> - -<table border="0" cellpadding="3" cellspacing="0" summary=""> - -<tr valign="top"><td class="rt">1.</td><td> <small>EDWARD REX</small><br /> - -Edward the King.</td></tr> - -<tr valign="top"><td class="rt">2.</td><td><small>UBI HAROLD, DUX ANGLORUM, ET SUI MILITES EQUITANT AD BOSHAM</small><br /> - -Where Harold, Duke of the English, and his soldiers ride to Bosham.</td></tr> - -<tr valign="top"><td class="rt">3.</td><td><small>ECCLESIA</small><br /> - -The Church (at Bosham).</td></tr> - -<tr valign="top"><td class="rt">4.</td><td><small>HIC HAROLD MARE NAVIGAVIT</small><br /> - -Here Harold crossed the sea.</td></tr> - -<tr valign="top"><td class="rt">5, 6.</td><td> <small>ET VELIS VENTO PLENIS VENIT IN TERRA WIDONIS COMITIS</small><br /> - -And with sails full of wind came into the land of Count Guy.</td></tr> - -<tr valign="top"><td class="rt">6, 7.</td><td> <small>HAROLD</small></td></tr> - -<tr valign="top"><td class="rt">7.</td><td><small>HIC APPREHENDIT WIDO HARLOLDŪ</small><br /> - -Here Guy seizes Harold.</td></tr> - -<tr valign="top"><td class="rt">8, 9.</td><td> <small>ET DUXIT EUM AD BELREM ET IBI EUM TENUIT</small><br /> - -And led him to Beaurain and held him there.</td></tr> - -<tr valign="top"><td class="rt">10.</td><td><small>UBI HAROLD</small> (et) <small>WIDO PARABOLANT</small><br /> - -Where Harold and Guy converse.</td></tr> - -<tr valign="top"><td class="rt">11.</td><td><small>UBI NUNTII WILLELMI DUCIS VENERUNT AD WIDONĒ. TUROLD</small><br /> - -Where the messengers of Duke William came to Guy. Turold.<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></td></tr> - -<tr valign="top"><td class="rt">12.</td><td><small>NUNTII WILLELMI</small><br /> - -The messengers of William.</td></tr> - -<tr valign="top"><td class="rt">13.</td><td><small>HIC VENIT NUNTIUS AD WILGELMUM DUCEM</small><br /> - -Here the messenger came to Duke William.</td></tr> - -<tr valign="top"><td class="rt">14, 15.</td><td> <small>HIC WIDO ADDUXIT HAROLDUM AD WILGELMUM NORMANNORUM DUCEM</small><br /> - -Here Guy led Harold to William, Duke of the Normans.</td></tr> - -<tr valign="top"><td class="rt">16, 17.</td><td> <small>HIC DUX WILGELM CUM HAROLDO VENIT AD PALATIŪ SUŪ</small><br /> - -Here Duke William with Harold came to his Palace.</td></tr> - -<tr valign="top"><td class="rt">18.</td><td><small>UBI UNUS CLERICUS ET ÆLFGYVA</small> ...<br /> - -Where a certain clerk and Ælfgyva.</td></tr> - -<tr valign="top"><td class="rt">19.</td><td><small>HIC WILLEM DUX ET EXERCITUS EJUS VENERUNT AD MONTĒ MICHAELIS</small><br /> - -Here Duke William and his army came to Mont St. Michel.</td></tr> - -<tr valign="top"><td class="rt">20.</td><td><small>HIC TRANSIERUNT FLUMEN COSNONIS</small><br /> - -And here they crossed the river Couesnon.</td></tr> - -<tr valign="top"><td class="rt">21.</td><td><small>ET HIC HAROLD DUX TRAHEBAT EOS DE ARENA</small><br /> - -And here Duke Harold dragged them out of the quicksand.</td></tr> - -<tr valign="top"><td class="rt">22.</td><td><small>ET VENERUNT AD DOL ET CONAN FUGA VERTIT</small><br /> - -And they came to Dol, and Conon turned in flight.</td></tr> - -<tr valign="top"><td class="rt">23, 24.</td><td> <small>REDNES. HIC MILITES WILLELMI DUCIS PUGNANT CONTRA DINANTES ET -CUNAN CLAVES PORREXIT</small><br /> - -Rennes. Here the soldiers of Duke William fight against the men of -Dinan, and Conon reached out the keys.</td></tr> - -<tr valign="top"><td class="rt">25.</td><td><small>HIC WILLELM DEDIT HAROLDO ARMA</small><br /> - -Here William gave Harold arms.</td></tr> - -<tr valign="top"><td class="rt">26.</td><td><small>HIE</small> (hic) <small>WILLELM VENIT BAGIAS</small><br /> - -Here William came to Bayeux.</td></tr> - -<tr valign="top"><td class="rt">27.</td><td><small>UBI HAROLD SACRAMENTUM FECIT WILLELMO DUCI</small><br /> - -Where Harold made an oath to Duke William.</td></tr> - -<tr valign="top"><td class="rt">28.</td><td><small>HIC HAROLD DUX REVERSUS EST AD ANGLICAM TERRAM</small><br /> - -Here Duke Harold returned to England.</td></tr> - -<tr valign="top"><td class="rt">29.</td><td><small>ET VENIT AD EDWARDU REGEM</small><br /> - -And came to King Edward.<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></td></tr> - -<tr valign="top"><td class="rt">30, 31.</td><td> <small>HIC PORTATUR CORPUS EADWARDI REGIS AD ECCLESIAM SC̄I PETRI -APLĪ</small> (Sancti Petri Apostoli)<br /> - -Here the body of King Edward is borne to the Church of St. Peter the -Apostle.</td></tr> - -<tr valign="top"><td class="rt">32.</td><td><small>HIC EADWARDUS REX IN LECTO ALLOQUIT̄ FIDELES</small><br /> - -Here King Edward in bed addresses his vassals.<br /> - -<small>ET HIC DEFUNCTUS EST</small><br /> - -And here he is dead.<br /> - -<small>HIC DEDERUNT HAROLDO CORONĀ REGIS</small><br /> - -Here they gave to Harold the King’s crown.</td></tr> - -<tr valign="top"><td class="rt">33.</td><td><small>HIC RESIDET HAROLD REX ANGLORUM</small><br /> - -Here sits Harold King of the English.<br /> - -<small>STIGANT ARCHIEP̄S</small> (Archiepiscopus)<br /> - -Archbishop Stigand.</td></tr> - -<tr valign="top"><td class="rt">34.</td><td><small>ISTI MIRANT STELLĀ: HAROLD</small><br /> - -These men are amazed at a star: Harold.</td></tr> - -<tr valign="top"><td class="rt">35.</td><td><small>HIC NAVIS ANGLICA VENIT IN TERRAM WILLELMI DUCIS</small><br /> - -Here an English ship came into the land of Duke William.</td></tr> - -<tr valign="top"><td class="rt">36, 37,</td><td> <small>HIC WILLELM DUX JUSSIT NAVES EDIFICARE</small></td></tr> - -<tr valign="top"><td class="rt">38.</td><td>Here Duke William gave orders to build ships.</td></tr> - -<tr valign="top"><td class="rt">39.</td><td><small>HIC TRAHUNTT̄ NAVES AD MARE</small><br /> - -Here they draw down the ships to the sea.</td></tr> - -<tr valign="top"><td class="rt">40.</td><td><small>ISTI PORTANT ARMAS AD NAVES</small><br /> - -These men carry arms to the ships.<br /> - -<small>ET HIC TRAHUNT CARRUM CUM VINO ET ARMIS</small><br /> - -And here they drag a cart with wine and arms.</td></tr> - -<tr valign="top"><td class="rt">41, 42,</td><td> <small>HIC WILLELM DUX IN MAGNO NAVIGIO MARE TRANSIVIT</small></td></tr> - -<tr valign="top"><td class="rt">43.</td><td>Here Duke William crossed the sea in a great ship.</td></tr> - -<tr valign="top"><td class="rt">44, 45.</td><td> <small>ET VENIT AD PEVENESÆ</small><br /> - -And came to Pevensey.</td></tr> - -<tr valign="top"><td class="rt">46.</td><td><small>HIC EXEUNT CABALLI DE NAVIBUS</small><br /> - -Here the horses go out of the ships.</td></tr> - -<tr valign="top"><td class="rt">47.</td><td><small>ET HIC MILITES FESTINAVERUNT HESTINGA UT CIBUM RAPERENTUR</small><br /> - -And here the soldiers hurried to Hastings to find food.</td></tr> - -<tr valign="top"><td class="rt">48.</td><td><small>HIC EST WADARD</small><br /> - -Here is Wadard.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></td></tr> - -<tr valign="top"><td class="rt">49.</td><td><small>HIC COQUITUR CARO</small><br /> - -Here meat is cooked.<br /> - -<small>ET HIC MINISTRAVERUNT MINISTRI</small><br /> - -And here the servants served.</td></tr> - -<tr valign="top"><td class="rt">50.</td><td><small>HIC FECERUNT PRANDIUM</small><br /> - -Here they made a feast.<br /> - -<small>ET HIC EPISCOPUS CIBŪ ET POTŪ BENEDICIT</small><br /> - -And here the Bishop blesses the food and drink.</td></tr> - -<tr valign="top"><td class="rt">51.</td><td><small>ODO EPS̄ : WILLELM: ROTBERT</small><br /> - -Bishop Odo: William: Robert.</td></tr> - -<tr valign="top"><td class="rt">52.</td><td><small>ISTE JUSSIT UT FODERETUR CASTELLUM AT HESTENGA</small><br /> - -The latter commanded that a rampart should be thrown up at Hastings.<br /> - -<small>CEASTRA</small><br /> - -The Camp.</td></tr> - -<tr valign="top"><td class="rt">53.</td><td><small>HIC NUNTIATUM EST WILLELMO DE HAROLD</small><br /> - -Here news of Harold is brought to William.<br /> - -<small>HIC DOMUS INCENDITUR</small><br /> - -Here a house is burned.</td></tr> - -<tr valign="top"><td class="rt">54.</td><td><small>HIC MILITES EXIERUNT DE HESTENGA</small><br /> - -Here the soldiers left Hastings.</td></tr> - -<tr valign="top"><td class="rt">55, 56.</td><td> <small>ET VENERUNT AD PRELIUM CONTRA HAROLDUM REGE</small><br /> - -And came into battle against King Harold.</td></tr> - -<tr valign="top"><td class="rt">57, 58.</td><td> <small>HIC WILLELM DUX INTERROGAT VITAL SI VIDISSET HAROLDI EXERCITŪ</small><br /> - -Here Duke William asks Vital if he had seen Harold’s Army.</td></tr> - -<tr valign="top"><td class="rt">59.</td><td><small>ISTE NUNTIAT HAROLDUM REGĒ DE EXERCITU WILLELMI DUCIS</small><br /> - -This man informs Harold the King concerning the Army of Duke William.</td></tr> - -<tr valign="top"><td class="rt">60, 61,</td><td> <small>HIC WILLELM DUX ALLOQUITUR SUIS MILITIBUS UT</small></td></tr> - -<tr valign="top"><td class="rt">62, 63,</td><td> <small>PREPARARENT SE VIRILITER ET SAPIENTER AD</small></td></tr> - -<tr valign="top"><td class="rt">64.</td><td><small>PRELIUM CONTRA ANGLORUM EXERCITŪ</small><br /> - -Here William exhorts his soldiers to prepare themselves manfully and -wisely for battle against the English Army.</td></tr> - -<tr valign="top"><td class="rt">65, 66.</td><td> The Battle.<a name="FNanchor_7_7" id="FNanchor_7_7"></a> -<a href="#Footnote_7_7" class="fnanchor">[7]</a><span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></td></tr> - -<tr valign="top"><td class="rt">67, 68,</td><td> <small>HIC CECIDERUNT LEWINE ET GYRD̄, FRATRES HAROLDI</small></td></tr> - -<tr valign="top"><td class="rt">69.</td><td><small>REGIS</small><br /> - -Here fell Leofwyne and Gyrth, brothers of Harold the King.</td></tr> - -<tr valign="top"><td class="rt">70, 71.</td><td> <small>HIC CECIDERUNT SIMUL ANGLI ET FRANCI IN PRELIO</small><br /> - -Here fell together English and French in battle.</td></tr> - -<tr valign="top"><td class="rt">72.</td><td><small>HIC ODO EP̄S BACULŪ TENENS, CONFORTAT PUEROS</small><br /> - -Here Bishop Odo, holding a staff, rallies the young troops.</td></tr> - -<tr valign="top"><td class="rt">73.</td><td><small>HIC EST WILELM̄ DUX</small><br /> - -Here is Duke William.</td></tr> - -<tr valign="top"><td class="rt">73.</td><td><small>E</small> ... <small>TIUS</small><br /> - -Eustace.</td></tr> - -<tr valign="top"><td class="rt">73, 74,</td><td> <small>HIC FRANCI PUGNANT ET CECIDERUNT QUI ERANT</small></td></tr> - -<tr valign="top"><td class="rt">75.</td><td><small>CUM HAROLDO</small><br /> - -Here the French fight and those who were with Harold fell.</td></tr> - -<tr valign="top"><td class="rt">76, 77.</td><td> <small>HIC HAROLD REX INTERFECTUS EST</small><br /> - -Here King Harold was slain.</td></tr> - -<tr valign="top"><td class="rt">78, 79.</td><td> <small>ET FUGA VERTERUNT ANGLI</small><br /> -And the English turned in flight.</td></tr> -</table> - -<div class="figcenter" style="width: 372px;"> -<a name="Fig_4" id="Fig_4"></a> -<a href="images/image018.jpg"> -<img src="images/image018.jpg" width="372" height="84" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Fig. 4. <span class="smcap">Fowling</span> (<i>see</i> <a href="#page_27">p. 27</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p> - -<h2><a name="V_THE_PHOTOGRAPHIC_COPY_OF_THE_ORIGINAL" id="V_THE_PHOTOGRAPHIC_COPY_OF_THE_ORIGINAL"></a>V.—THE PHOTOGRAPHIC COPY OF THE ORIGINAL.</h2> - -<p class="nind">ON the 3rd of August 1871 the Lords of the Committee of Council on -Education agreed to Mr. Joseph Cundall going to Bayeux to obtain -permission to take a full-sized photograph of the Tapestry. Permission -having been obtained, a highly-skilled photographer, Mr. E. Dossetter, -went to Bayeux for the purpose. In the first instance quite small -photographs were taken, which were subsequently enlarged to the size of -the original. A complete photographic copy enlarged to full-size and -coloured after the original was exhibited in the Albert Hall at the -Exhibition of 1873. This is the copy that is now exhibited in the Museum -(Gallery 79).</p> - -<p>What Carlyle thought of this copy cannot fail to be of interest—he -expresses his enthusiasm in a letter to Sir Henry Cole:—</p> - -<p>“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 there. The enterprise was itself a solid, -useful and creditable thing; and the execution of it seems to me a -perfect success far exceeding all the expectations I have entertained -about it. Mr. Froude, who was one of my companions, was full of -admiration, 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 -(I hope in a permanent and easily repeatable manner) was superior in -vivid clearness, beauty of colour, etc., to the very original. As the -work is in essence photographic, 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 Colonies, and even in America itself would be precious to every -inquiring and every cultivated mind. In a word, I am much obliged to you -for sending me to see this feat of yours (by far the reasonablest in -completeness of its kind yet known to me), and very much obliged above -all for your having done it and <i>so</i> done it.</p> - -<p class="r"><span style="margin-right: 4em;"> -“Yours truly, with many thanks,</span><br /> -“T. CARLYLE.”<br /> -<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p> - -<h2><a name="VI_NOTES_ON_THE_ILLUSTRATIONS" id="VI_NOTES_ON_THE_ILLUSTRATIONS"></a>VI.—NOTES ON THE ILLUSTRATIONS.</h2> - -<h3><span class="smcap">Plate I.</span></h3> - -<p class="nind">King Edward gives instruction to two persons, of whom one is Harold; -Edward’s clothes are richly embroidered. He is seated on a throne and -has a crown and sceptre.</p> - -<p>The scene shows a room in Edward’s castle; a portion of the outside wall -is given; but the rest is cut away to give a view of the interior in a -manner very common in mediæval art. It will be seen that the castle is -in the Norman style. On the left is a round Norman window and there are -Norman turrets above. The throne on which Edward is sitting is typical -of the art of the period, the animal’s head which forms the right arm -being a common decoration. In an Anglo-Saxon calendar of the 11th -century (the MS. Cotton and Julius A VI.) a drinking party is shown on a -large daïs, the two ends of which are in form like the head and front -legs of two great dogs.</p> - -<p>As to the nature of the communications passing between Edward the -Confessor and Harold, it may be added that three reasons are given of -Harold’s journey to Normandy in different versions: (1) To release his -brother and nephew from imprisonment; (2) that, owing to a storm when -out fishing, he was shipwrecked on the coast of France; (3) to impart to -William Edward’s intention of making him his heir. The third was the -Norman method of explaining what happened and is apparently the one -accepted by the designer of the Tapestry.</p> - -<h3><span class="smcap">Plate II.</span></h3> - -<p class="nind">Harold’s Oath.</p> - -<p class="nind">William of Normandy, sword in hand, sits on the left while Harold takes -a solemn oath of fealty; each hand rests on an altar, supporting a box -of relics. The cloths that cover the altars are of embroidery, though in -the Tapestry they look like velvet. The absence of any secrecy in the -matter of the relics is here insisted on, the story being told from the -Norman point of view.<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p> - -<h3><span class="smcap">Plates III., IV.</span></h3> - -<p class="nind">The Palace of Westminster, and Edward the Confessor’s body borne to the -Church of St. Peter’s.</p> - -<p class="nind">Several points of interest arise in connection with these two plates; it -will be seen that the Palace of Westminster shows a general similarity -to the representation in the first scene. The room in which Edward -receives Harold is the same shape and similar turrets appear in each -case. Further historical accuracy is shown in placing Edward’s palace -immediately to the left of St. Peter’s Church.</p> - -<p>This St. Peter’s Church is the earliest form of what has since been -known as Westminster Abbey, before it was rebuilt in the Gothic style -during the latter part of the 13th century. This picture is of -particular interest, as considerable care seems to have been taken in -the reproduction to give an accurate picture. The long series of Norman -arches below and the smaller row above are particularly noticeable. The -centre tower is also well portrayed. The hand of God appearing through a -cloud as if in dedication, and a man placing a weather-cock on the roof, -seem to suggest that the church was just being completed, a fact that is -nowadays believed to be true, though before it used to be held that -Edward never finished the church.</p> - -<p>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 Jumièges (<i>see</i> “Social England,” Vol. I., p. 318), -which was built about the same time and very likely designed by the same -architect.</p> - -<p>The whole question of the old building of St. Peter’s at Westminster has -been discussed by Professor Lethaby and the Dean of Wells, Dr. Armitage -Robinson (formerly Dean of Westminster), in the Proceedings of the -Society of Antiquaries for 1910.</p> - -<h3><span class="smcap">Plate V.</span></h3> - -<p class="nind">Harold enthroned<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> with Archbishop Stigand by his side.</p> - -<p>Stigand wears an amice, a pall, a chasuble, gloves, boots, alb, stole -and maniple. He is, however, bareheaded, which is an argument for an -early date for the Tapestry as the mitre is rare in manuscripts till the -12th century. If the mitre had<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> been known to the designer of the -Tapestry he would surely have given it to Stigand for so important an -occasion. It will be noticed that his chasuble is very long behind -though very short in front, and that his maniple is carried between his -thumb and first finger rather than hanging down from the elbow, as is -the fashion to-day. This fact goes to prove the contention of those who -hold that the maniple was originally in the nature of a handkerchief. -(The central portion of this scene is reproduced on a larger scale in -the frontispiece.)</p> - -<h3><span class="smcap">Plate VI.</span></h3> - -<p class="nind">“They wonder at a star,” which is shown very curiously in the border.</p> - -<p class="nind">This appearance of Halley’s Comet is mentioned by English, Norman, South -Gaulish, German and Italian chroniclers, by whom it was generally held -to portend the conquest of England. It is also thought that there is a -reference to it in Chinese Annals. The comet appeared nine days after -Easter, and shone with great brightness for some days. Harold had been -crowned on the 6th of January, and the Conqueror anchored off Pevensey -on the 28th of September. Halley’s Comet also appeared in 1145, 1223, -1301, 1378, 1456, 1531, 1682, 1759, 1835 and 1910. A full account, with -extracts from the contemporary chroniclers, can be seen in Freeman’s -“Norman Conquest” (2nd Edition). Vol. III., pp. 640-5.</p> - -<h3><span class="smcap">Plate VII.</span></h3> - -<p class="nind">Building the Ships.</p> - -<p>The ships which are being built in this plate are the famous “Snekkjur” -or serpent vessels of the Vikings, so praised by the Skalds. On the -whole the Normans had altered their marine equipment comparatively -little since their Norwegian days. A 9th century Viking boat was in 1880 -discovered at Gokstad on the west coast of the Gulf of Christiania. It -was about 75 ft. long, 16 ft. broad, 5·7 ft. deep, with a displacement -of 30 tons and able to carry 40 men. Such a ship would have been a fine -one in the days of the Conqueror.</p> - -<p>William’s fleet consisted of 3,000 boats of different shapes and sizes, -of which 696 were of the “Snekkjur” type. The serpent decoration on the -prow and stern of this type of boat<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> was often omitted, but is shown in -the Tapestry. William’s own ship was called the “Mora,” and was a -present to him from Queen Matilda. On the prow was the statue of a boy -in copper gilt, who held a bow in his hand in which there was an arrow -pointing ever towards England. His ship also flew the “Consecrated -Banner” of Pope Alexander II., whose support of the expedition William -had secured.</p> - -<h3><span class="smcap">Plate VIII.</span></h3> - -<p class="nind">A Feast is made.</p> - -<p class="nind">On the left of this Plate chickens are being handed to the diners on -spits, a spit apparently being provided for each guest. A knife is on -the left table, also a piece of flat round bread, the common shape in -which bread was made during that period. Spoons and forks were -practically unknown at the time, and though two rough forks can be seen -on a 12th century manuscript, the “Hortus deliciarum” of Herrad von -Landsberg, they remain rare even in high society till the 16th century. -Jean Sulpice writes as follows in 1480 on “La Civilité”:—“Prends la -viande avec trois doigts et ne rempli pas la bouche de trop gros -morceaux.” A round bowl is on the table and one of the men drinks out of -a large horn. These drinking horns were particularly popular in England, -where practically no wine was drunk and mead was the favourite liquor. -They were the same shape as musical horns with some form of stopper at -the small end. Two horns of this kind are exhibited among the Ivories -(Room 8) in this Museum (Nos. 7593, 8035-1862). A fine Rhenish drinking -horn is in the British Museum, of which a good illustration is given in -the article on Drinking Vessels in the “Encyclopædia Britannica.” The -British Museum also possesses a Scandinavian horn, illustrated on page -100 of the British Museum Guide to the Mediæval Department. The famous -horn of Ulphus (“Homes of Other Days,” p. 43) is in the Treasury of York -Cathedral. Readers may remember in Boswell’s “Tour to the Hebrides” how -“we looked at Rorie More’s horn, which is a large cow’s horn, with the -mouth of it ornamented with silver and curiously carved. It holds rather -more than a bottle and a half. Every Laird of McLeod, it is said, must, -as a proof of his manhood, drink it full of claret without laying it -down.” (Journal for Wednesday, Sept. 18th.)<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p> - -<p>These horns were not so universal in France, some forms of goblet being -in use even during the 8th and 9th centuries, one such being seen on the -right-hand end of the main table, where sit the Bishop and those of -higher rank. By the 14th century horns seem to have gone completely out -of use.</p> - -<p>On this right-hand table is a goodly array of knives, goblets and plates -of various sizes; some pieces of the Norman pottery shown here are in -the British Museum. The figure on the extreme right of this table, -though occupying such an honoured place near the Bishop, is tearing a -fish to pieces and thrusting it into his mouth with his fingers.</p> - -<p>The figure coming towards the table holding a porringer is the -cup-bearer and wine-taster, a prominent figure at every banquet. It is -difficult to be certain as to the nature of the other object he is -holding in his hand, but it may be a napkin, which was handed round to -the most important people that they might wipe their fingers after the -repast.</p> - -<h3><span class="smcap">Plate IX.</span></h3> - -<p class="nind">Odo. William. Robert.</p> - -<p class="nind">This scene shows three portraits, William the Conqueror being in the -centre, with Bishop Odo on his left and on his right Count Robert of -Normandy.</p> - -<p>On William’s death, his son, William Rufus, succeeded to England, and -Count Robert to Normandy. On the death of William Rufus in 1100, Count -Robert was still on an expedition in the Holy Land. Hence Henry I. was -elected king by the popular voice, in spite of protests from Normandy, -and became an English as opposed to a French monarch.</p> - -<p>This happy division of powers was, however, not permanent, and England, -Normandy and many other French provinces were reunited under the -Angevins, an event which marked the beginning of that perpetual trouble -with France which hardly ended with King Henry VI.</p> - -<h3><span class="smcap">Plate X.</span></h3> - -<p class="nind">Burning a House.</p> - -<p class="nind">In this plate again there seems to be a rough attempt at a portrayal of -Norman domestic architecture. The Norman<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> nature of the work is -suggested in the house being of two storeys, the Saxon dwelling usually -being of one. A woman and her child escape from the hall, which occupies -the whole of the ground floor, and is of nearly as much importance as it -would have been in the Anglo-Saxon period. The room above is smaller and -lit by a window with a Norman arch. No glass, however, would be placed -in the window. The top storey would be provided with a rough kind of -fire-place, as perhaps might also the ground floor, though the old fire -piled right up in the middle of the hall was still quite common.</p> - -<h3><span class="smcap">Plate XI.</span></h3> - -<p class="nind">The Battle, showing the “packed shield” formation of the English.</p> - -<p class="nind">This method of fighting particularly impressed William at Hastings, and -no doubt the English employed it with great skill. But whereas the most -important part of William’s army was the cavalry, Harold’s army -consisted entirely of foot soldiers. The Thanes and other important men -might be able to ride up to the scene of battle on horseback, but they -dismounted for the fight. The “packed shield” formation they proceeded -to employ consisted, as is seen in the Tapestry, of a thick wedge of -men, widening out from about two in front to an uncertain number at the -base; the officers and better armed men formed the front wedge, backed -by a dense column of the inferior troops.</p> - -<p>The English and Normans wear for the most part the same armour, the body -of which goes down to the knees in one piece, a type of armour known as -the “hauberk” or “byrnie.” These hauberks occasionally extended to the -ankles, but the legs were generally cased in leather gaiters, somewhat -resembling the “puttees” of to-day. Later, in the border, the hauberk is -correctly shown being pulled off the body of a dead soldier over the -head, like a shirt.</p> - -<p>In most cases the shields of the two armies are of the same shape, being -pointed at the bottom and rounded at the top, a type that succeeded the -kind which was narrow at each end and broadest in the middle. This -old-fashioned shape of shield was still used by the English as well as -the round embossed shield of yet earlier times.<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p> - -<p>An English warrior, probably Harold himself, is to be seen wielding one -of those terrible battle-axes that did such execution at Hastings. This -weapon was the mainstay both in attack and defence, and the glory of the -Saxon army. But, nevertheless, it marks a far less advanced point in the -history of war.</p> - -<p>William’s army is seen to be wearing stirrups, which, according to some -authorities, were new to Europe at the beginning of the 12th century, -having been introduced from China by the Mahommedans. But it seems -extremely doubtful if they were such a late discovery as this. In any -case, their use brought with it great changes in horsemanship, as the -cavalry were enabled to sit forward on their saddles, often charging -with their lances under their arm instead of leaning right back and -charging with the arm erect.</p> - -<p>It will be seen that the helmet is conical with a “nasal,” that is to -say, with a bar coming down as a shelter for the nose. The huge “vizor,” -covering the whole face and leaving only peep-holes for the eyes, was a -later invention. Also the horses are here quite unprotected, not “tot -couvert de fer” as Wace, a 12th century historian of the Conquest, would -have had them be. The armour would certainly be very heavy, but lighter -than the massive defences of the 14th and 15th centuries.</p> - -<p>But the whole question of this early armour raises many points of -difficulty and dispute. The subject of Saxon and Norman armour is well -treated in Mr. C. H. Ashdown’s “British and Foreign Arms and Armour” -(1909), where special attention is devoted to the body-armour of the -Bayeux Tapestry.</p> - -<h3><span class="smcap">Plate XII.</span></h3> - -<p class="nind">The Death of Harold.</p> - -<p class="nind">The king is seen on the left, pierced through the right eye with an -arrow which he is endeavouring to pull out with his hand. This is quite -in accordance with tradition on the subject, though it is believed that -Harold died, not at the moment of receiving the wound, but possibly some -hours later. Three arrows are seen sticking in his shield. On the right -there is an English warrior, struck down by the sword of a mounted -Norman knight.<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p> - -<h3><span class="smcap">Figures</span> <i>Nos. 1 to 4</i>.</h3> - -<p class="nind">These four figures form part of the borders under numbers X., XI., XII.; -three represent scenes from the ordinary life of the -peasantry—ploughing, harrowing, and slinging at birds; the fourth shows -the figure of a lion.</p> - -<p>These rural scenes are extremely frequent in mediæval illustrated MSS. -An illuminated MS. of the 11th century in the British Museum shows a -good example of slinging (<i>see</i> “Social England,” Vol. I., p. 316). The -Louterell Psalter, which dates from the early years of the 14th century, -gives many scenes of ploughing and harrowing (<i>see Vetusta Monumenta</i>, -Vol. VI., especially Plates XXI. and XXII.). 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 11th century.<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p> - -<h2><a name="VII_BIBLIOGRAPHY" id="VII_BIBLIOGRAPHY"></a>VII.—BIBLIOGRAPHY.</h2> - -<p class="nind">Mr. F. R. Fowke has written a short and extremely clear account of the -Tapestry in “The Bayeux Tapestry; a History and Description” (George -Bell & Sons, 1898), with a reproduction of the Tapestry. This invaluable -book has been reprinted (1913) by Messrs. Bell in cheaper form. -Professor Lethaby (“Embroidery, 1908-9”) holds that the Tapestry may -have been made in Kent.</p> - -<p>In the study of the subject from an archæological point of view there -are two admirable articles by Mr. J. Horace Round: “The Bayeux Tapestry” -(“Monthly Review,” December 1904) and “The Castles of the Conquest” -(<i>Archæologia</i>, LVIII). Mr. Round has also contributed an article on the -Bayeux Tapestry to the “Encyclopædia Britannica.”</p> - -<p>In the <i>Archæological Journal</i>, Vol. LX., Sir W. H. St. John Hope has an -article on “Fortresses of the 10th and 11th Centuries.” All these books -and articles support the belief that the Tapestry is practically -contemporary with the events narrated.</p> - -<p>M. le Commandant Lefebvre de Noëttes has approached the subject from a -different point of view in the “Bulletin Monumental” of April 1912. He -discusses the armour, weapons, harness of the horses and kindred -subjects, coming to the conclusion that the Tapestry was probably made -between 1120 and 1130, a date neither so late nor so early as extremists -on either side have asserted.</p> - -<p>The antiquity of the Tapestry has been attacked by M. Marignan in his -“La Tapisserie de Bayeux” (1902). He wishes to prove that its date -cannot be before the middle of the 13th century. His views have, -however, met with little support and have been answered by M. Lanore in -his volume “La Tapisserie de Bayeux” (1903).</p> - -<p>J. C. Bruce, in “The Bayeux Tapestry Elucidated with Coloured -Illustrations” (1856), is inaccurate on some points but indulges in much -ingenious speculation.</p> - -<p>Two fresh books on the Tapestry have appeared in recent years. Mr. -Hillaire Belloc (“The Book of Bayeux Tapestry,” London, 1914), assigns -the work to the second half of the 12th century. M. A. Levé (“La -Tapisserie de la Reine Mathilde,” Paris, 1919) holds that it was made -for the consecration of Bayeux Cathedral in 1077.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p> - -<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2> - -<p class="c"><a href="#A">A</a>, -<a href="#B">B</a>, -<a href="#C">C</a>, -<a href="#D">D</a>, -<a href="#E">E</a>, -<a href="#F">F</a>, -<a href="#G">G</a>, -<a href="#H">H</a>, -<a href="#I">I</a>, -<a href="#J">J</a>, -<a href="#L">L</a>, -<a href="#M">M</a>, -<a href="#N">N</a>, -<a href="#O">O</a>, -<a href="#P">P</a>, -<a href="#R">R</a>, -<a href="#S">S</a>, -<a href="#T">T</a>, -<a href="#U">U</a>, -<a href="#V">V</a>, -<a href="#W">W</a>, -<a href="#Y">Y</a>.</p> - -<p class="nind"> -<span class="aspc"><a name="A" id="A">A</a></span><br /> -<br /> - -Academy (French), paper before, <a href="#page_11">11</a><br /> - -Aelfgyva, personality unknown, <a href="#page_5">5</a>, <a href="#page_9">9</a><br /> - -Albert Hall, Photograph of Tapestry at, <a href="#page_19">19</a><br /> - -Alexander II., Pope, blesses William’s enterprise, <a href="#page_23">23</a><br /> - -Amyot the antiquary, <a href="#page_10">10</a>, <a href="#page_12">12</a><br /> - -Angevins, Kings of England, <a href="#page_24">24</a><br /> - -Anglo-Saxon Calendar, <a href="#page_20">20</a><br /> - -Antiquaries, Society of, papers before, <a href="#page_21">21</a><br /> - -“Archæologia,” papers in, <a href="#page_12">12</a><br /> - -Archæological Journal, papers in, <a href="#page_28">28</a><br /> - -Architecture, Anglo-Saxon, <a href="#page_25">25</a><br /> - -<span style="margin-left: 3em;">” Gothic, <a href="#page_21">21</a></span><br /> - -<span style="margin-left: 3em;">” Norman, <a href="#page_20">20</a>, <a href="#page_21">21</a>, <a href="#page_24">24</a></span><br /> - -Armitage-Robinson, Dr., Dean of Westminster, <a href="#page_21">21</a><br /> - -Ashdown, C. H., “British and Foreign Arms and Armour”, <a href="#page_28">28</a><br /> - -<br /> -<span class="aspc"><a name="B" id="B">B</a></span><br /> - -Battle-axes, <a href="#page_26">26</a><br /> - -Bayeux Cathedral, burned, <a href="#page_11">11</a>,<br /> - -<span style="margin-left: 1.5em;">” ” Inventory of, <a href="#page_11">11</a></span><br /> - -<span style="margin-left: 1.5em;">” City, Hôtel de Ville at, <a href="#page_12">12</a></span><br /> - -<span style="margin-left: 1.5em;">” ” Public Library at, <a href="#page_12">12</a></span><br /> - -<span style="margin-left: 1.5em;">” ” sacked by Calvinists, <a href="#page_11">11</a></span><br /> - -Beaurain, Harold taken to, <a href="#page_5">5</a><br /> - -Benoît de Saint Maur, Annalist, <a href="#page_8">8</a><br /> - -Borders of Tapestry discussed, <a href="#page_9">9</a><br /> - -Bosham, Harold at Church of, <a href="#page_4">4</a><br /> - -Boswell, “Tour to the Hebrides”, <a href="#page_23">23</a>, <a href="#page_24">24</a><br /> - -Boulogne, Eustace Count of, <a href="#page_8">8</a><br /> - -Boy on prow of William’s ship, <a href="#page_23">23</a><br /> - -Bread, <a href="#page_23">23</a><br /> - -British Museum, Mediæval Horn at, <a href="#page_23">23</a><br /> - -<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span><span style="margin-left: 3em;">” Norman Pottery at, <a href="#page_24">24</a></span><br /> - -Brittany, Harold arrives in, <a href="#page_5">5</a><br /> - -Bruce, J. C., Book on Bayeux Tapestry, <a href="#page_28">28</a><br /> - -Bulletin Monumental, Article in, <a href="#page_28">28</a><br /> - -Byrnie, Nature of, <a href="#page_25">25</a>, <a href="#page_26">26</a><br /> - -<br /> -<span class="aspc"><a name="C" id="C">C</a></span><br /> - -Calvinists sack Bayeux, <a href="#page_11">11</a><br /> - -Carlyle, Thomas. Letter to Sir Henry Cole, <a href="#page_19">19</a><br /> - -Castles, Early Norman, <a href="#page_2">2</a><br /> - -China, Annals of, <a href="#page_22">22</a><br /> - -<span style="margin-left: 1.5em;">” Spurs introduced from, <a href="#page_26">26</a></span><br /> - -Christiania, Gulf of, <a href="#page_22">22</a><br /> - -Chronique des ducs de Normandie. (Footnote), <a href="#page_8">8</a><br /> - -Civilité, La, by Jean Sulpice, <a href="#page_23">23</a><br /> - -Clerk, a certain, and Aelfgyva, <a href="#page_5">5</a>, <a href="#page_9">9</a><br /> - -Cole, Sir Henry. Letter from Thomas Carlyle, <a href="#page_19">19</a><br /> - -Comet, Halley’s, appears, <a href="#page_6">6</a>, <a href="#page_22">22</a><br /> - -Conan II., Duke of Brittany, <a href="#page_5">5</a><br /> - -Consecrated Banner, given by the Pope to William, <a href="#page_23">23</a><br /> - -Cousenon, R., Crossed by Harold and William, <a href="#page_5">5</a><br /> - -Cundall, Joseph, goes to Bayeux, <a href="#page_19">19</a><br /> - -<br /> -<span class="aspc"><a name="D" id="D">D</a></span><br /> - -Dol, Siege of, <a href="#page_5">5</a><br /> - -Dossetter, Mr., the Photographer, <a href="#page_19">19</a><br /> - -Drinking Horns, <a href="#page_23">23</a>, <a href="#page_24">24</a><br /> - -Drinking Vessels, <a href="#page_24">24</a><br /> - -Ducarel, Dr., Archæologist, <a href="#page_12">12</a><br /> - -<br /> -<span class="aspc"><a name="E" id="E">E</a></span><br /> - -Eadgyth, Queen of Edward the Confessor, <a href="#page_6">6</a><br /> - -Ecclesiastical Vestments worn by Stigand, <a href="#page_21">21</a>, <a href="#page_22">22</a><br /> - -Edward the Confessor, <a href="#page_1">1</a>, <a href="#page_4">4</a>, <a href="#page_6">6</a>, <a href="#page_20">20</a>, <a href="#page_21">21</a><br /> - -Eustace, Count of Boulogne, <a href="#page_8">8</a><br /> - -<br /> -<span class="aspc"><a name="F" id="F">F</a></span><br /> - -Feast of Relics, Tapestry exhibited during, <a href="#page_11">11</a><br /> - -Florence of Worcester, Annalist, <a href="#page_4">4</a><br /> - -<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span>Forestier M. le, Commissioner of Police in Bayeux, <a href="#page_11">11</a><br /> - -Forks, <a href="#page_23">23</a><br /> - -Fowke, F. R., Book on the Bayeux Tapestry, <a href="#page_28">28</a><br /> - -Fowling, <a href="#page_25">25</a><br /> - -Freeman, Professor J. H., <a href="#page_1">1</a>, <a href="#page_4">4</a>, <a href="#page_5">5</a>, <a href="#page_13">13</a>, <a href="#page_22">22</a><br /> - -Froude, J. A., mentioned by Thomas Carlyle, <a href="#page_19">19</a><br /> - -<br /> -<span class="aspc"><a name="G" id="G">G</a></span><br /> - -Gaulish (South) Chronicles, <a href="#page_22">22</a><br /> - -German Chronicles, <a href="#page_22">22</a><br /> - -Gokstad, Viking ship discovered at, <a href="#page_22">22</a><br /> - -Gothic Style of Architecture, <a href="#page_21">21</a><br /> - -Gurney, Hudson, Antiquarian, <a href="#page_12">12</a><br /> - -Gyrth, Brother of Harold, killed, <a href="#page_8">8</a><br /> - -Guy Count of Ponthieu, <a href="#page_4">4</a>, <a href="#page_5">5</a><br /> - -<br /> -<span class="aspc"><a name="H" id="H">H</a></span><br /> - -Halley’s Comet, <a href="#page_6">6</a>, <a href="#page_22">22</a><br /> - -Harold Hardrada defeated, <a href="#page_8">8</a><br /> - -Harold, King of England, <a href="#page_1">1</a>, <a href="#page_2">2</a>, <a href="#page_4">4</a>, <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_8">8</a>, <a href="#page_20">20</a>, <a href="#page_21">21</a>, <a href="#page_26">26</a><br /> - -Harrowing, <a href="#page_27">27</a><br /> - -Hastings, Battle of, <a href="#page_1">1</a>, <a href="#page_8">8</a>, <a href="#page_25">25</a>, <a href="#page_26">26</a><br /> - -<span style="margin-left: 2em;">” Town of, <a href="#page_7">7</a></span><br /> - -Hauberks, <a href="#page_25">25</a>, <a href="#page_26">26</a><br /> - -Henry I., <a href="#page_24">24</a><br /> - -Henry II. (Footnote), <a href="#page_8">8</a><br /> - -Henry VI., <a href="#page_25">25</a><br /> - -Herrad von Landsberg, <a href="#page_23">23</a><br /> - -Holy Land, The, <a href="#page_24">24</a><br /> - -Hope, Sir W. H. St. John, <a href="#page_28">28</a><br /> - -“Hortus Deliciarum”, <a href="#page_23">23</a><br /> - -Hume, David, <a href="#page_12">12</a><br /> - -<br /> -<span class="aspc"><a name="I" id="I">I</a></span><br /> - -Inscriptions on the Tapestry translated, <a href="#page_14">14</a>, <a href="#page_15">15</a>, <a href="#page_16">16</a>, <a href="#page_17">17</a>, <a href="#page_18">18</a><br /> - -<br /> -<span class="aspc"><a name="J" id="J">J</a></span><br /> - -Jumièges, Abbey of, <a href="#page_21">21</a><br /> - -<br /> -<span class="aspc"><a name="L" id="L">L</a></span><br /> - -Laird of Macleod, The, and Drinking Horns, <a href="#page_24">24</a><br /> - -<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span>Lanore, M., Book on Bayeux Tapestry, <a href="#page_28">28</a><br /> - -Launcelot, M., reads paper before French Academy, <a href="#page_11">11</a><br /> - -Lefebvre de Noëttes, Commandant, Article on Bayeux Tapestry, <a href="#page_28">28</a><br /> - -Leofwyne, Brother of Harold, killed, <a href="#page_8">8</a><br /> - -Lethaby, Professor, Articles by, <a href="#page_21">21</a>, <a href="#page_28">28</a><br /> - -Louterell Psalter, and Agricultural life, <a href="#page_28">28</a><br /> - -Lyttelton, Lord, on the Bayeux Tapestry, <a href="#page_12">12</a><br /> - -<br /> -<span class="aspc"><a name="M" id="M">M</a></span><br /> - -Macleod, Lairds of, and Drinking Horns, <a href="#page_23">23</a><br /> - -Mahommedans, spurs perhaps introduced by, <a href="#page_26">26</a><br /> - -Marignan, M., book on Bayeux Tapestry, <a href="#page_28">28</a><br /> - -Matilda, Queen of William the Conqueror, <a href="#page_23">23</a><br /> - -Maur, Saint, Père Montfaucon of, <a href="#page_11">11</a><br /> - -Montfaucon, Père, Archæologist, <a href="#page_11">11</a><br /> - -“Monuments de la Monarchie Française,” Publications, <a href="#page_11">11</a><br /> - -“Mora,” The, given by Matilda to William, <a href="#page_23">23</a><br /> - -Musée Napoléon, Bayeux Tapestry exhibited at, <a href="#page_12">12</a><br /> - -<br /> -<span class="aspc"><a name="N" id="N">N</a></span><br /> - -Napoleon, and the Bayeux Tapestry, <a href="#page_12">12</a><br /> - -Nasal, <a href="#page_26">26</a><br /> - -Nicholls, Mr. Bowyer, Antiquarian, <a href="#page_13">13</a><br /> - -Norman Architecture, <a href="#page_22">22</a>, <a href="#page_23">23</a>, <a href="#page_25">25</a><br /> - -<span style="margin-left: 1em;">” Castles, <a href="#page_2">2</a></span><br /> - -<span style="margin-left: 1em;">” Chronicles, <a href="#page_22">22</a></span><br /> - -<span style="margin-left: 1em;">” Conquest, <a href="#page_1">1</a>, <a href="#page_8">8</a></span><br /> - -<span style="margin-left: 1em;">” Pottery, <a href="#page_24">24</a></span><br /> - -<br /> -<span class="aspc"><a name="O" id="O">O</a></span><br /> - -Odo, Bishop of Bayeux, <a href="#page_3">3</a>, <a href="#page_7">7</a>, <a href="#page_8">8</a>, <a href="#page_10">10</a>, <a href="#page_24">24</a><br /> - -Oman, Professor, <a href="#page_1">1</a><br /> - -Omen at Harold’s Coronation, <a href="#page_7">7</a>, <a href="#page_22">22</a><br /> - -<br /> -<span class="aspc"><a name="P" id="P">P</a></span><br /> - -“Packed Shield” formation, <a href="#page_2">2</a>, <a href="#page_8">8</a>, <a href="#page_25">25</a><br /> - -<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span>“<i>Palæographica Britannica</i>,” by Stukeley, <a href="#page_12">12</a><br /> - -Peter, Church of Saint, at Westminster, <a href="#page_6">6</a>, <a href="#page_21">21</a><br /> - -Pevensey, William lands at, <a href="#page_7">7</a><br /> - -Ploughing, <a href="#page_27">27</a><br /> - -Ponthieu, Guy Count of, <a href="#page_4">4</a>, <a href="#page_5">5</a><br /> - -Prussians near Bayeux, <a href="#page_12">12</a><br /> - -<br /> -<span class="aspc"><a name="R" id="R">R</a></span><br /> - -Rennes, Harold and William pass, <a href="#page_5">5</a><br /> - -Robert, Count of Normandy, <a href="#page_7">7</a>, <a href="#page_24">24</a><br /> - -Roman d’Enéis. (Footnote), <a href="#page_8">8</a><br /> - -<span style="margin-left: 1em;">” de Thèbe, <a href="#page_8">8</a></span><br /> - -<span style="margin-left: 1em;">” de Troie, <a href="#page_8">8</a></span><br /> - -Rorie More’s Horn, <a href="#page_24">24</a><br /> - -Round, Mr. J. Horace, Archæologist, <a href="#page_1">1</a>, <a href="#page_28">28</a><br /> - -Rufus, William, <a href="#page_24">24</a><br /> - -<br /> -<span class="aspc"><a name="S" id="S">S</a></span><br /> - -Slinging, <a href="#page_27">27</a><br /> - -“Snekkjur” boats, <a href="#page_22">22</a><br /> - -Spoons, <a href="#page_23">23</a><br /> - -“Star,” Appearance of strange, <a href="#page_6">6</a>, <a href="#page_22">22</a><br /> - -Stigand, Archbishop, <a href="#page_6">6</a><br /> - -Storm, Question of Harold and, discussed, <a href="#page_4">4</a><br /> - -Stothard, Charles, <a href="#page_8">8</a>, <a href="#page_9">9</a><br /> - -<span style="margin-left: 2em;">” Mrs. Charles. (Footnote), <a href="#page_9">9</a></span><br /> - -Strickland, Miss Agnes, on Bayeux Tapestry. (Footnote), <a href="#page_5">5</a><br /> - -Stukeley. “<i>Palæographica Britannica</i>”, <a href="#page_12">12</a><br /> - -Sulpice, Jean, Author of “La Civilité”, <a href="#page_23">23</a><br /> - -<br /> -<span class="aspc"><a name="T" id="T">T</a></span><br /> - -Throne of King Edward the Confessor, <a href="#page_20">20</a><br /> - -Tostig, Death of, <a href="#page_8">8</a><br /> - -“Tour to the Hebrides,” by James Boswell, <a href="#page_23">23</a>, <a href="#page_24">24</a><br /> - -Turold, <a href="#page_5">5</a>, <a href="#page_10">10</a><br /> - -<br /> -<span class="aspc"><a name="U" id="U">U</a></span><br /> - -<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span>Ulphus, Horn of, in Treasury at York, <a href="#page_23">23</a><br /> - -<br /> -<span class="aspc"><a name="V" id="V">V</a></span><br /> - -“Vetusta Monumenta,” Reproductions in, <a href="#page_13">13</a><br /> - -Vital, <a href="#page_8">8</a>, <a href="#page_10">10</a><br /> - -Vizor, <a href="#page_26">26</a><br /> - -<br /> -<span class="aspc"><a name="W" id="W">W</a></span><br /> - -Wace, 14th century Historian, <a href="#page_26">26</a><br /> - -Wadard, <a href="#page_7">7</a>, <a href="#page_10">10</a><br /> - -Westminster, Church of Saint Peter at, <a href="#page_6">6</a>, <a href="#page_21">21</a><br /> - -<span style="margin-left: 3em;">” Palace of, <a href="#page_21">21</a></span><br /> - -William the Conqueror, <a href="#page_1">1</a>, <a href="#page_3">3</a>, <a href="#page_4">4</a>, <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_8">8</a>, <a href="#page_9">9</a>, <a href="#page_10">10</a>, <a href="#page_20">20</a>, <a href="#page_22">22</a>, <a href="#page_24">24</a>, <a href="#page_25">25</a>, <a href="#page_26">26</a><br /> - -<br /> -<span class="aspc"><a name="Y" id="Y">Y</a></span><br /> - -York, Horn of Ulphus in Treasury at, <a href="#page_23">23</a><br /> -</p> - -<p><span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p> - -<div class="figcenter" id="plt_1" style="width: 544px;"> -<a href="images/plate-I.jpg"> -<img src="images/plate-I.jpg" width="544" height="411" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate I.</span></p> - -<p><span class="smcap">King Edward the Confessor and Harold.</span> (<a href="#page_20"><i>See</i> p. 20.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p> - -<div class="figcenter" id="plt_2" style="width: 701px;"> -<a href="images/plate-II.jpg"> -<img src="images/plate-II.jpg" width="701" height="410" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate II.</span></p> - -<p><span class="smcap">the Oath of Harold.</span> (<a href="#page_20"><i>See</i> p. 20.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p> - -<div class="figcenter" id="plt_3" style="width: 679px;"> -<a href="images/plate-III.jpg"> -<img src="images/plate-III.jpg" width="679" height="422" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate III.</span></p> - -<p><span class="smcap">King Edward in his Palace.</span> (<a href="#page_21"><i>See</i> p. 21.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p> - -<div class="figcenter" id="plt_4" style="width: 667px;"> -<a href="images/plate-iv.jpg"> -<img src="images/plate-iv.jpg" width="667" height="409" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate IV.</span></p> - -<p><span class="smcap">The Church of St. Peter at Westminster.</span> (<a href="#page_21"><i>See</i> p. 21.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p> - -<div class="figcenter" id="plt_5" style="width: 675px;"> -<a href="images/plate-v.jpg"> -<img src="images/plate-v.jpg" width="675" height="407" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate V.</span></p> - -<p><span class="smcap">The Coronation of Harold.</span> <span class="smcap">Stigand.</span> (<a href="#page_21"><i>See</i> p. 21.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p> - -<div class="figcenter" id="plt_6" style="width: 408px;"> -<a href="images/plate-vi.jpg"> -<img src="images/plate-vi.jpg" width="408" height="485" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate VI.</span></p> - -<p><span class="smcap">The Comet.</span> (<a href="#page_22"><i>See</i> p. 22.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p> - -<div class="figcenter" id="plt_7" style="width: 655px;"> -<a href="images/plate-vii.jpg"> -<img src="images/plate-vii.jpg" width="655" height="401" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate VII.</span></p> - -<p><span class="smcap">Building Ships.</span> (<a href="#page_22"><i>See</i> p. 22.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_42" id="page_42">{42}</a></span></p> - -<div class="figcenter" id="plt_8" style="width: 682px;"> -<a href="images/plate-viii.jpg"> -<img src="images/plate-viii.jpg" width="682" height="408" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate VIII.</span></p> - -<p><span class="smcap">A Feast.</span> (<a href="#page_23"><i>See</i> p. 23.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p> - -<div class="figcenter" id="plt_9" style="width: 415px;"> -<a href="images/plate-ix.jpg"> -<img src="images/plate-ix.jpg" width="415" height="495" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate IX.</span></p> - -<p><span class="smcap">Odo.</span> <span class="smcap">William.</span> <span class="smcap">Robert.</span> (<a href="#page_24"><i>See</i> p. 24.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span></p> - -<div class="figcenter" id="plt_10" style="width: 537px;"> -<a href="images/plate-x.jpg"> -<img src="images/plate-x.jpg" width="537" height="407" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate X.</span></p> - -<p><span class="smcap">Burning a House.</span> (<a href="#page_24"><i>See</i> p. 24.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p> - -<div class="figcenter" id="plt_11" style="width: 635px;"> -<a href="images/plate-xi.jpg"> -<img src="images/plate-xi.jpg" width="635" height="405" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate XI.</span></p> - -<p><span class="smcap">The Battle of Hastings.</span> (<a href="#page_25"><i>See</i> p. 25.</a>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p> - -<div class="figcenter" id="plt_12" style="width: 681px;"> -<a href="images/plate-xii.jpg"> -<img src="images/plate-xii.jpg" width="681" height="394" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Plate XII.</span></p> - -<p><span class="smcap">Death of Harold.</span> (<a href="#page_26"><i>See</i> p. -26.</a>)</p> -</div> -</div> - -<p><span class="pagenum"><a name="page_47" id="page_47">{47}</a></span></p> - -<h2><a name="NOTICE" id="NOTICE"></a>NOTICE.</h2> - -<p class="nind">THIS Guide may be obtained direct from the Victoria & Albert Museum, -price 1<i>s.</i> 0<i>d.</i> net (by post 1<i>s.</i> 2<i>d.</i> net). It may also be obtained -either through any bookseller or directly from H.M. Stationery Office at -the following addresses: Imperial House, Kingsway, London (W.C. 2), and -28, Abingdon Street (S.W. 1); 37, Peter Street, Manchester; 1, St. -Andrew’s Crescent, Cardiff; 23, Forth Street, Edinburgh; or from E. -Ponsonby, Ltd., 116, Grafton Street, Dublin.</p> - -<p class="c"> -Orders should be accompanied by a remittance.<br /> -<br /> -Other publications of the Department of Textiles are shown below.<br /> -</p> - -<table border="0" cellpadding="2" cellspacing="2" summary=""> - -<tr valign="top"><td class="c"><i><small>Publication<br /> No.</small></i></td> -<td class="c"><i><small>Catalogues.</small></i></td></tr> - -<tr valign="top"><td> 72 T</td><td class="pdd"> <b>English Ecclesiastical Embroideries of the XIII. to XVI. - centuries.</b> Second edition, with one illustration. - pp. 45. Demy 8vo. 1911. 2<i>d.</i> [By post 3½<i>d.</i>]</td></tr> - -<tr valign="top"><td>117 T</td><td class="pdd"> Third edition, pp. viii and 47. 35 illustrations. Roy. - 8vo. 1916. 9<i>d.</i> [By post 1<i>s.</i>]</td></tr> - -<tr valign="top"><td>115 T</td><td class="pdd"> <b>Samplers.</b> Second edition, pp. vii and 47; 12 plates. - Roy. 8vo. 1915. 6<i>d.</i> [By post 8<i>d.</i>]</td></tr> - -<tr valign="top"><td>118 T</td><td class="pdd"> <b>Algerian Embroideries.</b> pp. 14; 4 plates. Roy. 8vo. 1915. - 4<i>d.</i> [By post 5½<i>d.</i>]</td></tr> - -<tr valign="top"><td> 91 T</td><td class="pdd"> <b>Tapestries.</b> By A. F. Kendrick. pp. 104; 19 plates. - Crown 4to. Paper Boards. 1914. 1<i>s.</i> [By post 1<i>s.</i> 6<i>d.</i>]</td></tr> - -<tr valign="top"><td>129 T</td><td class="pdd"> Textiles from Burying Grounds in Egypt. By A. F. Kendrick. - Vol. I. Graeco-Roman Period, pp. x and 142; 33 plates. - Crown 4to. 1920. 5<i>s.</i> [By post 5<i>s.</i> 6<i>d.</i>] Vol. II. - (<i>in the press</i>).</td></tr> - -<tr valign="top"><td>141 T</td><td class="pdd"> <b>Franco-British Exhibition of Textiles.</b> pp. 28; 18 plates. - Crown 8vo. 1921. 9<i>d.</i> [By post 10½<i>d.</i>]</td></tr> - -<tr><td class="c" colspan="2"><i>Guides.</i></td></tr> - -<tr valign="top"><td> 96 T</td><td class="pdd"> <b>Tapestries, Carpets and Furniture lent by the Earl of Dalkeith</b>, - March to May, 1914. pp. 27. Roy. 8vo. 1<i>d.</i> [By - post 2½<i>d.</i>]</td></tr> - -<tr valign="top"><td> 90 T</td><td class="pdd"> <b>English Costumes presented by Messrs. Harrods</b>, Ltd. pp. iv - and 20; 16 plates. Roy. 8vo. 1913. 6<i>d.</i> [By post 8<i>d.</i>]</td></tr> - -<tr valign="top"><td>111 T</td><td class="pdd"> <b>The Collection of Carpets.</b> pp. viii and 88; 49 plates. Roy. - 8vo. 1920. 2<i>s.</i> 6<i>d.</i> [By post 2<i>s.</i> 10<i>d.</i>] Cloth 3<i>s.</i> 6<i>d.</i> - [By post 3<i>s.</i> 11<i>d.</i>]</td></tr> - -<tr valign="top"><td>119 T</td><td class="pdd"> <b>Japanese Textiles.</b> Part I.—Textile Fabrics. pp. xi - and 68; 25 plates. Roy. 8vo. 1919. 3<i>s.</i> 6<i>d.</i> [By - post 3<i>s.</i> 9<i>d.</i>]</td></tr> - -<tr valign="top"><td>120 T</td><td class="pdd"> <b>Japanese Textiles.</b> Part II.—Costume. pp. 65; 7 plates. - 30 figs. Roy. 8vo. 1920. 3<i>s.</i> 6<i>d.</i> [By post 3<i>s.</i> 9<i>d.</i>]</td></tr> - -<tr valign="top"><td>136 T</td><td class="pdd"> <b>Notes on Carpet-Knotting and Weaving.</b> pp. 26; 12 plates. - Crown 8vo. 1920. 9<i>d.</i> [By post 11<i>d.</i>]</td></tr> - -<tr><td class="c" colspan="2"><i>Portfolios.</i></td></tr> - -<tr valign="top"><td> 83 T</td><td class="pdd"> <b>Tapestries.</b> Part I. 1913. 6<i>d.</i> [By post 8½<i>d.</i>] Part II. - 1914. 6<i>d.</i> [By post 8½<i>d.</i>] Part III. 1916. 1<i>s.</i> 6<i>d.</i> - [By post 1<i>s.</i> 9½<i>d.</i>] In paper wrappers, 15 × 12. Each - plate has descriptive letterpress on the attached flysheet. -<br /> - <b>2 Coloured Reproductions of English Silk Embroidery of the - early 18th Century</b>, 1913. 1<i>s.</i> each plate. 15 × 12. - [By post 1<i>s.</i> 2½<i>d.</i>]</td></tr> -</table> - -<div class="footnotes"><p class="cb">FOOTNOTES:</p> - -<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Exhibited with the photographic copy of the Bayeux Tapestry -in Gallery 79 are two plaster reproductions made by Charles Stothard to -show the technique of the embroidery. One piece shows the head of Duke -William, and is taken from Scene 17. The second shows the head of Harold -at his coronation, and is taken from Scene 33. In the Mediæval -Department of the British Museum is a third cast, of the head of a -soldier, which has been copied from Scene 23.</p></div> - -<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The Tapestry is 230 feet 9⅓ inches long and 19⅔ inches -broad. 1,512 objects of different kinds are shown in the course of the -work, made up of 623 persons, 55 dogs, 202 horses or mules, 505 other -animals, 87 buildings, 49 trees, and 41 ships and boats. The subject of -each scene is given above in Latin.</p></div> - -<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> For Miss Agnes Strickland’s theory that Turold was the -designer of the Tapestry and Freeman’s comments thereon, <i>see</i> Freeman’s -<i>Norman Conquest</i>, Vol. III., Appendix A. (2nd Edition).</p></div> - -<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Conan II., Duke of Brittany, whose capital was Rennes.</p></div> - -<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Benoît de St. Maur, the 12th century writer, is supposed to -have been a native of St. Maur. From his prefix, Maître, he may have -been a student at a University. But it is not known if he took orders. -He was attached to the Court of Henry II. He was a loyal “Englishman,” -and always referred to the French as “they.” He wrote the “Chronique des -Ducs de Normandie,” and also “Le Roman de Troie.” The date of the -“Chronique” is probably 1172-1176. The “Roman d’Enéis” and the “Roman de -Thèbe” have also been attributed to him, but this is not generally -accepted, while some even deny that the same hand composed the “Roman de -Troie “ and the “Chronique.”</p></div> - -<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> One of these fragments of the Tapestry was sold to Mr. -Bowyer Nicholls and was purchased from him by the South Kensington -Museum in 1864. It was soon decided to return this fragment to Bayeux, -which was done in 1872. Mrs. Stothard has usually been accused of -abstracting these two pieces. She was, however, able to show that she -was not married to Mr. Stothard till 1818, the third and last year in -which he visited Bayeux, and that at this date these fragments were -already in his possession. Prior to his marriage he had possessed these -two pieces, and said that they were so ragged as to be incapable of -restoration. But how he had acquired them was not divulged.</p></div> - -<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> There is no inscription for these two scenes.</p></div> - -<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> This portion of the plate also appears as the -Frontispiece.</p></div> - -</div> -<hr class="full" /> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK GUIDE TO THE BAYEUX TAPESTRY ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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