Dr Hicks began by saying the Bayeux Tapestry has been part of her life for a long time. Why is it so much loved? Perhaps because people see in it what they want to see. Actually not a ‘tapestry’ but an embroidery in coloured wools on linen, it is first mentioned in 1476 when in an inventory conducted of Bayeux Cathedral’s treasures it is described as a ‘long, narrow hanging showing the victory of Duke William over the English’. It is 70m long by 50cm high and the linen seems to have been specially woven to that size. Once a year it was taken out and hung for eight days in the nave of the Cathedral, which was built in 1077 by Odo, half-brother of William the Conqueror. Did Odo commission the tapestry? But it is first recorded 400 years later. The way it was being displayed was obviously not what had been intended. More likely it was designed to hang in a Norman or English hall in such a way that the narrative could be followed round from start to finish. Borders above and below the main section depict animals and other scenes which do not necessarily relate to the text, which begins with King Edward the Confessor sending Harold Godwinson, a member of the powerful Godwin family, on a mission. Harold is captured during the journey but rescued by Duke William of Normandy, a kinsman of Edward.

Had Harold been sent to offer him the English crown? Was the tapestry pro-Norman, or even pro-English, propaganda, or perhaps about reconciliation - William had been justified, but Harold was also heroic. The two men became friends. There is a discussion in William’s hall, and Harold swears an Oath on holy relics. He then returns to England. Edward is shown willing the crown to Harold before he dies. Then comes the building of William’s fleet of 700 ships. The first two-thirds of the tapestry deal with events before the Battle of Hastings: battle scenes show it was not a foregone conclusion. There are conflicting accounts of how Harold was killed. Early sources say he was cut down by four knights; the fatal ‘arrow’ might merely be a Victorian repair to the fabric. The last few feet seem to be missing, but may have ended with William’s coronation.

For 200-300 years the tapestry went on being shown annually in the cathedral. In c1700 French and English antiquarians began to show interest; drawings made from it were published, updated to a more three-dimensional style, and there was much discussion whether it was of French or English origin. During the French Revolution it had some narrow escapes, but a new government wished to preserve monuments.

It came to the attention of Napoleon who had looted treasures from Europe to put in the Louvre as a People’s Palace of the Arts. The name of the Louvre was changed to the Musée de Napoleon; in 1803 the tapestry was exhibited there and was a sensation. Seeing himself as a new William the Conqueror, Napoleon decided to invade England and built a fleet, but his invasion plans failed. Playwrights were told to write plays portraying Napoleon as a hero. “La tapisserie de la Reine Matilde” shows Queen Matilda, William’s wife, sewing the tapestry with her ladies. But the English claimed it was executed by the Empress Matilda, William’s granddaughter. During WWII it was being kept in the Hotel du Doyen next to Bayeux Cathedral. Himmler, obsessed with all things medieval, coveted it. The Nazis decided the Normans must have been Germanic so the tapestry must be ‘repatriated’. Himmler ordered a massive research publication on the tapestry, by Jankuhn; in 1992 the archive was rediscovered and now awaits further research. Lord Haw Haw claimed the Nazis had the tapestry, but the Louvre’s Director refused to reveal its location. With D Day approaching Himmler ordered it brought to Paris, where it was put in the basement of the Louvre. The Louvre was taken over by the Resistance, and the tapestry was safe. Imagery from the tapestry is still used by political cartoonists today.

Yvonne Masson