Nearly 1,000 years after it was made, the Bayeux Tapestry still has plenty of stories left to tell. Famous for its vivid account of the Norman Conquest, the 70-metre-long embroidery also offers glimpses of medieval life, from clothing and agriculture to shipbuilding and architecture, while leaving some of its most intriguing mysteries unresolved.
With the Bayeux Tapestry Exhibition opening at The British Museum today, we spoke to Michael Lewis and David Musgrove, authors of The Story of the Bayeux Tapestry, about what we can learn from its extraordinary survival, the mysteries and misconceptions that surround it, and the enigmatic details that continue to fascinate historians.
Many people know the Bayeux Tapestry as a record of the Norman Conquest, but your new book explores the wider story behind its creation. What are some of the biggest misconceptions about the Tapestry?
Although it is often said that the Bayeux Tapestry is an embroidery (rather than a Tapestry), many people seem surprised to hear that, or perhaps not quite sure of the difference between an embroidery and a tapestry. Likewise, whilst Bayeux is part of its name, it is now generally thought that the Tapestry was made in England, likely near Canterbury (rather than France).
The Tapestry is often described as both a historical document and a work of art. What can it tell us about life in medieval England and Normandy?
Although the Tapestry is famous for its depiction of warfare, particularly the Battle of Hastings, it also shows many other things before that. It is particularly informative about dress and clothing, as well as other aspects of everyday life, like agriculture and shipbuilding. But its depictions are also influenced by art and therefore fossilise some aspects of the 11th-century world. Notable are its depictions of buildings that are clearly influenced by classical architecture, albeit some aspects of its castles reflect those built soon after the Conquest.
Nearly a millennium after it was made, many questions about the Tapestry remain unanswered. Which mystery fascinates you most, and why does it continue to intrigue scholars?
The most enigmatic scene is probably the Tapestry’s depiction of Ælfgyva, who she is, what is going on and why she is depicted. Presumably her story and relevance to the 1066 narrative were well known at the time, but are now lost to us today. Another aspect of the Tapestry that is fascinating is its relative ambiguity compared with other sources of the period. It allows contemporary people who saw it to read into it their own understanding of the events of 1066 – such as why Harold travelled to Normandy in 1065 (was it to convey a promise of the crown – unlikely in our view – or recover family hostages held by Duke William). Why then did the makers of the Tapestry create such ambiguity? It must have had a purpose.
Beyond kings, battles and political intrigue, the Tapestry offers remarkable glimpses of everyday life in the 11th-century. Are there particular details that you think deserve more attention?
One aspect that reflects upon everyday life – but in the particular circumstances of the Conquest – is how it moves from humour to tragedy, and quite quickly. Men lark about as they build a castle at Hastings, hitting each other with spades and dropping stones/earth on a man’s head. Then, suddenly, we see the house of a woman and child being torched. We know that domestic buildings were raised to build Norman castles, and possibly these scenes nod to that. In that context, it is likely the men and women who made the Bayeux Tapestry experienced such events first-hand, which is very poignant.
The Bayeux Tapestry has inspired generations of historians, artists and writers. What is it about this extraordinary embroidery that continues to captivate us almost 1,000 years after its creation?
The Bayeux Tapestry is an extraordinary portrayal of a pivotal moment in England’s history. 1066 is one of the best-known dates to English people, and the fact that the story – the events leading to the Norman Conquest of England – is all set out in the Tapestry’s cartoon-like style immediately resonates. Its 70m length is epic, which will stand out to those who see it displayed in London at the British Museum. It is impossible not to be impressed by it, both as a work of art and a historical record.
The Story of the Bayeux Tapestry by Michael Lewis and David Musgrove is available now.
