LA TAPISSERIE DE BAYEUX | Parlons d'Art

The Bayeux Tapestry dates from the second half of the 11th century and is housed in Bayeux, Normandy. It is classified as a historical monument and inscribed in the UNESCO Memory of the World register.

This is an embroidery rather than a tapestry. The design is created with threads in eight different colors added onto a linen canvas.

The cloth measures 50 cm in height and extends over 70 meters in length, preserved with nearly identical brilliance to the 11th century.

It tells the story of England's conquest by William the Conqueror during the Battle of Hastings in 1066, with the Normans represented by William and the Anglo-Saxons by Harold.

The patron remains unknown, though it may have been Odo of Bayeux, brother of William the Conqueror and Bishop of Bayeux, to inaugurate Bayeux Cathedral.

The tapestry was preserved for centuries in Bayeux Cathedral, displayed only during religious festivals for a few days each year, otherwise rolled up in a chest.

Although secular, the tapestry contains religious undertones: its moral lesson concerns perjury following an oath sworn on relics, justifying its preservation in a church.

• The artist's identity remains unknown; the legend of Queen Matilda is pure fantasy. • Likely multiple artists: drafters for preparatory cartoons and numerous embroiderers who worked for weeks or months.

Classified as a historical monument in the 19th century and inscribed in the UNESCO Memory of the World register, which catalogs documents of universal value.

• The Declaration of the Rights of Man and of the Citizen • General de Gaulle's Appeal of 18 June • The Father Castor archives

The tapestry presents three registers: the central register with main scenes and upper and lower borders, whose relationship to the main scene is not always clear.

Over 70 meters of work to admire, preserved exceptionally well, allowing visitors to appreciate the details and technical execution.

Edward the Confessor, King of England with no heir, asks Harold to confirm with William the Conqueror that he will succeed him according to a prior arrangement.

• Harold departs with companions, a falcon on his arm and preceded by small hunting dogs wearing collars. • The artist uses perspective effects in depicting the dogs. • Unarmed figures on a peaceful journey.

• Harold prays in a church for the journey to go well. • A banquet is organized before departure. • Ships are transported from the beach across the English Channel.

Harold is depicted with a mustache and long hair, characteristics of the Anglo-Saxons in the tapestry, unlike the Normans shown clean-shaven with short hair.

Harold arrives on French soil but not at his intended destination, on the lands of Guy of Ponthieu, vassal of William the Conqueror.

Guy of Ponthieu arrests Harold, but the visual representation does not clearly show imprisonment; the figures appear to move about willingly with falcons.

• William the Conqueror sends messengers to order Harold's release. • The messengers move at great speed, hair flying. • A young groom holds the horses while they stop.

Harold is released and heads toward the ducal castle, probably Rouen, capital of Normandy, where he will meet William the Conqueror.

William equips Harold with full armor including chainmail and conical helmet, making him his vassal in a relationship of mutual trust.

Harold rides first, William behind him. A sentinel welcomes them from atop a tower and monumental architecture frames their entrance.

Harold tells William what Edward the Confessor asked him to convey regarding the succession to the English throne; William appears agitated.

Harold makes a solemn oath by placing his hand on relics in Bayeux Cathedral, pledging allegiance to William. This sacred oath seals his future fate.

William launches a campaign against Conan of Brittany, the rebellious duke. This time, unlike earlier, the figures are equipped with chainmail and conical helmets.

• Mont-Saint-Michel is depicted with its abbey, dating from the same period as the tapestry. • The artist likely visited Mont-Saint-Michel, impressed by its architecture.

Soldiers cross the sea and quicksands while holding their shields above their heads for protection. Harold rescues men sinking into the sand, displaying his virtue.

• Attack on the Duke of Brittany entrenched in a fortified structure with wooden palisade. • Soldiers set the fortification ablaze to dislodge him. • Conan of Brittany surrenders the keys to the Normans.

Edward the Confessor dies shortly after Harold's return. The architecture divided into registers shows his progressive agony and death with a burial shroud.

• Harold seizes power on the day of the king's burial. • He is depicted holding an axe, receiving a crown from a figure. • He is crowned on a throne with orb and scepter, the ceremony presided over by Archbishop Stigant of Canterbury.

• A comet appears in the sky, interpreted as a very bad omen. • Halley's Comet was actually visible in England in 1066. • Empty ghost ships without soldiers are depicted in the border.

Harold, seated on his throne, learns of the Norman arrival and does not appear reassured. The gravity of his perjury becomes evident: he has broken all his oaths.

A messenger warns William that Harold has seized power and broken his promise. William decides to conquer England and organizes a fleet.

• Men fell trees to obtain wood. • Planks are cut with distinct tools for each task. • Planks are assembled and ships are transported to the water. • Fine observation of the accuracy of gestures and postures.

• Chainmail coats, helmets and swords are carried aboard. • Food barrels are loaded, with some figures struggling under the weight. • Horses embark, essential for Norman cavalry unlike the Anglo-Saxons on foot.

• Impressive procession of Scandinavian ships propelled by oars and sail. • Varied and elaborate figureheads, respecting descriptions of Viking ships. • William's main ship identifiable by the cross and a human-shaped figurehead.

• Horses descend from ships with legs constrained, showing landing movement. • Pillaging of English lands for necessary provisions. • Preparation of a meal with cattle, sheep, and chickens roasted on spits.

• Strategic council under the tent with William and his brothers. • Officers with banners order the construction of fortifications. • Detailed observations of tools: shovels, pickaxes, spades used differently.

• Some soldiers quarrel with construction tools. • Certain towns are set afire, mothers and children forced to leave. • Terrain prepared near Hastings for the battle.

William dons his formal attire, chainmail coat, helmet, holds a banner with streamers at the nape. A groom brings his horse for the campaign's departure.

• Battle begins on 14 October 1066, lasting over 8 hours. • Normans on horseback in heavy cavalry, tightly grouped initially. • Slow march then gradual acceleration. • Anglo-Saxons on foot with bows, without cavalry.

• Scouts from both sides climb hills to observe. • Normans accelerate, dynamism created by lances and arrows. • Dynamic composition with intense combat rhythms and movements.

• Deaths appear under horses' hooves and in the border. • Figures trampled, decapitated, progressively mutilated. • Cut-off arms and heads, lances piercing bodies, wounded horses. • Horses falling backward, a famous scene showing fall dynamics.

• Rumors of William's death spread across the battlefield. • William raises his helmet visor to show his face and calm spirits. • English archers riddle figures with arrows. • Corpses begin being stripped to recover armor and shields.

• Harold dies, likely struck by an arrow in the face. • Divine punishment for his perjury and broken oath sworn on relics. • The lesson: one who swears on relics must not perjure themselves.

• Bodies continue piling up after Harold's death. • Naked figures with severed arms and heads. • Normans on horseback continue the attack.

• The tapestry ends abruptly, the final scene missing for centuries. • 19th century restoration of lower quality visible in figures and colors. • The logical conclusion would likely have shown William on the throne.

The opening scene shows Edward the Confessor on the throne; the hypothetical ending would show William crowned. A cycle of beginning and end reflecting the royal succession that motivated the entire narrative.