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Search the history of over billion web pages on the Internet. Full text of " The Bayeux Tapestry Elucidated " See other formats Google This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project to make the world's books discoverable online.

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About Google Book Search Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web at http: England has performed, and is probably destined yet to perform, an important part in the history of nations.

The era treated of in this work was doubtless the crisis of her fate. Happily, she survived the shock of the Conquest, and was benefited by its rough discipline. All true-hearted Englishmen must read with peculiar feeling this portion of our country's annals. Surrounding nations, too, have their share of interest in it.

When the Societv of Anti- quaries published the beautiful copy of the Bayeux Tapestry, made, at their request, by Mr. The world still ex- pects it at their hands.

To supply, meanwhile, some little assist- ance to the student of history, this work is published. It was suggested by a holiday ramble in Normandy, amidst the scenes rendered famous by the career of William the Conqueror. The plates have been carefully reduced from those published by the Society of Antiquaries, by Mr. Mossman, and printed in colours by the Messrs. These gentle- men, and the Printers, have spared no pains to render the volume creditable to the local press.

In addition to the authorities cited in the course of the work. One of the earliest modes of transmitting the history of import- ant transactions to posterity was by recording them in long lines of pictorial representation.

In the temples of Nimroud, in the sepulchres of Egypt, in the sculptures which entwine the columns of Trajan and Antonine at Eome, we have familiar examples of the practice.

The Bayeux record is a large roll of historic drawings rather than a piece of tapestry ; and it is remarkable as being the last example of this species of representation which antiquity has handed down to us.

In the days of the Conqueror, and of some of his Saxon prede- cessors, the ladies of Engle-land were famous for their taste and skill in embroidery ; and this species of lady-like manufacture was known throughout Europe as English work. Assisted by English ladies, as well as by those of her own court, Matilda, the wife of the Conqueror, probably at this time constructed the Tapestry which for many ages was preserved in the Cathedral of Bayeux.

Never, perhaps, was so important a document written in worsted. It is referred to as an historical authority by nearly every writer who discusses the period. The way in which the subject is treated, the spirit shown in its design, and the harmony of its colouring, warrant us in pronoimcing it to be a monument worthy of its reputed author, and of the event which it is designed to commemorate. It is, however, a double memorial ; it is a record of the love and duty of William's consort, as well as of the skill and valour of the great hero himself.

A loving wife sympathizes with her husband in all his tastes. Matilda was, during the greater part of her life, a loving wife. William, too, was a devoted and faithful husband ; though.

It is said that for seven long years he courted Matilda of Flanders, but in vain. At length the Duke resolved to bring matters to a crisis. He repaired to Bruges, and met the high- bred damsel as she returned from church through the streets of her father's gay capital. Having reproached her for her long- continued scorn and cruelty, he seized her, and coolly rolled her in the mud, to the no small injury of her trim and costly attire.

Then, after a few more striking proofs of his regard, which she must have sensibly felt from such a hand, the lover rode away at full speed, leaving her to account for this novel mode of courtship as best she could. She herself, let it be observed, had the blood of Alfred in her veins.

Before proceeding further, it may be well to give a brief reply to the question which will naturally arise in the minds of most — Has the Bayeux Tapestry descended to us from a period so remote as that of the Conquest?

A minute examination of the work supplies the best answer to this question. Wace, as has already been observed, treats more largely of the Norman invasion than any of the writers of the Norman period ; and, such is the general agreement between the verses of the one and the deline- ations of the other, that the Tapestry may be pronounced to be what in these latter days would be called the " illustrations," and the narrative of the chronicler the " letter-press," of an elaborate history of the Norman Conquest.

Whilst they agree in all the general facts, they differ in many minute details, as all independent narra- tives will. Again, the architecture, the dresses, the armour, the furniture, of the Tapestry are those which prevailed at the period of the Conquest, and at no other.

It is at all times exceedingly difficult, whether by writing or painting, to portray accurately the maimers, language, and modes of thought, of an anterior period. In mediaeval times, however, the attempt was seldom made. Charles Stothard," " excepting Italy, during the middle ages, whatever subject they took in hand, to represent it accord- ing to the mamiers and customs of their own time. Thus we may see Alexander the Great, like a good Catholic, interred with all the rites and ceremonies of the Eomish church.

All the illu- minated transcripts of Froissart, although executed not more than fifty years after the original work was finished, are less valuable on account of the illuminations they contain not being accordant with the text, but representing the customs of the fifteenth century instead of the fourteenth. It is not likely that in an age far less refined this practice should be departed from. The Tapestry, therefore, must be regarded as a true picture of the time when it was executed.

At the latter end of one of these MSS. Yet this is a lucky circumstance in the present want of ancient materials ; for though these pictures do not bear the least resem- blance of the things they were originally intended to represent, yet they nevertheless are the undoubted characteristics of the cus- toms of that period in which each illuminator or designer lived. Wace, after alluding to the negotiations which took place before the armies closed at the de- cisive field of Hastings, says, " As the Duke said this, and would have said more, William Fitz Osbem rode up, his horse all covered ' Strutt thus disposes of a difficulty which may occur to some minds.

To answer their objection, and that because the chief materials of the present work are collected from the ancient MSS. That these figures should be habited in the true dress of the times will not be 4oubtcd ; and then, as far as the anonymous illuminations which may chance to follow in the MS.

Wace, who flourished in the days of Henry I. Wace is therefore probably guilty of an anachronism, and describes what happened at the close of his own time as having occurred in that of his immediate prede- cessors. Had the Tapestry been made by Matilda the Empress, as some contend, nimierous similar anachronisms must have occurred. But a still greater proof of the authenticity of these delineations is, that on examining all the illumin- ated MSS.

Besides, these pictures constantly agree with the description of the habits and customs of the same period, collected from the old historians. But the design of the Tapestiy shows its early date. Its manifest object is to prove the right of William to the throne of Eng- land, to exhibit in strong colours the imdutifulness and ingratitude of Harold in attempting the usurpation of the crown, and to record the punishment with which that disloyal and sacrilegious act was visited.

He had planted his foot firmly upon the necks of the native population ; the barons, too, by whom he achieved the Conquest, had been brought into subjection. These remarks, made with I'cference to the close of the Conqueror's reign, apply with still greater force to the time of the Empress Matilda, to whom, as some conceive, we are indebted for the Tapestry.

Liincelot, and speaking of it as an unfinished work: Hiidson Guniey, ArchaDologia, vol. The Brittanv campaicoi would not have been given in such detail excepting it had been quite a recent event. The Tapestry, it will be observed, ends with the battle of Hastings. It does not even include the subsequent coronation of William- It represents the first act in the drama of the Conquest of England, and was doubtless intended to prepare for the scents which were to follow. It is difficult to conceive that the Tapestry was designed at any period save that immediately subsequent to the battle of Hastings.

Taking this view of it there wsis nothing unpatriotic in their entering zealously into the views of their queen. But although it be admitted that the Tapestry is of the age of the Conquest, it does not necessarily follow that it was wrought by the Queen and her court. The opinion that Matilda presided over its execution has been strongly controverted, chiefly by those, however, who deny its early antiquity.

The Abbe de la Rue, as formerly observed, ascribes it to Matilda the Empress. Comey 's views, and in a note appended to the first volume of his History of England condenses his arguments. If, however, the Tapestry bear internal evidence of an earlier date, these arguments are of little value.

No contemporary historian indeed tells us that the Tapestry was made by Matilda. It is not mentioned in her will, or the Conqueror's. The inventory of the treasures of the church at Bayeux, bearing date , and which is the earliest docu- ment mentioning the TajKJstry, contains no allusion to Matilda. Another inventory, made in , and professing to be a de- scriptive catalogue of the jewels, ornaments, books, and other valuables of the church, mentions the Tapestry, describes its form and subject, and names the period of its public exhibition ; but gives no hint that it was made at the command of Matilda.

It is difficult, it may even be impossible, satisfactorily to account for the absence of all allusion to the Queen in these documents, but nega- 12 THE ROLL. Befddes, the case is by no means singular. The compilers of ancient documents seem to have left much to be taken for granted. Marj' at Bee ; and two hides at Frantone in Dorset, which she gave to the Conqueror's foundation of St.

Stephen and tlie Holy Trinity in tltat city: In the absence of direct evidence, we are thrown upon probabilities.

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