The Bayeux tapestry

Article Added: 02/03/2009 16:19:52
By Jenny Lewis

Jenny Lewis, a friend of HotHive Textiles’s, recently emailed us with an article she had written about The Bayeux Tapestry, which looked at the techniques and materials used to create it. Jenny was inspired to write the article after reading Thames & Hudson’s book about the tapestry and we felt that you may be interested to read it too. So here it is:

“Nothing remotely like this wonderful length of Anglo Saxon embroidery, known as the Bayeux Tapestry, exists anywhere else in the world. It is a 230 foot long masterpiece of design, workmanship and intrigue. Embroidered on 20 inch wide unbleached linen in beautifully coloured woollen yarns, it pictures the events before, during and after the Battle of Hastings in 1066 – an important era in the history of English politics and a victory for the French against the English. William of Normandy launched his striped ships carrying a huge army of men and horses and sailed for England. He landed near Hastings and was met by King Harold’s army. The battle was bloodthirsty and disastrous. Harold was killed and shortly afterwards William of Normandy was crowned king of England. Somebody considered these events to be too important to record them only as an historical document but also perceived them in pictorial form. It is widely believed that the tapestry was commissioned by William’s half-brother Bishop Odo. However, the man he chose to design it remains a mystery. Whoever he was, he must have drawn it shortly after William was enthroned in December 1066, as the images are so fresh – so vivid. It doesn’t seem possible that the artwork was conjured up by some cell-bound monk’s fantastical imagination as some believe. Rather, it resembles the work of someone who took part, or at least was an observer of the battle and the events surrounding it. No one else could have visualised the sense of panic, speed, or violence depicted. The realistic battle scenes are extremely life-like, and the tumultuous activity and personalities which cover its entire length, are like a race, culminating in a triumphant victory for the French.

Although designed by a man, this unique work was embroidered by several skilled women. There is still a mystery surrounding the identity of these remarkable ladies. It is thought that they were either the needlewomen from Canterbury in Kent, where there was a flourishing needlework school, or the nuns from Winchester. Whoever made the tapestry may never be known, but some facts are certain – although the English lost the battle of Hastings and the tapestry was eventually taken back to France, the beautiful stitching was done by English fingers alone – of that there is no question. It is a fact of which we can be truly proud. So much information has been lost in the annals of time that even the experts have to make educated guesses as to how the tapestry was made. The designer most likely sketched the pictures first and then had them transferred to the length of linen. The method used isn’t definitely known, but it may have been the method known as ‘prick and pounce’ which was so popular during the later era of crewel embroidery. Otherwise, the design may have been drawn straight onto the fabric, although there are no traces of any marks to say this was the case. Whichever method was used, it was very successful as one can see from the great accuracy, flair and abandon with which the embroidery was worked. Due to its great length, the tapestry was made using several pieces of linen which were then joined together. These joins in the linen are so finely worked that they are almost invisible. The linen would have to have been stretched to keep it taught during the stitching and would have been worked in a frame of some kind.

Thanks to modern technology and high definition images of the tapestry, four distinct types of stitches can be seen and not two or three as previously thought. These are called Outline stitch – a very speedy stitch for surrounding subjects; Chain stitch – used for many of the horse’s manes, boat ropes and as a more decorative stitch; one can also see ‘split stitch’ in places, which was used for the writing in Latin that accompanied and described the scenes in the needlework; and lastly, a stitch used to great effect, was ‘laid-and-couched’ stitch. The latter was used for filling in large areas of design. There are several examples of French Knots.
 Many present day embroiderers find the couching simple, while it has driven others to distraction. There appear to be several versions of this stitch in modern stitch guides, but none are quite like that in the Bayeux Tapestry. Maybe the only way to truly imitate it is to try it yourself. Needleworkers of today will be interested to know that the unbleached linen used was 48 count Evenweave.

The colours are beautifully preserved for a piece of needlework that is nearly 1000 years old. There appear to be eight colours, although there could be more, depending on the consistency of the dye lots, the exposure to light and the trick of the camera. The colours are a lovely blood red, warm russet brown, two shades of beige, bright blue, old gold, dark blue/black, orange, pale grey with light green tones and sage green/khaki. The best dyes were made from three plants in Saxon times: Madder roots produced a superb Turkey red and many rich browns; Weld produced all the yellow dyes, and Woad made all the wonderful bright blue dyes. To obtain this blue dye, it was necessary to boil the leaves of Woad in urine for 30 hours. Interestingly, it is the only colour in the tapestry that has not faded at all. From these three plants the primary colours were obtained, while by mixing them, many other colours could be made. There were other popular colours available in Anglo Saxon times, yet surprisingly they were not used in the Bayeux Tapestry. Some of the other plants used for dyeing in the Middle Ages were obtained from barks, leaves and roots, while more important dyes were extracted from plants such as walnut husks, which made brown dyes; alkanet which made lilac, osage which made orange, clubmoss which made greens and lichens which produced purple and orange.

Today, embroiderers are advised to purchase enough yarn in the same dye-lot to complete the work, but in Saxon times women didn’t have that choice and had to make do with what ever colours matched best. When she ran out of a particular colour of yarn, the worker had to continue in whatever colour was to hand. Nevertheless, the colour scheme for the entire length of needlework appears to have been carefully planned. Although the tapestry depicts a bloody battle, it has one smiling at times to see a soldier with one yellow stocking and one blue stocking, or one red shoe and one brown shoe. There are some lovely blue horses including Harold’s which also has one terracotta leg! It is as though the needlewomen ditched their inhibitions in the most amusing of ways, for not only does the couched work travel in any expedient direction, but the whole tapestry is a feast of delightful errors. Nevertheless, its entire 230 foot length holds together in a stunning and successful marriage between the artist and the embroiderers. The last 25 feet of the tapestry are missing and probably showed the events leading up to the enthronement of King William’s coronation; was this section lost deliberately one wonders

Not only does the tapestry picture the famous battle, it is also a unique picture of life in the Middle Ages. Each count differs, but an approximation is that the tapestry shows 623 people of which seven are women, 202 horses, 55 dogs, 37 buildings, 41 ships and over 500 amazing mythological creatures. These strange creatures alone would make a fascinating study, but little research has been done. They are superb little embroideries in their own right. Most of the creatures are either eating each other, fighting each other or eating themselves. Some appear have been taken from Aesop’s Fables denoting that the artist had literary knowledge. There is also a running commentary in Latin describing each scene in over 2000 words above the embroidery. Interestingly, Halley’s comet, which appeared on 24th April 1066 appears in the tapestry, and was believed to be a harbinger of doom – a fact which proved to be all too true. The expressions on the people’s faces as they watch this dreaded omen are one of terror.

The embroiderers have interpreted the amazing twisted, gnarled trees with tops like complex Celtic knots. These trees appear in several places and are also pictured being chopped down and used to build new striped ships. There are innumerable other interesting features, such as Romanesque pillars with tiled roofs – not wattle and daub as one would expect. Men are shown with drinking horns while feasting on barbequed chickens and other delicacies. Falcons are pictured as well as dragon-headed boats. There are knights with kite-shaped shields, hunting dogs, a very detailed Saxon and Norman dress and armour. The Saxons have moustaches and the Normans are clean shaven. Most horses have plaited manes and are beautifully embroidered. The sea is shown as wavy lines, and men tuck their tunics up to their waist to avoid getting wet when boarding the ships. The artist also remembers the naked look-out boy at the top of a mast. The details are finely stitched and the colours carefully balanced – where possible.

It is a miracle that this unique length of needlework has survived at all. It was rolled up for many years, used as a piece of cloth to cover a munitions wagon during the French Revolution and almost sent off to battle. Napoleon wanting inspiration for his second conquest of England had the tapestry sent to Paris, and it also believed that Hitler had the tapestry brought to him to be examined during the last century. But survive it has, with all its mysteries and intrigues. With its fascinating arena of personalities and often humerous details, the Bayeux Tapestry pulses with rhythm from start to finish in this epic tale of violence in a violent age. The needlewomen of England have left us with a wonderful legacy – a legacy of life lived in another age.”

The tapestry may be seen at the Musée de la Tapisserie de Bayeux in France.

The Bayeux Tapestry, published by Thames & Hudson, is a fantastic book which makes the tapestry accessible as never before. It is reproduced in full colour, with captions on a fold-out page for easy reference. A second reproduction of the Tapestry in black and white has a detailed accompanying commentary. Sir David Wilson, former Director of the British Museum, provides an up-to-date summary of the historical evidence, explains each episode and covers related topics such as the costumes, armour, ships, buildings and customs. For more information or to buy the book please click here.