This is a cross-channel voyage that rivals the challenging journey of William the Conqueror when he invaded England in 1066. As the renowned Bayeux Tapestry—on loan to Britain for the first time ever—makes its way from France in early July, its transit will be conducted under the cloak of night, under police escort, and with utmost discretion. This invaluable, nearly millennium-old artifact will be carefully placed onto a lorry and transported to Calais, where it will board a LeShuttle train bound for Folkestone, continuing its passage to the British Museum in London. A reciprocal agreement has been established: in exchange for the Bayeux Tapestry, the British Museum is loaning several of Britain’s ancient treasures to France, including artifacts from Sutton Hoo and the Lewis chessmen.
Given the significance and age of this artwork—it’s believed the tapestry was expertly stitched in Canterbury during the 1070s—no chances are being taken. It has been insured for an astounding £800 million. Last September, when conservators at its home in the Normandy town of Bayeux carefully packed it in anticipation of building renovations, it was meticulously folded into a substantial packing case—reminiscent of the Ark of the Covenant at the conclusion of the film “Raiders of the Lost Ark.”
Article continues below ADVERTISEMENT Get the day’s biggest headlines in UK and World news and more Subscribe Invalid email
We use your sign-up to provide content in ways you’ve consented to and to improve our understanding of you. This may include adverts from us and 3rd parties based on our understanding. You can unsubscribe at any time. Read our Privacy Policy
Throughout its journey to London, stringent monitoring of temperature and humidity will be in place. Conservators have even conducted trial runs through the Channel Tunnel using replica fabrics to verify that any vibrations from the lorry and train will not inflict damage. However, concerns linger that due to the immense fame of this historical object, political activists might attempt to disrupt its transport. Lord Ricketts, a former British ambassador to France and now the UK government’s envoy for the Bayeux Tapestry, stated in a recent podcast, “Naturally, the objective is to prevent any potential incidents during its transit.” He added, “The specific travel date will remain confidential. It will be exceptionally well-protected and guarded by the gendarmerie on the French side and by British police upon its arrival in Kent, ensuring its secure conveyance to London.”
Read more: French refuse to hand over Bayeux Tapestry due to Britain’s pot holes
Anyone who has had the privilege of viewing the Bayeux Tapestry can attest to its breathtaking impressiveness. Measuring approximately 224 feet in length and 20 inches in height, it features embroidered wool yarns on a linen base, illustrating the events leading up to the Norman Conquest of England in 1066, culminating in the Battle of Hastings.
Some have likened it to the original graphic novel, as it comprises 58 distinct scenes—many depicting graphic violence—accompanied by Latin inscriptions.
Article continues below ADVERTISEMENT
Arguably the most famous depiction is of the English King Harold being struck in the eye by an arrow, under the inscription “hic harold rex interfectus est” (here King Harold is killed). Another notable scene portrays Halley’s Comet, which graced the skies in 1066.
Article continues below ADVERTISEMENT
As one traces the length of the tapestry, a total of 626 human figures, 190 horses, 37 ships, and 35 dogs are visible. Over the centuries, historians have meticulously examined the embroidery, analyzing every minute detail. One distinguished professor of medieval history at Oxford University, George Garnett, famously even counted the number of male genitalia depicted. For those curious, the count is 93.
David Musgrove, a historian, podcaster, and co-author of “The Story of the Bayeux Tapestry,” commented to the Daily Express, “This is a pivotal artifact in English and British history. It narrates the story of this momentous event, the Norman Conquest, in a manner that is exceptionally tangible and accessible to everyone. It possesses a raw power, conveying the narrative in a way that remains comprehensible to this day. It is a crucial historical document deeply embedded in our national consciousness.”
Lord Ricketts concurs, stating in a podcast called “History Extra,” “It communicates across 1,000 years, conveying emotion, passion, fear, hope, excitement, as well as the living conditions of people.”
Throughout the 20th century, numerous British attempts were made to borrow the tapestry from the French, but all proved unsuccessful. It was only when President Macron lent his significant support that a loan was finally secured, marking not just an entente cordiale but rather an entente culturelle.
Ricketts elaborated, “I believe Macron grasped something essential to this loan: the Tapestry holds a far more fundamental place in the British national narrative than it does in the French one. Every schoolchild, indeed everyone, can recall the date 1066, even if they struggle with other historical dates.”
Ricketts anticipates that the British Museum exhibition will be a “hugely powerful and cultural” occasion, serving to highlight the connections between Britain and France in the aftermath of Brexit’s complexities.
However, not everyone has been as accommodating. One French historian, concerned about potential damage to the tapestry, gathered over 60,000 signatures for a petition to prevent the loan, branding it a “heritage crime” and “a reckless Macron vanity project.”
Even renowned artist David Hockney has characterized the transport of this vital artwork across the Channel as “madness.” In January of this year, he expressed, “Any damage would be irreparable, and even a successful transit could shorten the tapestry’s lifespan.”
“Sudden shifts in temperature, humidity, or light exposure can cause fiber contraction or expansion, or color fading. More unlikely risks include theft, fire, accidents, or activist protests. Even with enhanced security, the risk is never zero.”
In many respects, it is astonishing that the Bayeux Tapestry still exists today. Throughout its nearly 1,000-year existence, it has experienced several perilous situations and narrow escapes. Not long after its initial arrival in Normandy, it survived the destruction of Bayeux town and cathedral by Henry I of England. Another cathedral fire nearly consumed it in 1159.
Subsequently, in the 1300s, it narrowly avoided obliteration when another English monarch, Edward III on this occasion, waged war across northern France. Two centuries later, it faced threat once more when Huguenots assaulted Catholic worshippers in Bayeux Cathedral. Though throats were slit and ears severed, the tapestry miraculously remained unharmed.
In 1792, during the French Revolution, soldiers nearly utilized the tapestry to lash their wagons as they prepared for a journey south across the country.
In 1803, shortly before proclaiming himself emperor, Napoleon Bonaparte took a sudden interest. Recognizing the strategic importance of a monumental artwork celebrating victory over the English, and with his own designs to invade neighboring territories across the Channel, he had the tapestry transported to the Louvre museum in Paris. The manner in which it was bundled into a stagecoach and transported along unpaved, rutted roads would likely cause modern-day curators at the British Museum considerable distress.
However, it was during World War II that this cherished embroidery encountered its most significant peril. The Normans, being descendants of the Vikings, aligned with Adolf Hitler’s glorification of the Aryan races. He harbored ambitions of invading the island nation, mirroring William the Conqueror’s actions centuries prior.
On August 18th, 1944, as Allied forces commenced the liberation of Nazi-occupied Paris, codebreakers at Bletchley Park intercepted a directive from Heinrich Himmler, the head of the SS. The message read: “Do not forget to ensure the Bayeux Tapestry is moved to a secure location.”
This intelligence was duly relayed to French resistance fighters, who ensured they were adequately armed and positioned at the Louvre when an SS unit arrived days later with the intention of seizing the precious artwork. Fortunately, the Nazis faltered and fled without their intended prize.
All of this bodes exceptionally well for us as the tapestry finally becomes accessible for viewing at the British Museum, commencing in early September.
Rather than being displayed vertically, as it has been for many years in Bayeux, it will be presented flat within a glass display case reportedly costing £600,000. Inside, humidity and temperature levels will be meticulously regulated. The Sainsbury’s Exhibition Gallery, its temporary home, is sufficiently lengthy to accommodate its entire span.
George Osborne, former Chancellor of the Exchequer and now Chair of the British Museum Trustees, stated, “There is no other single item in British history that is as widely recognized, as extensively studied in schools, and as frequently replicated in art as the Bayeux Tapestry. Yet, in nearly a thousand years, it has never returned to these shores.”
Osborne regards the tapestry as a “once-in-a-generation exhibition.” He further added, “Consider previous blockbusters like Tutankhamun and the Terracotta Warriors. The Bayeux Tapestry will be the standout show of our era. I am confident it will capture the imagination of the entire nation.”
Musgrove, who has visited the tapestry in Bayeux on multiple occasions throughout his career, eagerly anticipates its arrival in London.
“I believe this will be a profoundly significant and massive cultural event,” he remarked. “I am absolutely certain that it will draw crowds queuing around the block.”
- Tickets for the Bayeux Tapestry exhibition at the British Museum will go on sale July 1st. The exhibition is scheduled to open in early September.
