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figures are crude and the stitches consist of lines of
colored worsted laid side by side and bound down
at intervals with cross fastenings. ’lie horses, lions,
birds, honses, trees, dresses, etc., are held in blue,
red, green, buff and yellow. Parts, representing
flesh, as hands, faces and legs are left untouched by
the needle. Perspective light and shade are total!,"
lacking.
The tapestry is divided in 58 groups, picturing
various events of the conquest of England. A detail
of these groups might be interesting in this
connection, but space does not permit.
The history of the tapestry is shrouded in
considerable mystery. It has been claimed by M. 1 ’Abbe,
honorary canon of Bayeux, that the first mention
of the tapestry is in an inventory from the year 1369.
All available documents in the abbey library were
searched, but no other mention could be found before
that year. The next mention is in 1476, during
another inventory. A brief, seemingly unimportant,
postscript is added to the regular inventory.
‘‘Item.—Une tente tres longue a etroite de telle å
lesadene de ymages a eserpteaux fasians
representation du conquéte d’Angleterre, laquelle est tendue
environ la nef de l’Eglise le jour a par les octaves
Acs Reliques.”
In 1558 Do Bourguville gave a minute description
°t the cathedral of Bayeux, but, strangely enough,
said nothing about the tapestry. The same happened
during the next century. Not before the eighteenth
is there any real investigation about the tapestry, and
from then on the legend of Queen Mathilda takes its
decided form.
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