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That the needlework is coeval with the conquest,
however, is admitted by many antiquarians, partly
because of its rude simplicity in figure work, and
partly because of its accurate presentation of
eleventh century customs and habits in dress and
habitation. Anyone familiar with the arts of the
middle ages knows how dependent the artists were
on local coloring and how little they knew of the
outside world.
The scanty mcntionings of the tapestry may have
depended on many reasons. It might have been
considered of less importance because of its secular
illustrations. William the Conquerer never stood any
too well with the church, and his conquest was not
looked on by any too sympathizing eyes by the
French. Probably also that the dangerous times
caused the canons to hide the tapestry for centuries
at a time. The faet, however, that it, after so many
ages of seclusion, still adheres to the legend of Queen
Mathilda, is of no small consequence.
Needlework as well as the goldsmith’s art stood
indeed high among the Scandinavians during the
eleventh century. Many late discoveries in Denmark,
Norway and Sweden bear out this fact most amply.
Bidding farewell to Bayeux we proceed to our
last destination of importance, Mont St. Michel, a
small island city, with a population of 7,380, and
formerly a Roman station. Few places in the world
could be more unique and interesting than Mont St.
Michel. Distant from the shore about a quarter of a
mile stands an old rock, crowned with a church and
conventual buildings. Seen from the shore, the
rock looks more like an abode of fairies than a real
so
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