The Bayeux Tapestry: Britain’s Lost Latin masterpiece
Instant Classics
Norman Commission, English Craftsmanship
Mary Beard and Charlotte Higgins examine the tapestry’s likely Norman commission, Canterbury production, balanced perspective, and collaborative design process.
Mary and Charlotte delve into the stitching of the Bayeux Tapestry, a 224-foot long narrative embroidery charting William the Conqueror’s successful invasion of England in 1066. Little is certain about the creation of the textile, but it was likely commissioned by one of the Norman victors, Bishop Odo of Bayeux, who was granted lands in Kent by his half brother William the Conqueror, shortly after the conquest, and it is widely believed the actual labour was primarily done by women in Canterbury. An English story told by English craftspeople - no wonder England is so excited about its temporary visit to the British Museum.
But what does the Bayeux Tapestry have to do with ancient Greece and Rome? Well, quite a lot actually. There are 338 Latin words on the tapestry, providing added context to the images. The words say things like ‘HIC HAROLD REX INTERFECTUS EST’ (Here King Harold was killed). Those words also give names to participants lower down the social scale, like Turold and Wadard, who were retainers of Bishop Odo and - who knows? - might have been the Laurel and Hardy of their day.
The Latin words provide a vital piece of evidence to the ‘Made in England’ argument because the Latin is particular (and contains one or two telling inaccuracies). It includes some Norman variations, but also - and here’s the smoking gun - Anglo-Saxon variations too, suggesting that both Norman and Anglo-Saxon hands and minds were involved at various stages. Surely the greatest English-French collab until the Channel Tunnel?
The Latin language is one classical presence in the tapestry, but so too is the narrative form. Scholars have identified several ways in which the tapestry seems to refer to and even verbally echo Virgil’s Aeneid. There are other resonances too, such as the presence of Halley’s Comet (not called Halley’s Comet at the time, of course), which passed close to Earth in 1066. The sighting of a comet early in the Aeneid is one of inciting incidents that sets Aeneas off on his long journey to Italy.
Further reading:
A fantastically detailed and well informed series of podcasts from History Extra brings together scholars to talk about the tapestry in 5 episodes - highly recommended if you are lucky enough to have bagged tickets for the British Museum exhibition
The Bayeux museum has a wonderful version of the complete tapestry online: https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/discover-the-bayeux-tapestry/explore-online/
There is a vast bibliography on the tapestry itself. A major study has been produced by the BM to accompany the show, with more reading suggestions than any could need! The Bayeux Tapestry, edited by Sue Brunning et al (British Museum Press, 2026)
The studies of the Latin itself are usually very technical. One of the more approachable is: Gale Owen-Crocker, "The embroidered word: text in the Bayeux Tapestry." , in Signs on the edge: space, text and margin in medieval manuscripts, edited by Sarah Keefer & Rolf Bremmer, (Rodopi, 2007).
On the influence of Virgil in particular, there are two notable articles in journals: N. Rollason and M Lewis, “Harold-as-Aeneas”, Greece and Rome 2020.
T. A Heslop, “Regarding the spectators of the Bayeux Tapestry”, Art History 2009
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