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The Bayeux Tapestry is one of the great narrative works of art, resplendent with its vibrant color, lively movement, rich texture, and impressive scale. In addition to being a medieval art masterpiece, it is an important historical document. It chronicles the 1066 Norman invasion of England and the decisive Battle of Hastings, in which William the Conqueror vanquished his rival Harold Godwinson and became king.
The tapestry, approximately 230 feet long and 20 inches wide, is believed to have been made in England after the battle for the nave of Bayeux Cathedral in Normandy, France.
Despite its name, the Bayeux Tapestry is actually a woolen-embroidered linen cloth and not a tapestry. The artwork has resided in France for over 900 years. Its current home is the Musée de Bayeux, which is closing in September for a two-year renovation. Instead of placing the nine joined panels in storage, the museum arranged a historic loan. For the first time since its creation, the Bayeux Tapestry will return to England. From September 2026 to July 2027, it will be displayed at the British Museum in what is sure to be a blockbuster exhibition.
A projected view of the main courtyard from the designs for the future Bayeux Tapestry Museum. Copyright RSHP/Courtesy of Bayeux Tapestry Museum
Given the national importance of this artwork for both France and England, as well as its being a fragile textile, the loan required diplomatic talks at the highest level and was decades in the making. On July 9, the official announcement came in a ceremony at the British Museum. In exchange for the tapestry loan, the British Museum will lend some of its most significant works—treasures from the Sutton Hoo Anglo-Saxon ship burial and the 12th-century carved walrus ivory Lewis chessmen—to institutions in Normandy.
The Tapestry’s Tale
One of the 58 scenes from the 11th-century Bayeux Tapestry at the Bayeux Tapestry Museum in Normandy, France. Copyright Bayeux Museum
The epic story of the Bayeux Tapestry begins with a succession crisis. The childless king of England, Edward the Confessor (circa 1003–1066), needed to appoint an heir. Edward spent much of his reign exiled in Normandy, during which a Danish dynasty ruled England. After his return to the English throne, Edward maintained a fondness for his first cousin once removed, William, Duke of Normandy (circa 1027–1087), a descendant of Vikings.
Scene 1 from the Bayeux Tapestry featuring King Edward the Confessor and Harold Godwinson at Winchester, circa 1051–1100. Bayeux Tapestry Museum, Normandy, France. Public Domain
Allegedly, in 1064, Edward chose to designate William as his heir and sent his Anglo-Saxon brother-in-law, Harold Godwinson (circa 1022–1066), to inform the duke. However, after Edward’s death on Jan. 6, 1066, Harold had himself crowned. Triggered by this usurpation, William invaded England in order to reclaim his throne.
Scenes 55 and 56 from the Bayeux Tapestry, circa 1051–1100. In these scenes, Duke William lifts his helmet to be recognized on the battlefield of Hastings, while Eustace II, Count of Boulogne, points to him. Bayeux Tapestry Museum, Normandy, France. Public Domain
Historians continue to debate who was Edward’s rightful heir and whether Edward wanted William to succeed him. As the Bayeux Tapestry comes from the Normans, the Latin inscriptions and figurative scenes support William’s cause. Harold and his army were defeated at the Battle of Hastings. The exact manner of his death remains disputed, but a famous scene in the Bayeux Tapestry has often been interpreted as showing him struck by an arrow to the eye. It is logical that the tapestry should end with William’s subsequent coronation, but the final scenes of this saga are either missing or were never created—another fascinating mystery.
Scene 57 from the Bayeux Tapestry, popularly believed to show the death of King Harold II of England with an arrow to the eye. The inscription reads, “Here King Harold is killed” (Hic Harold rex interfectus est) above the figure with the arrow. However, the embroiderers' intention may have been to depict Harold as the warrior with an axe slain by a Norman on horseback. Some historians believe that the arrow is not original to the work, but was added during a 19th-century restoration. Bayeux Tapestry Museum, Normandy, France. Public Domain
Experts believe that the Bayeux Tapestry was probably commissioned by Bishop Odo of Bayeux, William’s half-brother, for his new cathedral consecrated in the town in 1077. Odo, given his ecclesiastical office, is depicted in the tapestry with a tonsured head. He participated in planning the invasion and fought alongside William against the Anglo-Saxons, who are portrayed with long hair and mustaches. To ease the viewer’s reading of the panels, the Normans are shown with short hair.
Bayeux Tapestry Panels
The entire narrative consists of 58 scenes, 626 characters, 202 horses and mules, 41 ships, 37 buildings, and 1 comet. The celestial object is Halley’s Comet, and records of sightings can be traced to over 2,000 years ago. However, the first illustration of the comet, which appears visible from Earth every 76 years or so, is on the Bayeux Tapestry.
Scene 32 features men staring at Halley’s Comet, from the Bayeux Tapestry, circa 1051–1100. Bayeux Tapestry Museum, Normandy, France. Public Domain
The Bayeux Tapestry showcases thrilling scenes of ships at sea, battles, warriors in full armor, animals as well as mythical beasts, architecture, and details of everyday medieval life. The tapestry conjures the real-life monumentality of the Norman invasion, which the Musée de Bayeux cites as entailing 8,000 men, 5,000 horses, and 1,000 ships.
A closeup of Scene 38 from the 11th-century Bayeux Tapestry, which features ships and mythological beasts, at the Bayeux Tapestry Museum in Normandy, France. Copyright Bayeux Museum
The panels are made up of four different embroidery stitches: chain stitch, split stitch, stem stitch, and couching stitch, also called “Bayeux stitch.” Since the lines are quite regular, art historians believe that guiding marks or even drawings were first made on the linen before being embroidered. Ten different colors of thread were used, with pigments deriving from the plants madder, weld, and woad.
The original colors have changed very little since the artwork was made, which is quite remarkable given its age. However, 19th-century restoration work has heavily faded. A conservation inspection of the tapestry in 2020 revealed thousands of stains and holes. There are some marks that are due to its ecclesiastical use: nail holes from being hung and wax stains because of the cathedral’s candlelight.
A closeup of the holes and tears from one scene of the Bayeux Tapestry at the Bayeux Tapestry Museum, Normandy, France. Copyright Bayeux Museum
Contemporary restoration began in January 2025, consisting of the removal of the tapestry’s detrimental 1983 fleece backing and a meticulous dusting. The plan is for the Bayeux Tapestry to undergo a comprehensive conservation after it returns to France from the UK.
An art conservator inspects the Bayeux Tapestry in 2020. Copyright Ville de Bayeux/Courtesy of the Bayeux Museum
The Bayeux Tapestry has become an integral part of British and French cultural history due to its exceptional needlework and thrilling tale. The timing of its upcoming, albeit temporary, return to England is fitting as 2027 will be marked by commemorations in both countries of the millennial anniversary of the birth of William the Conqueror. The tapestry is now a symbol of current strong relations between the two nations and a resounding example of the diplomatic power of art.
The Bayeux Tapestry will be displayed at the British Museum from September 2026 to July 2027.
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Michelle Plastrik is an art adviser living in New York City. She writes on a range of topics, including art history, the art market, museums, art fairs, and special exhibitions.
