The Historical Works of Hilaire Belloc. Hilaire Belloc

(which with very rare sculptural examples are our sole evidence), is a twelfth-century and not an eleventh-century sceptre. This note on costume is true even down to the details of the shoes upon the feet; they are the shoes of the middle of the twelfth, not of the end of the eleventh century.

      Now turn to something upon a larger line, though not more conclusive: the adornment of the shield.

      I am here upon very vague ground, and I know it. But I think that ground, though vague, has limits inferior and superior. The custom of adorning the shield with distinctive marks which might be recognised in battle, is of course as old as the world—or at least as old as the profession of arms. But something ritual and regular attaching to this habit, something which made it part of society and a wheel within the machinery almost of law and certainly of social habit, is the creation of the Crusades.

      A modern parallel will make my point clear. A cheque is something belonging to the nineteenth century, especially the latter part of the nineteenth century. Orders for payments signed in various ways are very much older. But a cheque is a cheque. It is something crystallised and developed in what is now a fixed and a final form. So with armorial bearings. Bring me some new document which shows that Charlemagne himself had the sun or the moon painted upon his shield, and I shall not be surprised; but I do know that the regular portraiture of such and such emblems to represent such and such people, and the common habit among great families of always having such, is posterior to and not prior to the Crusading march: it was indeed, in the main, a product of the Crusading march.

      Now, the Bayeux Tapestry, though it shows us most of the shields without such signs (for most of them were the shields of common knights), yet shows the shields of leaders regularly adorned with distinctive bearings; note, for instance, the four lords who come from Guy of Ponthieu to take Harold prisoner. Each of these shields carries an armorial bearing. The two heralds or messengers, men presumably of position, who ride to tell William the overlord that Guy has captured Harold, are similarly distinguished. Those in the immediate suite of the sovereigns or quasi-sovereigns show the mark, as when Harold is interviewed by William. One principal shield is hung upon the first two ships of those which sail for England for the Conquest, and each has armorial bearings. Nor need the reader be surprised at the number of shields which have none, if he will consider how large a proportion are seen in reverse—that is, from the inside—the side where the shield was held by the arm, the side which was turned towards the body. For where the artist describing a fight shows us the right arm with its weapon, and therefore the left arm holding the shield from within, he cannot let us know whether the shield was ornamented or no. But turn to the scenes where the fight is upon the defensive, as, for instance, that showing Harold’s resistance to the Norman charge, there you at once get the leaders with their pictured shields marking the distinction of rank; or again, where the Norman charge in the next panel is shown getting home into the Saxon axes—there you have two shields out of five distinctively ornamented. In the episode of the death of the brothers of Harold, all the three shields that appear have some mark. There is no need to labour the point, nor even to point out the elaborate design upon one of the shields portrayed in the pursuit of the defeated army.

      It is evident that we are dealing with a work produced at a time when it was thought normal that any man of distinction should carry his mark upon his shield, and, I repeat, to think that normal was the state of mind of the middle twelfth century at earliest and not of the mid-eleventh century at all.

      There is just one good argument and only one for the contemporary character of the document; that argument is the argument from tradition. It is an argument to which I shall always offer the greatest reverence, particularly as it has been particularly despised by the superficial but popular University historians of the last century. Tradition is certainly the binding element in social memory, and if one could discover an active tradition that the embroidery of Bayeux had been made by the wives of those who fought at Hastings, though existing evidence not traditional would compel us to reject that tradition in its absolute form, yet it would be our duty to consider closely how the tradition arose and what it might mean—for instance, it might mean that the existing work was the adaptation of an earlier work. But, as a fact, the tradition is not old. It was not of popular but of academic, and therefore of worthless, origin. The later Middle Ages seem to have known nothing of it; the Chapter of the Cathedral, which was the conservator of the document, bears no testimony of the sort. To call the Bayeux Tapestry “Queen Matilda’s Tapestry” seems to have been nothing but the guesswork of an antiquarian don. Let us leave it at that.

      Another evidence of date is the fact (to which I shall make continual allusion in the text) that the Bayeux Tapestry follows fairly closely the Roman de Rou, Wace’s poem describing the Conquest; and that poem cannot be earlier than the middle of the twelfth century—it is usually put as late as the last third of the twelfth. Not only is Wace followed, but certain other authorities which help to date the production.

      Now this would be quite conclusive but for one rebutting argument, the value of which I leave to the judgment of the reader. The written sources which the Tapestry appears to follow would repose upon certain common traditions, memories, and earlier documents, and the Tapestry might be imagined to repose upon the same. But the general rule in tracing the sources of human work of this sort is that the written account precedes the pictorial and serves as a basis for it, while the convergence of this evidence with the evidence of accoutrements and dress leaves little doubt.

We have in the Bayeux Tapestry something certainly later than 1140,1 almost certainly later than 1150, probably as late as 1160, but, on the other hand, certainly prior to the date 1200.

1. The bier of Edward the Confessor is designed in the twelfth century fashion, not in the eleventh—the long vestment of the royal personages throughout is a twelfth-century not an eleventh-century type. The description of the coat of mail in Wace (verses 6522 and the following) is that of the Tapestry; and most important of all the coat of mail of the Tapestry is no longer the mere breastplate, but the full coat of the Crusading period.

      It is true that we have very little information upon the eleventh century armour, but with the Crusades we do get a full description, and we have a right to judge by what we know rather than by what we do not know. Thus Ordericus Vitalis remarks the full coat as a novelty.

      The helmet with a nasal is not now in any document before the seal of Baldwin, the late 1115, but after that date it is common, as one may see in the seal of Charles of Flanders or of Matthew of Montmorency. Indeed, the seal of William the Conqueror himself gives no sign of the nasal, and the same is true of the seals of the First Crusade. This kind of helmet is wholly twelfth century; but remark that William, in the Chronicles, lifted his helmet to show his face. So there is here doubt.

      NOTES

       The corresponding reference-numbers will be found in the following text.

2. Many of our historians carelessly talk of Harold being brought to Rouen. We have no proof of this. There is just one allusion in the Chronicles to the place where delivery of Harold’s body was made from Guy to William, and the place mentioned is what we should expect, a frontier town, Eu. The Palatium does not only mean a place, it also means an institution; and though Rouen was William’s chief city, whenever he moved, his clerks and staff of government—that is, his “Palatium”—moved with him.

3. Mr. Oman in his version of the affair makes Bonneville the scene of the oath. I have not seen the proof of this. The two fundamental pieces of evidence—Wace and the Tapestry—both say Bayeux. William had a castle above the river Touques at Bonneville, and ruins of it, or of a later construction upon its site, can be seen to-day; but it is a good two days’ march from Bayeux.

      The French word “parliament” meant, of course, any general assembly for discussion, and was here used of something