The Historical Works of Hilaire Belloc. Hilaire Belloc

below, the same type of accoutrement, the round shield with the boss, reappears twice among the dead bodies. Gyrth and Lewine were standing near Harold, and one chronicle makes William himself fell Gyrth with a blow of his mace, but there is nothing of this in the embroidery. There is no figure armed with a mace and no mention of William. The 68th panel is the liveliest attempt the artist makes anywhere to represent the heat of the attack. It speaks for itself in the exaggerated catastrophes of the mounts and of their riders; but what should be particularly noted is the representation of the Hill of Battle, the horse stumbling at the approach of it and the defence by the Saxon footmen upon the summit.

      69

      With the 69th panel we approach the attempts in the latter part of the Tapestry to introduce persons. This attempt has led to a considerable historical controversy, for while some points in the portraiture are obvious, others, as will be seen in a moment, lend themselves to discussion.

      70

      71

      First we have, in the 69th panel itself, Odo of Bayeux, the Bishop, William’s brother, with the characteristically French inscription, “Pueros suos,” by way of saying “his men.” “Here Odo, the Bishop, holding a stick, heartens his men,” or literally, “his children.” So the modern French army term, “mes enfants” for “men.” All this is quite clear; but the next panel (No. 70) has led to the controversy of which I speak. Note here three men at the charge. The first brandishes a sword, the second has a mace or sceptre in his hand, and is lifting the nasal of his helm, and the third holds a lance and pennon or, as the French then called it, a Gonfanon. Above the group is written, “Here is Duke William.” It is fairly established that Wace’s poem (which the panels of this part of the Tapestry follow with great fidelity) is here abandoned by the artist and the account of Benoit de Saint More is followed. The incident is, of course, that of William showing his face to his followers when it was feared he had fallen. Further, the first figure carrying the pennon is certainly intended for Eustace of Boulogne. Above his head, in one of the few fragments that have suffered mutilation, is the beginning and ending of the word Eustatius (E——TIUS); while the clear writing of the inscription round the central figure and the obvious reference to the passage in Benoit de Saint More, coupled with the fact that the central figure bears a mace or sceptre, not a sword, leave no doubt that it is William that is intended. It is worth remembering in connection with the date of the Tapestry that the emphasizing of the part which Eustace of Boulogne played in the battle is peculiar to the twelfth-century chroniclers.

      72

      73

      74

      The next three panels are bringing the battle to an end. “Here,” says the inscription, “the French fight and slay those who were with Harold.” The number of armorial shields, and their presence even, on the Saxon side is noteworthy, and the reappearance of the round shield with the boss in the border; further, that the archers have at last got home, is indicated in the arrows that have struck the shields, and in the full quivers of the border. The stripping of the bodies of the slain by the camp followers is equally indicative of the stage the fight has reached; and in the next panel (the 74th) you have one of the last episodes, the death of Harold himself. Harold is introduced twice: first, standing near his standard pulling from his face the arrow that has struck it; next, cut down by a mounted horseman, who strikes him on the thigh with his sword. That exactly follows Wace point for point, for his poem tells us first that Harold was struck in the eye by an arrow and that he pulled it out, and that then one came, a knight, who struck him on the thigh with a sword, wounding him to the bone; that at the same moment the standard fell to earth, and that the men “then killed Harold.”

      75

      76

      The last two panels (75 and 76) are the breaking of the ranks and the flight. They need no comment save perhaps one note: the conventional tree in the last panel may well enough stand for the wood of the Weald which lay behind the Saxon position, and into which the rout pressed as darkness fell.

      It has been suggested that the Tapestry continued further than the point at which it now ends, both because it is somewhat frayed at that end and because in the description of another Tapestry (lost) the account of the day following the battle is given.

      What seems to me to prove definitely that the Tapestry did end almost exactly where its frayed edge terminates it to-day, is the fact that it was exactly of a length to go round the nave of Bayeux Cathedral, and that the measurements of the existing stuff correspond with that length.

      THE PATH TO ROME

       Table of Contents

      '. .. AMORE ANTIQUI RITUS, ALTO SUB NUMINE ROMAE'

      Praise of this book

      To every honest reader that may purchase, hire, or receive this book, and to the reviewers also (to whom it is of triple profit), greeting - and whatever else can be had for nothing.

      If you should ask how this book came to be written, it was in this way. One day as I was wandering over the world I came upon the valley where I was born, and stopping there a moment to speak with them all - when I had argued politics with the grocer, and played the great lord with the notary-public, and had all but made the carpenter a Christian by force of rhetoric - what should I note (after so many years) but the old tumble-down and gaping church, that I love more than mother-church herself, all scraped, white, rebuilt, noble, and new, as though it had been finished yesterday. Knowing very well that such a change had not come from the skinflint populace, but was the ork of some just artist who knew how grand an ornament was this shrine (built there before our people stormed Jerusalem), I entered, and there saw that all within was as new, accurate, and excellent as the outer part; and this pleased me as much as though a fortune had been left to us all; for one's native place is the shell of one's soul, and one's church is the kernel of that nut.

      Moreover, saying my prayers there, I noticed behind the high altar a statue of Our Lady, so extraordinary and so different from all I had ever seen before, so much the spirit of my valley, that I was quite taken out of myself and vowed a vow there to go to Rome on Pilgrimage and see all Europe which the Christian Faith has saved; and I said, 'I will start from the place where I served in arms for my sins; I will walk all the way and take advantage of no wheeled thing; I will sleep rough and cover thirty miles a day, and I will hear Mass every morning; and I will be present at high Mass in St Peter's on the Feast of St Peter and St Paul.'

      Then I went out of the church still having that Statue in my mind, and I walked again farther into the world, away from my native valley, and so ended some months after in a place whence I could fulfil my vow; and I started as you shall hear. All my other vows I broke one by one. For a faggot must be broken every stick singly. But the strict vow I kept, for I entered Rome on foot that year in time, and I heard high Mass on the Feast of the Apostles, as many can testify - to wit: Monsignor this, and Chamberlain the other, and the Bishop of - so - and - so -o - polis in partibus infidelium; - for we were all there together.

      And why (you will say) is all this put