While recent debates may fixate — not without a touch of irony — on the number of penises embroidered on the Bayeux Tapestry, it’s worth stepping back to consider what this medieval masterpiece truly represents. Far more than its suggestive margins or anatomical curiosities, the tapestry is an 11th-century marvel: at once a military chronicle, a Norman propaganda tool, a historical enigma, and a source of endless fascination. Stretching nearly 70 metres, it weaves together a narrative both vivid and mysterious — from knights and kings to comets and mythical beasts. Here are 12 surprising and lesser-known facts that shed new light on this extraordinary relic of the Middle Ages.
1. It’s not actually a tapestry.
Despite the name, the Bayeux Tapestry is not a tapestry in the technical sense. Tapestries are woven on a loom; the Bayeux piece is actually embroidery, stitched with coloured wool onto linen. The distinction matters: this work was crafted with needles, not looms, using stem stitch and laid work — placing it firmly in the realm of textile art, not weaving.
2. It was likely made in England.
Odo of Bayeux in the Bayeux Tapestry
Although it now resides in France, all signs point to the tapestry being made in Anglo-Saxon England, probably in a Canterbury monastic workshop, around the 1070s. The Latin used, artistic style, and needlework techniques strongly resemble other English works of the time. It may have been commissioned by Odo of Bayeux, William’s half-brother, to glorify Norman victory.
3. It is incomplete.
The final part of the Bayeux Tapestry – photo by Beat Ruest / Wikimedia Commons
The tapestry ends abruptly with the English fleeing the battlefield, but the story feels unfinished. Scholars believe that a final panel, likely showing William’s coronation on Christmas Day 1066, is missing. Frayed edges at the end suggest that a concluding scene may have been lost to time, or possibly removed deliberately. A portion believed to belong to the missing section was recently discovered in the collection of a Nazi archaeologist and is scheduled to be returned to France in 2025.
4. It features over 600 characters.
Three random soldiers
The embroidery is densely populated: more than 600 human figures, 200 horses, 40 ships, countless weapons, birds, mythical beasts, and other animals fill the 70-metre length. Many are named, including kings, nobles, and even the tapestry’s own commissioner. It’s one of the richest visual documents we have of 11th-century Northern Europe.
5. It includes Halley’s Comet.
Halley’s Comet’s appearance in 1066 was recorded on the Bayeux Tapestry – this was viewed as an omen of the coming war.
One of the most famous scenes shows a fiery star streaking across the sky — a depiction of Halley’s Comet, which appeared in April 1066. In the tapestry, people gaze upward in fear. At the time, comets were seen as omens, and here, it foreshadows Harold’s downfall. It’s one of the earliest known depictions of the comet.
6. Its Latin is full of quirks.
UBI HAROLD ⁊ WIDO PARABOLANT – in English it means ‘Where Harold and Wido confer’. The ⁊ is a Tironian note abbreviation for et (“and”).
The short Latin captions (tituli) that accompany the images are not textbook Latin. They include grammatical errors, spelling variations, and odd abbreviations. Some scholars see this as evidence of oral dictation, or the need for quick execution. Others think it reflects the multilingual, transitional world of post-conquest England.
7. It offers rare insight into medieval warfare.
Siege scene in the Bayeux Tapestry
The tapestry is a priceless source for military historians, showing chainmail hauberks, kite shields, siege engines, longships, and cavalry tactics in unprecedented detail. Norman and Anglo-Saxon warriors are shown in action, and even the preparation of ships and arms is depicted, making it a visual manual of 11th-century battle technology.
8. The margins contain erotic and mythic images.
Griffin
In contrast to the epic scenes of war, the borders of the tapestry feature naked figures, animals mating, mythical creatures, and bizarre hybrids. Some may be moral warnings, others mere decoration, and some may subtly comment on the main narrative — perhaps mocking human folly or hinting at scandal.
9. It survived revolution and world wars.
The tapestry’s survival is remarkable. During the French Revolution, it was nearly used as a wagon cover. In World War II, the Nazis considered moving it to Berlin for propaganda. It was even displayed at the Louvre during the occupation. Miraculously, it returned safely to Bayeux, where it now resides in a museum built to preserve it.
10. It was a tool of Norman propaganda.
Far from neutral history, the tapestry is a carefully crafted narrative that legitimises William’s claim to the English throne. It portrays Harold Godwinson as an oath-breaker, who unlawfully seized power. The visuals, especially Harold’s “oath on sacred relics,” frame the Norman invasion as a just and divine punishment.
11. The mystery of Ælfgyva.
Only three women appear in the tapestry — one of them is Ælfgyva, whose identity remains a historical puzzle. She is named in a rare inscription and shown being touched on the face by a cleric, possibly in an architectural setting such as a doorway. The surrounding imagery is sexually charged. Scholars have speculated she could be a noblewoman embroiled in scandal, a diplomatic pawn, or even a symbolic figure. Despite decades of debate, her role and identity remain a mystery, making her one of the most intriguing parts of the narrative.
12. A diplomatic loan to England?
Since 2018, the French government has publicly discussed lending the Bayeux Tapestry to the UK — a symbolic gesture of Franco-British friendship. President Macron even announced it as a possibility. However, experts have expressed strong opposition: the embroidery is extremely fragile, and transporting it would involve complex logistics, months of preparation, and a minimum two-year absence from France. Museum curators fear irreversible damage. Though the idea was revived in 2025, the debate continues: should national heritage be shared at the risk of its preservation?
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
By Lorris Chevalier
While recent debates may fixate — not without a touch of irony — on the number of penises embroidered on the Bayeux Tapestry, it’s worth stepping back to consider what this medieval masterpiece truly represents. Far more than its suggestive margins or anatomical curiosities, the tapestry is an 11th-century marvel: at once a military chronicle, a Norman propaganda tool, a historical enigma, and a source of endless fascination. Stretching nearly 70 metres, it weaves together a narrative both vivid and mysterious — from knights and kings to comets and mythical beasts. Here are 12 surprising and lesser-known facts that shed new light on this extraordinary relic of the Middle Ages.
1. It’s not actually a tapestry.
Despite the name, the Bayeux Tapestry is not a tapestry in the technical sense. Tapestries are woven on a loom; the Bayeux piece is actually embroidery, stitched with coloured wool onto linen. The distinction matters: this work was crafted with needles, not looms, using stem stitch and laid work — placing it firmly in the realm of textile art, not weaving.
2. It was likely made in England.
Although it now resides in France, all signs point to the tapestry being made in Anglo-Saxon England, probably in a Canterbury monastic workshop, around the 1070s. The Latin used, artistic style, and needlework techniques strongly resemble other English works of the time. It may have been commissioned by Odo of Bayeux, William’s half-brother, to glorify Norman victory.
3. It is incomplete.
The tapestry ends abruptly with the English fleeing the battlefield, but the story feels unfinished. Scholars believe that a final panel, likely showing William’s coronation on Christmas Day 1066, is missing. Frayed edges at the end suggest that a concluding scene may have been lost to time, or possibly removed deliberately. A portion believed to belong to the missing section was recently discovered in the collection of a Nazi archaeologist and is scheduled to be returned to France in 2025.
4. It features over 600 characters.
The embroidery is densely populated: more than 600 human figures, 200 horses, 40 ships, countless weapons, birds, mythical beasts, and other animals fill the 70-metre length. Many are named, including kings, nobles, and even the tapestry’s own commissioner. It’s one of the richest visual documents we have of 11th-century Northern Europe.
5. It includes Halley’s Comet.
One of the most famous scenes shows a fiery star streaking across the sky — a depiction of Halley’s Comet, which appeared in April 1066. In the tapestry, people gaze upward in fear. At the time, comets were seen as omens, and here, it foreshadows Harold’s downfall. It’s one of the earliest known depictions of the comet.
6. Its Latin is full of quirks.
The short Latin captions (tituli) that accompany the images are not textbook Latin. They include grammatical errors, spelling variations, and odd abbreviations. Some scholars see this as evidence of oral dictation, or the need for quick execution. Others think it reflects the multilingual, transitional world of post-conquest England.
7. It offers rare insight into medieval warfare.
The tapestry is a priceless source for military historians, showing chainmail hauberks, kite shields, siege engines, longships, and cavalry tactics in unprecedented detail. Norman and Anglo-Saxon warriors are shown in action, and even the preparation of ships and arms is depicted, making it a visual manual of 11th-century battle technology.
8. The margins contain erotic and mythic images.
In contrast to the epic scenes of war, the borders of the tapestry feature naked figures, animals mating, mythical creatures, and bizarre hybrids. Some may be moral warnings, others mere decoration, and some may subtly comment on the main narrative — perhaps mocking human folly or hinting at scandal.
9. It survived revolution and world wars.
The tapestry’s survival is remarkable. During the French Revolution, it was nearly used as a wagon cover. In World War II, the Nazis considered moving it to Berlin for propaganda. It was even displayed at the Louvre during the occupation. Miraculously, it returned safely to Bayeux, where it now resides in a museum built to preserve it.
10. It was a tool of Norman propaganda.
Far from neutral history, the tapestry is a carefully crafted narrative that legitimises William’s claim to the English throne. It portrays Harold Godwinson as an oath-breaker, who unlawfully seized power. The visuals, especially Harold’s “oath on sacred relics,” frame the Norman invasion as a just and divine punishment.
11. The mystery of Ælfgyva.
Only three women appear in the tapestry — one of them is Ælfgyva, whose identity remains a historical puzzle. She is named in a rare inscription and shown being touched on the face by a cleric, possibly in an architectural setting such as a doorway. The surrounding imagery is sexually charged. Scholars have speculated she could be a noblewoman embroiled in scandal, a diplomatic pawn, or even a symbolic figure. Despite decades of debate, her role and identity remain a mystery, making her one of the most intriguing parts of the narrative.
12. A diplomatic loan to England?
Since 2018, the French government has publicly discussed lending the Bayeux Tapestry to the UK — a symbolic gesture of Franco-British friendship. President Macron even announced it as a possibility. However, experts have expressed strong opposition: the embroidery is extremely fragile, and transporting it would involve complex logistics, months of preparation, and a minimum two-year absence from France. Museum curators fear irreversible damage. Though the idea was revived in 2025, the debate continues: should national heritage be shared at the risk of its preservation?
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
Click here to read more from Lorris Chevalier
Subscribe to Medievalverse
Related Posts