1066 - Andrew Bridgeford [61]
The carnage at Hastings began at the third hour after dawn. It continued for the whole day, neither side gaining a decisive advantage until late in the afternoon. The account in the tapestry is, of course, an abbreviated one. The artist presumably got his information at second hand; he reorganised some of the events for artistic, dramatic or iconographical effect;and he ignores, for example, the role played by Duke William'slesser-born foot soldiers, who probably made the first assault. The extent to which some of the details of arms and armour derive from conventional artistic templates rather than the real battle is debated. Nevertheless it is undeniable that the artist captures the essence of the contest in a flowing series of brilliant and memorable pictures. Most sources agree that there were times when the English came very close to winning. At one point, a breakout by some of Harold's troops, probably undisciplined, pursued the retreating Bretons and inflicted heavy casualties before William was able to stem the tide with own Norman cavalry.
Earlier in the day there had been another moment of panic;the ducal army almost took to flight when a rumour spread that the duke himself had been killed. The tapestry now highlights this incident and makes it the turning point of the whole encounter [scenes 53-55]. First Bishop Odo of Bayeux, named and depicted once more, rides unexpectedly into the thick of the fighting, waving his baton and shouting words of encouragement to the younger knights [plate 10]. HIC ODO EP[ISCOPU]S BACULU[M] TENENS CONFOR-TAT PUEROS (Here Bishop Odo, holding a baton, cheers on the young men). The rumour is flying around that the duke is dead, so William raises his nosepiece to show his face and reveal that he is still alive. HIC EST DUX WILEL[MUS] (Here is Duke William). At his side is Count Eustace II of Boulogne, his name displayed prominently in the upper border - EUSTATIUS [plate 11]. Eustace is carrying the greatest banner in the whole of the tapestry; it flutters high in the upper border, as he swings round on his horse and points to the indomitable duke. Battle recommences swiftly under the words HIC FRANCI PUGNANT ET CECIDERUNT QUI ERANT CUM HAROLDO (Here the French do battle and those who were with Harold fell). The momentum is now regained and the final stage of the embroidered contest draws near.
In quick succession three combatants for the Norman side are named by the artist - Bishop Odo, Duke William and Count Eustace - and these are the only three who are named. The duke, of course, could hardly be ignored, but the choice of his only identified battle companions is much more surprising. The tapestry's flattery of Odo has been noted and often discussed by many historians. The image of Odo in battle is as noteworthy as his other appearances. According to William of Poitiers, Odo was present at Hastings but only for the purpose of helping by prayer, a feat of war that was presumably accomplished at a safe distance from the action.4 The tapestry is alone amongst contemporary sources in placing him in the thick of fighting and giving him such a remarkable starring role. Consistent, however, with his status as a bishop, Odo is not wearing chain mail but rather a padded tunic and he encourages the troops with a mace, not a sword. Less commented upon, but even more remarkable, is the named appearance of Count Eustace II of Boulogne. A thousand books and postcard images persist in calling the pointing Eustace a 'Norman', but he was, of course, not a Norman at all but rather a Frenchman whose lands straddled the border between northern France and Flanders. Count Eustace II of Boulogne,