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00:00The Bayer Tapestry is an extraordinary work of art.
00:18Made in the 11th century, it tells the incredible story of the Norman Conquest of England.
00:24Betrayal. Gravery. Invasion. And bloody battle. It is a truly epic saga.
00:40Nearly 70 meters in length, the tapestry depicts hundreds of characters, animals, buildings and ships, illustrating the end of the Viking and Anglo-Saxon era and the beginning of the Age of Chivalry.
00:55The tapestry still holds many mysteries. Who commissioned it? Who created it? Where was it made and for what purpose?
01:06Archaeologists, historians, biologists, anthropologists and even astrophysicists are joining forces to unravel its mysteries.
01:19Analyzing every detail to shed light on this pivotal moment that shaped history on both sides of the channel.
01:27For centuries, the tapestry was safely kept at Notre Dame de Bayer Cathedral in Normandy.
01:37For centuries, the tapestry was safely kept at Notre Dame de Bayer Cathedral in Normandy.
01:52We found the first traces of the tapestry of Bayer Cathedral in a text from 1476, which is an inventor of the cathedral.
02:02And this inventor tells us that a piece of paper was extended in U in the Neuf, presented to the Fidèles, on about 70 meters long.
02:12And so, this paper was presented at Notre Dame of the Cathedral.
02:15It was presented at Notre Dame de Bayer Cathedral in Normandy in Normandy in Normandy.
02:19And then, the paper was extended in U in Normandy, presented to the Fidèles, on about 70 meters long.
02:28And so, this paper was presented on the day of the Reliquesç¥ç¥, on July 1 and 8 of each year.
02:34The rest of the time, the tapestry was preserved in a coffin, in the treasure of the cathedral.
02:40We are now at the heart of the cathedral, in this beautiful piece of the XIII century.
02:57And this coffin, it's not any coffin, because it's the coffin that closed the tapestry for centuries.
03:03No other textile work of this stature has survived through the centuries.
03:16If you look closely, the characters, animals and objects are actually embroidered onto the linen canvas.
03:33Strictly speaking, it is not a tapestry, but an embroidery made up of nine layers of linen, sewn together.
03:43This confusion dates from its rediscovery in the 18th century, when it was mistakenly called the tapestry.
03:56The tapestry is now housed in its own museum, which is responsible for its conservation.
04:02The tapestry of Bayeux has probably suffered several restoration campaigns throughout its history.
04:13First of all, the restoration of the base canvas, this canvas canvas, which is as fine as a shirt,
04:20we can see it a little bit, but it's a very fine canvas, which has almost 1000 years.
04:25And then, necessarily, there is a restoration of the motifs brodés, and therefore, the laines of broderies.
04:35For example, in these first meters of the tapestry, you have an important piece in toile de lin,
04:41which has been brought on the reverse of the work, with a part of the motifs brodés,
04:47which has been distributed, and we can see it perfectly by this difference of tonalities,
04:54with the laines that have been painted with synthetic colors,
04:58which have a different composition of the original laines.
05:01The restoration of the interventions, we have on the whole of the 70 meters of the tapestry.
05:16On the support, we count less than 500 pieces placed on the reverse.
05:21So, they complete completely the work.
05:23To protect the fragile textiles, the tapestry is kept in a controlled environment,
05:40where humidity, temperature and light are carefully regulated.
05:44To unlock the mysteries of the tapestry, it is important to understand the story it tells
05:57about the battle to control England in the 11th century.
06:05This man, with a beard, is Edward the Confessor, King of England.
06:10He is pointing to Harold Godwinson, a powerful Anglo-Sapson Earl.
06:19Edward sends Harold to Normandy.
06:22Edward has no children, and appears to designate William, Duke of Normandy, as his heir.
06:33In France, Harold helps William fight his enemy, the Duke of Brittany.
06:40It is a victorious expedition, and the two brothers in arms return triumphant.
06:57A little further on, the tapestry depicts Harold swearing loyalty to William on some holy relics,
07:03appearing to confirm that William will inherit the English throne.
07:07Harold returns to England, where the ailing King Edward dies.
07:10Harold returns to England, where the ailing King Edward dies.
07:14The English nobles select Harold to succeed Edward to the throne.
07:19Harold returns to England, where the ailing King Edward dies.
07:22The English nobles select Harold to succeed Edward to the throne.
07:29Learning that Harold has betrayed his oath, William assembles a powerful fleet and crosses the channel.
07:37and crosses the channel.
07:46He and his men set up camp near Hastings.
07:53The two armies meet.
07:57The battle is bloody and merciless.
08:01A third of the tapestry is dedicated to depicting this ruthless bloodbath.
08:17Then a Latin inscription reads,
08:20Here King Harold is killed, and the English army flee.
08:31The Bay of Tapestry ends suddenly with the Battle of Hastings,
08:40and you see these people kind of running away from the battle at the latter stages.
08:45So we'd like to think that something else came after that,
08:48and perhaps the Bay of Tapestry showed that.
08:51Maybe it was the submission of the English in Birkhamstead to William,
08:56or even it could have ended with William being crowned perhaps in Westminster Abbey.
09:03The mystery of how the tapestry ends is the first of many.
09:09But innovative research techniques are starting to provide some answers.
09:14At the Bayer Tapestry Museum, scientists have found a way to study the embroidery
09:19without disturbing it, and above all, without taking samples.
09:29This device is a camera hyper-spectral,
09:31so it allows us to capture the light reflected in an exchange that we'll lighten.
09:35So here we lighten the Bayer Tapestry Museum,
09:38and we'll capture the light reflected in the visible and the next frame.
09:42So here we are at 26.
09:47And here I'm just at zero.
09:48Yeah, that's perfect.
09:50This hyperspectral camera is capable of detecting the exact colours used in the embroidery.
09:57The collected data will then be able to map the different dyes.
10:01The scientists spent two weeks scanning the entire tapestry.
10:18A typical camera that we all use,
10:21it only measures three colours,
10:23red, red and blue.
10:25Here we measure 215.
10:27We go beyond the human perception of the object,
10:30and it's thanks to these 215 colours of different colours,
10:33visible and infrared,
10:34that we're going to do chemistry.
10:36And we're going to pass from an image
10:38that can resemble a photographic image,
10:40when we see it on our screen at the moment,
10:42to a scientific image,
10:44which will be the chemical molecules
10:45that have been used to paint the fibers of the eye.
11:04These data, which will be gigantic at the end of the capture of the 70 m,
11:08will allow us,
11:09and I think it's the first time that we will make such an experience at this scale,
11:12to know the nature of the colorants
11:14on each piece of steel
11:16that is present on the embroidery,
11:17from one point to the other.
11:19And to recognize the natural substances that were used at the time,
11:23so the garance, the gaude and the indigo.
11:26And so we hope, by our scientific data,
11:27to find the different tonalities that were present
11:30on the areas that were the most painted,
11:33like these scenes from the very beginning of the tapestry.
11:37Identifying and recovering the original colors
11:41is one of the research projects into the Bayer Tapestry.
11:45Scientists are also looking for answers to other questions.
11:49The first of these is the tapestry's origin.
11:53Where does it come from?
11:55There are no references to it in contemporary texts.
11:58At the moment, I'm stitching an outline stitch,
12:21it's called stem stitch,
12:22just around the hair of one of the attendants
12:28to a dead king, Edward the Confessor.
12:32and the special ed Analysis
12:37and the major elements in the playwright
12:38in the playwright.
12:39The next step is what layers of the princess
12:43and the princess the princess
12:45and the princess the princess.
12:48When you see her,
12:50the princess the princess of the princess
12:51and her princess will also direct her
12:52and her dress before you look like
12:54the princess.
12:56The princess having had a beautiful princess
12:58and the princess is one of the princess.
13:01This is two scenes, which we can see here.
13:09The front is really important for telling the story,
13:13but for me, I find the back really interesting.
13:18It tells us how the embroiderers stitched
13:21each of the individual areas within the motif.
13:25So we're looking at the king who's died here,
13:27and we can see that the outline stitches were worked first,
13:33and then the filling, the Bayer stitch, was worked over the top,
13:39which is what you can see happening here.
13:57By looking at the back of the embroidery,
14:05we can also tell the order in which it was worked.
14:08There's a seam running through, which you can see here.
14:13So we think that the towers were worked first,
14:17then the process stopped.
14:20The seam was joined,
14:21and then the embroiderers worked the inner bits
14:24with the floor ceiling crossing over it here,
14:29the letters, the figures,
14:32and the tongue of the goggle
14:34just touching the edge of the seam here.
14:36Although I say I find the back really interesting,
14:54you can actually tell things
14:55from the front of the tapestry as well.
15:00And you can see in the top
15:02that the stitching is very regular,
15:05and the placement of the lines are quite equal,
15:10whereas on the bottom,
15:13you can see that the lines are not as regularly placed,
15:17the stitching isn't as regular.
15:19So that indicates that somebody was working
15:21the top half of this scene,
15:23and then somebody was working the bottom half,
15:25suggesting, therefore,
15:27that there was a team of people working this motif.
15:35In the 11th century,
15:40when the bear tapestry was probably made,
15:42it's fairly likely that the people who made it
15:46would have been women embroiderers.
15:48It's almost certainly that that's the case.
15:50Most of the sources,
15:52particularly in Anglo-Saxon England,
15:53talk about women making embroidery work.
15:57And indeed, the English were very famous
15:59for making embroidery work in the 11th century.
16:01We can imagine that the tapestry of Bayeux
16:08was made in England and in particular
16:13at Canterbury, in the Kent.
16:16In the library of Canterbury,
16:19we found several manuscripts
16:22with drawings that manifestly
16:26inspired the designers of the tapestry of Bayeux.
16:30Clues found in the embroidery
16:40help support this theory.
16:43Les chercheurs britanniques
16:44ont particulièrement mis en valeur
16:47un ouvrage majeur
16:49qui est Old English Exacttuck,
16:52qui est la première traduction
16:53de la Bible en Anglo-Saxon
16:55et qui date de 1050,
16:57donc antérieure à la date de réalisation
16:59de la tapisserie de Bayeux.
17:03Nous y découvrons énormément d'éléments
17:06que nous pouvons rapprocher
17:08formellement de la tapisserie de Bayeux.
17:10Par exemple, ici,
17:11cette petite chasse aux oiseaux
17:13avec une fronde
17:13qui va posséder la même posture,
17:16la même gestuelle,
17:17la position des mains,
17:18la même fronde,
17:20le même envol d'oiseau face à lui
17:22et, détail supplémentaire,
17:24ce caillou qui est sorti de la fronde
17:26que l'on trouve aussi bien
17:28dans la tapisserie de Bayeux
17:29que dans cette illustration
17:31de l'Exacteux.
17:39Ce qui est tout à fait passionnant,
17:42c'est que dans une seule image
17:43comme celle-ci,
17:44en fait, nous avons ce rapprochement ici
17:45et puis, nous avons cette main de Dieu
17:47qui est dans la partie supérieure
17:49et que l'on retrouve ailleurs
17:50dans la tapisserie de Bayeux.
18:08Aucun commentaire,
18:10le détail est suffisamment parlant.
18:11Sous-titrage Société Radio-Canada
18:13Sous-titrage Société Radio-Canada
18:14Sous-titrage Société Radio-Canada
18:15So, there's a lot of similarities
18:29in other manuscripts,
18:30but probably one of the most famous ones
18:32or most exciting ones
18:33is the St. Augustine's Gospels
18:36where you have this scene
18:37in the Bayeux tapestry
18:38of Odo
18:39at the head of a feast,
18:41a Norman feast scene,
18:43and that seems to be borrowed
18:44from the Last Supper scene
18:45in this manuscript,
18:47which is Italian,
18:49but came over
18:50with St. Augustine
18:51to Canterbury,
18:52to England
18:52at the conversion
18:54of the Anglo-Saxons,
18:55so way back in 597.
19:01So, the Bayeux tapestry
19:03may have been embroidered
19:04in Canterbury,
19:06but who commissioned it?
19:07The answer may be found
19:10in the embroidery itself,
19:12where one character
19:13appears regularly
19:14and is always shown
19:16in a good light.
19:17Odo, bishop of Bayeux,
19:20Earl of Kent,
19:21and William the Conqueror's
19:22half-brother.
19:23Odo is supposed to be
19:29the commander,
19:30and I would say
19:32the story confirms it,
19:34because he has
19:35his political seat
19:37in Canterbury.
19:39He has a great power
19:40and a considerable financial
19:41and financial means.
19:42considerable.
19:43He could have thought
19:44a lot of himself,
19:46so some people sort of
19:46see him as a bit arrogant
19:47and flamboyant.
19:49Now, I suppose
19:49the kind of question is,
19:51was he kind of
19:52looking at every detail
19:53and saying,
19:54right, that has to be
19:55like this,
19:55and that has to be
19:56like that,
19:56or was he kind of
19:57a bit more
19:58standing back
19:59and saying,
19:59right, okay,
20:00I just want a tapestry
20:01that celebrates me
20:02in the Norman conquest,
20:03as it were.
20:05So, to some extent,
20:07the Bayeux tapestry
20:08is, of course,
20:09a product of those
20:11that won the Battle
20:12of Hastings
20:12and to present themselves
20:14in the most favorable
20:14light.
20:15And also,
20:16it's obviously produced
20:17by the defeated,
20:19the Anglo-Saxons.
20:21But in my view,
20:22it's more of a combined
20:23sort of project.
20:27Cette équipe
20:28qui a conçu
20:30et dessiné
20:30la tapisserie de Bayeux
20:31a laissé
20:33des traces
20:34de leur travail commun.
20:36Il y a en effet
20:38dans le latin
20:39des inscriptions
20:40des fautes
20:42qui sont commises
20:43par des gens
20:44qui étaient
20:46d'origine française
20:47et d'autres fautes
20:49qui sont commises
20:50par des gens
20:52qui étaient
20:53d'origine anglo-saxonne.
20:57In latin,
20:58the usual word
20:59for horse
21:00is equus.
21:02Only the French
21:02would use
21:03the word cabali.
21:06parabolant
21:07is from the French
21:08to talk
21:09instead of the Latin
21:11loquo.
21:12This cross-shaped sign
21:14means and
21:15to the Anglo-Saxons.
21:17Finally,
21:18Harold's brother's name
21:19is Gerth.
21:21Writing it
21:21with a cross D
21:23is typically
21:23Anglo-Saxon.
21:24but why
21:29was it made?
21:30Is the tapestry
21:31being used
21:32to legitimise
21:33William the Conqueror's
21:34claim to the English throne?
21:37One detail
21:38that suggests
21:38this theory
21:39is the depiction
21:40of a mysterious comet.
21:41Next.
21:53On va mettre en route
22:05The telescope.
22:13It should go like this.
22:21The comet are small bodies, small planets of the solar system,
22:25which make a few kilometers of diameter.
22:27They are composed of ice and ice.
22:30The ice is the organic matter, the minerals.
22:35These small objects, when they approach the solar system,
22:40the surface is heated,
22:42and the glass will evaporate
22:45and train with them little dust.
22:48These little dust will interact with the solar particles
22:54to form this beautiful yellow dust.
22:58And the other side, the gas molecules will be ionized
23:02by the solar rayon.
23:04And these ions, these charged particles,
23:06will interact with the solar wind
23:08to form this black hole
23:11which is directly opposed to the direction of the solar.
23:14The solar system will also appear in the solar system.
23:17The sun will be ionized by the solar system.
23:19The sun will be ionized by the solar system.
23:21Enunaleh will calculate the trajectories of 30 comètes, and it will find that several comètes have the same trajectories,
23:45and in fact, they pass up close to the Sun at times of the same years.
23:52In particular, the comète of 1682 is the same trajectory as the 1607, the 1531, and the 1456.
24:06So, they prove that the comètes have elliptical trajectories and return periodically close to the Sun.
24:15The comet in the tapestry is Halley's comet.
24:34The comet.
24:35The comet.
24:36The comet.
24:37The comet.
24:39The comet.
24:39The comet.
24:48Ah...
24:48The comet.
24:49Mark.
24:50Well it's not further.
24:51KEM welcome when you can see it.
24:52It's her.
24:53It's her.
24:54She...
24:55It's her object happy.
24:56Well, wait, then I'll check it out again!
24:58Look at this!
25:06The observation of the astre, since the most ancient antiquity, had two functions.
25:10The first function was to establish the calendriers.
25:13These events were all expected, such as the sun and the moon phases.
25:21But there were also all these unprecedented phenomena
25:24which were signs of messages from God.
25:27And most often, it was bad images.
25:35The comet, when their queue fell into the sky,
25:39they were not uniform.
25:41They saw volutes, irregularities,
25:43which were often visualized as very dangerous forms,
25:48such as the javelots, the poignards, etc.
25:51And so, we found representations of cometes, such as these stones.
26:02The comet of Halley
26:03This comet of Halley had brilled from 1 to 15 April 1066,
26:09so three months after the reign of Harold.
26:12But the researchers approached them to show that the sky does not approve the crown of Harold.
26:24And we see in this scene,
26:26In this scene,
26:33and in this scene,
26:36we see a very strange,
26:38a small town in a particular world,
26:40whose seemingly an invasion may reveal.
26:46Halley's comet is shown as a divine sign,
26:49condemning Harold for betraying his oath to William and taking the throne of England.
26:57However, in the first part of the tapestry, Harold is far from being shown negatively.
27:03He is often portrayed in ways that enhance his status.
27:19There is a scene where Harold, at the peril of his life, has removed the sable mouvant, a English and a Norman.
27:35So, unfortunately, the tapestry of Bayeux is not hostile to Harold.
27:40On the contrary, it values the character.
27:43The question is why, in the Bayeux Tapestry, is Harold sort of celebrated in this sort of way?
27:51And my view is that I think it's quite important that he stands up to William.
27:56He needs to be a suitable adversary.
27:58William, within the Bayeux Tapestry, can't be fighting someone who's not very good at warfare, who's not very well respected.
28:06It gives William a lot more credence in many ways to defeat such a respected military leader.
28:12and also someone who seems quite important within Anglo-Saxon society.
28:22Ultimately, the purpose of this artwork is to justify the invasion.
28:27While attempting to reconcile the victors and the vanquished.
28:36But reconciliation failed.
28:38The English began to revolt, first in Dover, Hereford and then Exeter.
28:51Soon the Midlands and the whole of the North were ablaze.
28:56William the Conqueror ruthlessly put down these revolts, giving rise to his bloodthirsty reputation.
29:01The Bayeux Tapestry could have been made initially with the idea that this was going to tour in various parts of Kent.
29:15So Odo could show that his role in the Norman Conquest of England.
29:20And that idea was sort of put on hold or shelved when it realised that that wasn't really going to suit this new narrative of the Norman Conquest.
29:28And then it was taken to Bayeux and probably just made as a gift to the cathedral.
29:33This may be why the tapestry ended up in Bayeux.
29:38In England, its story was redundant.
29:43But the tapestry is hugely important and contains many precious details that describe this period.
29:51623 figures, 994 animals, 438 plants including 49 trees, 37 buildings, 32 boats, tools, weapons, clothes.
30:11It offers an abundance of historical information.
30:15723 figures, 994 animals, 472 animals, 472 animals, 473 animals, 473 animals, 483 animals.
30:25When we observe the Tapestry de Bayeux with a look of archaeologist,
30:30we don't see a documentary of the XI century,
30:33but an art that it needs to be used to make a part of the reality and representation in this art.
30:40in this work, but despite all it is a document
30:43which remains at an age where we have practically
30:47images which are religious images.
30:50Or, the tapestry of Bayeux shows the war,
30:53the daily life, as no other works,
30:56and especially in this regard, cannot do it.
31:00The interest of an art like the tapestry of Bayeux
31:04is to show objects in action,
31:06which are used and how they are used.
31:09For example, here, we see a glass glass or metal
31:13used by the character,
31:16and holding it down,
31:18which is not an archaeology.
31:20In the same way, the fact that a character
31:23sounds from the body to table,
31:25is something relatively classical
31:27in the medieval literature.
31:29The master of the house makes sound from the body.
31:31At this moment, the servitors arrive
31:33with the necessary to use the hands,
31:35and they pass from the table.
31:39This scene represents the construction
31:41of a chateau in terre and in wood by the Normans,
31:51after their arrival in Angleterre.
31:54And on the first floor, we see
31:56some terraciers
31:58who manipulate three different objects.
32:00We have some relatively classic objects,
32:02with spikes and peels in wood.
32:04And then we have this third object here.
32:06So we see one of these baches,
32:08with its manches rejetées
32:10on one of the sides,
32:11and then the extremities ferrées
32:13represented here in the Normans.
32:15In the Normans.
32:20This type of particular object,
32:22we know it by other images,
32:24we know it also
32:25by the archaeological discoveries,
32:27but only in the British
32:29for the moment.
32:30So we have the impression
32:31here that these objects
32:33are Anglo-Saxons
32:35manipulated by the terraciers
32:37of Guillaume Le Conqueror.
32:38One of the most significant
32:5111th century objects
32:53represented in the tapestry
32:55are the boats.
32:57In the 1960s,
32:58Danish scientists discovered
33:00five Viking shipwrecks,
33:02known as the Skudulev,
33:03from the same period
33:04as the tapestry.
33:06These longships were built
33:08in different parts of Europe,
33:10but were found together
33:11a thousand years later
33:13in Denmark.
33:15The wrecks provided archaeologists
33:17with a template
33:18to reconstruct these boats.
33:20But to understand
33:21the manufacturing techniques,
33:23the tools, colours,
33:25sails and rigging,
33:26they have relied on another source,
33:29the Bayer tapestry.
33:36This is Skudulev number 3,
33:54the one we are standing with here.
33:55And the decision of actually
33:58rebuild it or reconstruct it
34:00makes 1,000 questions come along.
34:03And then you have to find out
34:05what kind of tree
34:06you are going to pick up
34:07in the forest.
34:08And you have to find out
34:09what kind of tools
34:10you have to use
34:11and how to make the planks
34:12and so on.
34:13That's what we call
34:14experimental archaeology.
34:16If you are a boat builder,
34:25you start to look
34:26after tool marks
34:27because the tool marks
34:28gives you a hint
34:29of what kind of tools
34:30they're used.
34:31A saw, for example,
34:33makes certain tool marks
34:35and there is no saw marks
34:36on any of the boats
34:37from the Viking age.
34:38So we can't use the saw.
34:40So how do we build a ship
34:42without using a saw?
34:43That's the next question.
34:44And so we look at
34:46different sources
34:47to find tools
34:48which match
34:49the tool marks
34:50we can see
34:51on the origin of a boat.
34:53And the Bayeux Tapestry
34:55gives us
34:56a lot of these tools
34:57that they use
34:58in the scene of boat building.
35:03It's one of the very few
35:04iconographic sources
35:06that we have from the Viking age.
35:07Here you have got everything.
35:19You've got the boat building,
35:20the work in the forest,
35:22the dressing up the planks.
35:24We can see that this guy
35:26with the axe
35:28is actually having
35:30almost this kind of axe
35:32in his hand.
35:33It's not for chopping heads,
35:35it's more for chopping in wood.
35:38You can see the similarity
35:39of these two axes here.
35:41There is another guy
35:42with this kind of an axe
35:44who is working on
35:45dressing the planks.
35:47So after they have
35:48went into the forest
35:49they bring down the trees
35:50and cleave out
35:51these planks
35:52because they didn't
35:53have the saw.
35:54And here you can see
35:55that a guy standing
35:56with the plank
35:58between his legs
35:59chopping like this.
36:01And that's exactly
36:02how we use it as well.
36:04It's a light axe,
36:08it's really thin
36:10but it has a long blade
36:12and you can see
36:13that it's just
36:14a little bit curved
36:15this way
36:16which means
36:17that it
36:18chops the material
36:19really nicely.
36:27Here you have a scene
36:28where they are actually
36:29building a boat
36:30and inside the boat
36:31there is a guy
36:32standing with a drill.
36:34It's a replica
36:35of an archaeological find
36:36but the handle
36:37is inspired by this guy
36:39by this handle of the drill.
36:41Thanks to the tapestry
36:55we know that the Normans
36:56inherited longships
36:57from the Vikings
36:58and William the Conqueror's
37:00longship armada
37:01made an ambitious invasion
37:02of England possible.
37:04At the end of the summer of 1066
37:07William gathered his ships.
37:11The success of the invasion
37:12depended on his army
37:13being able to cross the channel
37:14in one go.
37:15The success of the invasion
37:17depended on his army
37:18being able to cross the channel
37:19in one go.
37:25At daybreak
37:26on the 28th of September
37:28William the Conqueror's ships
37:30men
37:31forces
37:32weapons
37:33and supplies
37:34landed on the English coast.
37:36Three days earlier
37:48Harold's army
37:49had defeated
37:50Harold Hadrada's
37:51invading Norwegian force
37:52at Stamford Bridge
37:53in Yorkshire.
37:55Immediately marching
37:57nearly 300 miles south
37:59the Anglo-Saxon army
38:01met the Norman invaders
38:03seven miles
38:04outside Hastings.
38:13This is the place
38:14where the Battle of Hastings
38:15was fought
38:16on the 14th of October
38:181066.
38:24One thing we do know
38:25is that shortly after the battle
38:27this was regarded as being
38:29the spot
38:30where King Harold's body
38:32was found
38:33on that fateful day.
38:48The bio tapestry
38:49includes valuable details
38:51about the soldiers,
38:52their armour
38:53and the weapons they use.
38:54Well for anybody who studied the Bayer Tapestry
39:09they will recognise immediately
39:11the figures who are standing around me.
39:13They are obviously four armoured men
39:15of the 11th century.
39:16These people are dressed in exactly the manner
39:19they see the soldiers of the Bayer Tapestry being dressed.
39:24If you have a closer look for example
39:25you can see this chap
39:26is carrying a very characteristic
39:28kite-shaped shield.
39:30A shield which became popular
39:31in the 11th century.
39:33This person over here
39:34on the other hand
39:35is carrying two things
39:37which distinguish him
39:39as being a member
39:40of the Anglo-Saxon army.
39:41He's got an Anglo-Scandinavian battle axe
39:44a really formidable weapon.
39:46To defend him
39:47on his back
39:48you can see
39:49he has a rounded shield.
39:50Interestingly
39:51some of the Anglo-Saxon soldiers
39:53in the Bayer Tapestry
39:54are carrying rounded shields.
39:56There's another clue
39:57that they're English by the way
39:58they're wearing beards these two.
40:00We know from the historical sources
40:03it's the Saxons
40:04who sported moustaches
40:05and beards.
40:06Unlike the Normans
40:08on the other side
40:09who tended to be clean shaven.
40:11But what you will notice
40:13is that generally speaking
40:14the Normans look very much
40:16like the Anglo-Saxons.
40:18For example
40:19the sword being carried here
40:20by this chap
40:21is the sort of sword
40:22which has been carried
40:23by people on both sides
40:24at the Battle of Hastings.
40:25And again
40:26a weapon
40:27designed to cause
40:28extreme trauma.
40:29And you can see
40:30why it was necessary
40:31for the soldiers
40:32on both sides
40:33to wear male tunics
40:35in an attempt
40:36to defend themselves.
40:37And if you look
40:38at this Norman
40:39he's carrying
40:40a long spear.
40:41A really versatile weapon
40:43which allows him
40:44to keep his enemy
40:45at a distance
40:46while still being able
40:47to cause harm
40:48to him.
40:49And it's exactly
40:50this sort of long weapon
40:51you would expect
40:52to see
40:53William the Conqueror's
40:54cavalry carrying
40:55as they charge
40:56up this hill
40:57trying to break
40:58the Anglo-Saxon
40:59in line
41:00get beyond them
41:01and kill King Harry.
41:02But
41:03to differentiate
41:04the Anglo-Saxon
41:07from the Anglo-Saxon
41:08from the Anglo-Saxon
41:11from the Anglo-Saxon
41:12who had the same
41:13tenue
41:14there was only a solution
41:15to represent the Anglo-Saxon
41:17to the Anglo-Saxon
41:18to the Anglo-Saxon
41:19and the Anglo-Saxon
41:20in a fantasy
41:21In this case, we have the impression that it is a battle of warriors against phantasyms.
41:30We know that Carcines had 8000 phantasyms, English and Normans, and that the essential
41:38of the battle was a phantasyms.
41:41The Norman archers are just shown in the lower border.
41:52But it's probably fair to say that in the actual battle, those Norman archers were probably
41:57really useful.
41:58They were obviously firing arrows into the shield wall in the hope of breaking up those
42:03troops.
42:04So in reality, William had to use both the archers and his Normans on horseback to break up the
42:10Anglo-Saxon shield wall, even if the Bayer tapestry is concentrating on just the cavalry.
42:27As the battle gets on, it gets more confused and more complicated, and you get Normans and
42:33the Anglo-Saxons fighting, horses flying through the air, people dying in the borders.
42:38So it becomes a very complicated picture.
42:41It shows how violent the battle was in 1066.
42:45Guillaume a payé sa personne.
42:46Il a eu trois chevaux tués sous lui, ce qui est quand même une prise de risque importante
42:50de la part d'un chef de guerre.
42:52Il aurait pu être tué.
42:54D'ailleurs, il y a eu un moment donné, une fuite de l'armée quand le
42:58bruit a circulé.
42:59Guillaume est mort.
43:00Il est obligé de relever son casque et en se montrant, il a dit, regardez, je suis vivant
43:05et il faut retourner au combat.
43:06Il faut retourner au combat.
43:31Horses sont représentés throughout the tapestry.
43:34Il y en a 182, dans un range de couleurs stylisées.
43:40Les données collectées par la caméra hyper-spectral, commencent à révéler les caractéristiques
43:45des dyes utilisées pour créer ces designs.
43:48Les bleus sont extraits de l'Helve, les bleus de l'Indigo et les reds de l'Madder.
43:54Je commence par la garance.
44:00Oui.
44:01LÃ , j'essaie juste sans concentration.
44:03La tapisserie de Bayou a déjà été décrite de nombreuses fois, dont par des restauratrices
44:14en 1982, qui ont pu observer, par le travail qu'elles ont fait sur l'Å“uvre, dits couleurs
44:21originelles.
44:22En fait, les couleurs sont faites avec ces colorants de la gaude, de la garance et de l'Indigo,
44:27avec cet ensemble qui est lié à des quantités de matières différentes et parfois des mélanges.
44:32Par exemple, pour obtenir du vert, on mélange du bleu et du jaune dans la recette de teinture,
44:36il est possible d'obtenir toutes ces représentations sur la broderie.
44:41Bon, je laisse la garance, alors, pour essayer déjà comme ça, avec la poudre.
44:45Oui, comme ça, je fais des recettes avec.
44:47OK, à tout à l'heure, alors.
44:48À tout à l'heure.
44:52Quand les dyes colorant chaque strand de l'huile ont été identifiés par la caméra hyper-spectral,
44:58Clarisse Chavannes attempts to recreate them.
45:04The madder is immersed in water for two hours at 90 degrees.
45:18An aluminium-based solution is heated for two hours to fix the dyes to the wool.
45:28The wool is then immersed in a dye bath and heated for one hour.
45:43Les colorants présents sur les teintures ont subi beaucoup de dégradation
45:46due à la lumière, au vieillissement.
45:48Et du coup, par exemple, là sur les nuancés, j'ai fait plusieurs nuancés
45:51avec différentes concentrations de garance.
45:53C'est des couleurs qui viennent d'être créées, donc qui ne sont pas dégradées.
45:56Et du coup, ça ne correspondra pas aux couleurs de la tapisserie.
46:00Et donc, c'est pour ça qu'il faut une étape très importante,
46:02qui est la dégradation des colorants.
46:05On peut voir que j'ai mis des lampes qui sont très fortes, donc à 50 000 luxe,
46:10ce qui est 1000 fois supérieur à ce que la tapisserie peut être exposée en ce moment au musée.
46:12Je veux faire le spectre de réflectance de mes colorants qui ont été dégradés avec la lumière.
46:18Et je vais essayer de trouver une correspondance avec les spectres de réflectance que j'ai pu obtenir sur la tapisserie de Bayeux.
46:22Quand j'aurai cette correspondance, je pourrai donc revenir aux couleurs originelles de la tapisserie de Bayeux.
46:32Je peux donc revenir aux couleurs originelles de la tapisserie de Bayeux.
46:42Clarisse Chavanne repeats this operation for each of the ten colors found in the embroidery.
46:59It's a huge undertaking.
47:02But if successful, it will reveal what these horses originally looked like a thousand years ago.
47:09and this feast.
47:13The food in the Bayeux tapisserie represents the culinary traditions
47:17that the Norman elite brought to England.
47:21Archaeological excavations from Oxford Castle provide evidence of this change.
47:27The castle was used by the Anglo-Saxons before the conquest,
47:32then by the Normans from 1067.
47:36By studying the waste from both periods, scientists can compare their eating habits.
47:42Hi Becky.
47:44Hi, hi.
47:45What have you got there?
47:46Oh, these are the fish bones.
47:47Oh, excellent.
47:48You've got some well preserved material.
47:53Yeah, it's really nice actually.
47:56Ben's stuff is here as well.
47:57Yeah, I've got some great poultry too.
47:59Here's the cup.
48:00I'm going to get these out of the way.
48:04In East Texas, so we've got a lot more pigs being represented in the Norman period.
48:17I think we can be confident in saying that pork is a signature of the Norman diet.
48:23In fact, the word pork comes from that Anglo-Norman French, so we can see linguistic changes that are happening in the diet as well.
48:31Another thing that really changes is we can see a lot more birds, chickens in particular, being represented.
48:39So here's a cockerel, a cockerel, a cockerel-wise.
48:44We see a lot more of these being represented in the Norman period.
48:48And we even see that on the Bay of Tapestries.
48:50So if we have a look here, you can see that there's this scene and they're cooking some little chickens.
48:57Have you guys seen this?
49:00Chicken on a skewer.
49:01Chicken on a skewer.
49:02Chicken kebabs.
49:03Chicken on a skewer.
49:04So we've got the evidence, and we've got the artistic data there as well.
49:17And also, once we get beyond 1000 A.D. and into the era of the Norman Conquest,
49:23we have bones of large marine fish, large sea fish.
49:29the eating of sea fish becomes much more common after the Norman conquest so it's a real shift
49:37what we see is what's called the fish event and fish eating becomes more common for a number of
49:44reasons so if we look at the Bayo tapestry we can see the dining scene here and two of the Normans
49:55are eating fish I wouldn't like to tell you what sort of fish they're fairly undiagnostic complete
50:00fish it does show that fish have become an important part of the elite diet I think it's
50:06really interesting actually because this scene from the Bayo tapestry is copied from another
50:11manuscript and on that manuscript it doesn't have the fish represented so these have deliberately
50:19been placed in the Bayo tapestry and I think you know the whole scene is like a last supper
50:25to me this is suggesting that the Normans are pious the reason that they've been or will be successful
50:32in the battle is because they have God on their side and that's demonstrated by the way that
50:38they're eating as well so what this archaeological evidence is really telling us about is what
50:43people were eating and also about the supply of food to these communities but the tapestry also
50:50tells us something really interesting about the culture of eating it goes around that as well
50:54doesn't it yeah I think absolutely if we take a look at the Bayo tapestry we can see that there are
50:58real differences in the way that food is being presented so here this is Harold he's just got off
51:05his ship and he's feasting at bosom and you can see that there's not really much food on the table
51:11there's lots of alcohol and that's in the historical evidence as well people are talking
51:16about how um the English just love drinking beer not wine lots of beer um but if we compare this scene
51:23to the the back to the the Norman scene
51:28we've already seen that there's lots of different kinds of food being prepared in fancy ways on
51:41skewers and in pots and the way that it's being eaten is a lot more sophisticated we can see that
51:47there are knives cutlery laid at the table which is not something that you see in the Anglo-Saxon
51:53feasting scene it's almost as though we're seeing cuisine as opposed to food you know and I think that
52:02that's what we're seeing um around the table and is reflected in all of this archaeological material
52:07in addition to their cuisine the Normans also introduce a new kind of feudal society that
52:14starts to change the landscape Mott castles wooden fortifications built on top of earth mounds
52:22spring up at strategic locations across the country these rapidly constructed military outposts
52:30evolve into imposing stone fortresses like the castle at oakhampton in devon
52:44oakhampton castle is a very early norman castle and it's built by someone called baldwin de brion
52:50baldwin was a major norman magnate a big landholder we know that he was present at the battle of hastings he
52:57was a trusted military commander and he established this castle in a strategic position in the very
53:03centre of the county of devon on the top of the Mott we can see a keep or donjon it's a it's a rectangular
53:10tower now in its early phase that's a norman feature but it was later later heightened and raised
53:17and modified in the 14th century
53:31the archaeology of the site really exemplify the development of a norman fortress a Mott and Bailey
53:51castle um into a much more fully developed domestic site in the ranges of buildings below us we can see
53:59a great hall a kitchen chapel some very splendidly appointed domestic lodgings with large windows and
54:07fireplaces so very much in its later phases a country house as much as a castle
54:18so in the norman period oakhampton castle was part of a wider explosion of castle building across the
54:25english landscape castles were built in large numbers many hundreds of them to hold down
54:30centers of population to siege strategic resources and also to stamp the mark of norman authority on
54:36the english landscape
54:40but william the conqueror would transform more than the english landscape
54:46eventually it was the case that william started to change things quite radically
54:51he in the end he absolutely almost removed all of the english aristocracy from power
54:57and much of the clergy as well sure sans grand propriétaires terriens
55:05en 1065 seulement deux sont anglais en 1087 on peut dire que les normans ont véritablement pris possession
55:18de la terre anglaise
55:20la tapisserie de bayeux qui est à l'origine une oeuvre de propagande
55:47destinée à être éphémère a vécu survécu de façon miraculeuse est devenue pour nous aujourd'hui d'une singularité
55:59exceptionnelle et elle témoigne en particulier de cette transformation qu'a connu la société à la fin du 11e siècle
56:07la fin d'un monde où il y avait encore des éléments vikings et l'apparition d'une société nouvelle qu'on va
56:15qu'on va appeler la société chevaleresque
56:29en bayeux
56:38in bayeux the team from the sorbonne have successfully reconstructed the tapestry's original colors
56:44the effect is remarkable
56:54donc voilà ce que ça donne
56:56ah non c'est extraordinaire
56:58finalement on a assez d'informations pour faire réellement une démarche scientifique de A à Z sans interprétation du tout
57:06donc c'est la première fois en fait depuis des siècles la voix comme ça
57:10ça change complètement la perception
57:12c'est joli ce petit bleu lÃ
57:24c'est joli ce petit bleu
57:28alors ici on devine moins qu'est-ce que c'était ma vue
57:30ah c'est étonnant
57:32ouais c'est incroyable
57:34c'est stupéfiant
57:36je suis sous le choc et quand je pense qu'il y a 70 mètres à explorer centimètre par centimètre c'est à fond
57:52de Dr. schaudira
57:54de Brinders
58:00du Grin
58:02de Brinders
58:06de Brinders
58:08de Brinders
58:10du Grin
58:12de Brinders
58:14et du Grin
58:16d'invril
58:18and invaluable research provides us with a wealth of new knowledge about the 11th century world
58:26that created this remarkable work of art knowledge that can be passed on to future generations the
58:37bio tapestry also reminds us of our shared history and how English French and wider European destinies
58:45are linked
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