Skip to main content
USNI Logo USNI Logo USNI Logo
Donate
  • Cart
  • Join or Log In
  • Search

Main navigation

  • About Us
  • Membership
  • Books & Press
  • USNI News
  • Proceedings
  • Naval History
  • Archives
  • Events
  • Donate
USNI Logo USNI Logo USNI Logo
Donate
  • Cart
  • Join or Log In
  • Search

Main navigation (Sticky)

  • About Us
  • Membership
  • Books & Press
  • USNI News
  • Proceedings
  • Naval History
  • Archives
  • Events
  • Donate

Sub Menu

  • Essay Contests
    • About Essay Contests
  • Current Issue
  • Subscribe to Naval History
    • Naval History Digital Subscription
    • Renew Your Subscription
  • Submisison Guidelines
  • Contact Naval History
    • Media Inquiries
  • All Issues
Bayeux Tapestry Museum
Visitors prepare to enter France’s Bayeux Tapestry Museum. Inside the museum, they will see the famous “tapestry,” which depicts the events that culminated in the conquest of England by William, Duke of Normandy.
Bayeux Tapestry Museum

Sub Menu

  • Essay Contests
    • About Essay Contests
  • Current Issue
  • Subscribe to Naval History
    • Naval History Digital Subscription
    • Renew Your Subscription
  • Submisison Guidelines
  • Contact Naval History
    • Media Inquiries
  • All Issues

Museum Report - Remembering Normandy's Other Invasion

By William Galvani
October 2014
Naval History
Volume 28, Number 5
Article
View Issue
Comments
Body

The beaches of Normandy, France, are synonymous with the greatest amphibious invasion in history when Allied armies surged across the English Channel and began landing on D-Day, 6 June 1944. But the city of Bayeux, set amid these beaches, was the location of another great amphibious expedition, that of William the Conqueror in 1066. He launched his fleet, estimated to have consisted of 400 to 1,000 ships, from this same coast and achieved what Napoleon and Hitler later could only dream about: the conquest of England.

While thousands of photographs and newsreels document the 1944 invasion, only the 11th-century Bayeux Tapestry remains to record this historic event and the “dragon ships” that carried William’s army. Visitors to the Bayeux Tapestry Museum in the eponymous city will see the fragile 230-foot embroidery (it is, in fact, not a tapestry) displayed in a graceful darkened chamber. Its now-unknown embroiderers, stitching with eight colors of wool on linen fabric, depicted in detail the pivotal Battle of Hastings and the two years of diplomacy, political intrigue, and oath-breaking that preceded it.

The tapestry is essentially a time-sequenced cartoon packed with more than 1,500 warriors, ships, horses, castles, and buildings. Though much remains in doubt about its origins, many historians believe it was commissioned by William’s half-brother, Bishop Odo of Bayeux, embroidered in about 1070, and subsequently displayed in the great cathedral at Bayeux. One fact, however, stands out: In a preliterate society, the tapestry made clear William’s right to wear the crown of England.

Ships were essential to cross-Channel diplomacy, espionage, and invasion, and the careful and colorful stitching shows 11th-century sailing vessels performing all of these roles. The tapestry gives us a rare contemporary look at the ships of the period, including their planking, masts, rigging, dragon-head bows, high sterns, steering boards (hence, starboard), oars, anchors, and shields on gunwales. The tapestry transmits the energy and motion of these events. Waves roll, sails billow, and flags flap. Sailors handle lines, furl sails, and throw out anchors.

Three depictions of ships crossing the Channel precede the tapestry’s major nautical scenes: the building, provisioning, and embarkation of William’s great fleet. When William, duke of Normandy, learns that Harold Godwinson, earl of Wessex, did not honor his claim to the throne but has instead crowned himself king, we see William ordering his naval architect to build a fleet.

The tapestry shows shipwrights, felling axes in hand, selecting timber in the forests of Normandy. Next, a shipwright uses a shaping axe, its curved blade rendered so accurately that it is recognizable 900 years later, forming planks amid hulls in a shipyard. The planks become ships, and shipwrights bend over them using broadaxes, adzes, profile scrapers, a riveting hammer, and a shell augur, all clearly illustrated by the intricate embroidery.

With the ships completed, the provisioning begins. Anyone remotely interested in logistics will appreciate the scenes of working parties carrying coats of mail (each took two men), spears and swords, casks of wine, and roasted pigs onto the ships. Brilliant colors show the great fleet of single-masted ships crossing the Channel. Sailors tend the billowing, multicolored sails, while helmsmen steer with starboard side rudders. Shields adorn the gunwales. Some ships carry only horses for William’s cavalry. William’s own ship bears a cross atop her mast.

When the fleet reaches the beaches of Pevensey, England, the ships are pulled up on the shore, the horses unloaded, and the masts and rigging struck. Armored knights, lances and shields in hand, immediately charge inshore on their mounts, heading for battle at Hastings. The scene is reminiscent of GIs dashing ashore from their landing craft on Omaha and Utah beaches. The Bayeux Tapestry is so iconic that the cover of the 15 July 1944 issue of The New Yorker, which reported the invasion of Normandy, imitated its stylized soldiers and ships.

The museum’s second floor offers informative exhibits with explanations in English. Visitors will learn about the origins of the tapestry—aspects of which continue to be debated—and its design, material, and construction. The 28-foot boat Thorvald demonstrates Viking clinker construction. Built in 1997, she’s a replica of an 1850 Norwegian boat (though not the kind William used in the Channel crossing). Interpretive panels explain the construction of William’s fleet and display replicas of the tapestry’s boatbuilding tools. On the third floor, a comfortable theater shows an excellent 16-minute film describing the tapestry’s history.


William Galvani was the director of three museums during his 31-year museum career. He is a surface warfare officer and a retired Navy captain who lives in Bainbridge Island, Washington.
 

Bayeux Tapestry Museum

13 Rue de Nesmond, 14400 Bayeux, France

www.tapestry-bayeux.com

Phone: + 33 (0)2 31 51 25 50

Open: Every day except year-end holidays. 15 March to 15 November: 0900 to 1745 (1815 from May to August); 16 November to 14 March: 0930 to 1145 and 1400 to 1715.

Admission: €9

Quicklinks

Footer menu

  • About the Naval Institute
  • Books & Press
  • Naval History
  • USNI News
  • Proceedings
  • Oral Histories
  • Events
  • Naval Institute Foundation
  • Photos & Historical Prints
  • Advertise With Us
  • Naval Institute Archives

Receive the Newsletter

Sign up to get updates about new releases and event invitations.

Sign Up Now
Example NewsletterPrivacy Policy
USNI Logo White
Copyright © 2025 U.S. Naval Institute Privacy PolicyTerms of UseContact UsAdvertise With UsFAQContent LicenseMedia Inquiries
  • Facebook
  • Twitter
  • LinkedIn
  • Instagram
×

You've read 1 out of 5 free articles of Naval History this month.

Non-subscribers can read five free Naval History articles per month. Subscribe now and never hit a limit.