Till the revolution, the tapestry was always kept in the cathedral, in a chapel on the south side, dedicated to Thomas à Becket, and was only exposed to public view once a year, during the octave of the feast of St. John on which occasion it was hung up in the nave of the church, which it completely surrounded. From the time thus selected for the display of it, the tapestry acquired the name of _le toile de Saint Jean_; and it is to the present day commonly so called in the city. During the most stormy part of the revolution, it was secreted; but it was brought to Paris when the fury of vandalism had subsided. And, when the first Consul was preparing for the invasion of England, this ancient trophy of the subjugation of the British nation was proudly exhibited to the gaze of the Parisians, who saw another _Conqueror_ in Napoléon Bonaparté; and many well-sounding effusions, in prose and verse, appeared, in which the laurels of Duke William were transferred, by anticipation, to the brows of the child and champion of jacobinism. After this display, Bonaparté returned the tapestry to the municipality, accompanied by a letter, in which he thanked them for the care they had taken of so precious a relic. From that period to the present, it has remained in the residence appropriated to the mayor, the former episcopal palace; and here we saw it. It is a piece of brownish linen cloth, about two hundred and twelve feet long, and eighteen inches wide, French measure. The figures are worked with worsted of different colors, but principally light red, blue, and yellow. The historical series is included between borders composed of animals, &c. The colors are faded, but not so much so as might have been expected. The figures exhibit a regular line of events, commencing with Edward the Confessor seated upon his throne, in the act of dispatching Harold to the court of the Norman Duke, and continued through Harold's journey, his capture by the Comte de Ponthieu, his interview with William, the death of Edward, the usurpation of the British throne by Harold, the Norman invasion, the battle of Hastings, and Harold's death. These various events are distributed into seventy-two compartments, each of them designated by an inscription in Latin. Ducarel justly compares the style of the execution to that of a girl's sampler. The figures are covered with work, except on their faces, which are merely in outline. In point of drawing, they are superior to the contemporary sculpture at St. Georges and elsewhere; and the performance is not deficient in energy. The colors are distributed rather fancifully: thus the fore and off legs of the horses are varied. It is hardly necessary to observe that perspective is wholly disregarded, and that no attempt is made to express light and shadow.