The interest of the Tapestry is still further increased when it is realised how much care seems to have been spent on giving an accurate rendering of the subjects shown. The representations of Edward and William, for instance, agree with their likenesses as shown to us on their seals and coins. In accordance with the fashion, Harold and his Saxons are given moustaches, while the Normans go clean-shaven. But while Harold and his men are in Normandy they follow the Norman fashion and also go clean-shaven. Again, the English “packed shield” formation, which so much impressed the Conqueror at Hastings, is shown with great clearness. Indeed, the Tapestry corrects many of the errors of mediæval historians, while Mr. Round believes that with its aid he has cleared up the mystery that hangs round early Norman “Castles.” But though the Tapestry has these uses for archæologists and historians, it will have a wider appeal for those who are attracted by sound workmanship. Indeed, it combines beauty with an attention to correctness of detail and fashion to an extent unsurpassed in the memorials of the time. A word may be added about technique. The “Bayeux Tapestry” always has been, and probably always will be, known under this name. It should, however, be recognised that, properly speaking, it is not a tapestry at all but an embroidery.[1] The figures are worked on linen, probably unbleached, in wool of eight different shades: dark and light blue, red, yellow, dark and light green, black and dove colour. The Latin inscriptions that are placed over most of the scenes are also stitched in wool, and are about an inch in height. It is noticeable that no attempt has been made to give the objects the colours they have in nature, while a difference of colour is the method employed for such effects as perspective. For instance, we see in the case of the horses the difference of the plane of their right and left legs is often suggested by a difference of colour.[2] The tradition that the embroidery was carried out by Matilda and her ladies is a late tradition and need not be considered too seriously. William would have been more indisputably the hero if this were true, and it is not likely that the work, when completed, would have been sent to Bayeux to adorn Odo’s cathedral. It is more probable that it was commanded by Odo for the decoration of his church. The design would be made by some competent artist in possession of the facts and this design would be worked out by the inhabitants of Bayeux and its neighbourhood. It should be remembered that it was very rare for the same persons to be concerned in the designing and the working out of the design. II--THE SCENES DESCRIBED. NOTE.--_In the following paragraphs the figures represent the number of the scene. Corresponding numbers will be found on the copy of the Tapestry above the scene described, and in Part IV._ (_p._ 14).