The result of the fool’s interference in behalf of Harold soon appears. We are now introduced to two personages, sent by Duke William, who, in their master’s name, demand the deliverance of the captive. Guy is standing, and wears a haughty air. He holds an axe in his hand, by way of asserting that he has the power of life or death over his prisoner. He is partially habited in the costume of war. Under his chlamys he wears a tunic of scale armour, probably composed of overlapping pieces of leather. This dress, though not so secure as one of mail, would nevertheless present considerable resistance to the stroke of a weapon. Odo is represented as wearing a dress somewhat similar in the battle of Hastings; also a figure which I take to be William approaching Mount St. Michael. His hose are composed of party-coloured materials; several other personages in the Tapestry, chiefly individuals of consequence, are so adorned. The Saxons, and probably the Normans also, were in the habit of protecting their legs in the day of battle by binding them round with slips of leather or other material. Guy has an armed attendant, standing aloof, but ready to act; and the two messengers of William apparently press their mission with great vigour. The legend of this is, UBI NUNTII WILIELMI DUCIS VENERUNT AD WIDONEM--Where the messengers of Duke William came to Guy. The horses of the messengers stand hard by, held by a _dwarf_, who, although he wears a beard, is evidently a Norman, for his hair is shaven off the back of his head. Over this little fellow, in the Tapestry, is written the word TUROLD. Who this personage was we have no means of knowing. He may have been some favourite with the ladies employed upon the embroidery, who adopted this mode of conferring immortality upon him; or, as Miss Agnes Strickland has suggested, he may have been the artist who was employed to design the Tapestry, and who, though he could not with historic truth be introduced into any of the principal scenes, yet, very laudably, wished for a place upon the canvas. It is, however, important to observe, that the son of a person named Turold occurs in the Domesday Survey, among the under-tenants of Odo, Bishop of Bayeux, for the county of Essex.[44] The celebrated Norman ballad _The Song of Roland_ seems to have had for its author a person of the name of Turold, if we may credit its concluding lines, “And so endeth the history sung of Turoldus.”[45] This inscription bears upon the subject of the authenticity of the Tapestry. Had the work been constructed some considerable period after the events which it describes, it must have been compiled from historic documents, and so have contained none but historic personages. As it is, there are several individuals introduced to us in the Tapestry of which we have no trace in the chronicles of the day, but with which the draftsman takes it for granted that all are as familiar as himself--a very natural and very common oversight.