Footnote 5: The Tapestry, of course, does not show Freeman’s famous “Palisade,” and that for an excellent reason. The Palisade never existed outside the imagination of Oxford. ------------------------------------------------------------------------ [Illustration: 1 ] [Illustration: 2 ] [Illustration: 3 ] [Illustration: 4 ] The first three sections of the Bayeux Tapestry must be taken together, for they describe one incident, which is the departure of Harold from Bosham the port of Chichester, and a manor of his own. Of strictly contemporary evidence to that journey we have none. We can only guess that the year in which it was taken was the year 1064. As to its motive the Bayeux Tapestry gives of course the current Norman version, or rather hints at it. Edward the Confessor is in his palace at Westminster. It is important to note the conventional signs of his rank, the sceptre and the crown. It is the reappearance of the same symbols in the crowning of Harold—which was in the Norman version his supreme act of treason—that is particularly insisted upon. Edward, thus officially presented as it were, is giving a message: that is certainly the symbolism of the attitude, and it is exceedingly likely, though not equally certain, that the person to whom the message is being given is intended for Harold. But it is remarkable that the inscription here says nothing of the nature of that message, and that the point of capital importance—William of Malmesbury’s assertion that Harold was sent by Edward to assure William of his succession to the English throne—is not set out. Taking Wace as the basis of the Tapestry—and this is the best hypothesis—Harold sailed to release from William’s custody his brother Wulfnoth, who had been kept as a hostage in Normandy for King Edward to guarantee King Edward the fidelity of Godwin. But we must remember that the _Roman de Rou_ does mention Edward’s sending Harold to assure William of the succession. And on the whole it is most likely that the intention of the Tapestry is to suggest this. Harold and his knights ride to Bosham. Harold himself is conventionally distinguished by the hawk on the wrist. The Church of Bosham is introduced into the story probably or certainly with the object of emphasizing (as the Tapestry perpetually does) the religious enormity of Harold’s later action, and both this visit to the Church and the Feast in the Upper Room before embarking, which forms the fourth episode, are clearly intended to refer to incidents which were traditional in the Norman story. But we have, I think, no remaining text giving either the visit to the Church or the Feast. [Illustration: 5 ] [Illustration: 6 ] [Illustration: 7 ] [Illustration: 8 ] In the fifth division Harold and his suite embark, and it should be noted how large a company the Convention of the Tapestry supposes.