The next point of interest in these panels is the personality of William bearing not a sword or lance, but a staff of authority or mace; while behind him is a figure bearing a sceptre, and it is only behind him again that you have anything resembling the consecrated banner of the chroniclers. Here there is a conflict between the Tapestry and Wace, as well as a divergence between them, which shows (like the episode of the Breton War) that though our document is largely based upon Wace, it must also have other sources. For in the poem the consecrated banner is sent on before the host by William, and that indeed is what one would expect; while the interrogation of one Vital by William as to the results of his scouting, though it seems to have been an incident that struck some contemporary or other vividly, is not found in any of the chronicles. Who Vital was there is no sort of evidence to tell us. It was a name known in Normandy. It occurs on a charter of William’s brother in the list of witnesses, and again in Doomsday under the same lord. This Vital of the Tapestry points in the direction of the scouts (who appear as conventional figures in the 58th panel), and there is here a little piece of realism which is of great interest to those who have studied the field. It will be observed that these scouts are represented as standing upon the summit and the hither slopes of a hill while on the farther slope you have trees conventionally represented. This hill, from which the scouts caught sight of Harold’s army (which had marched up the day before and taken position after that splendid advance from London—one of the most rapid in history) was the hill now known as Telham Hill. The ridge on which Telham farm stands was the summit beyond which the scouts did not advance, and the wood on the slope immediately below is the wood represented in this panel. In the next panel (59), as the inscription tells us, the converse is going on in Harold’s case, and his scouts (represented as being on foot) come to tell Harold, who is mounted, that they have established contact with the enemy. The 60th panel stands for the speech William made to his troops before the battle. Most of the chronicles mention this episode, and Wace in particular. You get again, in the next panel, the deployment suggested as before, and then a group of four panels (62–65 inclusive) bearing no inscription (the words above them being no more than the continuation of the legend above William’s speech: “That they should prepare themselves for battle against the English army both courageously and with art”). And these four panels are the effort of the artist, with such means as he had at his disposal, to give some conception of the order of battle. [Illustration: 61 ] [Illustration: 62 ] [Illustration: 63 ] [Illustration: 64 ] [Illustration: 65 ]