First we have, in the 69th panel itself, Odo of Bayeux, the Bishop, William’s brother, with the characteristically French inscription, “Pueros suos,” by way of saying “his men.” “Here Odo, the Bishop, holding a stick, heartens his men,” or literally, “his children.” So the modern French army term, “mes enfants” for “men.” All this is quite clear; but the next panel (No. 70) has led to the controversy of which I speak. Note here three men at the charge. The first brandishes a sword, the second has a mace or sceptre in his hand, and is lifting the nasal of his helm, and the third holds a lance and pennon or, as the French then called it, a Gonfanon. Above the group is written, “Here is Duke William.” It is fairly established that Wace’s poem (which the panels of this part of the Tapestry follow with great fidelity) is here abandoned by the artist and the account of Benoit de Saint More is followed. The incident is, of course, that of William showing his face to his followers when it was feared he had fallen. Further, the first figure carrying the pennon is certainly intended for Eustace of Boulogne. Above his head, in one of the few fragments that have suffered mutilation, is the beginning and ending of the word Eustatius (E——TIUS); while the clear writing of the inscription round the central figure and the obvious reference to the passage in Benoit de Saint More, coupled with the fact that the central figure bears a mace or sceptre, not a sword, leave no doubt that it is William that is intended. It is worth remembering in connection with the date of the Tapestry that the emphasizing of the part which Eustace of Boulogne played in the battle is peculiar to the twelfth-century chroniclers. [Illustration: 72 ] [Illustration: 73 ] [Illustration: 74 ] The next three panels are bringing the battle to an end. “Here,” says the inscription, “the French fight and slay those who were with Harold.” The number of armorial shields, and their presence even, on the Saxon side is noteworthy, and the reappearance of the round shield with the boss in the border; further, that the archers have at last got home, is indicated in the arrows that have struck the shields, and in the full quivers of the border. The stripping of the bodies of the slain by the camp followers is equally indicative of the stage the fight has reached; and in the next panel (the 74th) you have one of the last episodes, the death of Harold himself. Harold is introduced twice: first, standing near his standard pulling from his face the arrow that has struck it; next, cut down by a mounted horseman, who strikes him on the thigh with his sword. That exactly follows Wace point for point, for his poem tells us first that Harold was struck in the eye by an arrow and that he pulled it out, and that then one came, a knight, who struck him on the thigh with a sword, wounding him to the bone; that at the same moment the standard fell to earth, and that the men “then killed Harold.”