This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page Two Bayeux scholars at loggerheads over whether dangling shape depicts dagger or the embroidery’s 94th phallus In a historical spat that could be subtitled “1066 with knobs on”, two medieval experts are engaged in a battle over how many male genitalia are embroidered into the Bayeux tapestry The Oxford professor George Garnett drew worldwide interest six years ago when he announced he had totted up 93 penises stitched into the embroidered account of the Norman conquest of England 88 of the male appendages are attached to horses and the remainder to human figures Now, the historian and Bayeux tapestry scholar Dr Christopher Monk – known as the Medieval Monk – believes he has found a 94th Garnett says it is the scabbard of a sword or dagger “I am in no doubt that the appendage is a depiction of male genitalia – the missed penis The detail is surprisingly anatomically fulsome,” Monk said says: “The story it tells is an epic poem and a moralistic work.” The two historians disagree on what the black shape emerging from this figure’s tunic represents. Photograph: Bayeux MuseumThe historians, whose academic skirmish takes place in the HistoryExtra Podcast both insist that – beyond the smutty jokes and sexual innuendo – their work is far from silly Garnett said it was about “understanding medieval minds” “The whole point of studying history is to understand how people thought in the past,” he said He believes the unknown designer of the epic embroidery was highly educated and used “literary allusions to subvert the standard story of the Norman conquest” He said: “What I’ve shown is that this is a serious learned attempt to comment on the conquest – albeit in code.” In the Bayeux tapestry He pointed out that the battle’s two leaders – Harold Godwinson who died at Hastings with an arrow in his eye and the victorious Duke William of Normandy AKA William the Conqueror – are shown on steeds with noticeably larger endowments “William’s horse is by far the biggest,” Garnett said Monk insisted the running man’s dangly bits are the tapestry’s “missing penis” the host of the podcast and a Bayeux tapestry expert “It’s a reminder that this embroidery is a multi-layered artefact that rewards careful study and remains a wondrous enigma almost a millennium after it was stitched,” he said The Michael Sarin Quintet at the Bar Bayeux: Michael Sarin (drums) the neck of Fima Ephron’s bass and the shoulder of pianist Rahul Carlberg; the evening’s emcee It was only after I left the Bar Bayeux in Brooklyn last Friday night elated after two riveting sets from the Michael Sarin Quintet that I realized that the club’s name was a clever pun on its address at 1066 Nostrand Avenue simultaneously congratulating and chiding myself for the insight and the slowness with which it had come Having contended with speed traps along the Susquehanna harsh winds in the Poconos and sink holes in New Jersey earlier that day I was just glad to have made it to the right place at the right time and to have heard and seen the kaleidoscopic succession of compositions—all originals and all by the band leader a transplant to the Empire State from Bainbridge Island Washington in the Northwest corner of the American Empire the Bayeux Tapestry depicts the Norman Conquest which took place in the year shared with the street number in stylish gold that I now regarded through the mists of Nostrand Avenue In more than two-hundred linear feet of colorful needlework the famed French textile depicts bloody conflict—a broadsword to the thorax here or Viking longboats packed with knights armed to the top of their heads decorate the plain red velvet curtain that hangs in the Bar Bayeux’s big glass window the history of jazz is the history of combat cymbals hurled at insurgent alto saxophonists tenor duels and kindred cutting contests staged so as to inflict wounds of shame on the losers The Bar Bayeux hosts jazz five nights a week and comedy on Sunday The long narrow space is traversed by an unfussy backed by a pair of conjoined oblong mirrors that reflect the glow of Art Deco lamps and the deep red of the walls on which hang vintage gin posters and original art At the far end of the bar a cluster of round tables and chairs gathers in front of the performers at the back reaches of the space Doubtless many of these jazzers and jesters have emerged from an evening inside with injuries to their confidence scathed by self-criticism or otherwise bruised in the struggle to stake the flag of their originality on new territory The improvising spirit and body do not always answer the call of duty Spontaneity and perfectionism are the Janus faces of jazz Last Friday’s maiden voyage of the Michael Sarin Quintet was not an exercise in five-upmanship nor otherwise competitive display but a wellspring of collaborative music-making in which individual expression was buoyed by an artistic plan of campaign masterminded by the group’s leader Sarin his been living and working in New York City since the 1980s the Klezmer clarinet virtuoso David Krakauer Curtis welcomed all who had come for whatever reasons—to hang out to forget about Trump and his conquests and invasions But Curtis gently reminded the assembled that many in the club had come expressly to hear what he rightly called the “world-class musicians.” Indeed a host of Sarin’s colleagues were in attendance The quintet offered them connoisseurs’ music that delighted and challenged anyone listening Sarin has made his career as a percussionist shone and flamed not just Bayeux red but in colors from across the spectrum and uncannily incisive and encouraging always but also marked by unpremeditated bolts of syncopation unexpected emphasis and humor—the lash and laugh of the skins These shifting effects and clever commentaries ride on an unfaltering rhythmic flow that counts as a force of nature it took years of youthful practice to develop and secure its sustaining power But Sarin is much more than a consummate rhythmicist unfalteringly rigorous yet irrepressibly creative He is a musical omnivore: he eats everything with his ears Sarin can sing you anything from this vast catalog on request and in exactly the right key That comprehensive knowledge and craft is coupled with a keen sense of social and political contexts as well as a feel for the connection of music to place and people Composition is not an academic exercise for Sarin even if there is much erudition in his complex scores with their searching harmonies and shifting time signatures cut through by syncopation The rhythmic ebullience of the north-African infused “A’ashiri,” which means homeboy in Moroccan Darija dialect projects a carefree self-assuredness The title seems to refer to human trafficking—crimping being a synonym for shanghai-ing The 5/4 meter of the opening section conveys horrors and violence the texture aggravated by seasick chromaticism and jagged These shackling procedures give way to a more contiguous comforting melody in lilting triple time that seems to evoke hope or simply the beauty of the seas as seen from captivity—assuming a vantage point of the waves from above deck Another uneven 5/4 time signature followed directly on from “Crimper” in “A.I.n’t Shit.” Replete with the irritating routines and tiresome tautologies of LLM and machine learning as represented by self-cannibalizing canons and an incessant single-note piano ostinato Sarin’s archly human wit cut through the computerized clutter the composer become living ghost in the machine powered by his solipsistic drum phases churned out like an IBM punch card getting fed through the mainframe The first set finished with “Flag Wavers” marching relentlessly upward then down in unambiguous undoubting on-the-beat chords before arriving in the end at hand-over-heart D-major unadulterated by foreign harmonic elements These foursquare fulminations were ironized by the snap of Sarin’s snare and the jeering of his ride cymbal and by Shepik’s careening solo that cut against the red-white-and-blue grain “Disheveled Dandy” responded to this permanent-press patriotism with an air of unkempt contempt Sarin wrote and arranged all the evening’s music with the evening’s four other performers in mind The unusual use of two electric bassists shows the composer’s admiration for Fima Ephron and Jerome Harris who explored the high baritone and tenor strata with his countermelodic investigations Harris put down his bass and took up his guitar on occasion to raise the ensemble tessitura in dialogues with the Brad Shepik another Washington Stater also long in New York Shepik proved an intrepid improviser on “Wheels,” dedicated to him; the guitarist scurried and soared above the Afrobeat unfazed—indeed uplifted—by Sarinian complexities offered up a ruminative solo introduction to “Meditation” that progressed from the tentative to the poised Carlberg has the rhythmic smarts and fleetness to keep pace with Sarin’s shifting temporal frames and his pianism ranges from the pointillistic to the tastefully loquacious to the mighty two-fisted tremolo This whole lot of night music was all new material from the composer-arranger-performer-bandleader bravely and brilliantly presented by his group there were moments of doubt where decisions had to made on the spot Sarin continued to drum while singing the part of anyone who had missed an entry or he shouted instructions above the glorious fray as he did just before evening’s end in the high-octane “Geri,” dedicated to the American jazz pianist Geri Allen coruscating crescendo of a drum solo in which the maestro surged to the foreground accompanied by the rest of the ensemble last time!” to his bandmates and they joined forces for the final refrain of the evening Here’s hoping this is not the last time but rather the first of many for the Michael Sarin Quintet a band with many other dates to mark and clubs to conquer Sign up for Smithsonian e-news A professor at Oxford University says there are 93 depictions of male genitalia in the tapestry while an expert on Anglo-Saxon nudity claims he has found an extra phallus A row over the number of penises depicted in the Bayeux Tapestry has deepened with two medieval scholars clashing over a mystery appendage depicted in the famous eleventh-century embroidered work George Garnett, a professor at Oxford University, says there are 93 depictions of male genitalia in the tapestry. But Christopher Monk, an expert on Anglo-Saxon nudity, claims that he has found an extra phallus, outlining his reasons in a blog published yesterday measuring 70 metres long and 50 centimetres high with nine panels comprising 58 scenes showing events leading up to the Norman Conquest of England after the Battle of Hastings in 1066 Monk published an essay explaining that “previous commentators seemed to have missed the genitals of this running writing a piece for History Extra entitled The Bayeux Tapestry with knobs on: what do the tapestry's 93 penises tell us Garnett counted the number of penises in the Bayeux Tapestry giving a total of 93—five on men shown in the top and bottom borders and 88 on horses Garnett discussed his findings recently on the BBC History Magazine podcast, History Extra, reiterating that the border figure’s mystery appendage is the scabbard of a sword or dagger as “right at its end is a yellow blob”, which he believes is a depiction of a brass element. “If you look at what are incontrovertibly penises in the tapestry, none of them have a yellow blob on the end,” he told History Extra, highlighting the scholarly aspect of his research. “What I’ve shown is that this is a serious, learned attempt to comment on the conquest, albeit in code.” Monk says the dangling appendage is “completely wrong for a scabbard” However, in his new blog post, Monk outlines why the dangling item is not, in his opinion, a scabbard. “Two things: scabbards are not shown in the Bayeux Tapestry with ornamentation at their bottom end—no [yellow] ‘blobs’ [at the end]; and the position of the dangling appendage is completely wrong for a scabbard.” He adds: “One of the most important things when studying detail in early medieval/Anglo-Saxon artwork is to observe patterns. In the case of male genitalia in the Bayeux Tapestry, human and equine, there are patterns for a penis … they are drawn consistently.” Monk also highlights other depictions of genitalia in the tapestry that look similar to the disputed phallus. Another image for instance shows some testicles hanging beneath an axe-wielding figure. “What we should observe here is the close similarity between his visible testicles and the circular bits of our running man’s appendage,” Monk says. Restoration work on the tapestry by Victorian conservators may also have distorted the penis shaft, he adds. Monk acknowledges that firm conclusions are a rarity when it comes to interpreting the Bayeux Tapestry, but asserts: “[These are] male genitals, not a scabbard. That’s where the internal, art historical evidence points ... New ideas and theories rise up frequently. Or, put another way, one should never count one’s penises too quickly.” Monk says he hopes his post will “put an end to the academics-at-loggerheads debate, as it’s been rather amusingly characterised by the UK press”. which is returning to England for first time in 940 years news28 February 2018How Britain tried—and failed—to borrow the Bayeux Tapestry twice before One attempt was made in 1953 to mark the coronation of Elizabeth II and another for the anniversary of the Battle of Hastings in 1066 news19 May 2022Digitising the Bayeux Tapestry: Victoria and Albert Museum will work with French city to research famous Medieval workLondon museum signs memorandum of understanding with Bayeux city officials to develop curatorial and scientific exchange highbrow scholars have debated the myriad mysteries of the Bayeux Tapestry There are still questions about the stunning 11th century depiction of the Norman Conquest not least where it was made and who commissioned it But now, nearly 1,000 years on from the Battle of Hastings, a new academic row has broken out: exactly how many penises feature on the embroidery? Seven years ago, Oxford academic Professor George Garnett claimed to have identified 93 depictions of male genitalia.  Five were on soldiers, while 88 belonged to horses, including the steeds of England's King Harold and William the Conqueror. However, medieval scholar and expert on Anglo-Saxon nudity, Dr Christopher Monk, believes he has found another appendage, taking the real figure to 94. In the original count, the human genitals are all attached to naked figures. But there is one contested depiction of a running man with something hanging low beneath his tunic. 'I am in no doubt that the appendage is a depiction of male genitalia – the missed penis, shall we say?' he told the HistoryExtra Podcast.  'The detail is surprisingly anatomically fulsome'. But Professor Garnett is firm in his view that this is a scabbard of a sword or dagger.  He said: 'It's quite clear to me that what is being depicted in that instance is the scabbard of his sword or dagger because right at its end is a yellow blob, which I take to be probably a depiction of brass. 'If you look at what are incontrovertibly penises in the tapestry, none of them has a yellow blob at the end.' Podcast host and tapestry expert Dr David Musgrove said: 'The possibility of there being another penis in the Tapestry is fascinating. 'It invites us to think again as to why there are these explicit scenes in what is otherwise a story of politics, power and pitched battle. 'It's a reminder that this embroidery is a multi-layered artefact that rewards careful study, and remains a wondrous enigma almost a millennium after it was stitched'. The tapestry is thought have been woven in the 1070s to celebrate the victory of William, Duke of Normandy, over the Anglo-Saxon King Harold in the Battle of Hastings in 1066. It is nearly 230 feet (70 metres) long and 18 inches high. Writing about his original research in 2018, Professor Garnett, of St Hugh's College, Oxford, said: 'By my calculations there are 93 penises in what survives of the original tapestry.' He said four were attached to men, whilst what may be a fifth appears on a soldier's corpse in the margin below the embroidery. 'There is also what appears to be a pair of testicles, the penis itself being concealed by a discreetly positioned axe handle,' he said.  'All of these human male genitalia are confined to the upper or lower borders.   'There are 88 penises depicted on horses, all in the main action; and curiously, none on dogs, or on any of the other many creatures in the main frame or borders. 'With the possible exception of the dead soldier, all the human members are shown tumescent [erect]. A small minority of the equine ones are too.'  The expert added that it was likely no coincidence that King Harold is seen 'mounted on an exceptionally well-endowed steed'. And the 'largest equine penis by far' is seen on a horse presented to a figure who 'must be' William just prior to the battle, Professor Garnett went on.  'The clear implications are that the virility of the two leading protagonists is reflected in that of their respective mounts, and that William was in this respect much the more impressive of the two, as the denouement of what survives of the tapestry showed to be the case.'  Discussing the impact of his research, Prof Garnett told the podcast: 'I think my academic colleagues were mostly very entertained. One of them said to me, 'You're not a historian of masculinity; you're a historian of masculinities, 93 of them'. ' He insisted that his work is not about sensationalism – it is about understanding medieval minds. 'The whole point of studying history is to understand how people thought in the past,' he says. 'And medieval people were not crude, unsophisticated, dim-witted individuals. Quite the opposite.' HistoryExtra - an offshoot of BBC History Magazine - is inviting the public to offer thoughts on the 'missing penis' on its social media channels. 1066: Between seven and twelve thousand Norman soldiers defeat an English army of a similar size at what is now Battle, East Sussex 1476: The embroidered cloth depicting the battle is referred to for the first time in an inventory of Bayeux Cathedral 1732-3: Antiquarian Smart Lethieullier writes the first detailed English account of the tapestry while living in Paris - but it is not published till 1767 1792: During the French Revolution, the precious artwork was declared public property and confiscated to be used as a covering for wagons - but it was saved by a lawyer who hid it in his home 1804: In a move dripping in symbolism, Napoleon - under the impression France was about to invade and conquer Britain - had the tapestry temporarily moved to Paris for display 1870: The tapestry is removed from Bayeux once again during the Franco-Prussian War - but it is moved back two years later 1944: The Gestapo removed the tapestry to the Louvre in Paris - just days before the German withdrawal.  A message from Heinrich Himmler - who coveted the cloth because it is a part of Germanic history - is believed to imply the Nazis planned to take it to Berlin 1945: It was returned to Bayeux, where it has been ever since Major terror attack 'was just HOURS away' before it was foiled by the special forces and police:... 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No one seems to have shared their thoughts on this topic yetLeave a comment so your voice will be heard first. {{message}} Thank you!We have emailed you a PDF version of the article you requested You can also addnewsletters@iflscience.comto your safe senders list to ensure you never miss a message from us IFLScience HomeHow Many Penises Appear In The Bayeux Tapestry That Question Is Harder Than You ThinkComplete the form below to listen to the audio version of this article IFLScience needs the contact information you provide to us to contact you about our products and services You may unsubscribe from these communications at any time For information on how to unsubscribe, as well as our privacy practices and commitment to protecting your privacy, check out ourPrivacy Policy IFLScience HomeJoin for Exclusive Dr. Russell Moul emailRussell is a Science Writer with IFLScience and has a PhD in the History of Science, Medicine and Technology. emailEditedbyHolly LargeHolly Large FacebookemailHolly is a graduate medical biochemist with an enthusiasm for making science interesting The Bayeux tapestry depicts the events of the Norman conquest of England in 1066 The images it shows contain all sorts of curious features and possibly 94 penises.  how many penises are on display in the Bayeux tapestry I am sure you were not expecting that question on an otherwise quiet Friday afternoon If this is something that piqued your interest or perhaps you’ve been wondering this yourself for a long time The subject has consumed some historical attention for some time and has now become a small matter of debate concerning the famous medieval embroidery This isn’t just some cock-and-bull story; figuring out the reason behind all the penises slipped into the images could reveal insights into the artists who created it, whether they were simply subversive attempts to have a laugh or if they actually convey some sort of meaning to the narrative. According to the historian Alixe Bovey some medieval doodles or other marginalia that we might consider crude or grotesque today were actually subtle commentaries on the events So what about the Bayeux tapestry? Well in 2018, in an article for HistoryExtra Professor George Garnett from the University of Oxford recorded 93 male-members in his tally of todgers visible in the events surrounding the Norman conquest of England To his count, there are only five human penises on show some of which are also depicted in a state of excitement The horse with the most substantive penis belongs to Duke William of Normandy himself the conqueror and future king of England.  As Garnett noted in his article: “The clear implications are that the virility of the two leading protagonists is reflected in that of their respective mounts and that William was in this respect much the more impressive of the two as the denouement of what survives of the tapestry showed to be the case.” all the other mounted horses in the battle demonstrate significantly more modest packages than the Duke’s prime steed Duke William is shown with his extremely well-endowed horse a depiction choice that may well be conveying a message about the Duke's overall prowess.Image credit: Jorisvo/Shutterstock.comAll of the human penises on display are relegated to the margins which is a common space within medieval texts or other sources for the artists to take a few personal liberties or to find ways to convey sentiments to aid the viewer Under the scene where the Count of Ponthieu takes Earl Harold the margins contain an image of a man with an erection reaching out to a naked woman who is covering her eyes and her groin with her hands It has been suggested that rather than just being a nonsensical addition, the pair are actually part of Æsop’s fables concerning a father who has raped his own daughter “Perhaps the designer considered relevant the theme of a treacherous act of predation which could scarcely have been more heinous It would certainly have colored the interpretation of the main scene above by any viewer of the tapestry who caught the allusion,” Garnett explained Garnett’s article is a fun example of how to read and access medieval sources through content that you may not consider part of the overall piece, and maybe that was the end of the story. That is, until now, for Dr Christopher Monk, an historical consultant for creatives and the heritage sector, appears to have identified a 94th penis there is a running man depicted in the tapestry margins who has something suspicious dangling below his tunic “I am in no doubt that the appendage is a depiction of male genitalia – the missed penis, shall we say. The detail is surprisingly anatomically fulsome,” Monk told HistoryExtra Garnett thinks this is a (ph)fallacy; that it is simply the man’s sword scabbard poking through Admittedly, the “point” of consideration does have a distinctly penis-like shape to it, but it is also strangely black then it is not quite so apparent compared to the other specimens on display in the tapestry But whether you're team Garnett or team Monk this debate really does demonstrate the complexities of the medieval mind They are part of a coded system of communicating layers of meaning especially to those who know how to read them [H/T: The Guardian] HumansT. Rex Handbags Could Soon Be A Thing, Ronan The Sea Lion Has Better Rhythm Than Some Humans, And Much More This Week2 days agolink to article ancient ancestorsHuman Wounds Heal Nearly 3 Times Slower Than Other Animals': Could This Be Due To Our Evolution?2 days ago120link to article T. Rex Leather, Glow-In-The-Dark Gas Clouds, And Musical Sea Lionslink to article The Five Most Common Headacheslink to article © 2025 IFLScience. All Rights Reserved. RSS But what experts can’t agree on is how many penises the tapestry contains He also found William the Conqueror’s horse had “the largest equine penis by far” even bigger than the horse belonging to Harold Godwinson “And that’s not a coincidence,” Garnett added The disagreement between the historians came to a head on the History Extra Podcast believes the appendage is the sheath of a sword or dagger the pair could agree that their work was important and not silly “The whole point of studying history is to understand how people thought in the past,” Garnett said Podcast host and Bayeux Tapestry expert Dr David Musgrove said the new theory was fascinating “It’s a reminder that this embroidery is a multi-layered artefact that rewards careful study and remains a wondrous enigma almost a millennium after it was stitched.” Main Image: Professor George Garnett says the object protruding from the man’s tunic is a sheath of a sword or dagger ArtDependence Magazine is an international magazine covering all spheres of contemporary art ArtDependence features the latest art news highlighting interviews with today’s most influential artists fair directors and individuals at the axis of the arts The magazine also covers series of articles and reviews on critical art events new publications and other foremost happenings in the art world If you would like to submit events or editorial content to ArtDependence Magazine, please feel free to reach the magazine via the contact page A long roll of cloth embroidered with key scenes from British history is a unique medieval chronicle What it is: A roll of linen cloth with wool embroidery depicting scenes from the 11th century Where it is from: Bayeux Cathedral in Normandy Related: Bad Dürrenberg headdress: An elaborate 9,000-year-old headpiece worn by a female shaman in Europe Get the world’s most fascinating discoveries delivered straight to your inbox Each scene is labeled with a basic caption in Latin The tapestry depicts key moments in history from 1064 to 1066 — mainly the struggle between Harold for control over the throne of England following a succession crisis when King Edward the Confessor died childless This came to a head at the Battle of Hastings in October 1066 William and his troops prevailed and King Harold was killed —Doban-kun: A 'cute' human-shaped counting tool from prehistoric Japan —Dancing dwarf: A 2,300-year-old ancient Egyptian statue of a godlike man with a muscular 6-pack The last scene on the Bayeux Tapestry shows the Battle of Hastings and the death of King Harold is illustrated Missing from the tapestry is another panel or two which may have depicted William the Conqueror's coronation as King of England Regardless of whether the events in the tapestry are strictly historically accurate the artifact is important for its visual record of medieval weapons clothing and other objects from daily life Kristina KillgroveStaff writerKristina Killgrove is a staff writer at Live Science with a focus on archaeology and paleoanthropology news Her articles have also appeared in venues such as Forbes, Smithsonian Killgrove holds postgraduate degrees in anthropology and classical archaeology and was formerly a university professor and researcher She has received awards from the Society for American Archaeology and the American Anthropological Association for her science writing you will then be prompted to enter your display name Archaeologists discover hundreds of metal objects up to 3,400 years old on mysterious volcanic hilltop in Hungary May's full 'Flower Moon' will be a micromoon Our goal: to leave no breach of freedom of information unreported our latest investigation reports as well as our publications produced every day by our regional offices in connection with our network of correspondents in 115 countries around the world we carry out in-depth work with governments and institutions We offer concrete solutions and launch international initiatives We are on the ground to assist journalists in danger Do you believe there can be no freedom of conscience without freedom of the press Do you want to help free and independent journalism Do you want to defend the right to information There are several ways to support RSF: find the one that suits you and join the fight Go behind the scenes of RSF and discover in detail our operations our governance… but also our favourite picks projects and events we support and who act in their own way to advance our commmon ideal The 2024 memorial stone at the Bayeux Reporters' Memorial was unveiled on Thursday 10 October by Reporters Without Borders (RSF)’s Editorial Director Anne Bocandé in the presence of the families and friends of journalists killed in the course of their work An olive tree was planted as a special tribute to the journalists killed in Gaza over the past year in the presence of Ola Al Zaanoun and Adel Al Zaanoun correspondents for RSF and Agence France-Presse (AFP) The 2024 memorial stone at the Reporters' Memorial in Bayeux was unveiled on Thursday 10 October as part of the 31st edition of the Bayeux Calvados-Normandy Award for war correspondents Engraved on the white marble are 57 new names of journalists who paid with their lives for their work informing the world from Palestine An olive tree was also planted this year in tribute to the over 130 Palestinian journalists killed in Gaza since 7 October 2023 to honor their commitment to the right to information "More than 50 new names are inscribed on the new stone memorial for the journalists killed this year — killed because they were journalists To continue embodying their ideals of quality journalism let us tell their stories Let’s be clear: these journalists didn’t die We demand every perpetrator be held to account RSF's Gaza correspondent Ola Al Zaanoun and her husband, Agence France-Presse (AFP) correspondent Adel Al Zaanoun, spoke during the ceremony about what it means to be a reporter in Gaza, an isolated enclave where journalism has been silenced since the start of the war In Lebanon, three journalists were killed as the war in Gaza extended to southern Lebanon. One of these was Issam Abdallah, a Reuters reporter who died on 13 October 2023 from an Israeli strike Issam's fellow journalists Christina Assi and Dylan Collins — survivors of the attack that claimed his life — and his sister Abeer Abdallah were present at the collective tribute Inaugurated in 2006, the Bayeux Reporters' Memorial was built in partnership with RSF and aims to honor the memory of journalists and reporters killed in conflicts or murdered in the course of their work. The 57 names engraved on the Bayeux 2024 memorial stone were journalists killed in the course of their work between 1 June 2023 and 1 June 2024, with the exception of six journalists who died at the beginning of 2023 and were added thanks to RSF’s investigations. Your donations enable RSF to keep working. We depend on you in order to be able to monitor respect for press freedom and take action worldwide. You support our activities when you buy our books of photos: all of the profits go to Reporters Without Borders. Thanks to you, we remain independent." Notifications can be managed in browser preferences. One Oxford scholar counted 93 penises – but another expert believes there is one more I would like to be emailed about offers, events and updates from The Independent. Read our Privacy notice The Bayeux Tapestry depicts one of Britain’s most famous clashes, the Battle of Hastings in which William the Conqueror defeated Harold Godwinson to take the English throne the cloth is subject to a new battle as two historians have gone head-to-head over the number of penises included on the historical work Oxford academic Professor George Garnett counted 93 penises on the embroidered fabric in 2019, with 88 belonging to horses and another five to men. But Bayeux Tapestry scholar and expert on Anglo-Saxon nudity Dr Christopher Monk believes he has found one extra on another man in the tapestry. Speaking to HistoryExtra, Dr Monk said: “I am in no doubt that the appendage is a depiction of male genitalia – the missed penis, shall we say? The detail is surprisingly anatomically fulsome.” Professor Garnett maintained on the HistoryExtra podcast that he was still correct, as he believed the potential penis was the scabbard of a man’s dagger due to the “yellow blob” at the end, which he took to be brass. He said: “If you look at what are incontrovertibly penises in the tapestry, none of them have a yellow blob on the end.” As well as debate over this additional appendage, many scholars are still discussing why the Tapestry includes the male members. While most of the horse penises are believed to portray them as stallions, Professor Garnett highlights there are three horses where their endowments are emphasised. Harold Godwinson and William the Conqueror are portrayed as mounting horses with particularly large penises. “William’s horse is by far the biggest,” Garnett said. “And that’s not a coincidence.” The human penises remain a mystery, as they can be found in the borders of the Tapestry above and below. Professor Garnett has agreed with an argument made by his fellow Tapestry scholar, Professor Stephen D White, who has said that some of the illustrations in the border refer to Aesop’s fables. The Oxford scholar said: “We know the designer was learned – he was using [ancient Thracian] Phaedrus’s first-century Latin translation of Aesop’s fables, rather than some vague folk tradition.” The professor believes the depictions of nudity in the Tapestry are there to make a point: “Sexual activity is involved, or shame, and that makes me think that the designer is covertly alluding to betrayal.” Join thought-provoking conversations, follow other Independent readers and see their replies which depicts the Norman Conquest of England in 1066 Published: Mar 6, 2025written by Emily Snow one of the world’s most famous medieval artworks which depicts events leading up to William the Conqueror’s victory over King Harold II The Bayeux Tapestry fragment was found in the Schleswig-Holstein State Archives in Schleswig It belonged to the estate of Karl Schlabow who specialized in textiles and founded the Neumünster Textile Museum was part of a group of scientists commissioned by the Nazis to remeasure the Bayeux Tapestry in 1941 The rediscovered fragment was removed from the underside of the embroidery at some point during this project It is unknown when or why it would have been removed The Bayeux Tapestry is an important source for understanding the history and cultural impact of the Norman Conquest. But the exact origins of the medieval embroidery have long been the subject of speculation. According to one French legend, it was created by Queen Matilda, William the Conqueror‘s wife 20th-century scholarly analysis concluded it was most likely commissioned by William’s half-brother The significance of the Bayeux Tapestry was not widely noted until 1729 when scholars rediscovered it during its annual display in the Notre Dame Cathedral of Bayeux it is located at the Bayeux Museum in Normandy Its public display is slated to close for two years Its reopening will coincide with the millennium anniversary of William the Conqueror’s birth in 1028 Emily is an art historian and writer based in the high desert of her native Utah In addition to writing about her favorite art historical topics she covers daily art and archaeology news and hosts expert interviews for TheCollector She holds an MA in art history from the Courtauld Institute of Art with an emphasis in Aesthetic Movement art and science TWO scholars are arguing the toss over the number of penises shown on the Bayeux Tapestry Oxford academic Prof George Garnett claims he identified 93 todgers in the depiction of William the Conqueror’s victory at the 1066 ­Battle of Hastings But Anglo-Saxon nudity expert Dr Christopher Monk insists there are actually 94 — saying his rival missed the pecker of a running man in the border of the 230ft tapestry Dr Monk told the History Extra Podcast: “I’m in no doubt that the appendage is a depiction of male genitalia — the missed penis “The detail is surprisingly anatomically fulsome.”  But Professor Garnett remains firm in his belief it is a sword or scabbard dangling beneath the man’s legs — because on the end it has a yellow blob not seen in the other penises In Prof Garnett’s 2018 tallywhacker tally, he found five on men and 88 on horses. Most were in a state of arousal, while the whopper on William’s steed was seen as a symbol of his great virility.  On the podcast, he said his work was serious as it gave insights into the mind of the tapestry designers.  Our journalists strive for accuracy but on occasion we make mistakes. For further details of our complaints policy and to make a complaint please click this link: thesun.co.uk/editorial-complaints/ is the medieval swordsman going into battle unusually well armed going into battle unusually well endowed — and a swordsman of another kind Because a historian believes that he has spotted nothing less than an extra penis in the Bayeux Tapestry “The detail,” he explained on the HistoryExtra podcast The swordsman in question appears in the marginalia of the 11th-century tapestry what could be a scabbard swings beneath his tunic the fall of the Roman empire."},"children":[]}]},{"name":"paragraph","children":[{"name":"text","attributes":{"value":"Now another mystery has been thrown up: are there 93 or 94 phalluses embroidered into the Bayeux Tapestry?"},"children":[]}]},{"name":"paragraph","children":[{"name":"text","attributes":{"value":"The design on the original 70m-long 50cm-tall linen cloth recounts the Norman conquest of England in 1066 including the Battle of Hastings The action is told through a series of tableaux in the centre of the tapestry On the borders above and below are curious scenes which include nudity animals and possibly events from Aesop’s Fables."},"children":[]}]},{"name":"paragraph","children":[{"name":"text","attributes":{"value":"It may be almost 1,000 years old but among historians its contents and the"},"children":[]}]}]},"summary({\"maxCharCount\":200})":{"type":"json","json":[{"name":"paragraph","children":[{"name":"text","attributes":{"value":"There are several contentious issues in history that have sparked debate and divided historians over the centuries The phallus count may not have changed Britain but so many details of this masterpiece tell us something important imagining the coronation of William of Normandy on Christmas Day the"},"children":[]}]}]},"summary({\"maxCharCount\":175})":{"type":"json","json":[{"name":"paragraph","children":[{"name":"text","attributes":{"value":"A contemporary French artist known for work that blends humour with horror has been chosen to provide the missing final scene of the Bayeux tapestry the graphic chronicle of"},"children":[]}]}]},"summary({\"maxCharCount\":225})":{"type":"json","json":[{"name":"paragraph","children":[{"name":"text","attributes":{"value":"A contemporary French artist known for work that blends humour with horror has been chosen to provide the missing final scene of the Bayeux tapestry Overseeing a unique and"},"children":[]}]}]},"summary({\"maxCharCount\":125})":{"type":"json","json":[{"name":"paragraph","children":[{"name":"text","attributes":{"value":"It takes something to excite the keeper of the muniments at Westminster Abbey Overseeing a unique and ancient collection"},"children":[]}]}]},"summary({\"maxCharCount\":145})":{"type":"json","json":[{"name":"paragraph","children":[{"name":"text","attributes":{"value":"It takes something to excite the keeper of the muniments at Westminster Abbey Overseeing a unique and ancient collection means that something"},"children":[]}]}]},"summary({\"maxCharCount\":160})":{"type":"json","json":[{"name":"paragraph","children":[{"name":"text","attributes":{"value":"It takes something to excite the keeper of the muniments at Westminster Abbey Overseeing a unique and ancient collection means that something special is needed"},"children":[]}]}]},"summary({\"maxCharCount\":175})":{"type":"json","json":[{"name":"paragraph","children":[{"name":"text","attributes":{"value":"It takes something to excite the keeper of the muniments at Westminster Abbey Overseeing a unique and ancient collection means that something special is needed to get his"},"children":[]}]}]},"summary({\"maxCharCount\":225})":{"type":"json","json":[{"name":"paragraph","children":[{"name":"text","attributes":{"value":"It takes something to excite the keeper of the muniments at Westminster Abbey a historian writesAn image on the Bayeux Tapestry of a running man with something dangling from his tunic has sparked debate among historiansSOLENTDavid MusgroveSunday April 27 2025 The Sunday TimesThere are several contentious issues in history that have sparked debate and divided historians over the centuries Now another mystery has been thrown up: are there 93 or 94 phalluses embroidered into the Bayeux Tapestry animals and possibly events from Aesop’s Fables It may be almost 1,000 years old but among historians “The Norman Conquest saw a new ruling class supplant an English aristocracy that has left little in the way of physical remains, which makes the discovery at Bosham hugely significant," said co-author Oliver Creighton of the University of Exeter "We have found an Anglo-Saxon show-home.” The findings are part of an ongoing project called "Where Power Lies," intended to assess archaeological evidence for aristocratic centers across England from the pre-Norman period Scholars believe the Bayeux Tapestry dates back to the 11th century and was likely created just a few years after the Battle of Hastings mostly likely commissioned by Bishop Odo of Bayeux (although there is still considerable debate over alternative theories) since it's not woven but embroidered on linen using wool yarn of various colors There are 58 individual scenes spanning 230 feet (nearly 70 meters) in length and 20 inches (50 cm) in height Latin text provides context for the imagery Among the historical events depicted is the appearance of what is now known as Halley's Comet used here as a harbinger of the coming Norman invasion Parts of the tapestry have been featured in the opening credits of several films as well as the S2 opening credits of House of the Dragon which incorporated an animated sequence in embroidery inspired by the Bayeux Tapestry there has been quite a lot of research on castles which dominated aristocratic sites in England after the Norman Conquest That event "persists as a deep schism that continues to be seen as the watershed moment after which elites finally tapped into the European mainstream of castle construction," they wrote The study of residences (or "lordly enclaves") has been more peripheral aristocrats and rulers like King Harold invested heavily in residences often co-located with churches and chapels The "Where Power Lies" project employed a wide range of research methodology—including perusing old maps and records and photogrammatic modeling—to define the signatures of such enclaves and map them into a single geographic information database (GIS) The project has identified seven such "lordly centers," two of which are discussed in the current paper: an early medieval enclosure at Hornby in North Yorkshire and Bosham in West Sussex It has long been suspected that one particular manor house in Bosham (now a private residence) stands on the site of what was once King Harold's residence the original residence was clearly connected with Holy Trinity Church just to the south parts of which date back to the 11th century as evidenced by the posthole remains of what was once a bridge or causeway More evidence can be found in a structure known as the "garden ruin," little of which survives above ground—and even that was heavily overgrown GPR data showed buried features that would have been the eastern wall of King Harold's lordly enclave The biggest clue was the discovery in 2006 of a latrine within the remains of a large timber building Its significance was not recognized at the time but archaeologists have since determined that high-status homes began integrating latrines in the 10th century so the structure was most likely part of King Harold's residence Co-author Duncan Wright of Newcastle University believes this "Anglo-Saxon en suite," along with all the other evidence proves "beyond all reasonable doubt that we have here the location of Harold Godwinson's private power center the one famously depicted on the Bayeux Tapestry." DOI: The Antiquaries Journal, 2025. 10.1017/S0003581524000350  (About DOIs) The Bayeux Tapestry is a nearly 70-meter-long embroidered cloth that depicts the events leading up to the Norman Conquest of England in 1066 It was likely made in England in the 11th century and tells the story from the Normans’ perspective Bosham, a coastal town in West Sussex, is featured twice in the Bayeux Tapestry. It shows Harold enjoying a feast in a grand hall before his journey to France and upon his return. The tapestry famously narrates the Norman Conquest of England in 1066 Duke of Normandy’s victory at Hastings Archaeologists have found evidence that a house in England is the site of a lost residence of Harold Indeed, the exact location of Harold’s residence in Bosham has never been confirmed a current private home in the village may stand on the original site of his residence The archaeologists used various methods to investigate the property’s history and re-examining evidence from a 2006 excavation They discovered two previously unidentified Medieval buildings: one integrated into the current house and another in the garden Evidence from the 2006 excavation found a latrine in a large timber building, indicating it was an elite residence, as high-status houses in the 10th century included toilets. This suggests it was part of Harold’s residence shown in the Bayeux Tapestry said the 2006 excavation’s discovery of an Anglo-Saxon en-suite confirmed that the house was an elite residence before the Norman Conquest likely Harold Godwinson’s power center depicted in the tapestry Professor Oliver Creighton of the University of Exeter, and Co-Investigator of the project, added: “The Norman Conquest saw a new ruling class supplant an English aristocracy that has left little in the way of physical remains which makes the discovery at Bosham hugely significant — we have found an Anglo-Saxon show-home.” © 2025 All Rights Reserved, Tech Explorist® The web server reported a bad gateway error. Published: Oct 30, 2024written by Emily Snow the world-famous Bayeux Tapestry is about to get a contemporary sequel Historians believe a culminating coronation scene has long been missing from the 11th-century artifact France has commissioned contemporary artist Hélène Delprat to fill in the missing piece Dating back to the 11th century, the Bayeux Tapestry is not technically a tapestry at all. It tells the story of the Norman Conquest across approximately 230 feet of wool thread embroidered on linen cloth The narrative includes events from the year 1066 leading up to the Battle of Hastings The tapestry was most likely created in England possibly as a gift to William from his half-brother Bishop Odo of Bayeux historians believe the Bayeux Tapestry is missing a pivotal scene which took place at Westminster Abbey on December 25 curiously does not appear on the Bayeux Tapestry the municipality of Normandy and the French Ministry of Culture have announced plans to complete the story French contemporary artist Hélène Delprat was chosen to recreate the tapestry’s missing coronation scene Delprat has asserted a bold signature style across mediums She is currently represented by Hauser and Wirth whose Paris outpost put on her 2023 solo show Monster Soup In conversation with Le Figaro, Delprat described the Bayeux Tapestry commission as “neither a restoration nor a reconstruction.” She explained “I would nevertheless use my vocabulary to maintain a link with Bayeux embroidery What I am proposing would evoke the coronation scene of William the Conqueror [The] Bayeux embroidery itself is never literal: it does not describe it declaims.” Delprat’s coronation panel will be made at Paris’s Gobelins Manufactory a state-owned tapestry factory dating back to the 15th century A brand-new exhibition space for the Bayeux Tapestry is currently being developed at its current location in the town’s former seminary It will enhance access to the tapestry and support ongoing conservation efforts The reveal of Hélène Delprat’s contemporary contribution will likely coincide with the museum’s reopening “Our idea is to take advantage of the millennium year of the birth of William the Conqueror in 2027 to build a major popular event on a European scale,” said Hervé Morin “We have the ambition to carry out a project shared by the major European regions that have been crossed by this Norman epic.” Look out for your first newsletter in your inbox soon The best of Time Out straight to your inbox We help you navigate a myriad of possibilities Sign up for our newsletter for the best of the city By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news Sign up for our email to enjoy your city without spending a thing (as well as some options when you’re feeling flush) By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Worldwide but from September its current home will be undergoing major renovations While plenty of us are already flocking to the Pompidou Centre before it closes for a five-year renovation in the summer, it’s not the only major cultural space in France that’ll be temporarily shutting its doors this year.  The Grand Seminary of Bayeux is part of the Bayeux Museums complex (alongside the Normandy Battle Memorial Museum and the Baron Gérard Museum of Art and History) in northwest France but it’s set to close from September this year until October 2027 for a major refurbishment and conservation project.  And what extraordinary piece of artwork calls this place home Stretching across a 70-centimetre-wide and 70-metre-long cloth the tapestry tells the story of William the Conqueror’s 1066 invasion of England.  It’s been on display there since 1983 but if you’re keen to marvel at the world-famous tapestry soon you’ll need to do so by August 31 – the last day the museum will be open before the project gets underway.  RECOMMENDED: The world’s most-visited museum is getting a major overhaul.  what’s happening to the Grand Seminary of Bayeux which is being led in collaboration by the City of Bayeux the French State (aka the tapestry owners) the Departmental Council of Calvados and the Regional Council of Normandy doubling exhibition space and leaving room to display the tapestry.  According to CNN mayor of Bayeux Patrick Gomont said: ‘In terms of economic and cultural influence this is the most complex and ambitious project… ever undertaken by the Town of Bayeux.’ which has already been carefully dusted down and had its 1983 fleece backing removed will be packaged into a conservation crate and moved to temporary reserves it will be displayed in a hermetically sealed (air-tight) room to protect it from light and pollution variations.  The museum’s reopening is scheduled to coincide with William the Conqueror’s 1000th birthday, but in the meantime, you’ll be able to explore the Bayeux Tapestry virtually on the museum’s website – take a look at it here.  Did you see that this European country could be getting two new UNESCO World Heritage Sites? Plus: Movie stars are fighting to save Rome’s cultural venues – here’s why.  Stay in the loop: sign up to our free Time Out Travel newsletter for all the latest travel news and best stuff happening across the world Thanks for subscribing! Look out for your first newsletter in your inbox soon! tiktokfacebooktwitteryoutubeAbout us Contact us have all arrived in France and gathered in the historic town of Bayeux The team were jointly hosted by the towns of Bayeux and Caen The Refugee Olympic Team is made up of 37 athletes from different backgrounds living in 15 countries and competing in 12 different sports Bayeux was the perfect host to bring the team together ahead of the Olympic Games the athletes had access to top-level training facilities to continue their preparation and also took part in a number of team-building activities The team went on a bike ride to the symbolic beach of Arromanches-les-Bains one of the beaches where the D-Day landings took place They were also welcomed by the Mayor of Bayeux in the historic town centre Chef de Mission for the Refugee Olympic Team said: “We are so pleased to have finally arrived in France The town of Bayeux has welcomed us with open arms and it is the perfect setting for us to connect we are a very diverse group – with many different cultures languages and stories – but here you can see that we are really a united team and we are all connected We aim to carry this spirit and this togetherness with us to Paris where we will introduce this unique team to the world at the Opening Ceremony.” President of Bayeux Intercom and Vice-President of the Normandy Region said: “With just a few days to go before the official launch of the Olympic Games Paris 2024 we are delighted to host the Refugee Olympic Team who cannot compete under their own country’s flag and who are meeting each other for the first time here in Bayeux we hope to offer them the best possible conditions to begin their preparation and build team spirit which embody the values of peace and freedom will give them the support and encouragement they deserve The Team will now travel to Paris and stay at the Olympic Village Some athletes will be given the opportunity to return to their host countries or a training camp of their choice to ensure optimal preparation for the Olympic Games Appearing for the third consecutive Olympic Games, the Refugee Olympic Team Paris 2024 is the largest yet reflecting the growing number of refugees globally the Team will represent more than 100 million displaced people globally The Refugee Olympic Team, and the Refugee Athlete Support Programme, both managed by the Olympic Refuge Foundation (ORF) allow elite level athletes who would otherwise not have the opportunity to compete on the world’s biggest sporting stage The International Olympic Committee is a not-for-profit international organisation made up of volunteers which is committed to building a better world through sport It redistributes more than 90 per cent of its income to the wider sporting movement which means that every day the equivalent of USD 4.2 million goes to help athletes and sports organisations at all levels around the world The IOC Newsroom: https://newsroom.olympics.com/ YouTube: www.youtube.com/iocmedia For an extensive selection of photos available shortly after each event, please follow us on Flickr To request archive photos and footage, please contact our Images team at: images@olympic.org For up-to-the-minute information on the IOC and regular updates, please follow us on X and YouTube. Paris 2024IOC President Bach: Let us come together to celebrate and enjoy together spectacular Olympic Games Paris 2024 Paris 2024Paris 1924: Celebrating a century of change Paris 2024Paris 2024 models a new sustainable urban vision The page you requested could not be found There could be an error in the URL you entered into your browser why not take a look at some of the other great sections on the Express website: If it’s still a mystery don’t hesitate to contact us here order back issues and use the historic Daily Express newspaper archive Daily Express uses notifications to keep you updated Evidence revealed a house belonging to the last Anglo-Saxon King of England Archaeologists at the University of Exeter have discovered compelling evidence that a house in England stands on the site of a long-lost residence belonging to Harold II By reassessing past excavations and conducting new surveys researchers from both Newcastle and Exeter University believe they have identified a power centre where Harold Godwinson ruled before his death in the Battle of Hastings in 1066 which vividly depicts the Norman Conquest of England in 1066 The Bayeux Tapestry ends with William’s victory at Hastings but earlier depicts Bosham as the site where Harold feasts in a grand hall before sailing to France and again on his return Though the exact location of Harold’s residence remains unproven some believe it stood where a private manor house now stands Archaeologists used various methods to investigate the manor’s early history and a re-examination of a 2006 excavation by West Sussex Archaeology Their findings confirmed two previously unknown medieval buildings one within the house and another in the garden the 2006 dig also uncovered a latrine in a large timber structure suggesting even earlier origins for the site Archaeologists have identified a 10th-century trend in England where elites incorporated toilets into their homes The discovery of the latrine indicated the timber building’s high status suggesting it formed part of Harold’s residence depicted in the Bayeux Tapestry Dr. Duncan Wright, Senior Lecturer in Medieval Archaeology at Newcastle University, led the research published in The Antiquaries Journal and said: “The realisation that in 2006 an Anglo-Saxon en-suite confirmed to us that this house sits on the site of an elite residence pre-dating the Norman Conquest it is beyond all reasonable doubt that we have here the location of Harold Godwinson’s private power centre the one famously depicted on the Bayeux Tapestry.” The Bosham research was part of the broader Where Power Lies project led by teams from Newcastle and Exeter Universities and funded by the Arts and Humanities Research Council The project aims to explore the origins and early development of aristocratic centres like Bosham assessing archaeological evidence from such sites across England for the first time Win £20 to spend at some of the UK's biggest retailers Wake up, the MAFS stars are beefing… again As Sinners continues to rise in popularity, dominating the box office, could we see a sequel any time soon? One of the men has a net worth of $1 billion ‘I can tell the CGI was so rushed’ Attackers were reportedly armed with ‘improvised explosives’ to target LGBTQ+ people It houses the famous tapestry depicting the events of the Norman conquest of England and remnants of World War II are found throughout in the form of museums and memorials While it’s impossible to forget its sullen past a visit to this charming medieval town is anything but gloomy Here are the top 10 things to see and do in Bayeux Marvel at the architecture of Notre-Dame Cathedral of Bayeux Cathedral @john_cameron / unsplash View Tours Located in the heart of Bayeux the Notre-Dame Cathedral’s construction was originally built in Romanesque style Gothic features came later on in the 15th century after the church had endured damage during the 12th It was sanctified in 1077 in the presence of William the Conqueror who used the Cathedral to leverage his power It went on to serve as the setting for the oath taken by Harold II under William’s command that he would marry William’s daughter in order to better the Duke of Normandy’s chances of taking the crown of England The oath was subsequently broken and the events that accumulated leading to the Battle of Hastings occurred shortly thereafter The art of lacemaking in Bayeux dates back to the end of the 17th century when the Bishop of Bayeux brought two Nuns from the Providence of Rouen Sister Marie Leparfait and Sister Hélène Cauvin These Sisters would go on to share with the Nuns of Bayeux how to sew lace which is now considered the region’s specialty The Conservatoire de la Dentelle (Conservatory of Lace) not only offers the opportunity to learn about the art’s roots through pieces on display but it’s also a school where those interested can take a private course to learn the trade for themselves Danita Delimont / Shutterstock Bayeux Tapestry Tours The Bayeux Tapestry (which isn’t really a tapestry at all rather a hand-stitched embroidery using coloured wool yarn) stretches an impressive 68 metres long the cloth depicts the events (from the viewpoint of the conquering Normans) leading up to the Battle of Hastings in 1066 and the Norman conquest of England The tapestry is said to have been created within just a few years of the battle making it an impressive nine centuries old It has called Bayeux home throughout these 900 years though will be leaving for the first time ever to go on temporary display in England A visit to the gardens is free and a perfect place for a quiet stroll Anyone planning to visit over the week of June 6 Sign up to our newsletter to save up to $800 on our unique trips See privacy policy Pay your respects at the Bayeux War Cemetery Historical Landmark The Bayeux War Cemetery is the largest cemetery in France dedicated to Commonwealth soldiers who lost their lives in the Second World War and a Memorial dedicated to the approximately 1,800 soldiers who have no burial site France assigned the grounds of the cemetery to the United Kingdom in recognition of their losses during the fight for freedom The Memorial Museum of the Battle of Normandy takes visitors through the months of Allied troop advancement into Normandy from the initial invasion right through to victory On display are preserved military equipment such as fighter tanks and smaller arms used by the soldiers Visitors are able to follow along through a series of maps and dioramas presented alongside audio and visual aids The museum is considered to be one of the best in the world for its showcase of the events of D-Day/Operation Overlord and provides a great framework for those who plan to tour the Landing Beaches Bayeux’s weekly market takes place every Saturday morning in the Saint Patrice Square. Vendors of all kinds set up shop on what serves as a parking lot for the rest of the week to sell fresh fruits and vegetables, seafood straight from the ocean, and other local Norman goods such as cider, Calvados If you’re just in Bayeux for a short visit and don’t have accommodations where you can prepare your own food There are plenty of vendors serving up prepared foods as well such as pizzas which is a medley of seafood on a sauerkraut base While so many of Normandy’s towns took a beating during the Second World War the result of which is a stunning Old Town that the Aure river gently flows through Be sure to keep an eye out for the historic waterwheel a notable Bayeux landmark that makes an appearance in most photos taken of the city See & Do The Best European Cities to Visit in Autumn Architecture A Brutalist Architecture Tour of Marseille See & Do The Best European Cities to Visit in July See & Do The Best European Cities to Visit in September Guides & Tips This Is Europe's Ultimate Road Trip Guides & Tips The Best European Cities to Visit in December Guides & Tips Scenic Road Trips to Take From Biarritz See & Do The Best European Cities to Visit in October See & Do The Best European Cities to Visit in Summer Guides & Tips Beat the Crowds with these Alternative Summer Destinations See & Do 10 French Theme Parks You Should Be Visiting Instead of Disney Guides & Tips The Best European Cities to Visit in November US: +1 (678) 967 4965 | UK: +44 (0)1630 35000 tripssupport@theculturetrip.com © Copyright 2025 The Culture Trip Ltd Contemporary artist Hélène Delprat has won a competition organised by Région Normandie to create the missing piece of the Bayeux Tapestry as part of celebrations to mark the millennium of William the Conqueror's birth a masterpiece of 11th-century Romanesque art is nearly 70m long and depicts events leading up to the Norman Conquest of England in 1066 It is believed to have been commissioned by Bishop Odo to embellish his newly built cathedral in Bayeux (Normandy) in 1077 and is now exhibited at the Musée de la Tapisserie de Bayeux in the town instructs his brother-in-law Harold Godwinson to travel to Normandy where Harold was killed and his forces defeated.  is that of William's coronation at Westminster Abbey on December 25 when he became King of England and was dubbed ‘the Conqueror’ Read more: French team build faithful replica of William the Conqueror’s warship The competition to find an artist was held in partnership with Mobilier National the French statutory body which administers the historic Gobelins and Beauvais tapestry factories and oversees the creation and conservation of furniture and objects for French public buildings The new panel will be woven at the Gobelins factory in Paris “Our idea is to take advantage of the millennium anniversary of the birth of William the Conqueror in 2027 to build a major popular event on a European scale,” said Hervé Morin Ms Delprat was chosen from five shortlisted artists each of whom presented their project in June 2024 Mr Morin praised her “contemporary vision” of the scene The scene will not be a physical continuation of the Bayeux Tapestry and is not linked to the Bayeux Tapestry museum It will be displayed at the Château Guillaume-le-Conquérant in Falaise (Calvados) There are also plans to exhibit the new scene at Westminster Abbey.  French President Emmanuel Macron said in 2018 that the tapestry could be lent to the UK during renovations at the Bayeux museum but some experts oppose this on account of the relic’s fragility.  Read more: My ten year challenge to recreate the Bayeux Tapestry Ms Delprat said her design is not a “reconstruction” or “illustration” of the coronation Ms Delprat added: “[It] will take into account the poetry of the embroidery “[The] Bayeux embroidery itself is never literal: it does not describe Known to be one to watch in the contemporary art movement Supporters of the 67-year-old artist include French businessman François Pinault along with Christophe Gaillard and Hauser & Wirth galleries Upcoming exhibitions include the 17th Lyon Biennial (open now until January 5 a Saint-Paul de Vence (Alpes-Maritimes) solo exhibition in spring 2025 A new exhibition space for the Bayeux Tapestry is currently being developed at its permanent location in the town’s former seminary it will enhance access to the tapestry and support ongoing conservation efforts The resort is set to remain open to the public and not only to professionals Make sure your wishes are heard concerning end-of-life decisions A new civic knowledge test is to be required as well as more checks on background and personal finances Bayeux is reliving the atmosphere of freedom coaches and staff travelled from all over the world to gather for this bonding opportunity and they will stay together until departing for the Olympic Village on Thursday (18 July) “I think it's amazing, isn't it? Finally, we get to meet each other—everyone from different countries, speaking different languages, with different personalities,” boxer Cindy Ngamba said after her arrival Ngamba is one of the 37 athletes who were selected for the team "Everyone's a bit shy on the first day we'll all become like a big family and get used to each other Badminton player Dorsa Yavarivafa arrived in Bayeux after a 20-hour flight from Kuala Lumpur, Malaysia: “When we arrived, they greeted us so nicely – she said - After that, I went to my room, I changed and did some photo shoots, which were very fun as well. The whole team is here, and I'm just so excited and nervous for my Games. But more excited, everything is perfect.” IOC launches “1 in 100 Million” to celebrate the hope and inspiration of the Refugee Olympic Team for Paris 2024Championing the Refugee Olympic Team as they get set to compete at the Olympic Games Paris 2024 the International Olympic Committee (IOC) has today launched the “1 in 100 Million” campaign It aims to shine a spotlight on the 36 inspirational athletes who have faced incredible challenges to reach their start line and calls on everyone to get behind the team when they represent the over 100 million displaced people on the world’s biggest sporting stage Given its understanding of the effects of war and the struggles of refugees Bayeux was seen as the ideal place to unite the team before the Olympic Games and I think it's really a nice note of hope,” said deputy mayor Arnaud Tanquerel to allow these refugee athletes to be able to be in Bayeux and walk through history The town provides the athletes with top-level training facilities located around their hotel and a hall for practising combat sports and martial arts “This city has a great history and it was nice to train on the track The atmosphere is very nice,” said 800m runner Musa Souleimani Picture by Olympics.comIOC Olympic Refugee Team Chef de Mission Masomah Ali Zada (on the right) For some athletes of the team this is the second experience in a pre-Games camp after the one in Doha three years ago I'm actually glad that we are sharing rooms I see that it's a friendlier environment among the athletes and I hope that we create such a strong bond and go as one team into Paris which gradually involved more team-mates despite the language barrier “We are very strong people,” he added, underlying the need to change the narrative about the more than 100 million displaced people around the world. A message passionately reiterated by other members of the team. “It’s really important to share this story and show the world that we can be an asset, not always a liability,” concluded Shaheen. “So I think this team is really important, and we all are symbols of hope.” Archaeologists uncovered evidence of its existence in England Published: Jan 29, 2025written by Emily Snow After years of searching for its exact location archaeologists have finally determined where the medieval residence once stood King Harold is depicted twice at his home in Bosham on the West Sussex coast of England he enjoys an extravagant feast before departing for Normandy The exact location of Harold’s residence at Bosham has long been debated The most popular theory suggests that Bosham Manor House At Bosham Manor House, archaeologists recently assessed standing remains and conducted a geophysical survey of the surrounding area. They also pored through old maps and records and re-examined evidence from a 2006 excavation of the area. The team confirmed the existence of two previously unidentified medieval buildings—one in the garden and another integrated into the current structure an Anglo-Saxon ensuite confirmed to us that this house sits on the site of an elite residence pre-dating the Norman Conquest,” said Duncan Wright leader of the study and Senior Lecturer in Medieval Archaeology at Newcastle University Professor Oliver Creighton of the University of Exeter, and co-leader of the Bayeux Tapestry excavation project, said, “The Norman Conquest saw a new ruling class supplant an English aristocracy that has left little in the way of physical remains, which makes the discovery at Bosham hugely significant—we have found an Anglo-Saxon show-home.” The Bayeux Tapestry research at Bosham is part of a wider project titled “Where Power Lies.” Led by a team from Newcastle University and the University of Exeter the project investigates the origins and early development of aristocratic power centers like King Harold’s residential complex at Bosham the project is assessing archaeological evidence for these sites for the first time The TimesA contemporary French artist known for work that blends humour with horror has been chosen to provide the missing final scene of the Bayeux tapestry the graphic chronicle of William of Normandy’s conquest of England won a contest staged by the Normandy regional council to imagine the conclusion of the embroidered pageant that ends with King Harold’s army fleeing the Normans at Hastings in October 1066 staged the contest ahead of festivities for the 1,000th anniversary of William’s birth in 2027 when the 70-metre tapestry will be displayed in a new museum in Bayeux to be made at Gobelins Manufactory in Paris the state-owned furnishings supplier to French rulers You don't have permission to access the page you requested What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed.