Dr. Lingard, in appealing to the roll itself, says, “Nor does the costliness of the work bespeak a royal benefactor.” “There is in it no embroidery of gold, none of silver, none of silk, nothing worthy the rank or the munificence of the supposed donor.” Had the article in question been a royal robe, or sacerdotal vestment, the omission of the precious metals might have been unaccountable; but in a piece of embroidery of such extent, it is nothing wonderful. Neither should the artistic value of the document be overlooked. Its figures may appear uncouth in our eyes, but they are done in the very best style of the period. A person of ordinary resources could not have commanded, to the extent required, the services of the ablest artists of the day. The preparation of the Tapestry must have been a costly and laborious process, not at all unworthy of the wife of the victor of Hastings.[16] What is more likely, then, than that the traditional opinion which Montfaucon found prevailing in his day at Bayeux is well founded, and that to the first of our Norman Queens we are indebted for this most wonderful piece of needle-work?
Although the actual execution of the Tapestry devolved upon the ladies of Matilda’s court, there can be no doubt that they wrought from a design prepared by some draftsman. The priests were the principal artists of that day. The Latin inscriptions prove that in that part of their work, at least, the ladies had the assistance of some educated person. The name of the designer has not come down to us; unless indeed there be truth in the following statement made by Miss Agnes Strickland:--“This pictorial chronicle of her mighty consort’s achievements appears to have been, in part at least, designed for Matilda by Turold, a dwarf artist, who moved by a natural desire of claiming his share in the celebrity which he foresaw would attach to the work, has cunningly introduced his own effigies and name,[17] thus authenticating the Norman tradition, that he was the person who illuminated the canvas with the proper outlines and colours.”[18] Though ignorant of the individual who designed the Tapestry, the style of the work induces us to believe that the artist was an Italian. The postures into which many of the figures are thrown are not English or French, but Italian.[19] The cordiality subsisting at the time of the Conquest between the courts of Normandy and Rome, and the successful exhibition of Norman prowess for some time previously on the plains of the Italian peninsula, sufficiently account for the introduction of the peculiarities of southern Europe into the Tapestry.
