The Bayeux Tapestry is an extraordinary epic embroidery that tells the story of the Norman Conquest of England. Historians are engaged in a lively debate over the interpretation of a particular detail contained within this monumental piece of art. Cut to: the tapestry at the Bayeux Museum, a vivid tableau of 88 crusader schlongs artfully draped over their attendants’ steeds. It has a lot of weird extra appendages that are attached to the human forms. Historians have come to radically different conclusions regarding the mysterious black object that seems to protrude from the figure’s tunic. Part of this debate comes from the highly detailed depiction of male anatomy.
Dr. Christopher Monk contends that this particularity represents a male reproductive organ. He calls it “the errant willy, if you will.” He goes on to call their depiction “surprisingly anatomically fulsome.” It likely indicates he considers it an intentional allegory, and not merely an accidental quirk. Monk’s assertion cuts against the grain of historical understandings of the tapestry and opens up consideration of its artistic aims.
George Garnett contends that the shape is not a penis. Rather, he thinks it looks like the scabbard of a sword or dagger. Garnett’s analysis suggests that this interpretation aligns with the tapestry’s overall narrative and thematic elements. Beyond that, he emphasizes the tapestry isn’t just a historical document. An equally important element to the book, it works as a moralistic guide, unraveling the complexities of the Conquest.
Both historians recognize the significance of the tapestry’s designer, who was highly educated and utilized literary allusions to subvert the conventional story of the Norman Conquest. Garnett highlights that “William’s horse is by far the biggest. And that’s not a coincidence,” suggesting that size has symbolic implications within the context of power dynamics depicted in the artwork.
In addition to Monk and Garnett’s discourse, Dr. David Musgrove, a Bayeux Tapestry expert and podcast host, underscores the tapestry’s intricate nature. He notes, “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.” Musgrove’s insights reflect the ongoing intrigue surrounding the tapestry’s content and its ability to provoke scholarly debate.
The Bayeux Tapestry vividly depicts important historical personalities. It includes Harold Godwinson and Duke William of Normandy, each astride liberally endowed horses which were endowed even more generously in the original. This element only adds to the controversy over the tapestry’s artistic choices and their impact.