Changes

{{Manuscripts}}This article lists and details copies aims to detail the reproductions made of the Bayeux Tapesty mainly prior Tapestry primarily before its restoration in the mid 19th century. The history of the Tapestry is largely covered by Fowke in the first chapter of his book on the Bayeux Tapestry published in 1875 [FOWKE 1875]. Fowke's text is the basis of most published authors accounts of the Tapestry's history and this article is no exception. The following scene numbers correspond to 1900the plate numbers in David Wilson's 'The Bayeux Tapestry' [WILSON 1985].<br>

===c.1700 Faucaultsketches===Found amoungst XXX In 1724 a 10m long colour drawing of the first seventh of the Tapestry was uncovered by De Boze amongst the collection of antiquities belonging to the then recently deceased previous Ex-intendant of Normandy [WILSON 1985]. The Ex-intendant was one Nicolas-Joseph Faucault's papers after who had resided in Bayeux between 1688 and 1704 [DAWSON 1907]. Upon his death in XXX. Faucault 1721 his collection was XXXXX. <br>The drawing origin of this the drawings original source was unknown and they were passed to M. Lancelot, a member of the 'Académie des Inscrptions' for further investigation [FOWKE 1875].<br>The discovered colour copy drawing of the Tapestry has been atributed attributed to either Faucalt himself, his daughter Anne (who was apparently a competent artist) or possibly to a comissioned commissioned artist. Only first 30' (1/7th) and probably completed over a number of the Tapestry depictedyears prior to 1704 [HICKS 2006:p.72].<br>

Father Bernard de Montfaucon publishes an engraved version having read Lancelot's published 1729 article embarked on trying to discover the original source of Faucault’s Faucault drawings . He included a set of engraving based on Faucault drawings in the first 30' volume of teh Tapestry in ‘Monumens his 'Monumens de la Monarchie Francoise – Volume I’ '. To appease 18th centry artistic taste he had the images engraved more in 1729the style of the time. These emgravings were C18th <br>Just prior to appease the readersvolumes release and too late to be included he finally discovered that the origin of the drawings were from a tapestry kept in the Cathedral in Bayeux. The Reverend Father Mathurin L'Archer had answered a letter from Montfaucon and had stated the the original item was in fact a two hundred and twelve foot long (or 226 English feet) tapestry now in two sections [FOWKE 1875]. He sent Montfaucon a copy of all of the inscription that just made it into his first volume.<br>

<galleryheights=150px mode="Packed">File:Montfaucon 1a.jpg|Scene 1King Edward

===1729 Benoîtsketches===After the location of the Tapestry was discovered in 1729 Father Bernard de Montfaucon commissions Antonine Benoît to produce an accurate copy of the rest of the tapestry in 1729with instructions to 'reduce it to a given size, but to alter nothing' [FOWKE 1875]. Benoît indicated indicated by the use of dashed lines where he considered areas of the embroidery to be missing [DAWSON 1907].<br>The images here are Benoît's unpublished sketches. Benoît's sketches are probably the basis for all of the engraving of the Tapestry up until Stothard's drawings of 1816-17 [DAWSON 1907]. Their accuracy has been criticised as Benoît attempted to make all of the panels a standard height. This has led so some stretching or compression of the images.<br>

From Benoît’s sketches Bernard de Montfaucon's publishes published a copy of the tapestry in his ‘Monumens de la Monarchie Francoise – Volume II’ in 1730.<br>

<galleryheights=150px mode="Packed">File:Montfaucon 71a.jpg|Scene 71Death of HaroldFile:Montfaucon 72a.jpg|Scene 72Mounted PursuitFile:Montfaucon 73a.jpg|Scene 73The English Flee

===1733 Lancelotengravings===In 1730 Lancelot composed and read a second memoir [FOWKE 1875]. From Benoît’s original sketches a set of engravings were made to accompany Lancelot's publishes a copy published paper in 1733.<br>

===18211819-1823 Stothard sketches===In 1816 Charles Stothard is was commissioned to make a colour copy of the tapestry. He travels traveled to Bayeux 3 times to produce his water-colour drawing for the London Archaeological Society’s ‘Vetusta Monumenta’ published between 1821 1819 and 1823. Stothold used stitch holes to try and fill in the missing bits and these reconstructions are included in his drawings.<br>At least 1 part Stothard apparently removed two pieces of the tapestry were removed by souvenir hunters such as StothardTapestry during his visits, the theft of which was originally blamed on his then fiancée. These parts were replaced by later reconstructionsand one of the fragments was eventually retuned to allow Dossetter permission to photograph the Tapestry in 1873. <br>

* drawings - Vetusta Monumenta, vi, 1819.* Stothard, Charles (1821) 'Some observations on the Bayeux Tapestry' from Archaeolgia , xix.<galleryheights=150px mode="Packed">File:Stothard 1a.jpg|Scene 1King EdwardFile:Stothard 71a.jpg|Scene 71Death of HaroldFile:Stothard 72a.jpg|Scene 72Mounted PursuitFile:Stothard 73a.jpg|Scene 73The English Flee

===1821? Stothard plastercastsplaster casts ===During one of his visits to Bayeux Stothard made 3 plastercasts [LAKING 1920]three plaster casts directly from the Tapestry. He first poured wax onto the tapestry which he then removed and filed with plaster. The casts were then hand painted.<br>

*[http://makinghistory.sal.org.uk/page.php?cat=3 Society of Aniquaries of London Website]*[[#References|Laking (1920) for an image of the 3 casts]]<gallery heights=150px mode="Packed">File:Stothard cast 1.jpg|Cast of Duke WilliamFile:Stothard cast 2.jpg|All three casts</gallery>

<galleryheights=150px mode="Packed">File:Fowke 1a.jpg|Scene 1King EdwardFile:Fowke 71a.jpg|Scene 71Death of HaroldFile:Fowke 72a.jpg|Scene 72Mounted PursuitFile:Fowke 73a.jpg|Scene 73The English Flee

In this section we will review items that have been comentated on as being false a few of the points raised over the restorations.<br>

reconstructed Probably the most researched of all of the reconstruct arguments and what stated us writing this article. It is said that Stothard created the arrow from a few visible stitch holes. The counter argument is that the holes should have been reconstructed as a spear.<br>

Lots There was a lot of damage{{gallery}}to the first part of the tapestry by Stothard's time. Two main points have been raised regarding this first scene:

:The word Edward was completely missing in all of the pre Stothard drawings. An argument has been put forward that the Tapestry originally used the ''Eadwardus'' for Edward as it does in scene 30.*Harold’s moustache - <br>: Allegedly added to the fist panel scene to make him ‘more English’<br>[DAWSON 1907]. To me it seems more like here today, gone the next. The Faucault sketch seems to show a moustache but it has disappeared in the Montfaucon engravings. I suspect that the moustache was always there and that this was purely an artistic error. ===Odo holding a mace cheers up the lads===Bishop Odo is represented rallying the Norman troops, the title formerly existed as ''Eps Odo Baculum Tenens Comfor'', and Father Montfaucon remarked that the rest of the sentence "is effaced," but that it undoubtedly was ''Comfortat Francos''. Later on, however, the Bisbop of Bayeux wrote to Lancelot, presumably at Benoit's suggestion, that the words might be restored as ''Comfortat Pueros'', a free translation of which would be "Odo holding a mace cheers up the lads." The tapestry was accordingly so restored, to the wonderment of posterity![DAWSON 1907]

Lots Again lots of damage{{gallery}}*Mounted archer:This image is cited by reenactors wanting to shoot a bow whilst riding a horse prior to the 1st Crusade. It appears in a scene that has been heavily reconstructed. An alternative reconstruction shows two horsemen and an archer running alongside them. *Saxon escaping on horse - : No one is quite sure where this horse come from. None of the earlier sketches show anything like a horse here.*The English Flee???? <br>-(check exact text): This text is almost completely made up.