An alternative longer tunic style coming to the shin does not appear until the second half of the 11th century starting with an example from the Harley Psalter (British Museum, MS 603 fol.29v 1050-1100AD). It is unclear what kind of neck holes these longer tunics had and it is probably likely that they would have had the more rounded Romanesque style shown on the Bayeux Tapestry. <br>
The depiction of Goliath in fig.1 shows decoration on the neck hole facing as a series of dots. Decoration is also occasionally seen at the cuffs, but rarely at the hem. This is not to say that the skirts of the tunics were undecorated. Fig.6 shows a typical depiction of tunic decoration consisting of lines, dots and circles. As well as appearing in 11th century Anglo-Saxon art this style of decorating the skirt can also be seen in Carolingian manu-scripts such as in a Psychomachia from Brussels Bibliotheque Royal (ms. 10066-77) dated to the 10th century. <br>
Decoration can also be seen as bands across the upper arms. These are unlikely to depict arm rings as the wearing of silver rings appear to have gone out of fashion by 1000AD [GRAHAM-CAMPBELL and Batey BATEY 1998:p.237] and even then they were worn on the wrist. Decoration on the upper arm has continental parallels with a good example demonstrated on the Codex Aureus Epternacensis, fig.7. Note that the seated figure shares the same shape of proto-Romanesque neck hole facing as depicted on both the Hereford Troper and the Bayeux Tapestry.<br>
[[File:Nuremberg, Germanisches Nationalmuseum, Hs. 156142, fol.78r .jpg|right|frame|200x200px|Fig. 7 Codex Aureus Epternacensis Nuremberg, Germanisches Nationalmuseum Hs. 156142 fol.78r 1020-1040AD]]