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Published online by Cambridge University Press: 24 July 2012
Our learned and worthy member, the Abbé de la Rue, Professor of History in the Academy of Caen, having transmitted to me an interesting Memoir on the celebrated Tapestry of Bayeux, which represents the Conquest of England by the Normans, I have sent you a Translation of it to lay before the Society; and have taken the liberty of adding a few Notes, which I hope will be found appropriate.
page 87 note a Harl. MSS, No 491.
page 87 note b Nenstria Pia, p. 638.
page 88 note c Chartular. S. Stcphani Cadom, p. 22. et Cartæ antiquæ turns Londin.
page 89 note d The common story about Walter Tyrrel will admit of some doubt as to its veracity. The Abbot Suger relates that Tyrrel assured him, in the most solemn manner, that he had not seen the King on the fatal day, nor even entered the forest in which he was slain. See Vie de Louis le Gzos, tom. xii. p. 12, of the Recueil des Historiens de France. D.
page 89 note e Monast. Angl. vol. i. p. 571.
page 91 note f Vitell. A. XII.
page 91 note g Mlkington's Hist, of Derbyshire.
page 92 note h The learned author of the Memoir has here substituted a most probable opinion for the wild dreams of Dr. Stukeley, who, though he had been set right seven years before he transmitted his account of this piece of antiquity to the Society of Antiquaries, persevered in his mistake. He has read OGIENSI for BAGIENSI, a word that occurs on the Bayeux Tapestry for that city. The whole inscription yet remains to be accurately read. It certainly denotes that the Bishop of Bayeux gave this ancient vessel to his own church. D.
page 93 note i In Normandy. D.
page 93 note k Chartul. S. Trin. Cadom.
page 96 note l I cannot in this place resist the impulse of suggesting to the Society, what a valuable addition to our antiquarian history would be obtained by an extract, with an English translation and explanatory notes, of that part of Wace's work, which describes the Conqueror's expedition. It is impossible to conceive any thing more curious in all respects. A painter might without difficulty compose a series of interesting pictures from the details; and a fleet similar to William's, in all respects, might again be fitted out from the poet's description. I beg leave to add, that the invaluable MS. of this work is in the British Museum. D.
page 97 note m An extract from this account by Gaimar has been already printed in Archaeol. vol. XII. p. 312; but as this seems the more proper place for its introduction, I shall give the passage at large.
The circumstance of the minstrel's horse being taught to open his mouth, and seize on some of the enemy is infinitely curious, and related with great humour. It may also be regarded as a remarkable instance of the singularity and simplicity of ancient manners. I add, for the credit of the above writer, that he has given a more explicit narration than is to be found in any other ancient chronicle, of the interesting loves of Argentile and Curan, so exquisitely put into verse by old Warner in his Albion's England. D.
page 98 note n To prevent any misconception of the Abbé de la Rue's meaning, I beg leave to observe that it was Taillefer's conduct as a juggling minstrel, in throwing up his sword only, that was unknown to Wace, as he has described the singing of the song about Charlemagne and Roland in his lives of the Dukes of Normandy. A few lines from this work have been given by Dufresne in his Latin Glossary, v. Cantilena Rolandi, where he improperly cites it by the litle of Roman de Rou. The same extract has been also printed by Bishop Percy in his Reliques, and Mr. Ritson in his Essay on National Song: but as I am persuaded that no one will repent of the trouble of perusing the whole account, I shall here subjoin it from one of the Royal MSS. in the British Museum, 4 C. XI.
Bevoir, another Norman poet, who wrote a chronicle of the Dukes of Normandy, at the command of King Henry II. has thus briefly mentioned the exploits of Taillefer:
The figure of Taillefer in the Tapestry seems to have been omitted in the prints of it. D.
page 100 note o Various are the epithets bestowed on this person. He is called Courthose, Courtheuse, Courtois, and Courtcuisse. In favour of the nick-name of Court-cuisse, or short-thighs, it may be observed, that there was a French Legate from Charles VI. to Pope Benedict XIII. whose name was Jean Courtcuisse (his Latin appellation being Brevicoxa.) The nick-name of Crook-back, setting aside the disputed one of Crouchback, is long anterior to the time of Richard III. Ordericas Vitalis, under the year 1077, mentions a Knight called Robert de Curvâ Spinâ. D.
page 101 note p William had two daughters, whose names were Adela and Adeliza. May it not therefore, after all, be a mistake for one of these on the part of an English artist, who would confound the real name with the Saxon one of Ælfgiva? The Tapestry should be carefully examined, and the name accurately copied, to enable us to judge fairly. There is no admitting, with Lancelot, that Matilda could have been intended. It is natural to suppose, that one of William's daughters would be found in his palace on this occasion; and that one of his chaplains might announce to her what was going on. The lady in the Tapestry seem, indeed, in the attitude of surprize. D.
page 102 note q The inscription, HIC EST WADARD, seems to mean, “this is the guard.” þeaņð, Sax. D.
page 102 note r This fact is thus corroborated by an anonymous writer, at least as old as the Tapestry: “Fecerant autem Angli foveam quandam prægrandem cauté et ingeniosé, quam ipsi ex obliquo curantcs maximam multitudinem Normannorum in eâ præcipitaverant. Et plures etiam ex eis insequentes et tracti ab aliis in eadem perierunt.” Cottoa MS. Cleop. A. XII. D.
page 104 note s Archaeol. Vol. XIII. p. 62.