The Bayeux Tapestry is finally back where it was stitched nearly 1,000 years ago, and Britain is right to be thrilled. Record ticket sales, school trips and pubs hanging up their own embroideries show what happens when a nation gets to stand face to face with the object that explains 1066. A loan like this is a precious symbol of trust between two old nations after years of cross-Channel bad blood.
Near-unanimous expert advice said this fragile wool-on-linen relic should never travel, and that advice was steamrolled for a political photo opportunity. A pre-restoration study warned against journeys longer than an hour, cataloging thousands of creases, deficiencies and unstabilized tears, and no vibration system eliminates the risk. Two broken threads have already turned up, and any real tear would never be repaired.
It's unclear why there's so much fuss over the Bayeux Tapestry. Britain's obsession with one famous relic obscures a lost world of medieval textiles and the women who made them. The tapestry's survival is miraculous, but so are works like the Cuthbert Embroideries, which depict their subjects with greater detail and elegance and can be seen in Britain every day — without a 100,000-ticket frenzy.
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