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Antiquaries in the Age of Romanticism: 1789-1851 - Queen Mary ...

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Gradually <strong>the</strong> immediate flurry <strong>of</strong> activity and souvenir hunt<strong>in</strong>g died down. Peace became, at<br />

last, an established fact and susta<strong>in</strong>ed Anglo-French collaboration <strong>in</strong> antiquarian <strong>in</strong>vestigations<br />

became possible.<br />

The Bayeux Tapestry<br />

The document<strong>in</strong>g <strong>of</strong> <strong>the</strong> Bayeux Tapestry was, as has already been expla<strong>in</strong>ed, <strong>the</strong> Society<br />

<strong>of</strong> <strong>Antiquaries</strong>’ pr<strong>in</strong>cipal contribution to <strong>the</strong> active antiquarianism <strong>of</strong> <strong>the</strong> period. The Abbé de la<br />

Rue’s paper, published <strong>in</strong> Archaeologia <strong>in</strong> 1814, prompted one member, Dawson Turner’s<br />

Yarmouth neighbour, friend, bus<strong>in</strong>ess partner, fellow antiquary and MP, Hudson Gurney (1775-<br />

1864) to jo<strong>in</strong> <strong>the</strong> cross-Channel rush and go to Bayeux to <strong>in</strong>spect it for himself. He reported to<br />

<strong>the</strong> Society on 4 July 1816 that he had found <strong>the</strong> Tapestry, with some difficulty, and that it was<br />

kept ‘coiled round a mach<strong>in</strong>e, like that which lets down <strong>the</strong> buckets to a Well’. 61 He had had an<br />

opportunity to study it for several hours ‘draw<strong>in</strong>g it out at leisure, over a table’. 62 His conclusion<br />

was respectfully different from that <strong>of</strong> ‘our very learned and dist<strong>in</strong>guished correspondent’ de la<br />

Rue. 63 He believed that <strong>the</strong> Tapestry was <strong>of</strong> <strong>the</strong> same date or made very soon after <strong>the</strong> events it<br />

depicted. The Abbé had based his argument that <strong>the</strong> embroidery was later and made <strong>in</strong> England<br />

largely on documents, <strong>in</strong>clud<strong>in</strong>g <strong>the</strong> negative evidence <strong>of</strong> wills and historical accounts that<br />

should, he thought, have mentioned it if it had existed. He had also argued, draw<strong>in</strong>g on his<br />

expertise <strong>in</strong> literary history, that <strong>the</strong> fables <strong>of</strong> Aesop which are worked <strong>in</strong>to <strong>the</strong> borders were not<br />

known <strong>in</strong> nor<strong>the</strong>rn Europe at <strong>the</strong> time <strong>of</strong> <strong>the</strong> Conquest.<br />

Hudson Gurney, reflect<strong>in</strong>g his own, typically British antiquarian preoccupations, started<br />

from <strong>the</strong> architecture depicted <strong>in</strong> <strong>the</strong> various scenes, apply<strong>in</strong>g immediately <strong>the</strong> o<strong>the</strong>r observations<br />

he had made on his visit to Normandy. ‘In <strong>the</strong> many build<strong>in</strong>gs <strong>the</strong>re<strong>in</strong> portrayed <strong>the</strong>re is not <strong>the</strong><br />

trace <strong>of</strong> a po<strong>in</strong>ted arch…but <strong>the</strong>re is <strong>the</strong> square Norman buttress flat to <strong>the</strong> wall, and <strong>the</strong> square<br />

61 Archaeologia, 18,(1817) p.359.<br />

62 Archaeologia, 18, (1817), p.359.<br />

63 Archaeologia, 18, (1817), p.361.<br />

120

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