Bayeux Tapestry (c1000). The Bayeux Tapestry is an embroidered cloth nearly 70 metres long and 50 centimetres tall, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings. It is thought to date to the 11th century, within a few years after the battle. It tells the story from the point of view of the conquering Normans, but is now agreed to have been made in England. According to Sylvette Lemagnen, conservator of the tapestry, in her 2005 book La Tapisserie de Bayeux: The Bayeux tapestry is one of the supreme achievements of the Norman Romanesque. Its survival almost intact over nine centuries is little short of miraculous. Its exceptional length, the harmony and freshness of its colours, its exquisite workmanship, and the genius of its guiding spirit combine to make it endlessly fascinating. The cloth consists of some seventy scenes, many with Latin tituli, embroidered on linen with coloured woollen yarns. It is likely that it was commissioned by Bishop Odo, William's half-brother, and made in England, not Bayeux, in the 1070s. In 1729 the hanging was rediscovered by scholars at a time when it was being displayed annually in Bayeux Cathedral. The tapestry is now exhibited at the Musee de la Tapisserie de Bayeux in Bayeux, Normandy, France The designs on the Bayeux Tapestry are embroidered rather than woven, so that it is not technically a tapestry. Nevertheless, it has always been referred to as a tapestry until recent years when the name Bayeux Embroidery has gained ground among certain art historians. It can be seen as a rare example of secular Romanesque art. Tapestries adorned both churches and wealthy houses in Medieval Western Europe, though at 0.5 by 68.38 metres the Bayeux Tapestry is exceptionally large. Only the figures and decoration are embroidered, on a background left plain, which shows the subject very clearly and was necessary to cover large areas. The earliest known written reference to the tapestry is a 1476 inventory of Bayeux Cathedral, but its origins have been the subject of much speculation and controversy. French legend maintained the tapestry was commissioned and created by Queen Matilda, William the Conqueror's wife, and her ladies-in-waiting. Indeed, in France, it is occasionally known as La Tapisserie de la Reine Mathilde. However, scholarly analysis in the 20th century concluded it was probably commissioned by William's half-brother, Bishop Odo, who, after the Conquest, became Earl of Kent and, when William was absent in Normandy, regent of England. The reasons for the Odo commission theory include: 1 three of the bishop's followers mentioned in the Domesday Book appear on the tapestry; 2 it was found in Bayeux Cathedral, built by Odo; and 3 it may have been commissioned at the same time as the cathedral's construction in the 1070s, possibly completed by 1077 in time for display on the cathedral's dedication. Assuming Odo commissioned the tapestry, it was probably designed and constructed in England by Anglo-Saxon artists; the Latin text contains hints of Anglo-Saxon; other embroideries originate from England at this time; and the vegetable dyes can be found in cloth traditionally woven there. Howard B. Clarke has proposed that the designer of the tapestry was Scolland, the abbot of St Augustine's Abbey in Canterbury, because of his previous position as head of the scriptorium at Mont Saint-Michel, his travels to Trajan's Column, and his connections to Wadard and Vital, two individuals identified in the tapestry. The actual physical work of stitching was most likely undertaken by female needleworkers. Anglo-Saxon needlework of the more detailed type known as Opus Anglicanum was famous across Europe. It was perhaps commissioned for display in the hall of his palace and then bequeathed to the cathedral he built, following the pattern of the documented but lost hanging of Byrhtnoth. Alternative theories exist.