There was an interesting view of the Tapestry in the Guardian by a Brit. He notes:
In both the borders and central strip, the Bayeux tapestry always set its action in a wider world, and even, when it shows the comet, a larger cosmos. As the armoured elite go to war, peasants plough and sow the fields. They are portrayed in distracting, vibrant detail and this workaday scene as the battle approaches is pointed and poignant: whoever wins, whoever rules England, country people will still work the soil. That same sudden cutaway from the rulers’ perspective happens when a woman and her child watch the Normans set their house on fire. But what you can see here, close to the stitches in such good light, is that one of the men torching the house also seems sad and conflicted. It’s that honesty that makes this not just a fascinating medieval relic but a universal depiction of the madness that is war. If the violence is stunningly real, so are its consequences. The dead bodies pile up in mounds as Saxon after Saxon falls. King Harold didn’t really get killed by an arrow in his eye we are told, but seeing the tapestry so close, it sure looks like it. Anyway, his royal body just joins the rest. In the final scenes, the peasants, the churls, get their revenge. Little shabby figures pull the mailed hauberks off dead knights, leaving them naked. It’s a final flourish of the precocious artistic brilliance of these 11th-century artists and craftspeople. Naked bodies emerge from their armour, pale and oddly beautiful – the complete ones, at least – as these medieval geniuses show they can depict, through embroidery, incredibly gentle, intimate nudes whose dead flesh fills the battlefield with pathos. It ends there. But, although there’s a lost later section, this anticlimax looks perfect to me. By then, I had been drained by this epic in all its tragedy and comedy. Bodies and body parts. That’s where the war talk was headed all along.
The writer fails to comment on the Latin prose. I recall when I saw it in France that it was quite readable, aqnd despite the art work the commentary was over powering.
Now English brutality has no beginning or end. Consider the brutal and barbaric acts of the Black Prince, son of Edward III. He and his men butchered thousands of French women and Children until a good case of poor pork took him away!
The Irish and Indianans recall the more recent English butchery of the past century.
Frankly this is a rather sophomoric writing failing in its historical context as well as the ignorance of the simple 11th century Latin text.
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