The Battle of Hastings is one of the most determining events in English history. The Battle marks the beginning of Norman rule under Willem de Conqueror, who defeated the (last) Anglo -Saxon King of England, Harold II, in 1066. That year is engraved deep in the English memory. That the battle for 68.80 meters long embroidery as a comic strip, shortly thereafter avant la lettre was portrayed with this. Thousands of tourists, especially from the United Kingdom, come to Normandy annually to see the ‘carpet of Bayeux’, since 2007 UNESCO World Heritage, with their own eyes.
It is understandable that French President Emmanuel Macron uses this unique artwork for diplomatic purposes. Cultural diplomacy is a fixed value of the French soft power. Macron, on a state visit last week, therefore announced in London that France lends the carpet to the British Museum for a year from September. The 350 kilogram heavy work will be rolled up at the end of August and by train via the Channel Tunnel – in itself a nice symbol of the Entente Cordial – transferred to London.
Ever since the Brexit referendum, France has been trying to strengthen the collaboration with the VK, especially in the military strategic field. Due to the increased threat from Russia (and German shakyness in the defense area), the need for this has become increasingly forced. During the state visit, both core powers came to bundling the nuclear deterrence for the whole of Europe, now that the US security guarantees seem less solid. It has also been decided to test migrants from crossing the channel with rickety boats. But the gift from Bayeux predominated.
The question is whether it is such a wise idea to drag an almost a thousand (!) Old work of art. The carpet was originally (from 1077) in the Bayeux cathedral and has actually traveled twice since the Middle Ages, both times to Paris: by Napoleon, who was afraid of an English invasion, and in the Second World War by the German occupier. The work was restored between 1981 and 1983, after which it was given its final place in its own museum in Bayeux. When Macron suggested in 2018 to lend it, curators and restorers ruled that the risks of a long journey were too great. Only three years ago, the museum in Bayeux itself was also on that position.
This type of warnings was not forthcoming, partly because the museum has to be renovated and the carpet therefore goes out of the display case anyway. The Élysée was also not very receptive to objections. “For decades we have done our best not to get into the position that we had to borrow the Bayeux carpet,” said Macron. “We always found experts who could explain in detail why lending was a bad idea. And believe me, we could have done that again.” That tone bears witness to dédain for people who understand it and try to secure art treasures for eternity, French art connoisseurs do not find it completely wrong.
The carpet of Bayeux is tangible proof of a shared European culture of which the UK is also unmistakably part. It is good that the French it ‘Perfid Albion ‘ In turbulent geopolitical times, there is now enough confidence to not only make nuclear agreements but also to lend valuable heritage to. To make that point, this precarious move would rather not have been necessary.
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