Plans to bring the historic Bayeux Tapestry to the UK have sparked a fierce backlash from readers of The Independent, with an overwhelming majority siding with artist David Hockney's warning that the move is "madness".
Overwhelming Public Opposition
Following an exclusive column by Hockney in The Independent, a poll revealed that 79 per cent of readers believe the 11th-century masterpiece should remain in France. The artist argued passionately that transporting the fragile textile could cause "irreversible damage", a risk he stated far outweighs any potential symbolic or educational value from a temporary exhibition in London.
The tapestry is scheduled to be transported from its home in Bayeux to the British Museum later this year for a nine-month display. However, the proposed loan has ignited concerns about the safety of the unique medieval artwork, which depicts the events leading up to the Norman Conquest of England in 1066.
The Perils of Moving a P relic
Reader comments consistently highlighted the extreme fragility of historic textiles. Many stressed that the tapestry is irreplaceable and that any movement exposes it to dangers from changes in humidity, light, and physical handling. "Inevitably, something will go wrong," warned one commenter, summarising a prevalent fear.
Beyond conservation worries, numerous readers argued that the artwork loses its meaning when removed from its context. "It's better seen where it is – to have it in the centre of London strips it of all historical context," one reader stated. Others pointed out that Bayeux is easily accessible from the UK, questioning the necessity of the move. "It is hardly on the other side of the world. Anyone really wanting to see this already can," another noted.
Renovations and Alternatives
A complicating factor is that the Musée de la Tapisserie de Bayeux is due to undergo major renovation works, meaning the tapestry must be moved from its current display case regardless. While some acknowledged this, they argued it did not justify an international loan. Suggestions included placing it in secure storage or an alternative French location until the museum reopens.
One reader proposed a different solution entirely, recalling The Hastings Embroidery – a 27-panel work commissioned in 1966 to mark the 900th anniversary of the Battle of Hastings. They suggested this piece, currently in storage, could be displayed in the UK instead, eliminating any risk to the original tapestry.
The debate also touched on the tapestry's contentious history. One commenter described the Norman Conquest as "one of the greatest tragedies in English history", arguing the UK has no need to be reminded of "William the B******". This perspective underscored the complex cultural and historical emotions the artefact evokes.
Despite the strong opposition, a minority of voices expressed trust in expert conservators. One commenter reasoned that textile conservators are "extremely risk-averse" and would not have agreed to the loan unless convinced the tapestry could withstand the temporary move to London.
The strength of feeling in the reader community is clear. As the debate continues, the central question remains: is the potential cultural value of a London exhibition worth risking a unique and fragile window into the past?
