Renowned artist David Hockney has issued a stark warning against plans to move the historic Bayeux Tapestry to Britain, labelling the proposed relocation as "madness" and an unacceptable risk to the fragile masterpiece.
A Priceless Artefact Under Threat
Writing exclusively for The Independent, Hockney expressed profound concern over the British Museum's intention to transport the near-1000-year-old embroidery across the Channel for an exhibition. The tapestry, which is over 70 metres long and depicts the Norman invasion and Battle of Hastings of 1066, is a uniquely complete narrative artwork from medieval Europe.
Hockney, who first saw the work in 1967 and has visited it over 20 times in recent years, argues that its survival to the present day is "a miracle." He insists it should not be uprooted from Bayeux, where it has been preserved for centuries, for what he sees as a vanity project.
The Immense Risks of Transportation
The artist, describing himself as a calculated risk-taker but never reckless, has scrutinised the dangers involved. He points to the tapestry's age-weakened linen backing and vulnerable wool embroidery threads. The physical processes of rolling, unrolling, and rehanging the vast textile could cause irreparable damage, including:
- Tearing and stitch loss.
- Fabric distortion from uneven tension.
- Accelerated fading of the light-sensitive wool dyes.
Furthermore, the work is acclimatised to the meticulously controlled environment in Bayeux. Sudden changes in temperature, humidity, or light exposure during transit and display in London could trigger fibre contraction, expansion, or colour degradation. Hockney notes that modern conservation ethics typically favour minimal display for such sensitive textiles.
An Irreplaceable Piece of History
Created around 1070 in Canterbury and commissioned by Bishop Odo of Bayeux, the half-brother of William the Conqueror, the tapestry's 58 scenes are fundamental to Britain's island story. It has endured political upheaval and wars, only to now face what Hockney calls an "unnecessary conservation ordeal."
He emphasises that the tapestry is insured for £80 million but is, in truth, priceless. Any damage would be irreversible, and even a successful move could shorten its lifespan. "It is not like the Mona Lisa," Hockney writes, referencing that painting's easier transport, "it is 70m long."
Hockney suggests a simple alternative: create a stunning, identical copy for display. He also questions the necessity, noting Bayeux is just a six-hour drive from London. If the move proceeds, he states transport would need to be at a snail's pace by lorry and train to prevent damaging vibrations.
Ultimately, Hockney challenges the British Museum's priorities, asking why an institution dedicated to preservation would gamble with the survival of Europe's most important large-scale art image. For him, the answer is clear: the risk is not worth taking.
