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inscription singles out by name a mere fifteen of the woollen actors; clearly, these are the key players in any quest to understand the true origin and meaning of the work. The named characters belong, for the most part, to the higher echelons of medieval society and they include famous men who would appear in any account of 1066; men such as Edward the Confessor, the old English king, and the two main rivals for his throne, Earl Harold of Wessex and Duke William of Normandy. In addition, however, four very obscure characters are also identified: a dwarf called Turold, depicted in the role of a groom [plate 1]; an English lady identified as Ælfgyva,seemingly embroiled in illicit liaison with a priest [plate 3];and two minor Norman knights of no obvious significance, Wadard and Vital [plates 8 and 9]. The little dwarf, the elegant but scandalous lady and the two lesser-ranking Norman knights share the limelight with kings, dukes, counts, earls and bishops, teasing us to rediscover from other sources who they were and what strange significance they had in the artist'svision of 1066. We must attempt to turn these curious characters into more rounded individuals. Amongst those who are better known is Bishop Odo of Bayeux [plate 10]. Odo was William's greedy and ambitious half-brother. A key supporter of Duke William, he became, thanks to the Conquest, one of the richest men ever to have lived in England. Compared to other contemporary accounts, the Bayeux Tapestry gives Odo a surprising degree of prominence in the story of 1066. Studies of the tapestry have devoted much attention to the flattering way in which Bishop Odo is portrayed, but the focus on Odo has eclipsed the emphasis which is more subtly placed on others and it has obscured some of the more astonishing layers of hidden meaning in the work.
    The popular conception of the Bayeux Tapestry is that it is a work of Norman triumphalism, of immense historical interest, no doubt, but ultimately a straightforward work produced by the Normans in order to celebrate and justify the conquest of England. Read any one of the many popular accounts and you will be told a similar story. It is said that we can see, in these threads, the childless English king, Edward the Confessor, near the end of his life, sending his foremost earl, Harold of Wessex, on a mission to Normandy; that Harold'smission is to confirm to Edward's distant cousin, Duke William of Normandy, that the old king has chosen him to be his heir; that after a misadventure in another part of France, from which Duke William obligingly rescues him, Earl Harold duly swears a solemn oath to be William's man. Back in England, however, when Edward dies in January 1066, Harold treacherously seizes the throne for himself. Duke William has been cruelly wronged by the greedy Englishman and so he assembles a large Norman army and invades England in order to claim his rightful inheritance; and in the end, of course, he defeats the perfidious English at the Battle of Hastings (though not without a little help from his half-brother Odo) and Harold gets his come-uppance thanks to the famous arrow in the eye. The story is told 'strictly from the Norman point of view.' 'It is all presented from a Norman perspective.' 'The story told in the tapestry is told from the Norman point of view.' Such is the view of the Bayeux Tapestry reiterated time and time again in travel guides, brochures and popular history books.
    The truth is very different, and it is much more extraordinary. It has emerged only slowly over the last fifty years half-hidden in the dry journals and dusty tomes of academia. Much remains mysterious, and not all specialists are in agreement, but there are very good reasons to believe that the Bayeux Tapestry was not made in Normandy at all but in conquered England, probably within about a decade of 1066, and that the ingenious master artist, who drew the designs for a team of English embroiderers, produced a dangerously