we see Harold and his men feasting in the upper storey of his Bosham manor [scene 4]. Drinking cups and horns are brought to lips; there is animated conversation. Standing on the steps outside, a man informs the party that the ship is ready. It is a dragon-headed ship, typical of its time; and like the familiar Viking longship, it may be propelled by oars or a large rectangular sail. Harold wades out to the vessel, his tunic hitched up to his waist, his bare feet and legs exposed to the cold sea. Once more his favoured hawk sits on his raised left hand; the hunting animals are brought on board. Another barelegged man wades through the shallows, carrying a large dog in his arms; a third makes his way with oars or poles. A party of some dozen men are now aboard. The mast is raised, the anchor pulled in and the men, singing perhaps, row the ship into deeper waters. Thus begins the secret journey of Harold Godwinson, the first of four journeys back and forth across the woollen sea stitched by our embroiderers.
It is not long before the wind picks up. Sheltered from the spray behind closely packed shields, the men on board begin to cast anxious glances. The hours progress; the ship must have rocked and creaked. The wind has become stronger and it is not clear that it is taking them in the right direction. ET VELIS VENTO PLENIS VENIT IN TERRA WIDONIS COMITIS (and with the wind full in his sails he came to the land of Count Guy). In these enigmatic words the tapestry tells us that Harold’s ship was being driven towards the French county of Ponthieu, sandwiched between Normandy to the south and Boulogne and Flanders to the north. Ponthieu is decidedly not where Harold intended to go; for like many medieval nobles Guy, the youthful count of Ponthieu, had a penchant for taking captives and holding them for ransom. At this point an Englishman has climbed to the top of the mast and, with his hand cupped over his eyes he spots the line of land ahead; a man on deck is holding a great anchor at the ready. They make landfall, possibly at the mouth of the River Maye, and Harold steps out into the shallow waters of Ponthieu.21 He must be ignorant of the danger, or else he would have quickly departed to a less hostile strand.
According to a much later account, a fisherman of Ponthieu, who had been to England, saw Harold step ashore and immediately recognised him. He then rushed breathlessly to Count Guy, knowing that Earl Harold’s unexpected arrival would be of interest to his avaricious lord.22 Something like this must have happened; but the tapestry, for its part, telescopes events by showing the English party confronted by Guy and his men immediately as they land [scene 6]. Either way, Harold is about to fall into the unwelcoming hands of Count Guy of Ponthieu. Earl Harold now sees the danger. From somewhere he draws a dagger but he is quickly overpowered by one of Guy’s men. The count himself now approaches with the rest of his soldiers. They are on horseback and all have swords, lances and kite-shaped shields. Harold’s mission was peaceful and he is accompanied by only a handful of men. They have few arms and no horses, only hawks and hunting hounds. There is no escape.
It was the harsh custom in Ponthieu, dating from the time of Emperor Charlemagne, that the count was entitled to hold as captive any person driven on to his shores, as well as ships and chattels.23 A shipwrecked noble could be ransomed for a large sum; ransom was good business. When you are the count of Ponthieu, idly wondering what to do next, and the richest man in England is suddenly tossed upon your shores, as lost and helpless as a piece of wreckage, it is like winning the lottery ten times over. The Norman writer William of Poitiers hinted that the people of Ponthieu were wreckers. ‘Certain Gallic peoples,’ he interjected into his own version of the story, ‘have been led through avarice to adopt a cunning practice, which is barbarous and utterly removed from Christian justice. They lay ambushes for the powerful and wealthy, thrust them into prison, and torture and humiliate them. When they have reduced them almost to the point of death, they turn them out, usually ransomed at a very high price.’24 It is unlikely that Harold was deliberately lured to Ponthieu. As the tapestry implies, it was the strong wind that landed him there. What is clear is that he was now at the mercy of Count Guy, a man notorious for his greed. At best, Harold might be treated well but ransomed for an enormous sum, and it might take months, or even years, to raise. At worst, he could be the victim of the kind of sadistic excess that William of Poitiers described, and he would be bound and shackled, and thrown into a dark prison.
The Harold that we see in the tapestry’s threads is no doubt confused and angry. His mission has gone disastrously wrong even before it has started. In the eleventh-century view, the invisible hand of God was everywhere controlling events and, like all men of his time, he would have taken his misfortune to be divine punishment and racked his conscience to remember quite what he had done wrong. Had he neglected his God? Surely he had prayed before the journey, as any good Christian should, and in his time he had given profusely to the Church. Some of his dealings had been a little shady, and some of the churches and abbeys of England had complaints against him, but no more than they might have against any great noble; and besides, in the eyes of the Almighty this was as nothing, he would have thought, when compared to the magnificence of his benefactions to Waltham.25 At Waltham’s Holy Cross he was once cured of an illness and in gratitude he had transformed the modest church built by Tofig the Proud into a splendid college for canons. He had lavished vast sums on the building; he had donated as many as sixty priceless relics. Brilliant gold furnishings shone brightly through the haze of incense in every corner of the candlelit edifice; the altar he provided was itself a sight to behold, made of marble and supported in front by golden statues of the twelve apostles, and at the back by radiant golden lions; and the gold that decorated one chasuble alone weighed seventeen pounds. Were these gifts not enough in the eyes of the Lord? How could such glittering piety be rewarded thus? How could it be that the greatest living Englishman, whose estates stretched from Cornwall to Yorkshire, who could hunt and roam almost as freely as he pleased, who prided himself on his understanding of the strategies of foreign princes, how could it be that he, Earl Harold, was now held as a miserable captive in this foreign place?
He was far from the love of his life, Edith the Fair; far from his sister Edith the Queen; far from his brothers, loyal Gyrth and Leofwine and the hot-headed Tostig and the lesser earls who might take advantage of his absence; far from old King Edward and the little Ætheling and all the people in England who depended on his protection; far from England itself at this uncertain time; and if he had come with the intention of rescuing his long-lost kinsmen, Wulfnoth and Hakon, he was just as far from finding them as well. Harold of Wessex was the helpless prisoner of an obscure French count. Somehow he would have to get away – and fast.
There appears in the tapestry’s lower border, at the point where Harold and his men were embarking aboard their ship at Bosham, a seemingly irrelevant illustration of a fox, a crow and a piece of cheese. This is an old fable. Sitting on a branch, there was once a foolish crow with some cheese in his mouth, which he had just carried off from a window. The crow was about to eat the tasty morsel when a fox, fancying it for himself, looked up and spoke the following artful words: ‘My dear crow, how shiny and beautiful your feathers are! And your face and figure, how graceful they are too! If only you had a voice, you would be the finest of all birds.’ Pleased by this flattery but taken aback by the insinuation that he could not sing, the crow opened his mouth to prove otherwise. The cheese, of course, dropped to the ground and was promptly snapped up by the cunning fox. The moral of the tale: he who takes delight in treacherous flattery will usually end up paying a hefty price.
The fable of the fox and the crow is as old as Aesop, the celebrated teller of animal tales in ancient Greece; it was known in classical Latin times through adaptations by Phaedrus and Babrius; and in Anglo-Saxon England the Aesop fables had become popular through translations from the Latin made, so it was said, by King Alfred the Great. The artist of the tapestry included several animal fables in the borders, touching on themes of deceit, dishonesty and possession, but this one he seems to have considered particularly apt, for he included it three times.1