The Bayeux Tapestry: how optical techniques have let this artwork come home

A few years ago, I was lucky enough to see the Bayeux Tapestry – the famous embroidered cloth depicting the Norman invasion of England in 1066. More than 900 years old, this historic piece of art is only 50 cm wide but more than 68 m long. It’s also extremely fragile, which why I was astonished when I heard that that Bayeux Tapestry was going to leave its home in Normandy and be transported across the English Channel to the UK.

The loan of the artwork, which was agreed between former British prime minister Keir Starmer and French president Emmanuel Macron last year, has now taken place. The tapestry arrived under police escort on 10 July and will be on display at the British Museum in London from September 2026 until July 2027. It is the first time the tapestry has been back in England, the country where this linen cloth was originally made.

I’m fascinated by how non-invasive optical techniques have been crucial in advancing our understanding of the tapestry.

So what’s all this got to with physics? Well, I’m fascinated by how physics – and specifically, non-invasive optical techniques – have been crucial in advancing our understanding of the tapestry and its historical significance. Thanks to physics-based equipment developed by hi-tech manufacturers, we’ve learned about how the Bayeux Tapestry was initially made, what damage it subsequently suffered, how it was repaired, and the nature of its current condition.

Such information is vital not only for increasing our historical awareness, but also for current conservators who want to understand the tapestry’s underlying condition and find out how to preserve it for future generations. And before the pedants write in, yes I know that while it’s known as the Bayeux Tapestry, technically it’s an embroidery. That means it was created by stitching woollen threads onto a linen backing, which is helpful to know when reviewing the physics involved.

Optical sleuthing

The beauty of using optical methods to study the Bayeux Tapestry is that they are non-destructive and non-intrusive – and so can typically be applied in-situ. In 2017 a three-year project was started, in which conservationists used high-resolution 2D imaging, photogrammetry, multimodal scanning and advanced image reconstruction techniques to determine the tapestry’s condition and conservation needs. The project revealed considerable information about how this artwork was created and modified over time.

Thanks to these high-resolution images, we now have a single digital map of the entire tapestry, making it possible to zoom in and look at individual threads. It’s yielded information such as the width of stitches and the positions where the wool threads cross the original linen background. As a result, historians now believe the tapestry was made by a single group of embroiderers, who – knowing the skills that existed at the time – were probably based in Canterbury, UK.

Techniques such as infrared spectroscopy and fluorescent and reflection ultraviolet imaging have revealed information about what’s underneath the surface of the tapestry.

From the size and direction of the stitches, we also think the outlines of the figures were stitched first, with the shapes filled in afterwards using coloured wools in a strict, specific order. Meanwhile, techniques such as infrared spectroscopy and fluorescent and reflection ultraviolet imaging have revealed information about what’s underneath the surface of the tapestry. In particular, they’ve located the presence of stains such as glue, wax (dripped from candles that lit the tapestry) and even oil from the hands of people who touched it.

Infrared light passing through the dark-coloured wools have also revealed original sketch lines that were drawn on the linen base before the wool stitching started. It reveals the original artist’s draft, likely to be someone familiar with manuscript drawing – perhaps an illuminator of religious books.

3D imaging with photogrammetry

Researchers in France, led by Stéphane Le Mouélic from Nantes University, who originally did a PhD in astrophysics, have also used computer software to combine more than 440 overlapping 2D photos taken from multiple angles to create a detailed 3D model of the Bayeux Tapestry (J. Cult. Heritage 71 211).

It digitally “irons out” all the sags and wrinkles in the line fabric, recreating the original, “flat” tapestry and allowing the original physical shape of the artwork to be revealed for the first time. The 3D model can be viewed for free at the Bayeux Museum website, allowing historians, researchers and members of the public to study it without having to handle the delicate material.

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Physics-based techniques have also allowed us to deal with the fact that parts of the fabric have been repaired over the last 900 plus years. Some of those repairs used non-authentic dyes and colours, while others covered up the original stitching. But using computer vision and image processing, threads that were added later can be subtracted digitally, providing a clearer, corrected view of what the original tapestry looked like.

Finally, optical tools can help keep the tapestry safe for future generations. Museum curators need to know if the cloth is sagging, tearing, or changing shape over time. Instead of putting heavy tools on the cloth, lasers can scan the cloth to accurately map of the contours of its surface. By repeating this exercise every few years, conservationists can spot if any part of the cloth has stretched or sagged, enabling minor problems to be rectified before they end up causing significant damage.

Without the huge amount of investigative and restorative work carried out, the Bayeux Tapestry would never have been allowed to make the journey to London.

In 2025 Le Monde newspaper reported that experts had, over the previous five years, meticulously documented 24,204 stains, 9,646 holes and 30 tears in the artwork. Without the huge amount of investigative and restorative work carried out, the Bayeux Tapestry would never have been allowed to make this year’s journey to London. Advanced and detailed optical measurement has “de-risked” the tapestry’s trip.

Tickets to the British Museum exhibition are reportedly being snapped up faster than those for Glastonbury. So if you don’t get to see the tapestry in person, feel free to marvel at this wonderful historical artwork by checking out interactive online digital copy. It really is physics and history in the making.