Preparations are underway for an unprecedented journey: the Bayeux Tapestry, one of Europe’s most treasured historical artifacts, is set to cross the English Channel for the first time in over 900 years. The British Museum in London will host the nearly 1,000-year-old embroidery from September 2026 to July 2027, on loan from its longtime home in Bayeux, Normandy, while the Bayeux Museum undergoes renovations. But the move has ignited a fierce debate among art lovers, historians, and conservationists, with renowned British artist David Hockney at the center of the storm.
Hockney, now 88 and a resident of Normandy himself, has been outspoken in his opposition to the plan. Writing in The Independent, he called the relocation “madness,” arguing that the risks to the fragile tapestry far outweigh any potential benefits. “Some things are too precious to take a risk with. Moving the Bayeux Tapestry is one of them,” Hockney insisted. He described the tapestry as “the most complete narrative work of art in Europe,” emphasizing its unique historical and artistic value.
The tapestry itself is a marvel: stretching more than 70 meters in length, it weaves together 58 scenes, 626 characters, and 202 horses to recount the events leading up to and including the Battle of Hastings in 1066. Created in the 1070s, it was commissioned by Bishop Odo of Bayeux, half-brother to William the Conqueror, and is widely believed to have been made in Canterbury, England. Over the centuries, it has survived wars, revolutions, and the passage of time, becoming a symbol of both French and English heritage.
“It is nearly a thousand years old, more than 70 metres in length, and fragile, which makes it madness to think of moving it. It is too big a risk,” Hockney wrote. He has a personal connection to the tapestry, having first seen it in 1967 and visited it more than 20 times in the past three years. “It is something that has defined my life for more than eight decades,” he reflected.
Hockney’s concerns are not merely sentimental. He outlined in detail the conservation risks: the tapestry’s linen backing, weakened by age, and the delicate wool embroidery threads are “vulnerable to stress.” He warned that “rolling, unrolling, or handling it in a new way can cause damage,” including tearing, stitch loss, and distortion. Even minor mishandling, he cautioned, could have irreversible consequences. “The tapestry has been kept safe for centuries in Bayeux, where it is acclimatised to tightly controlled conditions,” he noted. “Sudden changes in temperature, humidity or light exposure can lead to fibre contraction or expansion or colour fading.”
Hockney also pointed out that conservation ethics generally favor minimal display time for such ancient textiles, and that every stage of the move—packing, unpacking, mounting—introduces new risks. He questioned the motivations behind the transfer, suggesting that the British Museum’s desire to boost visitor numbers was driving the decision. “The vanity of a museum which wants to boast of the number of visitors. Is it really worth it? I think not,” he argued, proposing instead that a high-quality replica could be made for exhibition in London.
The British Museum, for its part, has pushed back against these criticisms. Director Nicholas Cullinan emphasized the institution’s expertise and commitment to the tapestry’s safety. “While we understand these concerns, the museum has a world-leading conservation and collections team who are experts at handling and caring for this type of material,” Cullinan told BBC. He highlighted the museum’s long history of safely transporting and displaying ancient artifacts, including textiles and frescoes even older than the Bayeux Tapestry. “Their condition and safety is always of paramount importance,” he said.
In response to the outcry, French and British officials have taken extraordinary measures. The tapestry has already been taken off display and moved into storage, where it will remain until its journey to London. The two countries have signed an “administrative agreement” requiring the British Museum to conduct a “dry run” of transportation plans, with strict limits on vibrations—no more than two millimeters per second—to minimize the risk of damage. The artwork is insured for a staggering £800 million by the UK Treasury, but Hockney dismissed this figure as “meaningless,” insisting the tapestry is “priceless.”
The move has also become a diplomatic symbol. French President Emmanuel Macron personally sought assurances that the tapestry would not be harmed, amid mounting opposition from French art experts and members of the public. The loan was agreed as a gesture of goodwill, or “entente amicale,” between France and Britain, with King Charles reportedly lobbying behind the scenes to secure the deal. In exchange, British treasures such as the Anglo-Saxon artifacts from Sutton Hoo and the 12th-century Lewis chess pieces will be loaned to museums in Normandy.
The tapestry’s journey is not without precedent, but the risks are daunting. As Hockney pointed out, the tapestry survived centuries of upheaval, including being hidden away for 300 years until it was put on permanent display in the 19th century. “It has survived political upheaval and wars, and now faces an unnecessary conservation ordeal,” he lamented in The Telegraph. He also noted that the tapestry is already accessible to British visitors: “It is just six hours away by car.”
Supporters of the move argue that the loan offers a rare educational opportunity for British audiences to see the tapestry up close. The British Museum’s Cullinan has reassured the public that “so much thought and care is being put into it,” and that all aspects of the transfer are being scrutinized at the highest levels, including meetings at the Élysée Palace in Paris. The tapestry is listed on UNESCO’s Memory of the World register, underscoring its global significance.
Still, the debate rages on. Hockney, undeterred, continues to call for a broader public discussion about the wisdom of uprooting such a precious artifact. “It should not be uprooted from where it has been kept safe for so many centuries,” he urged, encouraging British art lovers to make the journey to Normandy instead. “I am not afraid to speak up for art.”
As the Bayeux Tapestry awaits its historic crossing, the world watches with a mix of excitement and anxiety. The outcome will test the balance between cultural exchange and the imperative to safeguard irreplaceable heritage for generations to come.
