Visitors got a first glimpse of the medieval artefact after it went on display at the British Museum in LondonOn the day Bayeux tapestry tickets were released, Megan Stockwell was at the beach. She was so determined to lock down her spot, that she sat with her toes in the sand for an hour, waiting in the online queue.“The whole ticket buying experience felt like what other people would do to get Taylor Swift tickets. I was like, ‘oh god, am I, like, the geek version of this?’” she recalled. Continue reading…Visitors got a first glimpse of the medieval artefact after it went on display at the British Museum in LondonOn the day Bayeux tapestry tickets were released, Megan Stockwell was at the beach. She was so determined to lock down her spot, that she sat with her toes in the sand for an hour, waiting in the online queue.“The whole ticket buying experience felt like what other people would do to get Taylor Swift tickets. I was like, ‘oh god, am I, like, the geek version of this?’” she recalled. Continue reading…
On the day Bayeux tapestry tickets were released, Megan Stockwell was at the beach. She was so determined to lock down her spot, that she sat with her toes in the sand for an hour, waiting in the online queue.
“The whole ticket buying experience felt like what other people would do to get Taylor Swift tickets. I was like, ‘oh God, am I, like, the geek version of this?’” she recalled.
Like any committed Swiftie, Stockwell felt confident the experience would be worth the hassle and cost. As a self-professed Francophile, she was fascinated by how the tapestry, which is temporarily housed at the British Museum until next July, tells the story of the Franco-British relationship through the Norman conquest, culminating in the battle of Hastings.
“You just grow up learning so much about it – at primary school, in history studies. You’ve always got some mention of the Bayeux tapestry, the Normans, the fact there’s even three lions on the back of our pound coins comes from Normandy.
“We’ve got such a close connection between French and British culture, our language and everything. This sort of feels like a visual representation of that,” she said.
Stockwell’s dogged pursuit of tickets, fascination with the Franco-British relationship, and childhood memories of learning about the battle of Hastings, were experiences shared by many of the visitors on the exhibition’s opening day.
Cydney, who lives in Texas, also drew inspiration from her experience queueing for concert tickets to secure a coveted opening day spot. She had woken up at 3am local time to join an online queue for an hour and half to secure them when they were released.
She anticipated it would be worth it: “It’s going to be life-changing, we’re so excited.”
Cydney had studied history for her undergraduate degree. “So I just really am interested to see what a significant artefact would be and to see how this is basically where the history of England and the UK as we know it really all began. Seeing something so old is just incredible and honestly such an honour.”
Her feelings were echoed by Adrian Harris, who was so moved to catch the exhibition that he signed up for British Museum membership purposely to gain early access to tickets. He ended up the second person through the doors on Thursday morning, after joining a “really jolly” queue at 9.30am.
“It was incredible. It was very, very moving to walk down the steps and to see the length and breadth of it. And I think they’ve done it so well, the British Museum. It was very profound to see it,” he said, adding he had been especially thrilled to spy Westminster abbey, where he works, on the cloth.
He noted that although he was one of the first through the doors, he felt that 40 minutes was a restricted timeframe to see the 68-metre tapestry, though he observed that attendants were diligent in ushering people along.
A number of ticket holders for the Bayeux tapestry at a special first viewing last weekend were reportedly turned away after other visitors took too long to view it. The French owners of the tapestry have issued strict orders on when lights must be turned off in order to preserve the work.
Richard and Madeleine Abramson, who dressed in Norman costumes, were in the first group and agreed that 40 minutes was a short time, but that it was being well policed. “They’re very clear at the beginning there’s a maximum time … they’re very carefully moving you on,” said Madeleine.
However, the oversight did not dampen the pair’s enthusiasm. “It was pretty awe-inspiring,” said Richard. “It’s very well presented, it develops like a film. It’s got a story to tell: it starts quietly, then it gets more intrigue and then you get to the action and it builds up to the battle, which is quite violent.”
Madeleine felt the tapestry loomed large for many former English schoolchildren. “Of all the history lessons you have, every child remembers 1066,” she said, adding that the fact the tapestry was woven by female embroiderers also resonated. “[That they] told this whole story is still phenomenal,” she said.
Vivien and Karen had travelled from Hampshire to see the tapestry, also buoyed up by memories of their school days. “We learned about it at school. It’s something that’s always been in the back of your mind, then all of a sudden it’s here, so why not?” said Karen.
Vivien practises needlework, and was especially excited to witness the craftsmanship up close. “I’ll be looking for the two broken threads,” she said.
Denise Davies had bought two tickets for her husband John’s birthday. As a taxi driver who also runs black cab heritage tours of London, he was looking forward to expanding his historical knowledge.
At £33 a peak-time ticket, the exhibition’s cost has attracted some criticism – but Denise felt it was worth it. “I could go to Alton Towers and it would cost me an arm and a leg. This is something special. I would have paid whatever it was because we’re never going to see it again … it’s a tick on the bucket list, basically.”
