For the first time in almost 1,000 years, the Bayeux tapestry will come to Britain. In 2026, it will be displayed at the British Museum as part of a landmark cultural partnership with France, while the Bayeux Tapestry Museum in Normandy is closed during the construction of a landmark new building. In return, some of the UK’s greatest treasures – including the Lewis chessmen, the Sutton Hoo helmet, the Mold gold cape, and the Dunaverney flesh hook – will travel to Normandy.
Understandably, there has been interest in how these priceless items will be moved and concerns about their safety (‘La tapisserie, c’est moi’: Macron accused of putting politics first in Bayeux tapestry loan, 30 August). I want to be clear about the detailed work under way in both countries. Since a partnership agreement was signed earlier this summer, experts on both sides of the Channel have been carrying out rigorous planning and due diligence to ensure the safe transport and conservation of the tapestry. Colleagues in France are preparing for its careful removal before work begins on their new museum, and intricate plans are being made for its journey to London. This expert-led collaboration – indeed, supported for 12 years by one of our leading specialists on the Bayeux scientific committee – will guide every stage, including a full dry run of the journey.
When displayed at the British Museum, the tapestry will rest on a state-of-the-art table, designed to support its long-term preservation while allowing visitors to view it in a striking new way. That same table will later be used when the Bayeux Museum reopens, ensuring continued conservation of this unique masterpiece. This exchange represents one of the most significant cultural collaborations of recent times, strengthening British-French ties while safeguarding shared heritage for generations to come.
Nicholas Cullinan
Director, British Museum
• The Bayeux tapestry is far too valuable and fragile to travel to the British Museum. We should welcome the spirit of the gesture by President Emmanuelle Macron, but reject the plan to put it on display in London. Instead let’s put our support behind those conservators who know this 1,000-year-old work of art and history far more deeply than politicians.
It’s a misguided attempt by the leaders of two nations to show solidarity between them. Damage to the tapestry in transit to and from London would be disastrous for Anglo-French relations. Why not an animated display of the whole tapestry using the remarkable new technology we are seeing in art exhibitions around the world these days?
Mark Vaughan
Bristol
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