Jon Henley, The Guardian; ‘La tapisserie, c’est moi’: Macron accused of putting politics first in Bayeux tapestry loan
[Kip Currier: One can understand, on the one hand, wanting to promote more occasional public access to singular artifacts, like the Bayeux Tapestry. However, the risks in transporting the tapestry from France to the U.K. would seem to far outweigh the benefits of moving this priceless historical and cultural information object. Especially when one reads the assessments of the risks by world class experts.
France 24 reports that a French official asserts that the Bayeux Tapestry is "not too fragile to loan to UK", but offered no verifiable evidence of his claims:
Philippe Belaval, appointed by Macron as his envoy for the loan, said no decision had yet been taken on how to transport the tapestry.
But he said a study dating from early 2025 had made detailed recommendations about handling and transport.
"This study absolutely does not state that this tapestry is untransportable," Belaval said, without revealing the authors of the study or their conclusions."
Situations like this, as well as the current U.S. Centers for Disease Control (CDC) crisis in which multiple vaccine experts are resigning and speaking out against RFK Jr's scientifically unsupported vaccine policies, remind me of Tom Nichol's 2017 book The Death of Expertise: The Campaign Against Established Knowledge and Why It Matters.]
[Excerpt]
"“I’m not against the loan of cultural artefacts and I have always liked the UK,” said Didier Rykner, the editorial director of La Tribune de l’Art, an art news website, whose month-old petition against the loan has been signed by nearly 62,000 people.
“But this is a purely political decision. Here is an extraordinary work of art, a wholly unique historical document, an artefact without equivalent anywhere – and which expert opinion agrees, overwhelmingly, cannot travel. It’s not complicated.”...
Some of the most damning arguments against the plan have come from curators and restorers who have worked or are working on the tapestry, five of whom have told Rykner – on condition of anonymity – of their disbelief and concern.
Precisely because the tapestry was considered too fragile to move far, complex plans were already under way to remove it from display and store it during the museum’s rebuilding work, with a full restoration to follow once it was returned.
“We fell off our chairs when we heard,” said one conservator. “It’s the opposite of all we had prepared for.”
Any movement at all of the canvas, in a state of “absolute fragility”, was “fraught with risk, an incredibly delicate operation”, said another."