The £33 Entrance Fee: A Barrier to History?

The Bayeux Tapestry, a medieval masterpiece featuring 626 human figures, 190 horses, and 37 ships, has returned to the British Museum after nearly 1,000 years. However, the £33 entrance fee for a 40-minute viewing slot has sparked controversy, with many questioning the accessibility of this historical artifact.

According to the British Museum,the high entrance fee is necessary to cover the costs of maintaining the tapestry and providing a secure viewing environment. However, critics argue that the price is prohibitively expensive for many people, particularly those from low-income backgrounds.

An Alternative to the £33 Fee

Fortunately, there are other ways to view the Bayeux Tapestry at a lower cost. A Danish version of the tapestry in Jutland, completed in 2015 by a Viking women's group, costs around £16 to visit.. Additionally, a new English version is underway,sewn by a fan of true-crime documentaries with 13,000 enhtusiastic followers on Facebook .

The 19th-century life-size replica in Reading Museum is also available to visit for free, and it has its own fantastic backstory connecting arts and crafts pioneer William Morris, Queen Victoria, and the late Rolling Stones drummer Charlie Watts.

The Reading Tapestry's Fascinating History

The driving force behind the 230 ft Reading tapestry was a formidable woman called Elizabeth Wardle, who lived in the Staffordshire market town of Leek with her husband, Thomas, a successful silk and textile manufacturer.

Elizabeth's married life was taken up giving birth to and caring for 14 children before she suffered a breakdown. Family legend has it that she only returned to health after Thomas brought embroidery home for her to do, and she went on to establish the Leek Embroidery Society.

The Controversy Surrounding the Reading Tapestry

The controversy surrounding the Reading tapestry includes the question of nudity, with the original featuring 93 penises, both equine and human, while the Victorian replica does not.. According to the source, the colourisation of Cundall's work had blurred the different type of stitches being used, and the women's stitching wasn't always accurate.

As the debate surrounding the Bayeux Tapestry's £33 entrance fee continues, it is clear that there are valid concerns about accessibility and the preservation of this historical artifact. Only time will tell how this controversy will be resolved.