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direction where Mark and Belinda were standing. For a
moment he appeared stunned at their presence.
Mark, don t let him get away!
As though he d heard, Godwin sprang into action.
He turned towards the front door of the hotel and
rushed across the foyer. Startled guests cleared a path
for him as he disappeared into the street. With a cry,
Mark immediately gave chase, further alarming the
already shocked patrons. They turned their censorious
gaze on Belinda. Such violent activity was not
condoned in London, W1. Belinda, with as much savoir
faire as she could muster, crossed the foyer and
emerged into the street. She was in time to see Mark
sprinting around the corner.
Godwin had a head start. He was heading towards
Cavendish Square.
Mark, his adrenaline flowing, ran swiftly after him,
drawing closer by the minute.
The two racing figures attracted the attention of the
crowds sight-seeing the Christmas lights. Some
cheered them on as if witnessing an exuberant Yuletide
fling. Others, more faultfinding, frowned and escorted
their partners in other directions.
Godwin, pausing for breath, glanced over his
shoulder. Mark was bearing down on him. He sped off
and turned into Regent Street.
As Mark followed he ran into a wall of Londoners, all
agog with the spectacle of the glittering Christmas
decorations. In the distance he saw Godwin swallowed
up by the crowd at Oxford Circus. He slowed to a walk
and, fighting for his breath, realised that he had lost the
chase.
Mark, loudly and belligerently, gave vent to an
expletive, which takes its mediaeval origins from the
Middle Dutch work, Fokken.
Only then did he realise that he was standing in the
middle of a busload of country schoolchildren, most of
whom, by their giggles, indicated that they were familiar
with the vulgar word and its various applications.
Not so their austere and decorous female teachers
who regarded his indiscretion with scandalised
expressions and confirmed their opinion of the male
sex.
The Borders of the Bayeux Tapestry serve not only as
a framework but are an indispensable detail in the story
conveyed, Belinda read aloud from the notebook
screen. She and Mark were driving back to Bath and
while Mark s attention was on the road, Belinda, laptop
balanced on her knees, was browsing through Sir
Gerald s commentary on the Tapestry. She had reread
its history, confirmed the belief that Odo had
commissioned the work and that it was probably made
under the mastery of the monks at Canterbury. She
had just finished reading aloud to Mark, comments on
the significance of symbolic animals within the borders
and their connection with the basic narrative.
That rings a bell, she said thoughtfully.
What does? asked Mark, as he turned off the A4
onto the road to Milford.
The remarks about the border on the Tapestry. I
remember Sir Gerald going on about that when I first
called on him. She stared out into the passing
countryside as she sought to recall his observations.
Something about the borders being more than just
pretty ornamental frames. He said they had a bearing
on the main part of the Tapestry.
Like an addendum?
Belinda gave him a mocking smile. My, my. Such
big words. Mark gave her an amused sidelong glance.
But sorry to disappoint you, Belinda continued.
Although that s what Sir Gerald called it, he clearly
thought they meant something else. Something more
integral, I fancy. It had to do with what he called the
Winchester style.
Meaning what, exactly?
Belinda waved her hand in a gesture of frustration.
I m not sure, but it seems that in mediaeval times, the
monks at Winchester developed a style that
incorporated the borders into the general story.
I imagine you mean when they made their
illuminated religious books? queried Mark.
Do I? Yes, I suppose I do. Anyway, apparently the
border was not just a frame and that technique was
characteristic of Winchester. It seems that style was
adapted by whoever made the Tapestry. Which is why
it was thought to have been made in Winchester,
although now Canterbury is the hot favourite.
Is that important to us?
Well, I was wondering. If it meant something in the
Bayeux Tapestry, might it not likewise mean something
in mine?
What was shown in the borders in yours?
Belinda gave a shrug. Not much that I can recall.
Some church paraphernalia. A cross. A chalice. Things
like that.
But wasn t there a burial? asked Mark, as he
slowed at a set of crossroads.
Yes. It showed a monk being buried. And the
remains of a skeleton.
How do you think they relate to the main
needlework?
I can t see how they would. That showed William
the Conqueror being crowned king.
But not in Westminster Abbey.
Belinda nodded thoughtfully. Well, we all agree, it
looks like the church at Bosham. She was silent for a
moment. But if my border does have a bearing on that,
what does it mean?
That I can t tell you. But what I can tell you is both
Sir Gerald and Godwin want the tapestry. Godwin
because he s mad enough to think he s the King of
England and Sir Gerald well, who knows what he
wants it for.
If the Godwins lived near Bayeux they could have
seen the real thing every day. His wife said he was
obsessed with it and believed there was a missing
panel. The one I found at Kidbrooke House, do you
think?
But didn t Sir Gerald say it couldn t have been a
part of the original Tapestry?
He did. But can we believe that? What if it was the
real thing? It would be worth millions.
Priceless, muttered Mark. Which means you could
never sell it. It probably belongs to the Crown anyway.
Wouldn t the French want it? To put with the rest of
it?
Like the Greeks and the Elgin Marbles? Probably.
But I wouldn t like their chances. If it is part of the
original Tapestry, you can bet the government would
hang onto it whatever the cost.
So what value is it to Sir Gerald?
There are some collectors who pay vast sums for
treasures just to lock them away from the public. They
seem to get a kinky thrill out of possessing something
of great value that only they can see or hold.
Well, that could explain Sir Gerald s eagerness to
get his hands on it. But what about Godwin?
Probably the same reason.
No. There s more to it than that. Suppose he saw it
on display at Kidbrooke House. If he was obsessed
with his claim to the crown, he may have wanted to
destroy it.
Because it showed William being crowned you
mean? Mark shook his head. No. The whole world
knows William was king. What would destroying your
tapestry prove?
I see what you mean, but what did Mrs Godwin
imply when she said her husband was eager to dig it
up? Dig what up? She said he was still at Bosham.
What was he doing there? Why was his farm deserted
and what was he doing in London last night?
Questions, questions, questions. If we knew the
answers, replied Mark, there would be no mystery.
Mark pulled over to the side of the road and Belinda
was surprised to find herself at her own front gate.
But for a start, I suggest we examine that colour
photograph you have, Mark continued, as he climbed
out of the car. Perhaps if we study the borders again
we can make some sense out of it, if we really try.
They walked through the garden to the front door.
Before I do anything else, said Belinda slipping the
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