ok, I finally can sit down to this.

there are actually other narrative tapestries, we will get to them. But first, Bayeaux. You must remember, the fact that we still have this entire tapestry is quite astounding. Textiles do not survive very well. In fact another embroidery from close to this period comes from Mammen, in Denmark; it's the remains of the clothing and headcushion from a nobleman burial and, even though the embroidery itself is a great show of skill entirely in split stitch, only bits and pieces of it remain. (you can see some of it here: https://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-viking-age/the-grave-from-mammen/the-costume/) This is really why the Bayeaux Tapestry is so well known, and has been a source of inspiration for many others. A tapestry of the period is the Överhogdal Tapestry, from Sweden. You could argue they are not historical, as the current accepted theory is that they despict Rägnarok, but it can still be considered a narrative tapestry. This is, however, a woven tapestry, using a suplemental weft technique. Bayeaux is made by what is known as the bayeaux stitch, which is basically a double couched flat stitch with a stem stitch border.

Tapestries had and have long been used as wall coverings, it is one of the easiest ways to warm a room in winter, as they trap warm air in and prevent the cold from seeping inside (a house coat if you will). As humans we like things decorated things better than plain ones, and eventually the most elaborate ones become luxury items. If you want an idea, the modern Overlord Tapestry, which tells the story of Operation Overlord and D-day in WWII, measures 83mts and took 25 professional embroiderers 4 years. The Prestonpans Tapestry, which tells the story of the victory of Bonnie Prince Charlie in the battle of the same name and is directly influenced by Bayeaux, is considered a community project and took 215 amateurs 6 months, measuring around 104mts. Add to this the price of the materials, which could be quite costly.

The advantage of a tapestry over a stained window (or a series of them) or a mural or even a painting is mobility. And yes, at 70mts this tapestry is quite monumental, but it is possible to roll it up. So it could, as you say, be displayed at the cathedral part of every year, and be displayed elsewhere the rest of it. Another point is that, as you mentioned, this is a secular piece of art. This means that it has no religious themes or imagery. You could not place such a piece as a permanent fixture in a church, it would be sacrilegious. Also, this project was apparently heavily influenced by Williams sister Esther, and supervised by his wife Mathilde, so it might partially be their influence in the matter to focus on a textile.

Sarah Mallory, a researcher from the MET, speaks of tapestries as an early form of social media. The making was a social experience. Because of their mobility they could be hung at different locations for different people to view and ask about, and became a way to share a story.

I feel I went all over the place, but I hope I answered some of your questions

Mostly, I agree with Danika. Also how many stained glass windows survive from the 11th century?

Incidentally, it’s not clear that Odo had much to do with the Bayeux Tapestry. He appears on it 4 or 5 times. By contrast, the most frequently depicted figures are:

Harold 21 times

William 17

Alan Rufus 16

Alan was the most famous knight of the age: the poets Geffrei Gaimar and Wace extolled his prowess at Hastings.

Wace lived on Jersey; he introduced the Round Table to the Arthurian tales when he translated and extended Geoffrey of Monmouth’s stories.

The man from Monmouth was himself inspired to write about “King Arthur” by Alan Rufus: he adapted the names of Alan’s immediate family for Arthur’s.

Back to the BT: it was sewn in the Kent workshops of St Augustine’s Abbey in Canterbury.

The Abbot was Scolland, previously treasurer and head of illuminated manuscripts at Mont St-Michel.

Scolland and his family were associated with Alan Rufus: Alan’s great-grandfather Duke Conan I (also an ancestor of Duke William’s) was buried as a national hero at Mont St-Michel; another Scolland was a steward in Alan’s employ.

St Augustine’s answered to Lanfranc, the Archbishop of Canterbury, not to Odo, Earl of Kent.

The figures Turold, Vitalis and Wadard, who are usually taken as evidence of Odo’s personal involvement, were tenants of St Augustine’s. On the BT, Turold is shown standing next to Alan Rufus.

In two of Odo’s appearances, he sits next to Alan Rufus; on the battle, he is the next identifiable figure after Alan; in the other prominent appearance, Odo appears next to Duke William and his brother Count Robert.

Robert and Odo were witnesses to a charter at Rennes, capital of Brittany, circa 1050, issued by Duke Regent Eudon, Alan’s father.

Their father, Herluin, Viscount of Conteville, owed service to Eudon due to Conteville being under the Diocese of Dol.

The first record of the BT at Bayeux Cathedral was in 1476. There were many bishops of Bayeux between Odo and then, some of them Bretons.

Curiously, Bayeux Cathedral has distinctive features in common with the foundation of Alan’s Richmond Castle. Perhaps one architect worked on both projects?

As to why the BT calls Harold “King” when written Norman sources decline to do so, a possible factor is that Alan Rufus, alone among the new barons, surrounded himself with English people. He even won the heart of Harold’s daughter Gunhildr.