Encyclopedia Britannica:

Bayeux Tapestry, medieval embroidery depicting the Norman Conquest of England in
1066, remarkable as a work of art and important as a source for
11th-century history.

The tapestry is a band of linen 231 feet (70 m) long and 19.5 inches
(49.5 cm) wide, now light brown with age, on which are embroidered, in
worsteds of eight colours, more than 70 scenes representing the Norman
Conquest. The story begins with a prelude to Harold's visit to Bosham on
his way to Normandy (1064?) and ends with the flight of Harold's
English forces from Hastings (October 1066); originally, the story may
have been taken further, but the end of the strip has perished. Along the
top and the bottom run decorative borders with figures of animals, scenes
from the fables of Aesop and Phaedrus, scenes from husbandry and the
chase, and occasionally scenes related to the main pictorial narrative. It
has been restored more than once, and in some details the restorations
are of doubtful authority.

When first referred to (1476), the tapestry was used once a year to
decorate the nave of Bayeux Cathedral in France. There it was
"discovered" by the French antiquarian and scholar Bernard de
Montfaucon, who published the earliest complete reproduction of it in
1730. Having twice narrowly escaped destruction during the French
Revolution, it was exhibited in Paris at Napoleon's wish in 1803-04 and
thereafter was in civil custody at Bayeux, except in 1871 (during the
Franco-German War) and from September 1939 to March 1945 (during
World War II).

Montfaucon found at Bayeux a tradition, possibly not more than a
century old, that assigned the tapestry to Matilda, wife of William I the
Conqueror, but there is nothing else to connect the work with her. It may
have been commissioned by William's half brother Odo, bishop of
Bayeux; Odo is prominent in the later scenes, and three of the very few
named figures on the tapestry have names borne by obscure men known
to have been associated with him. This conjecture would date the work
not later than about 1092, an approximate time now generally accepted.
The tapestry has affinities with other English works of the 11th century,
and, though its origin in England is not proved, there is a circumstantial
case for such an origin.

The tapestry is of greater interest as a work of art. It is also important
evidence for the history of the Norman Conquest, especially for Harold's
relation to William before 1066; its story of events seems straightforward
and convincing, despite some obscurities. The decorative borders have
value for the study of medieval fables. The tapestry's contribution to
knowledge of everyday life about 1100 is of little importance, except for
military equipment and tactics.