England's Victorian connection to the Bayeux Tapestry

The Bayeux Tapestry's arrival in England for the first time in 1,000 years has been welcomed by the King and prime minister, but its arrival has helped put a new spotlight on a lesser-known Victorian copy.

Created in 1886 by a team of 35 embroiderers in Leek, Staffordshire, the replica has been on display in Berkshire for most of its existence, and is a faithful rendition in all but just a few details.

Among them is the fact penises shown on the original were not stitched on to the 19th Century copy, a decision driven by Victorian prudishness.

Work on the Leek version was led by embroiderer Elizabeth Wardle who felt England should have a copy of its own after a visit to Bayeux in France in 1885 to see the original.

It was celebrated as a triumph and would go on to be displayed at Windsor Castle at Queen Victoria's personal request, as well as being shown in exhibitions across Europe and America.

Wardle's husband Thomas was a leading light in the textiles industry, and although not well-known today they ought to be, according to antique textiles dealer Meg Andrews.

"They were a very dynamic, and entrepreneurial couple," she said.

"[Elizabeth] was a really brilliant embroiderer, and very had a very good eye for colour."

The Wardles were pioneers, and their use of vegetable and mineral dyes heavily inspired designer William Morris, who regularly stayed with them in Leek.

Leek Embroidery Society was working on its version of the Bayeux Tapestry at a time when the Arts and Crafts Movement, a return to traditional crafts, was on the rise.

The reduction or covering of penises was due to the photographs used to create it being altered by staff at the South Kensington Museum, now known as the V&A.

Wardle's version initially went on display at the Nicholson Institute in Leek, but later went on tour and was bought by former Reading mayor Arthur Hill in 1895 who donated to the town.

Brendan Carr, community engagement curator at Reading Museum, said the arrival of the original tapestry in London has renewed enthusiasm for the Leek version.

"A lot of people are coming to study it before they go for their planned visit to the British Museum," he said.

"It's a masterpiece in its own right, it's a really beautiful and detailed and entirely faithful copy."

Wardle also embroidered altar cloths, a number of which can still be seen in local churches.

"They really are amazing works of art," said Pauline Smith, of Leek Historical Society, who added they were the sort of textiles work the society was best known for.

The replica Bayeux Tapestry had been back to Leek twice, Smith said, but of course people in north Staffordshire were the first to be able to see it when it was initially completed.

It cost a shilling to get in to see the exhibition at the Nicholson Institute, she said, but it opened free of charge on the final day, with special train fares provided to enable people to get to Leek.

The embroidery, like the original, featured 623 men, 202 horses, 55 dogs, 505 other animals, 37 buildings, 41 ships and 49 trees.

While the embroidery society was blamed by some for covering up penises, it later emerged museum staff had made the alteration.

"Someone in the photography area in London producing these, that the ladies stitched from, had already done this painting over of the penises," Smith said.

Work on the replica was divided between 35 women and they each completed sections of it, though some did far more work than others.

MP Karen Bradley said the replica's origins in the area were something the entire Staffordshire Moorlands could feel proud of.

"We have these great names from history, these people who did so much and really put the Moorlands on the map at the time, and we've almost forgotten about it," she said.

"I really hope people will use this opportunity, this reminder, to go and see what there is and go and discover what we've got on our doorstep but also what we have further afield.

"Maybe get on that train and go to Reading and go and see the results of the incredible needlewomen from more than 100 years ago."

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