The Bayeux Tapestry: Engineering an Extraordinary Journey

The scale of the challenge was captured by National Geographic, which wrote that the Tapestry “would require more sophisticated packaging” — “which is where the international art-logistics firm HIZKIA came in.”

Le Monde described the task as a “seemingly impossible challenge,” for which we brought in vibration engineering expert Dr.-Ing. Kerstin Kracht. We had already been working with her for six years to develop science-based art transport solutions based on optimum vibration management.

We designed a bespoke transport solution specifically for the Bayeux Tapestry. The folded Tapestry panels were placed inside a climate-controlled case, suspended within a metal cage using Wire Rope Isolators, designed to minimise shock and vibration throughout the transport.

The solution was tested and refined through two full trial journeys using a mock Tapestry, with vibration data collected along the route. Le Monde reported that the final solution achieved a 96% reduction in vibration.

The operation brought together our European branches and specialist partners, combining Danish transport, French projectmanagement, German scientific expertise and Dutch expertise in art handling and packaging.

Of course, nothing was left to chance. The crate, climate control, route, handling procedures and vibration levels were all carefully considered, tested and refined before the Tapestry began its journey.

After arriving at the British Museum, the Tapestry was carefully examined by French and British conservators. The BBC reported that the French Minister of Culture described it as being in a “wonderful state.”

British Museum Chair George Osborne praised everyone involved in the transport, saying they had “done an amazing job in transporting this very delicate item across the Channel and unfurling it here for us,” adding that “there is no evidence that there is any damage to the tapestry whatsoever. It has travelled really well.”