The Bayeux Tapestry which depicts the events leading up to the Norman conquest of England as well as the events of the invasion itself. In France it is occasionally known as "La Tapisserie de la Reine Mathilde" (Tapestry of Queen Matilda) ", and it seems that it is recommended by " Odon of Bayeux ", the brother of "William the Conqueror". It is an illustration of the Norman conquest of England, in 1066, which explains particularly the important events of the battle, especially that of Hasting. The Bayeux Tapestry is one of the precious leaders of the artistic and historic works, in West or more precisely in France or England. This tapestry absorbs the attention of historians, because it gives the pictorial information as regards the events, the battles, the clothes and the everyday life of XI th century. The images of the riders, especially the rider in the hawk on the hand and the style of the representation of real and fantastic animals, confirm the hypothesis according to which the Sassanid and Islamic arts influenced the creation of this masterpiece.We can notice two types of images influenced by the Sassanid and Islamic art:1) The leaned or opposite real or fantastic animals, 2) The rider in the hawk in the hand. On this tapestry, two registers at the top and below represent the animal different reels and fabulous. The silvers dishes Sassanid or post-Sassanid which made in the ateliers of Moslem Caliphs, carry the Sassanid motives, as Simurgh or Griffon. Besides, tissues precious silk, was a mattering object to transport these motives. The motives of animals' Sassanid could arrive at the hands of the artists of the weaving workshops of Bayeux.The various fantastic and real animals were drawn in two registers at the top and at the bottom of the tapestry. The rider with a hawk in the hand was an absolutely royal subject and the symbol of the strength and the power of King Sassanid. It is for that reason that at the beginning of Islamic periods, this scene was very appreciated by the Caliphs or the governors of the various regions Iranian as Khurasan and Ray, and its reproduction was continued in weaving workshops and ceramic, after the fall of Sassanid's. The animals illustrated with the style Sassanid represent not only on Sassanid's tissues, but also on Roman churches in France, in Spain and even in England. It can be one of the arguments of this idea that the artistic studios knew the Sassanid's motives, in this period. We can specify two mains directions for the transfer of the motives towards countries situated at the border of the Mediterranean Sea: 1-Countries in the North of Africa as the Copt (Egypt), Morocco; 2-Countries in the East and in the North of the Mediterranean Sea as Syria, Turkey (Byzantium), Italy, Andalusia (Spain).
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