For background one may want to quickly read Wiki's overview of the Angle-Saxon Chronicle.
Then, this paragraph (which I have broken up) -- second from the end in Bridgeford's book:
It was at St Augustine's Abbey that one of the versions of the Angle-Saxon Chronicle was kept up, nowadays called the E version. The E version of the Chronicle tends to be the most favourable towards Earl Godwin and his family, but it, like the other versions of the Chronicle, passes over in silence the whole matter of Harold Godwinson's fateful journal to the continent that was the catalyst of all that followed.
The truth behind Harold's mission, and with it King Edward's crucial wishes toward the end of his reign, was recorded at St Augustine's not, on this occasion, in ink scratched upon parchment but with colourful stitches pierced through white linen cloth (the Bayeux Tapestry).I can add something to the mysteries of the book: the origin of the coat-of-arms for the French region of Boulogne: the three balls.
In this sense, the Bayeux Tapestry can truly be described as the lost Angle-Saxon Chronicle as wellas the secret Chronicle of the House of Boulogne, a generation before the blood of Charlemagne achieved a new pinnacle of success in the Kingdom of Jerusalem.
Modern heraldry is traced back to the 12th century. The knights, 1066 A.D., in the Bayeux Tapestry carry shields, but there appears to have been no system of hereditary coats of arms. However, if one looks closely, one sees the "three balls" on the shield of Eustace II.
The tapestry begins with the scene of a juggler holding a couple of horses readied for the invasion of England by William the Conqueror.
Heraldry, juggler, the importance of Turold the juggler in the tapestry, and the three balls on the shield of Eustace's shield seem to be several dots that can be connected.
Turold, through the Song of Roland is considered the father of French literature. The Song of Roland relates the exploits and successes of Charlemagne. Eustace was a descendent of Charlemagne. Eustace II, Count of Boulogne, showed his respect for Turold by placing him in the tapestry, at the very beginning, no less, and perhaps further "honored" him by placing the juggler's "universal symbol" on the coat of arms for Boulogne. See also Taillefer.