The two dummy-runs to London – in February and April – showed that shocks are absorbed to a measurement of 96% – reduced, in other words, to the level artworks regularly experience simply by being on display.
“Don’t forget an artwork receives vibrations merely from the footsteps of all the visitors to a museum,” said Kerstin Kracht, an expert in vibration reduction.
The team observed that English roads contain more bumps and potholes than their French equivalents – but not so many as to upset calculations.
The date of the transport is being kept secret for security reasons, but it will be sometime in July.
Once at the British Museum, the tapestry will be removed with the same care and manpower as was required for its storage, before being laid out – flat, not vertically – for display.
Some specialists – such as Didier Rykner, leading French arts writer – remain sceptical.
“What happens if there is a problem in the tunnel and the lorry gets stuck there? These technical reports they have produced are meaningless – they’re just there to justify the political decision that’s already been taken,” he said.
