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 John Bampton and the Events of May 1381

28/3/2015

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Sowing the seeds of the Peasants Revolt

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Unlike later plots against government, such of the Gunpowder Plot in 1605 or the Babington Plot in 1586 where conspiracies  were formulated by a few men under one roof, the Peasants Revolt was the quiet murmurings of unrest among many unhappy and angry people who finally got together under one leader. 

We get much of our information regarding the beginnings of the revolt from local level in the form of court cases brought against villagers who took part in the early stage, people from the villages like Fobbing, Billericay, Gold Hanger and Bocking. Evidence of the events that took place in Brentwood on the last days in May are also found in written accounts and this is backed up by the Anonimalle Chronicle written at the time by a Benedictine monk from St Mary’s Abbey in York, and a later inquisition headed by the Chief Justice of the King Bench and West County lawyer, Sir Robert Tresillian. ​
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Historian are in agreement over the events that took place in Brentwood, but not over John Bampton, the man who history associates with it. In the Anonimalle Chronicle, Bampton's christian name is Thomas but the vast majority of the
references to him are as John. 



Bampton held lands in Essex, in 1362 Edward III granted him Ongar Park for an annual payment of ten marks and in 1372 he held Margaret Roding, one of six villages that make up what is known as The Rodings. He also held Canewdon, a village just north of Rochford. Also in 1372, Bampton was made sheriff of Essex, but it was as Justice of the Peace that he achieves his historical 'claim to fame'

History tells us that Bampton was in the Essex village of Brentwood in the May of 1381 to inquire into unpaid taxes, and he had summoned the inhabitants of surrounding villages to come to Brentwood and explain their non payments.The meeting soon got out of hand and men from three of the communities refused to cooperate, violently forcing Bampton and his men at arms out of the village.

 It was this one incident that was the catalyst for the Peasants Revolt, the troubles soon escalated and was followed by the rebelling peasants entering London on June 13th.

As we know, records of any historical event have to be read with caution and this applies to the events of the 30/31 of May 1381. It has been suggested that Bampton didn't play a major part in this story at all but only appeared because his property was one of the first to be attacked at beginning of the revolt. It has also been suggested that he was brought in later to replace another judge. But what is more likely is that he was not the lone justice triggering the revolt with his demands for money but one member of an investigating commission of four justices, a sheriff, a clerk and a sergeant at arms. 

This suggestion is backed by Tresillian's commission statement that states

                       “John Goldsborough, John Bampton and other justices of the peace with bows and arrows pursuing them them to kill 
​                                                                                                                  them headed back to London."
In 1348, the Black Death killed over one third of England's population, it was the first link in a chain of events that would, over thirty years later, result in what is now known as the Peasants Revolt. 

The second link in that chain was a shortage of people to work the land, and it was this that gave the peasant population the ’upper hand’ causing them to demand higher wages. To counter these demands taxes were implemented, three poll taxes were introduced over a four year period that saw everyone over the age of fifteen paying one shilling each, this tax was crippling, it was the seeds of civil unrest. 
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Of John Bampton after his return to London I cannot find any reference, but the important question is what of the peasants,did they go back to tilling the soil, did they return to their fields like nothing had happened? Initially yes, but what these men eventually achieved was the breaking down of the century old feudal system which had kept them at the very bottom of life's ladder. Attitudes were changing, this meant that the poor man would no longer be beholden to a lord and master, he would be a free man.
The events of 1381 ended badly for most, Richards II's promise to the peasants came to nothing, the charter that was signed later revoked, The peasants leader, Wat Tyler was decapitated after trying to escape and two important members of the court, the kings Treasurer and the Archbishop of Canterbury are viciously murdered in the Tower of London by the rebels themselves.
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Bells of Crowland Abbey in Lincolnshire

28/3/2015

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The bells of the abbey originally numbered seven and each had their own name. 

​The great bell was cast on the instructions of Abbot Turketyl and named Guthlac after one of the two saints the abbey is dedicated to. Egelric, who was abbot from 975 to 984 added six more bells whose names were Bartholomew, Beccelm, Turketyl, Tatwin, Pega and Bega. 

These seven bells were housed in a central tower that, in 1091, was destroyed by fire as was a smaller belfry many years later. The tenor bell, cast in 1430, is one of six bells at Crowland, not only are they unique, but they were the first tuned peal to be heard here in England, also the sound of them ringing were one of the first to be broadcast to the nation on radio in 1924.

The bell ropes, seen in my photograph below, have one of the longest draws in the country being ninety feet long.

The Croyland Chronicle has among its pages the Miracle of Guthlac, as story that is associated with the bells of the abbey:

"At this period, there happened in our monastery a circumstance of everlasting remembrance, which some of the most intelligent, even, ascribed to a wondrous miracle. The greater bell-tower had been newly built in the western part of the church, in which it was intended that the bells before-mentioned should, by the skill of the carpenters, be hung. At this time it was not covered in at the very top, nor was it in any way closed by the intervention in it of any lower floor. Having put together, on the ground below, a certain machine for the purpose of winding and drawing, they endeavoured to fix in the summits of the walls an immense beam, held by ropes and pulleys, to act as a supporter of the whole work. By dint of great efforts on the part of those winding, the beam had been now raised nearly fifty feet from the ground, and was hanging poised aloft, when, on a sudden, the tackle proving unequal to the strain of such an immense mass, began to give way. At the same moment, the ropes burst asunder, and the beam, falling to the ground with a loud crash, broke the whole fabric to atoms that lay below. There seemed no chance of escape whatever for the men, nearly twenty in number, who were labouring below and were now placed almost at the very verge of death; nor would it have been of any use for them to fly, seeing that the beam in its length across equalled the square space between the walls. However, the Divine mercy instantly regarded them thus threatened by a peril so terrific, and smitten with the greatest consternation at so unlooked-for an event; for the breaking down of so vast a mass did not crush one of them, and its precipitate fall did not the slightest injury to a single individual. Oh instance of the Divine grace, deservedly to be lauded and extolled! Oh, how glorious, too, the merits of our father Guthlac! Who could possibly withhold himself from uttering the praises of God?"
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Hell Mouth:  The fiery Depths of Medieval Damnation.

27/3/2015

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Yesterday, Dr Helen Castor was explaining how people of the time of Richard III were preoccupied with death, how they dealt with it and the preparations they made for it.

 One of places that the medieval man would worry about was heavens waiting room, that is Purgatory.

Of course, the richer you were, the easier your passage was to heaven. Henry VII paid for ten thousand masses to be said on his death, the Archbishop of Canterbury paid for fifteen thousand, the poor could light a candle or try very hard to behave themselves.

The image below is a good example of what they thought happened to the medieval soul if it didn't get a ticket.
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This image, depicts an angel locking the door to what is known as a Hell Mouth. 
Often illustrated as a monster, in this case a giant sea creature, whose mouth never closes, we can see the agonies and the suffering of the poor tormented souls inside. It is a gateway to hell, the fiery depths of medieval damnation. 
It is a good example of how medieval people saw heaven and hell as separate places. 
If you look, the door with its lock lies exactly on the border which could be said to represent the area just outside hell, which of course is Purgatory. 
The angel stands in the margin representing heaven, locking the door to those who are damned for all time, that is hell, which takes up the centre space.

There are many manuscripts from the medieval period that show the hell mouth, this particular one comes from the Winchester Psalter, an English twelfth century illuminated manuscript which is also known as the Psalter of Henry of Blois, who was the brother of King Stephen.

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The Charge of the Light Brigade by Alfred, Lord Tennyson

27/3/2015

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Half a league, half a league,
 Half a league onward,
All in the valley of Death
 Rode the six hundred.
"Forward, the Light Brigade!
"Charge for the guns!" he said:
Into the valley of Death
 Rode the six hundred.



"Forward, the Light Brigade!"
Was there a man dismay'd?
Not tho' the soldier knew
 Someone had blunder'd:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die:
Into the valley of Death
 Rode the six hundred.



Cannon to right of them,
Cannon to left of them,
Cannon in front of them
 Volley'd and thunder'd;
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
 Rode the six hundred.



Flash'd all their sabres bare,
Flash'd as they turn'd in air,
Sabring the gunners there,
Charging an army, while
 All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack and Russian
Reel'd from the sabre stroke
 Shatter'd and sunder'd.
Then they rode back, but not
 Not the six hundred.



Cannon to right of them,
Cannon to left of them,
Cannon behind them
 Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro' the jaws of Death
Back from the mouth of Hell,
All that was left of them,
 Left of six hundred.



When can their glory fade?
O the wild charge they made!
 All the world wondered.
Honor the charge they made,
Honor the Light Brigade,
 Noble six hundred.




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The Armorial  of William Revel.

25/3/2015

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The image below is a single page of a manuscript depicting the arms of the nobility of Auvergne and Bourbon in France during the time of Charles I, Duke of Bourbon and Auvergne. Around 1450, Charles asked his herald, William Revel, to identify the arms of the families living within his lands. 

This five hundred paged illuminated manuscript not only contains the arms of the French nobility, but it is a wonderful snapshot of the civil and military architecture of Upper Auvergne and Bourbon.
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The manuscript was dedicated to King Charles VII of France and begins with the representations of various members of the family of Bourbon, St Louis and Marguerite of Provence and of course Charles himself. Along with the images of the arms of the distinguished families there are illustrations of the towns within the province the manuscript covers.

 Depicted here, is the walled castle town of Moulins, an important town that was the home and capital of the Bourbon dukedom.
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The Long Engagement

20/3/2015

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When you look at the image below how does it make you feel? 

Initially this painting made me feel sad, I thought it was gloomy and depressing, but after looking at it for a while I changed my mind. It is, of course, a representation of the Victorian class system where the artist makes a point about the class divide, but it is also a depiction of hope, the artist expresses his feelings when he added the following quote from Chaucer's 'Troilus and Criseyde when he exhibited his painting in 1859.

'For how myght ever sweetnesse hav be known To hym that never tastyd bitternesse?

Arthur Hughes, an English Pre Raphaelite artist and a book illustrator entitled his work The Long Engagement and in it he depicts a wooded area in the spring. 

A young cleric stands with his love, but the scene is not a happy one. Hughes theme is common for its time and as already mentioned it depicts the problems that the Victorian class system caused, Charlotte Bronte writes of the same thing in her wonderful story Jane Eyre. In this case Hughes depicts a lowly cleric and the daughter of a wealthy middle class family who are unable to marry until he has gained a position that would fit their needs socially and financially. 

This is the couples dilemma.

 But all is not lost for the lovers, Hughes has filled his painting with more positive symbolism than negative. Amy, (we know her name because it is carved into the trunk of the tree) wears two colours, purple for sorrow and green for hope, the ivy that climbs the tree is newly grown and living and therefore we associate it with affection and eternity. 

Finally, there is mans best friend, the dog, a traditional symbol of fidelity, protection and faithfulness. 
A happy ending maybe?

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The Criminal Prosecution and Capital Punishment of Animals

19/3/2015

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We have sayings today that supposedly fit with the character of an animal, sly as a fox, lazy as a pig. We see wolves as vicious, snakes as scheming and rats as sneaky dirty little creatures and with all these negative traits its not surprising that, in days gone by, many of these animals found themselves in front of a human jury.
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I hear you laughing but animal trials did happen. 
​
Offences alleged against animals ranged from murder to criminal damage and their trials took place in church and secular courts. Animals were provided with lawyers, human witnesses were often brought, those who had witnessed the crime and others who spoke of the good character of the animal. These trials took place in Europe between the thirteenth and eighteenth centuries. In 1906, over a hundred accounts of animal trials were collected by historian Edward Evans for his book, The Criminal Prosecution and Capital Punishment of Animals, the cover of the book is seen here. This barbaric scene shows a pig, dressed in jacket and trousers, being strung up on the gallows while the fourteenth century inhabitants of a Normandy village watch. In Evan's book, its states that the pig had been sentenced to be “mangled and maimed in the head and forelegs then dressed and hung" for its crime of having torn the face and arms of a baby in its cradle. 

An eye for an eye it seems!

On the whole it was the domestic animal, as we have seen with the pig, that commonly found themselves facing trial, cows and horses and even insects were tried too! Rats and cats were often brought to trial as familiars as they lived in the homes of women who were suspected as being witches. 

The pig execution mentioned previously, was the earliest recorded animal trial and execution, centuries later, in 1457, a female pig and her piglets were said to have been tried for the murder of a child, the end result of which was the piglets being acquitted but the mother being found guilty. No doubt the sow was put to death as was the norm for a guilty verdict, or if the judges were lenient, there was the option of exile. 

A more extreme 'animal' the werewolf, were often tried, but in recorded cases the werewolf itself was never present only its alter ego, the human.

A trial in the town of Basel in Switzerland in 1474, a rooster was put on trial for "the heinous and unnatural crime of laying an egg." The townspeople thought that the rooster was the creation of the devil and that an egg he had laid contained a two-legged dragon with a rooster's head known as a Cockatrice. Other eggs laid by the rooster all lacked yolks which also was considered unnatural and this added more weight to the prosecuting councils case. The defense suggested that it was not the the roosters fault that it happened to lay eggs, but the judge found the bird guilty of witchcraft and it was immediately burned at the stake "with as great solemnity as would have been observed in consigning a heretic to the flames" and like the pig years earlier the execution was witnessed by a large crowd.


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Henry VIII and the Death of Elizabeth of York

18/3/2015

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King Henry VIII was only twelve years old when his mother, Elizabeth of York, died in 1503.

 In later years Henry was a quick tempered, heartless bully who dispatched his wives as quickly as he was married them and who executed his friends when they did not get for him what he wanted. Henry was a adult, but it seems he grew in stature but not in mind. That said, it is easy to forget that he was once a small boy, who by the time of his beloved mother's death in childbirth, had lost his older and younger brothers and a baby sister who had died three days after her birth.

 His father Henry VII, was said to have been devastated by Elizabeth's death and "privily departed to a solitary place and would no man should resort unto him." was distant from the boy. 

These few facts are nicely illustrated in the above image, a painting that had lain unseen in the National Library of Wales. Called the Vaux Passional, it once belonged to Joan Vaux, Lady Guilford, whose family had been members of the royal court during the time of Henry VI. Jane, was close to Henry VII and Elizabeth of York, was ‘lady governess’ to princesses Margaret and Mary, they called her ‘Mother Guilford’. In the illustration we can see a king being presented with a book whilst two girls, sit at the end of a bed, their heads draped in black fabric.
 
What is interesting is the image of a distressed red headed boy who is lying across the bed.  According to Dr Maredudd ap Huw, it is probable that the figures behind the king are princesses Margaret and Mary and Prince Henry. 
​

Maybe it was Joan Vaux who commissioned this work as a reminder of the loss of a friend, a queen, but most of all a mother. If this is the case then it shows us Henry VIII as emotionally vulnerable, maybe it was this one moment that changed Henry into the tyrant he was to become.
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Requiescat

18/3/2015

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This wonderful artwork by Briton Riviere, a late nineteenth century British artist, is an oil on canvas. 


It was purchased by an Australian art gallery from Riviere himself ten years after it was completed. 

As already stated this piece is entitled Requiescat which is taken from the Latin phrase Requiescat in Pace. We very rarely, if ever, see this wording written in its correct form as it is anglicised and now appears as Rest in Peace or shortened even further to R.I.P. 

The new term became common on the tombs of Catholics in the eighteenth century, for whom it was a prayerful request that the soul should find peace in the afterlife which is a surprise to me as I thought that it actually meant the body of the deceased should lie in peace as apposed to the persons soul. Other variations of the term Requiescat include “Requiescat in pace et in amore” meaning "May she rest in peace and love", and “In pace requiescat et in amore”. 

The artwork depicts a fourteenth century armoured medieval knight lying on top of a wooden bed and blue floral-patterned bedspread while a bloodhound gazes sadly up at him.



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The Tilbury Speech 

18/3/2015

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The year 1588 saw a great fleet of ships set sail from Spain for England. Known as the Spanish Armada, they were a large invasion force, who under the Duke of Parma had every intention of overthrowing protestant England. A combination of events such as Sir Francis Drakes fire ships and a turn in the weather saw a total disaster for the Spanish.
 Accepted as being authentic the document below, dated during the reign of James I, was found in a letter from Leonel Sharp, a courtier and royal chaplain to the Duke of Buckingham. It is Queen Elizabeth's famous speech made to her troops at Tilbury.

Elizabeth arrived wearing a silver breastplate and from her horse delivered one of the most famous speeches in history.
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"My loving people, we have been persuaded by some that are careful of our safety, to take heed how we commit our selves to armed multitudes, for fear of treachery; but I assure you I do not desire to live to distrust my faithful and loving people. Let tyrants fear, I have always so behaved myself that, under God, I have placed my chiefest strength and safeguard in the loyal hearts and good-will of my subjects; and therefore I am come amongst you, as you see, at this time, not for my recreation and disport, but being resolved, in the midst and heat of the battle, to live and die amongst you all; to lay down for my God, and for my kingdom, and my people, my honour and my blood, even in the dust. I know I have the body but of a weak and feeble woman; but I have the heart and stomach of a king, and of a king of England too, and think foul scorn that Parma or Spain, or any prince of Europe, should dare to invade the borders of my realm; to which rather than any dishonour shall grow by me, I myself will take up arms, I myself will be your general, judge, and rewarder of every one of your virtues in the field. I know already, for your forwardness you have deserved rewards and crowns; and We do assure you in the word of a prince, they shall be duly paid you. In the mean time, my lieutenant general shall be in my stead, than whom never prince commanded a more noble or worthy subject; not doubting but by your obedience to my general, by your concord in the camp, and your valour in the field, we shall shortly have a famous victory over those enemies of my God, of my kingdom, and of my people."
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    After ten years in the workplace I became a mother to three very beautiful daughters, I was fortunate enough to have been able to stay at home and spend my time with them as they grew into the young women they are now. I am still in the position of being able to be at home and pursue all the interests I have previously mentioned. We live in a beautiful Victorian spa town with wooded walks for the dog, lovely shops and a host of lovely people, what more could I ask for.

    All works © Andrea Povey 2014. Please do not reproduce without the expressed written consent of Andrea Povey.

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