Seb Foxley

Guest Post: creating Books in the Sixteenth Century by Toni Mount

Sharon Bennett ConnollyLeave a comment

As always, it is a pleasure to welcome my dear friend Toni Mount to History… the Interesting Bits. Toni has just written an informative and highly entertaining book, How to Survive in Tudor England, and she is here today to tell us about what went in to publishing a book in Tudor times.

Over to Toni…

Creating Books in the Sixteenth Century

A Printing Press in the sixteenth century

I’ve been really busy this year, working on three books, all at the same time, each one at a different stage of production. I’m just completing the final proofs: text and images, and compiling the index for a popular history book – a fun guide to living in the Dark Ages – my next Sebastian Foxley medieval murder mystery is with the publisher and a third book is being researched. With so much scribing and checking going on, I thought this would be an opportunity to think about how my experiences of writing, printing and publishing might compare to those of a sixteenth-century author. What sort of books would they write? How would they write them? What were the new requirements of the printing press as opposed to books written by hand?

What sort of books would they write?

Some of the answers may surprise you. Religious subjects were to the fore around the time of the Reformation and would continue to be but self-help instruction books were extremely popular. Tales with a moral were reckoned most educational. History books tended to retell Classical events, such as the Siege of Troy, the founding of Rome and the Punic Wars fought between Romans and Carthaginians, as well as stories of the Roman emperors. The heroic exploits of Alexander the Great were retold as were those of King Arthur and his Knights of the Round Table in various guises. Science books were appearing too. With the advent of the printing press, scholarly treatises were no longer limited to a few hand-written copies but could be widely disseminated as printed editions. Since they were usually written in Latin as the universal language of academia and the Roman Catholic Church, they could be read – if not always understood – across Europe and the Americas. Novels, as such, were not yet recognised but obviously romantic stories of heroes and heroines, along with collections such as Chaucer’s Canterbury Tales and Boccaccio’s Decameron remained popular as ever. Poetry was also published.  

One of the most popular religious books of the second half of the sixteenth century was Foxe’s Book of Martyrs. Originally published in London by John Day in 1563 under the title Actes and Monuments, it was written by John Foxe, a Protestant, giving an account of those who had suffered martyrdom at the hands of the Roman Catholic Church, particularly in England and Scotland, giving maximum coverage to those burnt at the stake during Mary Tudor’s reign. Now that Elizabeth was on the throne, the book became so popular it went through four editions and numerous reprints, including an abridged version known as the Book of Martyrs, before Foxe died in 1587. Long after his death, the book continued to influence anti-Catholic sentiments and was virtually compulsory reading for those of the Protestant faith in England.

A first edition of Foxe’s Book of Martyrs, 1563

Thomas Tusser [1524-80] was a farmer who fancied himself a poet. He wrote an instruction book for his fellow farmers – husbandmen – and their wives, all in rhyme. First published in 1557, A Hundreth Good Pointes of Husbandrie was enlarged and republished in 1573 as Five Hundred Points of Good Husbandry, being reprinted numerous times. It’s a fascinating book about country life and customs in the Tudor era and the source of information for some of my articles for this magazine. My favourite Tusser couplet is:

A respite to husbands the weather may send,

But housewife’s affairs have never an end.  

How true.

Moral tales were regarded as educational and could also be fun to read. Aesop’s Fables were a perennial favourite, as were the adventures of Reynard the Fox, author unknown, but they date back to the eleventh century in France. The year 1481 saw the first printed edition of The History of Reynard the Fox to come from the Westminster press, just five years after William Caxton had set up the first ever printing business in England. Subsequent reprints appeared in 1489 and, after Caxton’s death, more were produced by Richard Pynson in 1494, 1500, 1506 and 1525. In fact, there were twenty-three editions of Reynard published in England in the sixteenth and seventeenth centuries, so Caxton had found a runaway bestseller.

Reynard, the anti-hero, relies on brains rather than brawn to get the better of his enemies, often having others do his dirty work. For example, in taking Tybert the Cat to the farmer’s barn where he can feast on mice, Reynard is well aware of the trap set by the farmer to catch him, after he stole some hens recently. Of course, it’s Tybert who gets trapped. But the Fox’s cleverness extends to the subtleness of a lawyer and the honeyed tongue of a courtier, saying all the right things, not only arguing his way out of trouble but to promoting his own cause at the king’s court – lessons to be learned for the would-be courtier perhaps.

One of the first scientific books was written by Robert Recorde, a Welsh mathematician living in England. Recorde was the first ‘popular science’ writer and, although he knew Greek and Latin, he taught and wrote in English so anyone who was literate could understand his work. In 1542, his text book on arithmetic, The Grounde of Artes, first introduced the plus, minus and equals signs [+, -, =] that make the writing of equations so much quicker. He read Nicolaus Copernicus’ ground-breaking book De Revolutionibus, published in 1543, that put the Sun, not the Earth, at the centre of the universe for the first time. Recorde gave the theories a lot of thought, noting his favourable conclusions in The Castle of Knowledge, published in 1551, agreeing that the new ‘heliocentric’ universe fitted the calculations more nearly and made more sense. In 1551, he published The Pathway to Knowledge, the first geometry book in English.

Robert Recorde’s The Ground of Arts [1542]

Towards the end of the Tudor period, William Gilbert, a physician in London for many years who served as Queen Elizabeth’s doctor, spent much of his time studying rocks as England’s first geologist. He was particularly fascinated by ‘lodestones’ that occur naturally as permanent magnets. Gilbert published his discoveries in his book De Magnete [About Magnets] in 1600. The book, written in Latin, soon became the standard text on magnetic phenomena throughout Europe. In it, Gilbert discussed and disproved the folktales about lodestones – that their effect was reduced if diamonds or garlic were nearby and that they could cure headaches. He replaced such odd ideas with proper physical laws of magnetism: that the north and south poles of a magnet attract each other but like poles repel.

Poetry, often of epic lengths, was far more popular in Tudor times than with today’s audience. Whereas Thomas Tusser wrote his practical instruction book in rhyming couplets, Edmund Spenser’s epic in six books, The Faerie Queene, was very different, composed in ‘Spenserian stanzas’, a form the poet invented specially. The Faerie Queene is a romance, taking elements from Arthurian legend, including a female knight, The Roman de la Rose and other medieval sources. Yet Spenser explains that his epic poem is full of ‘allegorical devices’ and intended ‘to fashion a gentleman or noble person in virtuous and gentle discipline’, so this too is an instruction book of sorts. The author presented the first three books to Queen Elizabeth in 1589 and was rewarded by her majesty with the very decent pension of £50 a year for life, so it was well worth the effort. Whether the queen ever read it – or perhaps Spenser read excerpts aloud to the court – we don’t know but it’s quite widely read today, often being a ‘set book’ in schools.

How would they write them?

Throughout the Tudor period, as well as for centuries before and since, the original work would have to be written out in long hand with pen and ink, occasionally on parchment but increasingly on paper. It is actually easier to make corrections on parchment because the ink can be scraped off the surface layer but it’s far more difficult with paper because the ink soaks right in. All corrections, re-writes and edits had to be copied out again which makes me ever grateful for my computer. Love poems were often exquisitely written in the final version and given as gifts to the beloved. Surprisingly, the idea of the typewriter was thought up in the mid-seventeenth century when an anonymous Englishman applied for a patent for just such a machine, supplying a full description, drawings and diagrams of his invention. Nothing ever came of it at the time, as far as we know, but more recently, the device was constructed from the diagrams and it worked! What a boon that would have been to authors and poets.

Tudor scribes copying from exemplars

With medieval manuscripts, all the text, any artwork, images or decoration would be done by hand on the page but, of course, the process had to be repeated for every subsequent copy. This meant each book was unique and expensive to produce so the spreading of ideas and knowledge was slow. The printing press, first invented in c.1440 by the German goldsmith, Johannes Gutenburg, and brought to England in 1476 by William Caxton [see above], made the mass production of books a possibility. Gutenburg also came up with the idea of making hundreds or even thousands of individual letters out of little squares of lead alloy – all reversed mirror images – and punctuation.

What were the new requirements of the printing press as opposed to books written by hand?

Just as today, the publisher/printer would require a perfect copy of the final manuscript of the book to work from. I simply attach my – hopefully – faultless final document to an email to the publisher and click ‘send’. The Tudor author would have taken his completed hand-written manuscript to the publisher, having kept at least one other perfect copy for himself, if he was wise. This was a good idea because a few manuscripts that were used as printers’ copies have survived to the present and they are scribbled with annotations and notes for the setting of the type and other parts of the process. The author’s pristine manuscript is gone forever if he didn’t have a second copy.

If illustrations are to be included in my books, I simple email a set of high resolution images, including photographs or downloaded pictures and diagrams. One thing I have to consider that a Tudor author wouldn’t need to bother about is the minefield of copyright on downloads. Early printed books – sometimes referred to as incunabulae – most often used woodcuts as a means of illustrating the text and the printer would have no qualms about using the same woodcut in a completely different work, if it served the purpose.

Movable type

A Tudor printing press was a hefty machine, often taller than a man. Gutenburg had copied the idea from the grape presses used in wine-making. The tiny individual metal letters or ‘type’ were set up by a compositor, in reverse order, right to left, into the required lines of text. Several lines were arranged at once in a wooden frame known as a galley. Once the galleys were composed, they would be laid face up in a large frame [a forme] and this was placed onto a flat stone [the bed or coffin]. The text was then inked using two ball-shaped pads with handles. The balls were made of dog skin leather – because it has no pores – and stuffed with sheep’s wool. The ink was applied to the text evenly. A damp sheet of paper was held in one frame [the tympan] by small pins: damp so the type ‘bit’ into the paper better. The sheet was then sandwiched between the tympan and another paper- or parchment-covered frame [the frisket] to fix it so it could not move, curl up or wrinkle.

The two frames with their paper sandwiched were then lowered so the paper lay on the surface of the inked type. The whole bed was rolled under the platen using a handle to wind it into place. Then came the part of the process that required the most muscle power: screwing down the platen, using a bar called the ‘devil’s tail’, so the inked type and woodcuts pressed against the paper, making a perfect impression. The bar was supposed to spring back, lifting the platen, the bed rolled out, the frames lifted and the printed paper released, all text and images now appearing the right way round.

That would complete the process for a poster but, to make a book, this sheet of pages had to be turned over and printed again, this time with the text for the alternate pages. The sheets would then be cut up and assembled in the correct order. I have printed little eight-page booklets and the logistics of getting the double-sided pages printed correctly required a bit of thinking. For an A5 booklet, pages 8 and 1 have to be printed side by side, in that order, on an A4 sheet which is then turned over and pages 2 and 7 printed on the other side. Pages 6 and 3 are then printed with 4 and 5 on the reverse. I’m sure there must be computer algorithm for this these days but imagine trying to work that out with eight or sixteen pages on a sheet to produce the 1,500 pages of Foxe’s Book of Martyrs.

Foxe’s book had the additional complication of being illustrated with over sixty woodcut impressions and was, at the time, the most ambitious publishing project undertaken in England. Earlier, I mentioned that previous woodcuts were often reused but Foxe’s subject matter was entirely new so every woodcut was made especially. Like the type, woodcuts also had to be made as reverse images, carved from a single block of fine-grained wood. The image also had to be ‘negative’ in that the parts cut away would appear white on the page, the ink only adhering to the raised wood remaining to give the dark lines of the picture. When Foxe’s book was finished, compiled and bound, ready for sale, it was said to weigh as much as a small infant. Well, I always think of my books as my ‘babies’ and, even with modern technology, they take at least as long to produce, from conception until I hold the final product in my hands.

If you wish to read about many interesting characters, places, clothing, food and pastimes of the sixteenth century, my new book How to Survive in Tudor England is published on 30th October 2023. 

About the book:

Imagine you were transported back in time to Tudor England and had to start a new life there, without smart phones, internet or social media. When transport means walking or, if you’re lucky, horse-back, how will you know where you are or where to go? Where will you live and where will you work? What will you eat and what shall you wear? And who can you turn to if you fall ill or are mugged in the street, or God-forbid if you upset the king? In a period when execution by be-heading was the fate of thousands how can you keep your head in Tudor England?

All these questions and many more are answered in this new guide book for time-travellers: How to Survive in Tudor England. A handy self-help guide with tips and suggestions to make your visit to the 16th century much more fun, this lively and engaging book will help the reader deal with the new experiences they may encounter and the problems that might occur.

Enjoy interviews with the celebrities of the day, and learn some new words to set the mood for your time-travelling adventure. Have an exciting visit but be sure to keep this book to hand.

About the author:

Toni Mount researches, teaches and writes about history. She is the author of several popular historical non-fiction books and writes regularly for various history magazines. As well as her weekly classes, Toni has created online courses for http://www.MedievalCourses.com and is the author of the popular Sebastian Foxley series of medieval murder mysteries. She’s a member of the Richard III Society’s Research Committee, a costumed interpreter and speaks often to groups and societies on a range of historical subjects. Toni has a Masters Degree in Medieval Medicine, Diplomas in Literature, Creative Writing, European Humanities and a PGCE. She lives in Kent, England with her husband.

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My Books

Signed, dedicated copies of all my books are available through my online bookshop.

Out now: King John’s Right-Hand Lady: The Story of Nicholaa de la Haye

In a time when men fought and women stayed home, Nicholaa de la Haye held Lincoln Castle against all-comers, gaining prominence in the First Baron’s War, the civil war that followed the sealing of Magna Carta in 1215. A truly remarkable lady, Nicholaa was the first woman to be appointed sheriff in her own right. Her strength and tenacity saved England at one of the lowest points in its history. Nicholaa de la Haye is one woman in English history whose story needs to be told…

King John’s Right-Hand Lady: The Story of Nicholaa de la Haye is now available from Pen & Sword Books, bookshop.org and Amazon.

Coming 15 January 2024: Women of the Anarchy

On the one side is Empress Matilda, or Maud. The sole surviving legitimate child of Henry I, she is fighting for her birthright and that of her children. On the other side is her cousin, Queen Matilda, supporting her husband, King Stephen, and fighting to see her own son inherit the English crown. Both women are granddaughters of St Margaret, Queen of Scotland and descendants of Alfred the Great of Wessex. Women of the Anarchy demonstrates how these women, unable to wield a sword, were prime movers in this time of conflict and lawlessness. It show how their strengths, weaknesses, and personal ambitions swung the fortunes of war one way – and then the other.

Available for pre-order from Amberley Publishing and Amazon UK.

Also by Sharon Bennett Connolly:

Defenders of the Norman Crown: The Rise and Fall of the Warenne Earls of Surrey tells the fascinating story of the Warenne dynasty, of the successes and failures of one of the most powerful families in England, from its origins in Normandy, through the Conquest, Magna Carta, the wars and marriages that led to its ultimate demise in the reign of Edward III. Defenders of the Norman Crown: Rise and Fall of the Warenne Earls of Surrey is now available from Pen & Sword Books, Amazon in the UK and US, and Bookshop.org.

Ladies of Magna Carta: Women of Influence in Thirteenth Century England looks into the relationships of the various noble families of the 13th century, and how they were affected by the Barons’ Wars, Magna Carta and its aftermath; the bonds that were formed and those that were broken. It is now available in paperback and hardback from Pen & Sword,  Amazon, and Bookshop.org.

Heroines of the Medieval World tells the stories of some of the most remarkable women from Medieval history, from Eleanor of Aquitaine to Julian of Norwich. Available now from Amberley Publishing and Amazon, and Bookshop.org.

Silk and the Sword: The Women of the Norman Conquest traces the fortunes of the women who had a significant role to play in the momentous events of 1066. Available now from Amazon,  Amberley Publishing, and Bookshop.org.

Alternate Endings: An anthology of historical fiction short stories including Long Live the King… which is my take what might have happened had King John not died in October 1216. Available in paperback and kindle from Amazon.

Podcast:

Have a listen to the A Slice of Medieval podcast, which I co-host with Historical fiction novelist Derek Birks. Derek and I welcome guests, such as Bernard Cornwell, and discuss a wide range of topics in medieval history, from significant events to the personalities involved.

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Don’t forget! Signed and dedicated copies of all my books are available through my online bookshop.

For forthcoming online and in-person talks, please check out my Events Page.

You can be the first to read new articles by clicking the ‘Follow’ button, liking our Facebook page or joining me on Twitter and Instagram.

©2023 Toni Mount and Sharon Bennett Connolly FRHistS 

Guest Post: The Crown Sild by Toni Mount

Sharon Bennett ConnollyLeave a comment

Today, it is a pleasure to welcome author Toni Mount to the History … the Interesting Bits to celebrate the release of the latest instalment of Toni’s Seb Foxley mysteries.

The Crown Sild, Cheapside, London  

When I began writing my new Sebastian Foxley medieval murder mystery, The Colour of Bone, I had never heard of the Crown Sild but it came to my attention when I was lucky enough to be given a wonderful book of drawings: Old London – Illustrated [1962]. The book contains numerous reconstructed scenes of medieval London and Westminster by H.W. Brewer [d.1903] with explanatory texts and there, in Plate 10, ‘Cheapside from the east’, was a marvellously ornate two-storey Gothic building on the south side of London’s main east-west thoroughfare, labelled ‘Crown Sild or Sildam’. What on earth was it? I was intrigued. 

In the text, discussing the church of St Mary-le-Bow, it tells us: 

In front of Bow Church was a costly building of stone, known as the “Crown Sild” or “Sildam”, with an open arcade in the upper story (sic) facing the street, which was used by Royalty and their visitors for witnessing tournaments, pageants and processions. The tower of the present church has a balcony overlooking the street, placed there by Wren to commemorate the “Crown Sild”. 

Surprisingly for this ‘costly building of stone’, I discovered that ‘sild’ is the medieval word for a shed! That’s a very posh shed. ‘Wren’ is Sir Christopher who rebuilt the church after it was destroyed during the Great Fire of London in 1666, along with the ‘shed’ next door. But why was the Sild built, what was it used for and is there any evidence of it remaining?  

The story goes that the Sild was constructed by King Edward III, following a disaster in September 1331. The king planned to hold a magnificent tournament to celebrate the birth of his son and heir, Prince Edward of Woodstock [later known as the Black Prince] the year before. The tournament would take place in the heart of the City of London, in its widest street, Cheapside. Carpenters were commissioned to build a large wooden grandstand for Queen Philippa and her ladies to sit and watch the spectacle in comfort. King Edward would take part in tournament himself, a risky endeavour since fatalities were not unknown but he was young and daring and determined to impress the ladies and his fellow knights. 

However, it wasn’t the king who almost came to grief that day.  

As the queen and her ladies took their places on the cushioned benches among the flower garlands and bunting, the hastily constructed wooden grandstand began to creak and groan, then to sway and crack before it gave way beneath the royal and noble spectators. The whole edifice collapsed to the great horror of those looking on, including the king. By a miracle, no one was killed but there must have been injuries among the ladies, although the queen was badly shaken but otherwise unharmed. The hot-blooded king’s rage was terrible. 

He ordered that all the carpenters involved in the construction of the grandstand be arrested and hanged forthwith, there and then, on the spot. Fortunately, the queen was a shocked by this as by her brush with death and had wits enough to go on her knees before her irate husband. She begged him to spare the carpenters and, willing to grant her every wish at that moment, Edward let the carpenters live. He also insisted that the tournament continue as planned. A disaster wasn’t going to deter this royal showman. But, for any future, similar events in Cheapside, he wasn’t going to risk the queen’s life in the hands of those incompetent carpenters. Instead, he commissioned the stone masons to build a permanent grandstand at the best vantage point beside St Mary-le-Bow Church, fit for royalty with all the comforts and shelter from the weather. This was the Crown Sild. 

We don’t know how often royalty made use of it. Tournaments were held more frequently at Smithfield, outside the city walls, where there was far more space for the crowds. But the procession of the monarch on the eve of their coronation travelled from the Tower of London to Westminster Palace via Cheapside so the citizens could see the new king or queen and the sild would be the best viewpoint. Other processions, pageants, street festivals and entertainments took place in Cheapside too and the last royal spectators to use the sild for such an event were Henry VIII and Queen Anne Boleyn.  

By the later fifteenth century, when not in use by VIPs, the lower level was rented by the Vintners’ Company and used as storage for their barrels of wine. This is the sild as I describe it in my novel The Colour of Bone when Seb Foxley, the artist-cum-sleuth, his family and friends pay to watch the street entertainments from this ‘royal box’ with disastrous consequences which have nothing to do with it collapsing beneath them – you’ll have to read the book if you want to know what happens. 

At the head of this blog, I also asked whether there is any evidence of the Crown Sild remaining today? I don’t know what may lie among the foundations of the shops and office buildings along modern Cheapside, constructed after the devastation of the bombing during World War II but back in Victorian times, a letter was written concerning it. Here are the relevant bits from a letter written by Thomas Lott, Esq. F.S.A. to Sir Henry Ellis, K.H., Secretary of the Society of Antiquities on 19th December 1844, ‘describing some remains of ancient buildings to the west side of Bow Churchyard’:  

Dear Sir, 

…It is not generally known that there exist, in its immediate neighbourhood, subterranean 

architectural remains, although evidently of a later date, yet of a very interesting character. 

Having occasion to inspect several of the houses on the west side of Bow Church-yard, the property of the parish, I was surprised, on descending into the cellars, to find (as the foundation of three of the houses) stone vaultings of very substantial masonry. 

On a subsequent visit (accompanied by my friend Mr. Chaffers, who has kindly assisted me in describing the place), we found beneath the house No. 5, occupied by Messrs. Groucock, a square vaulted chamber, 12 feet by 7 feet 3 inches in height, with a slightly pointed arch of ribbed masonry, similar to some of those of the Old London Bridge. We were informed that 

there had been, in the centre of the floor, an excavation, which appeared formerly to have been used as a bath, but which was now arched over and converted into a cesspool. 

Proceeding northwards towards Cheapside, we found what appeared to be a continuation of the vault, beneath the houses Nos. 4 and 3. The arch of the vault here is plain, not ribbed, and more pointed. The masonry appears, from an aperture made to the warehouse above, to be of considerable thickness. This vault or crypt is 7 feet in height from the floor to the crown of 

the arch, and is 9 feet in width, and 18 feet long. Beneath the house No. 4 is an outer vault. The entrance to both these vaults is by a depressed Tudor arch with plain spandrils, 6 feet high, the thickness of the walls about 4 feet. 

In the thickness of the eastern wall, in the vault of the house No. 3, are cut triangular-headed niches, similar to those in which in ancient ecclesiastical edifices the basins containing the holy water, and sometimes lamps, were placed. … In some other parts of these vaults are modern imitations of these recesses. The vaulting beneath the house No. 2, appears to have been destroyed to add convenience to the warehouses; but the buildings, of which these are the vestiges, appear to have extended to Cheapside; for beneath a house in Cheapside, in a direct line with these buildings, and close to the street, is a massive stone wall. 

I cannot think they were any portion of the Grammar School which Stowe says “was let out in the reign of Henry VIIth for fowr shillings a year, and a cellar for two shillings the year; two vaults under the church for fifteen shillings both.” 

The Sild – the building in the bottom left hand corner.

Mr. Chaffers seems disposed to think these may be the remains of the stone building erected by Edward the Third, from which to view the processions, jousts, &c. described thus by Stowe: “Within the north side of St Mary Bow, towards West Cheape, standeth one fair building of stone called in record Sildam, SL shed, &c. King Edward IIIrd. upon occasion, (viz. the falling of the wooden scaffold) caused this sild or shed to be made and strongly to be built of stone for himself, the Queen, and other estates, to stand in them to behold the joustings and other shows at their pleasure, and this house for a long time after served to that use, namely, in the reigns of Edward IIIrd and Richard IInd; but, in the year 1410, Henry IVth confirmed the said shed or building to Stephen Spilman and others, by the name of one new sildam, shed, or building, with shops, cellars, and edifices appertaining, called Crown Silde or Tamer Silde, situate in West Cheape, and in the parish of St Mary de Arcubus.” 

According to the same author, notwithstanding this grant, the kings of England still occasionally repaired to the same building to view the shows; and we find a century afterwards, that “Henry VIIIth, his Queen, and nobles frequently came here to behold the great marching watches on the eves of St John and St Peter; remaining there until the morning.” 

Thus it will be seen that this sild or shed, strongly built of stone, still remained in Stowe’s time, two hundred and fifty years after its erection, darkening (as Stowe says) the doors and windows on that side of the church. Mr. Chaffers states, it has been thought that the Crown sild stood on the spot between the tower of the present church and Bow Lane; but he does not think, from Stowe’s account, such could have been the case, as Stowe, speaking of Cordwainers Street, afterwards Hosier Lane, then Bow Lane, says:

“This street begins by West Cheape, and St Mary Bow Church is the head thereof on the west side, and runneth down south.” Had such a spacious building as the Crown-sild been situated between the church and Cheapside, Stowe would doubtless have mentioned it. There is no doubt, it was Crown property, as it now pays a trifling fee-farm rent to the Crown.  

If this building was erected for purposes of a domestic kind … since the original building was destroyed, which was probably in the fire of London … there are no old maps of the parish to throw any light on the subject, nor do the ancient city maps and plans, which profess to contain elevations of the buildings, assist in the discovery. 

I hazard no opinion on this matter, contenting myself with having thus drawn attention to it from those whose greater experience, more extensive research, and leisure opportunities will enable them to form a more correct judgment…  

I remain, dear Sir, 

Your faithful obedient Servant, 

THOMAS LOTT. 

So now you know as much as I do.  

As to whether the Crown Sild stood to the east or west side of St Mary-le-Bow Church, Brewer’s drawing shows it to the east whereas, if Lott’s friend Mr Chaffers is correct in thinking they had found its ancient vaults, it was to the west. Perhaps we shall never know. But you can have my version of the Crown Sild where traumatic events happen, if you read my latest Sebastian Foxley medieval murder mystery, The Colour of Bone.  

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The Colour of Bone by Toni Mount:

It’s May 1480 in the City of London.

When workmen discover the body of a nun in a newly-opened tomb, Seb Foxley, a talented artist and bookseller is persuaded to assist in solving the mystery of her death when a member of the Duke of Gloucester’s household meets an untimely end. Evil is again abroad the crowded, grimy streets of medieval London and even in the grandest of royal mansions.

Some wicked rogue is setting fires in the city and no house is safe from the hungry flames. Will Seb and his loved ones come to grief when a man returns from the dead and Seb has to appear before the Lord Mayor?

Join our hero as he feasts with royalty yet struggles to save his own business and attempts to unravel this latest series of medieval mysteries.

About the author:

Toni Mount is a best-selling author of medieval non-fiction books. She is the creator of the Sebastian Foxley series of medieval murder mysteries and her work focuses on the ordinary lives of fascinating characters from history. She has a first class honours degree from the Open University and a Master degree by research from the University of Kent however her first career was as a scientist which brings an added dimension to her writing. Her detailed knowledge of the medieval period helps her create believable characters and realistic settings based on years of detailed study. You can find Toni at:

www.tonimount.com

https://www.amazon.co.uk/Toni-Mount/e/B0034P0FF8/

https://www.facebook.com/toni.mount.10/

https://twitter.com/tonihistorian

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My Books:

Signed, dedicated copies of all my books are available, please get in touch by completing the contact me form.

Coming 30 May 2023!

King John’s Right-Hand Lady: The Story of Nicholaa de la Haye is now available for pre-order from Pen & Sword Books and Amazon UK. (I will hopefully have a US release date shortly)

In a time when men fought and women stayed home, Nicholaa de la Haye held Lincoln Castle against all-comers. Not once, but three times, earning herself the ironic praise that she acted ‘manfully’. Nicholaa gained prominence in the First Baron’s War, the civil war that followed the sealing of Magna Carta in 1215.

A truly remarkable lady, Nicholaa was the first woman to be appointed sheriff in her own right. Her strength and tenacity saved England at one of the lowest points in its history. Nicholaa de la Haye is one woman in English history whose story needs to be told…

Also by Sharon Bennett Connolly:

Defenders of the Norman Crown: The Rise and Fall of the Warenne Earls of Surrey tells the fascinating story of the Warenne dynasty, of the successes and failures of one of the most powerful families in England, from its origins in Normandy, through the Conquest, Magna Carta, the wars and marriages that led to its ultimate demise in the reign of Edward III. Defenders of the Norman Crown: Rise and Fall of the Warenne Earls of Surrey is now available from Pen & Sword Books, Amazon in the UK and US, Bookshop.org and Book Depository.

Ladies of Magna Carta: Women of Influence in Thirteenth Century England looks into the relationships of the various noble families of the 13th century, and how they were affected by the Barons’ Wars, Magna Carta and its aftermath; the bonds that were formed and those that were broken. It is now available in paperback and hardback from Pen & Sword,  Amazon, Bookshop.org and from Book Depository worldwide.

Heroines of the Medieval World tells the stories of some of the most remarkable women from Medieval history, from Eleanor of Aquitaine to Julian of Norwich. Available now from Amberley Publishing and Amazon, Bookshop.org and from Book Depository worldwide.

Silk and the Sword: The Women of the Norman Conquest traces the fortunes of the women who had a significant role to play in the momentous events of 1066. Available now from Amazon,  Amberley Publishing, Bookshop.org and Book Depository.

Alternate Endings: An anthology of historical fiction short stories including Long Live the King… which is my take what might have happened had King John not died in October 1216. Available in paperback and kindle from Amazon.

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You can be the first to read new articles by clicking the ‘Follow’ button, liking our Facebook page or joining me on Twitter and Instagram.

©2023 Sharon Bennett Connolly FRHistS and Toni Mount

Guest Post: Playing the Lute by Toni Mount

Sharon Bennett Connolly2 Comments

Today it is a pleasure to welcome historian and novelist Toni Mount to my blog, to talk about the latest instalment in her fabulous Seb Foxley mysteries, The Colour of Rubies. Which is released today. Toni is here to tell us all about her research into the lute. Over to Toni….

In my tenth and latest Seb Foxley medieval murder mystery, The Colour of Rubies, the hero needs to get to know his fellow clerks in the King’s Scriptorium at Westminster Palace for one of them may be a murderer!

Queen Elizabeth I playing a lute, c.1580
A miniature by Nicholas Hilliard (c.1547 – 1619)
Trustee of the Will of the 8th Earl of Berkeley
Digital picture kindly supplied by Martin Shepherd

In the case of the Chief Clerk, Hal Sowbury, who plays the lute, Seb has his colleague give him a few basic beginner’s lessons on the instrument. Since I have no knowledge whatsoever of lutes, except that they’re stringed instruments something like a guitar, this aspect of the novel required some research. I discovered the most useful website was https://www.wikihow.com/Play-the-Lute because it comes with diagrams and written instructions. The YouTube videos were good but I couldn’t keep up, making notes, but they did show how the lute should be held correctly.

I learned the correct terminology: they’re not called ‘strings’, they’re ‘courses’ and come in pairs except for the single course at the bottom, known as the ‘chanterelle’, yes, just like the mushroom. Basic lutes have 6 or sometimes 8 courses but some can have quite a few more, may be up to 12. For Seb, I thought 6 was enough. The main body of the lute, the sound-box, is known as the ‘bowl’ and it should rest on your right thigh. The bowl has a central cut-out design, the ‘rose’, to let the sound out and this can be ornate and beautiful. The thin part is the ‘neck’ with frets for fingering, ending in the ‘peg-box’ with pegs to tune the courses.

This miniature of Queen Elizabeth I playing the lute is dated to exactly a century later than Seb’s lessons and, apparently, the sloping shoulders of the bowl and the long neck make this an English lute, not a Genoese instrument like Hal Sowbury’s which would have a more rounded bowl and shorter neck. There is much expert discussion about the lute in this image, whether there is French influence in the design and how accurate is the artist’s depiction of it. Apparently, Queen Elizabeth really could play the lute – and the virginals though, to her disgust, Mary, Queen of Scots, was said to be far more accomplished on this keyboard instrument – but it’s thought the processes and circumstances of the portrait make it unlikely that it was painted on an actual occasion of royal music-making. It’s more likely to be symbolic, suggesting the harmony of the English body politic [definitely a fiction in the 1580s] and a reference to the musical interests of the Carey family who commissioned it.

But for Seb’s lessons, like a modern guitarist, he has to learn the fingering of the basic chords with his left hand and how to play the courses with his right. Interestingly, one YouTube video stressed that the thumb must stroke downwards quite gently, brushing the courses, while the index finger plucks upwards. I hope that’s correct because that’s what Hal instructs Seb to do in his first attempt at making music on the lute.

The anatomy of a lute [https://sunnylazic.com/shawm/]

Unfortunately – or perhaps fortunately for me with my meagre knowledge – Seb has the opportunity for only a couple of lessons with Hal before his employment in Westminster’s scriptorium comes to an end but, who knows, maybe one day he will have another chance to learn to play the lute. We are already familiar with Seb’s love of singing and choral talent, so he must have a musician’s ear and probably the gift of perfect pitch. With an artist’s dexterity, I’m sure his nimble fingers will soon master their positions on the frets and the brushing and plucking of the courses to make beautiful music.

So music gives a lighter side to the action in my new novel but if you want to join Seb, his family and friends on their exploits in medieval London and Westminster, stealing down dark alleyways, waiting nervously in opulent chambers and freezing their fingers off in the icy scriptorium where a murderer lurks, the spying and other dirty deeds aplenty, I’m afraid you’ll have to read the book: The Colour of Rubies, by Toni Mount, published 5th May 2022.

Follow the blog tour:

About the book:

Murder lurks at the heart of the royal court in the rabbit warren of the Palace of Westminster. The year is 1480. Treason is afoot amongst the squalid grandeur and opulent filth of this medieval world of contrasts. Even the Office of the King’s Secretary hides a dangerous secret.

Meeting with lords and lackeys, clerks, courtiers and the mighty King Edward himself, can Seb Foxley decipher the encoded messages and name the spy?

Will Seb be able to prevent the murder of the most important heir in England?

All will be revealed as we join Seb Foxley and his abrasive brother Jude in the latest intriguing adventure amid the sordid shadows of fifteenth-century London.

Praise for Toni Mount’s The Colour of Rubies

Tony Riches, author of The Tudor Trilogy “An evocative masterclass in storytelling.” Carol McGrath, author of the She-wolves trilogy “I was utterly transported – It’s superb”. “What a plot. What characters. Perfect pitch”.

“I loved the relationship between Seb and Jude”.

“The Colour of Rubies is a totally immersive experience as richly stitched as one of King Edward IV’s gorgeous tapestries. This cleverly plotted novel with its twists and turns will keep a reader page turning late into the night until the book’s final scenes. Sebastian and Jude are wonderfully realised personalities with similar emotions, concerns, fears and hopes we have have today. Their medieval London felt real and intriguing to me with unexpected dangers lurking in alleyways. I felt as if I was walking in Sebastian’s footsteps. With this thrilling novel Toni Mount has shown herself a master of medieval suspense. More please”.

Praise for Toni Mount’s Sebastian Foxley Medieval Murder Series

Tracy Borman, historian and broadcaster “An atmospheric and compelling thriller that takes the reader to the dark heart of medieval London.”

Matthew Lewis author of Richard III Loyalty Binds Me “Toni Mount continues to delight with the superbly crafted Seb Foxley mysteries. Impeccable research and sculpted characters combine with an engaging narrative to create another irresistible story. This series goes from strength to strength, and I’m already looking forward to the next instalment”

J.P. Reedman, author of the I, RICHARD PLANTAGENET series: “Sebastian Foxley is the Cadfael of the 15th century”.

“The Sebastian Foxley Medieval Mystery Series by Toni Mount is not only filled by dastardly murders and gripping intrigue but contains many well-researched historical facts from the Wars of the Roses era”

Samantha Willcoxson, author & historian “Toni Mount is simply brilliant”.

“If you love CJ Sansom’s Matthew Shardlake (and I do) you will love Toni’s Sebastian Foxley”.

“From learning how a 15th century scrivener created illuminated manuscripts to venturing within the dank tunnels beneath the Tower of London, Toni is an artist who completely immerses the reader in another time and place and always leaves one eager for the next book.”

Stephanie Churchill, author of historical fiction and epic fantasy “Leave it to Seb to unravel another international spiderweb of intrigue, betrayal, murder, and deceit. Our flawed, loveable hero has done it again. And at the end of it all, his future is looking brighter than ever. I cannot wait to find out what happens to him next!”

Sharon Bennet Connolly, author and medieval historian “A beautifully crafted mystery that brings the dark, dangerous streets of medieval London to life. Toni Mount is a magician with words, weaving a captivating story in wonderful prose. The Colour of Evil is, to put it simply, a pleasure to read.”

Rosalie Gilbert, medieval historian and author “The author’s knowledge of medieval history shines through the narrative in the small details which enhance the story woven into it. The details about the inside workings of medieval trade practices lent themselves perfectly for a background to murder and deceit”.

“Recommended for lovers of historic fiction.”

Joanne R Larner author of Richard Liveth Yet trilogy: “I always look forward to a new ‘Colour of…’ book. I can’t wait to see what escapades Seb Foxley and his brother, Jude, get up to next. They, and all the characters, are endearing and colourful. The books are always well written, conjuring 15th century London into the reader’s mind and the plots are excellent!’

Mel Starr bestselling author of the Hugh de Singleton chronicles: “If I believed in reincarnation I would be willing to think that Toni Mount lived a previous life in 15th century London. The scents, the sights, the tastes of the late Middle Ages are superbly rendered.”

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About the Author:

Toni Mount is the author of several successful non-fiction books including How to Survive in Medieval England and the number one best-seller, Everyday Life in Medieval England. Her speciality is the lives of ordinary people in the Middle Ages and her enthusiastic understanding of the period allows her to create accurate, atmospheric settings and realistic characters for her medieval mysteries. Her main character, Sebastian Foxley is a humble but talented medieval artist and was created as a project as part of her university diploma in creative writing. Toni earned her history BA from The Open University and her Master’s Degree from the University of Kent by completing original research into a unique 15th century medical manuscript.

Toni writes regularly for both The Richard III Society and The Tudor Society and is a major contributor to MedievalCourses.com. As well as writing, Toni teaches history to adults, and is a popular speaker to groups and societies.

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My Books

Signed, dedicated copies of all my books are available, please get in touch by completing the contact me form.

Defenders of the Norman Crown: The Rise and Fall of the Warenne Earls of Surrey tells the fascinating story of the Warenne dynasty, of the successes and failures of one of the most powerful families in England, from its origins in Normandy, through the Conquest, Magna Carta, the wars and marriages that led to its ultimate demise in the reign of Edward III. Defenders of the Norman Crown: Rise and Fall of the Warenne Earls of Surrey is now available from Pen & Sword Books, Amazon in the UK and US, Bookshop.org and Book Depository.

1 family. 8 earls. 300 years of English history!

Also by Sharon Bennett Connolly:

Ladies of Magna Carta: Women of Influence in Thirteenth Century England looks into the relationships of the various noble families of the 13th century, and how they were affected by the Barons’ Wars, Magna Carta and its aftermath; the bonds that were formed and those that were broken. It is now available in paperback and hardback from Pen & Sword,  Amazon, Bookshop.org and from Book Depository worldwide.

Heroines of the Medieval World tells the stories of some of the most remarkable women from Medieval history, from Eleanor of Aquitaine to Julian of Norwich. Available now from Amberley Publishing and Amazon, Bookshop.org and Book Depository.

Silk and the Sword: The Women of the Norman Conquest traces the fortunes of the women who had a significant role to play in the momentous events of 1066.  Available now from Amazon,  Amberley Publishing, Bookshop.org and Book Depository.

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You can be the first to read new articles by clicking the ‘Follow’ button, liking our Facebook page or joining me on Twitter and Instagram.

©2022 Sharon Bennett Connolly

Book Corner: The Colour of Evil by Toni Mount

Sharon Bennett Connolly2 Comments

Every Londoner has money worries. Talented artist and some-time sleuth, Seb Foxley, is no exception.

When fellow craftsmen with debts to pay are found dead in the most horrid circumstances, fears escalate. Only Seb can solve the puzzles that baffle the authorities.

Seb’s wayward elder brother, Jude, returns unannounced from Italy with a child-bride upon his arm. Shock turns to dismay when life becomes more complicated and troubles multiply.

From counterfeit coins to deadly darkness in London’s worst corners; mysterious thefts to attacks of murderous intent, Seb finds himself embroiled at every turn. With a royal commission to fulfil and heartache to resolve, can our hero win through against the odds?

Share Seb Foxley’s latest adventures in the filthy streets of medieval London, join in the Midsummer festivities and meet his fellow citizens, both the respectable and the villainous.

The Colour of Evil by Toni Mount is the 9th book in Toni’s marvellous Sebastian Foxley Medieval Mystery series. If you haven’t read any of these books yet, you are really missing a treat!

Toni Mount has a unique, engaging writing style. Her beautiful prose and clever use of language instantly transports you back to 15th century England. The story revolves around a series of murders linked to counterfeit coins, into which Seb Foxley is brought as a consultant by the local bailiff.

The eponymous hero of the story, Seb Foxley, is a wonderful, intelligent character, who is, perhaps, a little too straitlaced and naive for his own good. His brother is a little too worldly-wise and entitled, but much less self-aware than is good for a grown man – I wanted to punch him on a number of occasions (and I’m not a violent person). The Colour of Evil places these brothers at the heart of the story, highlighting their conflicts and rivalries as London is in the grip of a series of gruesome murders.

As the mystery deepens, the reader is absorbed into the sights, smells and story of London; the excitement, fear and mystery is palpable. The Colour of Evil is an absorbing thriller.

Over ale, Thaddeus told me of the man – the thief we had taken in possession of his ill-gotten gains.

‘His name is Philip Hartnell, a most respectable citizen and a cutler by craft. He said he was walking along Bladder Street, passed the house with its window wide to the pleasant evening air when he saw the candlesticks by the open casement. At a glance, he was quite certain they were the same ones he had bought his wife as a wedding gift ten years since. His wife has much fondness for the sticks, so he took them, thinking to please her.’

‘Had they been stolen away from him previously, then? Is that the way of it?’ I sipped my ale. Thaddeus did likewise afore continuing.

‘That was my first thought. I tell you, Seb, it took a deal of cajoling and probing to get the truth out of Philip Hartnell. The candlesticks weren’t stolen from him but he apparently gave his goodwife to think they had been taken. The truth is that Hartnell has fallen into debt. He took the candlesticks to a goldsmith and sold them to pay off a sizeable loan. When his wife found them gone, she was much upset – more so than Hartnell ever expected. Thus, he told her they had been stolen, rather than admit his actions and the fact that he was over the ears in debt to a moneylender.’

‘An unfortunate situation but how does that excuse his actions of yestereve?’

‘It doesn’t. Besides, the candlesticks he stole from the house in Bladder Street were never his. Similar in shape but not the same ones.’

‘He has no right to them, even had they been the same. He sold them and has had the profit from the sale. Hartnell is a thief and we caught hm. He deserves just punishment, does he not? I do not see any reason for your difficulties in this matter, Thaddeus.’

‘He had never had any dealings with the law before, Seb. He’s a respected member of the Cutlers’ Company and a churchwarden. He loves his wife and family, works hard and earns a good living.’

‘Not good enough, so it would seem, else why would he be in debt?’

‘A foolish mistake, he said though he withheld further details. I had the feeling another woman was involved. In every other respect, Hartnell is a decent citizen. I think he deserves a second chance.’

‘What of the house in Bladder Street? The folk he robbed? Not to mention all the neighbourhood having to rally to the hue-and-cry.’

‘The candlesticks were returned – dented, it’s true but Hartnell says he will pay for their repair. The householder is agreeable. Besides…’

Thaddeus drained his ale.

‘Besides?’

‘Philip Hartnell is not alone, Seb. He is the fourth… no, the fifth respectable citizen that has come to my notice, by one means or another, who has found himself in debt and unable to repay. There’s something going on in London, concerning underhanded financial dealings, and I don’t like the smell of it.

‘Watch your purse, my friend. Every one of them is of middling status like you. Outwardly decent and honest yet they find themselves in dire need, monetarily. I wouldn’t want that to happen to you.’

‘Fear not, I owe no man so much as a ha’penny. So you will let Hartnell go?’

‘Aye, I think so. Both Newgate and the Counter are overfull of vile inmates. Hartnell is not of their kind. They’d make a hearty supper of him on his first day inside.’

The Colour of Evil by Toni Mount paints a wonderful, full-colour image of London in the time of Edward IV. The streets, taverns, work places and dark alleys are brought to vivid, vibrant life by Toni Mount’s beautiful prose and fantastic imagination. The author’s research is impeccable, her knowledge of 15th century medieval England allowing the reader to sit back and be transported back in time. Toni Mount clearly demonstrates how the guilds, the law and money, works and how it was all an integral part of life in medieval London. She recreates the world of 500 years ago to give the reader not only a great story, but the experience of being amongst the people and places of the time.

The characters are wonderfully individuals, each with their own strengths and flaws – though some have mostly flaws and very few strengths. I always think the sign of a good book is when you find yourself frustrated with the actions of a favourite character – or wanting to punch one who seems thoughtless or heartless; or when you find yourself egging a character on – or wanting to shout ‘no, don’t go down there’. The Colour of Evil certainly takes you through all these emotions and more.

The Colour of Evil by Toni Mount is a beautifully crafted mystery that brings the dark, dangerous streets of medieval London to life. Toni Mount is a magician with words, weaving a captivating story in wonderful prose. The Colour of Evil is, to put it simply, a pleasure to read.

If you haven’t read a Seb Foxley book before, don’t worry, each book works as a standalone. Though I have to warn you – after reading one, you will want to read the rest!

To buy the Book: http://getbook.at/colour_of_evilhttp://mybook.to/Colour_Evil

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About the Author

Toni Mount earned her Master’s Degree by completing original research into a unique 15th-century medical manuscript. She is the author of several successful non-fiction books including the number one bestseller, Everyday Life in Medieval England, which reflects her detailed knowledge in the lives of ordinary people in the Middle Ages. Toni’s enthusiastic understanding of the period allows her to create accurate, atmospheric settings and realistic characters for her Sebastian Foxley medieval murder mysteries. Toni’s first career was as a scientist and this brings an extra dimension to her novels. It also led to her new biography of Sir Isaac Newton. She writes regularly for both The Richard III Society and The Tudor Society and is a major contributor of online courses to MedievalCourses.com. As well as writing, Toni teaches history to adults, coordinates a creative writing group and is a member of the Crime Writers’ Association.

You can find Toni at: Her website; Seb Foxley’s website; Seb Foxley’s Facebook page; Toni’s ‘Medieval England’ Facebook page; Toni Mount’s Facebook page; Toni Mount online courses.

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My books

Coming 31st May:

Defenders of the Norman Crown: The Rise and Fall of the Warenne Earls of Surrey tells the fascinating story of the Warenne dynasty, of the successes and failures of one of the most powerful families in England, from its origins in Normandy, through the Conquest, Magna Carta, the wars and marriages that led to its ultimate demise in the reign of Edward III.

Defenders of the Norman Crown: Rise and Fall of the Warenne Earls of Surrey will be released in the UK on 31 May and in the US on 6 August. And it is now available for pre-order from Pen & Sword Books, Amazon in the UK and US and Book Depository.

Also by Sharon Bennett Connolly:

Ladies of Magna Carta: Women of Influence in Thirteenth Century England looks into the relationships of the various noble families of the 13th century, and how they were affected by the Barons’ Wars, Magna Carta and its aftermath; the bonds that were formed and those that were broken. It is now available from Pen & Sword,  Amazon and from Book Depository worldwide.

Heroines of the Medieval World tells the stories of some of the most remarkable women from Medieval history, from Eleanor of Aquitaine to Julian of Norwich. Available now from Amberley Publishing and Amazon and Book Depository.

Silk and the Sword: The Women of the Norman Conquest traces the fortunes of the women who had a significant role to play in the momentous events of 1066.  Available now from Amazon,  Amberley Publishing, Book Depository.

You can be the first to read new articles by clicking the ‘Follow’ button, liking our Facebook page or joining me on Twitter and Instagram.

©2021 Sharon Bennett Connolly 

Guest Post: The Root of all Evil by Toni Mount

Sharon Bennett Connolly6 Comments

Today it is a pleasure to welcome author and historian Toni Mount to the blog, as part of Toni’s blog tour for her fabulous new novel, The Colour of Evil, which is released on 25th March.

The Root of all Evil – Money to spend in Medieval London

Portrait of Sebastian Foxley by Dmitry Yakovsky @ Madeglobal Publishing

The theme in my latest novel in the The Colour of … series is money, whether earning it, owing it, forging it or even murdering because of it. Our hero, Seb Foxley, has to solve the mysteries, however he can. So I thought an article about medieval money might interest readers.

Silver penny of Henry II – note the cross-shape on the reverse so it could be cut accurately into halfpennies or farthings

From Anglo-Saxon times, England’s currency system was based on the penny which contained one pennyworth of silver. These were minted from high quality ‘sterling’ silver, so called because the earliest coins were known as steorlings or little stars; perhaps a star was part of the original design. By the time of William the Conqueror [1066-86] a pounds worth of starlings was accepted as well-respected money across Europe. However, not all Kings of England took care to keep constant the value of silver in a penny. Henry I’s reign was a particularly bad time for the coinage and in 1124 the Anglo-Saxon Chronicle recorded that ‘pennies were so adulterated, a pound at market could not purchase twelve pence worth of anything’. Since 12 pence = 1 shilling and 20 shillings = £1, this meant a penny wasn’t worth one-twentieth of its original value back in 1066. The reign of King Stephen [1135-54] didn’t help as it was a period of almost constant civil war. In fact, things became worse because different factions set up their own mints and coins became mere tokens, often spendable only within the jurisdiction of a particular faction. Somebody had to sort out the mess.

Fortunately for the reputation of England’s monetary system, Henry Plantagenet became King Henry II in 1154 and from 1158 he issued an entirely new set of currency, asserting royal control over just thirty designated mints and restored not only the silver content of the pennies but confidence in English money. And this was a good time to do so because trade across Europe was changing from the barter system, when a dozen eggs could pay for a pair of shoes to be mended, or a day’s work might be repaid with a sack of flour, to the purchase of goods and services using money.

It was easier also to gather taxes and customs duties for the king in coin, rather than in kind, and Henry demanded efficiency in their collection. In fact, the system worked so well in England that when Henry’s son, Richard the Lionheart, was held to ransom in 1192 for the incredible sum of £100,000 [about $17.5 million today], most of it was gathered in England and paid in English pennies, despite Richard’s realm including much of France at the time.

Westminster Hall where the Trial of the Pyx were first held

Having put the monetary system in good order, the ‘Trial of the Pyx’ was invented to keep it that way and safeguard the value of new-minted coins. It is thought that this institution began in the twelfth century but in 1282 Edward I made it official and records have been kept ever since. Conducted like a public legal trial, twelve ‘discreet and lawful’ citizens of London and twelve members of the Goldsmiths’ Company sat as a jury to judge the legitimacy of the newly minted coins. Coin samples were taken from every minting and set aside for assay in secure chests called pyx – hence the name of the trial. It’s the same word used for the box in which consecrated bread is kept at Holy Communion, showing the significance of this procedure. For centuries they were stored in the Pyx Chamber in Westminster Abbey, along with other important items belonging to both state and church.

Early trials were held first in Westminster Hall and later in the Exchequer at Westminster, taking place annually. The jury was summoned by and the trial presided over by the King’s [or Queen’s] Remembrancer of the Royal Courts of Justice. The size, weight, silver purity and content of the coins were all examined and verified, the jury passing its verdict on the results. The trial was held at the beginning of the year on the previous year’s samples, allowing two months for the proceedings and a third month for the assayers’ testing and reports before the Remembrancer announced the result of the trial.1

The medieval monetary system of England was complicated, to say the least. As I write this, it’s fifty years since the decimalisation of our coinage in Britain [15th Feb 1971] and our own pre-decimalisation coinage was still based upon the medieval system: 12 pennies [12d] = 1 shilling; 20 shillings [20s] = £1 and, therefore 240 pennies = £1. It made accounting tricky and you had to know your 12 times table. But until 1489, there was no coin of the value of £1 and there were no shilling coins until 1504.

Richard III groat (1483-85)

In some ways, to the average carpenter, shoemaker and housewife, this didn’t matter very much because with a skilled man’s wages counted in pennies, the chance of him requiring, handling – or even seeing – a coin of denomination larger than a groat was slim indeed. A groat was a silver coin worth 4 pennies, the word ‘groat’ being a corruption of the French word gros, meaning large because, in 1279, when Edward I first issued it, it was the biggest coin in circulation. 3 groats = 1 shilling but even then a groat was engraved with a design to divide it exactly into four quarters so it could be reduced to 2 half-groats [worth 2d each] or even 4 equal pennyworths of silver. The round 1 penny coins [1d] were similarly engraved so they could be cut into 2 halfpennies and again into 4 farthings [originally ‘fourthings’]. England still used farthings as proper, circular coins, not cut-downs, into the 1950s. These were the coins of everyday use in medieval times.

But there were people who dealt in larger sums than pennies. A medieval merchant’s cargo of wine imported from Bordeaux was going to cost more than a few pence, as would the hire of the ship and the customs duties to be paid. Counting out hundreds of tiny coins, some of them wedge-shaped from being cut down, was a time-consuming business and time – as ever – was money. So it made sense to have some higher value coins in use for such transactions. Pounds and shillings, maybe? No. Nothing so simple as that. The account ledgers might show business conducted in pounds, shillings and pence but the coins changing hands bore little resemblence to what was noted down. A common amount used in both theoretical and practical accounting was the mark.

Edward IV gold angel, worth 6s 8d or half a mark
note the image of the Archangel Michael slaying the devil

The mark had been around since Anglo-Saxon times and had varied in value but, by the fifteenth century, a mark was worth 13s 4d. This may seem an arbitrary amount but is 160 pennies = two-thirds of £1. The half-mark [6s 8d, one-third of £1 or 80 pence] was an actual coin so that three half-marks equalled £1 in total comprised of just three coins that were so much easier to count and handle. There were even quarter-marks worth 3s 4d. This explains the frequent appearance of these values in medieval accounts ledgers. The half-mark was minted in gold and at various times was known as the noble, the rose-noble and the angel – this last after the image of St Michael the Archangel on the reverse. There was also a short-lived gold ryal [or royal] from 1465 worth 10 shillings.

Henry VII was not only determined to refill his empty coffers, by fair means or otherwise – his tax-gatherering methods were notorious – he wanted to be certain the actual coins were worth their face value, so one of the first things he did after becoming king was overhaul the coinage. Firstly, in 1489, he invented the £1 coin, called it a sovereign and had it minted in gold with his own image on the the obverse – a declaration that the Tudor king had arrived, if ever there was one.

The 10 shilling ryal and the 6s 8d angel were both reminted as silver coins, their previously gold counterparts having often been hoarded or melted down into cups, plates and jewellery. Pennies, half-groats [2d] and groats were all redesigned and their silver content assured, as well as the new silver shillings by 1504.

Henry VII gold sovereign worth £1

Readers may think that the writing of cheques cannot predate the banking system – the Bank of England was first set up in 1694, although Italian bankers go back centuries before that. Surprisingly, the first ‘cheques’ were invented by ordinary citizens and had nothing to do with banks. Rather, it had to do with keeping heavy valuables safe. In medieval times, people kept their assets in solid form, as gold plate, silver gilt candlesticks, fine goblets, jewellery and even expensive textiles and books. The crown jewels were frequently used as collateral to borrow money by kings in need of ready cash. A wary citizen would want his bulky treasures stored safely where thieves couldn’t help themselves and even the Royal Treasury at Westminster was looted on one occasion in the fourteenth century – the thieves were apprehended in the end but not all the swag was recovered. However, few folk had the facilities for storing their treasures. Important documents were sometimes locked in a chest at the parish church to which only the priest and the churchwarden had keys. But there wasn’t room for stacks of gold plate or suchlike. In London, the Goldsmiths’ Company kept their precious resources in their vaults underneath Goldsmiths’ Hall and were willing to rent out space to others to store their assets. This kept everything secure but what happened when, say, a wealthy merchant wished to use his set of gold plate to purchase a house from a rich widow? Instead of going to the goldsmiths, demanding his plates and then carrying the heavy weight across the city, risking robbery along the way, and handing them to the widow who would probably then have to arrange the plates’ return to the goldsmiths’ for safe-keeping, the cheque was invented. The cheque was simply a written document to inform the goldsmiths that the wealthy merchant’s gold plate stored in their vaults had now been transferred to the property of the rich widow. No physical effort, inconvenience or risks of loss were involved.

A cheque dated 16th February 1659
No medieval cheques are known to survive but would have looked similar, probably with a red wax seal, as here

In fact, bank notes, invented much later, were simply ready-written cheques made out for specific sums and, in theory at least, like the earlier cheques, could be used to redeem the valuables themselves. Today, Bank of England notes still say in very small print ‘I promise to pay the bearer on demand the sum of five pounds’, or whatever the value, signed on behalf of the Government and Company of the Bank of England by the bank’s Chief Cashier. I wonder what they’d do if I did present my fiver and demand the equivalent in silver or gold? Laugh themselves silly, probably.

Footnote:

1 For more information on the history and the conduct of the Trial of the Pyx in the 21st century see https://www.assayofficelondon.co.uk/about-us/trial-of-the-pyx

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Huge thanks to Toni for a fantastic article and good luck with the new book. To look back on the rest of the blog tour:

About ‘The Colour of Evil’:

Every Londoner has money worries. Seb Foxley, talented artist and some-time sleuth, is no exception but when fellow indebted craftsmen are found dead in the most horrible circumstances, fears escalate. Only Seb can solve the puzzles that baffle the authorities and help Bailiff Thaddeus Turner to track down and apprehend the villains.

When Seb’s wayward, elder brother, Jude, returns, unannounced, from Italy with a child-bride upon his arm, shock turns to dismay as life becomes more complicated and troubles multiply.

From counterfeit coins to deadly darkness in the worst corners of London, from mysterious thefts to attacks of murderous intent – Seb finds himself embroiled at every turn. With a royal commission to fulfil and heartache to resolve, can our hero win through against the odds?

Share Seb Foxley’s latest adventures in the filthy streets of medieval London, join in the Midsummer festivities and meet his fellow citizens, both the respectable and the villainous.

The Colour of Evil comes out on 25th March.

To buy the Book: http://getbook.at/colour_of_evilhttp://mybook.to/Colour_Evil

About the Author

Toni Mount earned her Master’s Degree by completing original research into a unique 15th-century medical manuscript. She is the author of several successful non-fiction books including the number one bestseller, Everyday Life in Medieval England, which reflects her detailed knowledge in the lives of ordinary people in the Middle Ages. Toni’s enthusiastic understanding of the period allows her to create accurate, atmospheric settings and realistic characters for her Sebastian Foxley medieval murder mysteries. Toni’s first career was as a scientist and this brings an extra dimension to her novels. It also led to her new biography of Sir Isaac Newton. She writes regularly for both The Richard III Society and The Tudor Society and is a major contributor of online courses to MedievalCourses.com. As well as writing, Toni teaches history to adults, coordinates a creative writing group and is a member of the Crime Writers’ Association.

http://www.tonimount.com (my website) http://www.sebastianfoxley.com (Seb’s own website) http://www.facebook.com/sebfoxley (Seb’s Facebook page) http://www.facebook.com/medievalengland (my ‘Medieval England’ Facebook page) http://www.facebook.com/toni.mount.10 (my general Facebook page) http://www.medievalcourses.com (seven of my history courses ‘online’ for download)

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My books

Coming 31st May:

Defenders of the Norman Crown: The Rise and Fall of the Warenne Earls of Surrey tells the fascinating story of the Warenne dynasty, of the successes and failures of one of the most powerful families in England, from its origins in Normandy, through the Conquest, Magna Carta, the wars and marriages that led to its ultimate demise in the reign of Edward III.

Defenders of the Norman Crown: Rise and Fall of the Warenne Earls of Surrey will be released in the UK on 31 May and in the US on 6 August. And it is now available for pre-order from Pen & Sword Books, Amazon in the UK and US and Book Depository.

Also by Sharon Bennett Connolly:

Ladies of Magna Carta: Women of Influence in Thirteenth Century England looks into the relationships of the various noble families of the 13th century, and how they were affected by the Barons’ Wars, Magna Carta and its aftermath; the bonds that were formed and those that were broken. It is now available from Pen & Sword,  Amazon and from Book Depository worldwide.

Heroines of the Medieval World tells the stories of some of the most remarkable women from Medieval history, from Eleanor of Aquitaine to Julian of Norwich. Available now from Amberley Publishing and Amazon and Book Depository.

Silk and the Sword: The Women of the Norman Conquest traces the fortunes of the women who had a significant role to play in the momentous events of 1066.  Available now from Amazon,  Amberley Publishing, Book Depository.

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©2021 Sharon Bennett Connolly.

Guest Post: Toni Mount

Sharon Bennett Connolly2 Comments

Today it is a pleasure to welcome author Toni Mount to History … the Interesting Bits with a fascinating guest article based on her new novel The Colour of Lies.

Silk-women, femmes soles and Ellen Langwith

In my latest Seb Foxley medieval murder mystery, The Colour of Lies, set in London in the 1470s, the adventure involves Seb’s wife, Emily, and her fellow silk-women. We meet Dame Ellen Langton once more – she has appeared in most of the novels in The Colour of … series – a character closely based on a real life London silk-woman of the period: Ellen Langwith. In this article, we will look at the lives of Ellen and other silk-women of London, what their work required and how they organised their business.

Silk manufacture has always involved a sequence of skilled processes. Firstly, the silk filaments had to be wound off the cocoons by heating the cocoons in water to loosen the natural glue (sericin) which holds the silk together. Then, as the loosened ends floated free, the raw silk could be unravelled and wound on to spools. The fineness of the silk depended on how many filaments were wound together, a single filament being too fine to work with; four was usual. This part of the process was done at source – southern Spain, the Middle East or even farther afield – because the cocoons were too fragile to transport, so it was traded as these reels of raw silk. During the medieval period, England didn’t weave her own silk textiles: these luxurious cloths always had to be imported, but London did have its own thriving industry run by silk-women. They converted the raw silk into yarn, a process called ‘throwing’, then wove the thrown threads into ribbons, laces and girdles, making up hairnets, decorative fringes and tassels. To learn the craft of silk weaving, a young woman had to serve a long apprenticeship – usually seven years. Some London silk-women ran extensive workshops, taking apprentices from as far away as Yorkshire.

It would seem from the statutes of the City of London for the 1450s that silk working was strictly a woman’s business, unlike embroidery, knitting or even laundering, because the statutes say:

…Many a worshipful woman within the city has lived full honourably and therewith many good households kept, and many gentlewomen and others, more than a thousand, have been apprenticed under them in learning the same craft of silk making.

The language of the statutes implies that this craft was carried out by the most respectable women and was seen as a suitable occupation for ladies of gentility, as well as bringing in sufficient profits that ‘many good households’ depended upon it for their livelihood. Since it was so important, it is surprising the craft never formed its own formal guild, probably because men weren’t involved in the work. Instead, the silk-women regulated and co-operated among themselves, very much as guild members would have done, but unofficially. Having completed her apprenticeship, instead of being admitted to a company of fellow artisans, the young woman would remain with her mistress until she was able to marry and set up her own shop and, maybe, take on apprentices of her own, to pass on her skills.

The London silk-women carried out each skilled process of their craft and trade. As throwsters, they turned raw silk into yarn; as weavers, they produced ribbons, laces, and other small silk goods; as craftworkers, they made up silk laces and other trappings; and as traders in silk, they undertook large and lucrative contracts. This work wasn’t a mere sideline to domestic duties, something a wife pursued in moments free from housework, child care and labour in her husband’s workshop. Wives often continued to work in silk, no matter what the occupations of their husbands. It was a craft with secrets of production and trade passed on from mistress to apprentice. The women ran workshops, invested large amounts of money in purchases of raw materials and trading ventures, often continuing throughout their working lives. They also banded together for mutual aid. On six occasions between 1368 and 1504, the London silk-women sought protection for their craft through petitions (presented to either Parliament or the Lord Mayor of London), and many of their requests were granted.

Most working women were regarded, by law, as being ‘covered’ by their husbands and, therefore, in records of court cases, business contracts and debt collection, the activities of these women are, literally, concealed from view under their husbands’ names. The legal term is femmes couvertes and such women only appear in the records once they are ‘uncovered’ on becoming widows. But some women preferred to run their businesses in their own right, as femmes soles, even when their husbands were still alive, particularly in the fourteenth and fifteenth centuries – perhaps this has some connection to the advent of the plague, when so many social changes were underway. In this case, the women were responsible for their own debts and could be sued through the courts. On the positive side, any profits made were theirs, not their husbands’, and they could sue others if money was owed to them or a contract was reneged upon to their loss. Silk-women were among those who opted to be femmes soles – with their husbands’ permission, of course. Often their husbands were merchants, especially mercers, who brought in the reels of raw silk for their wives along with other textiles imported from abroad.

Ellen Langwith – we don’t know her maiden name – probably came from Beckenham in Kent to London, to serve an apprenticeship as a silk-woman, sometime in the early fifteenth century. Her first husband, Philip Waltham, was a cutler who also owned a brewhouse: ‘Le Hertishorne’, just outside Newgate. But Ellen was already a successful silk-woman. In his will of 1425, Philip named his three apprentices: Agnes Walshale, Agnes Sampson and Alice Dunnowe, leaving them 6s 8d each on the condition that they behaved courteously, in both word and deed, towards his wife Ellen, their mistress, at whose discretion the money was to be given. From the wording of the will, it is impossible to say whether the three girls were apprenticed as cutlers or silk-women. Perhaps they were making high fashion silk scabbards for the knives Philip manufactured. Ellen was a widow by May 1426, the main executor of her husband’s will, sole owner of all his movable goods and the Hartshorn brewery.

By 1437, she had married again. Her second husband was John Langwith, a well-established London tailor who had become a freeman of the city in 1418 and took on his first apprentices in 1425. Since masters were required to have wives to care for the apprentices, it seems probable that John had been married previously, before he wed Ellen since, at this date, she was still Philip Waltham’s wife. John was elected Master of the Tailors’ Company in 1444 and, in the summer of 1445, he led the company in the elaborate processions to welcome Margaret of Anjou to London as the bride of Henry VI. The tailors spent £3 on blue livery gowns for the Master and Wardens to look their impressive best for the occasion. Did Ellen supply any silken trimmings for the robes? We don’t know, but that year she was admitted, free of charge, to the Tailors’ Fraternity of St John the Baptist. It was in the chapel of St John the Baptist, in their parish church of St Mary Abcurch, that both John and, later, Ellen would be buried. The Langwiths lived in a tenement on the north side of Candlewick Street, one of a group of properties, owned by John, which shared a courtyard.

After marrying John, in 1439, Ellen was one of a group of London silk-women who bought £30 worth of silk from Venetian merchants visiting the capital. In February 1443, she purchased a fardell (a bundle) of silk for herself at the incredible cost of £60 11s 8d, showing how her business had grown. Ellen certainly had apprentices but may also have distributed work to others, to do at home. At this time, another silk-woman, Katherine Dore, was putting out work to women living in Soper Lane. While John was training lads as apprentice tailors, one indenture for a girl survives: Elizabeth Eland was taken on in July 1454 by both John and Ellen, to train as a silk-woman. She may have joined other girls under Ellen’s tutelage; if so, their indentures haven’t survived. We don’t know whether Elizabeth completed her apprenticeship or what happened to her. She isn’t mentioned in Ellen’s will but that’s not surprising since it wasn’t drawn up until 1481, twenty-one years after Elizabeth should have finished her training.

In 1465, Ellen gained royal patronage when she was commissioned to supply silk banners and trappings for the saddle and pillion for Edward IV’s queen, for her coronation. Ellen had to deliver the goods ‘into the hands of Thomas Vaughn one of the esquires of our [the king’s] body to the use of our most dear and entirely beloved Queen…’ and was paid £27 10s. John Langwith died in July 1467 and, like Philip Waltham before him, made Ellen his executrix, leaving her responsible for an ‘estate of lands’ at Beckenham in Kent which may have been her own inheritance. Ellen was now a very wealthy widow without an heir so she too drew up a will, though she would outlive John by over thirteen years. Her will was artfully worded: she left much of her property to the Tailors’ Company with the proviso that if they failed in its adequate administration, all would be forfeit to the Cutlers. In this way, she was well favoured by both companies, invited to their feasts on special occasions and sent gifts of food and wine to keep them in mind. In 1476, the tailors spent 2s on a pike and wine for Mistress Ellen Langwith, while the less wealthy cutlers sent her a rabbit and a hen costing 8d.

In her will, Ellen left 10s to pay for her funeral in St Mary Abchurch which included money to the parish clerk to ring the bells. There were alms to the poor and the Tailors’ Company was to use money from the rents paid to them from the Langwith properties, to buy 26 quarters of coal for thirteen poor men and women of the parish, on the anniversary of Ellen’s death. Before she died – sometime between January and June 1481 – she left an additional, modest will, leaving most of her household goods to her current apprentice, John Brown (presumably an apprentice tailor). She leaves a bequest of 40s to Richard Wiott, the son of a shearman, when he should come of age, and money and goods to her servants, John England and Emmott Bynchester. Otherwise, all her bequests are made to women: Margaret, wife of John Wareng, one of her two executors, is to have a gold ring set with a diamond and an image of Our Lady from Ellen’s chamber; Mary, wife of John Jakes the draper, the second executor, is to have her blue silk girdle with silver gilt decorations. Katherine, wife of Hugh Pemberton, the overseer of Ellen’s will, is to receive a gold ring set with turquoise. A gown of black medley (a wool mixture?), trimmed with white lamb, was left to her cousin Mistress Bowyer of Northampton, and her best blue gown, trimmed with marten fur, was bequeathed to another cousin, Mistress Bounesley of Nottingham. Her personal belongings and considerable household goods and furnishings, mentioned in her will, suggest Ellen was a prosperous and dignified elderly woman who had had a very successful career, whether as the wife of a cutler and a tailor, or as a craftswoman in her own right.

In my new novel, The Colour of Lies, Emily and the other silk-women set up a profitable stall at St Bartholomew’s Fair and Dame Ellen Langton is going to name one of them as her successor in taking on her business. All is going well for them until an accident occurs… It’s down to Emily’s husband, Seb, to solve the mystery and get the silk-women out of trouble.

If readers would like to know more about silk-women and many other craftsmen, traders and life in medieval England in general, there is a series of online courses available from medievalcourses.com which includes The Roles of Medieval and Tudor Women and Everyday Lives of Medieval Folk. There are also my books, both published by Amberley, Everyday Life in Medieval London, which was chosen as ‘the best factual history book of 2014’ by GoodReads, and A Year in the Life of Medieval England, among other titles. All are available from Amazon as both Kindle, hardback and paperback editions.

About the Author

Toni Mount MA

Toni is a history teacher, a writer, and an experienced public speaker – and describes herself as an enthusiastic life-long-learner; she is a member of the Richard III Society Research Committee and a library volunteer, where she leads the creative writing group.

Toni attended Gravesend Grammar School and originally studied chemistry at college. She worked as a scientist in the pharmaceutical industry before stopping work to have her family. Inspired by Sharon Kay Penman’s Sunne in Splendour Toni decided she too wanted to write a Richard III novel, which she did, but back in the 1980s was told there was no market for more historic novels and it remains unpublished.

Having enjoyed history as a child she joined an adult history class and ultimately started teaching classes herself. Her BA (with First-class Honours), her Diploma in Literature and Creative Writing and Diploma in European Humanities are from the Open University. Toni’s Certificate in Education (in Post-Compulsory Education and Training) is from the University of Greenwich. She earned her Masters degree from the University of Kent in 2009 by the study of a medieval medical manuscript at the Wellcome Library.

After submitting an idea for her first book, about the lives of ordinary people in the middle-ages, Everyday Life in Medieval London was published in 2014 by Amberley Publishing – the first print run sold out quickly and it was voted ‘Best history book of the year’ at Christmas 2014 on Goodreads.com. The Medieval Housewife was published in November 2014 and Dragon’s Blood & Willow Bark, the mysteries of medieval medicine (later renamed in paperback as Medieval Medicine it mysteries and science) was first released in May 2015. A Year in The life of Medieval England, a diary of everyday incidents through an entire year, was published in 2016.

Having taught history to adults madeglobal.com recruited her to create a range of online history courses for medievalcourses.com, but she still wanted to write a medieval novel: The Colour of Poison the first Sebastian Foxley murder mystery was the result, published by madeglobal in 2016. Shortly before publication Tim at madeglobal asked if this was going to be a series – although nothing else was planned, Toni said “yes” and now The Colour of Lies (published in April 2019) is the seventh book in that series.

Toni is married with two grown up children and lives with her husband in Kent, England. When she is not writing, teaching or speaking to history groups – or volunteering – she reads endlessly, with several books on the go at any one time. She is currently working on The Colour of Shadows the next Sebastian Foxley murder mystery and The World of Isaac Newton, her next non-fiction.

Her websites include: http://www.ToniMount.com http://www.SebastianFoxley.com http://www.ToniTalks.co.uk

You can follow Toni on social media at: http://www.facebook.com/toni.mount.10 http://www.facebook.com/sebfoxley/ http://www.facebook.com/medievalengland/ http://www.twitter.com/tonihistorian

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My Books

Silk and the Sword: The Women of the Norman Conquest

From Emma of Normandy, wife of both King Cnut and Æthelred II to Saint Margaret, a descendant of Alfred the Great himself, Silk and the Sword: the Women of the Norman Conquest traces the fortunes of the women who had a significant role to play in the momentous events of 1066.  Available now from Amazon UK,  Amberley Publishing, Book Depository and Amazon US.

Heroines of the Medieval World

Telling the stories of some of the most remarkable women from Medieval history, Heroines of the Medieval World,  is now available in hardback in the UK from Amazon UK, and in the US from Amazon US. It is available now in paperback in the UK from from both Amberley Publishing and Amazon and worldwide from Book Depository.

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©2019 Sharon Bennett Connolly and Toni Mount

Guest Post: George, Duke of Clarence and the infamous ‘butt of Malmsey wine’ by Toni Mount

Sharon Bennett Connolly6 Comments

It is a pleasure to welcome Toni Mount to the blog, for Day 5 of her Blog Tour for the launch of The Colour of Murder this month.

The Colour of Murder is the latest whodunit in the popular ‘Sebastian Foxley’ series of medieval murder mysteries by author and historian Toni Mount.

George, Duke of Clarence and the infamous ‘butt of Malmsey wine’.

540 years ago, on the 18th February 1478 the Duke of Clarence was, famously, drowned in a butt of malmsey wine. Did he jump or was he pushed? The question has never been answered, so this was an opportunity for the intrepid investigator Seb Foxley – to finally solve the mystery.

On this day, 18th February 1478, news was leaked that the brother of King Edward IV, George, Duke of Clarence, had somehow managed to drown in a butt of malmsey wine. Did he fall or was he pushed? A contemporary chronicler, who otherwise seems very well informed, could only write: ‘… a few days after the execution, whatever its nature may have been, took place … in the Tower of London…’

From the Croyland Chronicle, c. 1486, pp.479-80:

George of Clarence had never been very reliable nor faithful to King Edward, his elder brother. When his beloved wife, Isabella Neville, died soon after giving birth, probably of childbed fever, George was convinced that a lady-in-waiting, Ankarette Twynyho, had poisoned her. He tried Ankarette in a rigged court and arranged her execution. King Edward decided George had gone too far this time, taking the law into his own hands. Then George became involved in a further plot to dethrone Edward. Matters deteriorated when he accused the Edward’s queen, Elizabeth Woodville, of witchcraft, saying she was behind the death of his wife. Finally, the king lost patience and George was imprisoned in the Tower of London in the summer of 1477.

Brought to trial before Parliament, only the king gave evidence against George, listing all his earlier mercies to him, how he had pardoned him for previous acts of treachery and showered titles and riches on him, only to receive ingratitude and further treachery in return. Meanwhile George had spread rumours that the king was a bastard with no right to wear the crown, practising necromancy and poisoning those who displeased him.

Parliament sat in embarrassed silence as the king and his brother accused each other, shouting and arguing in a most unseemly and vulgar display. But the eventual outcome was never going to be in doubt: Parliament found in the king’s favour, George was guilty of high treason and sentenced to death. He was returned to the Tower of London while the king wrestled with his conscience over signing his brother’s death warrant until the Speaker of the House intervened, demanding that sentence be carried out. George, Duke of Clarence, was executed privately in the Tower of London, spared the ignominy of a public beheading.

However, an execution behind closed doors soon caused rumours to spread that Clarence had been drowned in a butt of malmsey wine. A butt is a large barrel and an imperial measure of one hundred gallons – more than enough to drown in, but the story is almost certainly a later invention. Perhaps George was partial to the sweet white wine, so the tale was an ironic joke. It has been suggested, perhaps not seriously, that George was allowed to choose his manner of death, or even that a ‘well-wisher’, wanting to spare the king the grief of committing fratricide, sent Clarence a gift of wine, laced with poison. We will probably never know the truth.

About  the author

Toni Mount is a popular writer and historian; she is the author of Everyday Life in Medieval London and A Year in the Life of Medieval England (pub Amberley Publishing) and several of the online courses for http://www.medievalCourses.com

Her successful ‘Sebastian Foxley’ series of medieval whodunits is published by MadeGlobal.com and the latest book in this series The Colour of Murder is now available as a paperback or on Kindle. http://getbook.at/colour_of_murder

If you would like to follow the rest of Toni’s blog tour, just click on the links below:

26/1/18 – Digitalis & Other Plant Poisons in Medieval Times – www.thewarsoftherosescatalogue.com/  c/o Debra Bayani

3/2/18 Author Interview – The Review – www.thereview2014.blogspot.com c/o Diana Milne

10/2/18 Royal Witchcraft – www.onthetudortrail.com c/o Natalie Grueninger –

17/2/18 George Duke of Clarence – www.historytheinterestingbits.com  c/o Sharon Bennett Connolly

24/2/18 Bedlam Hospital www.theanneboleynfiles.com c/o Claire Ridgeway

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My Book:

Heroines of the Medieval World,  is now available in hardback in the UK from both Amberley Publishing and Amazon UK and worldwide from Book Depository. It is also available on Kindle in both the UK and USA and will be available in Hardback from Amazon US from 1 May 2018.

You can be the first to read new articles by clicking the ‘Follow’ button, liking our Facebook page or joining me on Twitter.

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©2018 Sharon Bennett Connolly