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Leslau, Holbein, More and Clement

More Family Portrait

Before I begin, I have two words of warning. The first is that a huge spoiler for my novels Loyalty and the sequel Honour unavoidably follows. Just so that you know!

Secondly, the following is my telling of the theory researched and expounded by Jack Leslau, an amateur art enthusiast who believed that he stumbled across the answer to the riddle of the Princes in the Tower hidden in Hans Holbein’s stunning portrait of Sir Thomas More’s family. I am not seeking any credit for the facts and ideas below and am relying upon Jack Leslau’s work entirely. Since he passed away, his theory seems to have sat somewhat unattended. I have tried to make contact using the details on the website (that still exists, but is extremely hard to read) to no avail. I am not aware that this work is for sale anywhere and do not intend to breach any copyright. If I do so inadvertently, I am sorry and will remove this as soon as I am made aware of such an infringement.

My reason for writing this is threefold. Firstly, I was fascinated a long time ago by the compelling nature and originality of Jack Leslau’s work. Secondly, in no small part it inspired my novel, Loyalty, for which I owe the late Mr Leslau a debt. Finally, this work is becoming less and less accessible and I find this a great shame.

I do not say that what follows is an indisputable truth. Much of Leslau’s theory can be, and frequently is, contended. Perhaps you will find it interesting, even compelling. In the absence of other evidence, it certainly bears some consideration. Richard III is so frequently condemned on hearsay and supposition, I think this might offer an alternate reading of events worthy of contemplation. I hope that you will join me for this fight of fancy. There is no quick way to impart this detail, I’m afraid, so strap in, and if you are sitting comfortably…..

Sir Thomas More was one of the most influential men in Henry VIII’s England in the 1520’s. A close friend to the king, this lawyer’s star was on the ascendant when artist Hans Holbein arrived in England. Probably in 1527, Holbein was commissioned to execute a group family portrait for Sir Thomas. He made a sketch, which he probably took back to the Continent with him to translate into the final painting. The painting includes Sir Thomas, his son, his daughters, including his adopted daughter, his second wife and his late father. There are also a few other figures who may not attract the eye, but it is upon one of these figures that Jack Leslau built his fascinating theory.

‘John’ – Is this Richard, Duke of York?

The figure toward the right at the back marked as ‘Johanes heresius Thomae Mori famul: Anno 27‘ has long been believed to represent John Harris, Sir Thomas More’s long standing secretary. Leslau, however, uncovered several interesting anomalies that he believed pointed to a different occupant for this position, and the unravelling of England’s greatest mystery. Leslau believed that this figure was, in fact, Dr John Clement, the husband of Margaret Giggs, Sir Thomas More’s adopted daughter, and, more controversially, that Dr John Clement was the assumed identity of Richard of Shrewsbury, Duke of York, the younger of the Princes in the Tower.

Let us begin with what is known of Dr John Clement. His date of birth is uncertain and a matter of debate. He is widely believed to be the ‘puer meus’ of Sir Thomas More’s seminal political tract Utopia. This led many to believe that he had been born around 1500, which would be consistent with the age offered for ‘Johanes heresius’ of 27. It is believed that Clement attended St Paul’s School under the tutelage of William Lily, though Leslau was unable to find evidence of this. Clement is first recorded in More’s household in 1514 and he may have gone with More on his 1515 embassy to Bruges and Antwerp. It was in More’s household that Clement met his future wife, Margaret Giggs, Sir Thomas’s adopted daughter. She was born around 1508 and they married in 1530.

At some time between 1518 and 1519, Clement was appointed as Cardinal Wolsey’s reader of rhetoric at Corpus Christi College, the foundation of Bishop Richard Foxe that was dedicated to humanist study. Clement later became a reader of Greek at Oxford before leaving there during the 1520’s to study medicine in Italy. It is known that Clement travelled via Louvain and Basel, where he met Erasmus, and that he delivered a copy of Utopia to Leonico at Padua in 1524.

By March 1525 he had received his MD from Siena. On his subsequent return to England, Clement aided his successor at Oxford, Lupset, in completing the Aldine edition of Galen and later in 1525 he appears in the royal accounts as a Sewer (Server) of the Chamber in the Royal Household, as he did again in 1526. On 1st February 1527 or 1528, Clement was admitted to the Royal College of Physicians and in 1529 was sent, along with two other physicians, under Dr Butts to treat the ailing Cardinal Wolsey following his fall from grace.

In 1535, Dr Clement was consulted on the treatment of John Fisher’s liver during his imprisonment in the Tower. 1538 saw him granted a semi-annual income of £10.00 from the royal household, though this appears to have been cancelled in 1539. In 1544, Clement was made President of the College of Physicians and Leslau discovered, and confirmed, that Clement is unique amongst the long history of Presidents of the College of Physicians in that no copy of his signature exists in the possession of the College, nor any record of his origin or background. Every single other President has a preserved copy of their signature. This may, of course, be coincidence, but it set Jack Leslau along an interesting road.

There is more of Clement’s story to come, but perhaps we should return our attention now to the painting and some of the anomalies that Leslau uncovered, along with the meaning that he attributed to them.

Jack Leslau became fascinated by Sir Thomas More’s involvement in the story of King Richard III and the Princes in the Tower. Why, he asked, would a man as learned and respected as More, a lawyer and theologian, lend his name and reputation to the collection of inaccuracies and rumours that comprise his Historie of King Richard III? If the Princes were murdered, why did no-one, including even their own mother, ever raise hue and cry or point the finger at King Richard after his death? Leslau believed that Holbein’s portrait unlocked this mystery.

Jack Leslau compared Holbein’s preparatory sketch, made around 1527, with the post-1532 portrait and found 1 major and 80 minor changes, each of which was relevant to the ‘hidden secret’ he believed was contained in the painting.

Holbein’s Preparatory Sketch

The major change was the addition of the controversial figure in the doorway, who was omitted from the sketch. There are several interesting and compelling anomalies that revolve around this figure. The first thing to consider is the writing above his head that identifies the man, which is more cryptic than at first appears. It reads ‘Johanes heresius Thomae Mori famul: Anno 27“. ‘Johanes heresius‘ is usually assumed to refer to John Harris, yet if ‘heresius‘ is intended to equate to ‘Harris’ then it is the only surname in the painting that is not designated by a capital letter. The word ‘famul‘ has been assumed to be an abbreviation of famulus, meaning secretary, but these two words have possible other meanings.

John’s Identifying Mark

In the Latin vocative, heresius can be translates as heres – heirius – right or rightful, so that heresius could translate as rightful heir. Suddenly, we are presented with John, the rightful heir.

Secondly, John stands, literally, head and shoulders above the More family. Leslau contends that it was traditional in portraits of this era for the person of highest status in a painting to be placed in the highest position. Infrared photography has been used to prove that the top of John’s hat is the highest of any in the picture.

Add to this the fact that above John’s head is a row of fleur-de-lys, the traditional symbol of French royalty. One of Holbein’s famous optical illusions also means that the structure is simply part of the door frame when seen from the right, yet from the left it appears to be a half open door. John therefore stands before a vanishing door, or an impossible door.

John’s Fleurs de Lys

The figure attracts further intrigue when considering that he is dressed in an Italian style, unlike the English dress of the other sitters, pointing to Clement’s Italian medical training. Not only does he hold a roll of parchment, but he also sports a sword and buckler, extremely odd for a secretary, but the traditional trappings of a warrior, which fits neither secretary nor doctor. One oddly bent finger touches the pommel of his sword and the buckler has a polished rim and spokes.

To these anomalies, Leslau applied the principles of French courtly language that Holbein apparently frequently used. The French for optical illusion, as used on the vanishing door, is porte-a-faux, which literally translates as false door, pointing to tricks or hidden falsehoods within the scene. ‘He holds a parchment‘ in French is ‘il tient le parchemin’, which, in courtly French, can mean ‘he holds the right and title of nobility‘. The spoke of a wheel, as seen on the buckler, is ‘rai‘ and the rim is ‘jante‘, which Leslau identified as a split homophone of ‘rejente‘, which translate to regent.

Furthermore, Leslau points to the fact that the ceiling timbers are out of alignment at the top of the painting. Applying the same principles to this anomaly, a line fault becomes a faute de ligne or fault de linage, which equates to a fault in the lineage.

Incorrect Alignment of Ceiling Beams

The sideboard in the background of the picture is covered by a carpet. ‘To hide the sideboard under the carpet‘ in French is ‘cacher la credence sous le tapis‘, with Leslau pointing to the word ‘credence‘ being used in French courtly language to mean ‘confidential matters‘. Are confidential matters being hidden from view in the painting, swept under the carpet?

If all of this were true, it points toward the figure named John being of importance; he is marked by fleur-de-lys and occupies the highest station in the painting. Some French courtly language tricks could be used to further mark him as someone demanding closer attention. No secretary would carry a sword and buckler and he is potentially named as a rightful heir.

The Clock

At the centre of the picture, at the top, is a beautiful clock, a symbol of wealth and status at this time. Yet even this clock holds hidden meaning to Leslau. The pendulum is missing, an important factor relating the ceasing of the passing of time which we will revisit later. The clock’s door is open, which suggests that the time has been altered too. This might also have importance to the person of John. The dial has only one hand, which points to the number eleven, perhaps denoting the eleventh hour and also the one remaining prince, a matter we shall also return to in a while. Above the clock face, a solar eclipse is shown. Given that the Sunne in Splendour was the emblem of the Princes’ father, Edward IV, its eclipse is perhaps relevant. Leslau identified that John is perpendicular to the arc of the sun’s corona, a symbol that forms part of the Duke of York’s arms, and suggests that this points to John’s identity as Richard, Duke of York.

Jack Leslau also believed that code within the painting identified the recent death of the elder of the “Princes” in the Tower, Edward V. The curtain at the back is drawn, there is a black eclipse and More appears unshaven, all of which are symbols of death and mourning. At a point in the painting higher than John stands an arrangement of purple and gold flag iris. The colours of these flowers do not exist in nature and are well known symbols of royalty. Leslau even points to the fact that More’s chain of S’s sits off centre, over his heart, and that this forms a perfect right angle from the flowers at the end of the weight on the clock. This left angle is used by Leslau to suggest that the recently deceased royal is ‘left quartered’ in the heart of Thomas More and the royal Duchy of Lancaster.

Sir Thomas More

Sir Thomas More wears the Duchy of Lancaster chain around his neck. Close examination shows that the ‘SS’ symbols of the chain are reversed on More’s right, but correct on his left. Once more applying the principles of French courtly language, Leslau contended that the following statement could be created;

“D’un cote, est-ce (esses) gauche?

De l’autre cote, reflection faire,

Est-ce (esses) adroit (a droite).”

This can be translated thus;

“On the one hand is it gauche (clumsy, or left)?

On the other hand, upon reflection,

Is it adroit (clever, or right)?

Is this a cunningly constructed reference to More’s attempts to hide the continued existence of the Princes in his outrageously inaccurate story of Richard III? The artist is uncertain whether it was clumsy or clever, suggesting perhaps that only time will tell. Interestingly, Thomas More shows only three fingers, perhaps also a reference to Richard III.

Other figures in the portrait also contribute further to Leslau’s theory. The two women sitting toward the front on the right of the picture are identified as Margaret Roper (on the right) and Cecily Heron (on the left), More’s daughters. The book that is open on Margaret Roper’s lap show two pages from Seneca’s Oedipus. Margaret points at the word Oedipus, suggesting a tragedy relating to a king, while beside her, Cecily counts on her fingers. Does she count tragedies? Or kings? Or both?

The sisters

The lines on the opposing page of Oedipus show a speech by Seneca’s Chorus from Act 2, which begins “Fata, si liceat mihi fingere arbito meo“, which translates as “If it were permitted to me to change Fate according to my will…” and the speech continues that he would have things other than they currently are if it were within his power. Does this point to More’s desire to see the House of York restored as the rightful kings?

The top of the page on Margaret Roper’s left shows “L. AN. Seneca”, which may refer to Lucius Annaeus Seneca. However, ‘L. AN’ in French is 50 years, More’s age in 1527 and the age shown above his head in the painting. Leslau believed that this suggested the fact that the portrait was not actually painted in 1527 but pointed to events in the More family and household in that year, that this was when the clock was stopped.

Two dogs sit on the floor before the family. Sir Thomas More has central placement in the picture. Above him, the clock is central, perhaps marking the importance of its hidden message, and the odd looking dog at More’s feet is also on that central line, marking it as also of some import. Leslau notes that the German for ‘fetch the bone’ is ‘hol bein’, a homophone for Holbein, perhaps marking the strange little dog as a devise representing the artist. If this is the case, then the dog’s cocked left ear suggests that some news has reached Holbein’s ear, perhaps even that he is like a dog with a bone.

The lady at the far left of the portrait also requires our attention. She is Margaret Clement, nee Giggs, wife of Dr John Clement. I would point out the since John and Margaret apparently did not marry until 1530 yet the portrait is ‘set’ in 1527, marking her as Mrs Clement at this point seems significant. Margaret is placed on the far left, on the outskirts of the family, left on the fringe, and wears a cheap rabbit skin hat, whereas the other ladies wear expensive headdresses. She is also painted unflatteringly, which Leslau suggests points to the artist taking a dislike to her for some reason. Her finger is pushed into the spine of a book – in French, ‘le doigt dans l’epine‘ can also mean ‘she keeps going on at him’, suggesting disharmony between John and Margaret. This is further supported by the lute behind her, pointing to her back, since ‘lutte‘ is French for ‘to fight’. The vase behind her, ‘vase d’election‘ (‘the chosen one’), is covered – ‘la vase est covert’ in courtly French means ‘the Chosen One is justified’, perhaps suggesting that Holbein believed John Clement to be in the right in whatever arguments they engaged in. Margaret’s book is blank, perhaps suggesting that they argue over nothing, or even that she is unaware of the secret of the painting, that she does not know who her husband really is. The placement of an untidy flower arrangement behind Margaret points to an untidy arrangement – perhaps her marriage to Clement – and includes purple peony, a flower with double significance which will be further examined shortly.

Although Leslau describes several other anomalies, some do not relate directly to the identity of John Clement and I am already conscious of the length of this blog. With much still to say, I am skipping some of these items. I will just point out the man at the far rear of the painting, apparently outside on a balcony. He is reading and has the short hair of a monk, though he is missing the tonsure, the shaved bald spot. ‘Hair is there‘, Leslau suggests, is a homophone for ‘Harris there‘. John Harris, More’s secretary, is included for good measure.

We may return now to the life of Dr John Clement and his age, which seems to offer some controversy and even support for Leslau’s theory. Clement’s identification as the ‘puer meus’ of Utopia led many to believe he was born around 1500. However, Leslau uncovered an entry in the register of enrolment at Louvain University from 13 January 1489 for ‘Johannes Clement’, marked ‘non juravit’ (‘not sworn’). Another entry in the Louvain register from January 1551 read ‘Joannes Clemens, medicine doctor, anglis, noblis (non juravit ex rationabili quandom et occulta sed tamen promisit se servaturum consueta)’. This could be translated as ‘The Lord John Clement, doctor of medicine, English, of noble birth (has not sworn the oath for a reasonable hidden cause, but has nevertheless promised to keep the customary oaths).’

These entries are 62 years apart. Could they refer to the same person? If so, Clement was clearly born before 1500. Interestingly, Richard, Duke of York was born in 1473, so would have been approaching his 16th birthday at the time of the first entry in 1489. This age would be consistent with the correct age for university enrolment at this time.

The second entry records John Clement as both a ‘Lord’ and as ‘of noble birth’. No noble Clement family existed in England at this time, so the entry is either wildly inaccurate or was made in the knowledge that John Clement was the assumed identity of an English nobleman. The bracketed note after the entry is also interesting. John Clement had not ‘sworn the oath’, as he had not in the 1489 entry, though this time a reason is offered; ‘for a reasonable hidden cause’. Leslau’s research discovered that such an explanation is unique between the periods 31st August 1485 and February 1569, a period during which 49,246 entries were made. If Clement was, indeed, using an assumed identity, then swearing the oath under a false name would have been perjury. The fact that the University may have lost its right to the privilegium tractus in such an event might explain the acceptance of the failure to swear, whilst simultaneously implying that the University was aware that Clement was living under an assumed identity, and doing so for an acceptable reason – at least implying no fraud.

Further weight is given to the theory that Clement was older than a birth date in 1500 would allow by an entry in the Letter and Papers of Henry VIII, 1, Part 2, Appendix, page 1550. This note refers to a set of challenges and answers for a feat of arms planned for Wednesday 1st June 1510. The list runs thus;

King – Lord Howard

King – John Clement

Knyvet – Earl of Essex

Knevet – Wm Courtenay

Howard – Sir John Audeley

Howard – Arthur Plantagenet

Brandon – Ralph Eggerton

Brandon – Chr Garneys

Of the ten participants (beside the king, Henry VIII), five (Lord Howard, Thomas Knyvet/Knevet, Henry Bourchier Earl of Essex, William Courtenay Earl of Devonshire and Arthur Plantagenet) were close relatives to the king either by blood or marriage. Additionally, Charles Brandon was probably Henry’s closest friend and would later become his brother in law and Duke of Suffolk. Leslau points to this as evidence that Clement could not possibly have been born in 1500, since he would only have been 10 years of age at the time. I would also add that it creates the significant possibility, if this set of challenges was filled with Henry’s closest friends and family, that Clement was amongst that elite set and that he held his position there because Henry knew who he really was. Was Clement’s true identity an open secret amongst Tudor England’s ruling class? At least in Henry VIII’s youth, while he brimmed with confidence.

In 1534, Clement appears to have imprisoned in Fleet Prison at the same time that More was incarcerated in the Tower. Perhaps not unusual for a family member who may have shared More’s views, but we can find John Dudley, later Duke of Northumberland, writing on 11th October 1534 to Thomas Cromwell commenting on Clement’s case. He writes;

farthermore as towchyng maistr Clements mattr I beseche your maistership not to gyve to much credens to some great men who peraventure wyll be intercessours of the matter and to make the best of it for Mr Clement by cause peraventure they theym selves be the greatest berers of it as by that tyme I have shewed you how whotly the sendying of Mr Clement to the flete was taken, by some that may chawnce you thinke to be your frende you wyll not a little marvayle

Dudley’s intercession is of interest because Leslau contends that Edward V survived as Sir Edward Guildford, who happens to be John Dudley’s father in law. Dudley is also clearly under the impression that “some great men” will take interest in Clement’s case.

Clement’s later life is also interesting, and some portions are relevant to this discussion. In 1549, as Edward VI’s Protestant rule became established, Clement and his wife quit England for Louvain. Although he returned during Queen Mary’s reign, Clement was unable to regain the extensive 180 book library he had lost when he left. The motive for this departure and return is not hard to discern. The Public Record Office in Chancery Lane holds an inventory of Clement’s Marshfoot house, showing property seized by Sir Anthony Wingfield with the approval of Sir William Cecil, the future Lord Burghley. The Chapel Chamber contained many Catholic artefacts, including “an awlter, a picture of our Lady, a picture of the V woundes” (the sign of the five wounds featured prominently as the badge of the popular uprising against Henry VIII, the Pilgrimage of Grace).

The Five Wounds

On the accession of Queen Elizabeth I, Clement left England for the last time in 1558. In March 1562, an entry appears in the Louvain register for “Dominus Joannes Clemens, nobilis, Anglus” and he appears for a final time in the register in 1568: “Dominus Joannes Clement in theologia“. In total, these entries span an incredible 79 years.

John Clement died on 1st July 1572, two years after his wife of some 40 years. In a final significant act, he was laid to rest near the high altar of St Rombout’s Cathedral in Mechelen, a spot traditionally reserved for members of the House of Burgundy, Margaret of York’s family by marriage. If he was Richard, Duke of York, he lived to the ripe, improbable, but not impossible age of 98.

So, we have a man who, by circumstantial evidence, appears to have been a nobleman living under the assumed identity of Dr John Clement and who may appear in a family portrait as a rightful heir of some kind. There is more that this painting can tell us yet.

When compared to the figure beside him, John appears to have very waxy, pale skin, whereas Henry Patterson (More’s fool) has a more natural tone. Leslau tells us that on two well known, well documented occasions, Holbein used the technique of waxy skin to show people at half their true age. This fits with the clock’s suggestion that time has been not only stopped, but also altered. John is marked as ‘Anno 27’. If this is in fact half his true age, he would be 54. Richard, Duke of York’s date of birth in 1473 would make him 54 in 1527, the year to which the portrait appears to refer.

I would add as my own observation that the figure of Henry Patterson, More’s fool, bears a striking resemblance to Henry VIII. He also appears to sport a red and white rose, separated, on the top of his hat. Henry also stands just below John in terms of height in the portrait. If the height is used to mark precedence, then the order would appear to be: A missing royal who has just died (Edward V), John (Richard, Duke of York), Henry (Henry VIII). This appears startlingly blatant to me, dangerous for both Holbein and More, particularly if Henry VIII knew who John Clement was, yet perhaps Henry was in on the joke?

Level with John’s head is a purple peony, a colour of this flower which apparently does not exist in nature. Purple is a colour denoting royalty, and Paion was the physician to the Greek gods in myth, and a nickname applied to doctors at this time. Hence, the purple peony, an impossible flower, marks a royal doctor. Clement was not made President of the College of Physicians until much later, so perhaps this refers instead to a doctor who is royal?

So, Leslau’s conclusions seem to run thus. The painting tells us that there are secrets hidden within it (the sideboard under the carpet). The figure of John represents Dr John Clement, a member of More’s household, husband to his adopted daughter and a person of significance. The household is in mourning for the recent (in 1527, at least) death of a royal. This death entitles John Clement to be addressed as the ‘rightful heir’. The flower selections within the painting are impossible, attracting attention, and point toward royalty, by using purple and gold and fleur-de-lys, and to medicine in the use of the peony. The clock tells us that time has been stopped, even altered, and that this is important, whilst also referencing the House of York. John is shown at half his real age, making him 54 in 1527, the precise age of Richard, Duke of York.

Though long, this is a pared down version of Leslau’s complete research.

Put simply, Leslau’s conclusion is that the painting contains code that tells us very clearly that Dr John Clement is the assumed identity of Richard of Shrewsbury, Duke of York, younger of the Princes in the Tower, and that both boys lived long into the reign of Henry VIII, the younger surviving until 1572 in the rule of Elizabeth I. It would also appear that the younger lived within the household and under the protection of Sir Thomas More and it is perhaps clear that Henry VIII knew of this fact.

Did this contribute to Henry’s growing paranoia and panic as he failed to produce a male heir, then seemed set to die when his only son was a young boy? Was knowledge of this secret the reason Henry could not allow More to live as a private citizen following his resignation as Lord Chancellor?

Or is all of this a mere flight of fancy, seeing things because one is looking for them rather than because they are really there? Could a prince live to be 98 years old keeping his existence a secret, even though plenty seemed to know?

I don’t know, but given that Richard III is frequently convicted of murder based upon no evidence at all, surely some potential positive evidence in this elusive case must be given due consideration. Of course, that the Princes survived cannot tell us by whose hand this was achieved. Richard III may have laid the foundations that became the arrangements for their incognito existences. It may have been a reaction to Richard III’s defeat at Bosworth. They may also still have been rescued from a plan by Richard to murder them. Some questions cannot be answered by this theory, but perhaps some can.

Do you see an answer here?

Matthew Lewis is the author of a brief biography of Richard III, A Glimpse of King Richard III along with a brief overview of the Wars of the Roses, A Glimpse of the Wars of the Roses.

Matt has two novels available too; Loyalty, the story of King Richard III’s life, and Honour, which follows Francis, Lord Lovell in the aftermath of Bosworth.

The Richard III Podcast and the Wars of the Roses Podcast can be subscribed to via iTunes or on YouTube

Matt can also be found on Twitter @mattlewisauthor.

Jack Leslau’s old website can still be accessed at http://www.holbeinartworks.org/

The Royal Progress of Richard III

Following his coronation, Richard III – like all medieval monarchs – went on his “royal progress” through the realm.  Along with an entourage in excess of 200 household men, ecclesiastics, supporters, and administrative officials, he visited towns and cities as far west as the River Severn, as far north as the River Ouse, and as far east as the River Witham.  It was while he was staying in Lincoln along the River Witham when he received the news that the Duke of Buckingham and others were in open rebellion in the south.  This required the king to respond accordingly by making his “Great Journey” towards Salisbury.  It was not unusual for uprisings to occur during the royal progress of a new monarch.  During his royal progress in 1461, Edward IV had to respond to insurrection in Wales and dispense hard justice by presiding over the execution of a Lancastrian traitor.[1]  This article will not cover Richard III’s “Great Journey” to suppress Buckingham’s rebellion, as that was not part of the planned royal progress and is better addressed elsewhere.  For this discussion, we will define Richard III’s royal progress as being from when he first left Windsor on July 21 to the time he received news of the rebellion on October 11.  We will also include the king’s January 1484 visit to Canterbury, as it seems to fit the pattern of the royal progress and may have been on the original itinerary.  First, however, it is important to understand the reason why a king went on royal progress.

The Iconography of Power

Sir John Fortescue (1397-1479), the preeminent Chief Justice under Henry VI and one of the most influential medieval writers about English government, wrote of the necessity for the monarch to use ceremony, etiquette, and organized pomp to advertise his status and strength to the realm and to foreign countries.  He encouraged the king to wear luxurious clothes, furs and jewels, to bedeck his household and chapels with rich tapestries, vessels and ornaments, and to acquire expensive horses with ostentatious trappings.  If he did not do so, wrote Fortescue, he would be living below his estate and would be overshadowed by ostentatious magnates, upsetting the natural balance of power.[2]  If Richard III had not gone on royal progress or had something less than magnificent, it would have sent a message that he was insecure in expressing his royal authority or was not “up to the job”. The Arrivall of Edward IV makes this very point when it depicts Henry VI, in the last days of his “readeption”, processing through the streets of London with such a lack of regality that the people lost confidence in him.[3]  The Great Chronicle of London makes a similar observation that it seemed “more like a play than the showing of a prince to win men’s hearts” and provides the infamous detail about Henry VI being dressed dowdily in a long blue gown, as though he had nothing more resplendent to wear.[4]

The progress taken by a king after his coronation was just one of the many ways the monarch could project what modern historians have called the “iconography of power” – a set of highly visual and ritualistic ceremonies that were shared by a common culture and used by the governing class to create or sustain political and social consent.  The goal was to persuade “opinion formers” and to secure the loyalty of the common people.[5]  Thus, an effective king would engage in “triumphant entries” into cities and towns – lavish parades with spectacles and religious ceremonies to celebrate military victories, welcome a foreign queen-consort to her new homeland, or entrench a hereditary claim to the throne.  The latter can be seen with the Duke of York’s reburial in 1476.[6]  The Crowland Chronicle was perfectly correct to make the observation that Richard III’s royal progress was aimed “to attract to himself the affection of many people” with many feasts and entertainments.[7]  But it was also a time for the king to mingle with his subjects and to hear and address their petitions and concerns.

Lest we think this was a phenomenon unique to England in the medieval age, the era that followed saw even more complicated and drawn-out spectacles.  The royal progress taken by the newly-minted Charles IX and his mother Catherine de Médicis in 1564-1566, for instance, lasted 27 months and took in more than 100 towns.[8]  As we shall see below, it was simultaneously important to the towns and cities that received the monarch and provided the infrastructure and performers to welcome him.  It was a display of their political status too: the grander their reception of the king, the more respect and favor they might hope to receive from him.

In terms of distance and days spent, Richard III’s royal progress was not dramatically different from Edward IV’s in 1461, the latter of which, over the course of two months, traveled 620 miles and involved great pomp and ceremony.  Edward’s itinerary, unlike Richard’s, focused on southern and western England and included Canterbury, Sandwich, Ashford, Lewes Priory, Arundel, Bishop’s Waltham, Salisbury, Bristol, Gloucester, Hereford, and Ludlow, returning to London via Stony Stratford.  This reflects how the north and midlands of England were not securely Yorkist following the Battle of Towton.  Edward IV had to deal with roiling insurrection in the north and in the Welsh Marches, and his royal progress was intended to involve a military campaign embarking from Hereford.  This turned out to be unnecessary, thanks to the successful efforts of Lords Herbert and Ferrers of Chartley in suppressing lawlessness.  Instead of a military campaign, Edward IV’s entourage went to his childhood home and family powerbase of Ludlow where, surprisingly, he was greeted with little fanfare thus suggesting it was an impromptu visit.[9]

Richard III’s royal progress not only skipped over Ludlow, but his itinerary also involved distinctly different geographical areas from those of his brother’s.  In a very literal sense, Richard was tracing a map of the cities having particular meaning to his personal history and his expression of royal authority.

The Royal Progress of Richard III 

July 21-August 1:  Reading (1 night) – Oxford (4) – Woodstock (2) – Minster Lovell (3)

The first leg of Richard III’s royal progress went in a northwest direction from Windsor Castle towards Oxfordshire.  The first destination was Reading, a relatively short 20-mile journey.  The king was in the company of John Lord Howard (recently made Duke of Norfolk), the Duke of Buckingham, the Bishops of St. Asaph and St. Davids, and many others. Queen Anne would later join the entourage at Warwick Castle. While staying in Reading, Richard executed an indenture guaranteeing the widow of William Lord Hastings, Katherine Neville, his protection and to secure for her the enjoyment of her husband’s lands, goods, and privileges, the custody their male heir, and the wardship of the young Earl of Shrewsbury who was married to their daughter, Anne.[10]  As we shall see, dispensing mercy and justice was an integral part of the king’s progress.

At Oxford University, an assembly of regents and scholars greeted the king.  This group was headed by William Waynflete (the Bishop of Winchester and founder of Magdalen College) and the University’s chancellor who at that time was Lionel Woodville, Bishop of Salisbury.[11]  The reference to Woodville has sparked some controversy amongst historians, as he had taken sanctuary earlier in June and had been under some suspicion.  Whatever those suspicions were, they were ostensibly resolved by the time of the king’s visit to Oxford and there is no hint of any discord.  Less certain is whether the Duke of Buckingham was present, for he is not specifically mentioned in the college register.  In any case, the king was entertained with academic debates in Latin on the subjects of philosophy and theology, and tours of the colleges.[12]  He rewarded the disputants and won the hearts of the fellows.  The register describing the visit closed with the words “Vivat Rex ineternum” (“let the king live forever”).[13]

The king then spent one or two nights at the royal hunting lodge at Woodstock, the birthplace of Edward III’s sons Edward the Black Prince and Thomas of Woodstock, the first Duke of Gloucester.  It had once been a splendid palace with an enclosed park in which lions and camels were kept, and this could have provided an opportunity to do some hunting and catch up on business.  A king never stopped working while on royal progress and had to respond to a constant flow of events, petitions, and diplomatic missives, which is why he would be accompanied by staff from various government offices.

Richard’s entourage traveled to Minster Lovell Hall, the home of Francis Viscount Lovell, his faithful friend and Lord Chamberlain.  This was one of the few times Richard III stayed in a private residence during his reign.  It had undergone several enlargements to its great hall and the building of a tower, both completed by 1455, so it would have been a suitable lodging for such distinguished guests.[14] Perhaps the most notable thing about the king’s time here is the text of a warrant dated July 29th issued from Minster Lovell and addressed to Chancellor John Russell, concerning a mysterious enterprise.  It has been suggested that it refers to a forthcoming trial of unnamed persons for the murder of the king’s nephews.  However, historian Rosemary Horrox believes that John Stow’s Annals gives a more accurate description of the enterprise as being one to rescue the princes from the Tower under cover of confusion caused by fires started in the city.  The four conspirators, two of whom served in Edward IV’s household, were tried at Westminster and executed.[15]

August 2-27:  Gloucester (2 nights) –Tewkesbury (1) – Worcester (3) – Warwick (6) – Coventry (2)  – Leicester (4) – Nottingham (8)

From Minster Lovell, Richard went on to Gloucester where he took up residence in St Peter’s Abbey (now Gloucester Cathedral) for two nights.  Here, for the place that bore the name of his ducal title, the king granted a charter of liberties releasing it from paying Ł45 of the Ł60 for the fee farm, giving its burgesses the right to choose their own mayor and coroner, allowing it to have its own sheriff to preside over a court, to incorporate themselves as an entity, to acquire lands and tenements, and to have standing to plead or interplead before the king’s justices or any other justices in the courts of England.  Some of these rights and privileges were retained by Gloucester up to 1974.[16]  In 1538, the borough was granted a coat of arms with the red and white roses of Lancaster and York along with a boar’s head – a reference to Richard III’s favorite badge.

Gloucester’s St Peter’s Abbey had wealth and prestige. It was the place where Henry III was crowned king of England, and where Edward II was buried following his deposition.  Parliaments had been summoned there twice (1378 and 1407), but due to a combination of factors, including the Black Death and competition from nearby Bristol, the town borough was having some economic difficulty.  Nevertheless, Gloucester had performed an extremely valuable service for the Yorkists when it closed its gates to Margaret of Anjou’s army in 1471, forcing it to march on to Tewkesbury.[17]

Undoubtedly with this history in mind, Richard bestowed the liberties mentioned above and also presented the city with a sword, which is believed to have been his own; it can still be viewed at Gloucester City Museum.  It was also at Gloucester that the Duke of Buckingham took his leave from the royal progress; what prompted this is unknown.  Buckingham’s manor house at Thornbury, from where Lionel Woodville would later be issuing letters on September 22, was only 25 miles away, and he was holding Bishop John Morton in custody in his castle in Brecon, in Wales, about 70 miles from Gloucester.

Although we have no description of Gloucester’s reception of Richard, we can assume that it was similar in pomp to the royal entry of Edward IV into Bristol in 1461.  When Edward arrived at Bristol’s Temple Gate, a “great giant” attended by three lords delivered the keys of the town to him and a poem comparing the king to William the Conqueror was recited.  As the entourage processed to Temple Cross, the king beheld the spectacle of Saint George on horseback “fighting with a dragon, and the king and queen on high in a castle, and his daughter beneath with a lamb.  And at the slaying of the dragon there was a great melody of angels.”[18]  Edward granted the town a royal charter, oversaw the trial and execution of the Lancastrian rebel Sir Baldwin Fulford, and left with an extra fifty marks in a loan from his host, mayor William Canynges.[19]  “The event provides a small snapshot of what the progress of the monarch involved in this fraught period of political insecurity and highlights the multifaceted role the king played.”[20]

From Gloucester, Richard progressed to Tewkesbury for one night, where he had been a commander in the battle of 1471 that regained the crown for Edward IV.  Tewkesbury Abbey was also the place where his brother George was buried following his execution for treason in 1478.  George apparently still had outstanding debts to the Abbot, and Richard ordered that those debts be satisfied with revenues from nearby royal manors.[21]  It is likely Richard paid his respects at the battlefield and George’s tomb, symbolically highlighting not only the Yorkist military triumph over the Lancastrians but also the implications of George’s death.[22]  Titulus Regius, the 1484 parliamentary act which settled the crown on Richard, would specifically mention the attainder of George and his heirs as a reason why Richard was the next legitimate heir to the throne.  Titulus Regius also sets out to show that Edward IV’s children were illegitimate due to the bigamy of their parents.  Therefore it is not surprising that Ludlow, where Edward IV’s Prince of Wales had had his household for almost a decade, was not part of Richard’s royal progress despite the fact that it could have easily been put on the itinerary.  It is probably safe to assume that Richard would not have had a very warm reception there.

The entourage traveled to Worcester, where the king resided at the Cathedral Priory, and then moved on to Warwick Castle, where Queen Anne joined the royal party, and there was a pause of several days.[23]  Warwick Castle had been the place where the Kingmaker imprisoned Edward IV in 1469, and became George of Clarence’s principal residence after his marriage to Isabel Neville.  Coming into possession of Warwick Castle after George’s attainder, Richard instigated the construction of two gun towers, the Bear and Clarence towers, and he probably spent time inspecting the ongoing work during his six days there.

The royal party then moved to Coventry before progressing to Leicester and then Nottingham.  The choice of Coventry may have been logistical, but the symbolic value of a Yorkist monarch making his royal progress there would have been noted.  In 1471, Coventry had lost its civic liberties as punishment for backing the Kingmaker during the readeption of Henry VI. In 1469, Edward IV suffered the humiliation of being captured near Coventry, and Earl Rivers and Sir John Woodville were executed by the Kingmaker at Gosford Green on the edge of the city the same month.  Coventry had strong Lancastrian connections, but in 1474 it worked hard to redeem itself by welcoming the king, his queen, and his heir, with festivities and streets filled with performers, music and singing, pipes running with wine, incense burning, and cakes and flowers being cast to observers.[24]  That Richard chose to honor Coventry with his royal progress shows how successfully it had been converted to a Yorkist city.

At Leicester, the king began to occupy himself with planning his royal entry into the city of York.  He issued a summons for 19 knights and 52 gentlemen to meet him at Pontefract on August 27 in anticipation of the procession.  Those summoned included Northumberland, Surrey, Lincoln, Lovell, Fitzhugh, Stanley, Strange, Lisle and Greystoke, and the bishops of Durham, Worcester, St Asaph, Carlisle and St David’s, with their attendants, to be with him when he reached York.[25]  Edward of Middleham was named Lord Lieutenant of Ireland, with the powerful earl of Kildare being appointed as acting deputy.[26]  It was also from Leicester that Richard issued a letter to Louis XI, which was cheekily delivered by one of the grooms of his stable, in which he promised to honor past treaties and requested the French to refrain from molesting English merchant ships.[27]

The king then progressed to Nottingham Castle, where he would spend much of his reign and complete the remodeling work started by Edward IV.[28]  While there, Richard created his son Prince of Wales and Earl of Chester:  “And we invest him as the custom is by the girding on of the sword, the handing over and setting of the garland on his head, and of the gold ring on his finger, and of the gold staff in his hand.”[29]  The decree uses language that suggests some trepidation (“We have turned the gaze of our inward eye to the greatness of this noble state and of its members, having great care that, in the great anxieties which press upon us, those who are necessary to support us should not now seem to be lacking”), but many historians believe the verbiage is typical for such proclamations.  It also poetically employs celestial imagery, and as historian Anne Sutton observed, presages the concept of the monarch being like the sun with his court surrounding him like planets:  “The clarity and charity of the sun’s light is so great that when it is poured on the other heavenly bodies the sun shines with no less light and splendor, nor does it suffer any diminution of its strength, rather it is pleased to be seen, to shine as a king in the midst of his nobles and to adorn the greater and lesser stars in the whole court of heaven with his outstanding light.  Which without doubt we should take as an example seeing the vocation to which we are called, that is, by the favour of the almighty to govern and be set at the head of all the mortals of this realm.”[30]

At Nottingham, Richard’s secretary John Kendall wrote to York’s mayor, recorder, aldermen, and sheriffs, complimenting the city, saying how fond the king was of it, and “hinting broadly that a splendid reception for the king and queen would be in order upon their arrival in York”.[31]  The civic leadership in York was ahead of Kendall, and had already been discussing the expected visit as early as the end of July.[32]

August 27-October 17:  Pontefract (2 nights), York (23), Pontefract (19), Gainsborough (1), Lincoln (6)

 Richard III’s royal progress spent the largest portion of its time in the north – a total of 44 days – indicating a dramatic shift from where Yorkists had traditionally drawn support.  Although Richard’s father and brother had borne the title Duke of York, the north was a bastion of Lancastrian support for much of the Wars of the Roses.  In 1460, the duke’s decapitated head was displayed at York’s Micklegate Bar in a mocking tribute; in 1461-64, there were Lancastrian uprisings in Carlisle and Hexham; in 1471, the city of York reluctantly opened its gates to Edward IV only after he promised to seek his ducal inheritance and not the crown.[33]  That Richard had chosen York as the city for his most prominent display of royal authority, one that the Crowland Chronicler described as a second coronation, shows how much had changed in the intervening years.[34]  The city of York was no longer repulsing a pretender to the throne, but was instead welcoming a king and paying tribute to a prince who had often interceded on its behalf.

The royal entry was carefully timed and organized to maximize its symbolic meaning. Those 71 lords and knights who had earlier been summoned now joined the king and queen at Pontefract, along with Prince Edward, who had journeyed from Middleham.  On August 29, the sheriff of York and other officials met the royal entourage with their rods of office at Tadcaster and led it towards the city.  At Breckles Milles, still outside the city, the procession was joined by the mayor and aldermen, dressed in scarlet, and by other civic officers and leading citizens in their ceremonial robes.  Although a litter had been provided for his journey from Middleham, the king’s 10-year old son rode on horseback during the entry into York, indicating he was not as frail as some have suggested.[35]  The residents of York were on hand to greet the procession as it passed by St James’ Chapel and into the city through Micklegate Bar.  Just within the walls, on streets hung with tapestries and arras, was staged the first of three pageants for the entertainment of the royal party, with the next being staged at the bridge crossing the River Ouse, and the third in Stayngate.

The date of the royal entry, August 29, was the Feast of the Decollation [Beheading] of St John the Baptist.  In 15th century England, the image of the head of St John the Baptist on a platter was symbolic of the Eucharist sacrament and the doctrine of transubstantiation.  This feast day had special importance to York’s Guild of Corpus Christi, of which the king and queen had been members since 1477, because it was dedicated to honoring the Real Presence of Christ in the Eucharist.[36]  The guild was responsible for presenting the famous mystery plays (the Creed and Corpus Christi plays) in which the streets of York became venues for processions and staging of various scenes from the Bible and Christ’s life and passion.  Richard III’s royal progress in York drew upon these traditions.  Not only did he specifically request a performance of the Creed Play, but his royal entry through York also followed the same processional route used during the annual June Feast of Corpus Christi.  “As their actors trod the Via Crucis through their own streets, so now their king came among them as the incarnate and temporal representative of divine order.  Richard would not have missed the significance of making his triumphal entry on what was, in York, tantamount to a second Feast of Corpus Christi”.[37]  For Yorkist adherents who remembered the decapitation of Richard’s father and the display of his head on Micklegate Bar, the symbolic import of commemorating the Baptist’s decapitation would have been much more politically charged and may have represented a kind of atonement for the injustices of bygone days.

As the cavalcade moved through the city, the mayor, John Newton, delivered a speech of welcome and offered a gift to the king of one hundred marks of plate.  Newton himself had contributed Ł20 to the royal presents, and spent additional sums on entertainment during the royal visit.  The royal procession carried on through the city to York Minster for an ecclesiastical reception.  The Cathedral Church of St Peter of York would have been an impressive backdrop for the royal reception.  The great tower had been rebuilt early in the century, and the southwestern tower was almost new.  It was at the west door of York Minster that the king was formally received by a delegation of ecclesiastics headed by the dean.  The dean was Dr. Robert Booth, a Cambridge-educated legist and a member of a highly accomplished Lancashire family.  Booth became dean in 1477 through the patronage of his uncle, Archbishop Lawrence (d. 1480), who had been Keeper of the Privy Seal and Chancellor of England in the reign of Edward IV.[38]  The current Archbishop of York, Thomas Rotherham, was out of favor and thus not in attendance; he would, however, be restored not long after this event, and would serve as one of the triers of petitions during Richard’s III only parliament.

An eyewitness recorded the events as the dean and his fellow clergymen, all strikingly vested in copes of violet silk, welcomed the visitors.  The king was sprinkled with holy water and censed as he made his way into the cathedral church.  Richard was not a passive actor in the ceremonies taking place.  He made his way to a prie-dieu beside the baptismal font, and there he said a Paternoster; some historians suggest this was the first time an English king led a congregation in public prayer.  “The succentor of the vicars choral began the liturgical response De Trinitate with the words Honor, virtus, and it was finished by the choir standing before the steps of the high altar.  Then there was a pause long enough for a Paternoster and an Ave Maria.  Then Dean Booth began the prayer Et ne nos inducas for the benefit of the king.  Following the prayer, the dean and canons processed to their stalls in the cathedral choir, together with the other clergy, as the organ intoned the Amen.  We are told that the officiating prelate (prelate executor officii), most likely Dean Booth, began the psalm Te Deum laudamus, which was concluded by the choir and organ.  Immediately thereafter the succentor chanted the antiphon of the Trinity beginning with the words Gracias tibi, Deus, with a versicle and prayer to the Trinity.  The service now being concluded, the royal party left York Minster for the short walk northwest to the palace of the Archbishop of York where the royal family stayed during their visit.”[39]

On August 31st, the king decided to have his son invested as Prince of Wales while in York.  On this date, Richard sent an urgent message to Peter Courteys, keeper of the Great Wardrobe in London, outlining goods he wished transported to York.  These included two short gowns of crimson cloth of gold, a cloak with a cape of violet lined in black velvet, a stomacher of purple satin and another of tawny satin, enough white cloth of gold for the trappings of a horse, other gowns, spurs, and five coats of arms for heralds, together with forty trumpet banners and 13,000 badges of Richard’s white boar emblem.  Processional banners were requested of the Virgin Mary, Trinity, St George, St Edward, St Cuthbert, and one of Richard’s arms, along with three coats of arms beaten with fine gold for Richard himself.[40]

The week of September 1st to the 7th was filled with banquets and hospitality leading up to Prince Edward’s investiture.  On Sunday, September 7, the Creed Play (an abbreviated version of the cycle of mystery plays) was performed for an audience that included the king, the mayor, twelve aldermen, and York’s Council of Twenty-Four.  The next day, September 8th, the Nativity of the Blessed Virgin Mary, was the occasion of Prince Edward’s investiture as the eighth Prince of Wales to be recognized by an English king.  The same eyewitness that recorded the king’s arrival in York provides the account of events.  “A procession led by the king and queen, both wearing crowns, entered York Minster for mass.  The procession included Prince Edward, temporal and spiritual lords, and other dignitaries.  The officiating prelate was Bishop William Dudley of Durham, and the focal point of the high altar of the cathedral was enhanced by silver figures of the twelve apostles, as well as other ornaments of gilt and numerous relics, all provided by the king.  The assemblage remained at mass until the sixth hour of evening.  Then, following mass, all returned to the archbishop’s palace, and there in the hall before dinner the king invested his son as Prince of Wales by arming or girding Edward with a sword, presenting him with a gold rod and ring, and placing a coronet on his head.  A four-hour dinner, during which the royal family sat crowned, continued into the evening.”[41]  On the same day, Richard made knights of his illegitimate son John of Gloucester and the ambassador from Queen Isabella of Castile (Gaufrid de Sasiola) who had joined the royal progress at Warwick in the company of Queen Anne and who had come to England expecting Edward V on the throne.[42] The ceremonial sword used in Prince Edward’s investiture is still on display at the British Museum.[43]

On September 17th, the king summoned the mayor, aldermen, and other citizens to meet with him in the Chapter House of York Minster.  “It soon became apparent that Richard had been dazzled by his reception in York.  The king, without any petition on their part (or so the record states), thanked the assembly for their good service to him before he came to the throne and at his recent coronation.  Richard cited the decay and poverty of the city, which was indeed experiencing an economic slump, although it was still likely second in size only to London in the kingdom.  He then went on to promise that the city would have a substantial reduction in the annual fee farm due to the crown, from a sum on the order of Ł160 to about Ł100, and Mayor Newton was appointed Richard’s chief serjeant-at-arms with an annual fee of Ł18 5s.  The financial arrangements were also meant to encourage trade in York by allowing any lawful non-resident to sell in the market of York without paying tolls.”[44]

The royal party departed York on September 20th or 21st, having stayed there for more than three weeks.  From there, the king went to Pontefract for 17-18 days, and then traveled to Gainsborough, where (according to local history) he spent the evening of October 10 at Gainsborough Old Hall, a grand manor house built by Sir Thomas Burgh in 1460.[45]  Richard was at Lincoln on October 11, and made a gift to Barnard Castle of Ł40 toward the building of the Church of Our Blessed Lady, and gave some money to the wardens for the feast of St. Martin.[46]  It was here that he first heard that a great rebellion had broken out in the southern counties, headed by his erstwhile ally, Henry Duke of Buckingham.  The uprising was originally meant to restore Edward V to the throne but when rumors of his death spread, the Lancastrian claimant Henry Tudor was invited to join the rebellion.[47]  On hearing the news of the rebellion, the king moved to Grantham, where he wrote to Chancellor Russell asking for the Great Seal, and expressed in a postscript, added in his own hand, his outrage at the desertion of Buckingham.[48]

January 10-17:  London to Canterbury and Sandwich

The southern rebellions cut short the king’s progress, but by January he was able to resume a “convivial and splendid” role.[49]  He invited the citizens of London to his Epiphany feast on January 6 at Westminster Palace’s White Hall, during which he wore his crown.  He presented the mayor with a gold cup set with pearls and gems, offered to make the borough of Southwark part of the city’s jurisdiction, and to give Ł10,000 for the building of walls and ditches around it.  “Richard was rewarding the citizens for their financial assistance, and he was also, like Edward IV before him, adeptly making available the luxuries of his court – its wines, cooking, fine napery, music and good manners – beyond its usual aristocratic confines, and welcoming to it his merchants and townsmen.”[50]

The king then traveled with an entourage to Canterbury, where there was a formal reception along the lines of how Edward IV had been received in 1461.  This can be deduced from the Canterbury City Archives, which date Richard’s entry from January 10-12, 1484: “For the Lord King on his first coming to Canterbury — And paid for a purse bought at London – 26s 8d, which purse with Ł33 6s 8d in gold, collected from the mayor and his brethren and thirty-six of the better sort of persons of the city of Canterbury, was given and offered to the Lord King and which the Lord King with gracious actions ordered to be redelivered to the said persons from whom the said sum had been collected.  This being done the said purse was given to Doctor Langton, at that time Bishop of St. Davids, on account of his many acts of kindness and favours to the citizens of Canterbury.  Upon all these considerations the aforesaid mayor and his brethren presented the following gifts to the Lord King.  Firstly paid to John Burton for four great fattened beefs – Ł7.  And paid to the same John Burton for twenty fattened rams – 66s 8d.  And paid for twenty capons of various prices given to the Lord King – 21s 10d.  And paid for six capons given to the Bishop of St Davids and other bishops then with the King – 6s.  And paid to John Stoubregge for two gold beads given to the Bishop of St Davids and the Bishop of ‘Seynt Tasse’ – 5s 4d.  TOTAL Ł13 6s 6d.”[51]

Richard then departed from Canterbury to Sandwich where he stayed several days overseeing the preparation of ships to send against the Bretons and French.[52]  Edward IV, similarly, had taken in Sandwich while on his royal progress.  Richard appears to have fitted in a visit to Dover where the citizens bought an ox and capons to feed him and his entourage at the castle.  A note in the Canterbury Chamberlain’s Account records that the King’s secretary was given three gallons of red wine and two gallons of white wine by order of the mayor on the occasion when “the Lord King returned from Sandwich to Canterbury”.[53]

The Canterbury records note that, rather than lodging at the Archbishop of Canterbury’s palace or St. Augustine’s Abbey, the king was accommodated at a place called “Le Hale” outside the city.  The Le Hale costs included payments for carpentry work, repairing the road, for the carriage of furniture, cushions and for hangings of cloth of gold and silver loaned by various citizens, and for the provision of wine and food.  This would explain the “first coming” or “first arrival” to be the occasion of the ceremony of the purse with presumably one or more other “arrivals” into the city after the king’s return from Sandwich.[54]

One author[55] has offered the theory that the mention of “Le Hale” refers to a hill in the Royal Forest of Blean near the town of Harbledown, the latter of which was part of the established route where pilgrims would remove their shoes and walk penitent to the Shrine of Thomas à Becket.  The road was likely quite travel-worn and in need of repairs although this could probably be said for other local roads.  The same author deduces that King Richard’s mental state was burdened by guilt from past nefarious deeds and his choice of Le Hale as base camp indicates he walked as penitent pilgrim from Harbledown to Canterbury.

Whether King Richard traveled on The Pilgrim’s Way cannot be determined with any accuracy since the precise location of “Le Hale” has never been ascertained.  But even if he did act as a pilgrim, this is no more evidence of a particularly guilty mind than when Henry V came on pilgrimage to Canterbury soon after Agincourt and then again the following year in 1416 with the Emperor Sigismund.[56]  It would have been an act of conventional piety, albeit with the added spectacle of the king’s presence.  Whatever we are to make of this leg of his progress, King Richard returned to London a few days before the opening of parliament on the 23rd of January, and proceeded to take the reigns of government without any outward signs of remorse or a guilty mind.

Final Observations

What can we conclude about Richard III’s royal progress?  Historians uniformly observe it shows he was well aware of the importance of public display as part of the art of kingship.  He was adept with the techniques used by a king to cultivate the good will of his subjects.  He achieved this by easing their financial burdens, granting charters, and – where possible – using his own money to defray expenses.[57]  One of the striking differences between Richard’s royal progress and Edward IV’s is how often Richard declined gifts of money compared to how often Edward accepted them.  It also shows he was effective at dealing with city officers and the ecclesiastical community.  So successful was the precedent of Richard III’s use of royal display in his coronation and progress that Henry VII copied much of it in 1485.[58]

Questions still remain.  For instance, where did Richard intend his royal progress to go before it was interrupted by “Buckingham’s Rebellion”?  Was he intending to progress from Lincoln to Fotheringhay, his birthplace and the final resting place of his father, brother Edmund, and uncle?  It would have been a fitting bit of symbolism.  Would he have then progressed to Cambridge University to visit the construction work on King’s College chapel or to tour Queen’s College, both of which would become beneficiaries of his royal generosity?  It is enticing to think of the possibilities.

Also, why did Richard seem to make a sudden decision to invest his son Edward as Prince of Wales in York when the precedent was to do so at Westminster?  Was this necessitated by the mysterious “enterprise” noted in his July 29th letter to Chancellor Russell, which may have required him to firmly establish Edward of Middleham as his heir and thus dilute any popular uprisings in the name of Edward IV’s sons?  Or was it merely a reflection that York was a more reliable ally than London during this politically delicate time?

Finally, how did the people of England respond to Richard III’s royal progress?  The Crowland Chronicler was particularly sour, noting that while King Richard was popularly received, his royal progress nevertheless wasted the large treasure acquired by Edward IV through diligence and thrift.  Although that has been shown to be untrue by Rosemary Horrox’s review of the financial memoranda,[59] we do have an eye-witness account rendered by Thomas Langton, Bishop of St David’s.  Langton was with the king at York, and later in Canterbury, and his words ring more faithful to the historical record than those of an unknown cleric who harbored a deep prejudice against northerners.

In Langton’s words:

He contents the people where he goes best that ever did prince; for many a poor man that hath suffered wrong many days have been relieved and helped by him and his commands in his progress.  And in many great cities and towns were great sums of money given him which he hath refused.  On my troth I liked never the conditions of any prince so well as his; God hath sent him to us for the weal of us all.[60]

– Written and Copyrighted 2020 by Susan Troxell, originally published in the Ricardian Register, the journal of the American Branch of the Richard III Society

Author’s Note:  I would like to credit Dr. Compton Reeves and Pamela Tudor-Craig, in particular, for their very detailed descriptions and analyses of Richard III’s entry into York.  Their articles, which provided a wealth of information for this essay, are listed in the Sources below.  Rhoda Edwards’ Itinerary provides a definitive resource for Richard III’s whereabouts, citing to Signet Office and other government records.

SOURCES:

 Carolyn Donohue, “Public Display and the Construction of Monarchy in Yorkist England 1461-1485”, Ph.D. Dissertation, University of York, 2013.

Rhoda Edwards, The Itinerary of King Richard III 1483-1485 (Richard III Society, 1983)

P. W. Hammond, “Richard III at York”, The Ricardian, No. 41 (June 1473), pp. 3-4

P. W. Hammond & Anne F. Sutton, Richard III: The Road to Bosworth Field (London 1985)

Rosemary Horrox, “Richard III and London”, The Ricardian, Vol.  VI, No. 85 (June 1984) pp. 322-329

Horrox & Hammond (eds.), British Library Harleian MS 433 (Richard III Society, 1980)

David M. Luitweiler, “A King, a Duke and a Bishop”, The Ricardian Register (Winter 2004) pp. 4-10

Mulryne, Aliverti, Tastaverde (eds.), “Ceremony and the Iconography of Power”, Ceremonial Entries in Early Modern Europe: the Iconography of Power (Ashgate, 2015)

Nicholas Pronay & John Cox (eds.): The Crowland Chronicle Continuations 1459-1486 (Alan Sutton, 1986)

Compton Reeves, “King Richard III at York in Late Summer 1483”, The Ricardian, Vol. XII, No. 159 (December 2002), pp. 542-553

Cora L. Scofield, The Life and Reign of Edward the Fourth King of England and of France and Lord of Ireland, Volume 1 (London, 1923)

Anne Sutton, “The Court and its Culture in the Reign of Richard III”, in Richard III: A Medieval Kingship (John Gillingham ed.), New York, 1993, pp. 75-92

Anne Sutton, “Richard III’s visits to Canterbury”, The Ricardian, Vol. 5, No. 73 (June 1981), pp. 363-366

Anne Sutton & Peter Hammond (eds.), The Coronation of Richard III: the Extant Documents (Alan Sutton 1983)

H. Thomas & I. D. Thornley, The Great Chronicle of London (Alan Sutton 1983)

Pamela Tudor-Craig, “Richard III’s Triumphant Entry into York, August 29th, 1483, Richard III and the North (Horrox, ed.), University of Hull (1986), pp. 108-116

Pamela Tudor-Craig, Richard III NPG Exhibition, 2d ed. (1977)

Warkworth’s Chronicle (Camden Society, reprinted 1968)

 

[1] Scofield, p. 201.

[2] Sutton, Coronation, p. 76, quoting Fortescue.

[3] From The Arrivall:  “Hereupon, the ix. day of Aprell, th’Archbyshope callyd unto hym togethars, at Seint Powles, within the Citie of London, suche lords, gentlemen, and othar, as were of that partye, [with] as many men in harneys of theyr servaunts and othar as they cowthe make, which, in all, passed nat in nombar vj or vij{m} men, and thereupon, cawsed Henry, called Kynge, to take an horse and ryde from Powles thrwghe Chepe, and so made a circute abowte to Walbroke, as the generall processyon of London hathe bene accustomyd, and so returned agayne to Powles, to the Bysshops Palays, where the sayd Henry at that tyme was lodged, supposynge, that, whan he had shewed hym in this arraye, they shuld have provokyd the citizens, and th’enhabitants of the citie, to have stonde and comen to them, and fortified that partye; but, threwthe it is, that the rewlars of the citie were at the counsell, and hadd set men at all the gates and wardes, and they, seynge by this manner of doinge, that the power of the sayde Henry, and his adherents, was so litle and feble as there and then was shweyd, they cowld thereby take no corage to draw to them, ne to fortefye theyr partye, and, for that they fearyd, but rathar the contrary, for so moche as they sawe well that, yf they wolde so have done, ther myght was so lytle that it was nat for them to have ones attemptyd to have resystid the Kynge [Edward] in his comynge, whiche approched nere unto the citie, and was that nyght at Seint Albons.”

[4] Thomas, Great Chronicle, p. 215.

[5] Mulryne, p. 1.

[6] See, for instance, Anne Sutton & Livia Visser-Fuchs, “The Entry of Quyeen Elizabeth Woodville over London Bridge, 24 May 1465”, The Ricardian, 2009, pp 1-31.

[7] The Crowland Continuator was not as accurate when describing it as a squandering of Edward IV’s huge treasure.  As Rosemary Horrox showed in her study of the financial memoranda under Edward V, Edward IV’s treasury had already been depleted when Sir Edward Woodville was given charge of the fleet in the days following Edward IV’s death.  Horrox, Financial Memoranda of the Reign of Edward V, in Camden Miscellany, Vol. XXIX (London 1987), p. 213.

[8] Linda Briggs, “Concernant le service de leurs dictes Majestez et auctorité de leur justice: Perceptions of Royal Power in the Entries of Charles IX and Catherine de Médicis (1564-1566), in Mulrayne (ed.) Ceremonial Entries pp. 37-52

[9] Scofield, vol. 1, p 197.

[10] Harleian MS 433, vol. 2, pp. 4-5.

[11] Luitweiler, pp. 4-6, citing Magdalen College Register “A” f.27.b.

[12] Reeves, p. 545.

[13] Luitweiler, p. 9.

[14] Tudor-Craig, NPG, p. 55.

[15] Horrox, “Richard III and London”, p. 326, note 11.

[16] “Richard III and the City of Gloucester”, https://gloucestershirearchives.wordpress.com/2015/03/16/richard-iii-and-the-city-of-gloucester/

[17] http://www.historyofparliamentonline.org/volume/1386-1421/constituencies/gloucester

[18] Scofield, p. 199.

[19] Donohue dissertation, p. 30.

[20] Donohue dissertation, p. 30.

[21] Edward IV had earlier ordered that the same royal manors convey 100 marks to the Abbot of Tewkesbury to satisfy George’s debt.  However, it is interesting to see how Richard refers to his two brothers in this grant, referring to “oure late brothere the Duc of Clarence whome god pardonne” versus “the famous prince of moost noble memorie king Edward the iiijth”.  Horrox and Hammond, Harleian MS 433, vol. 2, p. 7.

[22] PRO C81/886/18Reeves, p. 545.

[23] Reeves, p. 545.

[24] Donohue, pp. 30-31.

[25] Tudor-Craig, Triumphant Entry, p. 109.

[26] Reeves p. 545, citing Horrox and Hammond, Harleian MS 433, vol. 1 p. 75; Hammond and Sutton, Richard III: The Road to Bosworth, pp. 130-34.

[27] Hammond/Sutton, pp. 128-129.

[28] Reeves p. 545.

[29] Pamela Tudor-Craig believed that the proclamation of Edward of Middleham as Prince of Wales may partially explain why Buckingham parted ways with Richard III and rebelled.  Under Edward V, Buckingham was appointed Chief Justice and Chamberlain of north and south Wales, and upon Edward V’s coronation, would remain so until the king had a male heir.  But with Edward V’s deposition, Richard III effectively and “prematurely” cut short Buckingham’s status (and revenue streams) in Wales since the new Prince of Wales would come into his majority within a half-dozen years or so.   “By declaring his son Edward Prince of Wales, Richard III in effect ended his minority.  The letters sent by the newly created prince from York to the knights and esquires of north and south Wales to continue to pay their dues to our ‘right trusty & righte entirely beloved Cousyne the duc of Buckingham’ did not convey the same message as they had contained on 15th May when Buckingham received those Welsh offices during the Protectorate.”  From that point onwards Buckingham was only the agent, who would be required to transfer the funds to the Prince of Wales.  The letters from the new Prince of Wales went out on September 16.  By October 11, Buckingham was known to be in rebellion.  Tudor-Craig, Triumphant Entry, pp. 109-110.

[30] Hammond/Sutton, p. 138 citing Harleian MS 433 vol. 2, pp. 82-3.  Tudor-Craig, Triumphant Entry, p. 109-110.

[31] Reeves, pp. 545-6.

[32] Hammond/Sutton 139-40, citing Harleian 433 MS, vol. 2, p, 42.

[33] Warkworth’s Chronicle, p. 14.

[34] “Wishing therefore to display in the North, where he had spent most of his time previously, the superior royal rank, which he acquired for himself in this manner, as diligently as possible, he left the royal city of London and passing through Windsor, Oxford and Coventry came at length to York. There, on a day appointed for the repetition of his crowning in the metropolitan church, he presented his only son, Edward, whom, that same day, he had created prince of Wales with the insignia of the gold wand and the wreath; and he arranged splendid and highly expensive feasts and entertainments to attract to himself the affection of many people.  There was no shortage of treasure then to implement the aims of his so elevated mind since, as soon as he first thought about his intrusion into the kingship, he seized everything that his deceased brother, the most glorious King Edward, had collected with the utmost ingenuity and the utmost industry, many years before, as we have related above, and which he had committed to the use of his executors for the carrying out of his last will.” Pronay & Cox, Crowland Chronicle, pp. 161-163.

[35] Tudor-Craig, Triumphant Entry, p. 109.

[36] Alexandra Johnson, “The Plays of the Religious Guilds of York:  The Creed Play and the Pater Noster Play,” Speculum, 1975, pp. 55-90.

[37] Tudor-Craig, Triumphant Entry, pp. 111-113, quotation from p 113.

[38] Reeves, p. 547.

[39] Reeves, p. 548.

[40] Reeves, pp. 548-9.

[41] Reeves, pp. 549-550.

[42] Reeves p. 550.

[43]http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=43481&partId=1

[44] Reeves p. 550.

[45] https://www.gainsborougholdhall.com/about-the-old-hall/royal-visitors

[46] Hammond/Sutton, Road to Bosworth, p. 137.

[47] Hammond/Sutton p. 141.

[48] Hammond/Sutton p. 144.

[49] Sutton, Court & its Culture, pp. 77-79.

[50] Sutton, Court & its Culture, pp. 77-79.

[51] Hammond/Sutton, 152-153, citing Canterbury City Archives, Chamberlains’ Accounts, Michaelmas 1483-Michaelmas 1484, f. 13b, quoted in The Ricardian, 1980, vol. 5, p. 283.

[52] Edwards, Itinerary of Richard III, p. xiii.

[53] Sutton/Hairsine, “Richard III’s visits to Canterbury”, p. 365.

[54] Sutton, “Richard III’s visits to Canterbury”, pp. 365-66.

[55] Amy License, “New evidence: Was Richard III guilty of murdering the Princes in the Tower?, New Statesman, 5 March 2013.

[56] “Canterbury and the Battle of Agincourt,” January, 2016 lecture given by Dr David Grummit, Canterbury Christ Church University, reported in https://blogs.canterbury.ac.uk/kenthistory/canterbury-and-the-battle-of-agincourt/.  Adam of Usk also reported that Henry V walked barefooted from Shrewsbury to St. Winefride’s Well, which is believed to have occurred in 1416.

[57] Reeves, p. 551.

[58] Sutton, Court & its Culture, pp. 77-79.

[59] See note 7, above.

[60] Adapted from Hammond/Sutton, p. 135.  Richard developed the work of the royal council receiving the petitions of the poor who could not afford the usual processes of the law.  He appointed a special clerk to deal with these matters.  From this developed the Court of Requests.  (“December 27, 1483.  Grant for the life to the king’s servitor John Haryngton, for his good service before the lords and others of the council and elsewhere and especially in the custody, registration and expedition of bills, requests and supplications of poor persons, of an annuity of Ł20 at the receipt of the Exchequer and the office of clerk of the council of the said requests and supplications, with all commodities.”  Hammond/Sutton 151, citing Calendar of Patent Rolls 1476-1485, London 1954, no. 1152, p. 413.)

 

Archbishop Octavian and the Simnel Plot

A couple of months ago, this post attracted a reply from an individual who has commented before. He was responding to the suggestion that the boy crowned in at Christ Church Cathedral in Dublin (see illustration opposite) may actually have been Edward V rather than an earl of Warwick (false or otherwise). Whilst he is correct in stating that there is evidence that the boy was crowned as Edward VI, unfortunately the evidence he has chosen, whilst it sounds impressive, is actually not what it seems.

The article to which this post linked is Dr. Mario Sughi’s biography of Octavian de Palatio or Palagio, the Archbishop of Armagh and Primate of all Ireland at the time of the Simnel Rebellion . Dr. Sughi is the acknowledged expert on Octavian, being the editor of the published version of his archiepiscopal register and other scholarly articles regarding his clerical career. Dr. Sughi’s edition of Octavian’s register is a remarkable work, comprising a transcript of the complete contents of the register and an introduction that shows the depth of Dr. Sughi’s understanding of his subject.[1] The Lambert Simnel Rebellion, however, is a different area of study, and a veritable minefield because of the rewriting of its history which very quickly occurred.

Not this Octavian …

Just for convenience, I will quote directly the passage of Dr. Sughi’s online article to which “David” drew our attention:-

This principal adviser of the king, with whom Octavian corresponded throughout this period, informed Octavian that the new Tudor king, Henry VII, had entirely discredited Lambert Simnel’s credentials by parading the real Earl of Warwick, then a prisoner at the Tower of London, through the streets of London. We know of the existence of that letter, the “Addition in Antiquities”, because we are informed by Octavian himself that at this point of the crisis he took the initiative of briefing Pope Innocent VIII about developments:

The clergy and secular are all distracted at this present with a king and no king, some saying he is the son of Edward, Earl of Warwick, others saying he is an impostor; but our brother of Canterbury hath satisfied me of the truth, how his majesty the king of England hath showed the right son of the said earl to the publick view of all the City of London, which convinceth me that it is an error willingly to breed dissension.

The careful reader will notice that this quotation is neither in Latin – the language in which Octavian would have corresponded with the Pope – nor in modern English, which one would expect if this were Dr. Sughi’s own translation. There is a reason for this: the only known source for this alleged letter is a work published in the early 18th century.  The background, in brief, is as follows:

There was an Irish antiquarian by the name of Sir James Ware (1594-1666), a collector of manuscripts who authored several scholarly works during his lifetime, all in Latin.[2] Late in his life he published a history of Ireland in two volumes; the first edition, which went out under the none-too-snappy title De Hibernia et Antiquitatibus ejus Disquisitiona, was published in London in 1654 (vol. 1) and 1658 (vol. 2); a revised edition was  published in Dublin in 1664 as Annales Hibernicarum Rerum. Both editions include a section on Henry VII’s dealings with Ireland, with considerable focus on the Simnel Rebellion. Ware’s account of the rebellion is based largely on Polydore Vergil,[3] although he does include brief references to some original documents, such as a papal Bull, and a letter written by Octavian to an English prelate after Sir Richard Eggecombe’s visit in 1488, in which the Archbishop insists that he alone had opposed the boy’s coronation and asks his correspondent (generally assumed to be Morton) to use his influence with King Henry to have him appointed Chancellor of Ireland. Dr. Sughi includes in his online article his translation of a small part of this letter, which still exists in Octavian’s Register.[4] This letter, however, nowhere refers to the name or title claimed by the defeated pretender and provides only Octavian’s retrospective assertions of loyalty.

Four decades after Ware’s death, the Dublin printing house that had published the Annales put out an English translation of it entitled The Antiquities and History of Ireland by the Right Honourable Sir James Ware, Knt; the translators have been identified as Sir William Domvile and Sir James’ son Robert Ware.[5] Unfortunately, it is not sufficiently often realised that they appended some extra material to the end of each chapter (each of these sections is marked with the word ‘Addition’ in the right-hand margin). The alleged letter written by Octavian to the Pope during the Rebellion forms the Addition to the chapter covering the events of 1486, and it serves the purpose of proving that Octavian was already hostile to the pretender’s cause in the weeks leading up to his coronation.[6]

The lead-in insinuates (but does not absolutely state) that this is one of the letters from Octavian to Pope Innocent that are to be found in his register. Actually, it is not there. There are eleven letters to Pope Innocent in Octavian’s register, and none of them refers to political events. Were this letter in the Archbishop’s register, Dr. Sughi would have been able to identify it and provide his own translation. It should be acknowledged at this point that some material had gone missing from Octavian’s register before it was bound, but since the binding took place during the 1600s this item, if it ever had been in the register, cannot have been there in 1705. Nor does it appear in any catalogue of Sir James Ware’s manuscripts.

It would seem that no historians, even those writing within a generation of the 1705 translation, have ever been able to lay their hands on the original of this letter. In 1739 Ware’s grandson-in-law and the then owner of his manuscripts, Walter Harris, included a reference to the letter in his entry on Archbishop Octavian in his Whole Works of Sir James Ware, though he was unable to provide any more solid reference for it than the Addition in the 1705 Antiquities and History.[7] James Gairdner accessed Sir James Ware’s manuscript collection for his Letters and Papers; from this, he obtained Ware’s copy of Octavian’s 1488 epistle (which he reproduced in full), but not, apparently, the epistle to the Pope, concerning which he was only able to report: “A letter of this prelate is mentioned in Harris’ Ware, vol 1, p. 88. . . .”[8]

But there is more reason to doubt the authenticity of this letter conjured into print by Robert Ware and his colleague than merely the fact that it is missing: the situation it reports, whilst it fits the Tudor tradition (for which Polydore Vergil is largely responsible), does not actually fit the facts as they can be established from genuinely contemporary documents; this is something about which I mean to write at more length in the future. It is also rather surprising that, in this mysterious letter, Octavian twice mistakenly refers to the boy as claiming to be the son of Edward Earl of Warwick, thereby carelessly amalgamating the two alternative ways in which he was actually described at the time, i.e. as the son of the Duke of Clarence and as Edward Earl of Warwick. If Octavian had really written such a letter to the Pope in the weeks leading up to the boy’s coronation, it is difficult to understand why in the immediate aftermath of the rebellion King Henry believed him to have been heavily complicit in the conspiracy; why Pope Innocent initiated an investigation of his role in the affair as late as January 1488; and why Octavian was forced to swear an oath of allegiance before Sir Richard Edgecombe in the summer of 1488 along with all the other rebel Irish VIPs.[9]

The answer to the riddle is probably to be found in the extra-curricular activities of Robert Ware. He was as unlike his father as a son could possibly have been, both in his religious and political leanings and in his attitude to historical research. Where Sir James Ware was an assiduous collector and rescuer of genuine ancient documents, his son Robert employed forgery to bolster his favoured – Establishment – view of history.[10]Ware’s method of forgery was to insert material in blank pages of the manuscripts of his father, whose high reputation (as well as that of James Ussher) he exploited to give credibility to these inventions when he published them.”[11] The letter from Octavian to the Pope, however, he did not even bother to write it up in his father’s collection.

In a nutshell, the letter is spurious. As an expert said in 2007 of an old letter that had surfaced in Scotland and appeared to corroborate More’s story of Sir James Tyrell’s murder of the Princes on the orders of Richard III:  “It has fake written through it like Brighton through a stick of rock….”[12] There is no evidence that Archbishop Octavian wrote to the Pope, or anyone else, during the period of the rebellion, denouncing the pretender as a fake.

© Marie Barnfield, 2020

[1] M. Sughi, Registrum Octaviani Alias Liber Niger: the Register of Octavian de Palatio, Archbishop of Armagh 1478-1513, 2 vols., Dublin, 1999.

[2] G. Parry, ‘Ware, Sir James (1594-1666)’, Oxford Dictionary of National Biography, 2004.

[3] Anglica Historia. An online version can be found here: http://www.philological.bham.ac.uk/polverg/

[4] M. Sughi (ed.), Registrum Octaviani, vol. 2, p. 429.

[5] Alfred Webb, ’Sir James Ware’, A Compendium of Irish Biography, 1878, https://www.libraryireland.com/biography/SirJamesWare.php .

[6] Antiquities and History, 1705: ‘The Annals of Ireland’: ‘The Reign of Henry VII’, p. 5.

[7] W. Harris, The Whole Works of Sir James Ware concerning Ireland, vol 1, 1739, p. 88.

[8] J. Gairdner, Letters and Papers Illustrative of the Reigns of Richard III and Henry VII, vol 1, London, 1861, p. 283.

[9] Gairdner, Letters & Papers, vol 1, pp. 94-96; J. A. Twemlow (ed.), Calendar of Papal Registers Relating to Great Britain and Ireland, vol. 14, London, 1960, pp. 305-309, https://www.british-history.ac.uk/cal-papal-registers/brit-ie/vol14/pp305-309; The Voyage of Sir Richard Edgecomb into Ireland, in the Year 1488, Corpus of Electronic Texts (CELT) edition, https://celt.ucc.ie//published/E480001-001.html .

[10] Mark Williams, “’Lacking Ware,withal’: Finding Sir James Ware among the Many Incarnations of his Histories”, The Perils of Print Culture: Book, Print and Publishing History in Theory and Practice, ed. J. McElligott & E. Patten, Springer, 2014, pp. 70-71: https://orca.cf.ac.uk/73576/1/WILLIAMSREF3%20EDITEDVOLUMEARTICLE.pdf .

[11] John Bergin, ‘Ware, Robert’, Dictionary of Irish Biography, https://dib.cambridge.org/viewReadPage.do?articleId=a8929&searchClicked=clicked&quickadvsearch=yes .

[12] Wendy Moorhen, ‘A Death Warrant for the Princes?’ The Ricardian Bulletin, Spring 2007.

Caxton was way ahead of his time….!

Well, there I was, snooping around for information about Henry V and the 1418/19 Siege of Rouen, when I went to this site and came upon the above. Absolutely brilliant! Caxton was clearly born in the wrong century – he’d fit into the 21st very well indeed.

Latin inscriptions are a mystery to me….

 

My mastery of Latin was gleaned at the age of 13, when for one dizzying year I was elevated to the “A” stream of King Edward VI’s Grammar School for Girls, Louth, Lincolnshire. Then they realized I wasn’t that bright, after all, and down I went!

The result of this demotion is that I have never been able to decipher Latin inscriptions. No, not the ones from Ancient Rome, but those of the medieval period here in England, where there was a very annoying (to me) habit of writing things in Latin. I can limp by in Old French, but not Latin.

My difficulty right now is a need to know what a particular inscription means. Here it is:-

Militis o miserere tui, miserere parentum
Alme Deus regnis gaudeat ille tuis.
(

I’m afraid I was low enough to try my hand with the Google translation service. While I could pick out words, what I could not do was string them together satisfactorily. So I appealed to my friends on Facebook, and they have been splendid. In advance, I thank Julia, Susan, Erik, Brian, Mary, Heather and last, but by no means least, Eileen!

Before I go on, I must point out that the o on its own in the inscription, is, of course, topped by something that I cannot make out. I thought, incorrectly, that it is an ö, but I’m told that an o with a little wiggle over it usually indicates an abbreviated word.

Then it seemed likely that the o might be short for ossis, which would make the first phrase “have mercy on the bones of your soldier” (As the knight in question died abroad on campaign and was brought back to England for burial, it would have been  only his bones that were returned, not the rest of him!)

Another offered translation is:-

O, have mercy on your knight, have mercy on (his) parents;
Dear God, may he rejoice in this, your kingdom
!

And another:-

Oh, pity your soldier, pity the parents. Dear God, may he rejoice in your kingdom.

So, I now know what the inscription means, and it makes sense!

Finally, let me identify the occupant of the vanished tomb  from which the inscription has been taken. It was that of 19-year old Sir Edward Holland, Count of Mortain, the youngest son of John Holland, 1st Duke of Exeter. John was executed in 1400, and buried as a traitor at Pleshey, having taken part in the Epiphany Rising to remove the usurper Henry IV and return Richard II to the throne. Richard was John’s half-brother. According to Weever’s Ancient Funeral Monuments, Edward—who adhered to Henry V—was buried close to his father, and Edward’s wife (whom I have not been able to identify yet) was buried there as well. None of the tombs at Pleshey have survived, and were it not to Weever’s Ancient Funeral Monuments, no record would have remained. Edward died at the Siege of Rouen in 1418, fighting for Henry V, and that king paid for his remains to be brought home to England, buried and entombed.

Sadly, it would not be all that long before Henry V himself was brought home in such a way.

If Thomas More isn’t too much for Ricardian stomachs….

More isn’t our favourite man by any stretch of the imagination, but he is important because of the immensely detrimental effect he has had upon the history and reputation of Richard III. He, the Tudors and Shakespeare conspired to ruin Richard’s honour, and we Ricardians will never forgive them. But, if you can bring yourself to go to to this source you will find some interesting documents that can be examined. Including The History of King Richard III in English and Latin.

SIR THOMAS MORE , A MAN FOR ALL REASONS: SAINT OR SINNER?

‘Not exactly the horse’s mouth’

In Josephine Tey’s spellbinding novel ‘The Daughter of Time’, Detective Inspector Alan Grant has a reputation for being able to spot a villain on sight. Whilst in hospital with a broken leg, Grant is idly flipping through some old postcard portraits to while away the time. He turns over a portrait of a richly dressed medieval man in his thirties: a judge? A soldier? A prince? Certainly someone with authority and responsibility Grant supposes. Imagine his surprise, therefore, when he realises it is a portrait of Richard III. “The monster of nursery stories. The destroyer of innocents. A synonym for villainy.” Shocked that he could be so mistaken as to place Richard on the Bench instead of in the Dock, Grant delves deeper into the mysteries of his life and reign. A friend lends him a library copy of Thomas More’s ‘The History of King Richard III’, which he reads with a detective’s eye for detail and evidence. Pretty soon he realises the fatal flaw in More’s account and raises the problem on his friend’s return.

” ‘I wanted some information about history written in Richard III’s day. Contemporary accounts.’

‘ Isn’t the sainted Sir Thomas any good then?’

‘ The sainted Sir Thomas is nothing but an old gossip’ Grant said with venom. He had taken a wild dislike to the much-admired More.

‘Oh, dear. And the nice man in the library seemed so reverent about him. The Gospel of Richard III according to St Thomas More, and all that.’

‘Gospel nothing’ Grant said rudely. ‘He was writing down in a Tudor England what someone had told him about events that happened in a Plantagenet England when he himself was five.’

‘Five years old?’

‘Yes.’

‘Oh, dear. Not exactly the horse’s mouth.’ “

 

I doubt if there are many Ricardians, if any, who would disagree with Inspector Grant’s opinion of ‘the sainted Sir Thomas’ and his history book: and with some justification. It contains many demonstrable errors and falsehoods, which have shaped our perception of Richard III for centuries. Even today, when there is more or less a scholarly consensus about its unreliability, there remains a perception that it is not entirely useless as a historical source.

 

The man who wrote ‘The History of King Richard III’ was not Saint Thomas More the Catholic martyr or Sir Thomas More the king’s Lord Chancellor. He was plain ‘maister’ More of Lincoln’s Inn, a brilliant and successful humanist lawyer and writer. I hope in this article to explore aspects of More’s character and life that may explain why he wrote his history of King Richard, and the historical and literary influences that guided his quill. This is not, however, a critique of this book as literature or history.

 

‘This child will prove a marvelous man’

Thomas More was born in London on the 7th February 1478 (or 1477), the eldest son of Sir John More, a successful lawyer and later justice of the King’s Bench, who rose to prominence during the reign of Edward IV. Politically, Sir John was an Edwardian Yorkist rather than a Ricardian who, despite being unfairly imprisoned by Henry VII, prospered during the Tudor dynasty. He had an enormous influence on Thomas as a child and as an adult; being, largely responsible for his son’s choice of a career at the Bar rather than the Altar. The More’s were a wealthy family of merchants and professionals. Both Thomas’ grandfathers acquired fortunes. Each played a significant part in the governance and commercial life of London during the fifteenth century, and also in various financial and advisory capacities to the king. At the age of seven, Thomas was enrolled in St Anthony’s , a prestigious grammar school in Threadneedle Street not far from his home. It had a reputation for producing England’s finest Latin scholars and Thomas was no exception. His grounding in Latin was to stand him in good stead later in life. But it was his spell as a page in John Morton’s Household that was to mark young Thomas as a teenage prodigy.

 

As Archbishop of Canterbury and Lord Chancellor, Morton was the most powerful commoner in the realm. He united the affairs of church and state, and his service to Lancastrian and Yorkist kings established his reputation for integrity. Furthermore, his part in Henry VII’s conquest of King Richard and the unification of the red and white roses assured Tudor goodwill. His main responsibilities were implementing the king’s fiscal and foreign policies, for which he was amply rewarded with lucrative offices and beneficiaries. Morton was, however, deeply unpopular with the king’s subjects, who resented the heavy load of taxation and benevolences he collected from them. He is (perhaps mistakenly) believed to have been responsible for the cunning argument commonly known as Morton’s fork, which was used to extract forced loans from reluctant subjects and is best described as “persuading prodigals to part with their money because they did spend it most and the covetous because they could spare it best.”[1]

 

In 1490, Thomas More walked the relatively short distance across the Thames to Lambeth Palace, there to take up his duties in the archbishop’s household. His position as a page was not demeaning. On the contrary, it was considered a privilege for gentlemens’ sons to serve in the household of a great lord. They would learn the etiquette of the privileged and mix with the good and the great. As a page, More led a strict and simple life but not a hard one. He slept on a straw mattress in a dormitory with other sons of the gentry. His principal duties as a servitor were to wait at table and clear away after the meal. Cleanliness was particularly important for pages and their dorm was well equipped with a long communal sink and pitchers of water. However, More’s life was not wholly one of servitude and menial labour. He continued his education as a scholar at a private school within the archbishop’s establishment. Apparently, his superior intellect and quickness of wit so impressed the archbishop, that More was soon attending him in his grace’s private chambers in the West Tower.[2] William Roper (More’s son-in-law and first biographer) provides a colourful insight into More’s prodigious self-confidence at this time “…though he was young of years [Thomas] would be at Christmas-tide suddenly sometimes step in among the players and never studying the matter, make a part his own there presently among them, which made the lookers-on more sport than all the players besides. In whose wit and forwardness the cardinal [Morton was not a cardinal at the time.] would often say to the nobles that divers times dined with him ‘ This child there waiting at the table, whosoever shall live to see it, will prove a marvellous man‘.”[3]

 

More had great respect for archbishop Morton, whom he considered to be a great man and an exemplar of ethical and moral behaviour. I am not myself convinced that Morton was such a paragon of virtue; yet, he was undoubtedly one of the most imposing political figures of Henry VII’s reign. His influence in shaping More’s career is undisputed. For example, in 1494 he was instrumental in arranging a place for him at Oxford University, where More could study canon and civil law under the watchful eye of the Benedictine monks of Canterbury College. Morton hoped that More would obtain his doctorate in law before taking holy orders and embarking on a career in government. However, after completing the curriculum, More left Oxford to join chambers in New Inn, there to continue his legal training. Whether this was his own choice or his father’s decision is unclear, but it is likely that it was always intended that he should practice law. If so, this was the preferred path for budding lawyers, who spent six or seven years learning their profession and ‘the affairs of men’ in the hurly-burly of the Inns of Court rather than in the cloisters of Oxford, which offered no such practical or material benefit. As Thomas More was to show throughout adult life, he was a practical and materialistic man. Quite apart from the influence of his father or archbishop Morton, the attraction of a legal career was obvious to him. Lawyers were held to be magni clarique that is important and distinguished. By the last decade of the fifteenth century, the rewards of prestige and wealth were such that the sons of the landed gentry preferred a legal career to one in the Church or in business. Just as importantly, an education in the law brought the ambitious More into contact with precisely those people who later administered the affairs of the king and state. Above all, he was temperamentally suited to be a lawyer. His advocacy skills were high quality and well honed. In the words of his most recent biographer “His polemical texts reveal the persistence, subtlety and inventiveness of his attacks against opponents; as a forensic orator and judicial examiner he [was] as fierce as he is persuasive, continually changing or extending his line of attack, looking for the smallest inconsistencies, finding weakness and deriding mistakes of terminology or presentation. More as a man is the apotheosis of the clever and practical man.”[4] He maintained a curious detachment throughout his life and was always precise and shrewd. Nevertheless, the impression remains that he was playing some kind of game. In the words of William Roper, he never in his dealings showed “of what mind himself was therein.” These were the qualities of a perfect lawyer: skilful and objective, cautious yet theatrical, persuasive and practical.

 

‘An intensely practical and decisive man’[5]

By the time he was thirty, More’s legal practice was flourishing. He was by training and by experience a generalist; appearing, as counsel in criminal cases at the Kings Bench and advising clients on, the common law, Canon law, Roman law and maritime law. He is reputed to have been ‘with the Archbishop of Canterbury (the dominant landowner) every day. He was also the legal representative for the City guilds and chief negotiator for the City mercers. He represented the City merchants in their dispute with the Duke of Buckingham and the Bishop of Norwich. In litigation he favoured advising a settlement between the parties to a trial, since this compromise suited his personal preference for good order and harmony. In Soper’s words“…sith there was at that time in none of the Prince’s courts of the laws of this realm any matter of importance in controversy wherein he was not with the one part of counsel. Of whom, for his learning, wisdom, knowledge and experience, men had such estimation that, before he came to the service of king Henry VIII at the suite and instance of the English merchants, he was by the king’s consent in certain great causes between them merchants and the merchants of [the Hanseatic League]…”[6]

 

By the time he was forty, More’s legal future was assured. He was appointed Lent Leader of Lincoln’s Inn, where he lectured on ‘Law-French in Statutes’. His subsequent appointment as Double Reader suggested he could anticipate elevation to the bench. In 1510, he received his first judicial appointment as one of two Under-Sheriffs of London, hearing criminal trials in the Sherriff’s Court, Guildhall and acting as official counsel to various City bodies. He earned the respect and affection of the City for his fair and quick decisions and his habit of occasionally remitting the fees that the litigants were expected to pay. There is, however, another side to More’s legal character, which is revealed by his involvement in the ‘Hunne Case’. This controversial and notorious litigation involved a direct attack on the authority of the Catholic Church. It may even be taken as an indication of the Protestant reformation yet to come in England.

 

Richard Hunne was a wealthy Whitehall tailor who refused to make a customary offering to his local rector. His case was taken to Lambeth Palace, where Hunne was adjudged to be at fault. Still he refused to pay. On Hunne’s next attendance at his parish church, the priest (Thomas Dryfield) excommunicated him with the words ‘Hunne thou art accursed and thou standest accursed’. Exiled from his community and with his mortal soul at risk, Hunne hit back. He issued a writ of praemunire accusing Dryfield and his assistant of slander. By invoking the Praemunire Act of 1393, Hunne was asserting the king’s superiority over papal authority and clerical courts, as the final arbiter of his subject’s rights. He argued that the church authorities had no right to claim his property and further that the hearing at Lambeth Palace took place before a ‘foreign and illegal bar.’ The ecclesiastical authorities responded by charging Hunne with heresy and imprisoning him in the Lollard’s Tower. It seems to us like a fabricated charge; except, that Hunne did have Lollard sympathies and connections. His father-in-law was an evangelist in that cause. It may even have been Hunne’s Lollard beliefs that prompted him to challenge the legitimacy of the offering in the first place. The case had a sensational outcome as Hunne was found hanged in his cell before he could be brought to trial. The Church authorities said that he hanged himself; whereas, the Coroner’s inquest determined that Dr Horsey the bishop of London’s Chancellor had murdered Hunne. The public furore that followed was exacerbated by the Bishop of London’s decision to convict Hunne of heresy posthumously. His remains were exhumed and ceremoniously burned at Smithfield along with his books. Hunne’s death and the denial of secular justice against his murderer raised serious questions about the rights of clerics to be tried only in Church courts. The matter was considered so important that it was debated in parliament and in convocations. The king himself initiated a number of debates on the Hunne case and its consequences.

 

More was involved in the case. He attended a conference with the king where Hunne’s death was discussed. He was also present when the ecclesiastical judgement was passed on Hunne’s body. More was later to write ” I know it from top to toe. I suppose there are not many men who know it better.”[7] Afterward, he wrote a colourful and amusing account of the conference with the king, in which he ‘goes to great pains’ to defend the Church from ‘each and every criticism’ and concludes that Hunne committed suicide when he realised his praemunire suite had failed. “There is no reason to believe that More was deliberately misrepresenting the truth he was only putting what was natural to him in putting a lawyers gloss on ambiguous circumstances.”[8] Whilst, they must not mislead the court or conceal relevant information, it is not unusual for lawyers to put a positive spin on a weak case. After all, their professional duty is to their client and not to a search for truth. The jury (or the court in certain circumstances) are the sole arbiters of truth. What is disturbing, however, is Ackroyd’s explanation for More’s conclusion, which he suggests was based on More’s personal beliefs rather than the merits. “Lawyers are not necessarily supposed to be devout or principled except in the minutiae of legislation but for More the law was a central image of natural reason and authority. It furnished the principles which governed his behaviour in the world, established upon order in all its forms.”[9] If Ackroyd’s is right, More’s apparent loss of objectivity goes beyond putting a positive spin on a weak case; it perpetuates an injustice. The fact that More admitted he did not shrink from mendaciolum (a small lie) suggests how difficult and tricky he could be.[10]

 

‘A man for all seasons’

We know from More’s published works (poems, epigrams, polemics, letters and books) that he was well able to express his opinions and emotions on parchment or in print. Although his style was more Chaucer (bawdy, earthy) than Spenser (poetic), he had a flair for drama, and used his literary skills to educate rather than to entertain. It was while he was studying at Oxford and later in the Inns of Court that More came increasingly under the influence of a group of literary clerical scholars, known collectively as English renaissance humanists. He was well acquainted with the Latin grammarian John Holt and he studied Greek under William Grocyn, the first Englishman to teach it. Later he became associated with Thomas Linacre the eminent physician and scholar, and with the erudite John Colet. The term ‘renaissance humanism’ does not denote that these learned clerics and others like them held a common philosophical position, since they did not. Their appellation as humanists is derived simply from the fact that they studied a cluster of scholarly disciplines comprising grammar, rhetoric, history, poetry and ‘moral philosophy’. Classical Latin and Greek were the languages of these men. It is possible, that More’s association with such erudite ecclesiastics caused him to contemplate swapping a temporal career for a spiritual calling. At any rate, at the turn of the century he abandoned his legal practice and entered the Carthusian Monastery at Charterhouse, just outside the city walls, where he remained for four years as a lay member, participating fully in the spiritual life of the monks without taking holy orders. Eventually, the call of his temporal ‘work in the world’ proved too enticing for More the practical man. He left the monastery to stand for parliament.

 

The most famous of all northern European humanists was Desiderius Erasmus (the ‘prince of humanists’), whom More met and became friends with in 1499. Erasmus described More as a ‘man for all seasons’ due to his ‘affability and sweetness of character’. In 1516, he published More’s most celebrated volume ‘Utopia’, which in its structure and content reveals the author’s humanist leanings; as does his most controversial book ‘The History of Richard III’. These two volumes are a clear indication of More’s philosophical interest in the contrast between just and unjust kingship, and that his concern was not restricted to the lessons of Richard III’s reign. In a Latin poem written to celebrate Henry VIII’s accession, More highlights the ‘atmosphere of fear and suspicion’ caused by Henry VII’s rapacity, which, incidentally, was an opinion shared by many of More’s contemporaries. Nonetheless, the promise of a ‘golden age’ that accompanied Henry VIII’s accession was the redeeming finale of More’s poem, in which he expressed the hope that Henry would repeal unjust laws and remit unfair debts, and that he would maintain the peace and stability that allowed piety and scholarship to blossom.[11]

 

“One thing pretended and another meant”

I must now turn to More’s ‘History of Richard III, which I will refer to as the ‘History’ from now on. While we can speculate why More wrote it, we cannot dismiss it merely as Tudor propaganda.[12] That is the opinion of professor Richard Sylvester In his definitive study of the History. Sylvester argues that More was neither pro-Tudor nor anti-Plantagenet. He was as much pro-Edward IV as he was anti Richard III. For instance, even as he welcomed the accession of Henry VIII he took the opportunity, in the celebratory poem to which I have already referred, to criticise the ‘oppressive acts and devious dealings of Henry VII. He makes a similar point, albeit obliquely, in the History: “…all things in later days were so covertly managed, one thing pretended another meant, that there was nothing so plain and openly proved but that for common custom of close and covert dealings men had it ever inwardly suspect…[13] More is not here just referring to the reign of Richard III but also to the reign of Henry VII during the period when Perkin Warbeck was a threat to the Tudor hegemony. In Sylvester’s opinion, More has depicted Richard as a cacodemon because that is what his oral and written authorities told him. He accepted their narrative not because he was biased but because he trusted them. Chief among these authorities was John Morton. He played a big part in the downfall of king Richard and was an eyewitness of some events. He also possessed (in More’s opinion) ‘the very mother and mistress of wisdom and deep insight into the political world.[14] The fact that Morton died in 1500 and that More did not begin composing the History until about 1513 (leaving it unfinished around 1518-20) raises interesting questions about Morton’s contribution. What did he know? And, how did he contribute to the History?

 

I will deal with the second question first because it raises the issue of authorship. Beginning, with the early revisionist histories of king Richard’s life and reign, some scholars have doubted More’s authorship of either the English or the Latin, or both editions of the History. For revisionists’ the dichotomy between More’s reputation for integrity and his polemical History is explained by substituting the wily and inveterate schemer Morton as the author of (at least) the Latin version. Support for this contention was claimed from a piece of ‘literary gossip’ that appeared in an aside is Sir John Harrington’s book ‘The Metamorphosis of Ajax’ (1596) ‘”…the best, and best written part of all our Chronicles, in all mens opinions; is that of Richard III, written as I have heard by Morton, but as most suppose by that worthy and uncorrupt [sic] magistrate Sir Thomas More…” [15] As Dr Kincaid points out, ‘Harrington was an inveterate gossip, not necessarily to be believed’.[16]

There is, however, better reason for believing that Morton gave More a ‘polemical tract’ attacking king Richard, which the latter probably used as an aide-memoire for his own narrative.[17] Be that as it may, the case for More’s authorship of the English and Latin versions of the History is considered by modern scholars to be unanswerable.[18]

 

On the question of what Morton knew, we must bear in mind that as important as he was, Morton was only an eyewitness to some of the events of 1483. There is much in More’s History that could not possibly have come from him or the clique of Lancastrian dissidents who shared Richmond’s exile and (no doubt) dined with the archbishop at Lambeth Palace. Morton was not, for example, present at Stony Stratford when the Duke of Gloucester arrested the king’s uncle and stepbrother. Neither was he present when the Queen was persuaded to allow her youngest son, Richard duke of York, to leave the sanctuary of Westminster Abbey. Furthermore, Morton is not an eyewitness to the alleged murders of Edward V and his brother.[19] Though, he might well be the instigator of the rumour that they had been murdered. More’s other oral sources included but were not limited to: Sir John More, John Roper, Richard Fitzjames, Sir Thomas Lovell (fought for Richmond at Bosworth), Christopher Urswick (priest and Tudor spy in 1483), Bishop Fox of Winchester (in exile with Richmond), Roger Lupton (Mayor of London) and Sir John Heron (an early adherent to Richmond). When he cites one of these ‘authorities’ or others who occupied similar positions, he usually refers to them in the phrase ‘men say’. The opinion of these ‘wise’ men was much valued by More. He relied on them when balancing different interpretations against each other. Generally, More is not too concerned about the accuracy of dates, names and places since these could be checked later (but never were). What is notable, however, is that he never spoke to anyone at Henry’ VII’s court who had served king Richard or who could even be said to have liked the dead king.

 

In addition to his oral authorities, More had a number of written works available for consultation. Some of these pre-date the History, whilst others are contemporary with it. Pietro Carmeliano was a court scholar during the reigns of Richard III and Henry VII who wrote the ‘Life of St Catherine of Egypt’. He extolled Richard’s princely virtues when he was alive and denounced him as a tyrant when he was dead.[20] Bernard André’ was Henry VII’s official biographer. He wrote ‘Vita Henrici’, in which he to portrayed king Henry as angelic and king Richard as demonic. The sycophant John Rous wrote ‘Historia Regum Angliae’, during the reign of Henry VII. He denounced king Richard as the anti-Christ having previously acclaimed him for his nobility and virtues. Whether or not More used the Chronicles of Robert Fabyan, Polydore Vergil’s ‘Anglica Historia’ or Domenico Mancini’s ‘De Occupations Regni Anglie Per Ricardum Tercium Libellus’ is a matter of pure conjecture.[21] Some of More’s factual inaccuracies suggest that either he did not know of the Second Continuation of the Croyland Chronicle or he had not read it. Even so, it is safe to say that he would hardly have credited a less defamatory portrait of king Richard than the one he describes in the History. In the words of professor Sylvester: “The indictment against the king had been drawn-up by men whose judgement he respected; it’s terms were supported not only by most of his oral informants but also by writers whose version of events had been set down before he began to compose his own narrative.”[22] In early Tudor England there was hardly a voice raised in defence of the last Plantagenet. The official records such as Titular Regius and Richard’s signet letters were almost certainly not available to More. It is only by comparing his narrative with credible contemporary sources that we can test the historical accuracy of More’s History.

 

Although More’s portrait of Richard accurately reflects the opinion current in the courts of Henry VII and Henry VIII and some details can be corroborated by independent records (e.g. the allegation that Edward V was bastardised due to his parents’ bigamous marriage), there are some notable errors and omissions in the History for which there is no excuse. These range from getting Edward IV’s age wrong to naming Elizabeth Lucy as the lady alleged to have still been married to Edward IV when he wedded Elizabeth Butler. However, what Inspector Grant and others overlook in their criticism of More’s History, is that he never claimed it was anything other than a reflection of public opinion in the first quarter of the sixteenth century. Neither did he claim to be more authoritative than his sources. “He asks us not to credit that ‘what men say’ happened, did happen, but that they really said it did happen.”[23]

 

Professor Paul Kendall is not sure whether More ever intended the History to be factual. He suggests that what More learned from his sources, he used to fashion a version of events that satisfied his humanist leanings. “A dramatic boldly performed narrative soaring beyond actualities into art and seek psychological verisimilitude rather than factual accuracy.[24] Writing from a purely literary perspective, professor EMW Tillyard also believed that More’s History was intentionally creative rather than historical. “More’s History transcends the sorting of evidence and abides as a classic record of fundamental human nature”. In Tillyard’s opinion it has tragedy and comedy. “The episode where Queen Elizabeth is persuaded to give her youngest son into the care of Richard Gloucester is more tragic than anything the English drama produced till the great age.” On the comic side, Tillyard draws attention to Dr Shaa’s pre-arranged Sermon at St Paul’s Cross, which descends from high drama to farce thanks to Gloucester’s mistimed entrance.[25] Even so, there is no doubting More’s contribution to the shaping of Richard III’s black legend. He was the first to suggest that Richard had ‘long forethought’ to seize the throne, even before his brother was dead. And it is More’s narrative that names Richard as the prompter and guiding spirit behind all the events that followed Edward IV’s death.

 

Even though More’s reasons for writing the History are wholly obscure now, post-Tudor scholars have repeatedly question his motives and what he actually thought he was writing. For example, Kendall writes that he ‘undoubtedly set about his History for the same reason that according to Falstaff the earl of Worcester rebelled ‘it lay in his way and he found it’.[26] Whereas, Horace Walpole writing in 1768 believed that “[More] wrote his History to amuse his leisure and exercise his fancy.”[27] These seemingly flippant reasons might be closer to the mark than we think. For instance, Peter Ackroyd raises the intriguing possibility that both the English and the Latin versions of the History were written as a rhetorical and grammatical exercise for Oxford students.[28] The supporting evidence for this theory is both circumstantial and cryptic; yet, it does exist. First, there is More’s mysterious reference to a ‘schoolmaster of Poles’ (St Paul’s?): second, there is the fact that one of the extant manuscripts of this work is endorsed with the preface that it was written exercitationis gratia (‘for the sake of practice’). Finally, there is the fact that both the Latin and the English versions comply with More’s own methods of composition and revision, which he also impressed on his children.[29] As Ackroyd notes, More’s humanism had a practical purpose, and as a successful lawyer he was more interested in the practice and usage of advocacy than its theory. It is possible, therefore, that the long and complex debates on the merits and abuses of sanctuary and on king Richard’s royal title, which dominate the History ,are lessons in the art of disputation similar to those experienced by More during his own education.[30] The speechmaking is certainly more reminiscent of an exposition of the law than a record of what was actually said by those present in 1483. “One of the models of its form is clearly Sallust and More had been instructed to teach Sallust at Oxford. He had also recommended that author for his children’s’ reading. And what could be a better way of studying classical rhetoric and vocabulary than to apply them to the description of more recent events” [31] It is equally possible that More’s humanist leanings, his interest in history and in ‘kingship’, and his contact with Morton and the men who had fought King Richard, fuelled a ‘boyish interest’ in the dead king. His own interest in the classical Greek and Roman historians may have encouraged him to emulate them. In particular, he had a deep interest in the accounts of Tiberius’ tyranny, which were written by Tacitus and Suetonius.

 

It is more likely, however, that he wrote the History for a substantial reason other than mere interest.[32] He may have intended it to be a metaphor for his own doubts and his fear of Henry VIII’s instinct for despotism, which was already apparent by the time he was writing the History. He could not make his thoughts plain on pain of death, so his message is more oblique and very cleverly constructed. Nothing in More’s History could be mistaken as applying to Henry VIII. Read literally, it coruscates king Richard’s tyranny whilst justifying the Henrician Tudors as the opponents of tyranny. More’s philosophical and psychological interest in tyranny and government is evidenced by his poems and other written works: especially Utopia. The History may have been an attack on the real-politick of his day. He may even have regarded it as a worked example wherein a ‘good’ monarch would benefit from its powerful depiction of monstrous injustice. Of course the corollary of this was that it might give the potential despot ideas about subtleties of policy, which later generations would identify as Machiavellian. It would indeed be unfortunate if it provided Henry VIII with a convincing illustration of what he could do given free rein to his powers.

 

Whatever More’s reason for writing the History may have been, he put down his quill sometime between 1518 and 1520. He never returned to his manuscripts, which remained unfinished and unrevised; clearly, it was not meant for publication. The reasons for this have troubled Scholars almost as much as More’s reason for picking-up his quill in the first place. There are many different theories, two of which, bear testament to More’s concerns about the Henry VIII despotic tendencies. Sylvester postulates that he might have been troubled by the possibility that it would become a kind of ‘manual’ for Henry if he wished to exercise his will unfettered. More could not take that risk and so the History remained unfinished. Professor Kendall notes that More stopped just as Richmond was about to enter the narrative. At which point it became too dangerous for More to write about Henry VII’s oppression even by analogy. And so, the History remained unfinished and unpublished in More’s lifetime.[33] The third theory is more mundane but equally credible. It is possible that he simply lost interest in the project, particularly if it really was nothing more than a student exercise. Anyhow, by the second decade of the sixteenth century, More might still have been making-up his mind about the role he was to play in the king’s service. His life as a royal servant promised to be challenging, since the king was more often guided by his personal will and appetites than by reason. Although such wilful governance was anathema to More, he was confident of his ability to ‘bend with the wind’, so that what he couldn’t turn to good he could make less bad. He always gave his opinion according to his conscience when asked, but he never opposed the king’s will publicly. In view of the difficulty of maintaining a distinction between his private and public beliefs, it is possible the More simply abandoned the History in favour of his little booklet Utopia, which expertly expressed his own private views of governance and kingship even more obliquely than the History.[34]

 

Finally, it is possible that More became too embroiled with advising the king on the Lutheran texts that were appearing in England around this time. He was one of those who advised Henry on his own written defence of the Catholic faith, which earned him the title ‘Fidei defensor (defender of the faith). More himself took up the cudgel in support of his king, trading insult for insult with Martin Luther in a series of booklets. Compared to the existential threat to the established Church posed by Luther’s heretical doctrine, More may have considered the History a self-indulgent trifle.

[1] Peter Ackroyd – The Life of Thomas More (Vintage 1999) p.31 quoting from E Foss – Judges of England (London 1848-64) p.66

[2] Ackroyd p.28

[3] Richard Sylvester and Davis Harding (Eds) – Two Early Tudor Lives: the Life and death of cardinal Wolsey by Geo Cavendish & the Life of Sir Thomas More by William Roper (Yale 1962) pp.197-98

[4] Ackroyd p.52

[5] Ackroyd p.148

[6] Sylvester (Roper) p.200

[7] Ackroyd p.151; citing The Complete Works of Thomas More (Yale) V6, p. 318

[8] Ackroyd p.152

[9] Ibid

[10] Ackroyd p. 163-164; in a letter to Wolsey, More explains that the post of Canonry of Tournai had previously been conferred on his friend Erasmus, and that as compensation for Erasmus withdrawing from it, a better or greater provision should be made for him. None of this was true, of course, but it illustrates More’s willingness to lie.

[11] Ackroyd p.127

[12] Richard Sylvester (Ed) – The History of King Richard III by Sir Thomas More (Yale 1963) p. lxv and passim

[13] Sylvester (Roper) pp. 81-82 and n82/22 p.262; see also Paul Kendall (ed) – The Great Debate (Folio Society 1965) p.103; Kendall contains a useful modern English version of More’s History.

[14] Sylvester (History) p. lxvii

[15] Elizabeth Storey Donno (Ed) – Sir John Harrington: a new discourse of a stale subject, called The Metamorphosis of Ajax (1596) (London 1962) pp. 107-198

[16] AN Kincaid (Ed) – The Encomium of Richard III by Sir William Cornwallis the Younger (Turner and Devereux 1977) p.iii

[17] Sylvester (History) pp.lix-lxxiii; AN Kincaid (Ed) – The History of King Richard the Third by Sir Geo Buck (1619) (Alan Sutton 1979) Chapter VII passim: Buck said he saw the tract, which is no longer extant

[18] Sylvester (History) ibid; citing RW Chambers – The authorship of ‘The History of King Richard III’ in WE Campbell (Ed) – The English Works of Sir Thomas More (London 1931) pp. 24-53; Kincaid

[19] Sylvester (History) ibid; citing AJ Pollard – The Making of Thomas More’s Richard III published in ‘Historical Essays in Honour of James Tait (Manchester 1933) pp.223-284

[20] Pamela Tudor-Craig – Brochure for Richard III’s biographical exhibition at the NPG 1973. Carmeliano’s ‘Life of St Catherine of Egypt’ was exhibited at the NPG in 1973 (No.100). It is a second copy dedicated to Sir Robert Brackenbury and contains a glowing description of king Richard’s virtues in peace and war (‘…what emperor or prince can compare with him in good works and munificence”.). However, in 1486 in a poem dedicated to the new-born Prince Arthur, he charged Richard ‘the tyrant’ with the murder of his nephews.

[21] Sylvester (History) p.lxxi-lxxv; see also CAJ Armstrong – The Usurpation of Richard III by Dominic Mancini (Oxford 1969 edition) pp. xix-xx. Dr Armstrong discusses the relationship between Mancini and More in which he raises concerns about the provenance of More’s information. The importance of this lies in the fact that Mancini substantiates More ‘on many points’. In fact, More and Mancini are closer to each other than to the Croyland Continuation or to Polydor Vergil. The point is, of course, that they were probably using the same informants. Given that these informants were Richard’s political and dynastic opponents it is hardly surprising that they coincide on some points. What is remarkable is that they don’t agree on much more, since there are some significant discrepancies. Furthermore, as Dr Armstrong acknowledges Mancini harboured an unreasoned animus towards king Richard (that he was all along aiming for the throne) (Mancini p.17)

[22] Sylvester (History) p.lxx

[23] Sylvester (History) p.lxxviii

[24] Kendal p.25

[25] EMW Tillyard – Shakespeare’s History Plays (Penguin 1962) p.38

[26] Kendal p.25; this is a reference to a comment by Sir john Falstaff, a character in Shakespeare’s play Henry IV part 1.

[27] Kendal p.170

[28] Ackroyd p.157

[29] Sylvester (History) p.xii; in a ‘charming’ letter to his children, More admonishes them to write everything in English first ‘for then you will have far less trouble turning it into Latin; not having to look for the matter, your mind will be intent only on the language’. He also emphasises the need for revision to detect and correct solecisms. More was given to the careful revision of his own work, which, as Sylvester points out, may have served as a kind of paradigm for the complex sequence of drafts that were developed in the composition of the HISTORY

[30] Sylvester (History) pp.26-38`; see also Kendal pp.50-62. In the fifteenth century the abuses of sanctuary argued by Buckingham were a bone of contention between the laity and the clergy. By the time More was writing the History the privileges of sanctuary were much reduced.

[31] Ackroyd ibid; Goius Sallustius Crispus (‘Sallust’) (86 BC-35BC), was a Roman historian whose works were noted for their brevity, the use of rare words and unusual phrases.

[32] Sylvester (History) pp. xcviii-xcvix passim

[33] Sylvester (History) pp. cii-ciii; Kendall p.28; who notes the irony of More’s position in that his defamation of Richard III came in part from his detestation of Henry VII’s statecraft.

[34] George M Logan (ed) – Thomas More: Utopia (Cambridge UP 2016, 3 rd edition)

DR JOHN ARGENTINE – PHYSICIAN TO PRINCES

UPDATED POST ON sparkypus.com A Medieval Potpourri https://sparkypus.com/2020/06/15/dr-argentine-physician-to-the-princes-in-the-tower/KINGS COLLEGE CHAPEL CAMBRIDGE 1845.jpg

King’s College Chapel.  Dr Argentine is buried in a chantry chapel on the south side close to the alter.

In Kings College Chapel, Cambridge, just south of the alter can be found the chantry chapel where Dr John Argentine, Provost of Kings College from 1501 until his death in February 1507/08, physician, astronomer and collector of books, lies buried.  A fine memorial brass covering his tomb depicts Dr Argentine in his doctors robes.

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Dr John Argentine’s funeral brass

Dr Argentine, who spelt his name variously as Argentem or Argentein (1) was born in Bottisham, Cambridgeshire 1443 into a family that were prominent supporters of the House of York and he is remembered mostly, thanks to Dominic Mancini, as being physician to Edward V, and, it could be assumed, also physician to Edward’s younger brother, Richard of Shrewsbury.  Mancini described Dr Argentine as being among the last of those to visit Edward and Richard in the Tower of London before their mysterious disappearance around June/July 1483.  Mancini who spoke little if any English, would no doubt have been mightily relieved to meet someone who having spent a long time in his homeland, could converse easily with him in either his native Italian or Latin.

Mancini is responsible for passing on the learned doctor’s recollections of those visits to the Tower i.e. that the young Edward ‘like a victim prepared for sacrifice sought remission of his sins by daily confession and penance’ (2) in the belief that death was staring him in the face.  Alternatively Edward  may have been merely suffering from low spirits and angst due to the fact that his  imminent Coronation had been cancelled and the crown firmly removed from his grasp.  Tellingly, Dr Argentine omitted any mention that Edward was suffering from a raging toothache which puts to bed any likelihood that the infamous urn in Westminster Abbey actually contains the bones of Edward and his brother, as the jaw bone of the oldest child shows clear signs of ‘a chronic and painful condition which led to deformities in the jaw bone … possibly either osteitis or osteomyelitis’ (3), a horrible disease which no-one would have failed to notice, especially his doctor but why let commonsense stand in the way of a good myth…, but I digress.

Dr Argentine, having served successfully under both Edward IV and Richard III went on to become physician and dean of the chapel to Henry VII’s son, Arthur, Prince of Wales and it is surely unfathomable that he was never asked, as far as we know, to examine that most convincing and troublesome of all the pretenders to the throne, Perkin Warbeck.

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                                                Arthur, Prince of Wales c1500

If you enjoyed this post you might like : https://wordpress.com/post/sparkypus.com/475

And his friend John Morton : https://wordpress.com/post/sparkypus.com/1076

1) The Library of John Argentine, Transactions of the Cambridge Bibliographical Society Vo.2 (1956) pp 210-212.  Dr Argentine wrote in his own hand in several of his books..’Questo libro e mio Zouan (Giovanni) Argentein’ ‘ Questo libro e mio Johan Argentem’.

2) The usurpation of Richard III Dominic Mancini C A J Armstong p.93

3) Richard III The Maligned King Annette Carson p.219

 

Might Richard have become Archbishop of Canterbury….?

 

Richard as Archbishop - WordPress

An oft-asked question arose again the other day. Had Richard been originally intended for the Church? He was the youngest son of the 3rd Duke of York, and the Church was the fate of most aristocratic youngest sons. It has been suggested to me that such early training would explain his beautifully precise handwriting. After all, his letters and signature make his peers look uneducated!

Yes, his piety is frequently remarked upon, but then they were all pious in those days. Outwardly, at least. Richard’s piety seems to be have deeper, because the purity of his private life is also remarked upon. He does not seem to have strayed from the marriage bed, which was surely very unusual. He was a young king, and good-looking. His scoliosis wouldn’t been seen because good tailoring would hide it, so none of the awful lies perpetrated by Shakespeare would have applied. He would have been a prime target for female advances. These advances do not seem to have been welcomed. At least, if they were, post-marriage he hid it well! Before marrying Anne, he fathered illegitimate children and acknowledged them all, so he was red-blooded.

Was he a reluctant temporal lord? Was his brilliance on the battlefield, enjoyment of sumptuous fashionable clothes and penchant for lavish festivities a smokescreen? Would he much rather have been Archbishop of Canterbury? That might have depended upon which point in his life it was decided he should not enter the Church after all. When might that have happened? What might have prompted it?

I do not know the finer points of such things, and for all I know the precise proof of it all is known to exist, but if so, I am ignorant of it. So, simply looking on the surface, I would guess a decision to change his destiny was maybe made after Wakefield. The deaths of his father and brother Edmund might have decided the eldest brother, Edward, Earl of March, who would become King Edward IV, that his youngest brother would be better employed as a soldier, “going forth and multiplying” for the benefit of the House of York.

Richard (then eight years old) and his slightly older brother George were children at that time, and exiled safely to their aunt in Burgundy. After the soon-to-be Edward IV’s subsequent victory at Towton, they were brought home. Is that when and why it was agreed that Richard and the Church should no longer be an item? Richard was thus created Duke of Gloucester, and George, for whom the Church was not a consideration, became Duke of Clarence.

So, is it possible that until being sent into exile in Burgundy, Richard had been trained and prepared for the Church? I can remember how, at that same age of eight, I absorbed education like blotting paper. I read books by the score, and everything that was drummed into me at school was taken on board, as modern parlance has it. In the 15th century, when strictness and volume of tuition would have far exceeded that of the 20th century, Richard (being studious by nature) would have been much higher quality blotting paper! For instance, if the Church was involved, he’d have been be well on the way to a thorough knowledge of Latin. It nearly happened to his nephew and did happen to his great-nephew.

I’m sure there are those who will read this and have more informed thoughts and explanations. If so, I hope they will share them.

 

The accounts for the Duchy of Cornwall, ordered by Richard III in June 1483….

1483 duchy of cornwall accounts

“The accounts for the Duchy of Cornwall for 1483 – a momentous year in English history – are to be sold at Bonhams Fine Books and Manuscripts Sale in London on 21 March. They are estimated at £4,000-6,000.

“The records were taken to Bonhams offices in Exeter for valuation, having been bought as part of a job lot at a local auction in Devon. They were drawn up on the orders of Richard III who came to the English throne in June 1483. His brother Edward IV had died earlier that year, and Richard had been appointed Protector to his 12 year old nephew, who succeeded his father as Edward V.  When Edward V was denounced as the product of an unlawful marriage, he was stripped of the crown and Richard declared the legitimate king in his place.  Edward and his brother Richard were imprisoned in the Tower of London, where they were later famously murdered, traditionally on the orders of Richard III.”*

“The Duchy of Cornwall was created by Edward III in 1337, specifically to produce an income for the heir to the throne.  It covered, and still covers, areas outside Cornwall -mainly in Devon, including Plympton, Tavistock and Exeter. The accounts for sale are for the period Michaelmas, 22nd year of Edward IV’s reign to Michaelmas, the first year of Richard III’s year i.e. 29 September 1482-29 September 1483. During this time, the position of Duke of Cornwall was held by the future Edward V, and then by Richard III’s son Edward (who died the following year at the age of 10).”

“The records are highly detailed, showing totals for rents, sales and court receipts for each manor within the Duchy, with the names of the bailiffs or reeves. The receipts for tin mines were particularly valuable.  By this period, the profits from the Duchy were worth around £500 a year. By contrast, the annual average wage of a labourer was then about £2.00.

“Bonhams valuer in Exeter, Sam Tuke, said, ‘It is always exciting to come across something so special. The accounts are particularly interesting because they include details of properties in Devon as well as in Cornwall itself. They are of course, written in mediaeval Latin, but our specialists were able to decipher the text, and reveal their true value.’”

* Traditionally usually means “according to Tudor propaganda” and should not be believed in this case. It is not known what happened to the boys in the Tower, but to lay the blame solely at Richard III’s feet is naïve. If he was in the business of murdering his brothers’ children, there were many others he would have disposed of as well. On the other hand, there were people who would have benefited from the boys’ deaths, including Henry VII, Margaret Beaufort and the Duke of Buckingham. Henry certainly didn’t want them around when he had to make Elizabeth of York legitimate in order to marry her. So forget Richard in this matter, and look to his enemies.

 

Postscript: Here is a link to a further article about these accounts. It contains much more information about the discovery. Just look away when you reach that word “hunchback”!

https://www.telegraph.co.uk/news/2018/02/27/medieval-accounts-richard-iiis-rule-found-among-job-lot-1930s/

 

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