Marigold – Calendula officinalis

Still going! And still not stitching fast enough – though I now have many ideas. Oh well. We’ll see what August brings.

Two marigolds completed and a third underway. It’s another plant with many local names reflecting its widespread cultivation from medieval times onwards. Calendula comes from the Latin for calendar named because the plant can be in flower from spring to autumn. The Lyle Herbal compiled by Anthony Askham in 1550 called them ‘the flower of all months’. It also had associations with the sun – because the flower turns towards it and because of its appearance. One of its common names is ‘bride of the sun’.

I do grow marigolds – the petals are a substitute for saffron so can be used as a dye as well as being edible. In medieval times they were used to treat wounds and as a treatment for sore teeth (optimistic I know). Modern herbalism recognises that they have anti-inflammatory properties. And yes I do partake of a pot of marigold tea on occasion – not sure whether it helps the rheumatism or not but there’s a sense of achievement in using something you’ve grown yourself at any rate. Medieval, Tudor and Stuart herbalists thought that it might protect you from a fever and even from the plague…I’m not prepared to guarantee that though!

Inevitably there is rather a lot of folklore associated with the bloom. Picked at noon it strengthens the heart and drives away melancholy. And if you want to discover the love of your life, stick it under your pillow at Halloween so that you will dream of them…I always thought that was apple peels thrown over your shoulder but it’s always good to have a variety of pre-internet dating methodologies available! To avoid being accused of witchcraft when gathering the flower, advice was also often provided as to what prayers to use. And nothing is not going to scream witch like someone mumbling to themselves while they pick flowers from the herb garden. I’m not sure that sentence works but you get the drift.

And talking of religious respectability, in Christian legend one of the names for the flower is ‘Mary’s gold’ because while the Holy Family were fleeing to Egypt, Mary’s purse was stolen. When the thieves opened it all they found were petals. Early Christians placed the flowers around statues of Mary as offerings in place of coins. By medieval times it became popular to plant Mary gardens with plants associated with the Virgin Mary, of which marigold was one. By the seventeenth century a similar collection of flowers had more subversive undertones so far as the State was concerned. Catholics planted so-called Mary gardens as a means of connecting to their beliefs. An alternative name to Mary’s gold, if you need another, was holy gold.

Mary’s gold became something of a pun for Mary Queen of Scots who used the image as a personal device on occasion. Marigolds can be found in the Oxburgh hangings at Oxburgh Hall in Norfolk (check whether they’re back in situ from their restoration at the V and A before going). Marigolds turning to the sun represented courage in adversity and the Scottish Queen certainly needed plenty of that. The flowers feature next to her monogram. The marigold was perhaps the least conspiratorial of the messages contained in the images on the Oxburgh hangings…no prizes for working out who the caterpillars might represent.

https://www.vam.ac.uk/articles/prison-embroideries-mary-queen-of-scots

Best Bestiary beasts…

Bodelian Library bestiary (12th century)

This post is by way of a Christmas warm up. Many of England’s medieval kings had exotic animals given to them, stories about animals abounded as new lands were explored and in Christian Europe, it was believed that the natural world was ordered by God to instruct people on a good life, proper behaviour and to reinforce Biblical knowledge – all anyone needed to do was to interpret the behaviour. Essentially the whole of creation was viewed as an allegory. Inevitably the idea was pinched from the greeks. But what the medieval world ended up with was a set of texts that combined zoology with religion – with a spot of mythology…unicorns for instance feature in many medieval bestiaries but in reality an elephant was as strange as a unicorn or a dragon. And just for good measure there was almost a game of Chinese whispers played between explorers, writers and illustrators of the bestiary – resulting in some very strange looking creatures including an ostrich with hooves.

So – lets make a start – eagles are the kings of the birds in the same way that the lion is the king of the beasts (natural order – you need to know your place) Eagles look to the sun to renew their youthfulness. People should look to God for their restoration. Equally sea eagles take dramatic plunges in search of food – they’re just like Adam and Eve falling from grace. I rather like these three eagles as they seem to be smiling.

More in December including Pope Leo X’s white elephant, King John’s zoo and King Henry I’s porcupine…

Fortune’s Wheel

Fortune’s Wheel – 14th Century – British Library

It seems a strange choice for a post in the midst of a series lingering on the Scottish Wars of Independence. However, today my mind turned to Sir Andrew de Harcla or Harclay, earl of Carlisle. He started off life as a younger son who rose to the position of earl thanks to his military skills. He defended Carlisle in 1315 against Robert the Bruce and in 1322 bested the Earl of Lancaster at the Battle of Boroughbridge. But at the end of the year, Andrew made an agreement with the Scots and was consequently executed as a traitor by King Edward II. His life is an excellent example of the twists and turns of Fortune’s Wheel. Fortuna can carry you upwards but a turn of the wheel can see you heading in the opposite direction just as quickly.

The Wheel of Fortune or Rota Fortunae evolved from the Roman goddess Fortuna who was more associated with a cornucopia than a wheel. I’ve posted about it before https://thehistoryjar.com/2021/02/16/the-wheel-of-fortune/ but I keep coping back to it. I think because I love the various illuminations and it can be found in both Chaucer and Shakespeare. Inevitably the Church did not approve of Roman goddesses .

And having just completed the manuscript for medieval mistresses, I cannot help but notice that the images always depict men striving to achieve their worldly ambitions whilst Fortuna, a woman, spins the wheel. I was less amused to discover that to the medieval mind women were changeable by nature so it was only to be expected that one minute you had achieved the apex of the wheel only to be thrown down again.

The Wheel of Fortune

Detail of a miniature of the Wheel of Fortune with a crowned king at the top, from John Lydgate’s Troy Book and Siege of Thebes, with verses by William Cornish, John Skelton, William Peeris and others, England, c. 1457 (with later additions), Royal 18 D. ii, f. 30v. https://blogs.bl.uk/digitisedmanuscripts/2012/02/the-wheel-of-fortune.html

The wheel of fortune or rota fortunae features in Chaucer’s writing and in Shakespeare’s. Both Hamlet and Lear have something to say on the topic.

Dating from Classical times the goddess Fortuna is pictured blindfolded with a cornucopia in one hand and a wheel or a rudder in the other. The original concept of the wheel or even sphere was linked to the astrological frame in which the signs of the zodiac were placed. Boethius, writing in the sixth century, extended the idea. The problem with Fate was that it was pagan and the Church didn’t necessarily approve.

But by the medieval period the rota fortunae was being used to remind people that it was probably best to concentrate of God and the hereafter rather than earthly things because Fortuna can bring luck, fortune and power or can remove all those things at a slip of the wheel and because everyone is bound to their wheel they have no choice but to accept what Fate throws at them. Fortuna isn’t being capricious – she’s more of a Heavenly enforcer. It is God’s will whether your business venture is successful, whether there is a famine, whether you suddenly find yourself being usurped from your throne.

The concept of destiny is an important one in the medieval and Tudor world views. It is linked also to the concept of the Great Chain of Being – everything has it’s place and shouldn’t try to step out from the place that God has allotted. Another way of describing the Great Chain of Being is to call it Divine Order. Essentially the more “spirt” something has the closer it is to God so therefore the higher up the Great Chain of Being it is – ladies you will no doubt be delighted to know that we’re lower down the chain than men. You are where you are in a rigid social hierarchy because God wants it that way – so please don’t revolt because if you do the Divine Order will be upset and this will reflect across the universe…there will be storms and floods and strange and monstrous happenings.

So – we’ve all been given a place in the universe based on the Great Chain of Being. Our destinies are in the stars and allotted to us when we’re born – remember horoscopes are cast as part of the medical process and Books of Hours contain dates which are more auspicious than others for things like moving house, having blood taken and going on journeys. The wheel of fortune is in the background as the main controlling force in life – explaining all life’s successes and adversities, joys and tragedies. It helped explain all those things for which there seemed to be no explanation.

Of course the Renaissance and the concept of humanism sees things a bit differently.

Radding, Charles M. “Fortune and Her Wheel: The Meaning of a Medieval Symbol.” Mediaevistik, vol. 5, 1992, pp. 127–138. JSTOR, http://www.jstor.org/stable/42584434. Accessed 16 Feb. 2021.

Medieval gardens

I spent much of today foraging for stones to adorn my pond. It is frowned upon, not to mention probably destabilising, to remove capping stones from nearby walls – even your own walls- to turn them into lovely big flat pond topping stones…so I shall have to wait until a) I can get on to a well known builder’s website without having to queue virtually for hours or b) collect them myself when this is all over – which ever comes first. Or c) start a quarry in the field on the other side of the stone wall which I have definitely not disturbed in any way, shape or form.

But back to history. Did you know that in 800 AD (ish) Charlemagne drew up a list of plants that should be grown in every town? He required 73 herbs to be grown as well as roses and lilies. The list together with the other twenty or so horticultural requirements can be found in The Capitulary of Charlemagne. Capitulary is word I’m likely to misspell which means exactly the same as charter. As well as the lilies and the roses he also identified flag iris (soon to be found growing near my pond despite the risk of the roots puncturing the liner.) He listed medicinal herbs, fruit and nut trees; vegetables; salads and teasels – for combing wool as well as madder for dyeing it.

Unsurprisingly Charlemagne’s list is an important one in our understanding of medieval gardening. Floridus writing in the eleventh century also gives some insight and then there’re wonderful manuscript illustrations depicting all sorts of garden flowers. What is interesting is that many of them were there simply because they were lovely. By the beginning of the twelfth century gardens were beginning to be advocated as a backdrop necessary for the fashion of courtly love. Clearly the Romans had gardens and monastic houses required gardens for physic and for the monks to have a plentiful supply of food. The garden as a statement of courtly love was something very different.

On one hand an enclosed medieval garden may have afforded the kind of privacy that was difficult to find within a busy castle, not to mention making a statement about the wealth of the aforementioned castle owner. The concept of privacy and gardens very naturally leads to thoughts of Adam and Eve and associated sinfulness – it is possibly not surprising that the garden saw the introduction of seats for canoodling at this point in the form of raised turf hillocks – preferably studded with pretty flowers. And before we get too carried away with the image, the whole concept of courtly love was that the lady was unattainable – so whilst temptation might be present vis a vis privacy and comfy lawn hillocks, a knight and his lady simply do not demean themselves with comedy of the Carry On kind. Carnal desire is renounced in order to find God – essentially humans are part of the natural cycle but can rise above it. The garden became part of a larger scheme – of the kind with which art historians are familiar. The symbolism of the garden in art became the rationale for actual gardening if you follow Barnett’s hypothesis.

By the thirteenth century there was even a manual that covered raised turf hillocks:

Between the level turf and the herbs let there be a higher piece of turf made in the fashion of a seat, suitable for flowers and amenities; the grass in the suns path should be planted with trees or vines, whose branches will protect the turf with shade and cast a pleasant refreshing shadow.

Piero de’ Crescenzi, Liber ruralium commodorum (1305-09)

And there are certainly a great many turf seats depicted in medieval art – either being occupied by lovers or the Virgin Mary. The Virgin Mary is sometimes depicted as hortus conclusus – i.e. seated in an enclosed garden metaphorically being an enclosed garden, an allusion taken from the Song of Solomon in the psalms. It was another way of illuminating her purity. She is able to be in THE enclosed garden – Eden- because she is without sin. I’m not sure I’ve explained it very well but I’m sure that you get the gist.

Anyway the concept of the raised turf bench remained a popular one throughout the medieval period.

I shall content myself with my old wooden bench which is more than adequate for sitting in the sun with a cup of tea whilst surveying my increasingly manicured garden…incidentally how long before a frog and a dragonfly arrive to take up residence?

Innes, Miranda & Perry, Clay. Medieval Flowers

Barnett, Rod. “Serpent of Pleasure: Emergence and Difference in the Medieval Garden of Love.” Landscape Journal, vol. 28, no. 2, 2009, pp. 137–150. JSTOR, http://www.jstor.org/stable/43323842. Accessed 22 Apr. 2020.

Heartsease (viola tricolour) – Elizabeth I’s flower

“There’s pansies, that’s for thoughts”.  Ophelia

Detail of pansy on hemline of Hardwick Portrait

The regular post has moved to a midweek time to accommodate the weekly history challenges. Let’s hope I can stay organised.

I’ve been doing some gardening today, making the most of the lovely weather. At this rate I’ll have the tidiest garden ever. Today I did some weeding and planted some seeds that I’ve found lurking in the back of a cupboard. Apparently heartsease populate walls, rockeries and paths easily. Time will tell. Anyway, heartsease as I know it has many different names including Jack-behind-the-garden-gate; kiss-behind-the-garden-gate; Kit-run-around; godfathers-and-godmothers; herb trinity and herb constancy to name but a few.

The name heartsease comes from the days when if you were suffering from a broken heart you could take an infusion of the pretty little plant to treat your woes. I don’t suggest that you try it. In Victorian times when courting couples couldn’t speak openly the flower represented happiness and if you gave it to someone the meaning might be that the recipient occupied the giver’s thoughts – presumably leading to the kiss behind the garden gate.

Gerard’s herbal reveals other medicinal uses for the pansy or heartsease:

It is good … for such as are sick of ague, especially children and infants, whose convulsions and fits of the falling sickness it is thought to cure. It is commended against inflammation of the lungs and chest, and against scabs and itchings of the whole body and healeth ulcers.’

So back to the history – the pansy was Elizabeth I’s favourite flower, and as a consequence it was everyone else’s as well. For Elizabeth the humble heartsease was not linked with kissing behind gates, it represented chastity- an important facet of being the Virgin Queen. In medieval times, prior to the Reformation, it was linked with the Virgin Mary. The colours of the heartsease, white, yellow and purple relate to purity, joy and mourning respectively which relate in turn to the Virgin’s life. 

The Stowe Inventory of the Wardrobe identifies many of Elizabeth’s clothes in 1600 as well as her new year’s gifts which included many hand embroidered items. Elizabeth herself hand embroidered gifts for her own family, most famously Katherine Parr’s prayer book cover stitched when Elizabeth was eleven-years-old, which includes pansies or heartsease.

Katherine Parr’s Prayer book cover stitched by Princess Elizabeth

Look closely at any number of Elizabeth’s portraits including the Pelican Portrait, the Hardwick Hall portrait and the Rainbow Portrait for example and you will find pansies.

Two turtle doves…or in our case one phoenix, a turtle and Mr Shakespeare.

elizabethphoenix

The turtle dove has been in steep decline during the last century.

The Phoenix and the turtle was written in 1601 to go in an anthology entitled Love’s Martyr.  All the works in the anthology have the theme of the two birds.

Essentially the phoenix is married to the turtle dove. The pair love each other so completely that they grow like one another over the duration of their relationship. But times are changing. The pair die and when they die true love dies along with them – there will be no one as virtuous or in love as them ever again. They have been married but chaste – so they leave no children. They are buried and a variety of other birds come to mourn at the funeral. It is the end of a golden age.

There are lots of different interpretations and arguments which this post has no intention of covering. Suffice it to say each bird is the subject of academic speculation.  It doesn’t help that Love’s Martyr is dedicated to Sir John Salusbury – a fairly obscure personage.  In which case he logically should be the phoenix and his wife Ursula the dove.  In any event there wasn’t a great deal of chastity involved as they had ten children. And let’s not get into the whole who was Shakespeare thing!

The phoenix is often, but not always, seen as straight forward enough – Elizabeth I was linked to the phoenix on more than one occasion.    Most famously in 1575 Elizabeth featured in two portraits by Nicholas Hilliard.  In one she is holding a pelican pendant – pinched from Catholic iconography- Elizabeth is stating that she is the mother of her nation and that like the pelican which wounds itself to feeds its young so she has made a great sacrifice for her people – i.e. her unwed state.  The Phoenix Portrait pictured at the start of this post is a reminder that Elizabeth is unique and that having been consumed by the flames the phoenix arises from the ashes.  This could be a reference to the near disaster of her mother’s fall from favour and the dangers she faced during the reign of Mary I.  It could also reference the idea that the people of England should not fear for the future because a) the phoenix lives for 500 years before going up in smoke and b) just as the phoenix regenerates so the Crown will be reborn.  Unfortunately in 1601 it was clear that Elizabeth wasn’t going to last much longer and there was the small issue of who would succeed her.

Which brings us neatly to the other birds in the poem, the mourners.  One of them, the “bird of the loudest lay,” could very well be James VI of Scotland whilst the crow is often interpreted as being Shakespeare himself.  Essentially its important to have some understanding of bird lore before attempting the allegorical meaning behind the poem.  And many scholars take the view that it really is not the point of the poem to try and decipher the bird code at all.  It could simply be that Shakespeare was effectively whistling very loudly whilst writing about the intangibility of true love and trying to distance himself from the Earl of Essex’s Rebellion.  He must have been very aware of the possibility he would be associated with treason given that on the 7th February 1601 his players performed Richard II (and that didn’t end well for the monarch in question).  Shakespeare was paid forty shillings by some of the earl’s supporters, the Earl rose in rebellion the following day  with 300 supporters and marched on London – the play was some kind of signal- but Londoners didn’t take the hint.  Shakespeare must have spent some time afterwards checking that his head was still on his shoulders.

 

2nd earl of essexSo – let us get on to the turtle dove who is after all supposed to be the centre of this post.  In Tudor times the turtle dove represented fidelity.  If Elizabeth is the phoenix who then is the dove?  Robert Devereux the 2nd earl of Essex remains a popular choice.  The idea gained popularity in the 1960s with the analysis of William Matchett. Although, quite frankly, how rushing off  to fight the Spanish in 1586 without permission, getting married without Elizabeth’s approval, referencing the queen’s “crooked carcass,” arriving back from Ireland uninvited, unannounced and bursting into the royal bedchamber before finally revolting and getting oneself beheaded could be described as fidelity is another matter entirely.  One view is that the phoenix and the turtle dove have burned out their love for one another.  It is then argued that Shakespeare was not writing a straight forward poem at all. He was doing something very dangerous –  he was writing a pro Essex poem which basically turns the earl into a hero in the aftermath of his failed rising and subsequent execution on 26th February 1601.

And yes – there are many more theories about who the turtle dove might be but I think it’s time to move away from the topic as I could go around ever decreasing circles for some considerable time.

Incidentally Salusbury was knighted for his part in the suppression of Essex’s rebellion whilst his brother  got himself executed in 1586  for supporting Mary Queen of Scots.

 

 

Bednarz, J. Shakespeare and the Truth of Love: The Mystery of ‘The Phoenix and Turtle’

 

On the First Day of December – a crowned partridge

fr-aunis.gifIt’s that time of year again!  Where did 2018 go?  I thought I’d take the Twelve Days of Christmas for my theme this year – quite loosely but I didn’t think I would actually be able to start with a heraldic partridge sans pear tree.  It turns out that several departments in the Charente-Maritime area of France boast a partridge in their heraldic devices – this one from Aunis depicts a crowned partridge.

Aunis was part of Aquitaine so came into the Plantagenet empire with Henry II’s marriage to Eleanor of Aquitaine.  By the Sixteenth Century it was better known as a Protestant stronghold.  I’m not totally sure where the partridge gets in on the act.

img4456Further reading reveals that partridges weren’t the bird of choice for heraldic devices in medieval times as Aristotle and Pliny had essentially depicted them as deceitful thieves. This was perpetuated in various medieval bestiaries such as the one illustrated here (British Library, Harley MS 4751, Folio 48r.)  No one  particularly wants to be identified with a bird that steals another bird’s eggs, rolls in the dust and is frequently over tired from too much hanky-panky.  It was also associated with the devil because like Satan who seeks to steal the faithful away through flattery the partridge is left with an empty nest when the chicks hear the call of their real parent.

However by the Fifteenth Century all the more glamorous and martial birds had been spoken for and thus it came to be that the partridge began making its appearance in heraldry and oddly enough the symbolism of the partridge began to evolve from unpleasant to that of a devoted parent which will allow itself to be injured to decoy hunters away from its young – it still represented cunning though!  As for the Charente- Maritime, it turns out that many of their heraldic devices were created in the 1940s.

The words to the Twelve Days of Christmas were first published in 1780 in a book called Mirth Without Mischief. It is probably a memory game such as ‘I went to market.’ The idea is that each player remembers an increasing number of gifts in the correct order or has to pay a forfeit possibly a kiss.It has been suggested that the song was a primer for Catholics to help remember key aspects of their doctrine but experts refute this proposition.

Hopefully by the time we arrive at the 25th and the beginning of the twelve days of Christmas we will have explored some more diverse and non mischief making history based facts!

Cheeseman, Clive (2010) Some Aspects of the Crisis of Heraldry. https://www.researchgate.net/publication/259641719_Some_aspects_of_the_’crisis_of_heraldry’

Impelluso, Lucia. Nature and its Symbols.