Jean Froissart was a fourteenth century monastic chronicler. He was not sympathetic to the peasants when he recounted the English Peasants Revolt of 1381. He wrote, ‘Never was any land or realm in such great danger as England at that time. It was because of the abundance and prosperity in which the common people then lived that this rebellion broke out.’ Despite the ‘never had it so good’ viewpoint – which would have gone down well with his European patrons who did not want to see the peasants getting a different deal, he did explain that the peasants believed that they were treated like animals and were determined to be free ‘and if they laboured or did any other works for their lords, they would be paid for it.’
There are different editions of the chronicles. In one version the illustrator makes Richard II look like a young boy but in another, fifteenth century version, he is an adult with dark hair.
Wat Tyler and John Ball meet outside London – they’re carrying English banners so that readers know who they are. Wat and John are labelled for clarity by the artist but the background and the buildings are stylised. It is unlikely that the rebels would have been as well equipped as the illustrations show them – the illustrators were used to armies of the Hundred Years War and even then it was only the wealthy who could afford armour. Most ordinary soldiers were fortunate to have a padded jerkin known as a ‘jack’ or a coat reinforced with chain links. Armour was expensive – and peasants could not afford it.
The king meets the rebels at St Catherine’s wharf. The back ground is stylised but the image also shows rebels being admitted to London in the background. The next scene shows the killing of the Archbishop of Canterbury, Simon Sudbury and other officials by the peasants.
The death of Wat Tyler- killed by the mayor of London William Walworth – apparently for not taking his hat off to the king. The scene also shows Richard II winning over the peasants by promising to be their leader. Wat was drawn into the revolt because, amongst the other grievances, a poll tax collector had assaulted his daughter. The image below is the same scene by a different illustrator – the king is shown as an adult. Smithfield has taken on a stylised urban aspect.
