Reading a headstone – popular graveyard symbols and their meanings

Tags

cemetery symbols, Christianity, death, Felbrigg, Free masons, Funerary art, graveystone, headstones, iconography, memento mori, monuments, mourning, reading gravestones, skulls, symbols, tombstones, Victorian Death

Popular graveyard images explained

This is the companion piece to my stroll through a graveyard post, which covered a very brief history of British cemeteries and headstones. In this post, I’ll be looking at the meaning of some of the common images and symbols that can be found on historic headstones up and down the UK. It’s important to be aware that because the topic of graveyard iconography is so vast, and can vary widely depending upon locality and beliefs, this article is not intended to be comprehensive. Instead I will focus on some popular eighteenth and nineteenth century memorial styles, many of which I have come across during coronavirus inspired rambles around my local area.

Anchors

Anchors have Christian symbolism as well as a more prosaic meaning denoting sailors or the Royal Navy. In Christian tradition they go back to the catacombs of the early Christians, and were secrete symbols of Christianity, like the fish. Anchors symbolise hope[1]. The example below is from a war grave and denotes a member of the Royal Navy, the other from an earlier grave, possibly of a mariner.

• 

• 

Angels

Cemeteries are often filled with sculpted angels casting their benign gaze over the graves of the Victorian departed. There are several popular types of angel with different meanings. Grieving angels drape themselves in mourning over the dismantled altar of life, angels clutching flowers rue the fleeting nature of life, praying angels emphasise religious faith. Other angels are more judgemental – the recording angel with their book and the angel Gabriel with his horn, a sentinel waiting to call the Christian dead to rise of the day of the last judgement. and some angel images are unique, such as in the monument to Mary Nichols in Highgate Cemetery, which depicts an angel sleeping on a bed of clouds.

• 

• 

• 

• 

Arches

Arches symbolise victory of life or victory in death [2] or the gateway to heaven [3]. This would send a reassuring message to the mourners as they passed under the grand arched entrance to All Saints Cemetery in Jesmond.

All Saints Cemetery entrance, Jesmond, Newcastle.

Arrows

Arrows are memento mori, symbolising the dart of death piercing life, and can sometimes be found wielded by skeletons, to drive home the link to mortality. The arrow below is linked with a pick, symbolising mortality, and a knot which was often used to symbolise eternal life.

Books

Books can appear in a variety of forms, open, closed, piled up. They can represent the Bible or word of God, the book of life, learning. A closed book might symbolise a long life, an open or draped book can symbolise a life cut short (4). The example below acts as a Memento Mori, reminding the living that they too will die, and is augmented with a skull and bones rising up through the earth.

Chest tombs

Chest tombs were popular from the seventeenth century, the leger stone on top, with details of the deceased, was raised up on a chest-like structure. The body is not buried in the chest, but beneath the structure. The example below is from St Lawrence’s church, Eyam, Derbyshire, and incorporates the skull and crossbones iconography (the essential remains that Christians believed were required in order to rise on Judgement Day).

Cherubs

Cherubs often symbolise innocence and are popular on the tombs of children. The cherub below left is from Grey Friars Kirkyard, Edinburgh, and rests its elbow on a skull, an obvious symbol of death and mortality. The example on the right, from Jesmond Old Cemetery, Newcastle, the cherub holds arose and flower bud, the rose can symbolise heavenly perfection or mother, while the broken bud could represent the fleeting nature of the young lives commemorated by the monument [5].

• 

• 

Clouds

Clouds represent the heavens, below, an angel peeks out from behind the clouds, which are pierced by the rays of the sun.

Columns/broken columns

Columns again hark back to a classical tradition. A broken column represents a life cut short, often the head of the family. The example on the left is from Jesmond Old Cemtetery, Newcastle, while the one on the right, with the addition of a wreath for remembrance is from Highgate Cemetery, London.

• 

• 

Coats of arms

Usually designates a family or individual or location. The example below seems to be from a proud Novocastrian, as it was erected in St Andrew’s church in Newcastle and the crest bears some similarity to the coast of arms of Newcastle (three towers), rather than to the family name of the deceased. It also shows a mason’s compass and set square.

Crown

The kingdom of heaven.

Doves

Doves can be seen flying downwards and upwards, with broken wings and carrying olive branches. Broadly speaking a dove flying up is the soul flying up to heaven, flying down, the holy spirit coming from heaven.

Flying faces

As discussed in my previous post A stroll through a graveyard a flying faces developed out of the Memento Mori image of the flying skull, reminding the living that they too would die. Winged skulls gradually morphed into flying faces during the eighteenth century, representing the soul flying up to heaven. Later the face became cherubic and represented innocence. The Three examples below are, from left to right, from All Saints Churchyard, Newcastle and Holy Trinity, Washington Tyne & Wear.

• 

• 

• 

Globe

See world, below.

Hands

Hands are popular motifs on headstones and can have a variety of meanings, from the hand of god coming out of the clouds, to the offering of prayers in blessings. Hands can also indicate that the deceased is going to heaven (pointing upwards) or may have died suddenly (pointing downwards). The example below left shows a handshake, which can be between a married couple or fraternal, alternatively, if one hand appears limp, it can indicate God taking the hand of the departed [6]. The example on the right shows a hand with a heart, this can indicate charity and generosity, but it can also indicate the deceased was a member of the Oddfellows fraternity [7].

• 

• 

Hourglass

Hourglasses are memento mori, reminders of mortality and that life on earth passes quickly. They can appear with wings, to symbolise how ‘time flies’ and on their side, to demonstrate how time has stopped for the deceased. Below left, from an eighteenth century headstone from St Andrews, Newcastle, on the right, a more pointed link between the hour glass and mortality, from Holy Trinity, Washington, Tyne and Wear.

• 

• 

Ledger stones

Ledger stones are flat against the ground and often cover family plots, the stones filling up as the graves receive more burials.

Memento Mori Scenes

Many early headstones from the seventeenth and eighteenth centuries combine a variety of memento mori images into scenes designed to remind the living of their own mortality and the importance of living a good life in order to go to heaven. The examples below are from various graveyards around Newcastle and show that some masons had seemed to have a particular flair for the macabre!

• 

• 

• 

• 

Obelisks

Obelisks are an ancient Egyptian symbol that represented life and health, and/or a ray of the sun. When Napoleon invaded Egypt in 1798, Europe was gripped by a passion for all things Egyptian. Obelisks became popular as funerary monuments, particularly in the Victorian era. On the left, obelisks in an overgrown patch of St Peters, Wallsend, and on the right, from Jesmond Old Cemetery, Newcastle.

• 

• 

Occupations

Many headstones list the occupation of the deceased, but some go further, below left is an example of an artist’s paint palette and to the right, a classical scene depicting a physician, naturally enough, on the side of the monument to a doctor.

• 

• 

Portraiture

Funerary portraiture can be found on monuments and tombs from ancient times and isn’t always restricted to those of historical importance or aristocratic lineage. In the Victorian period, photography became more widespread and trends such as post mortem photography were embraced, photographs can even found on some headstones from the period. Preston Cemetery in North Shields has a rare surviving example, I viewed it once many years ago, but I’ve not been able to locate it since.

The example below left, is that of Dr James Milne at St Peter’s churchyard Wallsend (the above classical scene is also from his monument) a man well respected locally, the monument was erected by his friends. The other example shows renowned renaissance humanist scholar, and one-time tutor to Mary Queen of Scots, George Buchanan, and can be found in Grey Friars Kirkyard, Edinburgh.

• 

• 

Scythes

Memento mori symbols, carried by Death or the grim reaper, symbolising the cutting off of life. The example below, from Grey Friars Kirkyard incorporates the hourglass to emphasise the fleetingness of time.

Sexton’s tools

Sexton’s are the church officials who look after the churchyard and dig graves. Their tools can appear on gravestones as an indication of their occupation, or more generally as a symbol of mortality. This example is from the Covenanters Prison, in Grey Friars Kirkyard, Edinburgh.

Shells

Shells can be used as a decorative motif, but also have a Christian origin, in particular scallop shells are associated with pilgrimages (still popular today on the Camino Trail). After the Jacobite rebellions in the eighteenth century, they could also be a political gesture, indicating allegiance with the king over the water. The example below is from the seventeenth century mausoleum of the infamous Bloody Mackenzie in Grey Friars Kirkyard.

Skulls

Whether winged or floating above cross bones, skulls represent mortality and act as Memento Mori. Trevor Yorke notes that from the medieval period onwards, it was believed that the skull and crossbones were the bare minimum bodily parts required to ensure resurrection on the day of judgement.

• 

• 

Left, a particularly sinister looking winged skull from an eighteenth century headstone in St Margaret’s, Felbrigg, Norfolk. Right, skull and crossbones from a seventeenth century chest tomb in St Lawrence’s, Eyam, Derbyshire.

Snakes/Ouroborus

Originally an ancient Egyptian symbol for health that entered the western tradition via the Greek Ouroboros, a snake swallowing it’s own tail, symbolises eternal life. This example is from All Saints Cemetery, Jesmond, Newcastle.

Here the Ouroboros symbol for eternal life is coupled with the scythe symbolic of death.

Square and compass (Masonic/Freemasons)

The square and compass is a found on the funerary monuments of members of the Freemasons, often accompanied by a ‘G’ representing God and Geometry. The Square and compass are a reminder to Freemasons to keep their actions within the tenets of Freemasonry [8].

Table tombs

Table tombs have the ledger stone on top, supported by legs and forming a table structure. The burial is beneath. The examples below are from Tynemouth Priory in Tyne and Wear.

Torches

Torches represent human life, death, and eternal life. If they are pointing down and have no flame they represent a life extinguished, whereas if they are pointing down but still alight the represent the eternal life of the soul. The example below symbolises bodily death but the eternal life of the soul.

Urns

Urns hark back to the funerary urns of ancient Greece, in which cremated remains would be interred. They became popular from the eighteenth century and endured into the Victorian period, possibly because they denote the body being cast off in preparation for the souls journey to heaven [9]. They could also appear with flames atop – symbolising the eternal flame of friendship or religious fervour. Other urns appear are covered with drapery, which can symbolised the curtain between life and death or the casting off of worldly garments[10] and often denoted the death of an older person [11] (and when coupled with a weeper, became a popular classical image).

• 

• 

These examples are from Jesmond Old Cemetery, Newcastle.

Wheatsheaves

Wheatsheaves are most often associated with a long life, although where only few stalks are found, this can indicate that the deceased was young. The example below, from Grey Friars Kirkyard, is combined with a skull and crossbones.

Women in mourning (weepers)

The image of a woman, with loose flowing hair, mourning over a tomb or an urn, was very popular in the eighteenth and nineteenth century. In this example from Jesmond, the weeper holds a wreath (see below for meaning).

World (globe)

The world or globe image represents worldly pleasure and is often coupled with death in order to emphasis the wages of worldly pleasure (and sin) are death, as shown in these examples from Grey Friars Kirkyard, Edinburgh.

• 

• 

Wreaths

Wreaths are classical in origin, being awarded to athletes in the ancient Olympic games. In funerary art their circular shape represents eternal memory. Wreaths of bay leaves represent triumph over death, while wreaths of roses, like the example below, from Highgate Cemetery, London, can represent virtue and heavenly bliss (12).

This list represents only a snippet of the cemetery symbols that can be found. I hope this encourages you to go out and explore your local historic cemeteries and graveyards and to be able to read some of the richly symbolic funerary language used by our ancestors. Please remember to be quiet and respectful when you visit your local historic cemeteries, some may still be in use, and many monuments may be fragile.

Happy headstone hunting!

Sources

BBC – London – History – Victorian Memorial Symbols

Snider, Tui, 2017, Understanding Cemetery Symbols

Symbolism Meaning: Animals – Art of Mourning

Symbols – TheCemeteryClub.com

The Symbolism of Victorian Funerary Art – Undercliffe Cemetery

Yorke, Trevor, 2017, Gravestones, Tombs & Memorials

Notes

1. The Cemetery Club, Symbols
2. ibid
3. BBC, Victorian Memorial Symbols
4. Tui Snider, Understanding Cemetery Symbols
5. ibid
6. ibid
7. ibid
8. ibid
9. ibid
10. ibid
11. The Cemetery Club, Symbols

Available now on Amazon! The Haunted Mirror: History, Folklore and the Supernatural, from the Haunted Palace Blog

Tags

dark history, folklore, Ghosts, Haunted Palace book, haunted palace collection, Macabre, new book, supernatural

Published 16 May 2021, 230 pages

Paperback £8.99

Kindle £3.99

Buy now on Amazon, click here: The Haunted Mirror: History, Folklore and the Supernatural from the Haunted Palace Blog (The Haunted Palace Blog Collection): Amazon.co.uk: ., Lenora, Jessel, Miss: 9798505220504: Books

_@chknstyn

A compendium of dark history, strange folklore and mysterious hauntings culled from the Haunted Palace Blog. Lenora and Miss Jessel have selected and re-worked some of their favourite posts for your enjoyment.

Did you know that a prodigious palace once stood in the London Borough of Wanstead and Woodford but a dissolute Earl threw it all away, leaving his heart-broken wife to haunt its ruins forever? Or that Victorian tourists flocked to the grim spectacle provided by the Paris Morgue – the best free theatre in town? Or that a murderous jester is reputed to have lured people to their deaths at a castle in Cumbria? Join us as we explore a past populated by highwaymen, murderers, eccentrics, and lost souls.

Lavishly illustrated with specially commissioned art, engravings and photographs from the Haunted Palace Collection, and national collections.

@igamagination

A Stroll through a graveyard: a very brief history of British cemeteries

Tags

burial, burial practice, Cemeteries, charnel house, Christian burial, churchyards, Graveyards, headstones, history, monuments, tombstones, Victorian Cemeteries, victorian graveyards

With the Coronavirus lockdowns of 2020/2021 many of us have had to find our pleasures closer to home than usual.  One of my favourite past-times has been visiting some of my local graveyards and taking a leisurely stroll amongst the tombstones and monuments.

Overgrown urban cemeteries and churchyards provide a haven for nature, an escape from the bustle of the modern world, and respite from the claustrophobia of a national lockdown. Often protected from traffic and pollution, and hidden from sight behind high walls, they can easily be overlooked by passers by. Yet within those high walls you can find butterflies dancing on delicate wildflowers, squirrels sheltering in the branches of ancient trees and foxes hiding amongst the tangled brambles.  Cemeteries are also steeped in cultural history and rich in public art, with elaborate memorials and tombs, describing a rich and varied iconography of death and remembrance. I have done a separate post on some of the common cemetery symbols found on headstones.

As the subject of burial and funeral monuments is a vast one, this article will be by nature selective, focusing mainly on traditional Christian burial practices found in mainly English cemeteries and churchyards. However, it is important to note that there are also many examples of different regional styles and practices as well as those of other faiths, all of which can also be found in our historic graveyards.

A very brief history of traditional British cemeteries and their monuments

Romans, Saxons and Medieval burial

Many British churchyards sit on much older pre-Christian burial grounds, and may contain remnants of those earlier times, occasionally these remnants can be seen today. It has been suggested that the Romans may have invented (or at least developed the idea of) the headstone as we know it [1]. The Roman tombstone below (L) can be found in Holy Trinity Churchyard, Washington, Tyne and Wear, and does look remarkably similar to later headstones.

Medieval churchyards did not contain many stone grave markers, so were ideal places for community activities such as fairs and village games (until the puritans put a stop to jollity, that is). Often the only stone monument was a large cross, although many of these were destroyed during the Reformation of the sixteenth century [2]. The example below (M) is the Mercian Cross, a Saxon cross from the eighth-tenth centuries, which can be found in St Lawrence’s church, Eyam, Derbyshire. In this period, only those of very high status would merit an individual burial and memorial, many people would expect to end up in a charnel house. Initially ‘wet’ bodies (i.e. fresh, fleshy bodies) were stored in stone coffins until they decomposed and became ‘dry’ (i.e. bones). The bones would then be stacked in the charnel house. The stone coffins below (R) can be seen at Tynemouth Priory, Tyne and Wear. If you were wondering where the corpse liquor went, some stone coffins also contained a hole to let it drain out [3].

• 

• 

• 

From pomp and purgatory to the resurrection men

Richard Fleming’s tomb and chantry chapel, Lincoln Cathedral.

Our relationship with the dead has changed over time. Purgatory as an actual place was introduced as a concept from the late twelfth/early thirteenth centuries. This lead to a drive to encourage the living to ease the passage of the deceased through purgatory with prayer. Gruesome monuments, such as Cadaver Tombs, (which depicted the deceased as rotting corpses) were often linked to chantry chapels to elicit prayers for the dead. This provided the living a sense of moral and religious satisfaction while assisting the dead towards  salvation [4, 5]. Other, less macabre tomb monuments, called gisants, emphasised the earthly status of the deceased, showed them in fine regalia, as if in prayer or sleeping.

The Gisant style monument for Sir Ralph Grey (d1443) and his wife, Elizabeth. St Peter’s church, Chillingham, Northumberland.

While most people in the medieval period were buried in unmarked graves, tombs or memorials of the great and (often not so) good were sighted inside churches and the higher the status of the deceased, the closer to the altar (and God) they would be placed. In later times this also protected the dead from body snatchers. This resulted in some very dubious practices, such as at Enon Chapel in London, where cut price burials resulted in the dead being piled up to the rafters in a tiny crypt, in order to line the pockets of the rapacious minister.   In the past, these intramural burials in churches were notorious for causing a bit of a stink (and worse in the case of Enon chapel), but such burials can result in problems even today. Recently, the floor of Bath Abbey, which is paved with ledger stones, flat grave markers, was restored to stop the floor sinking into the cavities caused by the decayed bodies beneath. (Somerset Live).

The Reformation of the church in the sixteenth century, which made the concept of purgatory redundant for many, the restoration of the monarchy in 1660 that ousted the party-pooping puritans, combined with a rising class of wealthier farmers and merchants, created a sea-change in funeral monuments. From the end of the seventeenth century churchyards begin to fill up with tombstones, recording personal status, family ties, occupation and epitaphs, as well as some very macabre iconography [6].

As with burials inside the church, burials outside had their pecking order. Burial on the east side of a churchyard was preferred, with the body facing east in order to rise on the day of judgement. Burial on the north side was reserved for the illegitimate, criminals, suicides and strangers, and was therefore a less favourable location [7]. There is a wonderful description of this in MR James’s The Ash Tree, the executed witch, Mrs Mothersole, is said to have been buried on ‘that unhallowed side of the building‘. In some areas these ‘undesirable’ burials would take place outside the church yard itself or the corpse would have to be unceremoniously bundled over the wall of the churchyard, after being refused the usual welcome by the vicar at the lych-gate [8].

While post mortem social status was a pressing issue for some, from the late eighteenth century, body snatchers were a real fear for many. This was the case right up until the passing of the Anatomy Act in 1832 (which solved the problem of supply of cadavers for the anatomists table by co-opting the corpses of the poor and destitute). To protect the dearly departed from such ‘resurrection men’ elaborate precautions were put in place and they can still be found in some graveyards today.

Image by https://wellcomeimages.org/indexplus/obf_images/0a/b0/95f14983a9a287f3932cd1e71806.jpgGallery: https://wellcomeimages.org/indexplus/image/V0010462.htmlWellcome Collection gallery (2018-03-24): https://wellcomecollection.org/works/b2gb3sp8 CC-BY-4.0, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=36452434

Famous examples of post mortem protection can be found in Greyfriars Kirkyard, Edinburgh which boasts a very fine mortsafe.  While the infamous Burke and Hare may have preferred to obtain their bodies by seeking out ‘future corpses'[9] in the drinking dens of the old Town, many others were stealing corpses from graveyards to supply Edinburgh’s famous medical schools. 

Tombstone trends

As more people were able to afford permanent grave markers, churchyards began to fill up and certain styles of headstone became popular. Headstones began short and stout, gradually becoming taller and less chunky as the centuries progressed – although this could depend on the quality of the local stone. More elaborate ornamentation and inscriptions became popular, however, the execution of the design could depend on the skill of the mason, many of whom may have been illiterate, as is seen below.

The examples above, from St Andrew’s, Newcastle, and Tynemouth Priory, Tynemouth, show eighteenth century grave stones with the text cramped together, of uneven size, and occasionally with words broken over lines. The example on the right also shows some naïve attempts at decoration.

The size difference between the early 18th Century gravestone on the left, and the nineteenth century one on the right. St Peter’s Church, Chillingham.

These headstones were often in three parts – decoration at the top, details about the deceased (names, dates, occupation, family ties) then an epitaph or scriptural quote at the bottom. Some stones also have the mason’s name as well.

These earlier grave stones had their inscriptions facing away from the actual burial plot, and some had a ‘body stone’ covering the burial, or a small ‘footstone’ indicating the length of the grave. In some cases the direction of the headstone was reoriented by the Victorians. The Victorians often marked the limits of a grave or family plot using kerbstones or railings [10].

• 

• 

• 

As the times changed, so did decorative motifs, one of the most notable metamorphosis being that of the infamous grinning skull and crossbones. This first evolved into a flying head before morphing into a chubby cheeked cherub (a more sentimental, but no less disquieting images, to my mind).

Seventeenth and early eighteenth century skull and crossbones motifs, usually found in the top section of decoration, acted as a memento mori, reminding the living that they too would soon be dust (so they should behave themselves and lead good lives). This tradition evolved into flying faces, which symbolised the soul flying up to heaven, and later still, in the late Georgian and Victorian period, morphed into flying angels/cherubs, symbolising innocence (they were often used on the graves of children [11].

The taste for the macabre in graveyard symbols lingered well into the eighteenth century, but by the closing decades, tombstones could be found with tranquil classical iconography, in keeping with Georgian taste for all things ancient Roman and Greek. 

Late eighteenth century tombstone with classical motifs, St Andrew’s, Newcastle.

By the nineteenth century, it was the rising urban middle classes who drove the developments of tombstone designs.  Huge gothic follies, classical urns and columns sprouted up across the land. Crosses and Angels as grave markers even made a come-back, shunned after the Reformation and centuries of anti-Catholic feeling in England, they underwent a renaissance in the nineteenth century and can be found in abundance in many Victorian cemeteries. 

Victorian Gothic, the funerary monument of the Reed family, at Jesmond Old Cemetery, Newcastle.

• 

• 

• 

• 

Angels and crosses from Highgate Cemetery, London, Jesmond Old Cemetery, Newcastle and Tynemouth Priory, Tyne and wear.

The Civic minded Victorians also came up with the concept of the Garden Cemetery, situated in the suburbs, laid out like parks and dotted with attractive grave monuments, these cemeteries not only addressed the problems of overfull and unsanitary urban burial grounds, but made a visit to the grave of a loved one into a pleasurable day out [12]. 

• 

• 

The difference between the overcrowded headstones in Bunhill burial ground, in use in the centre of London since the seventeenth century, and the elegant nineteenth century suburban garden cemetery, in this case Jesmond Old Cemetery in Newcastle, was plain to see.

The Victorians also helped to democratise death, through their more industrialised production techniques, machine cutting inscriptions, standardised patterns, and a budget range of guinea graves, and community burial clubs. As the nineteenth century progressed more and more people could have a permanent marker to meet their budget. The downside of this was that the idiosyncratic and personal memorials of earlier times were often replaced with standard shapes, such as the ubiquitous lancet gravestone,  and more generic  religious or moral sentiments. Of course, this doesn’t meant that the families and friends of the departed grieved any less, only that the outward language of death and the business of burial had become more of an industry [13, 14].

The ubiquitous lancet headstones found in Victorian cemeteries across Britain.

New materials also played their part, with machine cut inscriptions, lead lettering and occasional iron headstones (very appropriate for such an industrial age).

This unusual but appropriate iron headstone was chosen for William Crawford, an Iron Founder, and can be found in Jesmond Old Cemetery, Newcastle. Unfortunately, it has weathered badly.

The twentieth century saw the mass death of the First World War, with Cenotaphs, empty tombs, for recording the deaths of millions, and many soldiers buried on foreign shores.  You can find the occasional pristine war grave, striking in its simple poignancy, amongst the unruly ivy clad headstones of a previous era. However, it was inevitable that death on such an industrial scale, with so many families left grieving without a body to bury, would cause a fundamental change in how the dead were commemorated, World War I was the beginning of the end of the lavish Victorian way of death. 

• 

• 

Gone but not forgotten. A solitary war grave sits amongst older graves at Church Bank Cemetery in Wallsend; while a war grave from 1917, in Jesmond Old Cemetery, is adorned with a recent poppy tribute.

Today, in Britain, cremation far outstrips burial, nevertheless, you can still find some unique and personal grave monuments on occasion. A particularly poignant example can be found in Westgate Crematorium in Newcastle, where a huge black marble edifice stands for a young man, dead before his time, and which includes a marble motorbike. While this may not be to every ones taste, it is a unique and very personal memorial.

There has been a church on this site since the 12th Century, St Peter’s church was rebuilt in 1809 and remodelled in 1892. Wallsend, North Tyneside.

Who lies beneath

Cemeteries are filled with the famous and not so famous, all with their individual tales that remind us that these mossy and ivy cloaked monuments hid the bones of people just like us, who lived and loved and sometimes suffered.

Dame Mary Page, 1729, Bunhilll, London

Grave monuments could be very personal in the eighteenth century, one could say, too personal, as this famous monument to Dame Mary Page at Bunhill cemetery in London demonstrates. The unfortunate Dame Mary died in 1729, the inscription describes her final years “In 67 months she was tap’d [tapped] 66 times, Had taken away 240 gallons of water without ever repining at her case or ever fearing the operation.”

The Keenleyside Monument, 1841/2, Jesmond Old Cemetery, Newcastle

This canopied monument featuring a reclining cherub rests beneath mature trees in Jesmond Old Cemetery and hides a terrible family tragedy. The monument was erected by Thomas William and Louisa Keenleyside in memory of their children, Eleanor, 2 years old, Charles, 12 years old, and James who was 10 years old. The children died in quick succession between December 1841 to January 1842, victims of the Cholera epidemic that raged through the city. Epidemics and other diseases such as scarlet fever were common in the Victorian period, and could rip through a family taking siblings one after another. It is hard to comprehend how Thomas and Louisa came to terms with this heart wrenching loss, although this monument may have been part of that process.

Tom Sayers, 1865, Highgate Cemetery, London

You would be forgiven for thinking this monument in London’s Highgate Cemetery was the grave of a large dog, but in fact is commemorates Tom Sayers, Victorian superstar prize-fighting bare-knuckle boxer, who died in 1865. Sayers had a turbulent personal life, so the chief mourner at his funeral was his mastiff, Lion, who rode alone in a pony cart behind the hearse. Sayers kept the hound next to him even in death, and Lion was immortalised by sculptor Morton Edwards and forms the most prominent feature of Sayers monument [15].

Epilogue

For me, the apogee of cemetery design came in the nineteenth century, when over-crowded, unsanitary urban cemeteries, such as Bunhill Fields, were replaced with leafy suburban garden cemeteries.  Highgate cemetery, Abney Park and Kensal Green were intended as pleasure grounds as much as for memorialising the dead.  Recently, I have spent many hours exploring my local cemeteries and churchyards, discovering fascinating facts about my area – the pastoral poet buried in the centre of Newcastle, the Georgian composer, organist and music critic buried in St Andrews, as well as countless ordinary people, whose lives flicker before us briefly in their epitaphs.

Ledger stone for eighteenth century Newcastle composer and organist Charles Avison. Avison died in 1770, but the ledger stone was replaced in the nineteenth century.

The Coronavirus pandemic has claimed so many lives, however, once the pandemic itself has entered into the pages of history, I hope that we will not forget the quite pleasures of walking in these public gardens of the past and experiencing that fleeting connection with those who have gone before us.

All Saints, Newcastle.

Part 2 will look at the meaning behind some of the symbols found on headstones.

Sources

Cohen, Kathleen, 1973, Metamorphosis of a death symbol

King, Pamela, 1987, Contexts of the cadaver tomb in fifteenth century England

Morgan, Alan, 2004, Beyond the Grave, Exploring Newcastle’s Burial Grounds

Ross, Peter, 2020, A Tomb With a View, The Stories and Glories of Graveyards

Rutherford, Sarah, 2008, The Victorian Cemetery

Snider, Tui, 2017, Understanding Cemetery Symbols

Victorian Web, Funerary monument to Thomas Sayers (1826-1865), Western Cemetery, Highgate, London N.6. (victorianweb.org)

Yorke, Trevor, 2017, Gravestones, Tombs & Memorials

Notes

1. Alan Morgan, Beyond the Grave, Exploring Newcastle’s Burial Grounds
2. Trevor Yorke, Understanding Gravestones, Tombs & Memorials
3. ibid
4. Pamela King, Contexts of the cadaver tomb in fifteenth century England
5. Kathleen Cohen, Metamorphosis of a death symbol
6. Trevor Yorke, Understanding Gravestones, Tombs & Memorials
7. Tui Snider, Understanding Cemetery Symbols
8. Peter Ross, A Tomb with a View, The Stories and Glories of Graveyards
9. The Order of the Good Death (death positive movement)
10. Trevor Yorke, Understanding Gravestones, Tombs & Memorials
11. Tui Snider, Understanding Cemetery Symbols
12. Sarah Rutherford, The Victorian Cemetery
13. Tui Snider, Understanding Cemetery Symbols
14. Trevor Yorke, Understanding Gravestones, Tombs & Memorials
15. Victorian Web, Funerary monument to Thomas Sayers

Which Mortality Remindin’ Shirt is for You? | The Order of the Good Death

WGW: Whitby Goth Weekend Oct 2019

Tags

Abbey Wharf, Alternative, Bizarre Bazaar, corsets, Doctor and the Medics, Dracula, Goths, Halloween, October 24-27, St Marys Church, Steampunks, Vampires, Victoriana, Victorians, WGW, WGW 2019, WGW part II, Whale bones, Whitby, Whitby Goth Weekend

Whitby Goth Weekend 24-27 October 2019

Twice a year Whitby, a quaint seaside town in North Yorkshire, becomes the mecca for the darkside. Goths, Steampunks, Victorian enthusiasts all gather for the Whitby Goth Weekend.  The event, which grew out of a goth music festival developed by Jo Hampshire back in 1994,  is now so huge that accommodation is often booked out for two years in advance and it’s estimated that it these two weekends bring in over a £1.1 Millions pounds to the local economy.

WGW brings in the crowds!

I’ve been going to the Goth weekend for many years with Bonnie and Occasionally Miss Jessel has managed to join us, but life and general mischance have meant I’ve not been since the 2015 October event.  My recollections of the at last visit was that there was a change in the air, the Goths who came for the music festival seemed to be in retreat in the face of Victorian enthusiasts and the Steampunk advance.  The locals also seemed to be growing tired of photographers and visitors disrespecting and damaging the historic graveyard of St Mary’s.  What had always seemed to be a very inclusive and welcoming atmosphere had developed fissures and the tensions were bubbling up to the surface. While I still enjoyed the evant, I was left wondering what would happen, if, indeed, it would survive.

WGW at Abbey Wharf

Doctor and the Medics at Abbey Wharf

I’m happy to say that WGW is going strong.  In the face of a huge explosion in popularity over the last few years and the diversity of alternative sub-genres in evidence, it is clear that the event has successfully evolved and regenerated into a wonderful and inclusive event.

These days the music events have diffused and WGW have many official events across the weekend.  The events are all free, but you can get fast-track and VIP tickets (which are worth it, as even after 11pm the Queues were long).  Jo and the other organisers seem to have successfully brought music back to the forefront of the event Abbey Wharf played host to a Stars and Moons Productions Barnum and Bailey/Greatest Showman themed night, headlined by the legendary Doctor and the Medics.  It was packed out and there were queues all night to get in.

The Bizarre Bazaar has also lost none of its allure since moving from Whitby Pavilion to Whitby Leisure Centre (just a short way along from the Pavilion).

Tourists flock through St Mary’s graveyard.

This year sadly  Miss Jessel was unable to join me, but Bonnie and I went down with some younger friends who had never attended the event before.  I don’t think that they were quite ready for how difficult it was to get anywhere without being swarmed by photographers! One of them even made it into the national papers (look for ‘woman in black corset and dramatic face makeup enjoying a stroll’ in the link below) not bad for her first visit!!

Modern Vampire hunters!

https://www.dailymail.co.uk/news/article-7618815/Goths-steampunks-seaside-town-Whitby-twice-yearly-Goth-Weekend.html

Here are some of the images from Whitby Goth Weekend 2019.

The Goths and the Victorians

Victorian Vampires at St Mary’s Church.

Death stalks the St Mary’s graveyard.

Miss Jessel has a rival in this gothic governess.

Death and the maiden

Detail

The Vampire chained

 

Goth guy

 

Vampyra in the YHA (outfit designed and created by Iga Pecak)

 

 

 

 

 

 

 

 

 

Close up by the whale bones

Vampire Alley

 

RNLI guess the weight of the pumpkin!

Grey lady and gent

Purple lady

The Mad Hatter

Bride of the bat

Detail

Victorian Steampunk couple

The undisputed queen of the vampires

Steampunks and the rest

 

Steampunk Pirate hat by Iga Pecak

Detail

Steampunk explorers at the whale bones

Steampunk gentlemen

Gentleman playing the saw at the bandstand

STeampunk pixie girl

Gorgeous Georgians

 

You shall not pass!

Anime girl

Bring out your dead!

Where else but Whitby would you see a lady out strolling with her dragon?

And the final word goes to the fabulous Goth Cat and friend!

HAPPY HALLOWEEN

FROM THE HAUNTED PALACE!!

Greyfriars Kirkyard: Covenanters, Bloody MacKenzie and things that go bump in the night.

Tags

black mausoleum, Bloody Mackenzie, Bluidy, city of the dead, Convenaters, edinburgh ghosts, George Mackenzie, Ghosts, Greyfriarys kirkyard, Kings Peace, national covenant, Orbs, poltergeist, The Black Bond

Edinburgh is a city rife with duality, it is a city where surgeons shake hands with murders, superstition vies with enlightenment and the cruel compete with the sentimental. And in a city like Edinburgh, the dead, like the poor, will never be far away. Greyfriars Kirkyard crouched behind the Grassmarket, protected by high walls and overlooked by the tall tenements of Candlemaker Row, is famous as the resting place of the great and the good: from Buchan to Greyfriars Bobby. But those walls also encompass darker tales: of plague pits, resurrectionists and the brutal suppression of religious dissent.

Mary Queen of Scots and a surfeit of bodies

King Death.

From the 1400’s to the 1500’s the Kirkyard was a Franciscan convent garden situated on the outskirts of the town; however by the mid sixteenth century pressure on the existing burial ground at St Giles led Mary Queen of Scots to make a gift of the land for use as a cemetery [1]. This was in 1562 and was not a moment too soon, as plague ravaged the city in 1568 and many of its victims ended up in plague pits in the Kirkyard. To further add to its grisly history, the severed heads of criminals executed on the Grassmarket were displayed at entrance of Greyfriars Kirkyard closest to it. As the body-count rose, so too did the ground level[2]. It is worth remembering that as with most old cemeteries, there are a lot more bodies than there are visible monuments…so tread carefully, because every step is likely to be over someone’s grave.

Tenements and Grave Monuments back to back.

The pale gold Dutch-barn-style church that visitors see today looks timeless but it is not the original Greyfriars Kirk. A late Gothic-style church was begun on the site in 1602 and took nearly twenty years to complete. The old kirk didn’t have much luck; it was damaged during the Civil War and partially destroyed in 1718 when the town’s gunpowder supply, which some bright spark had decided to store in the church tower, blew up. Eventually a new kirk was added to the surviving old kirk, but ill-fortune dogged that too, and a fire in 1845 destroyed the remaining old kirk and damaged parts of new. All seems peaceful now, although if you look closely you can still see some remaining scorch-marks on the brickwork, a reminder of its eventful past[3].

Greyfriars Kirk

The National Covenant of Scotland

One of the most tragic elements of the history of Greyfriars, and one with potentially long lasting psychic consequences, is its link to the doomed Covenanter movement of the seventeenth century.  An old legend about the conversion of Scotland to Christianity claims that there was a covenant between God and the community of Scotland before the first king, Fergus, began his reign (c310AD). To many Scots this cemented the idea that Scotland, not England, or even Rome itself, was the first true Godly Kingdom; it reinforced the belief that no king could stand between the Scots and their covenant with God. In England, the King was the head of the Church but traditionally in Scotland the Kirk had no such figurehead. This would prove a sticking point between the Scottish Covenanters and King Charles I [4].

King Charles I. Image source unknown.

Charles I, despite his Scottish birth, critically misread the mood of the Scots when he and Arch-Bishop Laud introduced the Authorised Prayer Book in1637, it was an attempt to bring the reformed Catholic Church, epitomised by English Episcopalianism, to Scotland, and it was required that the book be read out in Scottish Kirks. This was not a wise move by the king. Described as ‘This Popish-English-Scottish-Mass-Service-book’ by John Row, a minister at St Giles [5] its attempt at introducing a national church, with the king as its head, served only to inflame calls for Scottish religious independence.

.
On 23 July 1637 the reading of the Authorised Prayer Book in Scottish Kirks led to the Prayer Book Riots, in which stools were hurled at the Dean and Bishop of Edinburgh in St Giles, and the Bishop designate of Argyll was shouted down at Greyfriars Kirk for trying to introduce popery by the backdoor.

The Prayer Book Riots in Scotland, 1637. Image source Wikipedia.

Charles I and Arch-bishop Laud were attempting to introduce an Arminian inspired version of the church across Britain. The Arminian view considered that the Church of Rome was a true church even if misguided. In short, Charles and Laud wanted to introduce a reformed Catholic Church across England and Scotland. This was a red-rag to a bull for Scottish Presbyterians, as Simon Schama wrote: ‘The mere notion that the Church of Rome was not actually the abominable institution of the Antichrist, sent them into a paroxysm of wrath.’ [6] Something had to be done to protect the godly church in Scotland from the corrupt and popish church that Laud and his bishops were trying to impose on Scotland.

Archbishop of Canterbury, William Laud. Image source Wikipedia.

The King, far removed from his Scottish roots, would not renounce Arch-bishop Laud, Bishops in general, or his idea of what the church should be, and tensions were running high. In fact, Charles thought much of the resentment was being fanned by France, rather than local sentiment, and made it clear he would treat such views as traitorous. The ground was ripe for religious rebellion.

.
On 28 February 1638 before the pulpit in Greyfriars Kirk, the National Covenant was signed. Prayers were offered, Psalms sung and sermons delivered. The New Jerusalem was to be in Scotland. Over the next days and weeks the covenant was displayed and signed by multitudes, rich and poor, young and old, men and women alike. Simon Schama notes that such was its importance to the national psyche it became almost a measure of patriotism– to be a true Christian and a true Scot you must sign the covenant [7].

The Signing of the Covenant in Greyfriars Kirkyard, by William Allan 1838. City of Edinburgh Council; Supplied by The Public Catalogue Foundation.

On the surface the document maintained the Kings Peace, but under the condition that the king could be lawfully challenged if he broke the covenant. Schama also points out that Covenanters did not see their demands as threatening to the King as such, with the proviso that if the King should threaten them in their religious freedom, then they would take up arms [8]. This was unlikely to go down well with the autocratic Charles I.

National Covenant of 1638.  source National Library of Scotland.

Later in 1638 the Glasgow Assembly went even further and broke the links between the Scottish Church and English government. The die was cast and the King would have to take decisive action.

.
So began half a century of unrest, punctuated by Civil War, regicide, the protectorate and finally the restoration of a king in exile. In fact Charles II was assisted on his return by the Scottish Covenanters, on the proviso that he agree to leave Presbyterianism well alone in Scotland. However, Kings have short memories once their crowns are secure, and he soon went back on his word and began persecuting the Covenanters. The scene was set for the final tragedy that was to play out in Greyfriars Kirkyard.

The Covenanters Prison

Fast forward to1679, following the final defeat of the Presbyterian Covenanters at the battle of Bothwell Brig on the 22nd June, around twelve-hundred Covenanter prisoners were marched in disgrace to Edinburgh. Declared rebels and traitors they faced execution or at best, transportation to the colonies to work as indentured slave labour. However, many had much worse suffering to endure in the months ahead.

The Covenanters Prison.

Today, the visitor can view the prison through locked gates – a wide grassy avenue is flanked by unremarkable family vaults of pale stone; however things were very different in the seventeenth century. Inner Greyfriars yard covered about 3 acres, with high walls and only one gate (not the current gates that visitors see) [9]. Facilities to house and accommodate the prisoners were non-existent – they were effectively penned up in the open air for upwards of four months and given a miserly ration of 4oz of food per day. Vulnerable to exposure, malnutrition, disease and despair many died during their internment, especially as the year turned towards winter. The conditions in the Covenanters Prison were so harsh that it has been called the first concentration camp [10].

Location of the Prison in Inner Greyfriars Yard. Source Early Modern Commons website.

Such a huge influx of people created a logistical nightmare in Edinburgh; this is why Inner Greyfriars Yard, as it was known then, was used as an overflow prison. Estimates vary as to how many prisoners were held here, certainly the number reduced over time. Dr Mark Jardine’s view that there were initially1184 prisoners housed in Greyfriars Yard and Herriot School (next to it) seems compelling, it is based on the evidence of how many penny loaves were issued as rations to the prisoners (1184 on 1 July, one for each prisoner).  The numbers rapidly reduced during the summer as many were released after being, often forcefully, encouraged to swear the Kings Peace, an oath of loyalty to the King that some hardcore Covenanters called ‘the black bond’. Added to this, others of course would have died from the terrible conditions, or been executed or transported thereby further reducing numbers as time went on [11] [12]. It must have felt like a bitter irony for the Covenanters to have been imprisoned next to the place from which their movement first took wing.

Eventually judicial fate met those who remained and many were executed on the Grassmarket. By Mid November only around 250 prisoners remained in Greyfriars. They were condemned to transportation, and having survived the privations of the Covenanters Prison, they must surely have felt some relief. However, fate, proved to be merciless when the ship carrying them, The Croune, sank off the Orkneys, and of the 250 or so chained prisoners only 60 or so made it back to dry land alive [13] [14].

The Covenanters Memorial in Greyfriars Kirkyard.

The Killing Time and Bloody MacKenzie

Sir George MacKenzie. Image source Wikipedia.

Presbyterian historians refer to the period of persecution during the reign of Charles II until the Glorious Revolution in 1688, as The Killing Time. During this time, countless Covenanter ministers were forced out of their livings, ordinary people were fined if they didn’t attend the King’s church and torture and extortion were routinely used to break the spirit of the Covenanters. Unable to practice their religion in public, Covenanters resorted to meeting in fields in ‘conventicles’ but that soon became perilous, with a death penalty for any preacher caught in the act.

The Sanquhar Declaration of 1680 brought matters to a head, Covenanters renounced allegiance to Charles II, in response to this treasonous behaviour, the Scottish Privy Council went all out against the Covenanters allowing field executions of those in arms or refusing to swear loyalty to the King. The Oath of Abjuration, as it was called, was, in itself, designed to offend, thereby revealing hardened Covenanters for summary execution.

Margaret Wilson, one of the Wigtown Martyrs. Executed by high tide in 1685. Source Wikimedia.

Sir George MacKenzie (1636/8-1691) is a name that has become synonymous with the persecution by the crown of the Covenanters, earning him the epithet Bluidy Mackenzie. He persecuted them from the bench, while John Graham of Claverhouse earned the name Bluidy Clavers for his summary field executions.
But Sir George Mackenzie wasn’t entirely evil. As an essayist he was enlightened in his views against the persecution of witches, and one of his lasting legacies was the Advocates Library, later the National Library of Scotland, in Edinburgh. In fact, during the 1660’s when Mackenzie was a budding lawyer, he actually defended a number of Covenanters. Things changed from 1677 though, when he was made Lord Advocate – the king’s representative in Scotland.

.
It has be argued by Bruce Lenman and J Mackie in their book A History of Scotland, that as Lord Advocate, Mackenzie was responsible for executing King Charles II’s policy regarding suppression of the Presbyterian Covenanters, therefore Mackenzie effectively had no choice but to execute government policy. He and Bluidy Clavers may have acted entirely within law in their dealings with Covenanters – although I doubt the Covenanters felt that justice was being served to them [15].

It is easy to romanticise the persecuted Covenanters, fighting to preserve their religious independence and perhaps Scotland’s independence as well; however they did not speak for all Scots – many highlanders, after all, were Catholic. And to modern eyes, they can be viewed as hard-line religious extremists, ready to bring down the government in order to impose their austere religious ideology. The truth is no doubt somewhere in between, with most ordinary people simply wanting the freedom to choose how they worshipped their God. What is not in doubt is the terrible suffering endured by the people immured in Greyfriars by order of their King, and such suffering may well have left a permanent imprint…

Flowers left at the Covenanters Prison gate.

The Mackenzie Poltergeist

The Black Mausoleum, Bluidy MacKenzie’s final resting place.

Mackenzie died in 1691 and somewhat tactlessly, was interred in his elegant mausoleum in Greyfriars Kirkyard, within spitting distance of the Covenanters Prison. Robert Louis Stevenson, writing in 1897, reported the evil reputation that Mackenzie and that part of Greyfriars Kirkyard had acquired:

.
‘When a man’s soul is certainly in hell, his body will scarce lie quite in a tomb however costly, sometime or other the door must open, and the reprobate come forth in the abhorred garments of the grave’ . He went on to report a local children’s game: ‘Fool hardy urchins [thought it] a high piece of prowess to knock at the Lord Advocate’s Mausoleum and challenge him to appear. “Bluidy Mackenzie, come oot if ye dar”’ [16]

The doors to the Mausoleum.

One such foolhardy urchin, in the form of a homeless man looking for shelter one stormy night in 1999, took the dare and got more than he bargained for. Breaking into the Mausoleum he found an underground chamber containing the coffin of Bluidy Mackenzie. Perhaps thinking it contained valuables, he tried to break into it, but in the darkness he stumbled and fell into an open pit filled with the bones of plague victims. The terrified man burst screaming from the Mausoleum, just as a grounds man, walking his dog, approached it. The combined terror is thought by some, to have amplified the dark energies held within the tomb, and given rise to what has become known as the Mackenzie Poltergeist (see Jan-Andrew Henderson’s The Ghost That Haunted Itself, for more on the Pheromone Theory.)

Interior of the Mausoleum, showing the entrance to the crypt.

Since then the phenomena around the mausoleum and the Covenanters Prison has escalated, visitors have reported being pushed and scratched and feeling nauseous to the point of passing out. The death of popular local Spiritualist Colin Grant, following an exorcism at the Mausoleum and prison, in January 2000 added a tragic dimension to the growing legend of the poltergeist.

Grant believed there were many spirits  trapped there in pain, plus ‘something else as well, something much stronger.’ [17]The local tour company City of the Dead, who hold keys to the Covenanters Prison, have reported many such instances that would support this view – after all, the poltergeist is undoubtedly good for business! Having been on one such tour, I can certainly attest to the eerie feeling walking into the Covenanters Prison on a dark night. During that tour I took some photographs which are below, and there were some interesting anomalies. Lots of orbs, especially in the Prison, and what may be either Pareidolia (the human desire to see faces where there are none) or just possibly, a misty face above a grave stone. I leave you to be the judge.

The Black Mausoleum

Nightime shots at Greyfriars Kirkyard

I have to admit that not being an expert on paranormal investigation, or external physical causes of light anomalies in photographs, I am yet to be convinced that ‘orbs’ are evidence of spirits.  However, I do find them fascinating and have captured some previous images at Chillingham Castle in Northumberland, and now at Greyfriars Kirkyard in Edinburgh.

Conditions at the time:

• Early March
• Dry and cold
• No visible insects
• Early blossom on the trees – loose petals could have caused some anomalies
• Although the graveyard was very dark, lights from surrounding buildings could have created anomalies
• Building work on the Kirk during the day could have created dust in the atmosphere

Pareidolia or paranormal? On the right, hovering above the gravestone, a misty face?

Detail of above, area where a face may, or may not, be discerned.

 

Is that an orb, inside the doorway of this vault?

Inside Covenanters Prison: two, maybe three, orbs in the vault of the roof? (the tomb itself is of later date).

Inside the Covenanters Prison – orbs hovering above the vaults?

Not much happening here – house lights in the distance, perhaps another factor in the light anomalies?

No orbs, but evidence of early blossom in the trees which could have contributed to the anomalies.

Bloody MacKenzie’s mausoleum by night. Unfortunately, no orbs here – does that mean the poltergeist is not at home………?

Visit Greyfriars Kirkyard

Greyfriars Kirkyard is open to the public.  You can also do nigh-time tours of the Kirkyard and enter the Covenanters Prison with City of the Dead Tours.

Sources and notes

All images by Lenora unless otherwise credited.

Forde, Matt, http://www.unexplained-mysteries.com/column.php?id=220743

http://www.greyfriarskirk.com/   [1] [2]

Hayden, Gary, http://www.scotlandmag.com/magazine/issue37/12008443.html [10] [16]

Henderson, Jan-Andrew, ‘The Ghost That Haunted Itself’, 2001, Mainstream Publishing [2] [13] [17]

Jardine, Mark, https://drmarkjardine.wordpress.com/2016/12/05/the-covenanters-prison-edinburgh-1679-history-scotland/ [9] [11] [14]

Schama, Simon, ‘A Hisory of Britain:The British Wars 1603-1776’, BBC [4] [5] [6] [7]

https://en.wikipedia.org/wiki/George_Mackenzie_of_Rosehaugh [15]

https://en.wikipedia.org/wiki/Covenanter [12]

 

Memento Mori…Victorian post-mortem photography

Tags

ambrotype, carte de visite, daguerrotype, death, death photos, early photography, fakes, funerals, mourning, post mortem photography, rituals, the good death, the myth of the standing corpse, tintype, Victorian

~A note to the faint-hearted: this post contains photographs of dead people ~

The Victorian celebration of death

It has been noted by many other writers, that today when a loved one passes over, we celebrate their life, often avoiding or glossing over the distressing fact that they have died… almost as if it would be rude to mention it.  Not so our Victorian ancestors, they positively revelled in rituals that celebrated death.  This was unsurprising as it was all around them – poverty, incurable diseases and insanitary housing meant that had you lived in early Victorian England (the 1830 and 40’s) you would have been lucky to make it to your late thirties; while a fifth of children born at that time would not reach the age of five.[1]

Highgate Cemetery

Yet despite these grim statistics, the Victorian fondness for funerals and funeral rituals grew out of more than just a pragmatic realisation that they would undoubtedly be attending an awful a lot of them.  It was far more than that, the spiritual and religious beliefs of Victorians lead them to the view that death was something to prepare for, and that the dead should be remembered, not just in their living but in the manner of their passing.  To have a ‘good death’ was important, to settle ones affairs not only materially, but spiritually as well, in preparation for the transition into the next phase of the souls existence.  One aspect of this tradition which can seem macabre and slightly voyeuristic to the modern eye, is that of post-mortem photography. But creating images of the dead was not invented in the nineteenth century.

How the dead were remembered: from oil paintings to Carte de visite

Lady Venetia Digby on her death-bed, by Van Dyke.

Preserving the memory of the dead has a long history (and pre-history). From the monumental (think pyramids, mausoleums and tombs) to the personal and portable (such as jewelry and images).  While we might find it odd to want an image of a loved one in death, in the past it was not unheard of. In the seventeenth century, when the beautiful Venetia Stanley, Lady Digby, died unexpectedly in her sleep, her distraught husband had her final portrait painted, post-mortem, by non other that Sir Anthony Van Dyke. But such extravagant memento mori (translated as ‘remember that you have to die’) were the preserve of the wealthy upper classes…until, that is, the advent of photography.

Capturing the soul

Post Mortem photography was popular in the UK, USA and Europe in the mid-nineteenth century, its popularity peaking in the 1860’s and 70’s. Its rise began in the 1840’s with the birth of photography.

Louis Daguerre, one of the fathers of photography, developed his eponymous Daguerreotype in 1839.  Daguerreotype images were produced on treated silver-plated copper sheets, protected by glass.  The images are strange to look at and change from positive to negative, depending on the angle.  The process was expensive and time-consuming – it could take up to 15 minutes to develop an exposure, and the images created were fragile (often having to be protected in cases or frames).[2][3] Nevertheless it wasn’t long before they were being used to capture the likenesses of the deceased.

Post Mortem Daguerreotype. 1862. Source Astronomy Pictures.

In 1850 the cheaper Ambrotype method superseded the Daguerreotype.  This process created a positive image on glass.  As with the daguerreotype, the finished product was fragile and each image was unique and could only be reproduced by the camera.[4]

Victorian Post Mortem Ambrotype displayed in a case. Source unknown.

The 1860’s and 1870’s brought the tintype photograph to prominence, which as the name suggested was created on a thin sheet of metal.  This method easy to produce and was popular with itinerant photographers on the move.  So the photographer was able to extend beyond the studio setting to other arenas…such the open battlefield, or the private deathbed.[5]

Tintype post-mortem photograph. Source unknown.

The biggest revolution in democratizing photography was the Carte de Visite method, patented by André-Adolphe-Eugène Disdéri in 1854.  His method produced small images made up of albumen prints on card.  The truly revolutionary aspect of this method was that he developed a way of producing up to eight negatives on one plate, thereby driving down costs.[5] This meant that images could more easily be shared amongst family and friends.  With post-mortem images, it allowed family members who were not able to be present at the deathbed or funeral, to have a final image of their loved one.

Carte de visite post-mortem image. Paul Frecker collection.

Post Mortem Photography and The Good Death

In the early and mid-Victorian period, evangelical Christianity had a strong influence on attitudes towards death and dying.  Professor Sir Richard Evans noted in his lecture The Victorians: Life and Death, that the emphasis was on a ‘good death’ – ideally a peaceful and gentle transition in to the afterlife, witnessed by family and friends; where a deathbed struggle with fever or delusion occurred, it could be seen as a metaphor for the Christian struggle for redemption.  Post mortem photography represents part of this tradition, offering a memento mori – an object of reflection to the yet living – as well as, more prosaically, providing symbol of social status because not everyone could afford them.

That is not to say that all Victorians were comfortable with the idea of snapping images the dearly departed – far from it.  As Catharine Arnold notes in Necropolis, photographic images such ‘Fading Away’, created by Henry Peach Robinson in 1858, which used actors to depict the death of a beautiful young girl, were not universally praised.[6] Unlike the tasteful and idealised deathbed scenes depicted in oils, the disturbing intimacy and realism created by the medium of photography seemed to intrude on the very personal and private realm of grief.

‘Fading Away’ by Henry Peach Robinson, 1858. The Royal Photographic Society at the National Media Museum, Bradford.

In the case of ‘Fading Away’, the image was saved from censure when Prince Albert bought a copy, thereby ensuring its popular appeal. It’s a good thing he liked images of deathbeds, because Queen Victoria commissioned both a painting and a photograph of him on his own deathbed, in 1861.  These images are available to view in the Royal Collection (See links at the end of this article).

Styles of post-mortem photography ranged throughout the nineteenth century and varied from the UK and Europe to the USA.  Broadly speaking the earlier images focused on head shots and close ups, with the subject apparently ‘asleep’, later more ‘naturalist’ poses were adopted -where the subject was posed as if in life, and later still the funeral group – with the family gathered round for one last photo with the dearly departed in their coffin – became popular.  However the significant difference between these images and images such as ‘Fading Away’, is that post-mortem photography was intended to be viewed in the private sphere, whereas Peach Robinson’s staged image was clearly for public consumption.

Mirrors with Memories [7]

Deceased man in a naturalist pose c1860. Source Wikipedia.

So, why did the Victorians do it? Why have a stranger come into your home, while you are grieving, and interfere with your loved one, simply in order to take a photo?  Well, it seems that a number of factors collided to produce the right climate for it: evangelical Christianity, with its concept of the good death, technological developments, and the rise of the middle classes, along with a large dash of Victorian morbidity.

In some cases, these images may have been the only images taken of the individual, this is particularly possible with images of babies and young children. And, practically speaking, they were a way of sharing the death of a loved one with relatives unable to attend the actual deathbed.

Deceased child surrounded by flowers. Image Source Wikipedia.

However, as well as a personal remembrance of the individual, they were also used as a way to reflect upon death – demonstrating Victorian preoccupations with both piety and morbidity. The images allowed for a dialogue between the living and the dead – a reconciliation that the viewer too will die.  A Victorian viewing these images would have been able to ‘read’ them in a very different way than we do now -identifying the spiritual narrative, shared social values, the moral lessons in these images.

Jo Smoke, writing in Beyond the Dark Veil,[8]suggested that as well as a moral and spiritual purpose, Memento Mori can also be seen as expressing class goals by equating ‘taste and beauty as metaphors for status and style’ – after all these images were often displayed in beautiful and expensive frames or jeweled cases and not every one could afford them.

He concluded that post mortem photography successfully encompassed both the spiritual and the consumerist nature of Victorian society, stating that they ‘symbolised tangibility by stretching the inevitability of human decay into the future by investing memory into materials of great physicality’.[9]

Identifying Post Mortem Photography

Today, the internet is flooded with images purporting to be Victorian post mortem photographs. Sometimes a sort of ‘check-list’ is deployed to identify them and although one can probably assume that an individual depicted in a coffin, is almost certainly dead, other signs such as closed or painted eyes, blank expressions, visible standing frames, or strange posture aren’t necessarily proof-positive of a post mortem photograph.

The tradition of depicting the deceased as though living, often accompanied by living relatives and children, has created even more difficulty in differentiating between what may simply be an awkward and uncomfortable looking living individual and a posed corpse.

Deceased young girl with her parents. Source BBC.

In the above post mortem image, the dead girl is propped up by her parents, with her head on one side.  She appears notably sharper than her living parents who appear slightly blurred. Even when developments in photography led to reduced exposure times, it was still difficult to remain still during the process (unless of course, you were dead).  This was such a problem that the living were often supported with apparatus, such as a Brady Stand.  The use of these stands has led to what some call the ‘Myth of the standing corpse’ [10] – whereby any images of a slightly suspect individual, where a stand is visible, may be identified as post mortem (a particular problem on commercial selling sites).

This man has decidedly odd eyes and is supported by a Stand – but is he dead? Source: hchronicles blog.

This image has often been described as a post mortem photo, demonstrating the use of the stand – but the jury is out. Image source – unknown.

However there seems to be a strong argument against the possibility that the Brady stand, or any other stand (even combined with wires), could have ever actually support the dead-weight (pardon the pun) of a corpse, in anything approaching a natural manner. [11][12 – see the video at the foot of this post for more on this debate.]

The girl in the middle is said to be dead. Petrolia Archive Collection.

The image above, originally from the Petrolia Archive, appears on many sites online as a post mortem photograph. The young girl in the middle is supposed to be dead – her painted on eyes are cited as evidence for it. However, given the ease at which a photograph could be spoiled by a sudden twitch or blink during the long exposure time, it can be argued that this is not necessarily certain proof that the subject is dead. [13] And in fact, this could explain a lot of the blank, dead-eyed stares that gaze out from us from some of these photographs.

Other images are more obviously photo-shopped, such as this fabulously gruesome image of two sisters, which would stretch even the Victorians capacity for morbidity!

Image often cited as Victorian Post Mortem, but actually an art project from about 2009. [Artist unknown]

The original picture before manipulation [Source Unknown]

 Changing attitudes

It has been said that the advent of the Kodak box brownie, allowing families to document entire lives from birth to death, caused the Post Mortem Photograph to fall out of favour, [14] but there was more to its decline than technical innovation.  By the end of the Victorian period and beginning of the Edwardian, there was a fundamental shift in attitudes to death. For one, evangelical Christianity, with its particular interpretation of the ‘good death’, had waned. By the Edwardian period a ‘good death’ had transformed into one more familiar to us today – a death without suffering or one that took the subject unawares, such as in their sleep.  As such, conversations about death and dying became less acceptable than they had been in the early and mid-Victorian periods.  Catastrophic conflicts such as the First World War, also played their part in changing attitudes.  Such brutal conflicts took death away from the intimate family setting, and while death could be presented as a patriotic sacrifice to the state, it often occurred violently, or to far from home to allow for a photographic memento mori to be either desirable or practically possible.

In this modern world, where we have become desensitized to the graphic images of death reported in the media, we have shut death out, except in its most extreme and impersonal form.  In contrast, these quiet, contemplative and very personal images of the dead offer us the opportunity to open a dialogue with death, and to reflect on that great leveler.  And of course, they also provide an ever so  gentle reminder that we too will die.

Memento Mori.

Post Mortem Images on the net

Anne Longmore-Etheridge Collection:

https://www.flickr.com/photos/60861613@N00/albums/72157629160486891/with/23906381332/

Petrolia Heritage

http://www.petroliaheritage.com/people.html

Royal Collection:

https://www.royalcollection.org.uk/collection/2506826/prince-albert-on-his-deathbed-december-1861

The Burns Archive:

http://www.burnsarchive.com/Explore/Historical/Memorial/index.html

The Thanatos Archive:

http://thanatos.net/preview/

Sources and notes

Arnold, Catharine, ‘Necropolis: London and its dead’ 2007, Simon and Schuster [3] [6]

http://www.bbc.co.uk/news/uk-england-36389581

http://www.bbc.co.uk/history/british/victorians/overview_victorians_01.shtml [1]

Evans, Professor Sir Richard, https://www.gresham.ac.uk/lectures-and-events/the-victorians-life-and-death

http://metro.co.uk/2014/11/26/victorian-post-mortem-photographs-are-as-creepy-as-they-sound-4963836/ [this article contains some disputed post mortem photographs]

http://mourningportraits.blogspot.co.uk/p/hoaxes-scams-ebay-optimism.html [13]

Mord, Jack, ‘Beyond the Dark Veil’, 2013, Grand Central Press [7][8][9][14]

https://en.wikipedia.org/wiki/Ambrotype [4]

https://en.wikipedia.org/wiki/Carte_de_visite [5]

https://en.wikipedia.org/wiki/Daguerreotype [2]

https://en.wikipedia.org/wiki/Tintype [5]

https://dealer042.wixsite.com/post-mortem-photos The Myth of the stand alone corpse [10][11][12]

 

 

The Thundering Earl and the Northumbrian Jacobites of the ’15

Tags

1715, Anna Maria Radcliffe, Devil Water, Dilston Castle, Earl of Derwentwater, Ghostly earl, Hanoverian, jacobites, James Radcliffe, Lords Bridge, Northumberland, Northumbrian Jacobites, Radclyffe, Rising, Tom Forster

Unraveling the thread of time

Taken near Alnwick, Northumberland. Picture source: Reed Ingram Weir/MASONS/SWNS.com

On 6 March 2016 the North of England was witness to the eerie dance of the Northern Lights in the night sky.  Not often seen so far south, the phenomena was perfectly timed almost coinciding, as it did, with the 300th Anniversary of the execution of James Radcliffe. The Third Earl of Derwentwater was executed on 24 February 1716, at Tower Hill in London, for his part in the doomed Jacobite Rising of 1715.  Perhaps the lights were a ripple in time, a reminder that it was as the coffin of the doomed Earl was born home to Dilston, that the same Aurora Borealis was witnessed in the north as a sign of heaven’s displeasure at Radcliffe’s death, and became known as Lord Derwentwater’s Lights.

Francis Dunn, a servant of the Earl’s aunt, witnessed the phenomena at the time, and wrote:

‘A most Beautifull glory appeard over ye hearse, wch all saw, sending forth resplendant streams of colours to ye east & west, the finest yt ever I saw in my Life.  It hung like a delicate rich curtain & continued a quarter & half of an hour over ye hearse.  There was a great light seen at night in several places & people flockt all night from durham to see ye corpse. Its remark’t yt att ye same day & hour ye glory appear’d over my lord’s hearse, ye most dreadfull signs appeared over London.’ [1]

Dilston and Chapel viewed from the trees.

In fact, in the 300 years since the Earl of Derwentwater died under the headsman’s axe, his shade, and that of his wife, has become part of local lore in and around Dilston and Northumberland.  In 1888 The Reverent Heslop writing in the Monthly Chronicle, claimed the Earl did not rest quiet in his tomb:

“The Hall is behind us, and its tragic story haunts the place.  it is but a generation since the trampling hoofs and the clatter of harness was heard on the brink of the steep here, revealing to that trembling listener that ‘the Earl’ yet galloped with spectral troops across the haugh.  Undisturbed, as the reverent hands of his people had laid him and his severed head, the Earl himself had rested hardly in the little vault for a whole century; yet the troops have been seen by the country people over and over again as they swept and swerved through the dim mist of the hollow of the dene.”

But not only the Earl is said to frequent the ruins of Dilston and Devil Water, his tragic bride is also bound to the castle in death.  The story goes that the Earl was a reluctant rebel, and upon setting out with his troop, turned one last time to view Dilston Hall and his vast estates.  His resolution wavered as he considered that should the rising fail, he would not only be risking himself, but the future prosperity of his young son and heir.  With that thought, he turned for home.  However, in the courtyard of Dilston, the Earl was met by his young and implacable wife who proceeded to berated him, going so far as to strike him with her fan, whilst exclaiming ‘take that, and give your sword to me.’ [2] With those words she condemned her husband to his terrible fate, and the Earldom of Derwentwater to eventual destruction.  After the young Earl’s death, she too died young and heartbroken; her tormented shade is said to flit between the tall tower of Dilston Castle and Dilston Chapel, lighted cresset in her hand, awaiting the return of her dead lord.

The tall tower at Dilston Castle.

But local lore and legend may have dealt harshly with the Countess and her hesitant husband….

The Jacobite cause in a nutshell

James II of England, by Godfrey Kneller. Source Wikipedia.

The seventeenth century was a time of great political, social and religious upheaval in England. When Charles II died in 1685 without issue, his brother James inherited the throne.  James was raised an Anglican but became a catholic, and after the religious turmoil of the past century, that made people nervous.  James’s autocratic style of rule didn’t make him many friends and when his second wife gave him a son in 1688, assuring a catholic succession, parliament made its move.

Parliament turned to James’s protestant daughter Mary and her Dutch husband William of Orange, offering them the crown jointly, thus triggering the so-called Glorious Revolution of 1688 which ousted James II.  In replacing James II, the de jure king of England (King by right/divine or otherwise), with King William, the de facto (King by possession of the office) the Jacobite cause was born.

When William and Mary died without issue, James’s other protestant daughter, Anne, took the throne.  Anne died without issue in 1714 and the throne of England was set to pass to a distant German princeling, George, elector of Hanover.  This was almost too much, not only for the catholic Jacobites, but also for many high church Tories in England – the stage was now set for a dangerous rebellion [3 & 4].

The Radcliffes of Dilston Castle and the Stuart Connection

Lady Mary Tudor – the Stuart connection. Public Domain[?]

The North had always been viewed by the south as a hotbed of Catholicism and potential unrest and measures were taken to curb the powers and resources of Catholics in the area. In Northumberland the most prominent and wealthy catholic family was the Radcliffe family of Dilston Hall, near Corbridge.  In the seventeenth century the Radcliffe’s had successfully married into the Stuart Royal family – albeit on the wrong side of the sheets.  The 3rd Baronet of Derwentwater, Francis, engineered the marriage of his son Edward to the Lady Mary Tudor, the natural daughter of Charles II, in 1688. The Radcliffes were now fatally linked to the doomed house of Stuart.

The marriage brought an Earldom with it, granted by James II shortly before his overthrow, but it was not a successful marriage. Nevertheless they had four children, the first James, being born on 28 June 1689.

The Radcliffe’s Stuart links were further cemented when the teenage James was sent with his brother Francis, to live with their royal cousin James III (James II having died in 1701) at the court in exile at St Germain in France. In 1705, while James and Francis were still in France, their father died leaving James, at only 16, the third Earl of Derwentwater.

Dilston Hall, demolished in the 1760’s.

In 1709 Queen Anne allowed the young Earl to return to England and take up his responsibilities.  After a brief stay in London, James set off in February 1710 to view his northern estates for the first time.  He seems to have made a good impression on the locals, he was after all, young, fashionable and rich.  But more than that, he was described as possessing a charming smile and a generous nature – qualities which more than made up for his shortness of stature.   During this initial stay he fell in love with Dilston and decided to build a grand new hall befitting his status as third Earl of Derwentwater.  In the meantime the Earl made his presence felt in the area, entertaining his neighbours and cousins such as the Erringtons of Beaufront and Swinbournes of Capheaton.

James Radcliffe, 3rd Earl of Derwentwater. Source Wikipedia.

Early on James’s Jacobite sympathies were recognised by his neighbours, and in 1710 he was invited to Lancashire to meet with other gentlemen Jacobites who regularly met at the Unicorn Inn in Walton-le-Dale.  Eventually he became Mayor of this group.  Whether this was an honorary title, or something that required active engagement, it indicates that he took an keen interest in the Jacobite cause at an early stage.  However, it is important to note that at this time there was a genuine hope that Queen Anne would name James III as her heir, thereby providing a peaceful resolution to the problem of the king over the water.  James Radcliffe, cousin and childhood companion of James III, must have hoped as much.  After all, as one of the richest men in the North, he would have much to lose if it came to an uprising [5].

For a while things went smoothly for the young Earl, he married Anna Maria Webb, a pretty catholic heiress, in 1712 and moved away from Dilston for a few years while the new hall was constructed.  His heir John was born in 1713, and soon after Dilston Hall was completed, allowing Radcliffe family to return.  But things were not going so smoothly elsewhere…. Queen Anne sickened and died in 1714, and King George I’s reign looked set to entrench the power of the Whigs, the Jacobites and Tories grew fractious, riots and unrest soon broke out in London….

James and Anna Maria.

Oak Leaves and White Roses

Oakleaves and White Roses, Jacobite Symbols. Image SNA.

History records that the Jacobite Rising of 1715 began on 6 September, when John Erskine 11th Earl of Mar raised the Stuart standard in Braemar.   That the Jacobite Risings were largely Scottish affairs has entered the popular imagination, however there were many in England who felt sympathy for the king over the water. Catholic or not, he was the rightful heir and in a time when belief in the divine right of kings had not yet evaporated, that could count for a lot.   There were also many who were not happy at the prospect of a German king and a Whig stranglehold on power.

In the North, key catholic Peers such as The Earl of Derwentwater, Lord Widderington and MPs such as Thomas Forster of Adderstone and Sir William Blackett of Wallington quickly fell under suspicion.  On 22 September 1715 warrants were issued for their arrest.  The young Earl decided a low profile would be advisable, hiding for two weeks in in tenants cottages and with friends and relations all across the area [6].

All would seem the actions of a man who dabbled in intrigue, but was not an instigator of rebellion.  Nevertheless the Earl knew that he could not run and hide for ever, and after all, he had Stuart blood in his veins.  Under the guise of a race meeting held at Wide Hough meadow near Dilston on 5 October 1715, the Earl and his compatriots decided to make their stand on the morrow.  The next morning the Earl, his brother Charles and their small band set out to meet Thomas Forster,  the commander of the Northumbrian Jacobites, and his men, at Greenriggs, a wild desolate moorland, between Redesmouth and Sweethope Lough.  The die was cast.

The Rising in the North

The Northumbrian Jacobites of the ’15 have had a bad press, being described by one writer thus:

‘In October a handful of Catholic Gentry under Forster and Derwentwater, amateurs in rebellion and war, had ridden out in Northumberland [..]

The quixotic travesty of civil war by a mob of foxhunters, had found no support save from the more dare-devil of the Catholic gentry and Mackintosh’s Highlanders.  The English Rebellion was at an end.’ [7]

Thomas Forster MP, and leader of the Northumbrian Jacobites.

The mission of the Northumbrian Jacobites was to capture Newcastle and thereby hobble the government in London by cutting off their coal supply.  They would be supported by a French led invasion fleet which was expected to land on the Northumbrian coast.  History however did not record this outcome.  Instead, weak and indecisive leadership, lack of the promised support from the High Church Tories, inability to capture Newcastle and the failure of the French fleet to materialise left the Northumbrian Jacobites little choice but to head into the pro-Jacobite territory of Lancashire hoping for greater success.

Leo Gooch, however,  has presented a more sympathetic and compelling view of the effectiveness of the Northumbrian Jacobites in his book ‘The Desperate Faction?’  He argues that the original plan formulated by the Earl of Mar, for a Northumbrian landing of the Jacobite forces, was militarily sound. It was only when this plan was shelved by Ormonde and Bolingbroke (without bothering to inform Tom Forster and the Northumbrians) in favour of a landing in the South West, that things started to go badly wrong.  Gooch argues that when this new strategy failed, Forster was thrust into the role of commander of all the Jacobite forces in England.  Although he and Derwentwater did their best, they were, quite literally fighting a losing battle [8].

Execution

That losing battle was at Preston.  The supposed Jacobite support in Lancashire remained dormant and the rebel forces were defeated and their leaders captured and taken to London for trial.   Many were condemned to die, some escaped, some were pardoned.  Tom Forster who rode out with the Earl of Dertwentwater was executed but Derwentwater’s brother Charles managed to escape.  The Earl himself, was lodged in the Tower of London, as befitted his status.  His devoted wife Anna Maria stayed with him and petitioned for his release.  It was not to be.  He was beheaded on Tower Hill on 24 February 1716.

Jacobite Lords on Trial.

Catholic Martyr

Suit worn by the Earl at his execution. Source Northumbrian Jacobite Website.

Once executed James’s body was wrapped in black cloth, with his severed head in red velvet.  His body was then secretly conveyed to a surgeon called Metcalf who embalmed the corpse and removed the heart which was to be sent to the English nuns at Angers in France.  Mr King the undertaker then provided a lead coffin covered in crimson velvet and gilt nails, to convey the third Earl back to his home at Dilston for burial in the chapel.  It was said that his heart remained uncorrupted for many years and was able to heal those who touched it, it was especially effective on Scrofula or the king’s evil [9].

On his return to Dilston, the Northern Lights accompanied his procession.  Many saw this as a sign of Heaven’s displeasure at the Earl’s execution, it was said the Devil Water ran red at Dilston. Already tales began to be told that would place James Radcliffe, the Jacobite third Earl of Dertwentwater firmly in the folk memory of the region.

Devil Water at Dilston ran red when the Earl was executed.

James’s widow, Anna Maria, never returned to Dilston and died in Belgium 7 years later.  The Radcliffe estates were confiscated by the government, but in a lengthy legal battle it was successfully argued that as James only had life interest in the Derwentwater estates and his son John should inherit the great wealth of the Radcliffes.  Sadly though, he died in 1731 before reaching his majority.  That left only Charles Radcliffe, James’s brother, as heir.  Unfortunately he was was still under attainder for his part in the ’15 so could not inherit.  By default then, the estates then passed back to the crown.  The power of the Radcliffe’s was broken.

Whether James Radcliffe was a reluctant Rebel [10] or a passionate and committed Jacobite, his legend lives on in the North. Even today, Paranormal investigators such as Otherworld North East, and Christina Ogilvy and James Davidson, have reported strange anomalies in and Around Dilston Castle.  Orbs, strange mists and dark figures still haunt the ruins of Dilston [11 & 12].  On a moonlit night it may still be possible to come across James and his young bride Anna Maria, walking by the Devil Water.

Lords Bridge, over the Devil Water at Dilston.

Access to castle:

http://www.northumbrianjacobites.org.uk/pages/detail_page.php?id=36&section=27

Sources and notes

Dickinson, Frances, ‘The Reluctant Rebel A Northumbrian Legacy of Jacobite Times’ 1996, Cresset Books [1][3][5][6][10]

http://www.friendsofhistoricdilston.org/

http://www.ghostnortheast.co.uk/dilston.html

Gooch, Leo, ‘The Desperate Faction The Jacobites of North-East England 1688-1745’ 2001, Casdec Ltd [4][8]

Graham, Frank, ‘The Castles of Northumberland’ 1976 Frank Graham Books [7]

Liddell, Tony, ‘Otherworld North East Ghosts and Hauntings Explored’ 2004, Tyne Bridge Publishing [12]

http://www.northofthetyne.co.uk/Dilston.html

http://www.northumbrianjacobites.org.uk/pages/section_homepage.php?section=27

Matthews, Rupert, ‘Mysterious Northumberland’ 2009, Breedon Books [2]

Ogilvy, Christina and Davidson, James, A, ‘Haunting Dilston’ 2015, Powdene Publicity Ltd [9][11]

Part Two: The Mysterious Brown Lady of Raynham Hall – sightings

Tags

1936, Brown Lady, Captain Provand, Colonel Loftus, Country Life, Dorothy Walpole, Frederick Marryat, ghost sightings, Indre Shira, Lucia C. Stone, Norfolk, proof of ghosts, Raynham Hall, Townsend

In part two of the Mysterious Brown Lady of Raynham Hall, Miss Jessel examines sightings of her wandering spirit, and considers whether the famous Country Life photograph, believed by many to provide proof of the existence of ghosts, can be taken at face value.  To read part one, click here The Mysterious Brown Lady of Raynham Hall, part one: who was she? 

A Debut Performance

The first attested appearance of the Brown Lady at Raynham Hall was during a Christmas gathering in 1835 held by Lord Charles Townshend. Lucia C. Stone and Colonel Loftus were amongst those invited. One evening after a game of chess, the men decided to retire to bed. On the way to their bedrooms they noticed the outline of a woman wearing an old fashioned brown dress standing in the doorway of one of the rooms. Suddenly she disappeared into thin air. The following evening Loftus saw the same figure again but this time he managed to study her appearance more closely. According to Loftus she appeared to be a genteel woman with an aristocratic bearing but to his horror her eyes seemed to have been gouged out “dark in the glowing face”[1].

The Captain and the Ghost

Interest in the Brown Lady began to grow as Stone and Loftus’ story circulated and more and more people reported having seen her. In 1836, the author and Royal Navy captain, Frederick Marryat visited Raynham as part of a hunting party. A sceptic, Marryat was determined to prove that the haunting had been a trick by local smugglers to keep strangers away. He asked to be put in the room which contained the painting of the woman who Loftus was convinced he had seen.

Frederick Marryat by John Simpson. Source Wikimedia.

The first two nights passed without incident and he was given no opportunity to use the gun which he kept hidden under his pillow. On the evening of the third night just as he was changing for bed he heard a knock on the door. Two of the company had come to ask Marryat’s opinion on a new gun recently arrived from London. After examining the gun, the men decided to accompany Marryat back to his room and joked that he should take the gun with him to protect himself from the Lady[2].

The three men were making their way along the dark and gloomy corridor when suddenly they saw the figure of a melancholy woman carrying a light approaching them. Thinking that it was one of the ladies in their party, the half-dressed Marryat for the sake of modesty hid himself in the space between the double doors of one of the bedrooms. The two other men joined him. As she approached, Marryat recognised her as the woman from the portrait in his bedroom. Never a man to cower in fear, he kept his finger firmly on the trigger intending to confront her and demand an explanation for her presence. Before he could do so, the apparition stopped in front of where Marryat and the others were concealing themselves. She turned to face him and “grinned in a malicious and diabolical manner…”[3]. Marryat shot and the woman vanished, the bullet lodging in the door across the way. A shaken Marryat never tried to challenge the Brown Lady again.

Captured on Camera

Over the following 100 years numerous witnesses claimed to having seen or felt the presence of the Brown Lady at the Hall including in 1926 when Lady Townshend and her son saw the Lady on the staircase.

The Brown Lady, captured by Cpt Provand, first published in Country Life in 1936.

Ten years later on the 19^th September 1936 the Country Life photographer Captain Hubert C. Provand and his assistant Indre Shira were taking pictures for an article. They claim that they had already taken a photograph of the staircase when Shira noticed a strange mist like essence coming towards them. Gradually the vapour solidified to form the figure of a woman. Shira instantly gave directions to Provand who quickly took the cap off the lens whilst Shira pressed the flash trigger[4]. Together the two men claimed to have captured on film definitive proof of the existence of ghosts. The image appeared in the 26^th December 1936 edition of the magazine and again in the 4^th January 1937 edition.  The image is considered one of the most famous ghost photographs ever taken and the negative is still held in the Country Life archives[5].

A Ghostly Image or Clever Fake?

This might just be a fake…..

Since the photograph of the Brown Lady was taken, the image has come under intense scrutiny. At the time the paranormal investigator, Harry Price, interviewed both Provand and Shira and concluded that the men had not conspired to deceive the public and that the photograph was genuine[6].

Since then many other theories have been put forward to explain the image including that the photographers smeared grease on the negative, that it was due to double exposure, that it was the movement of a person (living) on the stairs who was captured during the exposure and that light accidently got into the camera.

Investigators John Fairley and Simon Welfare claim that on examining the image they could discern a pale line above each stair-tread which indicates that one picture has been superimposed over the other. Others agreeing with Fairley and Welfare have suggested that the image looks like a standard Virgin Mary statue and that on close study you can see that the hands of the woman are clasped in prayer, that the dress is typical of the v-shaped garments carved in those statues and that even the pedestal on which the statue stands can be clearly seen[7].

Many others even today believe that the photograph is genuine including Lord Raynham who is convinced that Dorothy’s spirit does remain in the house “she isn’t there to haunt the house but she is still there I know she’s there and I’m glad she’s around”[8].

Is the Brown Lady an angry, suffering spectre whose miserable life has bound her to the house which became a prison or a loving spirit staying in the home where she lived a happy life or simply a tale to titillate visitors? I again leave it to others to decide.

Dorothy Walpole’s Wandering Spirit

Raynham Hall is not the only place where the spirit of Dorothy has been seen. The ghost of a young Dorothy has been seen occasionally at Sandringham House whilst a Royal guest claimed to have been visited by a terrifying vision. A young George IV whilst staying at Houghton awoke in the middle of the night to see the ghost of the Brown Lady at the foot of the bed. It is claimed that the Prince of Wales left the Hall immediately declaring that he would “not spend another hour in the accursed house, for tonight I have seen that which I hope to god I never see again”[9].

Lady Dorothy Townsend nee Walpole.

Other Ghostly Residents of Raynham Hall

The ‘camera shy’ Brown Lady has not been seen since the photograph was taken in 1936 but other apparitions have including the ghosts of a cocker spaniel, two children and the Duke of Monmouth.

The Duke of Monmouth, the housewife’s choice…

An elderly spinster claims to have been visited by the Duke of Monmouth whilst she was spending a night at Raynham and found the experience both flattering and agreeable – the mind boggles![10]

Happy Halloween!

Bibliography

Florence Marryat, There is No Death, 1917

Henrietta Hobart, Duchess of Suffolk: Letters from 1712 to 1767 with historical, biographical and explanatory notes

William Coxe and Horatio Walpole: Memoirs of Horatio, Lord Walpole – Volume I, 1808

M. Townshend, Townshend – Townshend: 1066-1909, 1909

John Harold Wilson, Court Satires of the Restoration, 1986

Norman Milne, Libertine and Harlots, 2014

Raynham Hall, https://en.wikipedia.org/wiki/Raynham_Hall

The vast history of Raynham Hall, http://news.bbc.co.uk/local/norfolk/hi/people_and_places/history/newsid_8058000/8058145.stm

Brown Lady of Raynham Hall, https://en.wikipedia.org/wiki/Brown_Lady_of_Raynham_Hall#cite_note-4

The Brown Lady of Raynham Hall, http://www.mysteriousbritain.co.uk/england/norfolk/hauntings/the-brown-lady-of-raynham-hall.html

Brown Lady of Raynham Hall, http://www.paranormalunited.co.uk/brown-lady-of-raynham-hall-norfolk-1936/

The Whartons of Winchendon, http://thedabbler.co.uk/2014/10/the-whartons-of-winchendon-4-honest-tom/

Raynham Hall, http://www.delcoghosts.com/raynham_hall.html

Dorothy Townshend, https://en.wikipedia.org/wiki/Dorothy_Townshend

The Brown Lady, http://altereddimensions.net/2012/brown-lady-ghost

Thomas Wharton, 1st Marquess of Wharton, https://en.wikipedia.org/wiki/Thomas_Wharton,_1st_Marquess_of_Wharton

Charles Townshend, 3rd Viscount Townshend, https://en.wikipedia.org/wiki/Charles_Townshend,_3rd_Viscount_Townshend

Raynham Hall, http://home.worldonline.co.za/~townshend/raynham.htm

Gothic Literature, https://en.wikipedia.org/wiki/Gothic_fiction

Notes

[1] Brown Lady of Raynham Hall, https://en.wikipedia.org/wiki/Brown_Lady_of_Raynham_Hall

[2] ibid

[3] Florence Marryat, There is No Death, 1917

[4] Brown Lady of Raynham Hall, https://en.wikipedia.org/wiki/Brown_Lady_of_Raynham_Hall#cite_note-4

[5] Brown Lady of Raynham Hall, http://www.paranormalunited.co.uk/brown-lady-of-raynham-hall-norfolk-1936/

[6] The Brown Lady of Raynham Hall, https://en.wikipedia.org/wiki/Brown_Lady_of_Raynham_Hall

[7] ibid

[8] The vast history of Raynham Hall, http://news.bbc.co.uk/local/norfolk/hi/people_and_places/history/newsid_8058000/8058145.stm

[9] The Brown Lady, http://altereddimensions.net/2012/brown-lady-ghost

[10] Raynham Hall, http://www.delcoghosts.com/raynham_hall.html

 

 

 

Part one: The Mysterious Brown Lady of Raynham Hall – who was she?

Tags

Brown Lady, Captain Hubert C Provand, Country Life, Dorothy Walpole, Frederick Marryat, ghost hunters, Ghosts, Harry Price, Honest Tom Wharton, Houghton Hall, Lady Dorothy Townsend, Lucy Loftus, most famous ghost photo, Norfolk, photographs, Raynham Hall, supernatural, Walpole

This is a two-part post, examining the history, legend and paranormal sightings of the Brown Lady of Raynham Hall.  Part one examines the historical basis of the legend.

Raynham Hall in Norfolk is one of the oldest buildings in the county and has been the home of the Townshend family for nearly 400 years. Built in 1619 by Sir Robert Townshend and believed to have been designed by Inigo Jones, the Italian style palatial mansion originally sat in an estate of 7000 acres[1].

The Hall is also the setting for one of the most famous hauntings in England as well as a photograph which for many people proved the existence of ghosts.

Witnesses have reported seeing the ghostly figure of an aristocratic lady wearing an old-fashioned brown dress at various locations in the house but in particular in the upstairs corridor, on the grand staircase and in one particular bedroom.

The Legend of the Brown Lady

The Brown Lady, captured by Cpt Provand for Country Life in 1936.

The Brown Lady is believed to be the spirit of Dorothy Townshend, the second wife of Lord Townshend, sister of the famous Whig politician and first British Prime Minister Sir Robert Walpole and aunt of the prolific writer, historian and politician, Horace Walpole.

The story goes that Dorothy fell deeply in love with the young Lord Charles Townshend who returning her feelings asked her father, Robert Walpole, for her hand in marriage. Robert who was also Townshend’s guardian refused to give his permission afraid that people would think that he was using his guardianship for his own self-interest.

Heart-broken, Charles shortly afterwards married Elizabeth Pelham, daughter of the 1st Baron Thomas Pelham of Laughton. Elizabeth died in 1711 leaving Charles a widower with five surviving children. He was eventually reunited with Dorothy and the two married in 1713.

What Charles did not know was that during the time they had been apart, Dorothy had an affair with the notorious Lord Wharton (father of the infamous Philip, first Duke of Wharton, founder of one of the earliest Hell-fire Club’s). When Charles eventually found out, he flew into a terrible rage. Locking Dorothy in her rooms, he forbade her from ever seeing her children again. Dorothy remained imprisoned for the rest of her life until her death in 1726 reportedly from smallpox[2].

Variations on a theme

Other versions differ slightly, in particular when it comes to Dorothy’s death. One story purports that she died of a broken neck after falling or being pushed down the stairs whilst another insists that the funeral in 1726 was a sham and that Dorothy died years afterwards.

Whatever the truth behind the manner of Dorothy’s death, the one point these stories all agree on is the belief that Dorothy never really left Raynham and that her spirit wanders the Hall looking for the children she was so cruelly separated from.

A Gothic Nightmare or a Misjudged Marriage

With the publication of Horace Walpole’s ‘Castle of Otranto’ in 1764, Britain fell in love with a new genre of literature – the Gothic novel. Early gothic stories included elements of ancestral curses, rambling castles with hidden passages and supernatural elements. The gothic fever which gripped the nation was insatiable and new writers emerged on the scene such as Ann Radcliffe, author of the ‘Mysteries of Udolpho’ (1794) “who introduced the brooding figure of the Gothic villain…a literary device that would come to be defined as the Byronic hero”[3]. Later during the Victorian period the gothic genre developed culminating in some of the most famous books ever written such as Jane Eyre (Charlotte Bronte); Frankenstein (Mary Shelley) and Dracula (Bram Stoker). These together with novels such as The Woman in White (Wilkie Collins) and The Rose and the Key (Sheridan Le Fanu) which tapped into a growing fear amongst women of being locked away by ruthless mercenary male relatives and a fascination with the supernatural may have contributed to the rise of the Brown Lady legend.

Image via Gutenberg Press.

Gothic elements abound in the Brown Lady tale; there is the violent husband; the beautiful wronged woman locked away; the charming but devious villain who defiles a virtuous young woman; the manipulative wife who helps her husband in his schemes; an old house; a suspicious death.

Was there any truth in the stories and rumours surrounding Dorothy Walpole life and death or were various strands of the story twisted and moulded into a gothic tale? Does the historical evidence support the legend? Is it possible that the greatest politician of the era would have allowed his sister to be locked away or possibly murdered without batting an eyelid? Was Charles Townshend really so cruel and despotic? There are so many questions unanswered.

Introducing The Principle Players…

Lady Dorothy Townshend (née Walpole)

Lady Dorothy Townsend nee Walpole

Dorothy ‘Dolly’ Walpole was born on the 18 September 1686 at Houghton Hall in Norfolk to a wealthy landowning family. She was the thirteenth child of Mary Burwell and Colonel Robert Walpole, a Whig politician who represented the district of Castle Rising.

Little is known about her early life but at some point she fell in love with her father’s ward, Charles Townshend. As previously mentioned, her father turned down their request to marry[4]. Dorothy would have been about 10 or 11 years old at this point. Although that seems really young to us now, in the 17^th century the legal age for marriage was 12 for a girl and 14 for a boy. In practice even if a match was made at such an early age, consummation of the marriage did not occur until a few years later.

Houghton Hall. Image by Lenora.

Raised in a family deeply involved in politics, it is highly probable that she mixed with important Whig politicians and their families including Lord Wharton. The story of Dorothy’s affair with Wharton is seen as the catalyst for the events that followed with some even suggesting that the relationship may have been resumed after Dorothy’s marriage to Townshend. Although the evidence does suggest that Dorothy did have a mild flirtation with Wharton whether or not the relationship went any further will never be known.

Two years after the death of Townshend’s first wife in 1711 Dorothy finally got her wish and with the permission of her brother, Robert Walpole, married her first love Charles Townshend in a magnificent ceremony at Raynham Hall. During their thirteen years of marriage they had seven children with six reaching adulthood.

Not much is known about their marriage but in 2009 in an interview given by Lord Raynham to BBC Norfolk he refuted the idea that Dorothy had been ill-treated “People said that Dorothy was locked away and badly treated, but in the 1960s we uncovered paperwork and medical reports suggesting she had a happy life and was much loved”[5].

Most of what we can gather about Dorothy’s personality and life can be found in the remarks made by her contemporaries when they heard about her death from smallpox. One commentator describes her as an elegant and accomplished woman with engaging manners whose death is a great loss to her husband and family[6] and who used her influence to keep the peace between her husband and her brother. Another stated that she was “generally and justly lamented for her uncommon merit and the accomplishments that adorned her mind as well as her person”[7]. Lastly in a letter to Mr Walpole, Lord Waldegrave expresses his sadness at Lady Townshend’s death and recalls how on a trip to Hanover where she accompanied her husband as part of the king’s party she acted “with so much good humour, into the ways of the country, that she pleased everybody to admiration”[8]. It is really hard from these comments to see this Dorothy as the same Dorothy who was so violently abused that she was locked away and possibly murdered.

Lord Charles Townshend (2^nd Viscount Townshend)

Charles Townsend, 2nd Viscount Townsend by Godfrey Kneller.

Charles Townshend was born on the 18 April 1674 and succeeded his father to the peerage at the early age of thirteen. He was educated at Eton College and then at King’s College at Cambridge and as he grew up became deeply involved with the Whig cause. In November 1708 he was promoted to Captain of the Yeoman of the Guard and helped to negotiate the Treaty of Utrecht. He was favoured by George I and his standing with the king only increased when the policies he formed helped to crush the Jacobite Rising in 1715 resulting in him being given the position of Secretary of State for the Northern Department. With the exception of a brief period when he fell out of favour with the king, he held the position of Secretary of State for the rest of his political life and remained at the forefront of politics until differences of opinion with Sir Robert Walpole led him to abandon politics and retire to his estate at Raynham Hall, where he lived until his death in 1738[9].

In the story of the Brown Lady, Charles Townshend is portrayed as a violent man who had trouble controlling his temper. A description of Townshend the politician states that he “was frank, impetuous and overbearing, long accustomed to dictate in the cabinet and fond of recommending violent measures”[10]. The picture that emerges of Townshend is of a wily, determined and intractable man who could be ruthless when he had to be  – but that could describe any politician, no man could reach such a powerful position in that tumultuous climate by being a soft pushover.

On his retirement from politics, Townshend became heavily involved in agricultural developments. He became the champion of turnips as a new winter fodder crop for cattle and introduced large-scale turnip production on his estate. As a result he was given the name of ‘Turnip’ Townshend.

Raynham Hall, seat of Charles Townsend. Image via Wikimedia.

Again the evidence from contemporary sources contradicts the image of an abusive and evil husband. He is described as having retired with a “most unsullied character for integrity, honour and disinterestedness, and gave several striking proofs that he could command the natural warmth of his temper” and that his hospitality endeared him to his neighbours and the dignity of his character earned everyone’s respect[11].

The question is would Robert Walpole have allowed his sister to marry a man with such an unpleasant character? Possibly, Walpole himself had a difficult relationship with his first wife and is known to have treated her badly, and the marriage did cement an alliance between two exceptionally powerful men and two important families. It is also more than likely that Walpole held a traditional view of a woman’s place i.e. the husband was responsible for his wife and that no one else had the right to interfere in their personal affairs. It is interesting that Townshend’s jealously of Walpole rising above him led to a permanent rift between the two only after Dorothy’s death. It might be that the loss of their intermediary left no-one to hold the now fragile alliance together, (often families fall apart when an important member dies). There is no evidence that their arguments were caused by Walpole blaming Townshend for his sister’s death and would have Walpole allow his sister to be held prisoner for years? It seems unlikely but then again no-one knows what goes on behind closed doors.

Lady Lucy Wharton

Lady Lucy Wharton by Godfrey Kneller. Private Collection.

Lucy Wharton was the second wife of Lord Thomas Wharton and heiress to the vast Rathfarnham estates in Ireland. She was the daughter of Adam Loftus, 1^st Viscount Lisburne, a man who was described as hot-tempered, a compulsive gambler and a heavy drinker[12].  Worth £5000 a year, Lucy married Wharton shortly after the death of his first wife, Ann in 1685.

Lady Mary Wortley Montagu (who had an affair with Lucy’s son, Philip) was not a fan of Lucy describing her as well suited to Lord Wharton, “unfeeling and unprincipled; flattering and fawning, canting, affecting prudery and even sanctity, yet in reality as abandoned and unscrupulous as her husband himself”[13].

Not only did both Lady Wharton and her husband turn a blind eye to each other’s affairs but Lady Wharton was not above helping her husband to seduce innocent girls “his character was so infamous, and his lady’s subservience so notorious, that no young woman could be four and twenty hours under their roof with safety to her reputation”[14].

One of the stories about Dorothy is that somehow Lady Wharton was responsible for entrapping her at Raynham Hall. The origin of this story may stem from an episode which occurred during Dorothy and Wharton’s brief flirtation before her marriage when Lady Wharton lured her to the Wharton’s London residence knowing that it would ruin the girl’s reputation. Apparently Robert Walpole heard a whisper that something was in the air and stormed over to the house and removed his sister by force.

Eventually Lord Wharton became tired of his wife and banished her to a small brick tower in the garden of his mansion at Winchendon in Buckinghamshire[15]. So in a strange way she was banished to some sort of gothic residence but not as a prisoner!

Lord Wharton

Honest Tom Wharton, 1st Marquess of Wharton.

Lord Thomas Wharton was born in August 1648 to a wealthy and powerful family. Wharton was a clever and distinguished Whig politician and virulently anti-Catholic. He sided with the Duke of Monmouth, the illegitimate son of Charles II, in his campaign to be named as his father’s heir in place of the Catholic James II and was instrumental in William, the Dutch Prince of Orange being crowned as king rather than as a consult to Mary. He was also behind the Hanoverian accession and involved in the 1707 Act of Union with Scotland. Despite his decadent ways and occasionally falling out of favour (i.e. Queen Ann disliked him intensely especially after the Barrington Affair when he along with some friends broke into the church and relieved and defecated on the altar and pulpit), he somehow always managed to rise to the top.

Wharton was a libertine, a brilliant swordsman, a debaucher and when he needed to be a manipulative liar. He was sarcastically nicknamed ‘Honest Tom’ as it was believed that no one could trust him “of all the liars of his time he was the most deliberate, the most inventive, and the most circumstantial”[16].

In 1673 he married Ann, granddaughter of Anne St John, the Dowager Duchess of Rochester. It comes to something when probably the most notorious libertine of the age, the Duke of Rochester actually tried to prevent his beloved niece from marrying Wharton. Ann was bookish, clever, a poet and a writer, completely different from Wharton. Neglected by Wharton, in favour of his numerous mistresses, she died in intense pain and misery from syphilis. It is rumoured that Wharton refused to tell Ann that he was infected.

Wharton’s mercurial character was one that aroused deep hatred in some, admired by others and definitely not a man to offend. To the Tories he was almost a satanic figure. Jonathan Swift, whose deep animosity towards Wharton increased when Wharton passed him over for preferment, wrote a number of pieces on the ‘diabolical’ Wharton and called him “the most universal villain I ever knew”[17].

Wharton died in 1715 and left his son by his second wife, Philip as his successor. Swift’s wish that “May it please god to shorten the life of Lord Wharton, And set up his son in his place”[18] eventually came true but if his hope was that the son would somehow atone for the father he would have been sadly disappointed as Philip earned a reputation which equaled and maybe surpassed that of his father as the founder of the Hellfire Club.

In many ways Wharton does fit the image of the Gothic villain; dynamic, charming and dangerous but then again being a drinker, gambler and libertine in the 17^th century was like wearing flared trousers in the 70s, nearly everyone was doing it. Was Wharton worse than others – maybe, maybe not! It is probably best to leave the last word on Wharton to an anonymous source who wrote,“A monster, whom no vice can bigger swell, Abhor’d by Heaven and long since due in Hell”[19].

So was Dorothy the tragic victim of a vicious plot? – I leave it to people to draw their own conclusions!

In part two of the Mysterious Brown Lady of Raynham Hall, Miss Jessel will examine evidence for the sightings of her wandering spirit, and will consider whether the famous Country Life photograph, believed by many to provide proof of the existence of ghosts, can be taken at face value. 

Bibliography

Florence Marryat, There is No Death, 1917

Henrietta Hobart, Duchess of Suffolk: Letters from 1712 to 1767 with historical, biographical and explanatory notes

William Coxe and Horatio Walpole: Memoirs of Horatio, Lord Walpole – Volume I, 1808

M. Townshend, Townshend – Townshend: 1066-1909, 1909

John Harold Wilson, Court Satires of the Restoration, 1986

Norman Milne, Libertine and Harlots, 2014

Raynham Hall, https://en.wikipedia.org/wiki/Raynham_Hall

The vast history of Raynham Hall, http://news.bbc.co.uk/local/norfolk/hi/people_and_places/history/newsid_8058000/8058145.stm

Brown Lady of Raynham Hall, https://en.wikipedia.org/wiki/Brown_Lady_of_Raynham_Hall#cite_note-4

The Brown Lady of Raynham Hall, http://www.mysteriousbritain.co.uk/england/norfolk/hauntings/the-brown-lady-of-raynham-hall.html

Brown Lady of Raynham Hall, http://www.paranormalunited.co.uk/brown-lady-of-raynham-hall-norfolk-1936/

The Whartons of Winchendon, http://thedabbler.co.uk/2014/10/the-whartons-of-winchendon-4-honest-tom/

Raynham Hall, http://www.delcoghosts.com/raynham_hall.html

Dorothy Townshend, https://en.wikipedia.org/wiki/Dorothy_Townshend

The Brown Lady, http://altereddimensions.net/2012/brown-lady-ghost

Thomas Wharton, 1st Marquess of Wharton, https://en.wikipedia.org/wiki/Thomas_Wharton,_1st_Marquess_of_Wharton

Charles Townshend, 3rd Viscount Townshend, https://en.wikipedia.org/wiki/Charles_Townshend,_3rd_Viscount_Townshend

Raynham Hall, http://home.worldonline.co.za/~townshend/raynham.htm

Gothic Literature, https://en.wikipedia.org/wiki/Gothic_fiction

Notes

[1] Raynham Hall, https://en.wikipedia.org/wiki/Raynham_Hall

[2] The Brown Lady of Raynham Hall, http://www.mysteriousbritain.co.uk/england/norfolk/hauntings/the-brown-lady-of-raynham-hall.html

[3] Gothic Literature, https://en.wikipedia.org/wiki/Gothic_fiction

[4] Dorothy Townshend, https://en.wikipedia.org/wiki/Dorothy_Townshend

[5] The vast history of Raynham Hall http://news.bbc.co.uk/local/norfolk/hi/people_and_places/history/newsid_8058000/8058145.stm

[6] William Coxe and Horatio Walpole: Memoirs of Horatio, Lord Walpole – Volume I, 1808

[7] Ibid

[8] Ibid

[9] Raynham Hall, http://home.worldonline.co.za/~townshend/raynham.htm

[10] M. Townshend, Townshend – Townshend: 1066-1909, 1909

[11] ibid

[12] John Harold Wilson, Court Satires of the Restoration, 1986

[13] The Whartons of Winchendon, http://thedabbler.co.uk/2014/10/the-whartons-of-winchendon-4-honest-tom/

[14] The Brown Lady, http://altereddimensions.net/2012/brown-lady-ghost

[15] Norman Milne, Libertine and Harlots, 2014

[16] The Whartons of Winchendon, http://thedabbler.co.uk/2014/10/the-whartons-of-winchendon-4-honest-tom/

[17] ibid

[18] ibid

[19] ibid

 

 

Strawberry Hill Gothick: the art of gloomth and the beauty of horror

Tags

Architecture, Castle of Otranto, Chopp'd straw hall, committee of taste, eighteenth century, English Villa, fellow goths, Georgian taste, gloomth, Gothic, Gothick, Grand tour, Horace Walpole, horror, John Chute, Lady Waldegrave, literature, Richard Bentley, stained glass, Strawberry Hill House, Twickenham

Strawberry Hill – a dream of gloomth

South View of Strawberry Hill.

Miss Jessel and I recently had the opportunity to coordinate our haunted schedules and take a trip to Twickenham to visit one of the most unusual and, to my mind, beautiful houses in England.

Strawberry Hill is a unique building in English architecture – one that fits nowhere comfortably.  It is not a castle, nor a venerable ancestral seat, nor yet is it a picaresque folly or a classic English Villa.  What is, is drama, theatricality, the promise of dark mysteries and unfolding horror….In short, Strawberry Hill is as idiosyncratic, affected and inspired as the extraordinary man who created it.  A man who, saturated as he was with the gloomth and venerable barbarism he made fashionable, let his Gothic architectural masterpiece inspire his Gothic literary masterpiece…and thereafter spawn a whole genre of Gothic literature and popular culture.

Horace Walpole (1717 -1797): connoisseur, writer, art critic and gossip

Horace Walpole by Joshua Reynolds, 1756. Image Wikimedia.

It is hard to read any history or biography concerning the eighteenth century without coming across some usually acerbically witty observations from Horace Walpole.  A voluminous correspondent, writer and art critic, he was deeply concerned with recording events around him, seeing on the spot observations as valuable tools for historians.  From the Coronation of George II to the Cock Lane Ghost, Walpole was there to offer his spiky comments to his correspondents and to posterity.

He was born in 1717 into the powerful elite of eighteenth century society. His father, Sir Robert Walpole, was, in all but name, Britain’s first Prime Minister.  This is proved extremely beneficial for Horace, as his father ensured he never had to work by granting him 3 lucrative sinecures.  His mother, Catherine Shorter, whom he is said to have taken after, was from a family of eccentrics.

Walpole’s parents, hanging in the Blue Bed Chamber (the origial frame was re-created on a 3D printer).

Like most of his contemporaries Walpole rounded off his formal education with a Grand Tour to the continent.  From 1739 -1741, accompanied by his friend, the poet Thomas Gray, he traveled to Italy.  Temperamentally very different: Gray liked to spend hours studying historical sites, while Walpole preferred living it up and partying on down, they soon fell out [1].  This tour, and its cultural influence was to have an important impact on his later ideas for Strawberry Hill as he endeavored to re-create the ‘gloomth of abbeys and cathedrals’ at home.

English tourists on the Grand Tour, 18th Century image. Source BBC.

Horace Walpole, by Rosalba Carriera. Source Wikipedia.

By 1747, Sir Robert had been in his grave for two years, leaving Horace, his youngest son the lease on a London property and enough money to begin looking about for a country retreat. Nothing as grand as Houghton Hall where he had grown up, but something more bijou and compact. A bachelor pad, but with enough space for the chi-chi little house parties that Walpole was so fond of throwing.  It had to be somewhere fashionable, after-all Walpole was a man of taste and refinement, and it had to have good transport connections to the capital with its social and political scene.

At that time Twickenham was being what we would now call gentrified.  By the time Walpole went house-hunting, Twickenham’s rustic cottages had been transformed into stylish English Villa’s (such as the classically elegant Marble Hill, home to Henrietta Howard, Countess of Suffolk, and long-suffering mistress of George II)  and real estate was in seriously short supply. Walpole was lucky though, and snapped up the last vacant plot – Chopp’d Straw Hall – from one Mrs Chenevix, a luxury ‘toy’ woman (think uber-posh geegaws for the very rich, rather than Barbie dolls and teddy bears for the proletariat).  This image of the house as an exquisite toy seemed to tickle Walpole and he often referred to his home in those terms:

“It is a little play-thing of a house that I got out of Mrs Chenevix’s shop, and is the prettiest bauble you ever saw.”

He was to spend the next fifty years adding and elaborating on the original house – as Maev Kennedy wrote, Walpole achieved a:

‘spectacular conjuring trick [..] [a] miniature medieval castle wrapped around a modest little country house.’ [2]

How not to build English Villa – throwing away the rule book

Plate showing ‘the five orders’ from a book by da Vignola. 16th Century. Source Wikipedia.

From Palladio to Inigo Jones and Lord Burlington, by the eighteenth century the prevailing architectural fashion was Classical: symmetrical, ordered, regulated by the ‘noble rules’ and harking back to the roman country villa [3].

When Walpole chose to buck the trend and go Gothick, he was not the first. Vanbrugh and William Kent had been earlier trailblazers.  Where he was different was in using actual architectural examples to create a new Gothic building.  He was not adding a sympathetic extension, or restoring an existing Gothic building like Vanbrugh and Kent had done.  He was taking research and turning it into a reality, twisting the invariably Classical  English Villa into something more organic, more irregular, dramatic, more English.  And it was completely at odds with the dominant Classicism of the day.  As Michael Snoddin, curator at the V&A commented:

“The most striking external feature of Strawberry Hill was its irregular plan and broken picturesque silhouette.” [4]

It must have seemed shocking to his neighbors!

Yet, despite its oddity, it also fitted with the sensibility of the eighteenth century perfectly, the Picaresque movement was popular at the time, and the very nature of eighteenth century style was very feminine – think Rococo curves.  It also tapped into the growing interest of Antiquarians in the Medieval past of Britain, whilst not omitting modern conveniences, as Walpole was at pains to point out:

The Tribune, where Walpole displayed his most valued treasures.

“In truth, I did not mean to make my house so Gothic as to exclude convenience, and modern refinement in luxury.  The designs of the inside and outside are strictly ancient, but the decorations are modern.”

There was almost a national pride in the resurgence of the style – something that would become more pronounced in the 19th Century when the Victorian’s enthusiastically embraced the Gothic style of architecture.  Walpole certainly appreciated that England’s Medieval heritage needed to be preserved, and this is typified in his method of using actual examples of medieval decoration and interior design.  His preferred period was the Perpendicular period of 1330 – 1550, and this is evident at Strawberry Hill [5].

According to Anna Chalcraft and Judith Viscardi:

“Horace Walpole used new materials, had amazing ideas, but utilized these to reinvest the past with excitement.  Both Georgian and Victorian Gothic architecture grew from a style which recalled the past but which was also the epitome of modernity.” [6]

Hence the term Strawberry Hill Gothic, or Gothick with a ‘k’ was coined,  to distinguish this modern Gothic from true Gothic style.

Detail of the Entrance hall wallpaper, a design taken from Prince Arthur’s tomb at Worcester cathedral.

My Fellow Goths

The Stunning Long Gallery

Although Walpole was the driving force behind Strawberry Hill, he also deferred to and acted upon the decor and design suggested by his Committee of Taste, his ‘fellow Goths’.  Membership varied over the years but the two most prominent members were John Chute, who specialized in early buildings, antiquarianism, and heraldry; with Richard Bentley influencing interiors, furniture and decoration.

Together Walpole and his Committee created a theatrical experience using a range of techniques: use of light (the windows are slightly larger than might be expected), the absence of light (blue glass and stained glass give a wonderful Gloomth to many of the rooms), use of vivid colour and rich gilding (one can only imagine how gorgeous the Long Gallery must have looked by candle-light – with its gilded fan vaults ablaze and casting eerie shadows on the walls).

Many of the rooms are vivid hues – the Blue Bed Chamber, the Rich Red of the Long Gallery, the purple of the Holbein Room. – while some rooms are muted – the entrance hall and staircase, the trunk-ceiled passage setting a more sombre scene.  Whereas today, the sheer peacockery of the place removes any sense of dark mystery or foreboding, in the eighteenth century the impression would have been quite different.

The Glorious Gloomth of the Library.

As Chalcraft and Viscardi note, Walpole used illusion to create a mood for each room – nothing is quite what it seems. Plaster, wood and paint imitate stone carvings, giving, as Sally Jeffrey observed, an almost illustrated delicacy to the building reminiscent of its academic sources [7]. Throughout the building, the vistas are carefully planned, the visitor moves through the house in a particular way,  the design and layout is immersive, intended to alter the mood of the viewer, or focus their attention on a particular object or scene.  Today, the house is sparsely furnished, but in Walpole’s day it was crammed with the six thousand objects he had collected, each placed for maximum impact and each with its own story to tell.

From darkness into the light. Planned vistas in Strawberry Hill.

No surprise then that the house has always attracted visitors, Walpole was even occasionally run out of his own home by the massed hordes of upper crust sight-seers, and he would retreat to a cottage nearby.  However, oh the whole he seemed to have rather enjoyed the attention, even going so far as to create rules for visitors and issuing the very first country house guide in 1774, for their edification.

Walpole’s rules for visitors to Strawberry Hill.

 The Castle of Otranto

Of course, the fame of Strawberry Hill also lies in it being the inspiration for the tale cited as the first ever Gothic Horror story – The Castle of Otranto.

On 9th March 1765 Horace Walpole wrote to the Rev William Cole:

” I waked one morning in the beginning of last June from a dream, of which all I could recover was, that I thought myself in an ancient castle (a very natural dream for a head filled like mine with Gothic story) and that on the uppermost bannister of great staircase I saw a gigantic hand in armour.  In the evening I sat down and began to write, without knowing in the least what I intended to say or relate…” [8]

Staircase, designed by Richard Bentley and inspired by Rouen cathedral, and the supposed setting of Walpole’s dream.

And so the Gothic Horror Genre was born. The story is rather like the house itself, which is not quite what it purports to be.  in 1764 Otranto was launched onto the reading public as an ancient Italian Tale, discovered in a remote library and translated by the antiquarian William Marshall.  Once its warm reception had been assured, subsequent editions named Walpole as the author.

Unfortunately, rather like the house itself, the tale has lost some of its sense of dread and mystery over the years, leaving a theatrical, slightly breathless melodrama in its stead: death by gigantic helmet, portraits coming to life, a rotting corpse hermit with a message from beyond the grave and swooning maidens aside, the tale does lay out the standard tropes enthusiastically adopted in later Gothic tales.  There is a cursed noble family, a long-lost heir, a doomed highborn beauty.  Earthly moral peril and otherworldly threat create dynamic tension and heighten the drama.

Mario Praz, in his excellent introduction to the Penguin edition, despite acknowledging The Castle of Otranto  to be the first of its genre, sees it as a rather weak example of  Gothic horror, noting somewhat dismissively that like Strawberry Hill itself, Otranto was merely – ‘Rococo in Gothic disguise’.  [9]

Walpole’s source of inspiration? Carceri series, by Piranesi. Image public domain, via Wikimedia.

Despite the modern criticisms, in the Eighteenth century the tale was a ‘best seller’. The popularity of the Castle of Otranto may seem to be a paradox in the Enlightened eighteenth century.  However, the century that prided itself on the rational and scientific progress was also a century that saw more and more people becoming urbanized and losing their connection to the countryside in the wake of ‘progress’.  Almost as a counterbalance to things becoming to rational and to classical, there was a growing interest in the picturesque and in Britain’s medieval past as people yearned to rediscover and reconnect with the chaos of nature.

In literature De Sade and in art Piranesi tapped into and exploited this desire for primordial chaos and destruction.  As Praz explains, a sensibility grew up where horror became a source of delight – charm and repulsion were combined and “the ‘beautiful horrid’ passed by insensible degrees into the ‘horribly beautiful'” [10]

Walpole can be seen in his creation of Strawberry Hill  and his writing of The Castle of Otranto successfully tapping into the zeitgeist of the mid-eighteenth century and in doing so became both a fore-runner of the Gothic  literature so popular later in the century and of the Gothic architectural style so beloved of the Victorians.

The armoury from the staircase.  A great plumed helmet, reminiscent of Otranto, can be seen in the middle arch.

So, despite Walpole’s fears that ‘My buildings are paper…and will all be blown away in ten years after I am dead’ both of his great works, Strawberry Hill and The Castle of Otranto, have survived the centuries to become culturally significant landmarks.

Strawberry Hill today

After Walpole’s death in 1797, Strawberry Hill suffered a checkered fate with some sympathetic and some not so sympathetic custodians.  Sadly, the famed collection was broken up and sold in the 1840’s.

The 19th Century Waldegrave Wing.

Restoration in progress – hand-woven sheets are laid out on the table.

By 2004 Strawberry Hill was listed as endangered by the World Monument Fund.    But, thanks to the Strawberry Hill Trust the house was saved.  The Trust are restoring the house to the state it was when Horace Walpole lived in it, so the colours are vivid and the textiles fresh.  The visitor may sometimes have difficulty telling what is ‘real’ and what is a reconstruction, but the overall effect is glorious and I feel sure Walpole would have approved.

It is the 300th anniversary of Horace Walpole’s birth next year, and as part of the celebrations the Trust planned to try to reunite Horace Walpole’s lost collection with Strawberry Hill.  Bringing together hundreds of items from all over the world is a huge undertaking, and now it looks like this won’t happen until 2018.  However, it should be well worth the wait.

To find out more about visiting Strawberry Hill, you can find their website at:

http://www.strawberryhillhouse.org.uk/

To find out more about the Walpole Collection, visit the Lewis Walpole Library:

http://www.library.yale.edu/walpole/

 Sources and notes

Images:  By Lenora unless otherwise stated.

https://www.britannica.com/biography/Horace-Walpole-4th-earl-of-Orford [1]

Chalcraft, Anna and Viscardi, Judith, 2011, ‘Strawberry Hill Horace Walpole’s Gothic Castle’ Francis Lincoln Ltd [5] [6] [7] [and most quotes from Horace Walpole]

Fairclough, Peter, ed. and Praz, Mario, 1986, ‘Three Gothic Novels’, Penguin [8] [9]

Jeffery Sally, ‘Architecture’ in Ford, Boris, Ed, 1995, ‘The Cambridge Cultural History of Britain Vol 5 Eighteenth Century Britain’, Cambridge University Press [3] [7]

Kennedy, Maev, 25 Feb 2015, ‘Strawberry Hill, Horace Walpole’s fantasy castle, to open its doors again’ , The Guardian.  https://www.theguardian.com/artanddesign/2015/feb/25/strawberry-hill-horace-walpole-gothic-castle-otranto-open-again [2]

Walpole, Horace, republished 2016, ‘A Description of Strawberry Hill’ The Strawberry Hill Trust.

https://en.wikipedia.org/wiki/Horace_Walpole [4]