Medieval Death: The Danse Macabre

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black death, cemetery, charnel house, dance of death, Danse Macabre, death, Death Art, Holbein, Holy Innocents, John Lydgate, Medieval, memento mori, Paris, Religion, Rowlandson, St Paul's

Ms. 109 (2011.40), fol. 156 c 1493-1510. Getty collection.

In the late Middle Ages, life was tough and brief, and King Death presided over all.  Plague, social upheaval, famine, and the Hundred Years War had all taken their toll on the population and this was reflected in the dark art of the fifteenth century.

Ars Moriendi, or Art of Dying, texts set out how a Christian could have a Good Death; Memento Mori images, such as the three living and the three dead, reminded people of the transient nature of earthly pleasures – and the judgement to come;  Cadaver or Transi tombs begged the passer-by to pray for the departed and so to quicken their passage through purgatory.

Grim traditions for a grim time.  However, the late Middle Ages also saw the development of the gleefully morbid Danse Macabre or Dance of Death which could be found in Northern Europe and as far south as Italy. It is worth noting that the subject of the Danse is a vast one which encompasses performance, literature and the visual arts.  This post will focus mainly two of the more well known, but now lost, visual representation of the Danse at Holy Innocents Cemetery in Paris and Old St Paul’s in London.

Origins of the Macabre

Nuremberg_chronicle Dance of Death (CCLXIIIIv) Via Wikimedia

Macabre, a word that evokes not just morbid themes, but also hints at a certain fascination or even relish for the subject.  A word that fits the art of the post plague Medieval world like a decaying body fits a tattered shroud.

There is scholarly debate as to the origin of the word macabre. It has been argued to be Hebrew, Arabic or a derivation of the Biblical name Maccabeus (the slaughter of the Maccabees was a popular subject of Medieval Mystery plays) [1].  Whatever its true origin, it soon became indissolubly linked with a particular form of Medieval Memento Mori art, the Danse Macabre.

The first literary reference that partners it with the Danse Macabre appears in 1376 in Jean Le Fevre’s Le respit de la mort, written, appropriately, when Le Fevre was recovering from plague.  Here ‘Macabre‘ appears to be a character or a personification of death:

I did the dance of Macabre
who leads all men to his dance
and directs them to the grave,
which is their final abode.[2]

This poem exemplifies the Medieval literary penchant for didactic poetry.  Such poetry often took the form of a conversation between the body and the soul, and usually had a Christian, moral theme entreating the reader to eschew the vanities of life in favour of preparing the soul for the afterlife.  This genre sat comfortably alongside other Memento Mori traditions such as the Three Living and the Three Dead.  Its didactic form was also a perfect fit for the Danse Macabre theme – with the personification of Death summoning his unwilling victims to the grave.

The hours of Dionara of Urbino’), Italy, ca. 1480

Dancing in the graveyard

The Danse Macabre usually depicted a line of dancers, from different estates in society, partnered by cavorting skeletons.  Dancers are drawn from all levels of the social hierarchy – from Popes and emperors, princes of the church, kings, labourers and even children. Later depictions added women and newly emergent professional classes such as doctors and merchants – all clearly identifiable by stereotypical dress.

Often text or dialogue accompanies each pair of dancers, death calling each one and the dancer bemoaning their fate. Examples were found on charnel houses, cemetery walls and in churches. As a subgenre of the popular Medieval Estates Satire, the Danse Macabre hammered home, like nails into a coffin that, no matter your position in society, death was the great leveller [3][4].

Guy Marchants Danse Macabre from Holy Innocents Cemetery. c1491 -92.

The first known artistic representation Danse Macabre was to be found, appropriately enough, on the walls of the charnel house of Holy Innocents Cemetery, Paris. Holy Innocents cemetery was the oldest in Paris, dating from the end of the twelfth century and was situated next to the bustling marketplace of Les Halles. The cemetery would have been bustling with people, traders, scribes, sex workers. The Charnel house, a place where the bones of the dead, high and low, were all mixed together regardless of rank, would have been an ideal location for the mural.  The Images at Holy Innocents were also accompanied by Le Fevre’s text, forever linking the two in the popular imagination and creating what some have likened to a Medieval comic strip with images and speech ‘bubbles’ [5][6].

Locating the Danse Macabre in a cemetery fitted with folk belief as well, it has been noted that in popular culture, it was not uncommon for people to report seeing corpses dancing in graveyards [7]. Overall, the average Medieval person was concerned with the unquiet dead, sinners roaming about with unfinished business amongst the living – as many contemporary reports of revenants, attest.

Charnel House at Holy Innocents/Cimetière des Innocents, Paris. Via Wikimedia.

The mural was commissioned between August 1424 and Lent 1425, a period of truce in the One Hundred Years war.  The Treaty of Troyes gave Henry V, right to the throne of France, when he died in 1422, his son Henry VI, became king of France and England.  However, as Henry VI was only a baby, France was placed under the regency of John of Bedford, Henry VI’s uncle and a well-known patron of the arts.

The image is a macabre carnival – death mocks and pulls at his dance partners, the fat abbot is told he will be the first to rot, while death flirts with the handsome chevalier and gropes the physician.  There are 30 couples in all, from the highest to the lowest.  With an ‘authority’ figure to introduce the dance, and another authority figure and a dead king to deliver the moral of the dance [8].  As John Lydgate put it:

Come forth, sir Abbot, with your [broad] hat,
Beeth not abaissed (though thee have right).
Greet is your hede, youre bely large and fatte;
Ye mote come daunce though ye be nothing light.
[..]
Who that is fattest, I have hym behight,
In his grave shal sonnest putrefie. [9]

The subject matter of the mural may have been influenced by the contemporary political situation – the figures mainly depicted the ruling and martial classes, the king, constable and, of course, a corpse king.  It was also this political situation, a lull in the hostilities, that allowed English poet John Lydgate to visit Paris in 1426.

Lydgate was impressed with the image and accompanying text and was influenced to write his English translation of Le Fevre’s text with the addition of extra characters drawn from Mystery plays and masques of the time.  Lydgate also introduced some female characters to the text [10].

Danse Macabre from Talllinn by Bernt Notke c1500.

In 1430 a version of the Danse Macabre was painted at the Pardoner Churchyard, Old St Paul’s, London (commonly known as the ‘dauce of Poulys‘).  Both image and text were influenced by the Mural at Holy Innocents. This version depicted 36 dancers from different stations in life, summoned by death.  The St Paul’s images were augmented with dialogue between death and his victims, this time provided by John Lydgate’s translation ‘Out of the Frensshe’ [11].  Writing in 1603 in his Survey of London, John Stow described the St Paul’s Dance, thus:

“[..] About this Cloyster, was artificially and richly painted the dance of Machabray, or dance of death, commonely called the dance of Pauls: the like whereof was painted about S. Innocents cloyster at Paris in France: the meters or poesie of this dance were translated out of French into English by Iohn Lidgate, Monke of Bury, the picture of death leading all estates, at the dispence of Ienken Carpenter, in the raigne of Henry the sixt.”

Stow’s comments highlight how influential the Danse Macabre at Holy Innocents was on subsequent versions.

Another common feature of both Holy Innocents Danse Macabre and St Paul’s was that they were situated in busy areas bustling with life and frequented by the public, both became popular, and thought provoking, attractions.  Sadly, neither survive – Holy Innocents Cemetery was completely removed at the end of the eighteenth century and the mural at St Paul’s was destroyed in 1549.

Holy Innocents Cemetery by Guy Marchant c1491-92.

Many other examples of the Danse Macabre were created in the following decades, notable ones having existing at Basel (c1440), Lubeck (1463) and Tallinn, Estonia (1500).  Each was tailored to its own locale and reflected the patrons who commissioned it – where Holy Innocents focused on the martial classes, Lubeck featured more from the merchant classes.

Sadly, many examples are lost, surviving only in copies or as fragments of vast originals – such as the fragment at St Nicholas’ Church Tallinn by Bernt Notke (a copy of his earlier lost work at Lubeck).  Clearly, later ages did not share the Medieval fondness for macabre public art.

So, how did the Medieval viewer read such an audio-visual experience?

The Unwanted Dance Partner

Danse Macabre by Bernt Notke via Wikimedia.

The most obvious message that even an illiterate Medieval viewer could take away from the Danse Macabre, is that death is the great leveller.  No matter how high your estate, in the end death is coming for you.

The Danse was also personal, all of the estates of society could be found, so whether you were a king, a merchant or a labourer, or even a child, you could find your own representation in the danse; some of them even set the dance in a recognisably local landscape, for added impact.  The viewer could also, in a sense, participate in the dance, because many of the life size frescoes within churches, such as that at Tallinn, required the viewer to process along the fresco in order to see all of the original 48-50 figures[12].

The danse was also undeniably slapstick.  Viewers would have been familiar with figure of death or devils and their comedic antics in Mystery plays and even court masques so the viewer could laugh at the expense of their betters as they are dragged to the grave by a cavorting skeleton, whilst also being viscerally reminded of their own mortality.

A medieval burial, from a Book of Hours made in Besançon (detail), France, c. 1430–1440, Rare Books Collection, State Library Victoria.

But more than that, the Danse subverted the natural order of things.  The dead should be at rest, subject to the funeral mass, and quiet in their graves, not cavorting about.  It’s notable that many of these images were associated with graveyards – often sights of lively activity, commercial and personal, so much so that in Rouen in 1231 and Basel in 1435 edicts were passed prohibiting dancing in graveyards [13].  The Danse images were challenging the norm.  Dancing in Medieval thought was primarily associated with sin, paganism and seduction. Placing images of a sinful activity in a holy setting would seem to point to their purpose being penitential or confessional [14].

But, what of the text that sat alongside the images.  In a world where the majority of people were illiterate, how important was it?  While the images convey death as the great leveller, the dialogue between death and the living, prompts people to remember that earths glories are temporary, pride is the greatest sin of all, and that they should repent and prepare their souls for the afterlife.

However, while only a few would have been educated enough to read the text themselves, the message of atonement it conveyed would not have been lost on the illiterate.  The images would have been viewed in the context of lively sermons on the subject and oral tales reinforcing the message that death could strike at any time, so you should prepare your soul.  After the ravages of the Black Death this would have been particularly poignant [15].

The reformation and Death gets a reboot

The Abbess by Holbein 1523/5. Public domain.

In the sixteenth century, the religious and political landscape of Europe was drastically altered by the Protestant Reformation as well as technical innovations like the printing press. Nevertheless, it was during this period that the Dance of Death had its most famous reboot.  In 1523-25, Hans Holbein produce his famous version of the Dance of Death, however, rather than a public fresco in a church, his work was a series of woodcuts often reproduced in codex/book form.  This broke up the dance into a series of pages and also provided a more private and personal experience for the viewer. And, also, from a modern perspective, reinforces the link between the format of the Dance and modern graphic novel or comic strip art forms. Holbein’s Dance of Death also repurposed the genre as a tool of social satire and religious reform, rather than as a moral or religious lesson [16]. 

Dancing down the ages

The heyday of the Danse Macabre as religious symbolism was the Late Middle Ages, however, the striking visual image of death harrying the living has remained a popular subject for artists throughout the ages, although its message may have changed.

In the nineteenth century, Thomas Rowlandson collaborated with poet William Combe to produce the satirical series The English Dance of Death in 1815.  In the twentieth century, Ingmar Bergman’s Iconic film the Seventh Seal (1957) used Dance imagery, and in the twenty-first century, English Heavy Metal Band Iron Maiden’s 2015 album was named for the Dance of Death.

The English Dance of Death, Thomas Rowlandson 1815. Image from Haunted Palace Collection.And if you thought that the Dance of Death was now just the preserve of historians and heavy metal fans, one school of thought has it that the modern predilection for dressing up in scary costumes at Halloween can be linked back to that most macabre of medieval traditions [17].

Sources and notes

Binski, Paul, Medieval Death, Cornell University Press, 1996 [3] [13] [14] [16]

Cook, Megan, L, and Strakhov, Elizaveta, Ed. John Lydgate’s Dance of Death and Related works, Medieval Institute Publications, 2019 [1] [2] [4] [5] [7] [9] [10] [11]

Dodedans – St Paul’s dance, [8] http://www.dodedans.com/Epaul.htm#:~:text=The%20most%20famous%20dance%20of%20death%20in%20England,%28And%20fro%20Paris%20%2F%20to%20Inglond%20hit%20sent%29.

Ebenstein, Joanna, Ed. Death: A Graveside Companion, Thames & Hudson, 2017. [6]

Gertsman, Elina, The Dance of Death in Reval (Tallinn): The Preacher and His Audience, in Gesta Vol. 42, No. 2 (2003), pp. 143-159 (17 pages) Published by: The University of Chicago Press on behalf of the International Center of Medieval Art [12] [15 [17]

Platt, Colin, King Death: The Black Death in England and its aftermath in late-medieval England,  UCL Press.

Medieval Death: The Cadaver Tomb (transi tomb)

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black death, bones, cadaver, chantries, chantry, Christianity, corpse, effigies, funeral, funerary, Gisant, Henry Chichele, Lincoln Cathederal, Medieval death, memento mori, mortality, purgatory, resurrection, Richard Flemming, shroud, skeleton, spirituality, Thomas Haxby, tomb, transi, York Minster

Danse Macabre by Bernt Notke in Tallin, Estonia. (Image via Wikipedia).

A dark secret in Lincoln Cathedral

Richard Fleming’s tomb and chantry, Lincoln Cathedral.

A visitor wandering the aisles of Lincoln’s fine Gothic cathedral, awed by its vast air ribbed vaulting, intrigued by its curious Medieval carvings – such as the famous Lincoln Imp – and immersed in its impressive Medieval and Wren libraries, would be forgiven for overlooking the tomb of Richard Fleming, the bishop of Lincoln from 1420-1431.

Fleming’s monument forms part of a chantry chapel and is tucked away on the North wall of the cathedral. A cursory glance is all most visitors probably afford it – yet another elaborate memorial to a high churchman. But if you look a little closer, Richard Fleming’s tomb hides a remarkable and macabre secret. In the lower part of the monument, beneath the sculpture of the recumbent bishop in his robes of office, lies a very different image, a shrunken cadaver, ribs protruding, eyes hollow, wrapped in a winding-sheet.  The sculpture offers a visceral reminder of the bodily decay, awaiting high and low alike, after death. Fleming’s tomb is one of the earliest English examples of the Transi or Cadaver Tomb in England. But why would a prominent and influential churchman chose to have himself depicted as food for worms?

Richard Fleming’s transi image. Lincoln Cathedral.

What’s in a name

Kathleen Cohen, in her fascinating book Metamorphosis of a death symbol, explains that the word transi derives from the latin verb transire – trans to cross, ire to go and that this links in with the French word transir, in use from the twelfth to the sixteenth centuries, and which means ‘to die’ or ‘to pass away’ or ‘ to go’. Transi tombs can, using this basis, be interpreted as depicting the transitional body, from life, to death, and onwards to resurrection.

Gisant style tomb of Charles III in the Cathedral of Pamplona.

Transi or as they are more commonly know, cadaver tombs are similar but also distinct from the more familiar Medieval tombs, known as gisants, which depicted the medieval deceased recumbent and dressed clothes befitting their rank and station. In stark contrast, the transi figure presents the viewer with the deceased in an advanced state of decomposition, sunken eyes, prominent ribs, even covered in toads, snakes and vermin (although this was always more popular on the continent, particularly Germany, rather than in the British Isles).

The cadaverous transi attributed to Thomas Haxby, York Minster.

Cadaver tombs could be double deckers or single – Richard Fleming’s is a fine example of the double-decker with the gisant style representation atop the cadaverous one, while the sadly battered and worn cadaver tomb in York Minster, in the west aisle of the north trancept, is an example of the single-decker, with deceased represented only as a decayed corpse. The York tomb is attributed to Treasurer Thomas Haxby (1418-1425) but according to research by Dr Pamela King, may in fact belong to Treasurer John Neuton, founder of York Cathedral’s Medieval library.[1]

Possibly the most famous cadaver tomb in England belongs to Henry Chichele, Archbishop of Canterbury between 1414 – 1443, and is a fine example of the double-decker transi tomb. Other examples of cadaver tombs were employed by lay people, men and women alike, and even royalty (particularly in France).

Medieval Death: Plague and punishment

For many years art and architecture historians shied away from examining any deeper meaning in these grisly monuments, seeing at most either a simple didactic Memento Mori function – reminding the living that they too will die, or a psychological reaction to the horrors of the Black Death. The plague that had killed between 30-60% of Europe’s population had peaked in the 1340’s and many felt that its impact was expressed in these monuments and other Morbid medievalisms.  However, the plague argument can be challenged by the fact that there had been regular outbreaks of plague before the Black Death. Perhaps most convincingly, Italy, the origin of the Black Death in Europe, and which suffered huge numbers of deaths, did not evolve a strong cadaver tomb tradition at this time.  So, while the Black Death may have had some influence on the medieval taste for the macabre, it was not necessarily the driving force behind the development of the cadaver style tomb. [2]

Burying the plague victims of Tournai. 14th Century. Public domain image.

In fact, more recent research by Kathleen Cohen in her 1973 work Metamorphosis of a death symbol and in 1987 Dr Pamela King’s PhD thesis Contexts of the cadaver tomb in fifteenth century England have added new dimensions of temporal and spiritual complexity to these remarkable and shocking monuments.   They argue that they can be viewed as both a reaction to changing social and political situation of the fifteenth century a time when church and nation-state were becoming ever more intertwined – and as a part of the broader spirituality of the Medieval past.  They may be viewed then, not as a simple Memento Mori didactic with the viewer, but a reaction to contemporary issues faced by the church as well as a crucial part of the souls journey through purgatory – a dramatic means for soliciting the prayers of the living for the benefit of the dead.

The very early transi of Jean de la Grange. Avignon. Via Wikimedia.

A Morbid Taste for Bones,  The state of the soul after death

Danse Macabre from the Nuremburg Chronicle of Hartmann Schedel, 1493.

As mentioned above, while it is true that lay people, both men and women chose the cadaver tomb for their funerary monument, churchmen seemed particularly drawn to this style of memorial and may have been instrumental in its initial dissemination.  Cohen and others have suggested that this may in part be due to the fact that during the 15th century the church underwent a radical change due to the rise of the nation-state.  As more and more powerful men were rewarded for their loyalty to king and country with ecclesiastical preferments, the church became vastly wealthy and inextricably linked to worldly power.  Henry Chichele (1363/4 – 1443) was a prime example of this type of man: a high-flying ecclesiastical lawyer who was rewarded by Henry V for services rendered to the crown with the archbishopric of Canterbury, in 1414.

Henry Chichele Tomb, Canterbury Cathedral. Image by Flambard via Wikimedia.

Chichele, like many of his contemporary churchmen, chose the cadaver tomb.  And make no mistake, these tombs would have been deliberately chosen by their future occupants, not picked for them by relatives after death.  In a ‘double-decker’ the incorruptible office held by the individual is depicted in the gisant style sculpture above – showing the individual in all the pomp and glory of their office. Beneath, the corrupt human form is depicted decaying and gnawed by worms.  But what was the message they were trying to convey?

The three quick and three dead. Arundel83-1 British Library Collection.

Medieval art and literature often portrayed the body as intrinsically sinful.  Images of a vain and luxurious life were often counterpoised with images of the consequences of sin suffered after death.  The state of the soul after death was of huge importance to Medieval people.  Images such as the Danse Macabre, Mort Roi (king death) and the three quick and the three dead, emphasised that worldly vanity and glory would not help the soul awaiting judgement.  This preoccupation with the state of the soul after death was because Medieval people believed that upon death, the bulk of them would end up in purgatory for an indeterminate period before they reached their final destination, be it heaven or hell.  One of the prime purposes of most medieval tombs was, therefore, to elicit prayers from the living to speed the deceased person’s passage through purgatory to heaven. Cadaver tombs were no different, many, such as that of Richard Fleming, being associated with their own chantry chapel precisely for this purpose.

It was also an element of Medieval Christian belief that the death provided not only a release from the sins of the mortal body, but also from the original sin of Adam.  It was thought that the life of an individual from cradle to grave was a re-run in microcosm of mankind’s fall from Grace.  And with the fall from Grace came the hope for resurrection.  Pamela King decodes the cadaver tomb imagery thus: the physically corrupt body is an allegory for the soul,  the Transi image therefore provides, to paraphrase Dr King, an accessible figure for a metaphysical state. [3]

Part of this concern for the soul expressed itself in a wish to humiliate or abase the mortal (and sinful) body in order to save the soul. Not only wealthy and powerful churchmen could wish to patch up the disjoint between their worldly success and their Christian faith. John FitzAlan, 14th Earl of Arundel (1408-1435) chose a cadaver tomb. Arundel was a highly successful and able commander during the latter part of the Hundred Year’s War.  During his short but highly successful military career he accrued many titles and lands for his services.  Although he died of wounds in France, his will stipulated he be buried in the FitzAlan Chapel at Arundel Castle, his tomb is a double-decker cadaver tomb.

Cadavar tomb of the Earl of Arundel. Image by Lampman via Wikimedia.

In an aside provided by Kathleen Cohen, Arundel, despite being praised as the ‘English Achilles’ for his military skill, could also be ruthless and cruel.  En route to fight in France it is said that he rounded up 60 or so women and girls from a convent in Southampton to ‘amuse’ his troops while at sea.  The unfortunate women, having been raped by the soldiers, were then tossed overboard when a storm overtook the troop ships.  It would seem then, at least to modern eyes, that a powerful and wealthy individual choosing a tomb that humbles and humiliates the body as an act of Christian piety in death, could also display a certain degree of hypocrisy.

Overall though, the transi image can be seen not solely as a reminder that the glories of high office may seem to be long-lasting, but sinful mortal bodies will all end up as food for worms, but also that death and decay are an inevitable part of the process that ultimately lead to resurrection of the good Christian soul. [4]

The End of purgatory and the rise of pagan glory

The fashion for cadaver tombs ran from the fifteenth century to the mid sixteenth century (and beyond, John Donne commissioned an extraordinary monument that would seem to have been influenced by this tradition).  However as the religious climate of Europe changed with the protestant reformation in the sixteenth century, transis too, began to change.  As the new protestant ideology promoted by Martin Luther (1483-1546) and others, rejected the idea that good deeds and indulgences from the church would get you into heaven, and promoted the idea that entry to heaven was based on God’s grace alone, the existence of purgatory was questioned. And if there was no purgatory then there was no need for elaborate tombs and chantry chapels designed to elicit prayers from the living for the dead soul.

The Renaissance also brought with it new ideas that contrasted with the Medieval mindset, including the concept of commemorating the deceased and their worldly deeds.  So, while cadaver tombs continued to be built, in particular by royalty, they began to display a kind of pagan sense of glory instead of the Medieval focus on humility and abasement of the body associated with these types of  tombs. One prime  example of this change is the tomb of Henri II and Catherine Medici, at the Basilica St Denis, built between 1560-1573. Catherine, who was alive when the tomb was created, is said to have disliked the first emaciated image created for her and commissioned a second one.  The replacement sculpture is said to have been based on a Venus from the Uffizi in Florence [5] [6] and presents a very different image from the cadaverous worm riddled transis of the previous century.  While the cadaver tomb still undoubtedly pointed to the resurrection of the soul, in this instance at least, royal vanity demanded a pagan aesthetic!

Tomb of Henri II and Catherine de Medici. Mid 16th Century. Image from Basilica St Denis website.

Conclusion

Transi of Rene de Chalons. Image from French Ministry of Culture.

Cadaver tombs developed from a combination of factors – the concern for the state of the sinful soul after death – its need for prayers in order to achieve salvation, the conflict faced (in particular, but not solely) by high churchmen in relation to growing temporal power versus the spiritual asceticism of Christianity. Although it is hard to imagine that a modern viewer of such a tomb would not take away some form of Memento Mori didactic, it would seem that this was not their primary purpose as understood by Medieval people. As Protestantism spread through Europe, and the Renaissance provided a new emphasis on commemorating the dead, the cadaver tomb changed in style and purpose.

Regardless of their ultimate meaning, a modern viewer, coming across one of these macabre monuments is given a thought-provoking and startling insight in to the Medieval mind.

You can find some notable transi tombs in England in York Minster, Lincoln Cathedral and Canterbury Cathedral.

Sources and notes

Uncredited images by Lenora.

Brown, Sarah, The Mystery of Neuton’s Tomb
<https://hoaportal.york.ac.uk/hoaportal/yml1414essay.jsp?id=10.> [1]

Cohen, Kathleen, 1973, ‘Metamorphosis of a death symbol’ [4] [6]

King, Pamela, 1987, ‘Contexts of the cadaver tomb in fifteenth century England’ [2][3]

https://uk.tourisme93.com/basilica/tomb-of-henri-and-catherine-de-medici.html [5]

 

 

Eyam: Village of Death

Tags

black death, bubonic plague, Derbyshire history, England, Eyam, history, mompesson, plague village, seventeenth century

A Lovers Tryst

Detail of tombstone at Eyam

Two lovers meet in secret. Gazing across the grassy Delph, they dare not speak for fear of discovery, they dare not touch for fear of the terrible consequences.  This silent meeting takes place every day for many weeks until one day, at the end of April, the young man stands there alone.  Although he returns often she does not come again.  He is fraught with worry but he cannot go seek her at her home.  His name was Rowland Torre of Stoney Middleton, her name was Emmott Sydall and she lived in the village of Eyam.

I visited the sleepy village of Eyam (rhymes with stream) on a dank and misty day in February.   The village nestled beneath damp green hills and was encircled by the shiny black branches of winter trees – the whole landscape seemed drenched in silence and mystery.  I would almost say there was a mournful air to the place, but that would be to over simplify the incredible story of this village and the terrible sacrifice its inhabitants chose to make.

Signs and Portents

They said that Plague was a punishment from God visited on the sinful, and that it should be borne with fortitude and prayer.  The seventeenth century had seen a world turned upside down with regicide, the commonwealth and the restoration bringing religious, political and economic turmoil in their wake.  But by the 1660’s things had calmed, Charles II was on the throne, the village of Eyam was thriving with a rich lead mining industry, busy yeomen farmers and tradesmen plying their trades.  But the signs were there all the same…

They said that village lads had allowed the cows to stray into the churchyard, the nave had been fouled; soon after unnatural white crickets were spied on hearths; the Gabriel hounds were heard calling on the moors:  God was displeased with Eyam.  Or so the faithful reasoned when plague arrived as an unwanted guest a year later.

The Plague

Plague Doctor/undertaker

The Plague has been known in Europe since the mid fourteenth century.  Its first terrible outbreak in the late 1340’s wiped out up to one-third of England’s population.  In the intervening years there were many sporadic outbreaks across Europe.  It was not until the early twentieth century that the cause of the plague was discovered to be bacillus carried by fleas and transmitted to Black Rats and thence (when there were not enough rats to support the fleas) to humans.

The Bubonic Plague was spread by black rats who lived in very close proximity to humans (in the wainscot, in the thatch, under your floor).  You could expect vomiting, high fever, extreme pain, gangrene in the extremities, swellings of the lymph glands, particularly in the groin.  These swellings were excruciatingly painful, large and often burst.

“The pain of the swelling was in particular very violent and to some intolerable; physicians and surgeons may be said to have tortured many poor creatures, even into death.”  So wrote Daniel Defoe in his ‘Journal of the Plague Year’.

The Pneumonic Plague  was even more virulent as a flea bite was not required in its transmission – it was spread by the coughs and sneezes from its victims.  Pneumonic plague affected the blood and lead to extreme fluctuations in temperature which usually lead to coma and death.

During the three hundred or so years when the Plague visited and revisited Europe, people had few defences against it.  Nostrums and charms both Christian and more pagan varieties were employed.   Sweet smelling nosegays were used to ward of noxious plague filled air; fires were burned in the streets to disperse the infected miasma.  Some of the cures on offer were unorthodox to say the least – tying a chicken or a toad to the buboe to draw off the poison; poultices made up of varying degrees of foul ingredients.  Preventative measures were taken such as killing cats and dogs who were mistakenly seen as responsible for spreading the plague; and most disturbing of all the immuring of whole families where plague had visited a household, effectively condemning sick and healthy alike to a slow and painful death.  Some advice was sound:  leave the infected area, however this also facilitated the spread of the disease.

Plague comes to Eyam

1665 saw the plague raging in London but the remote village of Eyam would seem far away from the problems of the capital. But plague, like bad news, travels fast.  Legend has it that sometime in August or September 1665 a bundle of cloth was sent from London (some say Canterbury) to a travelling tailor lodging with Mrs Cooper of Eyam.

The Plague Cottages

Records suggest that Mrs Cooper was a relatively affluent widow, and possibly a merry one as she married a second time in March of 1665.  Her new husband Alexander Hadfield may have been the travelling tailor referred too in local legend but he was away from home at the time of the plague (not returning until much later).  It is likely that he had an apprentice or a servant by the name of George Viccar’s whose fate was to be the first victim of the plague.  Dr Richard Mead, writing in the eighteenth century and using the recollections of Mompesson’s son described the scene thus:

“a box of materials relating to his trade [was delivered] a servant [George Viccars] who opened the aforesaid box, finding they were damp was ordered to dry them by the fire.”

Perhaps he loosed fleas from the cloth or perhaps flea eggs hatched in the warmth of the fire, what ever he let loose George Viccars paid the price and died within the week.  The second victim was young Edward Cooper Mrs Cooper’s son.  Over the next few days close neighbours began to fall ill and die: Peter Hawksworth, Thomas Thorpe and his 12-year-old daughter.  It couldn’t have taken long for the villagers to realise that something was terribly wrong.

The deaths continued through the late summer and autumn, those who had means, such as the wealthy Sheldon family, fled.  Those who were tied to their trade or land, or simply too poor or too late to flee remained.  Some camped in the hills and caves in the surrounding area but many stayed in the village.  Those who camped nearby might have made the best decision – in fleeing the outbreak they had left behind the insanitary conditions that helped spread the plague.

Plague comes in the summer, preferring the warmer months of the year so there was a falling off of deaths during the winter.  Numbers began to creep up again in spring 1666, and by April there had been 73 deaths (well above the average for a village of Eyam’s size).  May saw a lull and the villagers hoped for the best.  Medical knowledge of the day said there should be a clear gap of 21 days with no new infections before an area could be deemed clear of plague.  Eyam was not so lucky.

William Mompesson

By June many more had fled – the Rector William Mompesson had sent his children to safety in Yorkshire although his consumptive wife Catherine had insisted on remaining by his side to help tend the sick, although it would cost her life (she died in August and was buried in the churchyard by special dispensation).  It was clear that action needed to be taken in order to prevent plague spreading beyond the village.  In the absence of the usual village hierarchy who had mostly fled, the Rector became the focus of authority in the village.  However, village life was never simple and the rector was a young man and a newcomer to the village.  He needed an ally in order to successfully carry out any action, and he found it in Thomas Stanley the former incumbent.

Thomas Stanley was a puritan who replaced the traditionalist and unpopular rector during the civil war.  The old rector was re-established in 1660, but Stanley remained a part of religious life in the village and was very popular.  Mompesson took the rectorship in 1664 but Stanley’s influence must still have been very strong in the village.  Nevertheless  despite their widely differing views both were able to put aside these differences in order to present a united front to the village.  This unity undoubtedly helped in gaining their parishioners consent to the radical plan the men proposed.

A Simple Plan

1. No more burials in the churchyard – people would bury their own dead on their own land or gardens.
2. The Church would be closed and services would be held out-of-doors at Cucklet Church, in the Delph, with family groups remaining at least 12 feet apart from their neighbours (sound advice).
3. The village would be quarantined.  No one would leave or enter the village until it was clear of plague in order to prevent it spreading to neighbouring villages and towns such as Bakewell, Fulwood and Sheffield.

The villagers entered into a pact with their Rector and consented to the quarantine, knowing full well that for many of them it was a death sentence.  Nevertheless their religious faith fortified their resolve – many felt it was their religious duty to seek divine forgiveness, some went to the extreme of refusing the cures on offer for fear of offending God.

It is hard to understand how terribly these simple rules would have affected the villagers. It is harder still to imagine the suffering that was to come:  whole families were wiped out, people were forced to bury their own dead, inscribe their own headstones when even the mason died.  The infected, whilst still living, would have heard their own graves being dug in preparation.  But death would bring no respite because at that time it was held that if a person was not buried in consecrated ground they would not rise on Judgement Day and be reunited with loved ones in paradise.  That was the extent of the sacrifice the villagers were prepared to make to prevent plague spreading.

Staying alive

Mompesson’s well

Despite the bleak outlook, in the midst of death, life still goes on.  Practical measures were implemented to alleviate suffering.  The Earl of Devonshire paid for food and medical supplies and local villages supported Eyam by supplying goods which were dropped off and paid for at set points around the boundaries of the Cordon Sanitaire.  Many of these drop off points remain today as poignant reminders of this time.  In order to disinfect coins left by the villagers they were usually left in water – Monday Brook earned its name at this time when goods from Bakewell’s Monday market were exchanged there.  The Boundary Stone has niches drilled in it that were filled with vinegar to disinfect the coins and Mompesson’s Well sits on a lonely stretch of the Grindleford Road.

Of death and life

The death toll was huge, Mompesson stated 76 families were affected. Some of the monthly figures show the devastation of the plague:  July 56 deaths, August 78, September 24, October 14.

However, statistics can never truly convey the human cost of plague, individual families suffered huge losses:  Jane Hawksworth lost 25 members of her immediate and extended family; The Talbot’s and the Hancock’s were all but wiped out:  Mrs Hancock burying her husband and 6 children in the space of a week before eventually fleeing Eyam.  The graves she dug can still be seen, and have become known as the Riley Graves, they stand as a silent testament to one woman’s almost unimaginable loss.

The Riley Graves dug by Mrs Hancock, Image by Stephen G Taylor

Not everyone who contracted plague died, some survived and their stories have entered local folk-lore. Margaret Blackwell was in the final stages of plague when suffering from a raging thirst she swigged back a jug of bacon fat mistaking it for milk.  She vomited up the fat and made a remarkably swift recovery, convinced that the bacon fat had saved her.  Another case has a certain macabre humor about it – Marshall Howe himself a plague survivor thought he may have built up some immunity so offered his services (for a fee) to help bury the dead.  One such client was a man called Unwin, and as Marshall dragged the corpse towards its grave, he was horrified to hear the dead man call for a drink.  Marshall fled in terror thinking the dead had risen.

Finally by Christmas 1666 Plague was officially over and the villagers began to return to their homes.  One final action was required to ensure plague was gone for good and, lead by the Rector himself, villagers burned all but the clothes on their backs.

Emmott and Rowland meeting at Cucklet Church, in the Delph, a window at St Lawrence Church

And what of Emmott and Rowland?  Rowland was one of the first outsiders to enter the village once the quarantine was lifted.  When he found the Sydall house empty his hopes must have begun to fade.  He soon discovered that the Sydall’s were all dead and that his precious Emmott had fallen ill and died shortly after their last meeting.  All his months of waiting and hoping had been in vain.

In all close to 260 villagers of Eyam died in the outbreak which lasted for 14 months.  But they had succeeded in their plan – the plague did not spread beyond Eyam.

Today Eyam is a working village, but it has never forgotten its extraordinary history.  The Parish Church commemorates events in a stained glass window, and Eyam Museum provides historical detail.

Every year, at the end of August a commemorative service is held at Cucklet Church, in the Delph, to remember those who made this sacrifice.

List of plague victims on display at St Lawrence Parish Church, Eyam

Sources

BBC – Legacies, http://www.bbc.co.uk/legacies/myths_legends/england/derby/article_1.shtml
Clifford, John, ‘Eyam Plague 1665 – 1666’, 2003 edition
Eyam Museum, http://www.eyammuseum.demon.co.uk/museumguide.htm
St Lawrence Eyam Parish Church, http://www.spanglefish.com/EyamChurch/index.asp?pageid=14206