#HistoryHappyHour: The 1530s
Join us on Clubhouse Friday, August 6 at 5:30pm EDT for a chat about the 1530s. I’ll be joining the Archeology History 101 Club
Bring a drink 
Have one of your own, but it’s always fun to find a drink recipe that was popular in the decade we discuss.
Have a discussion topic 
Anne Boleyn? Fashion? The Tudors? Maybe Henry VIII? So many things to discuss…
Henry VIII & Anne Boleyn. Their love changed history.
Max King & Daisy Colston. Not so much.
They despise each other as they play the part of the fabled lovers in a film considered the-next-big-thing about the legendary Tudor affair.
A chance encounter at a New Orleans tarot shop could seal their destiny.
Some love stories last forever. Some are tragic.
Some just…need magic
Available now on the NEW Kindle Vella platform. Get the first three episodes FREE!
Kindle Vella is a fun reading experience launched by Amazon in early July. Much like Wattpad & Radish, it offers readers a taste of a story in a serial format. Look for a new chapter of Fables: A Tudor Fairytale to be launched weekly. In keeping with the ambience of the New Orleans setting of the story, I’ll be drawing a card from my tarot deck each week and basing each episode on that card. For instance, Chapter 3 is called The High Priestess; Chapter 4 – The Chariot.
In the twilight years of Queen Elizabethās reign the nation is at war on two fronts, and fears of a Spanish invasion are never far away.
In this febrile atmosphere, spymaster Robert Cecil calls in Martin Marbeck ā his best, if most undisciplined intelligencer ā to unmask a double agent who is feeding secrets to the enemy. Marbeck has been under a cloud since a failed mission in Flanders, and is eager to be on the trail.
But the traitor – codename Mulberry ā proves maddeningly elusive. Soon Marbeck must leave England for France and venture into the lionās den, following a tortuous path that winds back to London. With the help of his fellow-agent, the unruly Joseph Gifford, a trap is laid to ensnare Mulberry ā with deadly and unforeseen results.
The spy network has been compromised, which means all intelligence reports could be suspect, and the nation is in grave danger. Marbeck must use all his skills to confront the secret forces of the mighty Spanish empire, which pits him against the cleverest and most ruthless opponent he has ever faced. [ENDS]
Having given up trying to become a rock star after playing guitar in various bands, John Pilkington turned to writing and found his true vocation. His first works were radio plays, followed by stage plays and scripts for BBC television. But his venture into historical fiction proved crucial, and it continues to be his lifelong passion. He has published more than twenty books including seven in the Elizabethan-era Thomas the Falconer Mysteries series (now republished by Sharpe Books), four in the Marbeck spy series (Severn House) and two in a Restoration-era series featuring actress-turned-sleuth Betsy Brand (Joffe Books). His last series was the Justice Belstrang trilogy (Sharpe), set in the years 1616-1618. The Marbeck series is also republished in omnibus edition by Sharpe as Blade of Albion.
Born in the north-west of England, he now lives in a quiet village on a tidal estuary in Devon with his partner Lisa, and has a son who is a musician and psychologist. When not at his desk he may be found walking by the river, doing a little carpentry, watching rugby or listening to music – and reading, of course. He is currently sifting ideas for his next project.
I love coffee. Naturally, when I saw receipt āTo make Coffeeā in a tweet from Somerset Archives, I was intrigued.
Reading recipe manuscripts, Iāve seen coffee called for as a flavoring for creams or ācoffee cupsā used for measurement. Iāve also read about the popularity of coffee in seventeenth-century London and the lively debates in coffee houses as part of the growing public sphere. This recipe, however, provides instructions for preparing coffee at home to serve to a household and its guests. It offers a window into domestic coffee consumption rather than the public coffee house. (There is also likely more to learn about the connection between Mary Clarke, her coffee recipe, and John Locke, but that will have to wait until I can visit Somerset.)
But this coffee recipe also gave me pause because itās so simple. It only calls for āspring-waterāā¦
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Shakespeare wrote of the enchantments of summer solstice. Each year, on a day between June 20-June 24, we have solstice ā the longest day of the year. This day has been celebrated throughout history as a day of magic. Many countries in the northern hemisphere receive 24 hours of daylight. Letās look into the mystery of this celebration and see how Midsummer was experienced in Tudor England.
The word solstice derives from the Latin words sol (sun) and sistere (to stand still). This reflects what our ancestors knew about the sun and its travels across the sky. The summer solstice was used to establish noon and to mark the middle of the year. When people watched the movement of the sun across the sky, they were seeking knowledge about time. This knowledge also helped predict when to plant and harvest. To watch the sunās movements, they watched the horizon and noted where the sun would appear at a given time each day. According to the English Heritage website, āThe Stonehenge we see today is aligned on the midwinter setting sun and the midsummer sunrise.ā The summer solstice has the most hours of daylight but it is the one day of the year when the sun is at its highest point in the sky.
Midsummer marked the accomplishments of the year. The earth was pregnant with her soon to be delivered harvest and the sun was in his glory, in the height of his power. Midsummer was the day the wheel of the year turned onward toward harvest then Yule, the shortest day.
The summer solstice was one of the pagan festivals taken over by the early Christian church, which aligned it with the feast of St. John the Baptist on June 24th. By the sixteenth century, Midsummer Day had an interesting mixture of Christian and Pagan meaning.
āTudor festivals played a major role in 16th-century life,ā says Rachel Costigan, Visitor Experience Officer at Little Moreton Hall in Cheshire, England. āThey gave our Tudor ancestors something to look forward to in their everyday life. Midsummer was a mix of celebrations which took place between St Johnās Night and the Feast of St Peter and St Paul. It also marks the Summer Solstice, and was considered by Tudor people to mark the middle of summer, which started on May Day and finished with the first harvest or āLammasā at the beginning of August.ā
SUN AND FIRE
Fire was the theme of Midsummer celebrations as it symbolized the sun. There was an impulse to make merry in the sunlight at Midsummer, before the year waned into autumn. People made bonfires using the charred logs from the previous year. Often bones were tossed in for good fortune. (The term for bonfire derives from late Middle English: bone + fire; fire with bones for fuel.) The fires were thought to lure the sun to stay longer in the sky. People danced and leapt between the flames while feasting.
This was a time of merry making, of settling differences between neighbors, and giving to the poor. In the country, bonfires were particularly valued to protect crops and livestock. Fires were lit on the windward side of crops and animals, so the smoke would blow over them. In some places, people even drove animals through the embers of the fires. This practice was possibly used as a protection against disease. Causes of diseases in animals and plants were not understood then. They believed that any contagion was airborne, hence the fire was a cleansing agent against disease. Giants and hobby horses went through the streets on āMarching Watchesā. (The origins of the hobby horse originated in the medieval era when they were used for jousting practice. By the Tudor era, it was believed they brought good luck to festivals.)
Of all the Tudor midsummer activities, the most expensive activities were the Marching Watches, which were parades accompanied by lit torches. These events sound sensational. In London one is recorded as including four thousand marchers. There were Morris dancers, giant straw puppets and hobby horses, and pageants. Even though this was considered a religious festival, you understand how the celebrations retained hints of their Pagan past. Often festivals had mythological or historical themes. In 1521, the Lord Mayorās Guild in London put on five pageants: The Castle of War, The Story of Jesse, St. John the Evangelist, St. George, and Pluto. They were all carried on platforms and the Pluto pageant included a serpent that spat fireballs. There was also a model giant called Lord Marlinspikes, Morris dancers and naked boys dyed black to represent devils. Dragons and firework displays were popular additions to the marches. In 1541, the Drapersā Guild procession including a dragon that burned aqua vitae. (Aqua vitae is Latin, defined literally as āwater of life.ā It was a term for unrefined alcohol. In England in the 1540s, the term was used for brandy and whiskey.)
Fire and the sun are the main themes for Midsummer, in whatever form they derived. The Fire Wheel is an ancient British ceremony. The wheel is based on four equal parts which represent the four seasons. The wheel was set on fire and rolled down a hillside. This is another ritual with obvious pagan roots, with the wheel representing the sun as it passed through each season. If the fire burned until the wheel reached the bottom of the hill, it was thought to bring good fortune to the entire community.
FLOWERS AND SYMBOLISM
As the sun was represented by fires, so flowers represented the earth in the festivities. It was traditional to decorate oneās home ā especially the main entry door ā with garlands or wreaths. The colors of the flowers used were red, yellow, orange, all colors identified with the sun, and green for fertility. The circular shape of the wreaths suggested both the sun and the cyclical nature of the seasons, again harking back to old Pagan beliefs. John Stow, a seventeenth century writer, remembered green birch being hung on all the local signposts. He wrote:
āEvery manās door being shadowed with green birch, long fennel, St Johnās Wort, Orpin, white lilies and such like, garnished upon with garlands of beautiful flowers.ā
These plants had powers which were thought to be associated with their religious symbolism. Birch symbolized protection, exorcism, and purification. Fennel was a healing and protective herb. Another protective plant was trefoil. Its three-part leaves suggested the Holy Trinity. The white lilies Stow mention derived their power from their association with the Virgin Mary ā they are still called Madonna lilies.
The yellow flowers of St. Johnās Wort were seen as an emblem of the sun, and thought to have magical powers. In Tudor England, this plant was connected with St. John because its leaves were flecked red and symbolized the blood of the martyred saint. It is the association with St. John which made this herb so important at Midsummer. Wreaths of St. Johnās Wort were placed on the horns of cattle, and even their sheds were decorated with it. All wreaths were left outdoors and allowed to ādieā with the sun. Fern spores collected at Midsummer gave miraculous knowledge and power, and it was believed that these could even make you invisible. All herbs were particularly potent under the midsummer sun, so it was the most powerful time of the year for making potions and medicines.
MAGIC
Witches and the fairy folk were considered to be overly active at Midsummer. This is why Midsummer celebrations began at sunset the evening prior to Midsummer. In folklore, the hours between dusk and dawn are said to be closer to the underworld and a time when fairy activity is at its peak. This time was believed to be the time when witches harvested their magical plants. This magical influence is referenced in Tudor stories and immortalized by William Shakespeare in āA Midsummerās Night Dreamā.
Perhaps the figure most depicted as a traditional fairy is the character of Puck, āthe oldest of the Old Thingsā due to his depiction in folklore. Pouk, or Puca, was the term used on the British Isles for the Pagan Sun deity also known as the Stag King or the Horned God. In other cultures, this archetype was represented by deities such as Bacchus, Pan, and Hermes. The Puca was a respected yet vengeful fairy creature. Puca evolved into a medieval term for the Devil. Yet, Puca also had a mischievous side in English folklore and was known as Robin Goodfellow. An expression for being lost is āRobin Goodfellow has been with you tonight.ā Reference to this quote are recorded in Tudor manuscripts as early as 1531.
As history and literature records, Shakespeare gave Puck some great PR and an image makeover in āA Midsummerās Night Dreamā. He became the mischievous sprite who causes mayhem with a few droplets of a magical flower. (Note: Shakespeare introduces Puck in Act 2, Scene 1 as Robin. This is a reference to the mischievous prankster, Robin Goodfellow.)
Midsummer Eve was seen as the most advantageous time of the year for enchantments, since the sun and plants were at the height of their powers. Enchantments to reveal who your new lover would be were wildly popular. Lovers looked for ways to spend this magical night in each otherās arms.
Divinations for love, prosperity and health were practiced throughout the island. However, for some people, the importance of midsummer festivities wasnāt about magic, it was about community. Tudor England also viewed Midsummer as a chance for Christian charity, for merry making, and for neighbors to make amends. It was a holiday celebrated much as we celebrate today on New Yearās Eve. It was a time for the fulfillment of wishes and desires, and the beginning of new dreams.
Midsummer was an expensive holiday. The feasting and drinking lead authorities to fear civil unrest. In 1539, Henry VIII banned the Midsummer Watch in London due to the exorbitant cost and drunken crowds. This action outraged his subjects. The Midsummer celebrations were reinstated in 1548, and we can imagine from āA Midsummerās Night Dreamā that by the reign of Elizabeth I a good time was had by all at the Midsummer celebrations.
Then as now, may your dreams come true this Solstice night.
SOURCES:
Alison Sim, Pleasures and Pastimes In Tudor England
Ronald Hutton, The Stations of the Sun: A History of the Ritual Year in Britain
Margaret Baker, Folklore and Customs of Rural England
All photographs courtesy of Wikimedia Commons.
by Franny Moyle
Leonardo da Vinci died in the Chateau de Clos LucĆ©, apparently in the arms of the French King, Francis I. However, the place and circumstances of Leonardoās near contemporary Hans Holbein the Younger, beloved by Henry VIII, has eluded art historians. As Holbeinās most recent biographer, I found myself facing this puzzle and to my surprise, I discovered that a simple mistake has allowed crucial details about Holbeinās death, once in common currency, to vanish from history.
Hans Holbein spent the last decade of his life, from 1532 to 1543, living in London, painting the defining portraits of the Tudor court. A celebrity avant la lettre, he was honoured with the title of Henry VIIIās āKingās Painterā.
Records from 1541 locate Holbein paying taxes in the parish of St Andrew Undershaft, in Aldgate. Ā His will, dated two years later, cites his home in the same location. My research suggests the painter may have had a prestigious address there, shared by Sir Thomas Audley, Henry VIIIās Lord Chancellor
.
Audley has significant property interests in Aldgate. In 1533 he acquired Holy Trinity Priory there, and converted this former religious institution into a prestigious urban estate which became known as Cree-Church Mansion, so named after the nearby church St Katherine Cree. This gated community comprised not just Audleyās considerable dwelling, but leasehold residential properties, along with business premises. Audley enjoyed his London mansion until his death in 1544. Then, when the Fourth Duke of Norfolk married Audleyās daughter Margaret in 1558 the complex passed into his ownership and was called Dukeās Place thereafter.
Evidence of Holbeinās professional association with Audley lies in the miniature he painted of the Chancellorās wife, Elizabeth, probably in 1538. Londoners have long believed that Holbein lived and died on Audleyās property at Cree-Church Mansion. This was noted as late as 1827, in the History & Antiquities of London. When I checked old maps, although the majority of the Mansion complex fell into the parish of St Katherine Cree, its westernmost flank fell into the parish of St Andrew Undershaft. So Holbein could indeed have been a parishioner of the latter, and part of the Cree-Church Mansion community, were he a leaseholder in Berry St.
So why has recent scholarship ignored this? George Vertue, the 18th century engraver who copied Holbeinās work, believed Holbein died in Cree-Church Mansion. But Vertue referred to it as it was known in his dayā Dukeās Place. The art historian Horace Walpole therefore dismissed Vertueās claim, on the basis that Dukeās Place dated to 1558, after Holbeinās death, and noting Holbeinās association with the Third Duke ā whom he portrayed ā not the Fourth. In his Holbein biography of 1867, Ralph Wornum repeated Vertueās claim, and demolished it with the same arguments. With considerable oversight both Walpole and Wornum failed to grasp that Holbein could have lived in Dukeās Place in its earlier incarnation, when it was known as Cree-Church Mansion. But Wornumās word was apparently the last, and thus the fascinating connection between Holbein and Audleyās building became lost.
If one mystery is solved, another remains. Why is there no gravestone commemorating the great Holbein? The answer is the plague. Shortly after Henry VIII married his sixth wife Catherine Parr, in July 1543, London was stricken. Aldgate was the epicentre of the epidemic. Plague pits were dug because local churches could not cope with individual burials. On October 7th 1543 Holbein wrote his will. On 29th November it was executed. Whether Holbein succumbed to the pestilence or not (and surely he did?), any burial at this moment would have been communal.
The pit for those who died in Cree Church Mansion was at St Katherine Cree. So was it here Holbein was laid to rest in the late Autumn of 1543? Though no record of Holbeinās burial survives, once again supporting evidence emerges if one looks hard enough. In 1668 Mayor Payne Fisher made a catalogue of tombs and inscriptions in Londonās churches. In St Katherine Cree he noted one to āHans Holbenā, most likely part of a wider list of the plague dead. Perhaps made in haste, much like the burials, this inscription simply wore away? Maybe it was removed during church renovations in 1878?
Holbeinās death lacks the romance of Leonardoās. He did not live a long life, nor die in a French chateau. He certainly did not enjoy the company of a king in his final hours. Holbein died at forty six, in the midst of plague ridden London. But he was perhaps in an English mansion, with the Kingās Lord Chancellor looking on.
What prompted you to choose to write about Mary Queen of Scots & Lord Darnley in your first book?
In my case, I was following the old strategy of āwrite what you knowā. Iād been researching and teaching this period for years and it seemed fertile ground for trying fiction. Once I knew I wanted to write about Mary Queen of Scots and Lord Darnley, the choice of characters dictated the period.
What is your approach to researching your novels? Has the process changed over the years?
A great question! My approach is generally to start with a setting or event and then narrow research down to books and articles which cover those days, weeks, or months in depth. I try to also dip into research material which covers lifestyles in the period more generally. Iāve always tried to approach researching fiction in the same way I approach nonfiction (though I can get away with more in the former!). Academic study really teaches you to narrow in when researching.
Which other historical novelists do you admire?
There are loads. My friend Marie Macpherson (who has worked wonders in bringing John Knox to life), E C Fremantle, Paul Walker, John Pilkington, Patricia Finney, Anna Castle. And of course my favourite author, Daphne du Maurier, was no mean historical novelist.
When first sketching out an idea for a novel, which comes first ā the protagonist, plot or history?
Protagonist and broad plot usually come had in hand (sometimes one or the other skipping ahead) and history last. Once I know whatās going to happen and to whom, I fit it into specific historical contexts.
Do you have a daily routine as a writer?
I donāt have a daily routine per se, but when I have a book on the go, I tend to write every day for a few hours. Each book seems to bring its own routine!
If you could choose to meet any historical figure from your period, who would it be and why?
I think it would have to be Mary Queen of Scots. Iād love to find out exactly what she knew of her husbandās murder (and what she really looked like ā for the same reason, Iād love to get a glimpse of Anne Boleyn!).
Steven Veerapen was born in Glasgow and raised in Paisley. Pursuing an interest in the sixteenth century, he was awarded a first-class Honours degree in English, focussing his dissertation on representations of Henry VIIIās six wives. He then received a Masters in Renaissance studies, and a Ph.D. investigating Elizabethan slander.
He has also published a variety of academic articles in literary and historical journals and magazines and teaches English literature at the University of Strathclyde. Steven remains fascinated by the glamour and ghastliness of life in the 1500s and 1600s, and has a penchant for myths, mysteries and murders in an age in which the law was as slippery as those who defied it.
England, 1585.
The Sparrowhawk, one of Drake’s lost treasure ships, is found wrecked in Devon. Rumours spread through England of its booty, including a mysterious treasure: El Sol Dorado.
Thomas Lewgar, the resentful roommate of aspiring playwright Christopher Marlowe, hears of the rumours. He discovers, too, that the boastful Marlowe is engaged in a web of espionage.
Intrigued and repelled by the irreverent Marlowe, Lewgar joins the poet in seeking the lost treasure. If they can find it, they will be richly rewarded by queen and court.
But they are not the only ones hunting the prize.
A crooked courtier, Henry Howton, has also heard the rumours. In the secret employ of the Spanish, he hopes to find the treasure himself – and he will stop at nothing to get his hands on it.
Racing their Spanish-backed enemy and his dangerous associates, Lewgar and Marlowe must discover the strange history of the ghostly wreck. Their journey will lead them into the rotting carcass of the Sparrowhawk, into the presence of sea-dogs Francis Drake and Walter Raleigh, and through the ravaged home of spiritualist Dr John Dee.
Betrayal, falsehood, and deceit lie in wait.
Can they discover the lost treasure and unravel the mystery of El Sol Dorada before the Spanish?
Praise for Steven Veerapen:
A Dangerous Trade
‘A slow-burn character driven spy story that grips like a thumbscrew tightened by twist after twist towards the end – Le Carre transported to the 1560ās. Brilliant work, based in impressively wide research and the kind of competition that I and a good number of others could well do without!’ Peter Tonkin, author of The Ides
The Abbey Close (Book One of the Simon Danforth Mysteries)
‘The author balances gimlet-eyed research with narrative drive and clever reveals… Danforth is a strong yet torn central character… I look forward to reading the second book in the series.’ Richard Foreman, author of The First Crusade series
Blood Feud: Mary Queen of Scots and The Earl of Moray
‘Much-needed analysis of a sinister sibling rivalry.’ Marie Macpherson
Elizabeth and Essex: Power, Passion and Politics
‘A sensitive and lively account of one of the most politically significant relationships of the Elizabethan age.’ Lisa Hopkins
Assassination
‘Both a crime and spy thriller.’ Richard Foreman, author of The First Crusade series
āFrom its tense beginning to satisfying end, Steven Veerapen skilfully weaves historical fact into a gripping tale, making a superb contribution to 17th century fiction.ā John Pilkington, author of The Ruffler’s Child
Charles Spencer talks about his love of history, his current project-Henry I and The White Ship, and the next thing.
What first attracted you to the period or periods you work in?
I gravitate to stories and people from the past who, I believe, have been wrongly lost to the shadows of History. Period is not such a driver for me ā although my previous four books were from the Stuart dynasty. My latest work, The White Ship, harks back 900 years, and I have enjoyed tiptoeing into the Middle Ages.
Can you tell us a little more about how you research? Has the process changed over the years?
I read a lot on the period, then on the story, before taking notes. I start off with a rough idea of the number of chapters there might be, and I then have lever arch files, broken down into those chapters, and put my research into each section as I go. I used to write it all out with pen and ink, because I thought the contents went in deeper. But now I type it all up on my computerā¦.
The common phrase is that history is written by the victors. Do you think this is true?
Official history may be written in that way, but all participants leave a footprint for later generations. I believe itās the historianās role to wade through it all, and get to the pertinent points for the reader. With a conflict such as the English Civil Wars ā the subject of my three previous books ā there is an enormous amount of propaganda from both the main sides, and from others.
Are there any historians who helped shaped your career? Similarly, can you recommend three history books which budding historians should read?
I loved reading Barry Cowardās The Stuart Age, at school. And he was guest examiner for the main history test at Eton. I got to meet him, and he further piqued my interest in his era. I would recommend Seeds of Change by Henry Hobhouse, The Face of Battle by John Keegan and Religion and the Decline of Magic by Keith Thomas, because between them ā they give a good basis for economic, warrior and social historical study.
If you could meet any figure from history, who would it be and why? Also, if you could witness any event throughout history, what would it be?
I would like to meet Henry I. Such an underappreciated monarch, he opportunistically bound together England and Normandy (as his father, the Conqueror, had managed to do), cleverly relied on merit rather than bloodline in his key men, and cannily set up the Exchequer, to see the Crown was getting all that was due to it. He had a fun side, with his court turning to learning and open enjoyment in the afternoons. He enjoyed life, while taking his duties as king-duke very seriously.
I would like to have witnessed the Restoration of Charles II. It seems that London has never seen celebrations like it, since. Relief at the end of the bloodiest war suffered in Britain, mixed with enormous hope for the future.
If you could give a piece of advice to your younger self, either as a student or when you first started out as a writer, what would it be?
I wish I had done more work at Oxford. I am aware that that is not a very original sentence!
Can you tell us a little bit more about the project you are currently working on?
I am making inroads into a 20th century story that has intrigued me for a few years now. Iāve been jotting notes down for all that time. There are now more than 700 paragraphs of those notes, and I need to see if they work together.
The White Ship: Conquest, Anarchy and the Wrecking of Henry Iās Dream
King Henry I was sailing for England in triumph after four years of fighting the French. Congregating with the king at the port of Barfleur on that freezing night was the cream of Anglo-Norman society, including the only legitimate heir to the throne. By 1120, Henry was the most formidable ruler in Europe with an enviable record on the battlefield, immense lands and wealth and unprecedented authority in his kingdoms. Everything he had worked for was finally achieved, and he was ready to hand it on to his beloved son, William Ćtheling.
Henry I and his retinue set out first. The White Ship ā considered the fastest afloat ā would follow, carrying the young prince. Spoilt and arrogant, William had plied his comrades and crew with drink from the minute he stepped aboard. It was the middle of the night when the drunken helmsman rammed the ship into rocks. There would be only one survivor from the gilded roll call of passengersā¦
Charles Spencer evokes this tragic and brutal story of the Normans from Conquest to Anarchy. With the heir dead, a civil war of untold violence erupted, a game of thrones which saw families turn in on each other with English and Norman barons, rebellious Welsh princes and the Scottish king all playing a part in a bloody, desperate scrum for power.
Charles Spencer was educated at Eton College, and took a degree in Modern History at Magdalen College, University of Oxford. He then worked in 30 countries as a reporter for the American network NBC for a decade from 1986.
He is the author of seven History books, including the Sunday Times bestsellers Blenheim: Battle for Europe (shortlisted for History Book of the Year, at the 2005 National Book Awards), and Killers of the King (the second highest-selling History book in the UK, in 2014).
Charles is also the 9th Earl Spencer, inheriting Althorp in 1992. He founded the Althorp Literary Festival. He has written for a number of UK and US publications including The Spectator, The Financial Times, and Vanity Fair.
Special thanks to Aspects of History.
Bestselling author and historian Tracy Borman took time to discuss her career, history obsession and her upcoming appearance at the Chalke Valley History Festival. Find out what dastardly deeds caught her attention while writing The Fallen Angel.
-How would you describe yourself in fifty words or less?
Author, historian and broadcaster whose obsession with the Tudors borders on the unhealthy.Ā I’m also joint Chief Curator of Historic Royal Palaces and Chief Executive of the Heritage Education Trust.
-Why do you love history?
I’ve always loved it and I think that’s innate, rather than something learned.Ā Apparently my paternal grandfather was a fellow history-lover so perhaps I get it from him, although sadly he died before I was born.Ā Thanks to my work for Historic Royal Palaces, I spend a lot of time in beautiful historical buildings, but for me what sets my passion for history alight is the research.Ā The thrill of getting my hands on original documents in The National Archives, the British Library and elsewhere is something that never diminishes, even after all these years of writing and researching.
-Can you think of one specific event that led to this?
I think the reason I’m a historian now is thanks to my ‘A’ level history teacher, who really encouraged my passion for the subject…and made me fall in love with the Tudors.Ā She also opened my eyes to the fact that history isn’t just about ‘facts’, dates and events; it’s about real people – human beings with emotions just like us.Ā That changed everything for me.
What drew you to Tudor and Stuart history?
See above.Ā Mrs Jones has a lot to answer for!Ā But I also became fascinated with the Stuarts when researching my non-fiction book,Ā Witches: James I and the English Witch Hunts.Ā It was such a dark and turbulent period of our history, yet one that’s often overlooked.Ā That research inspired my fiction trilogy,Ā The King’s Witch, The Devil’s SlaveĀ andĀ The Fallen Angel.
-Do you have any favourite characters or persons from these eras that appeal to you? Any that you dislike?
My all-time historical heroine is Elizabeth I.Ā I admire her so much – her self-discipline, courage, shrewdness and the way she confounded expectations as a ‘weak and feeble woman’ ruling over a court and kingdom dominated by men.Ā Mary, Queen of Scots, on the other hand, deepened the prejudice against female rulers by being reckless, self-indulgent and entirely led by the heart.Ā The two women couldn’t have been more different – and I think you can tell who’s my favourite!Ā For the Stuart era, I was really drawn to Anne of Denmark, queen consort of James I.Ā I think there’s much more to her than meets the eye, particularly with regard to her clandestine links to the Catholic community and, possibly, even the Gunpowder Plotters – as I hint at in my novels.
-What led to your interest in the Duke of Buckingham & JamesĀ I/VI?
It was the research I carried out for my non-fiction book,Ā Witches.Ā The transition from the Tudor to the Stuart dynasty led to great uncertainty in England, which soon darkened into hostility towards the new king – and, ultimately, an attempt to blow him and his entire government to the skies.Ā James himself is an intriguing character – not easy to like, despite his intellectual gifts and wry sense of humour.Ā As for his favourite, Buckingham, he was an out and out villain – both in my novel,Ā The Fallen Angel, and in real life.Ā But villains are so much more fun to write about than heroes so I’m grateful for all his dastardly deeds, even if his contemporaries didn’t quite feel the same.
-Tell us one thing you learned while writing The Fallen AngelĀ that blew your mind.
I think it would have to be the fact that Buckingham may have had a hand in James I’s death.Ā Evidence has been uncovered recently that shows Buckingham had access to poisons and physicians who dealt in them.Ā He was certainly in close attendance on the king in his final weeks.Ā It may just be circumstantial – there were often rumours of poison surrounding royal deaths – but let’s just say the dastardly duke had the means.
-What’s your involvement with Chalke Valley History Festival?
I’m proud to be a patron of the festival and have taken part in it every year since 2015, when I postponed my honeymoon in order to be there!Ā It’s been wonderful to see it get bigger and better every year.Ā Come rain or shine (and there’s been plenty of both!) it’s the highlight of my events calendar.Ā
-When will you be appearing?
2pm on Thursday 24 June.
-How can we find you on social media?
Tracy Borman studied and taught history at the University of Hull and was awarded a PHD in 1997. She went on to a successful career in heritage including working for the Heritage Lottery Fund, The National Archives and English Heritage. She is now Chief Executive of the Heritage Education Trust and also joint Chief Curator for Historic Royal Palaces. She is a trustee of The Buccleuch Living Heritage Trust and The National Archives Foundation, as well as a Patron of Lavenham Library and a Honorary Patron of the Chalke Valley History Festival. She is the author of a number of highly acclaimed books, including Thomas Cromwell: The Untold Story of Henry VIIIās Most Faithful Servant; Matilda: Wife of the Conqueror, First Queen of England; Elizabethās Women: The Hidden Story of the Virgin Queen; and Witches: A Tale of Sorcery, Scandal and Seduction. She is also a regular broadcaster and public speaker, giving talks on her books across the UK and abroad.
The aim is to excite, enthral and entertain about the past. All proceeds from the festival have, since 2012, been directed to the Chalke Valley History Trust, which promotes the understanding of history to all ages, but especially children.
The Chalke Valley History Festival began in June 2011 on a small scale and as a fundraiser for the local cricket club. Club stalwart and historian James Holland had the idea for a festival but it was James Heneage, founder and former CEO of Ottakarās bookshops and now historical novelist, who suggested a festival dedicated to history.
It began with the help of a number of local volunteers, among whom Peter Bell and Rachel Holland played a big part in that first year and continue to do so today. Jane Pleydell-Bouverie came on board in autumn 2011 and has been at the heart of the festival ever since. The Daily Mail became the festivalās principal sponsor in 2013, and it now consists of a week of talks, discussions, debates, as well as extensive and immersive living history and historic air displays.
Since 2013, the festival has also incorporated the History Festival for Schools. āAn understanding of the past is essential,ā says Co-Founder James Heneage, āwithout that, it is impossible to make sense of the present or prepare for the future.ā
2017 saw the festival move to a new site of over 70 acres in Broad Chalke, but still in the heart of the beautiful Wiltshire Chalke Valley.
Church Bottom, Bury Lane, Broad Chalke,
Near Salisbury, Wiltshire, SP5 5DP
Dr Joanne Paul is Senior Lecturer in Early Modern History at the University of Sussex. Her work focuses on politics and culture of the Renaissance period, largely in England, and she has published on topics from Hobbes to Shakespeare, gender to temporality. Her first book,Ā Thomas MoreĀ (Polity, 2017) is an overview of Moreās writing and ideas and her second,Ā Counsel and Command in Early Modern English ThoughtĀ (Cambridge University Press, 2020) traces the role of political counsel from the early Tudor period to the English Civil War.
She is currently working on a number of projects, including a history of the Dudley family, to be published with Michael Joseph (Penguin, 2022 )and two modern editions of sixteenth century texts: Anne DowricheāsĀ The French HistorieĀ and Thomas MoreāsĀ Utopia.
Dr Paul has also shared her research more widely, appearing on a variety of television and radio programmes and featuring in magazine articles and podcasts.
