Cardinal Beaton: Villain or Statesman? by V.E.H. Masters

 A day out in Edinburgh recently and walking through the Cowgate, I passed this sign.

Few figures in sixteenth-century Scotland aroused stronger opinions than Cardinal David Beaton. To his supporters he was a skilled diplomat and defender of Scotland’s independence and Catholic faith. To his enemies he was a corrupt churchman whose death marked the beginning of the Scottish Reformation.

Born around 1494 into the powerful Beaton family of Fife, David Beaton rose rapidly through the Church and royal administration. Educated at St Andrews University and in France, he became an accomplished diplomat, serving James V before being appointed Cardinal in 1538, making him Scotland’s most influential churchman - and a very wealthy man. The house referred to above was only one amongst many which he owned.

Beaton was also Archbishop of St Andrews and it was as such that we were told about him in primary school – for I grew up in St Andrews, Scotland. His Bishop's palace was St Andrews Castle, the ruins of which were very exciting to visit especially because of its long siege tunnel.

                                           St Andrews Castle

Beaton was a determined opponent of Protestant reform and a staunch defender of Scotland’s alliance with France. These policies brought him into direct conflict with Henry VIII, who had broken with Rome and sought to dominate Scotland through the proposed marriage of his son Edward to the infant Mary, Queen of Scots – both of whom were only small children at the time.

Henry regarded Beaton as one of his greatest obstacles. English agents closely followed the Cardinal’s activities, and the English government viewed him as the chief architect of resistance to English influence in Scotland.

                                                       King Henry VIII

Determined that the marriage would happen, Henry conducted a campaign of raids into Scotland known as the Rough Wooing. He also had a number of Scottish supporters, referred to as his 'pensioners' who he paid for their backing.

Cardinal Beaton, as he moved around his domain, was aware of how vulnerable he was. Here's an exert from my novel, The Castilians which explains more fully.

Out Bethia goes into the twilight in time to see Cardinal Beaton’s entourage returning to St Andrews. He’s not there, no doubt ridden ahead with his guard of soldiers tight about him, the townsfolk made to line the streets and bow as he passes. The baggage train, although well guarded, will travel too slow for his safety. She’d heard it was recently attacked but, not finding the Cardinal, the ruffians indulged in a spot of thievery, stealing a chest full of gold coin.

A small crowd is still there. They’ve seen it many times, for the Cardinal never travels lightly, but the wonder of the long line of carts carrying food, fine wine, bedding, clothing, silver plates, fuel, a hundred servants both French and Scots, and the final crowning glory, his four- poster bed perched upon a broad cart, never fails to entertain – although she can hear angry muttering too. She turns to leave, after the passing of the bed, and finds the lanky figure of her brother behind her, his face dark with anger.

‘You know it is his fault.’

‘What is?’ she says, wearily. She’s cold, and in no mood to stand listening to another of Will’s rants, as well as fearful someone might overhear him.

‘Come, let me show you.’

He turns and marches for home and she trails behind. Waving her to wait, he disappears up the spiral to the attics. She stands warming herself, her back to the fire, longing for the unseasonably wintry May to pass. She can hear Will rummaging in the room above, boards creaking, and then he’s thundering back down the stairs, bursting into the room waving a paper.

He kicks the door shut, flapping it in front of her face. 

It’s a notice. She can see the hole where it was once pinned to a church door or a tree, or, most likely, a Mercat cross. She tilts it, trying to read in the firelight.

‘You may thank your Cardinal for this...’ it begins.

She looks at Will questioningly.

‘When Henry Tudor’s troops sacked Haddington and all the other towns, and even burnt the kirk at St Monans, over the past two years, they left a notice each time with these words,’ he explains.

She feels the fear, like a punch to her belly. ‘And how is it that the King of England invades our country and it becomes the fault of our Cardinal, who has been the great defender of Scotland? Take care, Will, this is anglophile talk, and treason forby.’

‘It was us who broke the treaty promising our infant queen in matrimony to King Henry’s son,’ he mumbles, looking down at his feet.

‘It is a too rough wooing of our wee Queen Mary,’ she says angrily.

‘Why can’t you understand Bethia – we must have reform of the church, and Cardinal Beaton blocks it. And he’s all about supporting French interests, for they align with his own.’

She reaches up and touches his face. ‘Will, please don’t listen to those lairds. Father says they are not good men.’

He knocks her hand away and leaves the room, slamming the heavy door behind him. 

Cardinal Beaton is most widely remembered for ordering the execution of the reformer George Wishart for heresy.  Wishart was burned outside the walls of St Andrews Castle in March 1546. According to some accounts, Beaton watched the execution from a castle window, wrapped against the cold. Yet he did order that Wishart, once he was tied at the stake, be draped in gunpowder so when the fire caught it would explode and Wishart's torment would be over swiftly.

                                                      George Wishart

One of the reasons Beaton had Wishart killed was Wishart's advocacy, amongst other ecclesiastical reforms, for the right of clergy to marry. The Cardinal staunchly defended the principle of clerical celibacy and yet had a long term relationship with Marion Ogilvy with whom he had eight children.

Increasingly fearful for his life, Cardinal Beaton ordered the strengthening of St Andrew's Castle defences. In late May 1546, barely three months after Wishart's death, a group of Protestant lairds, taking advantage of the work being carried out, disguised themselves as stone masons and entered the castle in the early morning. 

Taken unawares, Beaton was stabbed to death in his chamber and his naked body hung from the ramparts so that all would know that these men were now in control. They called themselves The Castilians, as in holders of the castle – hence the title of my book.

                                            Geddy Map of St Andrews, 1580

In school, we were always told the men who took the castle were the good guys because they were the Protestants. But many were in the pay of Henry VIII and they ran amok in St Andrews during the fourteen months in which they held the castle.

These dramatic events form the backdrop to my novel The Castilians, which follows ordinary men and women of St Andrews caught up in the chain of events that led to Beaton's assassination and the long siege which followed. 

To Protestant reformers, Beaton was a symbol of corruption and tyranny. Modern historians tend to see a more complex figure: an able diplomat, a determined statesman, a flawed churchman and a man attempting to preserve a political and religious order that was already beginning to collapse.

Nearly five centuries after his death, Cardinal Beaton remains one of the most fascinating and controversial figures of the Scottish Reformation.

References:

Sanderson, Margaret H. B, Cardinal of Scotland: David Beaton c.1494–1546.

Dawson, Jane E. A., Scotland Re-Formed, 1488–1587

Donaldson, Gordon, The Scottish Reformation

Knox, John, History of the Reformation in Scotland.

Author Bio

V.E.H. Masters is the best selling author of the award winning Seton Chronicles, which follows a Scottish family caught up in the religious and political upheavals of sixteenth century Europe. She grew up on a farm near St Andrews and drew on her own experience of farming life when writing her most recent, and contemporary, novel Keeping Distance. She lives in the Scottish Borders with her husband and two cats.

For three free short stories which tell more of the Seton Family visit www.vehmasters.com and pick up your copies of A Bonny Lass, Sounds of Silence and A Long Wait. 

Murder at the Palace by V.E.H. Masters

Sited at the other end of the Royal Mile to Edinburgh Castle stands Holyrood Palace. It's built on what remains of an Augustinian Priory and was the site of one of the most grim events of Mary Queen of Scots brief reign as queen of Scotland.

                                               

                                       Section of Holyrood Palace where Mary Queen of Scots lived

In the 1500s, which is when my series The Seton Chronicles is set, the palace stood outside the city walls. Inevitably it has been extended and 'modernised' over the centuries and is now considerably larger than it was in Mary's time.

In 1548 the five year old Mary was betrothed to the Dauphin of France and left for there soon after, evading a most determined effort by the English Crown to marry her to Prince Edward, son of Henry VIII.

It was a miracle that Mary arrived in France safely for the ship was beset by storms, with weather in August worthy of the worst of January, and a voyage which would normally have taken five days took fifteen. Scotland didn't want to let her queen go was the prevailing opinion.

In my book The Conversos I tell the story of this journey from the perspective of my character Will who, alongside John Knox, was a galley slave for nearly two years in punishment for their part in the siege of St Andrews Castle _ which is the subject of my first book The Castilians.

Here's an extract that gives a flavour of the journey – and they really did have to replace the rudder during a storm. 

The weather holds and they make good progress over the next few days. Ireland is behind them and they are off the Cape of Cornwall when the wind again strengthens and the sea makes a final attempt to hold them. Worse, they see ships appear – and soon it is shouted that English ships are giving chase. Will rows, looking out each time he’s in a standing position when the ship crests a wave. He feels a knot tight in his chest, knows he doesn’t want that bonnie wee lassie caught by English corsairs – even if it means he’s freed. Bung between his teeth, he pulls as hard as he can, and there’s no need for the sous-comite to ply his whip.

Another shout goes up after what feels like hours, but it is no more than one bell. The English are turning back. Will’s heart lifts, but only until he realises why... the wind is howling across the bare masts. Soon he is so lashed by the waves it’s as though he stands beneath a waterfall. Night falls and the seas rise higher and higher.

All around him men cry and shiver with fear as white spumes rush towards them out of the darkness.

The man at the wheel is roped on, so difficult is it to stay in place. Then there’s a thump and the ship shudders from stem to stern. They cease to make any headway and lie wallowing. The lamps from the escorting galleys disappear into the darkness and the stars are blacked out by the clouds.

A drag anchor is flung out to keep them pointing into wind, while the rumours run up and down the ship: they have hit a whale; they have holed on a reef; the ship is sinking. But then it transpires the rudder is broken and they cannot steer. The wind dies suddenly; they must be in the eye of the storm. It is eerily still, as the unquiet ghosts, who follow them, dance around in the darkness.

Men are hung over the lee side – Will cannot imagine anything more terrifying – and remarkably are able to replace the rudder.

This is the last attempt by God, or Satan, to prevent Mary reaching France. A few days later, after some easy sailing, they are moored off a town with a tall cathedral, a bishop’s palace, and a sandy beach. The wee queen disembarks with her coterie of small maids and ladies-in-waiting around her. She is a remarkable child, Will thinks. Not only pretty with her smooth skin and dainty manners but also a child of great courage and steadfastness. He fears she will need it in this precarious life and prays she will be safe and happy in France. He knows John Knox would not approve of Will’s sentiments but this is his queen and he owes her his allegiance, whatever her religion. 

Mary had a happy life in France. King Henri II was fond of her and she in turn of the royal family of which she was part. She returned to Scotland in 1561 aged nineteen dressed in white – the shade of mourning – because her husband, father-in-law and mother had all died within a year of one another. And she came from the warmth and luxury of Renaissance France to a bleak and chilly Scotland, which was experiencing a little ice age.

The chambers of Holyrood Palace were dull, dreary and comfortless but Mary didn't travel light. She brought with her forty five beds, five canopies, twenty coverings and twenty bolts of tapestry, plus paintings, jewellery and other furnishings. All of this was taken south by her son, James VI, when he became king of England, Ireland and Wales after Elizabeth I died.

Mary made the best of things which wasn't easy as a Catholic in a now Protestant Scotland. She was naturally drawn to people who shared her faith and love of music. David Rizzio, an Italian, became her secretary and close companion. 

Starved of entertainment in an austere Reformation Scotland where singing (apart from psalms), dancing and theatre were all disapproved of she, supported by Rizzio, provided it all within her court – for which the reformer John Knox openly castigated her, even having her in tears one day.

Rizzio (pictured below) was deeply unpopular with the Scottish courtiers who surrounded Mary, including her husband Lord Darnley. There were even rumours that Rizzio was the father of her unborn child. 

One night when she was having supper in the small room off her bed chamber with Rizzio and her ladies, a large group of men burst in including Darnley. Mary was six months pregnant at the time but they pushed her out of the way and grabbed Rizzio. He was dragged into the bedchamber where he was butchered in front of her. 

David Rizzio was stabbed fifty four times with Lord Darnley taking a lead in the attack. His blood stains the floor still – although I suspect it may have been occasionally re-reddenned over the subsequent centuries because it looked remarkably bright when I recently visited Holyrood Palace.

            Murder of David Rizzio by William Adams - painted significantly later in 1833

Mary gave birth a few months later in a small chamber in Edinburgh Castle with a number of men watching to verify the birth of the future monarch. Darnley was called to see his new son, who would become James VI, and gazed down as Mary held the babe in her arms.

'My Lord,' she said, 'God has given me a son begotten by none other than you.'

Darnley blushed, one would hope shamed by the accusation he'd made of Mary's adultery, and bent to kiss his son. She never forgave Darnley for Rizzio's murder and when Darnley in turn was murdered a few months later she was held partly responsible. He was a vile man and here's the re-telling of a quarrel had with Mary over dinner during a stay at Traquair House a few months after their son's birth and as reported by its owner.

Mary, who was feeling unwell, whispered in her husband's ear that she thought she may be with child again and could she be excused from the stag hunt on the morrow. 

Darnley replied, 'Never mind, if we lose this one we can make another.

The laird rebuked him sharply, saying he did not speak like a christian whereupon Darnley replied,

'What! Ought we not to work a mare when she is with foal?'

Holyrood Palace fell into disuse once Mary's son became king of England and removed there. By the 1800s, with the popularity of Sir Walter Scott's novels, Scotland became a place for those of romantic sensibilities to visit and the story of Mary Queen of Scots and Rizzio's murder drew visitors especially to Holyrood.

In the first year it opened there were over 67,000 visitors and they had to fence off her bed to stop people touching it. But of course it wasn't her actual bed and when Sir Walter Scott stage managed George IV's successful visit to Scotland the dilapidated bed was replaced by one of red damask. Indeed there is nothing much left of Mary's time beyond the audience room ceiling (pictured above) which was commissioned by Mary's mother, Mary of Guise, to celebrate Mary's betrothal… and, of course, Rizzio's blood stains are also to be found. 

V.E.H.Masters is the award wining and best selling author of The Seton Chronicles. She lives with her husband, and two cats, in the Scottish Borders.  You can find out more on her website here: https://vehmasters.com/, And there's also some short stories available there - free to download.

References

Mary Queen of Scots Bedchamber - a talk given at Holyrood Palace

Visit to Traquair House

Rizzio is the Scottish spelling of the Italian pronunciation. His name was actually spelt Riccio.

How do you dig a Siege Tunnel?

If you've ever been to St Andrews you'll know it's not only the home of golf and site of Scotland's oldest university but the town itself is steeped in history. Once a great centre of pilgrimage, the cathedral was left in ruins after the Scottish Reformation in 1560. Although I grew up in St Andrews the ruins were simply part of the backdrop of daily life. I was twelve years old before our history teacher, Miss Grubb, took us to visit what was left of the cathedral.

St Andrews Cathedral

We also visited the castle where there is there is the most remarkable siege tunnel, dug in 1546 and the best surviving example of siege tunnelling in Europe from the era.

St Andrews Castle

You enter it from the side of the dry moat via a steep and uneven few steps. Almost immediately you're bent double and for anyone who is at all claustrophobic a quick retreat is in order.

Entrance to Siege Tunnel

Creeping down the central trench, at constant risk of scraping your back on the rough stone above, you come to a fork which leads to a dead end. You retreat and continue along the main tunnel, the sense of being squeezed growing ever greater until you can barely draw breath. Then suddenly the narrow passage ends. There's a wall of rock before you and nowhere to go. Yet looking down you spy an entrance hole.

Dare you squash yourself throughand descend the metal ladder to find out what’s below? Down you tentatively go and the space opens out. 

The tunnel is a tale of two halves and this part is broad and high with steps leading to the sealed off entrance beneath a house in North Street. There’s also a grating visible, which my brother and his friends entertained themselves during school lunchbreaks by howling down from the street above, to terrify (or perhaps create atmosphere for) the tourists beneath.

From the moment I first went down the siege tunnel at St Andrews Castle I was utterly entranced. And when I learned the men who had taken the castle early one morning by stealth, murdered its cardinal in revenge for the burning of a Protestant preacher, and held it against all comers for the next fourteen months called themselves 'the castilians' I felt a shiver of foreknowledge. What a perfect title for a book, I thought… I didn't know then how very long it would take me to write it!

I did however always wonder what the point of tunnelling in was. Surely as soon as the besiegers popped their head up out of the tunnel it would likely be knocked off? When I came to do the research for The Castilians I finally understood.

The information is in the name – I have so far referred to this long underground passage as a siege tunnel and was confused as a schoolgirl why it was called the mine and counter mine.

It was never the intention of Mary Queen of Scots forces (we are in the period of regency and Mary is only 3 years old) to tunnel into the castle, capture the Protestants holding it and thus break the siege. The purpose of digging was to undermine the curtain wall, set explosives beneath it, bring it down and then storm the castle.

This is why, when you go down the tunnel/mine it's a tale of two halves. The first part is low and narrow and clearly dug at great speed. Once you climb down the iron ladder into the second part it's wide and high.

The besiegers began to dig in what was then known as Northgait, now North Street, at the back of a house, and hidden from those patrolling the castle walls. The aim was to dig secretly and deep until they gauged they were beneath the curtain wall. They'd then support the roof of the mine with wooden props, set explosives around the props, light fires and run fast as they could out the tunnel before it blew. The explosion would bring down part of the wall, the troops would charge and the castle would be re-taken.

But…this is the great era of siege warfare and those who are holding the castle are well aware their besiegers will likely try to get them out by undermining the walls. One of the ways those inside the castle could ascertain if mining was happening was to set up bowls of water around the courtyard and see if the water was rippling – a sign of underground activity.

False Start

In the case of the siege of St Andrews Castle those within were fairly certain the besiegers were tunnelling in. The aim then was to counter mine out as fast as they could and intercept the mine before the besiegers got beneath the curtain wall. 

The challenge was to work out where the besiegers were actually digging if they were to intercept them and inside the castle there are a couple of very deep holes to be found – false starts. Eventually they found the right spot… here's an exert from The Castilians

They hear sounds of alarm; it seems they are discovered. Any attempt to stay quiet is given up and they excavate as hard and fast as they can. Someone has fetched Richard Lee and he pushes past Will, directing them to attack the ground beneath, and not before them.

‘We must be quick,’ he hisses, ‘else they’ll have time to set explosives and blow us into eternity.’

Will shovels the rubble behind him to keep the area clear for the miners to work – there’s no time to scuttle back up the passageway with it now. A hole has appeared in the floor of the tunnel. Lee has a man shield the candles, whispering that he needs it dark to see if there’s torchlight shining through from below.

Will, Lee and the two miners all huddled tight together nudge one another: light is shining through. They enlarge the hole, cries beneath them growing loud, then fading. Lee kneels at the edge, and sticks his head through. Will can feel Lee’s body tense, ready to pull his head back. He is a brave man. They wait.

Lee lifts his head out and smiles. ‘It could not be more perfect.’

I still wonder at the amazing feat to dig, and dig so fast. There’s little reference to it in the papers of the time. The French ambassador to the English Court mentions the mine and counter-mine in his letters of November 1546, but by December it’s over and the attempt to break the siege has failed again…

St Andrews Castle

If you’re ever in St Andrews Castle, don’t forget to go down the mine and counter-mine. The entrance is not obvious to find, sited as it in the side of the dry moat. It’s one of the most atmospheric places you’ll ever visit.

And in answer to the question, how do you dig a siege tunnel…by cunning, subterfuge, courage, determination and punishingly hard work.

The Castilians, the first in series of The Seton Chronicles is available as an ebook, print and audio book.

For UK click here

For USA click here

 

'Tearing down the Past' by Karen Maitland

Bishop Absolon topples the statue of the god Svantevit in 1169
Painter: Laurits Tuxen 1853-1927, 
Ferederiksborg Hillerod Museum, Denmark

Ever since kingdoms first began waging war on others, conquerors have begun their reign by pulling down the statues and emblems of the old regime. Likewise, rebels and reformers in every age have defaced, drowned, smashed or burned the statues of those who represent their present or historical enemies. The physical symbols of religion or power have always been the focus of attack in times of change and none more so than Cheapside Cross in London, which repeatedly became the unlikely target of hatred throughout the Reformation.

This seemingly innocent cross was one of the 12 Eleanor Crosses, erected in memory of Edward I’s wife, Eleanor of Castile, between 1291-1295. It stood at the commercial heart of London, then called Westcheap, and presided over many transactions made in the market there. It was one of the places where notorious wrong-doers were punished; important civic speeches made and new kings proclaimed. Heretical literature and seditious writings were publicly burned there.  

Statue of Jesus toppled by
Spanish Republican Forces
in anticlerical action, 1936
Photo: Sharon Mollerus

Cheapside Cross was remoulded several times over the centuries and in Tudor times it stood 36ft high, with three tiers whose niches housed statues of religious figures, such as Edward the Confessor, the Virgin Mary and infant Christ. The edifice was crowned by a great gilded cross and a dove. 

By the time of the Reformation, it had become both a Catholic and royal symbol. Even in 1553, the authorities feared it might become a target for vandalism by those opposed to the visit of Catholic King Phillip of Spain during Mary’s reign and a high ‘pale’ was erected to protected it, which was later removed by Elizabeth. But on Midsummer’s night 1581, a group of young men defaced the statue of the Virgin and child, and dragged down some of the other statues with ropes. Despite a handsome reward of 40 crowns being offered, no one was arrested. It was possibly just an act of drunken vandalism fuelled by Midsummer celebrations, but the figures which were mutilated suggest it might have been carried out by fervent Protestants against perceived symbols of Catholicism and the Pope. 

There had been several previous defacings of the Virgin on the Cheapside Cross. So, after this last one, Elizabeth had the statue of the Virgin Mary replaced with the goddess Diana which, in complete contrast, spouted Thames water through the nipples of her bare breasts – Diana representing the virgin Queen Elizabeth herself.  In 1601, the cross was again renovated and the bare breasted goddess was replaced by the Virgin Mary once more. Railings were erected to protect the cross. But within two weeks, the statue of Virgin Mary had been vandalised again, her chest stabbed and her crown ripped off. 

'Coronation Procession of Edward VI passing Cheapside Cross 1547'
Published in Vol1 'Old & New London'  by Walter Thornbury, pub. 1873 
based on a mural (now lost) at Cowdray House, Sussex
Book held in British Library

There were many vociferous Protestant campaigns to have the Cheapside Cross removed as idolatrous, some Puritans even saw it as symbol of Dagon, ancient god of the Philistines. But although most other Catholic symbols were removed, Cheapside Cross continued to be preserved by the London authorities, and ever greater defences were erected to protected it from repeated attacks. But in January 1642, the statues on the cross were severely damaged by attackers overnight. One man was mortally wounded when he fell on the spikes of the railings whilst trying to pull down the figures. Such was the heated emotion on both sides that people passing the cross over the next few days found themselves confronted by gangs demanding to know if they were for or against it. 

'Ancient View of Cheapside' 
in 'Old & New London', Vol 1 pub.1873

The cross had become a focus for the hatred of Charles I who had left London and the city authorities were forced to deploy soldiers to protect it at night. Puritan demands for its removal grew with countless pamphlets and petitions. Finally, in April 1643, Parliament appointed a Commons Committee chaired by Sir Robert Hale who had long campaigned against Cheapside Cross. The committee was set up to oversee the destruction of offensive religious images and three days later the London Court of Aldermen ordered the removal of Cheapside Cross because of the ‘idolatrous and superstitious’ figures. The soldiers who had been protecting it were now forced to guard the demolition crew from those who were determined to prevent it coming down, even at the cost of their lives.

'Demolition of Cheapside Cross', in 'Old & New London' pub 1873
Book in British Library

The funeral of the cross was marked with ringing of bells and bonfires, and in a final sting in this sad tale – the ‘Book of Sports’, considered ‘profane and pernicious’ because promoted such ‘abominations’ as maypole dancing, was ritually burned by a hangman on the spot where Cheapside Cross had stood.

Remnants of Cheapside Cross in
Museum of London
Photo: MattFromLondon

Most of the other Eleanor Crosses were also torn down during the Civil War, but three survived and still stand at Geddington, Hardingstone and Waltham Cross.

'Still they come' by Karen Maitland

Clooties hanging on tree above Madron's Well

Earlier this summer, I was travelling on a country lane just north-west of Penzance in Cornwall, when I spotted a sign to St Madron’s Well. I followed a surprisingly well-worn footpath twisting through a woodland of ancient, lichen-covered blackthorn trees and ferns, which seemed to go on for miles. I confess I was on the verge of turning back, thinking I had missed the well, because many holy wells in Devon and Cornwell are simply little springs trickling out of a bank and easily covered by summer vegetation. Then I saw a few rags tied to a tree. As I walked further along the path, the trees around me became festooned with rags, ribbons, single shoes, tiny fabric bags and messages written on cloth in many languages, including Chinese. Some were weather-faded to the colour of fallen leaves, others so vibrant they clearly been tied there yesterday.

Stone stile and walls of St Madron's chapel beyond.

Had it not been for these ‘clooties’, I could easily have missed the well itself which was little more than a shallow pool of clear water, just a few inches deep, surrounded by trees and muddy bog. But further on down the track, I came across mossy stone stiles, standing like the battlements of an enchanted castle, and beyond them was the rough-hewn stone walls of the chapel of St Madron, its entrance guarded by a huge yew tree. Water bubbles out into a baptistry in the far corner, which comes from the same spring as the well in the wood. The baptistry, and the stone altar were covered in crumbling posies of withered flowers, shells, three-armed and four-armed Brigid crosses, and other offerings visitors had laid there. It was evident that this place is as much revered in new millennium as it has been for the last thousand years.

Entrance to the ruined St Madron's Chapel, Cornwall

Those who first sought it out in pre-Christian times dedicated this spring to the Welsh Celtic Mother Goddess, Modron, who some authors link to the medieval Arthurian figure - Morgan Le Fay. When Celtic Christians arrived, they wisely didn’t try to prevent people coming for blessing and healing to this well, but quietly replaced the old goddess with St. Madern or St Madron. But whereas Modron had been a goddess, St Madron or Madern is thought to have been 6th century male Celtic saint, possibly a disciple of St Piran. The chapel probably began life as a cell for a Christian hermit. He or she would have ministered to those coming to the leech well for healing and would have received food or gifts from the supplicants.

Stone altar in St Madron's chapel.

The pagan and Christian traditions practised at this site seemed to have co-existed in peaceful harmony until the Reformation, when Thomas Cromwell ordered the destruction of the chapel. The roof was torn down and the statue, which probably occupied the niche, was removed. But whether from superstition or laziness, Cromwell’s men could not bring themselves to destroy the chapel itself, and the walls, baptistry, stone seats and altar remain intact until this day. It is still roofless, but the canopy of trees provides a far more beautiful roof than either thatch or slate.

Thomas Cromwell and the Reformers may have thought they’d put an end to St Madron’s well, but local people continued to use it. In 1640, John Trelil, unable to stand or walk because of childhood injury to his back, had a dream telling him to seek healing at the well. On a Thursday in May, the day the well’s healing powers were believed to be at their strongest, he crawled to St Madron’s well on his knees, spent the night at the altar in the ruined chapel, bathed in the holy water, then slept on a grassy hump nearby known as St Madron’s Bed, where he began to feel tingling in the nerves of his legs. He returned twice more on subsequent Thursdays and was cured to such an extent that he became fit enough to join the royalist army, though that was perhaps a mixed blessing for he was sadly killed in battle four years later in Lyme, in Dorset.

Baptistry or second holy well inside St Madron's chapel

By the Victorian era, they realised there was money to be made from such places and a keeper of the well charged visitors for access. On Thursdays, during the month of May, ailing children were dipped naked in the well three times and passed around it nine times, then dressed and left to sleep on St Madron’s bed. To effect a cure, the ritual had to be performed in silence. Unwed girls threw crosses and pins on the water counting the bubbles to discover when they would marry. It was also thought that by asking how long you had to live, you would be answered by a series of bubbles giving the number of years.

Today, on the first Sunday in May, people come to stand in a circle and take turns blessing the person next to them with health and peace using a mixture of the water taken from the baptistry and from the well outside. They ask for healing of Mother Earth and provision of water for all people. It would seem that given the current concerns about climate change, Madron’s Well is just as meaningful to people now as it was to our ancient Celtic forbears.

Clooties hanging in the blackthorn above St Madron's Well

The Children and Puppet Thing - by Penny Dolan

Why children, I wonder?   

On Monday, I went to the Victoria and Albert Museum to see the Shakespeare Puppet show mentioned by Louisa Young in her History Girls “Fear of Puppetry Overcome” post a few weeks back.

I took two children - 7 & 10 - and the noon-time show was the first public performance. 

As well as displaying and demonstrating different kinds of puppets, the script was cleverly woven through with lines from Shakespeare’s great plays to introduce his phrasing and poetry, and very enjoyable it all was.

 

However, the quantity of very small children in the audience set me thinking. Why, here in England, are puppets almost always seen as something for young audiences? Even those magnificent Warhorse puppets – like the horse on display in the V&A Theatre Gallery – originated in a story written for children.

I started wondering whether this attitude had any historical link. Might our national response to puppets go back to the Reformation, and the destruction and defacing of so much religious statuary and images? Did that great ferment turn all forms of images into suspicious objects, especially any used in processions or plays and likely to deceive souls by seeming "alive"? 

Did whatever puppets existed back then – in whatever was street theatre or as part of mystery plays -  become deceits of the devil and casualties of the Puritan view? Or were puppets far too close to  the venerated icons and miraculous statues of enemy Papist practices, and all those other suspicious customs of “foreigners”?  

(European puppet companies still have a tradition of producing shows for adults as well as for children, and many other world traditions are intended for all ages.)

Would the fear of witchcraft or, worse, accusation of witchcraft, make people shun puppets in case such objects were seen as evidence of their crimes?  Were children's "poppets" and "babies", used to encourage mothering skills, seen as innocent when puppets themselves were not?

And if so, does that mean that Henry VIII, Good Queen Bess and Old Noll killed the English love of puppets? Note: I'm just wondering here. I don’t know, not yet. Do you?

However puppets are still around, hanging on at the edge of our culture.  We still have Punch and Judy shows, even though the rascal originated in Italy. Occasionally, the art of puppetry resurfaces in the theatre, or on our televisions whenever Spitting Image's satirical caricatures become newsworthy.

We still have human puppets like the “’Osses” of the mumming tradition, and speaking dolls like the ventriloquist’s dummy. Sometimes whole communities get involved with puppets: the town of Skipton has a bi-annual puppet festival and procession, next due in 2015, and not so long ago a huge Elephant puppet paraded through London to great audiences and acclaim.  

Even so, I bet any publicity about a puppet show will be – unless there are very explicit warnings - read and seen as “for children” - and very little children at that.

By the by, I once read that the violent destruction of so much religious art during the Reformation created such intense trauma that English visual tradition ceased. The main means of expression shifted towards words, which brings me very back nicely to the glory of Shakespeare’s language and that V&A puppet show.

Penny Dolan

www.pennydolan.com

ps. I'm rather fond of puppets and created an old Punch and Judy man as an important character in my children's novel. A Boy Called M.O.U.S.E. (Bloomsbury)

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Great Cathedrals in Time and Space by Emma Darwin

If you dropped in at the Turbine Hall at Tate Modern recently, you might have seen Tacita Dean's work, Film, which was the twelfth in the Unilever series. I was lucky enough to be asked by my cinematographer friend Sam Garwood to a private view for the film industry: the sponsors were companies like Kodak (sharp intake of breath), the BSC, and Arri. I assumed it would be the kind of event that I once described to my offspring as "just a stand-up and shout": long on polite shop-talk and short on cake and bouncy castles. The only difference from the book-industry equivalent would be the gender balance and the fact that I wouldn't know anyone. And, it being February in the dear old/new Turbine Hall, it would be cold: even the invitations had suggested that guests might like to Wrap Up Warm.

Yes, it was all those things but it was more significant than that. Thanks to the ease and speed of digital - and undeniably the particular advantages it offers, while analogue has other advantages - the industry for analogue film is dying. The big, commercial studios are convinced that the future is digital, and without their money flowing in, the facilities to deal with film from shooting to projecting are shutting up shop. Kodak have filed for protection against their creditors, and something like twenty-eight out of the thirty film processing companies in London have closed down in the last two years. And because there's no one to handle your film, film itself is going the way of... well, can you think of any other creative medium that has ever just ceased to be available? Evolved, shrunk, got more expensive, fallen out of favour, yes. But just, plain, vanished? So there's a campaign, of which Dean and the likes of Martin Scorsese are only the most visible parts, to get photographic film named a UNESCO World Heritage... um, Thing. That would open the door to all sorts of help and funding for those who want or need to use and support it, just as in our own industry National Short Story Week is the umbrella under which all sorts of good initiatives can then huddle, confer, publicise themselves, and make grant applications.

Tacita Dean says that she "needs film as an artist needs paint." So, unexpectedly, a routine standup-and-shout turned out to be something more important, though what that was, perhaps, was according to how you saw it. A call to arms? The mustering of an army? A battle-charge? The last rites? A wake? Or a re-birth of the medium into a new life in a rather different world, where it's no longer taken for granted as the medium of transmitting stories, but defined by and used for its particular, essential, physical and aesthetic qualities?

There are parallels with other industries, of course, although they all need to be prefixed by mutatis mutandis, because our eyes don't work in the same way as our ears, so the shift from cinefilm to digital moviemaking is not the same as the shift from wax cylinders to digital tape to mp3 files. And different again is the shift from manuscript to printed book, to e-book: the medium in which our words are transmitted is secondary to the message it carries, and the printed book is a near-perfect, and astonishingly cheap, technology when you compare it to the paraphernalia of even the most guerillerish of film makers or sound artists.

But still... Maybe it was the walk along the South Bank, through Borough Market, past Southwark Cathedral (which I blogged about recently) and the Golden Hinde, on a damp, mild-scented February evening, with the lights of London glittering and shifting on the water... Maybe it was the fact that I'd had a good day working on the novel, so that what Rose Tremain calls "the anarchic, gift-conjuring, unknowing part of the novelist's mind" was wide awake in me... Maybe it was the wine, which was nicer than book industry bashes usually supply... Who knows?

The Turbine Hall is a cathedral of the early twentieth century, the era of big, grubby powerstations in the middle of big, grubby cities, the electrical age. You enter by the west door, and the party was on the upper deck, which spans the middle of it: we stood in the soft dark to watch the colours and forms in Film that flowed and flowered where the east window is. There's a west window, too: it gets a starring moment in Film, so there's a metaphysical but also physical link that runs the full length of the nave. Then we turned aside, to where the speakers were spotlit on the platform on one of the long sides of the hall, and heard each of them make a call to arms. 

And suddenly I saw us all as the ordinary folk of a Reformation world - the world of Galileo and Columbus, Newton and Harvey - the world that could turn the space inside a great, Gothic cathedrals on its axis, so that the people gathered round a pulpit to hear an argument rather than before an altar to witness an event. I heard what was said as something akin to Luther's and Bucer's argument: that we should return to the plain, unmediated origins of our experience, and keep hold of the raw, analogue, temporal business of being human creatures who exist in space and time and community, so that we can take it with us as we also grasp the new opportunities of the new age, for art and understanding.

I've no idea what the story is, in this moment - story in the novelist's sense, that is, not the journalist's. Those people in the Grote Kerk of 1673, above, were the first who could go home and read what we'd recognise as a novel: Tacita Dean's form and medium are a product of the electrical age as mine are of that humanist age:  But if ever there was a moment when the past was present to me and yet by being so present, filled me with the knowledge of how immeasurably distant it is, it was that evening in the Turbine Hall. Dean makes her art by running the film through the camera again and again, masking different layers, layering different colours and lights, stacking up images or leaving them alone. Historical novels get written in rather the same way.