Showing posts with label middle ages. Show all posts
Showing posts with label middle ages. Show all posts

Saturday, June 21, 2025

Book Launch: Marguerite: Hell Hath No Fury—Judith Arnopp’s Powerful Take on a Queen’s Story

 


Marguerite: Queen of England

From the moment Henry VI's new queen, Marguerite of Anjou, sets foot on English soil she is despised by the English as a foreigner, and blamed for the failures of the hundred years war in France.

Her enemies impede her role as the king’s consort and when Henry sinks into apparent madness her bid to become regent is rejected. Marguerite must fight, not only for her own position but to maintain Henry’s possession of the crown.

The ambitious Duke, Richard of York seizes control of the country, thrusting Marguerite aside and inflating the mutual hatred between the houses of York and Lancaster. But the queen refuses to relinquish power and fights determinedly for the rights of her son, Edward of Lancaster.

The long and bitter civil conflict, that has come to be known as the war of the roses, commences.

  Purchase

mybook.to/mhhnf

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Excerpt


1481 - Dampierre-sur-Loire, Anjou

I am the dowager queen, and I should be in England, housed in splendour, lauded, pampered, surrounded by royal grandchildren but instead I am exiled, confined to this backwater in France. Queen of obscurity, of notoriety. I curse each day as it dawns, bringing another unendurable four and twenty hours in which to think … to remember. Little more than a pauper, I am a pensioner of King Louis. I am exiled, ousted and excluded from the country over which I once ruled. Defeat sits heavily on me. My body pains me, my heart aches and my mind is tortured. How did it ever come to this?   

I am a victim of treason, betrayal and regicide. Yes – regicide, the cold-blooded murder of an anointed king and the theft of his crown. Gentle Henry, my husband was brought low by the ambition of the cursed Duke of York and his devil-spawned son.

Even while serving the fifth Henry in France, York chafed against Lancaster, smarting each time a better man was shown greater favour than himself. He coveted riches, he coveted power, no matter the cost, and he sneered at Henry’s efforts to reign peaceably.

The moment I arrived in England as Henry’s queen, I became the focus for York’s hatred. He despised me as a foreigner and a woman, and believing their claim superior to that of Lancaster, the House of York coveted the crown for years. They misliked the way Henry heeded my advice. My directives influenced the king more often than York’s and oh, how that wounded him!

For a long time, our mutual dislike simmered, increasing and spreading like bubbles in a boiling pot until it became so hot, so virulent that it overflowed, splitting the court asunder and forcing cousin to side against cousin.

As England’s noble houses wrought violence against themselves and kin slaughtered kin, dark clouds gathered over England and the rivers ran with blood. With York so close to the crown he could almost grasp it, civil war was inevitable. Spurred on by his kinsmen and his litter of flea-ridden pups, York reached out for what was mine, and in the end, he took it.

On the day we slew York and his son at Wakefield I thought we had won, but his spawn soon replaced him. The repugnant Edward took up his father’s banner. Edward the regicide, the usurper who killed my son, and murdered my king. They locked me away but even when I begged to be allowed to die, he forced me to live.

My life since has been worse than a thousand deaths.

I can barely recall the young, green girl I once was, unskilled in policy, and a stranger to the country I would come to love.

 

Judith Arnopp

A lifelong history enthusiast and avid reader, Judith holds a BA in English/Creative writing and a Masters in Medieval Studies. She lives on the coast of West Wales where she writes both fiction and non-fiction. She is best known for her novels set in the Medieval and Tudor period, focussing on the perspective of historical women but recently she has written a trilogy from the perspective of Henry VIII himself.

Judith is also a founder member of a re-enactment group called The Fyne Companye of Cambria which is when and why she began to experiment with sewing historical garments. She now makes clothes and accessories both for the group and others. She is not a professionally trained sewer but through trial, error and determination has learned how to make authentic looking, if not strictly historically accurate clothing. A non-fiction book about Tudor clothing, How to Dress like a Tudor, was published in 2023 by Pen and Sword.

She runs a small seaside holiday let in Aberporth, and when she has time for fun, she likes to garden and restore antique doll houses. You can find her on most social media platforms.

Her novels include:

A Song of Sixpence: the story of Elizabeth of York

The Beaufort Chronicle: the life of Lady Margaret Beaufort (three book series)

The Henrician Chronicle: comprising of:

A Matter of Conscience: Henry VIII, the Aragon Years (Book One of The Henrician Chronicle)

A Matter of Faith: Henry VIII, the Days of the Phoenix (Book Two of The Henrician Chronicle)

A Matter of Time: Henry VIII, the Dying of the Light (Book Three of The Henrician Chronicle)

The Kiss of the Concubine: a story of Anne Boleyn

The Winchester Goose: at the court of Henry VIII

Intractable Heart: the story of Katheryn Parr

Sisters of Arden: on the Pilgrimage of Grace

The Heretic Wind: the life of Mary Tudor, Queen of England

Peaceweaver

The Forest Dwellers

The Song of Heledd

The Book of Thornhold

A Daughter of Warwick: the story of Anne Neville, Queen of Richard III

Marguerite: Hell Hath No Fury!

 Author Links: 

Website: http://www.judithmarnopp.com

Twitter: https://twitter.com/JudithArnopp

Facebook: https://www.facebook.com/thetudorworldofjuditharnopp

LinkedIn: www.linkedin.com/in/judith-arnopp-ba999025

Instagram: https://www.instagram.com/tudor_juditharnopp/

Bluesky: https://bsky.app/profile/jarnopp.bsky.social

Book Bub: https://www.bookbub.com/profile/judith-arnopp

Amazon Author Page: https://www.amazon.co.uk/Judith-Arnopp/e/B003CGLWLA/

Goodreads: https://www.goodreads.com/author/show/4088659.Judith_Arnopp

 

Saturday, May 21, 2022

Book spotlight and excerpt: The Colour of Rubies by Toni Mount

 

THE COLOUR OF RUBIES

Murder lurks at the heart of the royal court in the rabbit warren of the Palace of Westminster. The year is 1480. Treason is afoot amongst the squalid grandeur and opulent filth of this medieval world of contrasts. Even the Office of the King’s Secretary hides a dangerous secret.

Meeting with lords and lackeys, clerks, courtiers and the mighty King Edward himself, can Seb Foxley decipher the encoded messages and name the spy?

Will Seb be able to prevent the murder of the most important heir in England?

All will be revealed as we join Seb Foxley and his abrasive brother Jude in the latest intriguing adventure amid the sordid shadows of fifteenth-century London.

Visit Toni Mount's website and bookshelf HERE


Praise for Toni Mount's The Colour of Rubies

Tony Riches, author of The Tudor Trilogy “An evocative masterclass in storytelling.” 
Carol McGrath, author of the She-wolves trilogy “I was utterly transported - It’s superb”. “What a plot. What characters. Perfect pitch”.

“I loved the relationship between Seb and Jude”.

“The Colour of Rubies is a totally immersive experience as richly stitched as one of King Edward IV’s gorgeous tapestries. This cleverly plotted novel with its twists and turns will keep a reader page turning late into the night until the book’s final scenes. Sebastian and Jude are wonderfully realised personalities with similar emotions, concerns, fears and hopes we have have today. Their medieval London felt real and intriguing to me with unexpected dangers lurking in alleyways. I felt as if I was walking in Sebastian’s footsteps. With this thrilling novel Toni Mount has shown herself a master of medieval suspense. More please”.

 Praise for Toni Mount's Sebastian Foxley Medieval Murder Series

Tracy Borman, historian and broadcaster “An atmospheric and compelling thriller that takes the reader to the dark heart of medieval London.”

Matthew Lewis author of Richard III Loyalty Binds Me “Toni Mount continues to delight with the superbly crafted Seb Foxley mysteries. Impeccable research and sculpted characters combine with an engaging narrative to create another irresistible story. This series goes from strength to strength, and I’m already looking forward to the next instalment”

J.P. Reedman, author of the I, RICHARD PLANTAGENET series: “Sebastian Foxley is the Cadfael of the 15th century”.

“The Sebastian Foxley Medieval Mystery Series by Toni Mount is not only filled by dastardly murders and gripping intrigue but contains many well-researched historical facts from the Wars of the Roses era”

Samantha Willcoxson, author & historianToni Mount is simply brilliant”.

“If you love CJ Sansom’s Matthew Shardlake (and I do) you will love Toni’s Sebastian Foxley”.

“From learning how a 15th century scrivener created illuminated manuscripts to venturing within the dank tunnels beneath the Tower of London, Toni is an artist who completely immerses the reader in another time and place and always leaves one eager for the next book.”

Stephanie Churchill, author of historical fiction and epic fantasyLeave it to Seb to unravel another international spiderweb of intrigue, betrayal, murder, and deceit. Our flawed, loveable hero has done it again. And at the end of it all, his future is looking brighter than ever. I cannot wait to find out what happens to him next!”

Sharon Bennet Connoly, author and medieval historian “A beautifully crafted mystery that brings the dark, dangerous streets of medieval London to life. Toni Mount is a magician with words, weaving a captivating story in wonderful prose. The Colour of Evil is, to put it simply, a pleasure to read.”

Rosalie Gilbert, medieval historian and author The author's knowledge of medieval history shines through the narrative in the small details which enhance the story woven into it. The details about the inside workings of medieval trade practices lent themselves perfectly for a background to murder and deceit”.

“Recommended for lovers of historic fiction.”

Joanne R Larner author of Richard Liveth Yet trilogy: “I always look forward to a new 'Colour of...' book. I can't wait to see what escapades Seb Foxley and his brother, Jude, get up to next. They, and all the characters, are endearing and colourful. The books are always well written, conjuring 15th century London into the reader's mind and the plots are excellent!'

Mel Starr bestselling author of the Hugh de Singleton chronicles: “If I believed in reincarnation I would be willing to think that Toni Mount lived a previous life in 15th century London.  The scents, the sights, the tastes of the late Middle Ages are superbly rendered.”

 ¸.•*´¨) ¸.•*¨) ( ¸.•´

 EXCERPT

The Palace of Westminster

The Great Gate was impressive, its ancient stone ivy-clad, its turrets snow-capped and the Royal Standard flapping above in the fitful flurries of icy flakes. The guards in their bright liveries stamped their boots and blew on their hands, puffing out white clouds with every breath. Keeping watch in January was a duty none enjoyed. They recognised Jude and waved him through, ignoring Seb as a person of little consequence, unlikely to endanger King Edward in any way.

The Inner Gate into Green Yard was far less imposing but the solitary guard there demanded to know their business. Mayhap, he was in need of some activity or company to pass the time.

'Who goes there?' he demanded, barring the way with his halberd.

'Walter, you bloody nincompoop, it's me,' Jude said. 'You know me better than your own father – if you ever knew him at all.'

'Bloody Foxley,' the guard growled. 'What brings you back on a Saturday afternoon?

And who's this?' He nodded at Seb.

'My brother. He's a scribe like me and we've got work to do for Secretary Oliver – not that it's any business of yours.'

'Mind your mouth, Foxley. I can throw you in the lock-up anytime I like and you'll freeze to death in there afore you can say your Paternoster. And why's your brother here? He ain't a King's Clerk and if he's half the bloody trouble you are, he's not welcome.'

'He has permission; a written warrant.' Jude took a paper from his purse and offered it to the guard, fully aware that Walter was illiterate as a blind sheep. 'You want to read it?'

The guard shook his head.

'Just keep out of my sight, the pair of you. Any trouble and you'll have my halberd shoved up your arse with a ribbon on it.'

Jude was sniggering as he led Seb to a side door.

'You upset him. Why did you taunt him so, not to mention the lies you told?' Seb asked, knocking a dark mess of slush and ashes off his boots against the stone step.

​Jude didn't bother, treading mucky footsteps along the passage within.

'Forwhy Walter's an ignorant pig. He knows I have the measure of him, the damned jackanapes, and lying is just the Westminster way – nobody tells the truth here. Besides, this clerkship job would be unutterably tedious if I didn't have folk like him and Piers Creed to make mock of. Did I tell you about Creed the Farter?'

'Aye, you did, more than once.'

'This here is Secretary Oliver's joyous house of entertainment,' Jude announced, stopping at a closed door. 'Scene of my life-wasting scribbling and associated tortures.

Coldest place on earth, if I know anything, where we sit and feel our bollocks shrivel and fall off, if we're not careful. You want to see inside, if it's not locked? Creed is probably still working like an idiot.'

Jude tried the door, lifted the latch. It squealed open and, sure enough, there was Piers Creed, as Jude had half expected, bent over his desk, pen in hand. Despite the noise, the clerk didn't look up.

'Jesu's sake, Piers, you farting, foolish fucker, can't you think of anything better to do on our free afternoon? Go play bloody snowballs or something. Hey! Don't ignore me. How can you sleep in here? It's too damned cold.'

Jude kicked the clerk's stool to rouse him from his nap. But Piers did not waken. He slid across his desk and toppled off the stool, the pen yet held fast in his fingers.

'Wake up, you idiot.'

Jude grabbed his fellow before he should fall to the floor and hurt himself. He shook him but it did no good.

Seb lowered himself to the flagstones with care. He removed his gloves and touched the clerk's cheek.

'His skin be icy.'

'So would any man's be in this place. See? The brazier isn't alight. Come on, Piers, rouse yourself, you idle...'

'Shouting at him will have no effect, I fear.' Seb put his fingers to the pulse point under the angle of the jaw. ''Tis a sorrowful thing, Jude, but your friend be dead. We must fetch a priest to him, straightway.'

 


Toni Mount 

Toni Mount is the author of several successful non-fiction books including How to Survive in Medieval England and the number one best-seller, Everyday Life in Medieval England. Her specialty is the lives of ordinary people in the Middle Ages and her enthusiastic understanding of the period allows her to create accurate, atmospheric settings and realistic characters for her medieval mysteries. Her main character, Sebastian Foxley is a humble but talented medieval artist and was created as a project as part of her university diploma in creative writing. Toni earned her history BA from The Open University and her Master’s Degree from the University of Kent by completing original research into a unique 15th-century medical manuscript.

Toni writes regularly for both The Richard III Society and The Tudor Society and is a major contributor to MedievalCourses.com.  As well as writing, Toni teaches history to adults and is a popular speaker to groups and societies.






Tuesday, April 21, 2020

Spotlight on novelist Mercedes Rochelle




Mercedes Rochelle

Fun Facts

Oh dear, I’m very shy about making myself the center of attention. That’s the first thing you didn’t know about me. Even when I got married, I was embarrassed about all the fuss (we had the ceremony on our back porch). In school, I loved sitting in the back of the room. It’s very hard for me to make announcements about my own books, which is why I like blog tours!


The second thing you don’t know about me is that I love tchotchke. Not just little baubles, but especially tacky lamps. See? Isn’t that fun?

      

What writer could live without such inspiration?

The third thing you don’t know about me is that I live in a log home that we built ourselves. Well, we didn’t wield the hammer, but we did design the house ourselves. The arts-and-crafts stonework on the dormers was my idea.


The fourth thing you don’t know about me is my love of artwork. I was self-taught by osmosis; I searched through hundreds of art books. Thirty years ago—way before the internet—I compiled three art indexes arranged by subject: Historical Art Index A.D. 400-1650, Mythological and Classical World Art Index, and Post-Biblical Saints Art Index. These three library books garnered royalties somewhere around $10,000 total, and I thought I was being screwed. Little did I know!

The fifth thing you don’t know about me is I have a weakness for cheese and crackers—specifically Triscuits—and wine. And pistachios. I indulge myself almost every evening. I eat my heavy meal at lunchtime and keep it light in the evening. Life is good. 
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The King’s Retribution:
Book 2 of The Plantagenet Legacy


If you read A KING UNDER SIEGE, you might remember that we left off just as Richard declared his majority at age 22. He was able to rise above the humiliation inflicted on him during the Merciless Parliament, but the fear that it could happen again haunted him the rest of his life. Ten years was a long time to wait before taking revenge on your enemies, but King Richard II was a patient man. Hiding his antagonism toward the Lords Appellant, once he felt strong enough to wreak his revenge he was swift and merciless. Alas for Richard, he went too far, and in his eagerness to protect his crown Richard underestimated the very man who would take it from him: Henry Bolingbroke.
***
About the Author
Mercedes Rochelle

Born in St. Louis MO with a degree from the University of Missouri, Mercedes Rochelle learned about living history as a re-enactor and has been enamored with historical fiction ever since. A move to New York to do research and two careers ensued, but writing fiction remains her primary vocation. She lives in Sergeantsville, NJ with her husband in a log home they had built themselves.

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Where to Buy


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Connect with the author






Monday, December 2, 2019

The Briton and the Dane: Concordia - Coffee Pot Book Club Book of the Year Honorable Mention - Early Medieval






Honorable Mention
The Coffee Pot Book Club Book of the Year
The Historical Fiction Book of the Year 
Early Medieval

Travel back in time to late Ninth Century Anglo-Saxon Britain where Alfred the Great rules with a benevolent hand while the Danish King rules peacefully within the boundaries of the Danelaw. Trade flourishes, and scholars from throughout the civilized world flock to Britannia’s shores to study at the King’s Court School at Winchester.

Enter Concordia, a beautiful noble woman whose family is favored by the king. Vain, willful, and admired, but ambitious and cunning, Concordia is not willing to accept her fate. She is betrothed to the valiant warrior, Brantson, but sees herself as far too young to lay in the bedchamber of an older suitor. She wants to see the wonders of the world, embracing everything in it; preferably, but dangerously, at the side of Thayer, the exotic Saracen who charms King Alfred’s court and ignites her yearning passions.

Concordia manipulates her besotted husband into taking her to Rome, but her ship is captured by bloodthirsty pirates, and the seafarers protecting her are ruthlessly slain to a man. As she awaits her fate in the Moorish captain’s bed, by sheer chance, she discovers that salvation is at hand in the gilded court of a Saracen nobleman.


While awaiting rescue, Concordia finds herself at the center of intrigue, plots, blackmail, betrayal and the vain desires of two egotistical brothers, each willing to die for her favor. Using only feminine cunning, Concordia must defend her honor while plotting her escape as she awaits deliverance, somewhere inside steamy, unconquered Muslim Hispania.


Purchase at:


Friday, November 15, 2019

The Briton and the Dane: Concordia - Coffee Pot Book Club Book of the Year Finalist - Early Medieval



Finalist 
The Coffee Pot Book Club Book of the Year
The Historical Fiction Book of the Year 
Early Medieval

Travel back in time to late Ninth Century Anglo-Saxon Britain where Alfred the Great rules with a benevolent hand while the Danish King rules peacefully within the boundaries of the Danelaw. Trade flourishes, and scholars from throughout the civilized world flock to Britannia’s shores to study at the King’s Court School at Winchester.

Enter Concordia, a beautiful noble woman whose family is favored by the king. Vain, willful, and admired, but ambitious and cunning, Concordia is not willing to accept her fate. She is betrothed to the valiant warrior, Brantson, but sees herself as far too young to lay in the bedchamber of an older suitor. She wants to see the wonders of the world, embracing everything in it; preferably, but dangerously, at the side of Thayer, the exotic Saracen who charms King Alfred’s court and ignites her yearning passions.

Concordia manipulates her besotted husband into taking her to Rome, but her ship is captured by bloodthirsty pirates, and the seafarers protecting her are ruthlessly slain to a man. As she awaits her fate in the Moorish captain’s bed, by sheer chance, she discovers that salvation is at hand in the gilded court of a Saracen nobleman.


While awaiting rescue, Concordia finds herself at the center of intrigue, plots, blackmail, betrayal and the vain desires of two egotistical brothers, each willing to die for her favor. Using only feminine cunning, Concordia must defend her honor while plotting her escape as she awaits deliverance, somewhere inside steamy, unconquered Muslim Hispania.


Purchase at:


Thursday, June 7, 2018

What was the sweating sickness in Tudor England?


History Extra


A rather mysterious illness, the sweating sickness hit in a series of epidemics, but was not always fatal.

 Symptoms included cold shivers, headaches, pain in the arms, legs, shoulders and neck, and fatigue or exhaustion. Far from being a disease that raged through the lower classes, many well known individuals of the Tudor court contracted the illness, including Anne Boleyn and her brother and father, George and Thomas, along with Cardinal Wolsey.

The sweating sickness killed numerous nobles and courtiers, including two of the Duke of Suffolk’s sons, Henry and Charles, and Mary Boleyn’s first husband, William Carey.

 Lauren Mackay is the author of Inside the Tudor Court: Henry VIII and his Six Wives through the Life and Writings of the Spanish Ambassador, Eustace Chapuys (Amberley Publishing).

Monday, June 4, 2018

How many executions was Henry VIII responsible for?


History Extra


It is impossible to tell for sure, and historians have no definitive number. It is estimated that anywhere from 57,000 to 72,000 people were executed during Henry’s 37 years’ reign, but this is likely to be an exaggeration.

 Henry’s break with Papal authority, and his second marriage – which was not sanctioned by the Pope – caused a rift between Henry and certain individuals at court, many of whom he knew well, and in some cases was close to.

 Those who either refused to adhere to his Act of Succession or those considered to be heretics were executed, but Henry also executed numerous potential rivals to the throne; two wives and their alleged lovers; leaders of the Pilgrimage of Grace, and his trusted advisor, Thomas Cromwell.

 Lauren Mackay is the author of Inside the Tudor Court: Henry VIII and his Six Wives through the Life and Writings of the Spanish Ambassador, Eustace Chapuys (Amberley Publishing).

Thursday, May 24, 2018

How many fingers did Anne Boleyn have?


History Extra


There is no concrete evidence that Anne Boleyn had six fingers. George Wyatt, grandson of court poet and ambassador Sir Thomas Wyatt, made reference to an extra nail on one of Anne’s fingers, which may be plausible, although no other reference exists.

 Nicholas Sander, a Catholic Recusant who was living in exile during Elizabeth I’s rule, went even further, describing Anne’s numerous deformities, including a sixth finger, effectively labelling her a witch. But Sander was writing with a political and religious agenda: he resented the schism with Rome, and his account was intended to taint not only Anne’s name, but Elizabeth’s as well.

Lauren Mackay is the author of Inside the Tudor Court: Henry VIII and his Six Wives through the Life and Writings of the Spanish Ambassador, Eustace Chapuys (Amberley Publishing).

Tuesday, May 22, 2018

Was Henry VIII a good king?

History Extra


The success of Henry’s reign is mixed. Economically, England flourished, partially at the expense of countless monasteries and religious houses. But Henry was also a patron of the arts and humanist learning, and was a driving force behind an enthusiastic building campaign.

He also fortified England, building an impressive navy that would impact the reigns of Mary I and Elizabeth I. But it is perhaps his break with papal authority and his six marriages for which he is best known.

 The break with Rome arguably gave England a sense of national identity, and Henry’s numerous wives and matrimonial dramas have captured our imaginations.

Lauren Mackay is the author of Inside the Tudor Court: Henry VIII and his Six Wives through the Life and Writings of the Spanish Ambassador, Eustace Chapuys (Amberley Publishing).

Thursday, May 17, 2018

What happened to Katherine Parr’s daughter, Mary Seymour, after her mother’s death?


History Extra


Following Katherine’s death a matter of days after Mary’s birth, the newborn’s father, Thomas Seymour, placed Mary in the household of his brother, the Duke of Somerset.

 But the brothers’ relationship deteriorated and as Thomas faced death for treason, he appointed the Duchess of Suffolk, Katherine’s close friend, as Mary’s guardian.

 The Duchess of Suffolk’s main estate was at Grimsthorpe in Lincolnshire and Mary moved there with her little retinue. Her guardian resented the cost of looking after Mary and petitioned William Cecil, then in Somerset’s household, for additional funds to support her. These were granted in autumn 1549, and in January 1550 an act of parliament restored Mary’s title to her father’s remaining property.

 There was, however, very little left. The Privy Council’s grant to Mary was not renewed in September 1550 and she never claimed any part of her father’s estate, leading to the conclusion that she died around the time of her second birthday.

 There is a story that Mary survived, cared for by the Aglionbys (a northern family who had once been clients of the Parrs), and married a courtier in the service of Anne of Denmark, queen of James I. In the absence of documentary proof, it seems far likelier that this tragic orphan died very young. 

Answered by Linda Porter, author of Katherine the Queen (MacMillan, 2010).

Friday, May 4, 2018

5 Bayeux Tapestry facts: what is it, why was it made and what story does it tell?

History Extra


The French president Emmanuel Macron recently announced that the Bayeux Tapestry is to go on display in the UK. But what exactly is the tapestry, how old is it, and why is it important?

 David Musgrove, publisher of BBC History Magazine, brings you five need-to-know facts about the Bayeux Tapestry…

 1 What is the Bayeux Tapestry and what story does it tell?
The Bayeux Tapestry tells one of the most famous stories in British history – that of the Norman Conquest of England in 1066, particularly the battle of Hastings, which took place on 14 October 1066.

The Bayeux Tapestry is not a tapestry at all, but rather an embroidery. A tapestry is something that’s woven on a loom, whereas an embroidery is thread stitched onto a cloth background. The tapestry is some 68m long and is composed of several panels that were produced separately and then eventually sewn together to form one long whole. In one case the joining of the panels is inexpertly done, as the marginal lines don’t match up precisely.

The tapestry tells the story of the Norman Conquest of England in 1066. The action actually starts a couple of years before the set-piece battle of Hastings, with a discussion between England’s King Edward, the Confessor, and his leading noble (who was also his brother-in-law), Harold Godwinson. The upshot of that conversation is that Harold sets off on a ship to France. He is shipwrecked and captured by a local nobleman there, and then is transferred into the hands of the powerful Duke William of Normandy. Curiously, they then head off together on a military adventure in Brittany, which Harold seems to enthusiastically take part in.

Harold’s time in Normandy ends with him making an oath to William on holy relics. The tapestry does not explain precisely what the nature of the oath is, but other Norman-inclined sources tell us that Harold was swearing to be William’s man in England and to uphold his bid to be king on Edward’s death.

Harold then goes back to England and has another meeting with Edward the Confessor. We don’t know what they talk about, but it’s presumably discussing his stay in Normandy. Then Edward dies, and Harold is declared king by the English nobles. A comet shoots through the sky, which is deemed to be a bad omen for Harold.

Then the action swings back to Normandy. William hears of Harold’s accession and immediately starts building a fleet. The ships cross the Channel and the Norman army establishes itself on English soil. They are shown pillaging, feasting and fortifying their position. Then we get to the battle of Hastings itself, which is portrayed in considerable detail. The upshot of course is that King Harold is slain, with the defeated Englishmen being shown fleeing the field in the last scene of the tapestry.

The ending is abrupt and many people have pondered on whether the tapestry was not actually finished, or has lost its final frames at some point over the centuries. If so, the end panels might have shown William being crowned king of England, as that was the ultimate consequence of the Conquest.

2 Who was the Bayeux Tapestry made for?
This is a question that has been much discussed by historians over the years. Given the fact that the tapestry broadly celebrates and sanctions William’s Conquest of England, for a long time it was considered to have been the work of his Queen Matilda, and the ladies of her court. That view is out of favour now, and the majority of historians would agree that the most likely patron was Odo of Bayeux, the half-brother of Duke William. Odo was a key supporter of the duke and a substantial landowner in both England and Normandy after 1066, as well as being the bishop of Bayeux.

The biggest pointer towards Odo’s likely patronage of the tapestry is that he has a disproportionally large role in the events portrayed, compared to his appearance in other historical accounts of the Conquest. It seems that the designers are going out of their way to stress the importance of Odo in the narrative. On top of that, the key oath scene in which Harold swears to William is depicted in the tapestry as having taken place in Bayeux (Odo’s bishopric), which conflicts with other documents that say the event happened elsewhere in Normandy. Plus, aside from the main historical figures, there is the curious mention of several otherwise insignificant characters in the tapestry, and their names match those of men we know to have been Odo’s retainers.

Other candidates are also in the frame, though: Edward the Confessor’s widow, Queen Edith, has been suggested. She also features in the tapestry and would have had cause to want to show herself in a good light to William after the Conquest, so what better way than commissioning a tapestry that supports his claim to the throne?

Alternatively, it might have been made on the orders of William himself. Clearly he would have been keen to have a permanent record of his victory and his right to have claimed the throne.

Whoever ordered the creation of the tapestry, the follow-up question is – who actually made it? There are a lot of indications to suggest that it was most likely produced in England by English embroiderers. The Latin textual inscriptions above the story-boards use Old English letter forms, and stylistically the work has parallels in Anglo-Saxon illuminated manuscripts. Plus, some of the vignettes in the tapestry appear to be based on designs that we know were found in manuscripts held in the library of a monastery in Canterbury, so there are those who argue that it was actually made not just in England, but more precisely in Canterbury.


The battle scenes in the Bayeux Tapestry have taught military historians about fighting techniques in the 11th century. (Photo by Walter Rawlings/Robert Harding/Getty Images)

3 When was the Bayeux Tapestry created and why is it important?
We do not have a precise date for when the Bayeux Tapestry was created but the academic consensus is that it must have been produced very soon after the events it depicts. This means that it is a key primary source for students of the Conquest period. The tapestry contains a considerable amount of information not only about the political events surrounding the Conquest story, but also about other aspects of military, social and cultural history. Historians of clothing have gleaned much about Anglo-Saxon and Anglo-Norman garment styles and fashions from the depictions shown in the tapestry, while academics interested in early medieval ship-building, sailing and carpentry have likewise learnt much from the sections dealing with the construction and voyage of William’s invasion fleet.

Military historians have studied the arms and armour shown in the tapestry and analysed the battle scenes to learn more about military techniques and practice at the time. Architectural experts have also been able to interrogate the tapestry for information about building types and materials in the 11th-century from the portrayals of the various structures shown in the story.

So the tapestry is a rich source of information on many aspects of Anglo-Norman life, society, culture and history. But more than that, it’s an astounding and amazing survival of a work of art that is almost 1,000 years old. Its significance derives as much from that as from what it tells us when we study it.

4 Is the Bayeux Tapestry a reliable source of information?
 Is any historical primary source of information entirely reliable? No – unless you understand the context of the time in which it was produced, and the motives of those producing it. That’s why the question of who had the tapestry made is critical in helping us to interpret what it tells us. As discussed above, the most likely candidate as the patron of the tapestry is the Norman nobleman Odo of Bayeux, half-brother of William the Conqueror. However, layered on top of that is the likely fact that the actual design and embroidery work was probably done in England, by English hands.

So, although the tapestry is on the face of it a work of art designed to celebrate and legitimise William’s conquest of England, there is also an undercurrent of sympathy to the defeated Anglo-Saxon cause running beneath it. In some ways, the tapestry appears to agree with the Norman narrative of events, as described in the work of writers such as William of Jumieges and William of Poitiers. However, it is also surprisingly respectful of William’s enemy, King Harold II, who is shown as a great and brave lord, rather than just a deceitful usurper.

What’s important to note is that as a source of information on the political events to the Conquest period, the tapestry actually offers very limited definitive evidence. The Latin inscriptions that run above the pictorial narrative are terse and limited in number. This ambiguity means we do not know, for instance, what Edward the Confessor and Harold are discussing in the first scene of the story. Nothing is said other than ‘King Edward’ above the frame, so we are entirely in the dark about the meeting and must infer from other sources as to what the designers are trying to tell us. That is a problem that persists throughout the tapestry, where we are constantly invited to infer what is happening from the pictures, rather than being told what is happening with words.


Maritime historians have learnt much about ship-building from the scenes in the Bayeux Tapestry depicting William’s fleet under construction. (Photo by DEA/M. Seamuller/Getty Images)

5. What was the Bayeux Tapestry used for?
This is a difficult question to answer, if we are focusing on the immediate post-Conquest period, because we have no evidence whatsoever to call upon. Assuming that the patron of the tapestry was, as is widely accepted today, Bishop Odo of Bayeux, then it may have been used to decorate the cathedral that he had constructed in Bayeux during his lifetime. It may even have been designed as an ornament for the consecration of that building in 1077, though some historians dispute that.

Presumably whoever did have the tapestry made would have wanted others to come view it and share in the story it tells, as well as be impressed by the magnificence of both the patron (for being the benefactor of such a great work), and of Duke William himself for orchestrating his victory. How that would have happened is not clear – if it was displayed in a cathedral, illumination would have been dim to say the least.

The tapestry could perhaps instead have been displayed in a secular building, or it could have been displayed temporarily and then stored away, maybe being brought out for particular gatherings, when there was someone on hand to tell the story in person as well.

What we do know is that from at least 1476 onwards, the tapestry was held in Bayeux Cathedral (we don’t know where it was prior to that) because it’s detailed in an inventory of that date. It was traditionally brought out for display in the cathedral at a certain point in the year, and then stored away. This helps to explain why the tapestry survived at all – it wasn’t on permanent view and thus not subject to the risks of being regularly exposed to the elements.

As we move forward into more recent times, the tapestry has continued to have a propaganda purpose. Napoleon considered it important when he was readying his plans to invade Britain at the start of the 19th century and had it brought to Paris for display. In the Second World War it was again deemed a useful tool by the Nazis, where it was studied as part of a research project to demonstrate the Germanic origins of European culture (and moved to Paris for safe-keeping).

David Musgrove is the publisher and former editor of BBC History Magazine.

Saturday, April 21, 2018

Like Something Out of The Walking Dead: Medieval Warrior Found with Knife Hand Prosthesis


Ancient Origins


In the American post-apocalyptic horror television series The Walking Dead , redneck hunter Merle Dixon fashions a knife attachment onto the stump where his hand used to be. While the storyline is nothing more than fictional horror, one Medieval warrior had come up with the same frightening idea.

In a paper just published in the Journal of Anthropological Sciences , Italian archaeologists have revealed the discovery of a Medieval warrior in the Longobard necropolis in Verona with a well-healed amputated forearm, a buckle and a knife, providing strong evidence that he wore the knife in place of his hand.

A Cemetery of Warriors
The Longobard necropolis of Povegliano Veronese in Veneto, Italy, consists of more than 160 tombs containing the remains of over 200 Longobards (or Lombards), a Germanic people, originally from Northeast Europe, who ruled most of the Italian Peninsula from 568 to 774. Following the devastation of the long Gothic War (535-554) between the Byzantine Empire and the Ostrogothic Kingdom, the Lombards had been able to invade Italy with little opposition. They established a Lombard Kingdom in central and north Italy, which was eventually conquered by Frankish King Charlemagne in 774 AD and integrated into his Empire.

While the cemetery contained the remains of men, women and children, most of the male burials contained skeletons with weapons at their sides. Many of them showed signs of cranial trauma, and shields found at the burial site exhibit damage patterns similar to the trauma found on the skulls, indicating they were warriors who most likely died in battle.


Longobard Necropolis, 7th century AD. Teaching and historical re-enactment, at the only necropolis preserved in situ and visible in Italy, located near the Civic Archaeological Museum
(CC by SA 3.0 ).

The Warrior with an Amputated Arm
The male skeleton with the amputation comes from a tomb labelled T US 380. Analyses on his remains suggest he was around 47 years old and died some time in the last thirty years of the 6 th century AD. Bone testing revealed that he was most likely purposely amputated.

“There are several reasons why a forearm from this cultural period might be amputated,” the study authors Micarelli et al., 2018 report . “One possibility is that the limb was amputated for medical reasons; perhaps the forelimb was broken due to an accidental fall or some other means, resulting in an unhealable fracture. The formation of bone necrosis might have led to a surgical intervention to remove the dead tissue from the healthy part of the limb… Still, given the warrior-specific culture of the Longobard people, a loss due to fighting is also possible.”

“A third consideration for why the limb was amputated would be loss due to judicial punishment,” the report states. “This form of punishment did occasionally occur among the Longobard people.”


The warrior had been placed in a single pit grave like the one shown here in a Longobard necrópolis ( CC by SA 4.0 / Marco Tessaro )

Evidence Suggests Warrior Had a Knife-Hand Prosthesis
Warrior T US 380 had been placed in a single pit without a coffin. In addition to his skeleton, archaeologists found a buckle, an iron knife, and non-human organic material (probably leather), close to the end of the amputated right forearm.

The round shaped callous at the end of his amputated forearm suggests there was a biomechanical force placed on the stump, adding to the evidence that the knife and buckle were part of a knife-hand prosthesis worn by the warrior.

“From the archaeological evidence provided, we suggest that a prosthesis might have taken the form of a cap with a modified blade weapon attached to it,” the researchers report.


Warrior T US 380: The orientation of the right arm, the position of the buckle, and the location of the knife, suggest he wore a knife-hand prosthesis. Credit: Micarelli et al. 2018

The Origins of Prosthetics
Last year, archaeologists in Gloucestershire, England, made a similar discovery. A Medieval grave with bones was found to contain an iron strap and a buckle , which researchers later determined were parts of a device that supported a prosthetic leg.

But prosthetics date back much further than Medieval times. The oldest known prosthesis is a big toe made of wood and leather, which was attached to the almost 3000 year old mummy of an Egyptian noblewoman. Numerous other prosthetic devices have been found on Egyptian mummies, including feet, legs, noses, and even penises – all necessary parts for a pleasant afterlife.

Centuries later, during the zenith of the Roman Empire, iron was introduced as a material for prosthetics. Despite these early advances in prosthetics, there was not much development in this area in the millennia that followed. It was not until the evolution of technology in the 20 th century, that there was a great leap in prosthetic technologies. In addition to lighter, patient-moulded devices, the advent of microprocessors, computer chips and robotics in today's devices are designed to return amputees to the lifestyle they were accustomed to, rather than to simply provide basic functionality or a more pleasing appearance.


False toe on mummy found near Luxor. Egyptian Museum

Top image: YouTube Screenshot from The Walking Dead Role Play Weapons by ThinkGeek

 By April Holloway