Quenby Hall, “Home” to Stilton Cheese

Quenby_Hall_Historical_PaintingQuenby Hall is a Jacobean house in parkland near the villages of Cold Newton and Hungarton, Leicestershire, England. It is described by Pevsner (Pevsner, Nikolaus; Williamson, E (revision) (1984). The Buildings of England – Leicestershire and Rutland. Penguin. pp. 351–3.) as: the most important early-seventeenth century house in the county (of Leicestershire). The Hall is Grade I listed, and the park and gardens grade II, by English Heritage.

Location
Quenby Hall is just south of Hungarton, about 7 miles (11.3 km) east of the centre of Leicester and is best reached from the A47 road by taking the turn towards Hungarton at the village of Billesdon.

Descent of the Manor
Ashby Family
The Ashby family acquired an estate in Quenby in the 13th century. By 1563 they had acquired the whole Manor, and soon afterwards moved to enclose and depopulate it.

Quenby Hall was built between 1618 and 1636 by George Ashby (1598–1653), High Sheriff of Leicestershire for 1627. The village of Quenby was held by the Ashby family from the 13th Century and remains of the village are in the present park. The village population was at least 25 in 1377 based on poll tax data. There may have been a house on the site before building of the current house, which began in 1618. A clock on the west front is dated 1620. Building finished in 1636. The house is ‘H-shaped’ and on a hillside location. It has three storeys and a very shallow pitched roof.

George Ashby was succeeded by his son, also George, who married the daughter of Euseby Shuckburgh of Naseby, Northamptonshire. Their son George, MP for Leicestershire, was known as ‘Honest George Ashby the Planter’ because of the large number of trees he planted at Quenby. He died in 1728, and in the mid-18th Century Quenby Hall passed to his great-nephew Shukburgh Ashby (died 1792), MP for Leicester and Fellow of the Royal Society. Quenby Hall remained in the Ashby family until 1904.

Lloyd
The house was bought in 1904 and restored by Rosamund (née Lloyd), second wife of Lord Henry Grosvenor, who restored much of the Jacobean interior. Her son sold Quenby Hall in 1924 to Sir Harold Nutting.

Whitlock
Gerard Whitlock then bought Quenby Hall in 1926, selling his then house Grace Dieu Manor. The Whitlocks made extensive restorations at Quenby, which was eventually turned into Cheese making business on the estate in 2005 in order to bypass planning regulations banning the family from inhabiting the home full time. The business failed in July 2011 with debts of £250,000 caused by over-expansion. The business had then a turnover of about £1.8m and employed about 40 staff. In April 2011 administrators were brought in to find a buyer, but none was forthcoming, perhaps due to problems with the export market caused by a recent incident of listeria in the Quenby product. In late 2013, the family put up Quenby Hall for sale for £11.6 million.

Stilton Cheese
Stilton cheese originated here and was first made by the housekeeper. After a break of 250 years, production began again in 2005 but the business folded in 2011. [Stilton is an English cheese, produced in two varieties: Blue known for its characteristic strong smell and taste, and the lesser-known White. Both Blue Stilton and White Stilton have been granted the status of a protected designation of origin by the European Commission, two of only ten British cheeses currently produced to have such protection. The PDO status requires that only cheese produced in the three counties of Derbyshire, Leicestershire, and Nottinghamshire and made according to a strict code may be called “Stilton.”]

Film Location
Part of the British film A Cock and Bull Story (2006) was made at the Hall.

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Birthday Wishes of Love and Joy for This Little One!

My most precious grandson turns 3 today. He has stolen my heart as surely as his father did (nearly 30 years prior). James&AnnaonTrainparty-clip-art-balloons-different-colours

James10=6-14

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A Comic Play: Black-Eyed Susan; or, All in the Downs

Black-Eyed Susan on the bill of the Theatre Royal, Jersey, in December 1829

Black-Eyed Susan on the bill of the Theatre Royal, Jersey, in December 1829

Black-Eyed Susan; or, All in the Downs is a comic play in three acts by Douglas Jerrold. The story concerns a sailor, William, who returns to England from the Napoleonic Wars and finds that his wife Susan is being harassed by her crooked landlord uncle and later by his drunken, dastardly captain, who tries to seduce her. He is court-martialled for attacking a senior officer. All turns out well in the end. Much of the humour in the piece centers on the sailor’s nautical dialect. The play is a nautical melodrama (with all its stock characters) that praises the patriotic British tar (sailor) while critiquing authoritarianism in the British Navy. Aspects of the story were later parodied in H.M.S. Pinafore (1878).

The play was Jerrold’s first big success, premiering on 26 January 1829 at the Surrey Theatre and running for a new record of over 150 performances. Britain at the time was recovering from the fallout of the Napoleonic Wars and was in the midst of a class war involving the Corn laws, and a reform movement, which resulted in the Reform Act of 1832 aimed at reducing corruption.

Black-Eyed Susan consisted of various extreme stereotypes representing the forces of good, evil, the innocent and the corrupt, the poor and the rich, woven into a serious plot with comic sub-plots. Its subject was very topical, and its success was enormous. T. P. Cooke starred as William, the nautical hero, becoming a star, and the producer, Robert William Elliston, became rich. The piece played simultaneously at Covent Garden Theatre for part of the original run, and soon after it closed at the Surrey, it was revived at the Theatre Royal, Drury Lane, for a total run of over 300 nights, which was extraordinarily successful for the time. After this, it was frequently revived.

The play was revived at the Warehouse Theatre in Croydon in December 1986, and the same production played for a week at the Playhouse Oxford in February 1987. It was directed by Ted Craig and designed by Michael Pavelka. The cast consisted of Simon Slater, Rita Wolf, Frank Ellis, Sidney Livingstone and Burt Caesar. The piece was given a 2007 revival at the Theatre Royal, Bury St Edmunds. The play was made into a 1914 film directed by Maurice Elvey. Among the numerous Victorian burlesques and later parody versions of the play was an 1884 version by F. C. Burnand called Black Eyed See-Usan, first produced at the Alhambra Theatre.

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Forms of Address and Manners in Regency England

How to Behave Like an Aristocrat in Regency England

Note! This is a repeat post from nearly a year prior. Several have asked for its return because of the long list of ways to address the aristocracy. 

 

images2Regency Era manners were based on the conduct of the upper crust of Renaissance Italy, as well as 17th Century France. The fashions and the codes of conduct were influenced by both, but the Regency Period carved out a specific style all its own. Social classes were more obvious during the Regency. It was important to know one’s place and to act accordingly. Social rank determined many everyday interactions.

From a very young age, men of the period were taught how to be a “gentleman.” Their tutors and formal schooling enforced such codes. A gentleman was expected to speak and act with confidence; to use correct English and to avoid vulgarity in speech; to be exceptionally dressed; to walk with confidence and proper posture; to dance well; to have a well-rounded education that included science, math, the arts, literature, etc.; to demonstrate proper manners; and to show of a lesser class consideration.

Women were expected to be meek, obedient, docile, fragile, and dependent on the men in their lives. A woman’s appearance was her crowning glory; therefore, women were expected to take care with their dress and hair. Women were taught to value beauty over education. Learning and intelligence was frowned upon.

Men of the period turned to courtesy books and guides on rules for behavior. Sir Thomas Holby translated an Italian courtesy book entitled Il Cortegiano from the early 1500s. It was very popular during the Regency. Women consulted conduct manuals such as Fordyce’s Sermons to Young Women and Gregory’s A Father’s Legacy to His Daughter.

Some of the stricter guidelines for behavior included proper ways to address others. For example, only close friends and family would use a person’s given name. It was permissible for a person of higher rank to use the given name of a lower class acquaintance, but not the reverse. The eldest daughter in a family was “Miss” + last name (as in Miss Bennet for Jane Bennet in “Pride and Prejudice”). Her sisters would be “Miss” + given name (as in Miss Elizabeth).

unknownOnly those of a higher rank could approach someone he did not know. People of a lower or equal rank had to wait for an introduction by a friend or a master of ceremonies. After an introduction, a person was considered an “acquaintance.” Shunning an acquaintance was considered rude and was a “direct cut.” If an acquaintance was in the same room in the company of an unknown person, one would simple acknowledge the acquaintance with a nod or an unobstructive wave or a bow. A handshake was only exchanged among close friends.

People entered a room by social rank. Members of the aristocracy entered by rank: Duke/Duchess; Marquess/Marchioness; Earl/Countess; Viscount/Viscountess; Baron/Baroness. The aristocracy were followed by the landed gentry. Family members entered according to their age and marital status. (Do you recall Lydia Bennet Wickham claiming precedence over her elder sister Jane. Although Lydia was the youngest Bennet sister, her marriage would place her above her sisters.)  jenalyd

British Forms of Address

How does one address the members of the nobility or the aristocracy in England. That depends on whether a person is speaking directly to the person, writing to the person informally, and writing to the person in a formal situation.

Royalty
For each entry, one will find the following pattern:

Position
On envelopes
Oral address

King
His Majesty The King
Your Majesty, and thereafter as “Sir/Sire”

Queen
Her Majesty The Queen
Your Majesty, and thereafter as “Ma’am”

Prince of Wales
His Royal Highness The Prince of Wales
Your Royal Highness, and thereafter as “Sir”

Wife of the Prince of Wales
Her Royal Highness The Princess of Wales (traditionally)
(or) Her Royal Highness The Duchess of Cornwall
(or) Her Royal Highness The Duchess of Rothesay (an exception to tradition since 2005)
Your Royal Highness, and thereafter as “Ma’am”

Princess Royal
HRH The Princess Royal
Your Royal Highness, and thereafter as “Ma’am”

Royal Peer
HRH The Duke of XXX, e.g., HRH The Duke of Cambridge
Your Royal Highness, and thereafter as “Sir”

Royal Peeress
HRH The Duchess of XXX, e.g., HRH The Duchess of Cambridge
Your Royal Highness, and thereafter as “Ma’am”

Sovereign’s Son
(unless a peer) HRH The Prince XXX, e.g. HRH The Prince John
Your Royal Highness, and thereafter as “Sir”

Sovereign’s son’s wife
(unless a peeress) HRH The Princess XXX, e.g. HRH The Princess John
Your Royal Highness, and thereafter as “Ma’am”

Sovereign’s Daughter
(unless a peeress)
HRH The Princess XXX
Your Royal Highness, and thereafter as “Ma’am”

Sons of the Prince of Wales
(unless a peer) HRH Prince XXX of Wales, e.g., HRH Prince Frederick of Wales
Your Royal Highness, and thereafter as “Sir”

Sovereign’s son’s son, Prince of Wales’s eldest son’s sons
(unless a peer) HRH Prince XXX of XXX, e.g. HRH Prince Michael of Kent
Your Royal Highness, and thereafter as “Sir”

Sovereign’s son’s son’s wife
(unless a peeress) HRH Princess XXX of XXX, e.g., HRH Princess Michael of Kent
Your Royal Highness, and thereafter as “Ma’am”

Sovereign’s son’s daughter, Prince of Wales’s eldest son’s daughters
(unless a peeress) HRH Princess XXX of XXX, e.g., HRH Princess Beatrice of York
Your Royal Highness

Sovereign’s son’s son’s son
(unless a peer) (Except son of the eldest son of the Prince of Wales) The Lord XXX Windsor, e.g., The Lord Nicholas Windsor
Lord XXX

Sovereign’s son’s son’s son’s wife
(unless a peeress) The Lady XXX Windsor, e.g., The Lady Nicholas Windsor
Lady XXX

Sovereign’s son’s son’s daughter
(unless a peeress) The Lady XXX Windsor, e.g., The Lady Helen Taylor
Lady XXX

A formal announcement in The London Gazette reads: “The Queen has been pleased by Letters Patent under the Great Seal of the Realm dated 31 December 2012 to declare that all the children of the eldest son of the Prince of Wales should have and enjoy the style, title and attribute of Royal Highness with the titular dignity of Prince or Princess prefixed to their Christian names or with such other titles of honour.” This refers to any children of Duke and Duchess of Cambridge.

_________________________

Nobility
Peers and Peeresses

Duke
(His Grace) The Duke of XXX
Your Grace or Duke

Duchess
(Her Grace) The Duchess of XXX
Your Grace or Duchess

Marquess or Marquis
(The Most Honourable) The Marquess of XXX
My Lord or Your Lordship or Lord XXX

Marchioness
(The Most Honourable) The Marchioness of XXX
My Lady or Your Ladyship or Lady XXX

Earl
(The Right Honourable) The Earl of XXX
My Lord or Your Lordship or Lord XXX

Countess
(The Rt Hon) The Countess of XXX
My Lady or Your Ladyship or Lady XXX

Viscount
(The Rt Hon) The Viscount XXX
My Lord or Your Lordship or Lord XXX

Viscountess
(The Rt Hon) The Viscountess XXX
My Lady or Your Ladyship or Lady XXX

Baron (or) Lord of Parliament
(The Rt Hon) The Lord XXX
My Lord or Your Lordship or Lord XXX

Baroness (in her own right)
(The Rt Hon) The Lady XXX or (The Rt Hon) The Baroness XXX
My Lady or Your Ladyship or Lady XXX or Baroness XXX

Baroness (in her husband’s right) (or) Lady of Parliament (in her or her husband’s right) (The Rt Hon) The Lady XXX
My Lady or Your Ladyship or Lady XXX

Eldest sons, grandsons and great-grandsons of dukes, marquesses and earls

Eldest sons of dukes, marquesses and earls use their father’s most senior subsidiary title as courtesy titles: note the absence of “The” before the title. If applicable, eldest sons of courtesy marquesses or courtesy earls also use a subsidiary title from their (great) grandfather, which is lower ranking than the one used by their father. Eldest daughters do not have courtesy titles; all courtesy peeresses are wives of courtesy peers.

Courtesy Marquess
(The) Marquess of XXX
My Lord or Lord XXX

Courtesy Marquess’s Wife
(The) Marchioness of XXX
My Lady or Lady XXX

Courtesy Earl
(The) Earl of XXX
My Lord or Lord XXX

Courtesy Earl’s Wife
(The) Countess of XXX
My Lady or Lady XXX

Courtesy Viscount
(The) Viscount XXX
My Lord or Lord XXX

Courtesy Viscount’s Wife
(The) Viscountess XXX
My Lady or Lady XXX

Courtesy Baron (or) Courtesy Lord of Parliament 
(The) Lord XXX
My Lord or Lord XXX

Courtesy Baron’s wife (or) Wife of Courtesy Lord of Parliament
(The) Lady XXX
My Lady or Lady XXX

Heirs-apparent and heirs-presumptive of Scottish peers
Heirs-apparent and heirs-presumptive of Scottish peers use the titles “Master” and “Mistress”; these are substantive, not courtesy titles. If, however, the individual is the eldest son of a Duke, Marquess or Earl, then he uses the appropriate courtesy title, as noted above.

Scottish peer’s heir-apparent or heir-presumptive
The Master of XXX
Sir or Master

Scottish peer’s heiress-apparent or heiress-presumptive
The Mistress of XXX
Madam or Mistress

Sons, grandsons and great-grandsons of peers

Duke’s younger son (or) (Courtesy) Marquess’s younger son
(The) Lord XXX XXX, e.g. (The) Lord James Marshall
My Lord or Lord XXX, e.g. Lord James

Duke’s younger son’s wife (or) (Courtesy) Marquess’s younger son’s wife 
(The) Lady XXX XXX, e.g., (The) Lady James Marshall
My Lady or Lady XXX, e.g., Lady James

(Courtesy) Earl’s younger son (or) (Courtesy) Viscount’s son (or) (Courtesy) Baron’s son (or) (Courtesy) Lord of Parliament’s son
The Hon XXX XXX, e.g. The Hon James Marshall
Sir or Mr XXX, e.g. Mr Marshall

(Courtesy) Earl’s younger son’s wife (or) (Courtesy) Viscount’s son’s wife (or) (Courtesy) Baron’s son’s wife (or) (Courtesy) Lord of Parliament’s son’s wife
The Hon Mrs XXX XXX, e.g. The Hon Mrs James Marshall
Madam or Mrs XXX, e.g. Mrs Marshall

Daughters, granddaughters and great-granddaughters of peers

If a daughter of a peer or courtesy peer marries another peer or courtesy peer, she takes her husband’s rank. If she marries anyone else, she keeps her rank and title, using her husband’s surname instead of her maiden name.

Duke’s daughter (or) (Courtesy) Marquess’s daughter (or) (Courtesy) Earl’s daughter (or) (unmarried or married to a commoner)
(The) Lady XXX XXX (if unmarried), e.g. (The) Lady Sarah Brady (or) (The) Lady XXX XXX (Husband Surname, if Married), e.g. (The) Lady Sarah Williams
My Lady or Lady XXX, e.g. Lady Sarah

(Courtesy) Viscount’s daughter (or) (Courtesy) Baron’s daughter (or) (Courtesy) Lord of parliament’s daughter (unmarried)
The Hon XXX XXX, e.g. The Hon Melinda Alexander
Madam or Miss XXX, e.g. Miss Alexander

(Courtesy) Viscount’s daughter (or) (Courtesy) Baron’s daughter (or) (Courtesy) Lord of Parliament’s daughter(married to a commoner)
The Hon Mrs Brown (Husband Surname)
Madam or Mrs Brown

Gentry and Minor Nobility

Baronet
Sir XXX XXX, Bt (or Bart), e.g. Sir Samuel Smith
Sir or Sir XXX, e.g. Sir Samuel

Baronetess in her own right
Dame XXX XXX, Btss, e.g. Dame Samantha Brown, Btss
Madam or Dame XXX, e.g. Dame Samantha

Baronet’s wife
Lady XXX, e.g. Lady Lowery
My Lady or Lady XXX, e.g. Lady Lowery

Baronet’s divorced wife 
XXX, Lady XXX, e.g. Grace, Lady Lowery
My Lady or Lady XXX, e.g. Lady Lowery

Baronet’s Widow 
Dowager Lady XXX or Lady XXX if the heir incumbent is unmarried, e.g. Dowager Lady Lowery (or) Lady Lowery
My Lady or Lady XXX, e.g. Lady Lowery

Knight (of any order)
Sir XXX XXX, e.g. Sir James Lucas
Sir or Sir XXX, e.g. Sir James

Lady (of the Order of the Garter or the Thistle)
Lady XXX XXX, e.g. Lady Mary Smith
My Lady or Lady XXX, e.g. Lady Mary

Dame (of an order other than the Garter or the Thistle) 
Dame XXX XXX, e.g. Dame Margaret Lowery
Madam or Dame XXX, e.g. Dame Margaret

Knight’s Wife 
Lady XXX, e.g. Lady Lowery
My Lady or Lady XXX, e.g. Lady Lowery

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Love With an Improper Stranger

Love With an Improper Stranger

Originally posted on My Jane Austen Book Club on November 9, 2011

Love with an Improper Stranger
by Regina Jeffers

George IV

In the spring of 1812, George IV’s attempted to pique his daughter’s, Princess Charlotte of Wales, interest in William of Orange. The move would have strengthened England’s alliance with the Netherlands. Orange had lived in exile in England and had received his education at Oxford.

Princess Charlotte

Duke of York

The Prince Regent was well aware of his daughter’s increasing acts of defiance, but he was not aware of the depth of Princess Charlotte’s indiscretions. Charlotte had her first flirtation of note in 1811 (when she was but 15 years of age) with Charles Hesse, who was reportedly the Duke of York’s illegitimate son. Hesse was a young, handsome Hussar captain. Rumors had it that Hesse, who later joined Princess Caroline in Brunswick as an equerry, might have been the lover of both mother and daughter. Caroline had encouraged the relationship. She had once locked her daughter and Hesse in a bedchamber and had told them to amuse themselves. With Caroline’s encouragement, Charlotte had corresponded with Hesse until Charlotte’s friend and confidant, Mercer Elphinstone, advised against continuing the relationship.

Princess Caroline of Brunswick

George FitzClarence

Next, Charlotte’s cousin Captain George FitzClarence (eldest son of the actress Dorothea Jordan and William, Duke of Clarence, the Prince of Wales’s youngest brother) caught the young princess’s eye, but George soon moved with his regiment to Brighton, where he fell in love with Mary Seymour (who was the first to call the Prince Regent “Prinny”). During this time, Charlotte wrote to Mercer regarding Jane Austen’s Sense and Sensibilitysaying, “[The book] certainly is interesting, and you feel quite one of the company. I think Marianne and me are very like in disposition. I am not so good, displaying the same imprudence, etc., however very like. I must say it interested me much.”

William IV, Duke of Clarence

Dorothea Jordan

When the Regent first encouraged his daughter to accept William of Orange, Charlotte was determined to oppose the union. However, a marriage would free her from her father’s control, as well as to provide her with her own household and financial independence. Therefore, in December 1813, Princess Charlotte agreed to the marriage.

Yet, when she discovered that Orange would expect her to live part of the year in Holland, Charlotte had second thoughts. The Whig politician Lord Grey had advised Charlotte against leaving England. He had insinuated that if Charlotte resided in Holland for even part of the year that Princess Caroline would follow suit. It was common knowledge that Caroline intended to take up residence away from her estranged husband. If Caroline left Prinny, he could claim desertion and file for a divorce. If the Regent then remarried and produced a son out of his next joining, Charlotte would be replaced in the line of succession. With this in mind, Princess Charlotte ended the engagement.

Meanwhile, the Princess fell in love with Prince Frederick, the King of Prussia’s nephew. One of her lady companions aided Charlotte in arranging several clandestine meetings with Frederick, and she maintained a secret correspondence with the prince until January 15, 1815, when he informed her that he had fallen for another. Frederick returned Charlotte’s gifts and portrait at that time.

Incensed by Charlotte’s refusal to marry Orange, George IV removed his daughter’s servants and dismissed her lady’s companions. Confined to Cranbourne Lodge, Charlotte was permitted no visitors except Queen Charlotte. In August 1814, Princess Caroline departed England. Charlotte felt deserted. Her depression became quite evident. Queen Charlotte encouraged a resolution to the separation between her eldest son and his daughter.

On Christmas Day 1814, Charlotte turned to her father for affection. During their intimate talks, she provided Prinny with a full accounting of her relationship with Captain Hesse. Charlotte explained how her mother had encouraged Charlotte to write to Hesse. She also spoke of her recent attempts to have Hesse return her letters and of the captain’s refusal to do so. Charlotte confided that she expected Hesse to blackmail her with their correspondence.

The Regent promised to assist his daughter with Hesse. Therefore, expecting a restoration of their connection, Charlotte confided in her father what she knew of Princess Caroline’s many lovers. To protect his daughter’s position in Society and in the line of succession, he suggested that Charlotte renew her engagement to Orange, but she stood firm. However, she did agree to a possible joining to Prince Leopold, third son of the Duke of Saxe-Coburg-Saalfeld. It was after Napoleon’s defeat in June 1815 before Leopold could return to England. They married on 2 May 1816.Leopold

Spoiler: So what does all this have to do with my Austen-inspired inspirational romance, Christmas at Pemberley? Notice that the previous paragraph mentions Christmas Day 1814. Yes, believe it or not, I incorporated Princess Charlotte’s liaison with Hesse into my Christmas tale. How, one might ask, does a writer mix political intrigue with an inspirational romance, a Regency Christmas-theme tale, and a continuation of Jane Austen’s Pride and Prejudice? Not an easy task, but one I hope you will enjoy reading.

JeffersC@PemberleyChristmas at Pemberley: A Pride and Prejudice Christmas Sequel

To bring a renewed sense joy to his wife’s countenance, Fitzwilliam Darcy has secretly invited the Bennets and the Bingleys to spend the Christmastide festive days at Pemberley. But as he and Elizabeth journey to their estate to join the gathered families, a blizzard blankets the English countryside. The Darcys find themselves stranded at a small out-of-the-way inn with another couple preparing for the immediate delivery of their first child, while Pemberley is inundated with friends and relations seeking shelter from the storm.

Without her brother’s strong presence, Georgiana Darcy desperately attempts to manage the chaos surrounding the arrival of six invited guests and eleven unscheduled visitors. But bitter feuds, old jealousies, and intimate secrets quickly rise to the surface. Has Lady Catherine returned to Pemberley for forgiveness or revenge? Will the manipulative Caroline Bingley find a soul mate? Shall Kitty Bennet and Georgiana Darcy know happiness?

Written in Regency style and including Austen’s romantic entanglements and sardonic humor, Christmas at Pemberley places Jane Austen’s most beloved characters in an exciting yuletide story that speaks to the love, the family spirit, and the generosity that remain as the heart of Christmas.

 

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Legend of the Church Grim and Its Appearance in Harry Potter

The Church Grim, Kirk Grim, Kyrkogrim (Swedish) or Kirkonväki (Finnish) is a figure from English and Scandinavian folklore, said to be an attendant spirit, overseeing the welfare of its particular church. English Church Grims are said to enjoy loudly ringing the bells. They may appear as black dogs (even as other animals, such as rams, horses, roosters or ravens) or as small, misshapen, dark-skinned people.

The Swedish Kyrkogrim are said to be the spirits of animals sacrificed by early Christians at the building of a new church. In parts of Europe, including Britain and Scandinavia, it was believed that the first man buried in a new churchyard had to guard it against the Devil. To save a human soul from the duty, a completely black dog would be buried alive on the north side of the churchyard, creating a guardian spirit, the church grim, in order to protect the church.

The Scandinavian and Nordic Kyrkogrim or Kirkonväki can also occasionally appear as pale-skinned ‘ghosts,’ said to be the spirits of the folk who lived in the proximity of the church that they now ‘guard.’ William Henderson in his Folk-Lore of the Northern Counties (p.274) attributes it to a foundation sacrifice and points out that the Kirkogrim of Sweden appears in the form of a lamb which, in the early days in Christianity in Sweden, was buried under the altar. The Kirkegrim of Denmark took the form of a ‘grave-sow.’

Fiction
“The Church-grim” by Eden Philpotts is a short story published in the September 1914 edition of The Century Magazine, New York.

Harry_Potter_and_the_Prisoner_of_Azkaban In Harry Potter and the Prisoner of Azkaban, Sybill Trelawney, the divination teacher, associates Harry’s tea leaves with the Grim, which she calls “a black dog who haunts churchyards.” The Church Grim inspired the creation of the Grim, which is said in the book to be an omen of death, which is more in keeping with the legend of Black Shuck – “The Grim” is a Lancashire name for a similar creature.

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Exquisite Excerpt from “Vampire Darcy’s Desire”

Excerpt from Regina Jeffers’ “Vampire Darcy Desire”

Vampire Darcy’s Desire presents Jane Austen’s Pride and Prejudice as a heart pounding vampire romance filled with passion and danger. Tormented by a 200-year-old curse and his fate as a half-human/half-damphir, Fitzwilliam Darcy vows to live forever alone rather than to inflict the horrors of life as a vampire on an innocent wife. However, when he comes to Netherfield Park, he meets the captivating Elizabeth Bennet.

As a man, Darcy yearns for Elizabeth, but as a damphyre, he is also driven to possess her. Uncontrollably drawn to each other, Darcy and Elizabeth are forced to confront a “pride and prejudice” never before imagined – while wrestling with the seductive power of forbidden love. Meanwhile, dark forces are at work all around them. Most ominous is the threat from George Wickham, the purveyor of the vampiric curse, a demon who has vowed to destroy each generation of Darcys.

JeffersVDD
[This excerpt comes from the end of Chapter 25 of my 2009 novel, Vampire Darcy’s Desire. In this novel, Darcy carries the “curse” of vampirism, but he has made a pledge for the plague on his family to end with him. Mr. Wickham, who is the vampire in this novel, has taken Lydia Bennet in retaliation against Darcy and Elizabeth. Therefore, Darcy has confronted Wickham, and in the process has been taken prisoner. Elizabeth and Colonel Fitzwilliam have set out to save Darcy from his enemy. Darcy’s cousin, Damon Fitzwilliam, has learned of where to find Wickham. He will investigate before placing Elizabeth in danger.

A quarter hour later, he stood before the church’s graveyard. Everything appeared quiet, but after the past hour of listening to two grown men excitedly share what they knew of the grave sites looming before him, Damon Fitzwilliam had to steel his nerves before proceeding. As rambunctious children, he and Darcy had often played soldiers, hiding behind family headstones in a pretend battle; and in the military, he had spent more time than he cared to remember with the dead. Yet this was different, and the colonel sensed it. In this cemetery, death lived.

The colonel chastised himself for his fear and quickly crossed the mounds to exit through the shrubbery outlining the graves. A glance over his shoulder showed him a low, creeping fog spreading across the granite memorials.

His drunken informants had told him that the house was behind the cemetery; they had forgotten to mention the hill and the wooded field. Luckily, light streamed from the house’s windows, serving as a beacon for him as he took unsteady steps on the hill, and the colonel made his way stealthily through the forested area to exit where the steps led to the kitchen. In the back of his mind, Damon reasoned how country homes would never be lit up as such at that time of night, but this was no ordinary household. Armed with cloves of garlic and a crucifix purchased in one of the small villages through which he and Elizabeth had passed, he edged the kitchen door open and slipped into a perfectly clean room. At first, its pristine appearance shocked him, but then he remembered that Elizabeth had told him that Wickham never ate regular food. The pots and pans and kettle were purely for show–Wickham’s playing at being the master of his small estate.

Leaving the kitchen behind, Damon followed a staircase leading to the private living quarters, but again these offered no insights into how to defeat Wickham, because they stood unused–sparsely furnished–a mausoleum to an unemployed life. Only one room was locked, and although he wished to force his way into it and see what it might hold, a pulsating cadence caused him to curtail his search and find his way towards the center of the house. Drawn by the unusual sound, he crept on all fours. Damon edged forward to where the upper floors overhung the center hall. He glued himself to the wall, crouched so that he might respond if necessary, and looked upon what he could not explain. The sound increased as he peered between the slats of the railing to the room below. He feared that his presence might affect the show, but nothing stopped the accentuated movements as one after another shadowy eidolon entered a spiritual gambol. They turned and twisted and oscillated to an undulating rhythm. Periodically, one pasty form would hazard a challenge to another, and the room would fill with squeals of despair and of yearning before returning to the murmured chants.

Then a creature as pale as the colonel had ever rose from his grotesquely adorned chair. He held out his hand to a pretty sort of girl with curls pinned tightly to her head. Then, horror of horrors, the image the colonel assumed to be George Wickham looked on in infinite sadness as the girl slid into his embrace. Wickham brought her closer still, swaying with her in a primitive invitation to passion. His hands searched her body, and then wordless voices rose in exultation as Wickham lowered his head and drank the girl’s blood. Damon bit back a cry of dark, piercingly pure contempt for the display. He shuddered in anguish at his inability to change what was happening to the girl. With a despairing gesture, he withdrew to the servants’ stairs. He must escape before the surging call of the coven sucked him into their fold.

Slipping cautiously along the passageway, he rested a split second with his fingers on a door’s handle, before a muffled sound on the other side sent his heart racing. Frozen with fear, Damon prayed that what was on the other side would not find him. He pressed his ear to the door, listening with all his senses, but he heard only a soft wind. A mysterious presence moved through the closed portal, and the colonel could feel it so exactly, it was as if he had seen through the door. He knew the moment it moved on, and he eased the handle to the right, sliding the door aside only far enough to fit his body through before silently resettling it.

Clinging to the wall, Damon stepped softly, trying to escape his fear and what had happened in this house. On the battlefield, he knew death danced all around him, but he had never felt it before, never knew it to fill his lungs like acrid smoke, never smelled the stench of decay so clearly. He felt totally unprepared for this battle.

A door stood ajar on the other side of the hearth–a door not open previously, and despite his desperate need to flee the room and the house, Damon made his feet step to where he could peer into the space. Before him, Wickham paced to and fro, and then he stepped to the side, and the colonel had to stifle every impulse to rush forward to save his cousin. Darcy slumped against the wall, held in place by attached chains. Darcy was alive! Damon’s first instinct had been to storm the scene and fight Wickham to the death, but how did one kill something already dead? From a distance, he heard the murmuring increase, but Damon continued to watch as Wickham bent to taunt Darcy. The tension rose between the two, and for a moment, Damon thought that Wickham would attack Darcy also, but then he realized, The fiend had just fed; Wickham would not feed again so soon. And despite the number of vampires dancing ceremoniously in the main hall, Damon realized that Darcy’s enemy would allow no other to touch his cousin. Wickham would want to destroy Darcy himself. If he had wanted Darcy dead, Damon’s cousin would no longer be breathing.

Assured that he could do nothing at the moment, Damon let himself from the kitchen’s perceived security. If what his drinking consorts said had been true, he was still not safe. Damon slipped the crucifix from his pocket and lifted his sword in readiness for any attack. He wove his way among the trees and climbed the hill, but when he reached the cemetery, Damon circled the hedgerow on the outside. Loudly repeating every prayer he could remember, he vigilantly watched as the fog he thought to be part of the countryside congregated solely in the church’s cemetery. From it, specters formed and disintegrated before his eyes. Some challenged his progress, but all retreated from the raised silver weapon he carried and from the sign of the Lord’s forgiveness.

Reaching the road to the inn, Damon followed the embankment; the mist trailed him, but the spectral provocations–strange, unheard presences–kept their distance. He congratulated himself for having left the horses at the inn. A nervous mount would serve no master. Damon kept up his litany of invocations and refused to look about to see what might await him. He figured the prayers would not hurt, and they definitely made him feel safer.

When he arrived at the inn, Peter let him through the locked door. Damon had set the man on guard when he had departed for Wickford Manor, and he was thankful for his foresight. He handed the garlic and the crucifix to Peter. “Keep them close,” he warned.

“I saw what followed you, Colonel. If these keep that evil away, ye won’t be able to pry them from me.” The coachman bolted the door. “Will they not try to enter these premises?” He listened closely to the night’s howls.

“This is so more than for which we bargained, Peter, but those creatures must be invited in by someone who lives within. No one will act so foolishly.” Damon leaned against the door to steady his nerves.

Fearing someone might hear, the servant leaned closer. “Did ye find him, Colonel? The Master? He be alive?”

Damon gave a curt nod. “Now I must devise a plan to rescue Mr. Darcy from that hellhole.”

“Bless you, Sir.” Peter started for the pallet upon which he would sleep that night. “When ye be ready, I be ready, Sir. The Master be a good man.”

“That he is, Peter.” Damon moved towards the inn’s stairs. “I must speak to Mrs. Darcy. To tell her what I have discovered.”

“The Mistress will certainly be glad to hear it.” The servant settled onto the straw-stuffed mattress.

Damon allowed his gaze to travel up the stairs, resting it on Elizabeth’s door. “Mrs. Darcy is an exceptional woman. Good night, Peter.” He knew she would be awake, waiting for his news. Slowly, he climbed the steps; they had a daunting task ahead of them. What if we cannot save Darcy?

* * *

 “Someone looks for you, Darcy.” Wickham had paced the room, agitated by the intrusion into his home.

Darcy attempted not to react; he forced his breathing to remain even, but the joy of knowing another knew of his capture played havoc with his composure. He kept his eyes closed, fearing that Wickham could read his countenance.

Wickham leaned down, his face only inches from Darcy’s. “Do you want to know who it was?”

Darcy opened his eyes slowly and smiled. “As you appear intent on telling me, I see no reason to waste my energy with guessing.”

Wickham walked away casually, although he knew apprehension. “It was your beautiful wife, Mrs. Darcy.” Wickham straddled a straight-backed chair, turning it to where he could watch Darcy’s reaction.

For a split second, Darcy’s heart skipped a beat. He did not want Elizabeth to place herself in danger for him, but then the truth flashed in Wickham’s eyes. “You are quite amusing, Mr. Wickham, but the thought of my wife being here is ludicrous. I told you from the beginning, with your seduction of her sister, Elizabeth has severed her ties with me. However, if I did not speak the truth, and my wife had been here, you would not have enough ghouls in your congregation to hold me in these chains, for she would not stop until I was free. Trust me, Mr. Wickham, there is no way that you could defeat her. She is more than either of us can manage.”

Wickham sat in complete silence; Darcy chose to ignore him and closed his eyes again. Finally, Wickham barked out a forced laugh. “You have me there, Darcy. Your rescuer was a man. Maybe you would have been better off with your wife; at least, she would not turn tail and run.” He stood with that statement. “The man favored you in many ways, Darcy–not quite as tall, however. Should I send for reinforcements?”

“Probably a stranger enticed by tales of the unknown.” Darcy hoped to convince his enemy to ignore the incursion.

“I can smell human blood.” Wickham looked off, as if no longer seeing Darcy. “Did you know that? I smell it as easily as I once smelled a rose. It is metallic and bittersweet. Have you ever tasted it, Darcy? It is addictive.”

At first the words were offensive, but then Darcy’s pity replaced his anger; and despite his personal loathing of Wickham’s baseness, he suddenly experienced empathy for what once must have been a proud and handsome man–a man who had loved a woman too well and lost everything because of it. “I have not tasted it,” Darcy spoke softly, not wishing to break the understanding between them.

Wickham laughed lightly at his own show of weakness. “That was a foolish question, was it not? Of course, you never succumbed to the noxious hunger that consumes me. You are too honorable to allow the poison to cross your lips.”

Darcy shook his head, a deep sadness overcoming him. “I simply want it to end, Mr. Wickham. It is not honor which drives me; it is the fear that my child–my son–could know suchdespondency–could live an inconsolable life. I would not term that honorable–it is pure cowardice.”

Wickham watched as Darcy once more took up his resigned vigil against the wall. An understanding had passed between them; he imagined that in another lifetime, he and Darcy might even have been friends, but circumstances prevented that ever becoming true. Wickham respected Darcy as much as he abhorred him. “Never fear, Darcy,” he said as a way of parting. “I may yet do the honorable thing and fight you to the death, so to speak.”

Darcy forcibly relaxed the pain in his shoulders and arms. Wickham had imprisoned him twenty-four hours prior, and other than the occasional break he had negotiated to meet his personal needs, Darcy had remained restrained by the shackles. Wickham, as he expected, had brought him no food or drink; he was to die of starvation, and Darcy accepted it. “You will inform me when you make the choice, will you not, Wickham?” he mumbled as he closed his eyes and welcomed sleep. He heard the door before him close and knew when the bolt slid into the latch, but Darcy remained in repose. Images of Elizabeth filled his mind; remembrances of their time together overspread his thoughts as sleep found him.

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The Hound of Hergest Court, Inspiration for Sir Arthur Conan Doyle’s “Hound”

hergest-court Hergest Court, found in Kington, Herefordshire, was once a fine home, but it is but a “shadow” of its former greatness. However, its decline appears appropriate when one considers the history of the building and of its owner.

Many people believe the building haunted. Sir Thomas Vaughan (see Friday’s post) came to reside at Hergest Court in the late 1400s. At that time (Think “War of the Roses” and its aftermath.), the house was a grand one. Unlike the image we had of Vaughan in the previous post, Haunted Britain says he was known as the Black Squire or Black Vaughan.

We do know that Vaughan switched his allegiance to the Crown from the Lancastrians to the Yorkist leaders. As reported in Friday’s post, Vaughan was decapitated by Richard III. Others believe he fell at the Battle of Banbury in 1469. The decapitation tale is the one that leads us to stories of ghosts and bloody hounds.

The tale goes that when Vaughan lost his head, his faithful black bloodhound set up a great howl before scooping up the head and run off to Hergest Court with it. Thomas Vaughan’s body was buried in the family vault at Kington’s church. However, without his head, Vaughan’s ghost transformed into a black bull that roamed the district, accompanied by the bloodhound.

Because of the times, many feared the ghost enough to refuse to go about their daily business; therefore, twelve priests were summoned to conduct an exorcism.(Keep a straight face during this next explanation!) The priests managed to reduce the ‘Black’ spirit to the size of a blow fly. They then imprisoned the spirit in a snuff box, before burying it under a heavy stone slab on the bed of the lake at Hergest Court.

Whoops! The priests forgot about the black hound. The Black Dog began to find its way into the local folklore. What made the tale hang on was the fate of the Vaughan family, which finally died out in the 19th Century. According to those who have too much time to think on these things, Sir Arthur Conan Doyle once was a guest at Hergest Court. Instead of fearing the tale, the genius of Conan Doyle brought the tale to Devon, making the tale of the Black Dog into one of his most famous tales “The Hound of the Baskervilles.”200px-Cover_(Hound_of_Baskervilles,_1902)

Posted in British history, buildings and structures, gothic and paranormal, Great Britain, legends and myths, Living in the UK, mystery | Tagged , , , | 4 Comments

Sir Thomas Vaughan, a Patriot and a Traitor to Kings

Thomas Vaughan. Born: c. 1410. Died: June 25, 1483. Pontefract, West Yorkshire, England (Age c. 73) - http://www.shakespeareandhistory.com/thomas-vaughan.php

Thomas Vaughan. Born: c. 1410. Died: June 25, 1483. Pontefract, West Yorkshire, England (Age c. 73) – http://www.shakespeareandhistory.com/thomas-vaughan.php

Sir Thomas Vaughan (c. 1410 – June 1483) was a Welsh statesman and diplomat, who rose to prominence before and during the Wars of the Roses. He began as an adherent of Jasper Tudor and King Henry VI of England and was appointed to several offices by Henry. He was nonetheless a Yorkist by inclination, as were many Welshmen of the time. After the Yorkist victory in 1461 he became a loyal and important servant of King Edward IV. In 1483, he was executed by Richard III as part of his seizure of the throne.

Life
Vaughan was the son of Robert and Margaret Vaughan of Monmouth. In 1446 he was appointed to the offices of Steward, Receiver, and Master of the Game in Herefordshire and Ewyas, and Steward, Constable, Porter, and Receiver of Abergavenny. In 1450, he became Master of the Ordnance. He entered Parliament in 1455 as MP for Marlborough.

Despite his early association with Jasper Tudor, Earl of Pembroke, Vaughan was accused of plotting against King Henry VI of England as early as 1459. Somehow he regained the king’s favour, and in 1460 was appointed Keeper of Henry VI’s “great Wardrobe.”

After Henry’s defeat at Saint Albans in 1461, Vaughan, along with Philip Malpas and William Hatclyf, sailed for Ireland with Henry’s treasury, but were captured by French pirates. Edward IV, surprisingly, ransomed Vaughan from the pirates, for which Vaughan was forever afterwards loyal. Edward soon came to trust Vaughan and placed him in high offices.

Vaughan was appointed Sheriff of Surrey and Sussex for 1464. In 1465 Edward made him Treasurer of the King’s Chamber and Master of the King’s Jewels.

Edward also sent Vaughan as ambassador to the courts of Burgundy and France. He helped negotiate the marriage of Edward’s sister, Margaret, to the Duke of Burgundy in 1468.

In 1475, on the same day that Edward’s eldest son, the future Edward V, was invested as Prince of Wales, Vaughan was knighted, having acted for some years as Chamberlain to the young prince.

In 1478, he was elected to parliament as knight of the shire for Cornwall.

According to the website Haunted Britain,”Towards the end of the 15th century Sir Thomas Vaughan resided at Hergest Court in the days when it was a much grander and more heavily fortified property than the farmhouse that greets visitors today. Vaughan was the very embodiment of the archetype wicked squire, and was known in the district simply as so ’Black Vaughan.’”

After Edward IV died in 1483, Vaughan was accompanying Edward V from Ludlow to London when the party was intercepted by the future King Richard III, then Duke of Gloucester. Richard had Vaughan arrested and executed. The execution is believed to have taken place some time between 13 and 25 June at Pontefract Castle in West Yorkshire.

Painting of Pontefract Castle in the early 17th century by Alexander Keirincx - circa 1620 Pontefract Castle in Pontefract, West Yorkshire (England)

Painting of Pontefract Castle in the early 17th century by Alexander Keirincx – circa 1620
Pontefract Castle in Pontefract, West Yorkshire (England)

Vaughan was the second husband of Eleanor Arundel, widow of Sir Thomas Browne, who had likewise been executed in 1460.

In Shakespeare’s Richard III, Vaughan’s ghost appears to the King on the eve of the Battle of Bosworth.

Posted in British history, Elizabethan drama, gothic and paranormal, Great Britain, legends and myths, Living in the UK, mystery | Tagged , , , , | 1 Comment

“Memento mori,” or “Remember to Die”

Memento mori (Latin ‘remember (that you have) to die’), or also memento mortis, “remember death”, is the Latin medieval designation of the theory and practice of the reflection on mortality, especially as a means of considering the vanity of earthly life and the transient nature of all earthly goods and pursuits. It is related to the ars moriendi or “Art of Dying” and related literature. Memento mori has been an important part of ascetic disciplines as a means of perfecting the character, by cultivating detachment and other virtues, and turning the attention towards the immortality of the soul and the afterlife.

Memling Vanity and Salvation~Public Domain Hans Memling (circa 1433–1494) - http://www.kfki.hu/~arthp/html/m/memling/3mature4/index.html Earthly Vanity and Divine Salvation by Hans Memling. This triptych contrasts earthly beauty and luxury with the prospect of death and hell.

Memling Vanity and Salvation~Public Domain
Hans Memling (circa 1433–1494) – http://www.kfki.hu/~arthp/html/m/memling/3mature4/index.html
Earthly Vanity and Divine Salvation by Hans Memling. This triptych contrasts earthly beauty and luxury with the prospect of death and hell.

For art historians, memento mori refers to specific artistic or symbolic reminders of the above. In the European Christian art context, “the expression… developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife.”[Memento Mori, Museum of Art and Archaeology, University of Missouri.]

Historic Usage
Classical

Dance of Death (1493) by Michael Wolgemut, from the Liber chronicarum by Hartmann Schedel

Dance of Death (1493) by Michael Wolgemut, from the Liber chronicarum by Hartmann Schedel

Plato’s Phaedo, where the death of Socrates is recounted, introduces the idea that the proper practice of philosophy is “about nothing else but dying and being dead.” The Stoics were particularly prominent in their use of this discipline, and Seneca’s letters are full of injunctions to meditate on death.

Popular belief says the phrase originated in ancient Rome: as a Roman general was parading through the streets during a victory triumph, standing behind him was his slave, tasked with reminding the general that, although at his peak today, tomorrow he could fall, or — more likely — be brought down. The servant is thought to have conveyed this with the warning, “Memento mori.”

It is further possible that the servant may have instead advised, “Respice post te! Hominem te esse memento! Memento mori!”: “Look behind you! Remember that you are a man! Remember that you’ll die!”, as noted by Tertullian in his Apologeticus.

Europe — Medieval through Victorian
The thought came into its own with Christianity, whose strong emphasis on divine judgment, Heaven, Hell, and the salvation of the soul brought death to the forefront of consciousness. Many memento mori works are products of Christian art, although there are equivalents in Buddhist art. In the Christian context, the memento mori acquires a moralizing purpose quite opposed to the Nunc est bibendum (now is the time to drink) theme of Classical antiquity. To the Christian, the prospect of death serves to emphasize the emptiness and fleetingness of earthly pleasures, luxuries, and achievements, and thus also as an invitation to focus one’s thoughts on the prospect of the afterlife. A Biblical injunction often associated with the memento mori in this context is In omnibus operibus tuis memorare novissima tua, et in aeternum non peccabis (the Vulgate’s Latin rendering of Ecclesiasticus 7:40, “in all thy works be mindful of thy last end and thou wilt never sin.”) This finds ritual expression in the rites of Ash Wednesday, when ashes are placed upon the worshipers’ heads with the words “Remember Man that you are dust and unto dust you shall return.”

The most obvious places to look for memento mori meditations are in funeral art and architecture. Perhaps the most striking to contemporary minds is the transi, or cadaver tomb, a tomb that depicts the decayed corpse of the deceased. This became a fashion in the tombs of the wealthy in the fifteenth century, and surviving examples still create a stark reminder of the vanity of earthly riches. Later, Puritan tomb stones in the colonial United States frequently depicted winged skulls, skeletons, or angels snuffing out candles. These are among the numerous themes associated with skull imagery.

Another example of memento mori is provided by the chapels of bones, such as the Capela dos Ossos in Évora or the Capuchin Crypt in Rome. These are chapels where the walls are totally or partially covered by human remains, mostly bones. The entrance to the former has the sentence “We bones, lying here bare, await for yours.”

The famous danse macabre, with its dancing depiction of the Grim Reaper carrying off rich and poor alike, is another well-known example of the memento mori theme. This and similar depictions of Death decorated many European churches. Danse Macabre, Op. 40, is a tone poem for orchestra, written in 1874 by French composer Camille Saint-Saëns.

Timepieces were formerly an apt reminder that one’s time on Earth grows shorter with each passing minute. Public clocks would be decorated with mottos such as ultima forsan (“perhaps the last” [hour]) or vulnerant omnes, ultima necat (“they all wound, and the last kills”). Even today, clocks often carry the motto tempus fugit, “time flees.” Old striking clocks often sported automata who would appear and strike the hour; some of the celebrated automaton clocks from Augsburg, Germany, had Death striking the hour. The several computerized “death clocks” revive this old idea. Private people carried smaller reminders of their own mortality. Mary, Queen of Scots, owned a large watch carved in the form of a silver skull, embellished with the lines of Horace.

A version of the theme in the artistic genre of still life is more often referred to as a vanitas, Latin for “vanity.” These include symbols of mortality, whether obvious ones like skulls, or more subtle ones, like a flower losing its petals.

After the invention of photography, many people had photographs taken of recently dead family members.

Frans Hals (1582/1583–1666) - Web Gallery of Art:    Frans Hals, Youth with a Skull, c. 1626-1628

Frans Hals (1582/1583–1666) – Web Gallery of Art:
Frans Hals, Youth with a Skull, c. 1626-1628

Memento mori was also an important literary theme. Well-known literary meditations on death in English prose include Sir Thomas Browne’s Hydriotaphia, Urn Burial and Jeremy Taylor’s Holy Living and Holy Dying. These works were part of a Jacobean cult of melancholia that marked the end of the Elizabethan era. In the late eighteenth century, literary elegies were a common genre; Thomas Gray’s Elegy Written in a Country Churchyard and Edward Young’s Night Thoughts are typical members of the genre.

Apart from the genre of requiem and funeral music, there is also a rich tradition of memento mori in the Early Music of Europe. Especially those facing the ever-present death during the recurring bubonic plague pandemics from the 1340s onward tried to toughen themselves by anticipating the inevitable in chants, from the simple Geisslerlieder of the Flagellant movement to the more refined cloistral or courtly songs. The lyrics often looked at life as a necessary and god-given vale of tears with death as a ransom and reminded people to lead sinless lives to stand a chance at Judgement Day. Two stanzas typical of memento mori in mediaeval music are from the virelai ad mortem festinamus of the Catalan Llibre Vermell de Montserrat from 1399:

Vita brevis breviter in brevi finietur,
Mors venit velociter quae neminem veretur,
Omnia mors perimit et nulli miseretur.
Ad mortem festinamus peccare desistamus.

Life is short, and shortly it will end;
Death comes quickly and respects no one,
Death destroys everything and takes pity on no one.
To death we are hastening, let us refrain from sinning.

Ni conversus fueris et sicut puer factus
Et vitam mutaveris in meliores actus,
Intrare non poteris regnum Dei beatus.
Ad mortem festinamus peccare desistamus.

If you do not turn back and become like a child,
And change your life for the better,
You will not be able to enter, blessed, the Kingdom of God.
To death we are hastening, let us refrain from sinning.

In the late 16th and through the 17th century Memento mori rings were made.

Puritan America
Colonial American art saw a large number of memento mori images due to Puritan influence. The Puritan community in 17th-century North America looked down upon art, because they believed it drew the faithful away from God, and if away from God, then it could only lead to the devil. However, portraits were considered historical records, and as such they were allowed. Thomas Smith, a 17th-century Puritan, fought in many naval battles and also painted. In his self-portrait, we see a typical puritan memento mori with a skull, suggesting his imminent death.

Thomas Smith painted this art, Self-Portrait, in 1680, in colonial America. The Copyright has expired; the author died over 300 years ago. It is in the public domain, for public use.

Thomas Smith painted this art, Self-Portrait, in 1680, in colonial America. The Copyright has expired; the author died over 300 years ago. It is in the public domain, for public use.

The poem under the skull emphasizes Smith’s acceptance of death:

Why why should I the World be minding, Therein a World of Evils Finding. Then Farwell World: Farwell thy jarres, thy Joies thy Toies thy Wiles thy Warrs. Truth Sounds Retreat: I am not sorye. The Eternall Drawes to him my heart, By Faith (which can thy Force Subvert) To Crowne me (after Grace) with Glory.

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