Shakespeare

John Shakespeare and Wool

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John Shakespeare was, on more than one occasion, in trouble with the law because of his illegal dealings in wool. There was an extraordinary amount of legislation in Britain surrounding the sale of wool. This was simply because it was such a valuable commodity. It provided the country with an income because it could be exported abroad and provided employment at home. As a result there were many laws and regulations regarding its sale. John Shakespeare spent a considerable amount of money on wool which he then appears to have sold on to others. Since he did not have the right licence to sell wool, he got into trouble with the law.

 

 

Sources:

Guardian article on the discovery of John Shakespeare’s wool dealings:

https://www.theguardian.com/culture/2015/sep/26/dodgy-dealings-william-shakespeare-father-wool

Kate Pogue. Shakespeare’s Family. Greenwood Publishing group, 2008.

  1. 18 ‘In 1572 John Shakespeare was brought before the courts twice on charges of illegally dealing in wool. The wool industry was hugely important to England’s prosperity; it gave the country a major export as well as a crucial industry at home, and it was severely regulated. John Shakespeare was not licensed to trade in wool. He was charged and fined for purchasing “a couple of tons” of wool for £210, an
  2. 19 enormous amount of money when one remembers that the two houses he recently bought cost him £40.he scrambled to find money to pay the fines.’

 

Entry on Finding Shakespeare concerning the ‘wool-broggers’, their shady dealings and their connection to Shakespeare:

http://bloggingshakespeare.com/shakespeare-for-fear-of-death-3

‘The Shakespeares were illegal wool brokers, or broggers. Nicholas Rowe, in 1709, in William’s first biography described his father John as “…a considerable dealer in wool” and materials showing him to be a truly national level dealer have been uncovered. Changes in the regulation of the wool brokerage market, combined with an earlier shift from the export of raw wool to the manufacture and export of whole cloth, profoundly changed the family business. To succeed, indeed just to stay in the large trade end of the business, a brogger needed London representation from the mid 1580s.

Francis Langley became an Alnager in 1585. An Alnager, with his ability to certify the quality and length of adulterated cloth, was the most useful of contacts to a brogger. Of course, this is only true if the Alnager was a crook.

If Langley the Alnager was important to Shakespeare, it appears that Shakespeare was equally important to Langley. Otherwise why would Gardiner have his stepson name Shakespeare first in the suit? Shakespeare’s value was twofold: in the theatre and in the wool and cloth trade.’

Stephen Greenblatt. Will In The World. Random House, 2012.

  1. 63 ‘In the wake of the wool shortages in the mid-1570s, the authorities decided that the fault lay with the “broggers”, men like John Shakespeare who had already been twice denounced for illegal transactions …

[He was bound over to keep the peace] “Binding over” – roughly equivalent to a restraining order – was a key low-level policing and crime-prevention method in the sixteenth and seventeenth centuries. Upon someone’s swearing an oath that he feared for his life or well-being or the well-being of the entire community, the court could issue an order requiring the suspected malefactor to appear in order to guarantee his good behaviour and to post a bond – a surety – to this end. The surviving records do not reveal who swore an oath against John Shakespeare or why. Was it because of his wool brogging …?’

 

Bronze Skillet

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Skillet
  • Made from bronze stood on a tripod base
  • An example of quality Tudor kitchenware
  • Used for preparing dishes over heat

Click the links below to discover more:
Use of metal kitchenware
Kitchenware in Shakespeare

BROOCH

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  • heart brooch A decorative pin used to fasten garments together and act as an ornament
  • Shakespeare usually has lovers and families exchange jewels in his plays
  • Another token of affection between couples

(To learn more about another brooch in our collection click here.)


Click the link below to discover more:

Jewellery in Shakespeare

MILLENNIUM ATMOS CLOCK

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Atmos Clock

The Millennium Atmos Clock


Click the links below to discover more:

Atmos Clocks

Time and Clocks in Shakespeare

 

 

 

KING JOHN

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King John became King of England in 1199 at age 33 after the death of his elder brother, Richard I, sometimes knows as Richard the Lionheart. John was infamous for having lost the Northern French territories in battle and spending unfeasible amounts of money and resources seeking to reclaim them. After taxing and alienating the nobles of England, the barons colluded against John and forced him to seal a charter that would limit the King’s power to impose laws and taxes throughout England. Although an early failure to adhere to the rules of the Magna Carta led to a civil war, it was renewed under subsequent monarchs and still is considered to be the starting point of the guarantee of civil liberties in the modern world.

 

 

Shakespeare’s King John was written in 1596, and is the earliest period covered in the history plays, despite not being the first history play that he wrote. During the course of the play, King John gains an ally in the form of Richard I’s illegitimate son, the Bastard Falconbridge, who leads the English troupes in the battles against France. John fails to broker an agreement with the King of France and is excommunicated by Cardinal Pandulph after insulting the Pope. This leads to a war with France and the kidnapping of Prince Arthur – the legitimate heir to the throne. Arthur is killed in a failed escape attempt, leading the English barons to feel distrust and anger towards King John. After offering their allegiance to Louis the Dauphin, the barons engage in a civil war with John’s army. When the barons are defeated, they defect back to John who, in the meantime, has been poisoned by a rebellious monk. John dies of this poisoning and bequeaths his kingdom to his only son, Prince Henry.

 

 

On display is a copy of Holinshed’s Chronicles of England from which Shakespeare took much of the plot for his dramatic re-telling of King John’s history. To find out how Shakespeare deviates from Holinshed, follow this link: http://bloggingshakespeare.com/shakespeares-sources-king-john

Although King John is not frequently staged, it was a relatively well-known play throughout the 19th century. To find out more about the Victorians and King John, read this blog: http://bloggingshakespeare.com/king-john-a-play-for-all-time. You can see an image of the actor Sir Herbert Beerbohm Tree playing King John in a lavish production from 1899. This was also the very first performance of Shakespeare to be filmed. The silent, black-and-white footage of King John dying of poisoning can be seen here:

 

 

Tree’s production also doubled as a celebration of the Magna Carta. During the action, Tree inserted a tableau that depicted John handing over the document to the barons. King John actually sealed rather than signed the Magna Carta, and you can discover more about seals by clicking here.

 

King John and the handing over of the Magna Carta in Herbert Beerbohm Tree’s 1899 production

STRATFORD TOWN MACE

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MACE

The Stratford mace is made of silver-gilt iron and probably dates back approximately 1475. It was made for the Guild of the Holy Cross in Stratford, which was a church organisation and a social power within the town of Stratford. It prospered during the 15th century, building a new guild hall, a school and almshouses for the poor and infirm. However, Henry VIII’s reformation led to the suppression of religious organisations like the Guild, and all its properties were confiscated by the Crown until they were granted to the newly chartered (and Protestant) Corporation of Stratford-upon-Avon in 1553. The Corporation decided to use the Guild’s old mace in their own ceremonies, but they ordered the silver gilt to be added, as well as their own coat of arms.

Consequently, this mace reflects the religious upheavals throughout England in the 16th century. Another interesting connection to Shakespeare is the fact that his father, John Shakespeare would have used this mace during his time as the High Bailiff of Stratford from 1568 to 1569 to invest his person with the legitimate power of the mayor of Stratford – as one prop of ‘ceremony’.

Here is Henry, formerly Prince Hal of Eastcheap, now king of England, about to engage the French in a battle he is almost certainly going to lose. Having just felt the temperature of his troops the night before the battle, he muses about the difference between kings and commoners. Other than ceremony, he concludes, it really is the care for his country that sets kings apart, but it is those symbols of power, “the sword, the mace, the crown imperial” that are visible to the people.

HENRY
[…] I know
‘Tis not the balm, the sceptre and the ball,
The sword, the mace, the crown imperial,
The intertissued robe of gold and pearl,
The farced title running ‘fore the king,
The throne he sits on, nor the tide of pomp
That beats upon the high shore of this world,
No, not all these, thrice-gorgeous ceremony,
Not all these, laid in bed majestical,
Can sleep so soundly as the wretched slave
(Henry V, 4.1, 2105-2114)

 

Symbols of power are an easy means to visualise and translate any governor’s claim to rule to the common people. Whoever wears the crown, sceptre and orb is furnished with political power and privileges, and Shakespeare makes ample use of these props in his histories.

The same symbolism underwrites the use of a ceremonial mace, a sceptre-like object which was carried in front of town representatives – like mayors and bailiffs – at official occasions. Originally proper medieval maces were used in close combat as a slightly more sophisticated kind of a club, but ceremonial maces like the one in the current Trust Treasures exhibition started to lose the visual connection to medieval weaponry and became ever more decorative, as its function became purely symbolic.

GOLD AND SILVER COINS

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Elizabethan gold angel2 1578
A gold angel
Gold half sovereign
Gold half sovereign
A Gold crown
A gold crown
Half gold crown
Half gold crown

In the Tudor period there were two ways of making coins:  hammering and milling, a newer method that was introduced in the reign of Elizabeth I.

Hammered coins were made by placing a flat, round, blank piece of metal between two dies which were then struck with a hammer. The man who struck the coins was called a moneyer. Hammered coins were never perfectly round and could be clipped easily. Forgers would collect clippings from lots of coins, melt them down and forge new coins. The punishments for being found guilty of forging coins included the removal of fingers, hands or ears!

 

Under Elizabeth I, the method of milling coins was introduced to England from France. Coins produced in this way were called mill money. The metal used to make the coins was flattened into a strip by heavy rollers which were powered by a wind or horse-driven mill. Coin blanks were then cut from the strip and stamped by dies in a press. It was also at this time that coins began to show their date of issue.

Milled coins were of better quality than hammered ones because they were more regular in shape. Coins are still produced in this way today, albeit sans horses and wind.

There were more denominations of coins minted in Elizabethan times than there have been at any other time in history. Altogether twenty different coins were in use, all made of gold or of silver.

As you see, there are gold coins on display. Gold coins came in different varieties:

Half Crown

2 shillings and 6 pence

Quarter angel

2 shillings and 6 pence

Crown

5 shillings

Half angel

5 shillings

Angel

10 shillings

Half pound sovereign

10 shillings

Ryal

15 shillings

The basic denominations were pounds,shillings and pence. The written abbreviation for pound is £, for shilling is s, and for penny/pence is d. (Pence, not pennies, is the plural of penny).

 

12 pence make 1 shilling

12d = 1s

(1s = 5p nowadays)

20 shillings make 1 pound

20s = £1

 

Shakespeare makes numerous references to money and coins throughout his works. In the comedy The Merchant of Venice (1596), The Moroccan Prince makes reference to a specific coin:

 

         […] They have in England
A coin that bears the figure of an angel
Stamped in gold (2.7).

 

Another fascinating usage of the term ‘coin’ appears in the tragedy Julius Caesar (1599). Brutus and Cassius are trying to lead an army together, but they keep fighting. In this passage, Brutus accuses Cassius of failing to send him money, which he urgently needs to pay his soldiers:

 

         BRUTUS
[…] I did send to you
For certain sums of gold, which you denied me:
For I can raise no money by vile means:
By heaven, I had rather coin my heart,
And drop my blood for drachmas, than to wring
From the hard hands of peasants their vile trash
By any indirection: I did send
To you for gold to pay my legions,
Which you denied me: was that done like Cassius? (4.2).

 

drachmas = a type of money or currency
peasants = farmers, or poor people
indirection = devious means
legions = companies of soldiers

 

Here Brutus demonstrates his nobility by claiming that money ought to be properly sourced rather than taken by force from the already impoverished people. He would rather sacrifice his own heart and blood to raise gold in an honourable fashion.

Can you find references to coins and money in the plays or poems with which you are familiar?

LUNCHEON MENU

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The tradition of celebrating Shakespeare’s genius in Stratford-upon-Avon with grand luncheons goes back to the Tercentenary festivities in 1864. In a huge pavilion, guests could attend balls, performances and, of course, lunches. 100 years later, official luncheon parties were still being given in honour of the Bard.

lunch menu.tif

This is the official menu for the 1964 Shakespeare Anniversary Luncheon held in a specially constructed Festival Pavilion on the banks of the river Avon. Originally, Queen Elizabeth II was scheduled to attend the official opening of the Shakespeare Centre on Henley Street that day; however in March 1964 she gave birth to her fourth child, Prince Edward. Her husband His Royal Highness Prince Philip, Duke of Edinburgh participated in the official opening of the Shakespeare Centre in her place. Prince Philip was also the guest of honour at the birthday anniversary luncheon.

 

The menu served on this day consisted of smoked river trout with horse-radish sauce as starters; cold breasts of roast spring chicken, York ham, points of asparagus, fresh green salad, and hot buttered new potatoes for the main course; and fresh fruit salad or Warwickshire Cream for pudding; coffee was served later.

 

Compared to the usual sumptuous and lavish Elizabethan feasts, this luncheon appears meagre indeed. However, the social function of official dinners has remained very similar to what it was in Shakespeare’s time. They were an expression of social and political power not only for monarchs and nobles but also for people with social aspirations, like the gentry and wealthy merchants. No wonder that Shakespeare – like most of his contemporaries – makes good use of dinners and banquets in his works: in all of his 38 plays, nine banquet scenes are depicted on stage, a further four are mentioned but not shown.

 

One banquet you won’t forget is the one that marks the turning point in Macbeth’s development in Act 3 of the play:

 

[A banquet prepared. Enter MACBETH, LADY MACBETH,] [p]ROSS, LENNOX, Lords, and Attendants]

 

MACBETH
You know your own degrees; sit down: at first
And last the hearty welcome.

 

LORDS
Thanks to your majesty.

 

MACBETH
Ourself will mingle with society,
And play the humble host.
Our hostess keeps her state, but in best time
We will require her welcome.
[…]
See, they encounter thee with their hearts’ thanks.
Both sides are even: here I’ll sit i’ the midst:
Be large in mirth; anon we’ll drink a measure
The table round.

 

LADY MACBETH
My royal lord,
You do not give the cheer: the feast is sold
That is not often vouch’d, while ’tis a-making,
‘Tis given with welcome: to feed were best at home;
From thence the sauce to meat is ceremony;
Meeting were bare without it.

 

MACBETH
Sweet remembrancer!
Now, good digestion wait on appetite,
And health on both!

 

LENNOX
May’t please your highness sit.

 

[The GHOST OF BANQUO enters, and sits in] MACBETH’s place]

 

MACBETH
Here had we now our country’s honour roof’d,
Were the graced person of our Banquo present;
Who may I rather challenge for unkindness
Than pity for mischance!

 

ROSS
His absence, sir,
Lays blame upon his promise. Please’t your highness
To grace us with your royal company.

 

MACBETH
The table’s full.

 

LENNOX
Here is a place reserved, sir.

 

MACBETH
Where?

 

LENNOX
Here, my good lord. What is’t that moves your highness?

 

MACBETH
Which of you have done this?

 

LORDS
What, my good lord?

 

MACBETH
Thou canst not say I did it: never shake
Thy gory locks at me.
(Macbeth, Act 3, scene 4)

 

This is an example of a banquet gone horribly wrong, but by far the most gruesome of all banquets, however, is the concluding scene in Shakespeare’s early revenge tragedy Titus Andronicus. Titus presents his guests, the Roman Emperor Saturninus and his queen Tamora, with a pie made with the meat of Tamora’s own sons, Chiron and Demetrius. Here’s Titus before the dinner, explaining to his victims in all detail what he is going to do with them, the murderers of his son-in-law and the rapists of his daughter Lavinia:

 

TITUS
Hark, wretches! how I mean to martyr you.
This one hand yet is left to cut your throats,
Whilst that Lavinia ‘tween her stumps doth hold
The basin that receives your guilty blood.
You know your mother means to feast with me,
And calls herself Revenge, and thinks me mad:
Hark, villains! I will grind your bones to dust
And with your blood and it I’ll make a paste,
And of the paste a coffin I will rear
And make two pasties of your shameful heads,
And bid that strumpet, your unhallow’d dam,
Like to the earth swallow her own increase.
This is the feast that I have bid her to,
And this the banquet she shall surfeit on; […]
(Titus Andronicus, Act 5, scene 2)

 

As these examples show, feasts and banquets prove a welcome setting to stage power and status for Shakespeare. For most of us, however, feasting is nowadays predominantly concerned with good food and good times.

 

If you want to know more about Tudor feasting, why not check out our blog post on Finding Shakespeare about a spice plate (http://findingshakespeare.co.uk/shakespeares-world-in-100-objects-number-42-a-spice-plate) or posy trenchers

 

(http://findingshakespeare.co.uk/shakespeares-world-in-100-objects-number-27-a-set-of-12-posy-trenchers)?

 

Or, if you want to try your hand at an Elizabethan recipe for Mince Pies, take a look at our Collections team’s Shakespearian Christmas post (http://findingshakespeare.co.uk/a-shakespearean-christmas-with-traditional-minced-meat-pies#sthash.Apro4l7R.dpuf).

ETCHED GLASS VASE

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vase

This vase was designed and made by John Hutton to commemorate the opening of the Shakespeare Centre in 1964. It is the largest example of blown glass currently known.

 

 

The etching depicts the ‘Dance of the Reapers and Nymphs’ from Act 4, Scene 1 of The Tempest. In this comedy, the last play Shakespeare wrote as a sole author, the character Prospero distracts his daughter and her lover Ferdinand from their amorous adventures with an enchanting spectacle or masque. Iris, who in Greek mythology represents the rainbow, calls forth nymphs, or mythical female deities which she calls Naiads who live in the ‘windring [sic] brooks’:

 

IRIS
With your sedged crowns and ever-harmless looks,
Leave your crisp channels and on this green land
Answer your summons; Juno does command:
Come, temperate nymphs, and help to celebrate
A contract of true love; be not too late. (The Tempest, Act 4, Scene 1)

 

 

Iris also calls forth the harvest reapers whom she bids dance with the nymphs, thereby bringing together two worlds: water and land, as well as myth and reality. Iris bids the reapers join the nymphs:

 

IRIS

You sunburnt sicklemen, of August weary,
Come hither from the furrow and be merry:
Make holiday; your rye-straw hats put on
And these fresh nymphs encounter every one
In country footing. (The Tempest, Act 4, Scene 1)

Shakespeare includes the stage direction ‘Enter certain Reapers, properly habited: they join with the Nymphs in a graceful dance’. There are no preserved notes on stage dancing in the period, but it is likely that it resembled the fashions and tastes at the time.

 Dancing in the 16th Century

 

Dances were inspired by the music that accompanied them, whether at court or in rustic revels. Rhythms or ‘measures’ were very important, helping participants to keep time. Fashionable dances came from Italy, such as the Galliarde, and France, like the Saraband, and were invariably to be found in court. Queen Elizabeth was famed for her love for and skill in dancing at social occasions.

 

Country or rustic dances originated from festivals such as May day dancing, and were therefore performed in circles or lines. Such dances were accompanied by tabors (snare drums) and pipes. Dancing was a very energetic affair, and people often considered it a form of exercise. Country jigs were extremely popular, and they involved jumping and leaping. Some country dances had amusing names such as the ‘Petticoat Wag’, ‘The Friar and the Nun’ and the ‘Bear Dance’.

 

In the theatre, both music and dance were extremely important. Actors and musicians would play, sing and dance together during and after performances, constantly entertaining their audiences. Shakespeare includes dancing in plays such as Romeo and Juliet, Love’s Labour’s Lost and Henry VIII. In these situations, when the characters are dressed in their finery, there is so much dramatic excitement and possibility. For example, in Romeo and Juliet, the lovers meet at a grand ball during a dance when Romeo is disguised with a mask. Similarly, Anne Bullen (based on Anne Boleyn) is wooed by King Henry during a dance in which he disguises himself.

 

Dance was also an exciting way to end a theatrical performance. At the close of As You Like It, Duke Senior asks everyone to take part in ‘rustic revelry’, after which the instruction ‘a dance’ appears. Notice how the Duke plays with the word ‘measure’ to highlight the importance of the rhythms of the dance music:

 

DUKE SENIOR
Meantime, forget this new-fall’n dignity
And fall into our rustic revelry.
Play, music! And you, brides and bridegrooms all,
With measure heap’d in joy, to the measures fall. (As You Like It, Act 5, Scene 4)

 

 

How many Tudor dances do you know? What about Tudor dance music? Join the discussion and let us know.

RING

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Bishop's Ring
Bishop’s Ring

As expected, rings varied in size and value. The object on display is a fine example of an early 13th century bishop’s ring, made of gold and sapphire. It would have been extremely valuable to mark the Bishop from other clergymen, and would have looked splendid if painted on a hand in a portrait.

 

Ornamental rings were mostly worn by middle and upper classes, sometimes on all fingers as well as thumbs. Since all jewellery was handmade, each piece was unique, making them easier to identify if one had been stolen or lost. Interestingly, the wedding ring was not considered necessary, although some wealthy people did indeed wear wedding bands. The most obvious kind of ring, especially for men and wealthy women, was the seal ring which was used to impress an image or motto into wax. These rings were especially useful to make servants or messengers appear official.

 

In Shakespeare’s plays, rings are often given as tokens of love, as in Romeo and Juliet and Cymbeline, or most often as a way of identifying an individual. In the comedy, now considered a problem play, All’s Well That Ends Well, the King of France is troubled by the sight of a ring that once belonged to him. He gave the ring as a gift to a young woman called Helena, whom he believes to be dead, and when he sees the ring on the finger of her husband Bertram, he begins to worry that she has been murdered:

 

KING
Plutus himself,
That knows the tinct and multiplying medicine,
Hath not in nature’s mystery more science
Than I have in this ring: ’twas mine, ’twas Helen’s,
Whoever gave it you. Then, if you know
That you are well acquainted with yourself,
Confess ’twas hers, and by what rough enforcement
You got it from her: she call’d the saints to surety
That she would never put it from her finger,
Unless she gave it to yourself in bed,
Where you have never come, or sent it us
Upon her great disaster.
(All’s Well That Ends Well, 5.3, 2791-802)

 

Plutus = The god of wealth
Tinct and multiplying medicine = alchemy or the turning of base metal into gold
You have never come = Everyone believes that Bertram and Helena have not consummated their marriage

 

 

Shakespeare’s characters also use rings as a way of bargaining. In The Comedy of Errors, a courtesan gives a friend a ring in exchange for a necklace. For various reasons, involving two sets of twins and mistaken identity, the person she believes to be Antipholus of Ephesus is actually Antipholus of Syracuse, and he denies all knowledge of a ring. She decides that she is going to pursue the matter with Antipholus’ wife:

 

 

COURTESAN
Now, out of doubt Antipholus is mad,
Else would he never so demean himself.
A ring he hath of mine worth forty ducats,
And for the same he promised me a chain:
Both one and other he denies me now.
The reason that I gather he is mad,
Besides this present instance of his rage,
Is a mad tale he told to-day at dinner,
Of his own doors being shut against his entrance.
Belike his wife, acquainted with his fits,
On purpose shut the doors against his way.
My way is now to hie home to his house,
And tell his wife that, being lunatic,
He rush’d into my house and took perforce
My ring away. This course I fittest choose;
For forty ducats is too much to lose.
(The Comedy of Errors, 4.3., 1231-46)

Ducats = European coins made of gold and silver
A chain = Necklace