Strange Nevves from Newgate

…and the Old-Baily: or The proofs, examinations, declarations, indictments, conviction, and confessions of I. Collins, and T. Reeve, two of the Ranters taken in More-lane, at the Generall Sessions of gaol-delivery; holden in the Old-Baily the twentieth day, of this instant Ianuary, the penalties that are inflicted upon them. The proceedings against one Parson Williams for having four wives, and Iohn Iackson a Scots minister, condemned to be drawn, hanged, and quartered, for proclaiming Charles Stuart, King of England, with the strange and wonderfull judgement of God shewed upon one T. Kendall, a Ranter in Drury-lane who fell down dead as he was affirming that there is no God, or hell to punish. Published according to order

A scurrilous 17th century tabloid, published in London in 1652, although someone has handwritten 1650 on the cover. The text details criminal trials in London the previous week and include John Jackson a Scots minister sentenced to death for supporting King Charles, ‘one Williams’, convicted of multiple bigamy, and two ranters arrested for ‘blasphemy’ in Moor Lane. The scene is pictured on page three along with a rather racy description.

The text says ‘Collins, Reeves and others were sat at table eating a piece of beef. One of then took it in hand and tearing it assunder said to the others “This is the flesh of Christ, take and eat” The other took a cup of ale in his hand and threw it into a Chimney Corner saying ‘This is the blood of Christ“. And having some discourse of God it was proved that one of these said “That he could go into the House of Office and make a God every Morning“. By easing of his body and blowing through two pieces of Tobacco Pipes he said “That was the Breath of God“. There was also proved many other Blasphemous Words and uncivil behaviour, as the kissing of one another’s Breeches, more lively represented by this figure: (naughty picture alarm, but notice the length of his shirt tails)

 

 

The bad people (crime never prospers children) were punished to six months in prison. The chap above has separated the breeches and doublet by unhooking the two and is holding up the long tails of his shirt. The naughty lady has a nice coif, a waistcoat and petticoat plus I suspect an apron and kerchief.

Further on in the text is the story of another Ranter, Mr Kendall who was caught and tried for lewd behaviour in Drury Lane, discoursing with a woman whom he called his Fellow Creature (I think we all know someone like Mr Kendall) and was persuading her to have his pleasure with her and said there was no God or Divell, affirming that all things come through Nature. Here he is in pictures.

Neither did Mr Kendall prosper, even in his smart suit and cloak, for no sooner had he made the appointment than he was struck dead on the spot. As the text goes on to say, “A Sinner doeth wickedly an hundred times and his Dayes be prolonged yet remember for all this he must come to Judgement“.

Quite

 

Anima’dversions of Warre

or, A militarie magazine of the truest rules, and ablest instructions, for the managing of warre Composed, of the most refined discipline, and choice experiments that these late Netherlandish, and Swedish warres have produced. By Robert Ward printed in London 1639. A mammoth tome listing everything Mr Ward thought would be worth including to help anyone who wanted to wage war. I’ve skipped over all the descriptions, skimmed through the pike & musket formations and singled out four images of chaps engaged in nefarious activities for your enjoyment.

This first man in a coat, hat and falling band is setting light to a fuse to blow a mine laid beneath a fort. As it says in the text: “This kinde of undermining hath beene very Anciently used both by the Greekes, and Romans, and of late daies by the Hollander, whereby they have much annoyed their Enemies, and blowne up their Out-Workes” I would definitely be annoyed.

This fellow is making grenadoes out of canvas bags. He’s wearing a doublet and closely fitting breeches. As it says : “Some grenadoes are made of canvass with divers Pistoll Barrells charged with Powder and bulletts and covered over.” Nasty

These guys are making more grenadoes out of solid pots. They are wearing nicely tailored doublets, wide hats and close fitting breeches. The man on the left is putting his foot forward so we can see how well made his shoes are.

This last fellow is about to set off an array of powder pots designed for use in a battle. The text describes these: “These Engines are of use to  discomfit an Enemy in a pitcht Battell, the manner of framing them, is according to this following Description: there must bee prepared, either of Earth, or of timed Lattin, the Mouths of them are to be foure inches Diameter, and the height of them sixe, on either side of these is a hollow quill formed of Earth or sodred of Lattin, about the bignesse of a Tobacco-pipe; these are to goe from the toppe of these Pottes just to the bottome to convey the the traine of Powder to the Touch-hole at the bottome” I’m only slightly concerned about the disembodied hands on the other two fuses. Maybe they were removed to protect their identities?

Give Yr Rest to Yr Musket

A posture from The Military Discipline wherein is Martially Showne the Order for Drilling the Musket and Pike, published by Thomas Jenner, London 1642. This copy of the book is adorned with nineteen engraved plates showing musketeers and pikemen in various drill postures and modes of dress. This musketeer is clad in montero cap, a doublet with slashed sleeves, plain falling band (or perhaps shirt collar), tapered breeches with shoes and hose folded down over what are presumably a pair of garters. He’s sporting some nice ribbon bows on his breeches and shoes too. This is very much the ‘Trained Band’ look, for the weekend soldier not really something you’d see on the field of battle.

Here’s a closer version. Notice the match he is holding between his fingers is alight, ready to fire his musket.

Charles I, Studio of Daniel Mytens

King Charles painted in a smaller version of the picture that would eventually become the famous portrait in his robes for the Order of the Garter. It’s earlier than our period, but worth looking at for the detailing of his clothes which I’m pretty sure are accurate given the way Mytens (or one of his followers) has also rendered the texture of the carpet and the sheen on the table covering.

His hat is generously plumed and his falling band (that is almost completely lace) lies over the red and white robes of the order. His shot silk doublet is high waisted and of the 1630s style with sharply angled tabs and ribbon points. You can see how stiff the tabs are by the fact that the right hand edge of his robes are held back behind the right front tab. The sleeves are slashed and gathered in a way that accentuate his slender arms but also shows the fine linen of his shirt beneath. His matching breeches are quite closely cut and the silk seems to have been slashed or pinked as an extra decoration. He’s also wearing a very fine pair of white shoes with jewelled rosette ties and some oddly mismatched blue hose on his lower legs. Yet again many thanks to Phillip mould and Co for permission to use this copywrite image from their website

The Military discipline

………wherein is martially showne the order for driling the musket and pike : set forth in postures with ye words of comand and brief instructions for the right use of the same.  Sold by Thomas. Jenner (at the foot of the Exchange in London) 1642.

An eight page drill book showing the standard pike and musket positions, published just before the war and including some nice plates of soldiers drilling in various costumes. These four caught my eye as they are all wearing the peaked cap with a folded outer skirt known at the time as a montero. There are scant few images of these hats from England in the 1640s, making these pictures quite rare to say the least.

 

The first chap seems to be dressed as an officer in long boots, nice breeches, gauntlets, armour consisting of back, breast and tassets and laced a falling band. His cap is decorated with plumes and conforms to the officer’s style with little room in the side skirt for folding. Why would you need protection from the cold when you could just go indoors?

 

 

The second figure, a musketeer is dressed more plainly. Shoes instead of boots, though his hose have a turn down that echoes boot hose. His breeches are decorated with some kind of top stitching and extravagant ribbon bows. He also appears to be wearing a doublet with slashed sleeves beneath a buff coat and plain linen collar and band. The montero is also plumed, but there is more room in this one for folds in the skirt. If you look closely, there are also some stitches drawn in around the peak.

 

 

 

 

 

The last guy, getting ready to spit his ball down his musket barrel has quite a lot of decoration on his kit, from the ribbon rosettes on his shoes, up the laced and pointed legs of his breeches to the slashed sleeve of his doublet and laced falling band. He’s quite a dapper fellow. His montero is again six panes and some sewing is visible on the crown this time.

 

Coach and Sedan

Pleasantly Disputing for Place and Precedence, The Brewers-Cart being Moderator. A small book by Henry Peacham written in 1636 and detailing an argument had between two forerunners of the London cabby on the streets of London. What is handy is that the text agrees with the pictures, dating the image securely and there is a description of what the two are wearing.

 

 

 

 

The One (the lesser of the two was in a suite of greene, after a strange manner, winnowed before and behind with Isen-glasse, having two handsome fellows in greene coats attending him; their lace coats were lac’d down the back with a greene lace suitable, so were their half sleeves which persuaded me at first they were some cast suites of their Masters; their backs were harnessed with leather cingles, cut out of a hide so broad as Dutch-collops of Bacon, whereat I wondered not a little, being but newly come out of the Countrie, and not having seen the like before.

 

Here he is in his green coat with half sleeves, over a doublet and breeches, as well as a tradesman’s cap and  small falling band. Over all he has the leather straps (like Dutch collops) that spread the load of the sedan chair/

 

 

The odd thing about this description is that id doesn’t really tie in with the picture. However, if you look at this as a satyrical piece, you realise that the character “Coach” is actually the coach rather than the coachman!

 

The other was a thick burly square set fellow, in a doublet of Black-leather, Brasse-button’d down the brest, Backe, Sleeves, and winges, with monstrous wide boots, fringed at the top with a net fringe, and a round breech (after the old fashion) guilder, and on his back-side an Atcheivement of Sundry Coats in their proper colours, quartered with Crest, Helme and Mantle, besides here and there, on the sides a single Escutchion or crest, with some Emblematicall word or other; I supposed they were made of some Pendants, or Banners that had been stollen, from over some Monument, where they had long hung in a Church.

 

The actual description comes a bit further on, though I must admit I’m none the wiser, though I love the language here:

Beeing in this discourse comes whistling by with his Carre, a lustie tall fellow red-haired, and cheeks puffed and swolne as if her had beene a Lincoln-shire-baggpiper, or a Dutch Trumpeter under Grobbendonck, in a Canvas frock, a red-cap, a payer of high-shooes, with his whip in his hand

 

Here’s the carter in his leather doublet (note brass buttons in the text) and his livery coat over the top. Strangely no boots, though the woodcut seems correct in all the other departments.

 

 

Popular Errours

Or the errours of the people in physick, first written in Latine by the learned physitian James Primrose Doctor in Physick. The Latin version was published in 1638, but the English translation came out in 1651 and featured this image. It was a defence of the arts of the learned physician against quack and untrained doctors written in an entertaining style, presumably so that he could reach the largest audience possible.

The picture shows a poor fellow in his sick bed, being ministered to by a doctor, but also a well meaning goodwife who is trying to help but is being restrained by an angel of mercy. She is wearing a petticoat, waistcoat, long apron, ruff collar and a wide brimmed hat over a linen coif. The doctor in a gown, cap and ruff and the ill fellow in his shirt and night cap.

Here is a closer image of the woman. I’m still not completely sure what she is wearing on her upper half. Perhaps her apron reaches to her chin and she has tucked it under her stiffened bodies? There is a lovely poem on the facing page which represents the busy body trying to take over:

Loe here a woman comes in charitie
To see the sicke, and brings her remedie.
You’ve got some grievous cold, alas! (quoth she)
It lies sore in your bones, no part is free.
His pulse is weake, his vrine’s colour’d high,
His nose is sharpe, his nostrills wide, he’le die.
They talke of Rubarb, Sene, and Agaricke,
Of Cassia, Tamarinds, and many a tricke,
Tush, give the Doctors leave to talk, I’ve brought
A pepper posset, nothing can be bought
Like this i’th ‘Pothecaries shoppe; alone
It cures the Fever, Strangury, and Stone;
If not there’s danger, yet before all faile,
Ile have a Cawdle for you, or Mace-ale:
And Ile prepare my Antimoniall Cuppe
To cure your Maladie, one little suppe
Will doe more good, and is of more desert
Then all Hippocrates, or Galens Art.
But loe an Angell gently puts her backe,
Lest such erroneous course the sicke doe wracke,
Leads the Physitian, and guides his hand,
Approves his Art, and what he doth must stand.
Tis Art that God allowes, by him ’tis blest
To cure diseases, leave then all the rest. 

John Browne

from The description and use of the carpenters-rule together with the use of the line of numbers (inscribed thereon) in arithmatick and geometry. And the application thereof to the measuring of superficies and solids gaging of vessels, military order interest and annuities: with tables of reduction, &c. published in 1656. This is the fronticepiece engraved by Richard Gaywood.

Here is John, surrounded by a selection of geometric objects brandishing his carpenters rule. His coat is decorated with tapes or braid that extend outwards from the buttons at the centre and his sleeves are open at the seam to show his shirt sleeves. His breeches are full and gathered at the knee and his hose quite wrinkled at the heel. He has a stout pair of shoes and a wide brimmed hat. Nice big bushy beard too!

 

The manner and form of the Arch-bishops Tryal in the House of Peers

An engraving appended to the end of A breviate of the life, of VVilliam Laud Arch-Bishop of Canterbury: extracted (for the most part) verbatim, out of his owne diary, and other writings, under his owne hand. / Collected and published at the speciall instance of sundry honourable persons, as a necessary prologue to the history of his tryall, for which the criminal part of his life, is specially reserved by William Prynne of Lincolnes Inne, Esquier, published in 1644. The engraving is by Wenceslaus Hollar.

As ever though, the best part of these crowd engravings is the little details that come out when you zoom in.

 

 

At the back of the hall, in the foreground an splendid selection of coats and cloaks, showing the reverse side that you don’t often get in portraits. One or two caps being worn too and a dog seems to have sneaked in on the left hand side.

 

 

An annotated group here. A marks the Archbishop in his gown and a black day cap. Unusual not to see him in his bishop’s robes, the rocket with white sleeves would have stood out had he been wearing it. B is black rod, C the Lieutenant of the Tower, D the council for Laud and E the clark who reads the evidence, looking very pleased with himself in a short cloak and laced band. F is a table.

 

 

 

A small group of women here against the tapestried wall on the right hand side. G is the area reserved for members of the Commons, H is Henry Burton who had had his ears removed for criticising Laud in a pamphlet. Henry looks like he might be wearing a ruff. I marks various witnesses, one of whom was  Susannah Bastwick, smartly attired in linen kerchief and a coif. Susannah was the wife of John Bastwick who had also lost his ears in the pillory.

 

 

 

A New Play

called Canterburie His Change of Diot. Which sheweth variety of wit and mirth : privately acted neare the Palace-yard at Westminster….Anon  (well it would be wouldn’t it?) 1641

Not so much a play, more a short series of sketches which probably lasted no more than five minutes, this is a scurrilous portrait and morality tale of Archbishop Laud in four acts. There are three illustrations that go with the text.

Act 1, the Bishop of Canterbury having a variety of dainties, is not satisfied till he be fed with tippets of mens ears. Enter the Bishop of Canterbury, and with him a Doctor of Physicke, a Lawyer and a Divine; who being set down, they bring him variety of Dishes to his Table…He knocking there enter divers Bishops with muskets on their necks, bandeleeres and swords by their sides.

Here is the jolly crew around the table. Archbish second on the left, I assume the  divine next with the ruff and the lawyer seated to his left. I think the doctor is standing far left, but he also looks like a serving man in doublet and breeches. A doctor ought to be wearing a gown. The  two bishops on the right have the aforementioned muskets and bandoliers.

 

 

Act 2, he hath his nose held to the Grinde-stone. Enter the Bishop of Canterbury into a Carpenters yard by the water side, where he is going to take water, and seeing a Grindle-stone, draweth his knife, and goeth thither to whet it, and the Carpenter follows him.

This is in retaliation for the cutting off of the ears in act one it would seem. The Carpenter is in doublet and breeches with a small brimmed hat and wide linen band. The boy turning the wheel is dressed similarly, though it would seem he has the short “roundhead” hair cut of an apprentice and is also wearing a short apron.

 

 

Act 3 he is put into a bird Cage with the Confessor. Enter the Bishop of Canterbury, and the Jesuit in a great Bird Cage together and a fool standing by, and laughing at them, Ha ha, ha, he, who is the fool now.

Here they are in the cage, the fool on the right is wearing the standard cap with bells and a cloak over doublet and breeches.

 

Act 4 The Jester tells the King the Story.

Sadly no pictures!