Stannington Sanatorium collection will feature in a play broadcast on BBC Radio 4 this week by Newcastle University’s senior Lecturer in Creative Writing Margaret Wilkinson. The play will be broadcast on BBC Radio 4 each day from Monday 3rd October to Friday 7th October at 10.45am, with a repeat at 7.45pm. Margaret often uses archival research in her plays, including working with post graduate students to tell the story of the 1649 Newcastle witch trials in The Newcastle Witches, performed at the Newcastle Guildhall in 2014. Margaret’s play Queen Bee has been performed at the Northern Stage and 8 other venues, and Blue Boy has been performed at the Durham Literary festival. She won the Northern Writer’s awards Time to Write award in 2000. We asked Margaret to tell us a little of what it was like to write the play and the sources of her inspiration for it.
Margaret Wilkinson (right) with Dame Sian Philips at the recording.
My inspiration for writing ‘Stannington’ came from the wonderful resource I found at Northumberland Archives based at Woodhorn, Ashington and the kind assistance of the
Having previously looked at marks made by clerks and residents of the manors, we will now look beyond the doodles to decorative letters and drawings that are works of art in themselves. Though these had been commonly used in the medieval period their use declined through the centuries, and by the seventeenth century were reserved for a few areas of written texts, such as the legal documents like deeds. In those occasions where they remained they became less about the content of the text and more for decoration. as we go through our manorial documents we often come across examples that are eye-catching.
Below is a nice example of a letter done with shapes and swirls.
One that is a little more complicated…
More complicated still…
Or this one, from a document of Charles I, which takes it further…
This is so stylised it becomes difficult to make out the ‘C’ it represents.
However, many examples contain drawings. In the medieval manuscripts these are known as historiated initials and inhabited initials. A historiated initial relates to a picture in the letter that relates to the text, where an inhabited letter is purely decorative. The below sixteenth century example is an inhabited letter, which includes a rather unusual face. Perhaps he goes back to earlier traditions of the psalter and other illuminated works.
We start to see images of the monarch used in some documents such as deeds, and these historiated initials are very skilfully and professionally done. The monarch would be depicted in a cartouche, often attached to the first letter of their name. The earliest example we have come across is James I:
James is shown on his throne next to a stylised ‘J’. Under his cloak he appears to be shown in medieval dress. His shoes are certainly of a much older style, quite unlike the decorative heeled shoes he is usually depicted wearing. Next to the image are the symbols for England (rose), Scotland (thistle) and Wales (fleur-de-lis) joined together, illustrating that the three countries were united by his rule. The swirls turning to leaves may also hark back to an early style of decorating pages.
Next we have James’s son, Charles I.
We can see Charles I in a cartouche, surrounded with ornate patterned decoration and a panel showing roses, unicorns, and other emblems of state, with swirling rose leaves filling the space. The letters are also very ornately decorated. The image of Charles is very well drawn, and shows him with the crown, orb and sceptre.
We have also come across Charles’s granddaughter, Queen Anne. This, like many decorated examples, is an ‘Exemplification of Recovery’, which recorded the breaking or ‘barring’ of an entail (a passage of land solely down the family line), so that the land became fee simple and could be mortgaged, sold or willed to someone not in the entail. They became obsolete in 1833, but were often highly decorated with the monarch’s image and seal to show authenticity.
Queen Anne, from an Exemplification of Recovery, 1710.
Here we see Queen Anne in a cartouche, with her hair elaborately curled and wearing a chain of jewels. The pearl necklace she wears is perhaps the one still owned and worn by the royal family today.
Detail from the same Exemplification of Recovery, 1710.
Further along the top of the same document we see a great deal of detailed decoration. The swirling leaves in Charles I’s decoration have grown to become huge scrolling acanthus leaves, which support a rose, and cover much of the top section. Between the leaves we have the Royal coat of arms of Great Britain. This has Queen Anne’s own motto beneath it – ‘Semper Eadem’, meaning ‘always the same’.
These are some examples we have come across in our research, but there are a great many more in our collection, including this beautiful and ostentatious deed from the reign of George II. The decoration transforms an ordinary legal document into something fantastic and beautiful, and gives an added value to the claim that it upholds. We will be keeping our eyes peeled for more monarchs and interesting letters as the project continues.
The Manorial Documents Register (MDR) records documents produced in the honour courts. An honour is an administrative unit based on a number of manors, the tenants of which owed suit to an honour court in addition to, or in place of, the normal manor court. As explained in one of our earlier blogs the two main types of manor court are the Court Baron and the Court Leet. However there were other smaller courts dealing with specific types of business, these are not recorded on the MDR but it is useful to be aware of their function.
Pigs in woodland
The Forest Court had jurisdiction over woodland and was sometimes called the Woodmote or Swainmote Court. The Court of Pannage dealt with the business of releasing domestic pigs into the forests to feed on acorns, beech mast and chestnuts. This was often a right or privilege given to local people or in some places pigs were customarily presented to the lord of the manor. In some areas of the country a unit of administration existed between the shire and parish, this was called a Hundred and had its own court. In Nottinghamshire, Yorkshire, Derbyshire, Lincolnshire, Northamptonshire and Leicestershire the Hundred Court was referred to as the Wapentake Court.
ZHE 2/2, reference to the Piepowder court highlighted.
The Court of Piepowders was held in a borough on the occasion of a fair or market.
This document from the Allendale papers mentions a Court of Piepowder in 1685. The court had unlimited jurisdiction over events taking place in the market and tended to deal with disputes between merchants, theft, and acts of violence. The court was held in front of the mayor and bailiffs of the borough or the steward, if the market or fair was held by a lord. The jury comprised of three or four men and punishment ranged from a fine to the pillory. Trials were short and informal. If the court ruled against the defendant and the defendant could not pay his property could be seized and sold to cover the costs.
These courts existed to administer speedy justice over people who were not permanent residents of the place where the market was held. The name referred to the dusty feet (in French, pieds poudrés) of travelers and vagabonds, and was only later applied to the courts which dealt with such people. Court members themselves also wandered around the fair rather than sitting on a bench often getting their feet dusty in the process. In modern French, the word pied-poudreux is still occasionally used for travelling beggars.
