Droeshout Portrait of Shakespeare from the First Folio
Four Hundred and One Years ago, on 8th November in 1623, the First Folio was registered at Stationer’s Hall near the publishing district around St Pauls Cathedral in London. It was actually called:
Mr. William Shakespeare’s Comedies, Histories, & Tragedies
It was put together by his actor friends, John Heminge and Henry Condell seven years after his death, and they wanted to replace all the corrupt editions of his plays and poems that had been
“stol’n and surreptitious copies, maimed and deformed by frauds and stealths of injurious impostors”.
The true texts of his plays and poems “are now offer’d to your view cured, and perfect of their limbes; and all the rest, absolute in their numbers as he conceived them.” Wikipedia
In fact, the plays were ready early as they entered in to the catalogues for the Frankfurt Book festival to appear between April and October 1622,- and how amazing is it that, that festival is still the dream of any aspirant writer?
The First Folio offers plenty of proof that Shakespeare was the author of the plays. He left gold rings of remembrance to Heminge and Condell in his Will. They were part of his Players Company, and had worked together on many of the plays. The Folio has forewords by people extolling the virtues of the writer. Enough proof for any reasonable person.
Heminge and Condell are commemorated in the Garden of St Mary Aldermary behind the Guildhall, where they were Churchwardens, and not far from where Shakespeare was living in 1611. True friends.
St Mary Aldermany monument to Shakespeare, Heminge and Condell and the First Folio.
There was a wonderful BBC festival of Shakespeare on in 2023/24 to celebrate. Here:
I have just given a guided walk and a virtual tour of London in the prehistoric period. I rashly promised, as follow-up, a booklist. I have many books that I have found pivotal in shaping my own opinions, but I find myself very reluctant to recommend them in the light of the remarkable new, and recent, DNA discoveries.
The cause of this ‘revolution’ is the Petrous Bone – a small bone in/near the ear from which scientists can extract, without too much damage to ancient skeletons, a reliable source of ancient DNA. Previous studies were done on modern DNA and extrapolating backwards. Now, archaeologists can, relatively cheaply, investigate (and often debunk) archaeological theories about the spread of human cultures.
It is a salutary story. Early archaeologists had, what you might call, a colonial, diffusionist model of the past. So when a new culture was identified, normally on the back of the arrival of a new form of pottery. It was interpreted as being spread by diffusion, normally from the ‘civilised’ fertile crescent to barbaric pre-literate Europe. Hence, Stonehenge was thought to be built by a prince from Mycenae, on the basis of the Lion Gate in Mycenae having vague similarities with the Trilithons at Stonehenge (and other diffused cultural markers). And with a viewpoint, that the uncivilised Britons would not be able to build something so amazing!
Archaeologists in the 1970s rejected this imperialist model and preferred to think that cultures need not depend on advances from their betters, nor should ‘invasion’ be allowed to be the main means of technical and cultural advancement. The advent of Radio Carbon Dating profoundly affected how the past was dated, and showed that diffusionist chronologies, often, did not stand up. And thus Stonehenge was freed from cultural imperialism, and we Brits could take all the credit. And Prehistory lost a whole host of ‘invasions’ and ‘migrations’, and a start was also made on diminishing the centrality of the ‘invasions’ at the core of the Anglo/Saxon/Viking migrations into Briton.
Along comes the petrous bone and the development of the study of Ancient DNA, and we discover, in the last couple of years, that:
Farming was indeed introduced from the Continent, around 4000BC and the DNA of the UK was largely (but not completely) replaced by incomers. So it was not the Mesolithic hunter gathers who adopted farming but the ‘Western Neolithic’ people who settled bringing in sheep, cows, goats, pigs, wheat, oats, rye, barley, polished axes and pottery.
The Beaker Folk, DNA now tells us, came from abroad around 2,500 BC. Originally from the Steppes via the Netherlands, and their DNA replaced all but 10% of the Western Neolithic DNA. This happened at about the same time as Stonehenge was remodelled with the giant Trilithons.
So we now have at least 3 major population replacements before the coming of the Romans, Saxons, Vikings and Normans. Very annoying to find that those old-fashioned imperial archaeologists of the early 20th Century had it more correct than the enlightened archaeologists of the Late 20th Century.
View of London from the SE as it might have looked before the Roman Invasion
So to my book list. Firstly, you will have noted above that I have linked the stories to reliable websites, so you can get further information. Here are a few other important websites:
As to books, I suggest the best start is to read Mike Parker Pearson’s ‘Stonehenge A Brief History, Bloomsbury Academic 2023’ because it is up-to-date and Pearson has considered the DNA studies noted above.
For similar reasons and for a more general introduction to Britain in the Prehistoric period, you could try:
Roberts, Alice ‘Ancestors: A Prehistory Of Britain In Seven Burials ‘ Publisher: Simon & Schuster Ltd 2022
which has good reviews, but I have not yet read it.
I know that neither is about London, but the only ‘book’ on Prehistoric London I have is:
Merriman, N ‘Prehistoric London’ Museum Of London, 1991
And this is more of a booklet than a full academic book. There is another book, but then it was published in 1914:
Prehistoric London : its mounds and circles / by E.O. Gordon ; with appendices by John Griffith. Volume c.1 1914
For the period just before the Roman Invasion, I would highly recommend reading Julius Caesar’s opinions on Prehistoric Britain.
Caesar, Julius (ed Anne & Peter Wiseman). ‘The Battle For Gaul’ Chatto And Windus Ltd, London 1989
Peter Wiseman was my Professor at University, and it is an excellent introduction, still available new but also cheaply second hand at Abebooks.
You will find some interesting, relevant passages in my book:
Flude, Kevin ‘In Their Own Words – A Literary Companion To The Origins Of London’ D A Horizons, 2009
You can buy a hardback copy from me for £5 plus postage (email me, kpflude@chr.org.uk) or from Amazon in a Kindle version.
I published the following post about Hardy’s Tree on 28th December 2022. Here, follows the original post and an update which suggests the tree and the gravestones were not erected by Thomas Hardy.
This is the day that Herod ordered the slaughter of the Innocents, or Childermas, and I am glad to see that my Grandson is now older than Herod’s prescription.
Hardy’s Tree in St Pancras Church, Camden, London has fallen down. Hardy was an architect and worked in London for a while, where one of his jobs was to supervise the clearance of the graveyard. Several poems of Hardy refer to the removal of graves from their original positions and in this case, the gravestones were set around an Ash tree that inspires many, including my Central St Martin’s students who used it in a project recently. So, I was shocked to read a Guardian article (since deleted) which noted the sad demise of the Tree.
Extracts from one of several Hardy Poems about moving graves and gravestones follow, but I need to update the post about the connection to Hardy. The Guardian has now got an article which suggests the connection with Hardy is a more recent one than previously thought (Guardian article).
I (and I think the Guardian) were alerted to this by the work of Lester Hillman, who wrote a Churchyard Guide and a recent pamphlet about the Tree, which is reported in ‘Context ISSN 1462-7574’. This is the Journal of the City of London Archaeological Society. Evidence proves that the Ash Tree dates to the 1930s, and that the mound of gravestones is from burials relocated from St Giles in the Fields, and therefore unlikely to have been in St Pancras at the time Hardy was responsible for clearing it.
So it is not ‘the’ Hardy Tree, but then nor was the tree at Sycamore Gap anything to do with Robin Hood. What it was, was a beautiful piece of nature, in a poignant setting. May she rest in peace.
The Levelled Churchyard Thomas Hardy
O Passenger, pray list and catch Our sighs and piteous groans, Half stifled in this jumbled patch Of wrenched memorial stones!
We late-lamented, resting here, Are mixed to human jam, And each to each exclaimed in fear, I know not which I am.
Where we are huddled none can trace, And if our names remain, They pave some path or porch or place Where we have never lain!
Screen Shot of the Virtual Tour of the Sir John Soane Museum
The Sir John Soane Museum is my second favourite London Museum. It’s the place I choose to take people who don’t know London. What I like about it is the atmosphere. It’s not a place I go because of the collection, it’s a place I go because I’m just awestruck when I enter the doors.
Architect Soane, made a Museum of his house, filling it with architectural and sculptural pieces but also some stupendous Art, particularly paintings by William Hogarth. But that isn’t my motivation to keep going back. It’s the Picture Room (and the domed ceilings). Soane had a great collection of paintings, but not enough walls. What he did was to design the Paintings Room. When you visit you go in, admire the paintings on the wall, and the attendant comes in, opens a shutter, and behind the great paintings are another wall of great paintings. And then he opens another set of shutters, and there, is another feast for your eyes.
Now, they have made high quality digital images of the rooms, and put them together using photogrammetry into a digital model which you can explore.
So, feast your eyes on it here: (choose Picture Room from the three options).
It’s not quite as user-friendly as it might be. Firstly, when the tour delivers you to the Picture Room, you have to take over control to go in and explore the 360 degree image of the room. Unfortunately, the pictures are not clickable, so you cannot get information about them from here. Also, the ‘hot spots’ which allow you to open the shutters, only reveal themselves, on my computer, if you approach them at a certain angle.
But don’t let this put you off, I’m sure you will find your way around. So go into the Room, look around, move the cursus, and you will see little signs pop up which open and close the shutters. Really, do try it! There are a couple of other rooms to explore too.
Oh, and the Dome Ceilings? Soane was a specialist in buildings that didn’t want windows in normal places. He was the architect of the Bank of England where windows in the walls were a security risk, and also of London’s first purpose built art gallery – the Dulwich Picture Gallery. Windows reduced the space for paintings, so he designed special low domed ceilings, and the Soane Museum is full of his experimentation in the form.
Scara Brae Three D Model
Another delight is the 3D model of Scara Brae which allows you to explore the Neolithic village, and walk around it. There are labels on this one, so you do get information too.
360 Degree Panorama Virtual Tours. My part in their development.
I was an early adopter of this form of virtual reality, setting up virtual tours of the Old Operating Theatre Museum in the 1990’s. I have a draft post of this which I have been awaiting time to finish, which I hope to finish soon….
Thanks to the Museum’s Journal article on Photogrametry of May/June 2022 for the two examples above.
It’s bad luck to buy, make or use a new broom in May because:
Sweep with a broom that is cut in May You’ll sweep the head of the house away.
But you can give good luck to a friend by leaving a branch of hawthorn flowers on the doorstep. But other woody messages were not so friendly according to traditional verses:
Alder for a scrowler; pear for the fair Nut for a Slut; plum for the glum Bramble if she ramble; gorse for the whores
It is basically rhyming slang, so no great wisdom involved, also I’m not sure quite how some of the rhymes work, and it does seem rather at the expense of women.
Replica of the Stone of Destiny at Scone Palace, Photo Kevin Flude
A study of the Stone of Destiny, the Stone of Scone, the Coronation Stone, has revealed new information. Firstly, it has some markings which look like three X’s and something like a V – perhaps Roman Numerals or more likely, crosses.
The Stone also revealed traces of copper alloy showing that a metal object had been attached to the Stone for a considerable time. The most obvious suggestion would be a relic associated with a Saint, and a Bell is one possibility.
Traces of gypsum suggested someone sometime made a plaster copy of the stone. No one knows when or why, and it has not been found.
Historic Environment, Scotland has released this fascinating 3-D scan of the stone for the public to view – it is annotated too.
You can read more at the links below, and thank you to Jean Kelly of the Britarch mailing list for alerting me to this.
The Stone has been moved from its permanent home at Edinburgh Castle for the first time since 1996, to be placed under the Coronation Chair for Charles’s May 6 Coronation at Westminster Abbey.
Coronation Chair, with Stone of Scone under the seat.
The Stone was kept at Scone before it was stolen by Edward 1 of England, who placed it under the Coronation Chair, at Westminster, to sanctify English Kings and to make the point that he was the overlord of the Scottish. In the 1950’s Scottish students stole it back, hid it for a few weeks and then left it at Arbroath Abbey. They did this because the so-called Declaration of Arbroath (1320) is a letter to the Pope asking for his endorsement of Scotland’s claim to be independent of England. The Pope agreed.
The Stone was recovered from Arbroath taken back to Westminster. The Labour Party under Tony Blair, granted Scotland back their own Parliament and as a symbol of their regained independence, the Stone of Destiny was taken back to Scotland.
Newspaper cutting showing the Stone being taken from Arbroath Abbey
To my mind it should be in Scone, which is where Macbeth and most other Scottish Kings were crowned, but perhaps they thought it should be in the Capital and in the safety of the Castle. At Scone, the Stone was placed on a mound of earth which was said to be made up of the dust from the feet of those attending Coronations symbolising the consent of all of Scotland for the new King.
Pilgrims leaving the Tabard for the Canterbury Pilgrimage
Last year on the 18th April I led a Chaucer’s London Walk in the morning and a Canterbury Tales Virtual Pilgrimage in the evening. I chose the day is it was the closest to the 18th April which is when Chaucer’s pilgrims leave London to ride to Canterbury.
At the beginning of the prologue, he gives clues as to the date. They go when April showers and Zephyrus’s wind is causing sap to rise in plants, engendering flowers, and when Aries course across the sky is half run.
The pilgrims are accompanied by Harry Bailly who is the landlord of the Tabard Inn in Southwark and was a real person and a fellow Member of Parliament of Chaucer.
He is jolly and quite knowledgeable and in the Man of Laws prologue we get a glimpse of Harry time telling in the days before clocks.
A mass clock at Steventon Church. Hampshire
Chaucer mentions ‘artificial day’ and this is a reference to the way days were divided into hours. There were twelve hours in the daylight part of the day, and twelve hours in the dark night. So in the winter daylight hours were short, and in the summer long.
Romans used water clocks, King Alfred used candles marked into hours and Harry Bailly knows how to tell the time by the height of the Sun. Harry tells the pilgrims it’s about time they got underway. Here is an extract:
Essentially, he is telling the time by the length of the shadows. The illustration of the mass clock at Jane Austen’s Church at Steventon is another example of how the sun can be used easily to tell time.
The first mass clock I noticed was at the church in Kent which Dickens used for Great Expectations, where Pip’s brothers and sisters were buried. Once you find one mass clock, you suddenly discover them everywhere!
Telling the time, before mechanical clocks, was not complicated. The basic unit is the day and the night, and we can all tell when the dawn has broken. The Moon provides another simple unit of time. The month’s orbit around the Earth is roughly every 29 days and the new, the crescents and full moons provide a quartering of the month. For longer units, the Earth orbits around the Sun on a yearly basic, but divided into four, the winter solstice; the spring equinox, the summer solstice and the autumn equinox.
But there were other ways of marking days in the calendar, with natural time markers marked by, for example, migrating birds, lambing, and any number of budding and flowering plants such as daffodils and elm leaves:
When the Elmen leaf is as big as a mouse’s ear, Then to sow barley never fear; When the Elmen leaf is as big as an ox’s eye, Then says I, ‘Hie, boys” Hie!’ When elm leaves are as big as a shilling, Plant, kidney beans, if to plant ’em you’re willing; When elm leaves are as big as a penny, You must plant kidney beans if you mean to have any.’
In my north-facing garden, I have my very own solar time marker. All through the winter, the sun never shines directly on my garden. Spring comes appreciably later than the front car park which is a sun trap. But in early April, just after 12 o’clock the sun peeks over the block of flats to the south of me, finds a gap between my building and the converted warehouse next door and for a short window of time a shaft of a sunbeam brings a belated and welcome spring.
It is a simpler sort of bun than the Chelsea Bun, which was the bun to have at Easter, at least in London in the Georgian Period. To read my updated blog post on Chelsea Buns on Good Friday see below:
There seem to be all sorts of dubious traditions around the origins of the Hot Cross Bun. It has been suggested that the Greeks knew how to put a cross on a bun. Also that the Anglo-Saxons celebrated the Goddess Eostre with the crossed bun where the cross represents the four quarters of the moon, the four seasons and the Wheel of the Year. I doubt this folklore because there is very little evidence for Eostre other than the Venerable Bede’s mentioning her name, so her association with Hot Cross Buns cannot be known.
However, the addition of a cross, and the association with Easter, makes the bun powerful, so there are lots of superstitions on record. A piece of an Easter Hot Cross Bun given to the sick may promote a cure. It was said that a bun cooked and served at Easter will not go off for a year. This might help explain the traditions that hanging them up on a string or ribbon is a good thing – one hung in a kitchen prevents fire, on a ship prevents sinking, in the Widow’s Son pub in East London to remember a sailor son who never returned for his bun on Good Friday.
The technology of putting a cross on a Bun requires nothing more complicated than a flour and water paste so it might well be an ancient tradition. A more impressive cross can be made with shortcrust pastry as was traditional. The bun itself is simply flour, milk, butter, egg, salt, spices and mixed fruit.
They are, in my opinion, the sort of food that has been eaten so often after purchase from a shop that a home-made Hot Cross Bun would be strangely disappointing – better almost certainly but then just not the same. It’s normally eaten toasted and buttered although I really prefer the soft doughy untoasted and unbuttered bun. But then it is possible to get carried away and eat the entire pack of four.
There is a tradition of Skipping on Good Friday. I can’t say I ever saw it – in my school skipping was a perennial activity, mostly enjoyed by the girls, but the boys would sometimes be intrigued enough to join in.
There is a great article about Long Rope Day in the Guardian with a wonderful picture of a collective skip.
‘RRRRRare Chelsea Buns’ as Jonathan Swift called them in a letter to Stella in 1711.
T!he tradition was that on Good Friday Georgian period Londoners would go to Chelsea to buy Chelsea Buns. Thousands of people would turn up at the Five Fields which stretched from Belgravia to what is now Royal Hospital Street. There were swings, drinking booths, nine pins and ‘vicious events that disgraced the metropolis’. The Bun House was on Jew’s Row as Royal Hospital Street was then called. As several King Georges visited the Bun House it became known as the Royal Chelsea Bun House. It was run by the Hands family. They were said to sell 50,000 Buns on the day. Stromboli tea garden was nearby.
Fragrant as honey and sweeter in taste As flaky and white as if baked by the light As the flesh of an infant soft, doughy and slight.
The buns were made from eggs, butter, sugar, lemon and spices. Inside the Chelsea Bun House was a collection of curiosities. Chelsea became known for its collection of curiosities in the 18th Century. Of course, there was the great Hans Sloane’s collection which was the founding collection of the British Museum, And then there was Don Saltero’s which was a coffee house that had curiosities on the wall. The Bun house displayed clocks, curiosities, models, paintings and statues on display to attract a discerning Public.
Me. I love a Chelsea Bun above all buns, But can you get them any more? The British Library Cafe was the last place I found that sold them. And that was 6 years ago I reckon. If you see any let me know.
360 degree Image of the Herb Garret (4th December 2000) at the Old Operating Theatre Museum. Click on the VR label to go full screen, and use the mouse to navigate.
Digital Heritage Is a subject I had a very early interest in. My, very minor claim to fame, is that I set up the Museum of London’s and the Victoria and Albert’s first computer systems. I then co-authored one of the earliest hyperlinked digital histories (on the history of London), and set up the first web sites for various museums and organisations such as the Old Operating Theatre Museum, Brunel Engine House, Garden History Museum, Royal Bethlem Museum etc..
But that was a long time ago so long that most of the Museums have changed their names! Despite the desire to do so, I have not had the time to keep up with developments.
So, I’m going to spend a little time investigating online heritage sites, and at the same time, maybe, look back at my part in the history of digital heritage.
Firstly, the principles of the study. Early on I came to the conclusion that the Internet should allow access to Museums for all those people who could not afford, or did not have the time, to visit in person. So, I’m looking for online/virtual visits that have something about them almost as good as a physical visit. Secondly, I’m looking for online exhibitions that provide an enjoyable experience that works in a similar way to a real exhibition. This means for me that the technology does not get in the way, and is not too complex to access and use. I also have an interested in digital guided walking tours.
I must admit that 40 years after I began to see the potential in digital I rarely see virtual visits or exhibitions that I want to spend time with. When I use websites for data and information, which I do all the time. I search, I find, I read but I don’t often linger for pleasure and. I rarely go back.
Yes we have Virtual Reality, Augmented Reality and the Metaverse, but they don’t really impact positively on my experience of heritage, history and museums. This might well be because I haven’t looked very hard, or spent much time on the subject in recent years, or because I don’t enjoy digital experiences that much, But, I’m going to have a good look around to see what is on offer, and I hope you will join me.
My starting point is the Old Operating Theatre Museum web site. I was in charge of the Museum for 30 years from the mid 80s onwards. In the early days of my management of the Museum I set up a very early web site designed to give those who could not visit a real idea of the Museum. This was achieved by the usual set of information pages but also with 360 degree annotated panoramic photos of the museum spaces linked together. This gave a simple and informative tour of the museum. which was easy to use, did not take long to see and did not depend on complicated technology on the part of the user. Later we added an online database of the collection to give access to the collection.
Thanks to the Wayback Machine – which is an amazing internet archive, no the internet archive, which archives old web sites, I have been able to retrieve a version of the site, dated to 2000AD so you can have a look at it. As you will see below it is very wordy but I think a really nice design by Highway 57 and Chris Sansom, who is also a composer, and now heading up an innovative jazz band called ‘Perfect Stranger’ .
Unfortunately, good though the Wayback Machine might be it does not have the technology to show the 360degree panoramas. So to get an idea of how they worked please have a look at the image at the top of the page, and imagine the addition of ‘hotspots’ which you could click to see further information or click through to the next panoramic view. Please note this is the second iteration of the site and so far I have been unable to find my original self-designed site.
The Old Operating Theatre Museum – www.thegarret.org.uk in 2000, retrieved from the Wayback Machine
So, I think the interactive tour of the museum gave a pretty good, simple and enjoyable tour of the Museum. I should say that the Old Operating Theatre Museum is one of the most amazing Museums. It is in the roof space of a Church and was a store for herbal medicines, and an operating theatre/emergency room for female surgical patients used before anaesthesia and antiseptic surgery.
Its now 23 years later. The website has been completely redesigned since I left, and it opens with a very good video that gives an excellent introduction to the museum. Click on the link to have a look at the video on the home page @ https://oldoperatingtheatre.com/
Inside the website is a huge amount of information, some very good videos, there is a ‘virtual tour’ which does not work on my browser for some reason, interactive games and a clickable image to explore the Old Operating Theatre itself. Its use of media is much, much better than in the 2000s, and the information is composed now into interesting stories rather than dry information. So a pretty good job of putting the Museum’s stories to the public in an engaging way. I would say however, that perhaps it was a little easier to find out the basic information about the Museum, the Operating Theatre, and the Herb Garret before than it now is. But you can ignore that as my vanity.
I have chosen one of the stories to include here and this is an object that I bought at an auction for the Museum. I remember the excitement well, and the great interest in the medicines that were included in the medical chest.
