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Barttelot of Stopham and Westgate of Berwick, Men of Agincourt – A Quest for the Oldest Families in Sussex

November 15th, 2015

Stopham Bridge. Until the nineteenth century, the Barttelots took it upon themselves to maintain both the bridge and the main road.

Stopham is a tiny parish near Pulborough, in West Sussex. It has fewer than a hundred inhabitants, but reeks with history and has more than its fair share of important buildings.

The River Arun is crossed here by a spectacular fourteenth-century seven-arched stone bridge, with a pleasant pub (the White Hart) at one end, and Stopham House, formerly known as ‘La Ford’, or Ford Place, at the other. Before there was a bridge, the atte Forde family controlled the ferry crossing.

Manor Farm-house is next to the church at Stopham. The Barttelots rebuilt the ancient seat of the Stopham family in about 1485, but abandoned it in 1638 in favour of Ford Place, their house by the river. Apart from the ivy, Manor Farm-house has changed little since this Victorian engraving.

The heiress of the atte Fordes married into the eponymous Stopham family, whose manor-house was adjacent to the eleventh-century church. The eventual heiress of that line, Joan de Stopham, married, in 1395 or 6, John Barttelot, and their descendants – baronets since 1875 – have been squires ever since, including three recent generations of Coldstreamers who have kept the estate in guardsman’s order.

The manor-house is said to have been re-built by the Barttelots in about 1485, but they had abandoned it by 1638, removing everything but its firebacks. Their old home reduced to a farm-house, the then squire, Walter Barttelot, installed his family in the mansion of their female-line ancestors on the riverbank, the former Ford Place, which he, or his father, appears to have modernised.

Stopham House - the former Ford Place

Undeniably grand and imposing and set in pretty parkland, the Stopham House of today is a singularly ugly confection of rebuilds and additions (1787, 1842, 1865, 1887 and 1898) that conceal within them a hall and some adjoining rooms from the Tudor period. It has been divided into nineteen flats, and the squire has retreated to a more manageably-sized house on the hill, an attractive 1950s pastiche of the Queen Anne style.

The church, abutting the green and a cluster of estate cottages with their distinctive burgundy livery, is positively bursting with Barttelot memorials. The monumental brasses, set into the Sussex-marble floor of the nave and chancel, are the largest and ‘most complete series of sepulchral brasses in the county’. The oldest has portraits of John Barttelot, who died in 1428, and his wife Joan de Stopham. The newest commemorates ‘Captain Charles Barttelot, 1738’. Later generations of Barttelots are never to be forgotten in the marble monuments that cover the walls.

There are also stained-glass windows depicting members of the family and their heraldry, including, on the north wall, a window of three lights, apparently removed from the old manor-house in 1638, on which two of the Stopham lords are depicted in Tudor garb. The White Ensign worn by H.M.S. Liberty, commanded by a Barttelot at the Battle of Heligoland Bight, was laid up here, and so, in 1985, were the regimental colours of the First Battalion the Coldstream Guards, whose commanding officer was the present squire, Colonel Sir Brian Barttelot.

The present seigneurial house is deceptively modern, having been built in the 1950s

As a Victorian scholar observed, the Barttelots of Stopham have been ‘remarkably stationary both in place and condition’. It is more than likely that they descend from the Norman, Ralph, who held the manor at the time of the ‘Domesday’ survey in 1086. Stopham was one of numerous manors in Shropshire and Sussex granted by William the Conqueror to his close associate, Roger Montgomery. Roger had been keeping the peace at home at the time of the Conquest, but had been rewarded for his patience with the earldoms of Arundel and Shrewsbury. He in turn had distributed various manors among his own followers. Stopham was allotted to one Robert, who sub-let it to Ralph.

The first recorded lords after Ralph are Brian de Stopham (dead by 1236) and his son who, significantly, was also called Ralph. It has been pointed out that Brian de Stopham was a nephew of Brian de Insula or de l’Isle (the ‘isle’ in question being the Isle of Wight), a mighty Norman baron, and that their coats of arms (three crescents and a canton) were identical. At the time of his death in 1271, Sir Ralph de Stopham also held the manors of Bradford Bryan and Blandford Bryan (now called Bryanston) in Dorset, both of which took their names from Brian de l’Isle.

The north window, Stopham Church, with fanciful ancestral portraits. The Barttelots removed it from their old house in 1638

The senior Stopham line ended in an heiress who married William de Echingham. Joan, the eldest daughter and coheiress of William de Stopham and wife of John Barttelot, was no doubt descended from Sir Ralph through a junior line, but it is impossible to prove the connection, pedigrees extending back to that period being in any case a considerable rarity. (C.J. Robinson, ‘Stopham’, Sussex Archaeological Collections, XXVII (1877), pp.37-68; J.H. Round, ‘The Stophams, the Zouches, and the Honour of Petworth’, Sussex Archaeological Collections, LV (1912), pp.19-34; Joan Masefield, Stopham Remembered, Stopham, 1991.)

As for the Barttelots, in spite of the fanciful claims of a sycophantic Elizabethan herald, they were probably of English rather than Norman descent, their name being a diminutive of Bartholomew. They are first recorded at East Preston in 1295 and served successive earls of Arundel as counsellers and men-at-arms. John Barttelot was both Treasurer of the Hospital that Earl Thomas had founded at Arundel and an executor of his will.

His eldest son by Joan, ‘John Bartlett le puysne of Stopham’, was one of the ‘armigeri’ (esquires) who accompanied the earl across the Channel for the Agincourt campaign. Described on 28 September as being on ‘leave’, it is possible that he had contracted dysentery at Harfleur and that he been invalided home with the earl and others of his retinue, in which case he may, unfortunately, have missed the battle. (William Durrant Cooper, ‘Sussex Men at Agincourt’, Sussex Archaeological Collections, XV (1863), pp.127, 129.)

It was said in the fifteenth and sixteenth centuries that the Barttelots could ride from Stopham to Horsham without leaving their own property (Robinson, ‘Stopham’, p.40). If some of this land had indeed been held continuously by their line since the Ralph of Domesday Book, theirs would be a remarkable record of tenure, matched only by the Manners at Belvoir, the Luttrells at East Quantockshead, the Dymokes at Scrivelsby and a mere handful of other families (A.R. Wagner, English Ancestry, Oxford, 1961, pp.28-9). As it is they are the oldest gentry family in Sussex, now that the Pelhams, Wests and Ashburnhams have either died out or relinquished their ancestral estates. It is fitting that the motto of such a family is ‘Mature’.

Preparing for their weekly target practice at the butts, the men of the parish are believed to have sharpened their arrows on this pillar at the back of Berwick Church

The Westgates of Berwick. I recently visited the little tucked-away church at Berwick, near Lewes, to inspect Duncan Grant’s lovely murals, but it was the scarred lower stones of the tower arch, at the back of the building, that most caught my imagination. According to St Michael and All Angels, Berwick, East Sussex: A Guide to the Church and 20th Century Bloomsbury Murals that is available at the church, the grooves that pit the stones are ‘thought to have been cut by the sharpening of arrows. Archery practice was made compulsory on a Sunday after church by Edward III. The “Westcatts of Berwick” are on the Rolls of Archers at Agincourt and “Westgates” still live in the parish.’ The humble Westgates would in that case be at least as old as the Barttelots, with an equally long record of continuity in a single place. I note that, 600 years ago last month, a ‘John Wescot’ was an archer in Lord Arundel’s train, John Barttelot’s companion-in-arms (Cooper, ‘Sussex Men at Agincourt’, p.131).

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The Legend of Mélusine at the Château de Sassenage in the Dauphiné

August 28th, 2015

Further to my previous article, a host of ‘bonnes dames’, or fairies, seem to have survived the Christianisation of Gaul, continuing, in the imagination of superstitious locals, to haunt their grottos and springs.

Thanks to her association with the mighty Lusignan family and to the popularising of her legend by Jehan d’Arras, Mélusine is the name that has been given to many of them by default. At least three other great families claim descent from her (though Proust, who was clearly fascinated by the legend, adds a fictional fourth, the Guermantes), namely the Luxembourgs, the La Rochefoucaulds and the Sassenages.

Mélusine in her bathtub above the main entrance to the Château de Sassenage. The gyronny device to the left is of Bérenger, whilst the bars and lion to the right are of Sassenage. Identical arms were borne by the Lusignans and Luxembourgs.

Kinship with the Lusignans is suggested in their heraldry. All four bear for arms barry of ten argent and azure. The Lusignans, Luxembourgs and Sassenages have each added a red lion rampant with a golden crown, tongue and claws, whilst the La Rochefoucaulds superimpose three chevrons, that in chief couped, gules. Delightfully, there is a Mélusine de La Rochefoucauld in our own time, born in 1996.

The Sassenages, actual offspring of the counts of Lyon and Forez in the tenth century, were rooted far away from Lusignan in the Dauphiné, and took their name from the lordship of Sassenage, near Grenoble. As at La Rochefoucauld, there are impressive grottos nearby that Mélusine was said to inhabit, although she was said to emerge from the grottos of Sassenage, in dignified human form, three days before the death of the seigneur, as an obliging premonition (Léo Delaivre, Mère Lusine ou Mélusine dans la littérature et les traditions populaires, Arbre d’Or, Geneva, 2004, p.85).

It seems likely that the Sassenages had always claimed descent from the local fairy of the grotto, but that it was only after acquainting themselves with Jehan d’Arras’s work that they had attributed to her the name of Mélusine. The accepted version of events was that Mélusine must have fled from Lusignan to the Dauphiné, to re-marry there after the death of Raymondin and to found the line of Sassenage (Delaivre, Mère Lusine, pp.99-100). It would be interesting to know when they first adopted the arms of Lusignan, but that information is not to hand.

This stern Bérenger was a Knight of St John.

The Château de Sassenage was built in the 1660s, in white dauphinoise stone, close to the ruins of the medieval fortress. In a carving above the main entrance, Mélusine is depicted in her bathtub, alongside the arms of the Sassenages and the Bérengers. The family motto proudly asserts: Si fabula, nobilis illa est – ‘A legend, perhaps, but a noble one’.

The château today, though crammed with family treasures and a rich archive, is a rather forlorn place, left to the care of the ever-penurious Fondation de France in 1971 by the widow of the last Marquis de Bérenger-Sassenage. The adjacent suburb is singularly unlovely and has the desperate air of a zone artisanale. The once-magnificent park is maintained, but otherwise neglected. The house itself seems fossilised, a little cobwebby, apparently unrenovated in years (apart from the kitchen, where work is currently in progress), and peopled only by the spectral, sometimes alarming images of former Sassenages. Guided tours are offered by a courteous and knowledgeable curator.

A kindlier shade

Read my previous article on Mélusine at http://www.rupertwilloughby.co.uk/gleanings/the-legend-of-melusine-how-the-tutelary-fairy-of-the-lusignans-came-to-reign-over-starbucks/.

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The Legend of Mélusine: How the tutelary fairy of the Lusignans came to reign over Starbucks

August 27th, 2015

The fairy Mélusine - unacknowledged symbol of Starbucks Coffee

Once upon a time, a knight called Raymondin, who had been responsible for the death in a hunting accident of his uncle, Count Aymon of Poitou, was wandering alone, a disconsolate outlaw, through the forest of Coulombiers. Coming in the middle of the night upon a magical fountain, he encountered the beautiful Mélusine and her attendants. Mélusine promised that all would be well if he married her, and that they would found a great dynasty. A single condition was imposed: that he must never attempt to enter her chamber on a Saturday.

With Mélusine’s help, Raymondin raised the magnificent castle of Lusignan in only fifteen days. It perched on a steep, narrow promontory of great strategic significance, guarding the marches between Poitou and France. They settled there happily, and she bore him bore ten fine sons.

Raymondin discovers Mélusine's secret by peeping through a hole in the door: from a late-fifteenth-century edition of Jehan d'Arras's 'Le Roman de Mélusine' in the Bibliothèque nationale de France

One Saturday, however, Raymondin’s jealous brother persuaded him to spy on her, hinting that she might be seeing another man. Mélusine was innocently bathing, but, to Raymondin’s horror, her lower half had been transformed into that of a serpent or fish. With an anguished cry she assumed a different form, that of a dragon, and flew out of the window, never to return.

The fairy Mélusine was nevertheless to be proudly claimed as their ancestress by the later lords of Lusignan. Her line included the crusader kings of Jerusalem, Cyprus and Armenia, and the four sons of Hugh de Lusignan, Count of the March, by Isabella of Angoulême, the widow of King John of England. The favourites of their half-brother, Henry III, the Lusignan brothers – William, Aymer, Guy and Geoffrey – were hated by the English and expelled from the kingdom in the rebellion of 1258, having encouraged Henry in the belief ‘that a prince is not subject to law, and so justice itself was banished beyond the boundaries of the realm’ (Annales Monastici, Rolls Series 36, I, pp.463-4, cited in Clanchy, England and its Rulers, London, 1983, p.222).

The town and castle of Lusignan, the favourite residence of Jean, Duc de Berry, depicted in his 'Très Riches Heures' in the calendar entry for March. Mélusine, in the form of a dragon, hovers over the tower that bears her name

The direct line of the Lusignans expired in 1314 with the lady Yolande, who in 1308 had sold her estates to King Philip IV of France. It was thus as a part of the royal demesne that Lusignan was acquired by Jean, Duc de Berry, to whom the Limbourg brothers dedicated their Très Riches Heures (c.1412 – 16), the finest surviving specimen of French gothic manuscript illumination. In a famous depiction in the manuscript of Lusignan, which had become the duke’s favourite residence, Mélusine in the form of a dragon can be seen to hover over the tower that still bore her name, within which the spring that was sacred to her still flowed. Meanwhile, Duke Jean’s secretary, Jehan d’Arras, had been entranced by the ‘spinning yarns’ of the local women, which had inspired his Roman de Mélusine (c.1382 – 94), the earliest literary version of the legend.

According to an entry in La Chronique de Saint-Maixent, the castle was actually built in the mid-tenth century by Hugh II ‘the Kind’, Lord of Lusignan, no doubt on the site of a Roman oppidum. Naming their town after their general, ‘Lucinius’ or Licinius, the Roman colonisers had adopted the tutelary fairy of the spring and had called her mater Lucinia, ‘mother of Lucinia’, as a nod to their chief, Gallo-Roman divinities being invariably called ‘Mother’. The medieval lords of Lusignan had in turn adopted the cult of the fairy who reigned on the rock where they had built their castle (Léo Desaivre, Mère Lusine ou Mélusine dans la littérature et les traditions populaires, Arbre d’Or, Geneva, 2004, pp.18-19).

Julius Hübner, 'Die schöne Melusine', 1844

Catherine de’ Medici, Queen of France from 1547 to 1559, visited Lusignan and was fascinated by its myths, quizzing the elderly local women as they came to do their washing at the spring. They swore to her that Mélusine was often to be seen there, still beautiful in her widow’s weeds, majestically gliding along the pathways or furtively bathing. If one were only able to catch sight of her of a Saturday, one would see her serpent’s tail.

The castle played an important role in the Wars of Religion and was besieged in 1574, after which it was largely demolished, but the legend endures at Lusignan, whose inhabitants are called Merlusins, and where special cakes called ‘Mère Lusines’ are, or used to be made. The town is certainly still known for a type of confectionary called ‘Raymondins’ (Desaivre, p.51; https://fr.wikipedia.org/wiki/Lusignan_(Vienne)#Sp.C3.A9cialit.C3.A9s_culinaires.)

It would be appropriate if such cakes were to be sold at Starbucks, the American coffee-house chain, founded as a single store in Seattle in 1971 but now with 22,551 outlets in 65 countries, which – unwittingly, it seems – has adopted a representation of Mélusine as its logo.

Woodcut illustration of Mélusine from 'Das Buch von einer Frawen genant Melusina' (1480), reproduced in Cirlot's 'Dictionary of Symbols' (1971 - the year that Starbucks was founded)

The company’s earliest design of a crowned, bare-breasted mermaid with two tails has been ingeniously traced to a woodcut in Das Buch von einer Frawen genant Melusina. This is a translation of Jehan d’Arras’s Roman de Mélusine that was printed in Augsburg in 1480. ‘When we were originally looking for a logo for Starbucks in 1971’ – reads the official version – ‘we wanted to capture the seafaring tradition of early coffee traders.’ To this end, one of the founders ‘pored over old marine books until he came up with a logo based on an old sixteenth-century Norse woodcut’.

In fact, there is no such thing as a ‘Norse’ woodcut from that period. It seems more likely that he had lighted upon J.E. Cirlot’s Dictionary of Symbols (English edition, 1971), in which the German woodcut is reproduced. It is almost identical to the prototype design for Starbucks. See http://www.gotmedieval.com/2010/08/the-other-starbucks-mermaid-cover-up.html.

It is thrilling to discover that an ancient legend, the inspiration for artists over the centuries, has such currency and prominence in the modern world. Mélusine is not a nautical mermaid, but is associated with an inland spring, so for Starbucks to acknowledge her now would be to spoil their own ‘founding myth’.

The original Starbucks logo appears to have been directly copied from the illustration in Cirlot's book

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Having a Saint for an Uncle: The Château de Menthon-Saint-Bernard (Haute-Savoie) and its Family

August 11th, 2015

The 'improvements' of the artist Comte René de Menthon in the 1880s seem almost too 'Disney', but he was determined to adapt an austere fortress for modern living

What is there not to like about the Château de Menthon-Saint-Bernard? The craggy twelfth-century fortress (the name in Celtic means ‘rock bound’) of the mighty Menthon family, set on a platform high above Lake Annecy; three great stone-and-mortar towers with Sleeping Beauty turrets (added by the artist Comte René de Menthon in the 1880s), all jumbled around an inner courtyard (which, regrettably, was reduced in size by the same Comte René, albeit in the cause of adapting the castle for modern living); an ancient chapel (first mentioned in 1262); an austerely splendid library stuffed with rare pre-Revolutionary volumes – the Histoire des Sires de Salins and the Senatus Dolani, inherited from the Richardots of Dôle, caught my eye – old parchments with royal seals and incunabula; ubiquitous heraldry; a Grand Salon with stupendous views over the lake and a vast hooded fireplace, surmounted by one of the many inscriptions here of the family’s cri de guerre (‘Toujours Menthon, Partout Menthon’); fine family portraits and a gorgeous Tapisserie des Gobelins; a lady’s chamber sealed for warmth with a remarkably verdant set of Aubusson tapestries; the highly atmospheric Salle des Pèlerins, on the first floor of the tour du lac, still equipped with its great fifteenth-century oak dining table, where meals were prepared and consumed by all the members of the household, along with any pilgrims who happened to be passing this way; and, most satisfyingly, an eponymous family in occupation since at least 1150 (when they are first documented), though they may well have been in possession since the ninth or tenth century; a family which credibly claims St Bernard of Menthon, the patron saint of mountaineers, as a member, and the castle as his birthplace in 1008; one that was as powerful as it was prestigious, its dependencies reputedly stretching in the thirteenth century from the shores of the lake at Talloires to the very gates of Geneva; one to which, moreover, I am connected in various ways, having a double descent (through Viry, Montjoye, Klinglin and Faletans) from a sixteenth-century Hélène de Menthon (who assuredly would have dined at that great table in the Salle des Pèlerins), and even closer cousinship through the barons de Klinglin, a line that diverged in the eighteenth century. This, for me, is castle heaven!

The urbane Comte Bernard de Menthon had already softened the lakeside aspect of the castle, installing in 1740 the salle à manger and Grand Salon

‘Uncle’ Bernard

It was the ambition of the young Bernard de Menthon to become a monk, but his parents had other plans, pledging him in marriage to a lady of the house of Miolans. On the eve of their wedding, he had slipped out of the window of his chamber and fled to Aosta, where he took orders.

As Archdeacon of Aosta, he later founded the hospices of the Grand-Saint-Bernard as refuges for Alpine travellers, who were the constant prey of marauding Saracens and brigands. St Bernard’s hospices revolutionised Alpine travel, allowing the development of commercial and pilgrim routes between France and Italy. He died in 1081 but has given his name to the enormous dog, first bred by the fifteenth-century ‘canons of Saint-Bernard’, that, with a barrel of cheering liquor tied to its neck, used to rescue travellers buried in avalanches.

Lake Annecy from above seemed irresistible. It was only a short drive to Balmettes where we immersed ourselves in its waters - said to be the cleanest of any lake in Europe.

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A Balkan Adventure: Visiting the Monastery of the Greatest Lavra on Mount Athos

April 29th, 2015

Roofscape at the Greatest Lavra Monastery

The imperial double-headed eagle still flies over Mount Athos. The peninsula, in northern Greece, has been a self-governing monastic republic for over a thousand years. Robert Byron described it as ‘the composite and living memorial of a great civilisation’, for timeless Mount Athos represents the last gasp of the Byzantine Empire.

Constantinople fell to the Ottoman Turks in 1453, but the Holy Mountain continues to be regulated by a charter of the Emperor Constantine IX Monomachos. It was the Emperor Monomachos, the direct heir to Augustus and Constantine the Great, who in 1045 confirmed the legal immunity of the Holy Mountain, and famously banned all female creatures from the peninsula, along with eunuchs and beardless boys.

To the consternation of female scholars and feminists, that prohibition still applies. However, having visited Mount Athos twice I am able to confirm the presence there of hens, she-cats, young boys and, indeed, beardless monks – and that it is only one’s passport and diamonitirion (official permit) that are examined at the port of entry.

The oldest, largest and remotest of the twenty surviving monasteries on Mount Athos is the ‘Great Holy Monastery of the Greatest Lavra’. It was founded in 963 by St Athanasios of Trebizond, whose earlier career had been as a teacher in Constantinople. Athanasios had served his noviciate, in a hermitage on Bithynian Mount Olympos, with the future Emperor Nikephoros Phokas (a thwarted-monk-turned-soldier who was known to his trembling enemies as ‘the White Death of the Saracens’), through whose offices the new monastery was richly endowed, not only with lands and privileges, but also with holy relics from the imperial collection.

Athanasios’s monastery, or lavra, was the first on the Holy Mountain. The very concept of a monastery was frowned upon by the true ascetics – even today there are hermits living there in caves on the sides of cliffs, spiritual athletes who are often driven to madness by their solitude – but Athanasios had ‘found by experience that it is right and beneficial for brothers to live together’.

The Katholikon

The Greatest Lavra resembles a castle with its great battlemented walls and keep, the so-called Tower of Tzimiskes. A necessary defence against pirates, who were long a blight on the place, these enclose a complex of buildings and courtyards, covering three or four acres, and date from the time of Athanasios himself.

Lavra was the template for all the subsequent monasteries on Mount Athos and, despite the intrusion of ugly and oversized buildings from later periods, the core structures from Athanasios’s time are still intact: the mulberry-coloured katholikon or church at its heart, the trapeza or refectory opposite, and, in between, the domed phiale or fountain, still the largest on Mount Athos.

Settling in and off to Church

We found our way to the archontiriki (guest-house), which is set into the walls above the main entrance. On a broad, covered balcony, crowded with visiting monks, we were received by a courteous and efficient lay helper. We entered the required particulars, including the names of our fathers, in the register.

Our attentive host returned with raki, Turkish coffee and glasses of water. He advised us that the service at 5 would be followed by a meal in the trapeza, and that the gates of the monastery would be closed at 8. We were shown to our room, one of four large dormitories that overhung the walls, each containing about fifteen beds, but neat and clean, with large windows looking down to the sea.

The kitchen block

Lavra has a captivatingly timeless atmosphere, despite the hideous modern additions. The most egregious of these is the large helipad outside, done in red asphalt with a large letter ‘H’ in the middle. It seemed to contradict the very purpose of the monastery as a place of extreme seclusion. Perhaps the rot had already set in a thousand years ago, the early monks seeming reluctant to sever all links with the outside world: the hermits who inhabited the neighbourhood had criticised them for keeping their own boat.

The rambling kitchen block, on the other hand, seemed to be a very ancient structure, barely changed in centuries, and there were numerous dark passages, staircases and ramparts to explore.

Entrance to the Katholikon

We observed the service as best we could, propped against the stalls, from the narthex of the katholikon, for the non-Orthodox are not admitted to the body of the church. The Greek services are long and baffling with occasional dramatic interludes – the lighting and snuffing of candles, the swinging of the corona, the censing of the congregation, who otherwise play no part. Music, other than singing, is forbidden. It is important to stand when required and to maintain a respectful posture.

The Trapeza

We were unprepared for the splendour of the trapeza, into which we processed at last for supper. A huge room in the shape of a cross, it was frescoed from top to bottom by the sixteenth-century master Theophanes of Crete, with numerous depictions of the saints and of biblical episodes, including the Day of Judgement. It has a stone-flagged floor and a simple wooden ceiling, cheerfully painted.

Most remarkable are the horseshoe-shaped tables and seats, which are set in stone along the length of the room. The stone base of each has been plastered over and whitewashed. The seats have boards laid on top of them and fastened down, while great grey marble slabs serve as table tops, some with little channels at the rim. Here, as was customary, we ate in silence, while some improving text was read to us from the far end of the room.

The entrance to the Trapeza, from the Phiale

The food was delicious – a thick reddish broth, filled with rice, of indeterminate flavour (perhaps red cabbage), with Coquilles de St Jacques, boiled eggs painted red for Easter, bread, plenty of red wine and oranges. When the meal was over, we filed past a row of monks, those in charge of the kitchen, who had their heads bowed, graciously but needlessly assuming postures of penitence for their unworthy fare.

We stole back in for a closer examination of the trapeza, and were saddened to witness the deterioration of the frescoes. According to my companion, this was caused by rising moisture, the stone-flagged floors being about three feet below the ground level outside.

I congratulated an attendant (a Romanian who spoke good English) on the excellent supper, and asked for the ingredients. He would not, or could not tell me, and laughed at my suggestion that the recipe was perhaps a secret.

A grumpy monk, and a kindly one

A few minutes later we were waved back into church for a further service. We assumed our usual positions in the narthex, but discovered that much of the proceedings was to be conducted from thence – an intoning by half a dozen monks, positioned in opposite corners, of various texts, while the rest of the congregation and monks were otherwise engaged in the body of the church, from which we were separated by a curtain.

We had noticed the desultory manner in which the offices were read, but were surprised when, soon into the service, we were engaged in conversation by an elderly monk, though to all outward appearances we were deep in contemplation or prayer. The fellow enquired curtly, in a loud, gruff voice, whether we were German. We satisfied him that we were not. His suspicions were, nevertheless, aroused. Where we, perhaps, Roman Catholic?

I had instructed my amiable companion, an old Amplefordian, to deny his Catholicity for the sake of a quiet life. (The Pope and all his cohorts have never been forgiven for the sack of Constantinople in 1204.) For about the fifth time in three days, Hamish dutifully declared himself an Anglican.

The surly fellow had been a monk of Lavra for twenty years. He explained that he had known England well, from visits to his sisters in Barry, near Cardiff. Did we know Barry? Hamish claimed, most unconvincingly, to have ‘driven through it’.

He then asked us what we did. ‘I am a writer,’ I said.

‘What do you write?’

‘History.’

‘Why do you bother?’ he said. ‘All history has been written.’

‘There are always new ways of looking at things,’ I stammered.

‘But the past is απολυτος,’ he said. ‘Fixed, unchangeable.’ I reflected wistfully on my modest corpus of work, even of Basingstoke and its Contribution to World Culture, my tragi-comic account of a typical English town, seminal in its way. Yet worse was in store for Hamish.

‘I am an I.T. consultant,’ he announced. ‘To do with computers,’ he added, helpfully.

‘Aagh!’ said our friend, with an expression of disgust. ‘The computer is the μηχανισμος του Σατανου – machinery of Satan.’ Before Hamish could defend himself, the gruff monk, fully confirmed in his belief that we were incorrigible heretics, had walked away.

At the end of the service, the other congregants pressed forward for the purpose of examining the holy relics. A younger, more kindly monk encouraged us to join them. We took the opportunity to examine the frescoes, which are also attributed to Theophanes. Those in the narthex, of which we had had our fill, were inferior nineteenth-century work.

The kindly monk knew all about the buildings and their history. He pointed out the portraits of Nikephoros Phokas and of his nephew John Tzimiskes, who murdered him and took his throne. The two men seem to glare at each other across the doorway. The defensive Tower, named after the Emperor Tzimiskes, can only be entered through the monks’ own quarters. It contains four floors, but is not used. We learnt that the sakkos (embroidered vestment) and crown of Nikephoros Phokas, which I was most curious to see, could not be viewed as they were locked away, with all the other contents of the library. A new library is being built to house them. The noise and clutter of the construction work were all around us.

The kindly monk showed us Athanasios’s tomb in a side chapel. I asked why Athanasios’s death in this very building, from falling masonry, was not thought to be a sign of divine displeasure. He explained that Athanasios had evidently been ready for his reception into Heaven, having dressed appropriately for the occasion. The saint’s body was miraculously preserved and was partly visible in its silver casing. We were shown the iron rod, propped against the adjacent wall, with which the saint had performed one of his miracles, smashing open a rock so that it flowed with water.

The kindly monk had to hurry away, but we were grateful indeed that he had been so generous with his time.

The new library

We took a closer look at the construction work. With its concrete frame, basement and lift shaft, the new library looked like being another unnecessary modern intrusion.

Was it really worth the disruption and expense? Could they not have renovated an existing building? The monastery possesses an invaluable collection of charters, but these have been comprehensively edited and published by Madame Rouillard and her collaborators in their Actes de Lavra. Though it would have greatly gratified my curiosity to have had a sight of the originals, I had no pressing need to do so, and wondered how many scholars could be expected to make use of such a library at any one time. Even Madame Rouillard (a proscribed woman) had relied on photographs that were taken in 1918.

Besides, entry to Athonite libraries is hardly encouraged. In the seven monasteries on the peninsula that I have visited, I have only ever been admitted to one library, that at Gregoriou, which was represented to me as an exceptional privilege.

Back at the Archontiriki

The Guests' common room

The monastery proclaims its deep conservatism in the Guests’ Common Room. The room is stark and dimly lit, with a central chandelier, but the walls are crowded with pictures. A series of crude, colourful prints commemorates the heroes of the War of Independence. There are group photographs of the monks, with their lay servants and attendant evzones, dating from the 1920s and 30s; a couple of oil paintings of sailing ships apparently floundering off the peninsula; and, arrestingly, a set of portraits of the former kings of Greece, including the last, a young Constantine in black and white. Asked what his countrymen might make of that, a fellow pilgrim, a Greek, thought that they would be ‘disappointed’.

We retreated at last to our dormitory, where most of our room-mates were already preparing for, or in bed. I had a cold shower in the bathroom downstairs, but am British, so that was all right. We had a disturbed night, as one of the Russian pilgrims snored incessantly like a walrus, reducing us at first to giggles. I awoke to the put-put of a motor-scooter being started up, but this turned out to be our snoring friend. We arose early and caught the seven o’clock bus back to Karyes.

Breakfast at Karyes

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Mark Ronson and Bruno Mars, Uptown Funk – in Latin

March 13th, 2015

hic ictus,

illa frigida

Michaela Pfeiffer,

illud aureum album,

hocce, istis puellis viciniae,

istis bonis,

artificiis ipsis,

speciosis,

exultantibus in urbe,

calceantibus Sancti Laurenti,

‘tam pulchra meum est basiare’.

II.

nimis calidus sum,

denuntiatores vigilesque vocavi,

calidissimus sum (calidus, damna);

draconem abire facio.

calidissimus sum (calidus, damna)

dic nomen, scis qui sum,

calidissimus sum

et malus de illa pecunia.

comminue!

III.

puellae cantate halleluiah!

quod urbanum funcum vobis dabit!

sabatto nocte et sumus in loco.

nolite me credere, spectate.

eio, eio, O!

(urbanus = after the city fashion, refined in manner, elegant; funcum = funk – otherwise untranslatable!)

This hit

That ice cold

Michelle Pfeiffer

That white gold

This one, for them hood girls

Them good girls

Straight masterpieces

Stylin’, while in

Livin’ it up in the city

Got Chucks on with Saint Laurent

Got kiss myself I’m so pretty

II.

I’m too hot (hot damn)

Called a police and a fireman

I’m too hot (hot damn)

Make a dragon wanna retire man

I’m too hot (hot damn)

Say my name you know who I am

I’m too hot (hot damn)

Am I bad ’bout that money

Break it down

III.

Girls hit your hallelujah (whuoo)

‘Cause Uptown Funk gon’ give it to you

Saturday night and we in the spot

Don’t believe me just watch (come on)

Don’t believe me just watch

Hey, hey, hey, oh!

Translated by Rupert Willoughby, 12 March 2015

View the original at https://www.youtube.com/watch?v=OPf0YbXqDm0.

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Plan B, ‘She Said’ – in Latin

December 7th, 2014

Dixit

Calumnia Stricklandi Bancae

dixit ‘te amo, puer, te amo tantum’.

dixit ‘te amo, parvule, o, o, o, oo, oo’.

dixit ‘te amo magis quam dicere possum’.

dixit ‘te amo parvu-u-u-le …’

II.

Itaque dixi ‘ita non est ut dicis, puella.

quomodo me amare potes?

Hac nocte convenimus.’

sed dixit: ‘verum puer te amavi ab initio.

quando primum audivi de amore aliquid in meo corde incanduit.’

dixi: ‘noli garrire. discede statim et ianuam claude. (dixit)

III.

‘sed te amo puer, te amo tantum.’

dixit ‘te amo parvule, o, o, o, o, oo.’

dixit ‘te amo magis quam dicere possum’.

dixit: ‘te amo parvu-u-u-le.’ (quod ita sit.)

IV.

itaque in basilica sto causem dicens, testem exsistens,

quaesitori iudicibusque referens quod vigilantibus dixi

illo die deprehensus sum, ‘sum innocens’ confirmavi.

Se percepit repudiata, eius cor fractum aliquo obsessi,

quippe qui amans mea musica,

quod deditam meis musicis facit.

hac de causa amor eam dementiscet,

non secernens virum ab musicis.

et narro hoc omne in loco

dum mea puella in portico lacrimat.

est magis quam umquam designavi,

consimilis illo cantico a Zutonis, ‘Valeria’,

sed iudices id credere nolunt,

et illud me nervosus facit.

compressis manibus sedentes, vultibus detorquentibus non credentibus,

sanguinarii oculi adfixi mihi,

me concludere volunt et clavem abicere,

me dimittere quamvis eos dicam ut …

dixit ‘te amo, puer, te amo tantum’.

dixit ‘te amo, parvule, o, o, o, o, oo’.

dixit ‘te amo magis quam dicere possum’.

dixit ‘te amo parvule, e, e, e, e …’

VI.

itaque dixi ‘in nomine Tartari cur convivis abjecte?

non scis amorem, si autem hoc scias non facias.’

She Said

She said ‘I love you boy I love you so’.

She said ‘I love you baby oh oh oh o-oh.’

She said ‘I love you more than words could say.’

She said ‘I love you ha-a-a-a-by.’

II.

So I said ‘What you’re saying girl it can’t be right.

How you can you be in love with me?

We only just met tonight.

But she said ‘But boy I loved you from the start.

When I first heard love goes down something started burning in my heart.’

I said ‘Stop this crazy talk, leave right now and close the door.’ (She said…)

III.

‘But I love you boy I love you so.’

She said ‘I love you baby oh oh oh o-oh.’

She said ‘I love you more than words can say.’

She said ‘I love you ba-a-a-a-by’ (…Oh yes she did)

‘But I love you boy I love you so.’

She said ‘I love you baby oh oh oh ooh’.

She said ‘I love you more than words can say’.

She said ‘I love you ba-a-a-a-by’ (…Oh yes she did).

IV.

So now I’m up in the courts pleading my case from the witness box,

Telling the judge and the jury the same thing that I said to the cops

On the day that I got arrested, ‘I’m innocent’ I protested.

She just feels rejected, had her heart broke by someone she obsessed with,

‘Cos she likes the sound of my music

Which makes her a fan of my music,

That’s why love goes down makes her loose it,

‘Cos she can’t separate the man from the music.

And I’m saying all this in the stand

While my girl cries tears in the gallery.

This has got bigger than I ever could have planned,

Like that song by the Zutons, ‘Valerie’,

But the jury don’t look like they’re buying it,

And this is making me nervous.

Arms crossed, screw faced like I’m trying it,

Their eyes fixed on me like a murderer’s.

They wanna lock me up and throw away the key.

They wanna send me down even though I told em she …

She said ‘I love you boy I love you so’.

She said ‘I love you baby oh oh oh oh.’

(Yes she did.)

She said ‘I love you more than words can say’.

She said ‘I love you ba-a-a-a-by’.

So I said ‘Then why the hell you gotta treat me this way?

You don’t know what love is. You wouldn’t do this if you did.’

Translated by Rupert Willoughby, 3 December 2014

View the original at https://www.youtube.com/watch?v=rQjh9H-ymK4.

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The Normans – Conquest and Legacy: The Isle of Wight

November 17th, 2014

The ruins of Quarr Abbey, Isle of Wight

A short film to promote my latest lecture, ‘The Normans – Conquest and Legacy’, can be viewed on my new Youtube page – https://www.youtube.com/watch?v=n0xejJtoUuk.

In the film, I visit four locations on the Isle of Wight – Binstead Church, Carisbrooke Castle, the ruins of Quarr Abbey and Brading Church – to demonstrate that the physical impact of the Normans was considerable, even in the remotest corners of our landscape.

Why might the Tower of London and Winchester Cathedral be the pride of the Isle of Wight? What saucy reminder of themselves did the Normans leave over a church door? Why was a powerful Island abbey the legacy of a marauding Norman giant who was hardly a model Christian? Why is the descendant of another Norman settler remembered as a swarthy Turk? These and other questions are answered in the film.

It was shot by Roger Lowe on 21 October 2014, while England was still being ravaged by the tail-end of Hurricane Gonzales – hence the dramatic skies and the slightly windswept appearance of the presenter!

The Norman motte at Carisbrooke, Isle of Wight

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Captain Cyril Mumby and the First Lincolnshires at Nonne Bosschen, 13 November 1914

November 13th, 2014

The photograph above was signed and dated precisely a hundred years ago by my great-grandfather, Cyril Mumby, on the very day that he was wounded on the Western Front.

A former captain of militia (the 3rd Leicesters), the 35-year-old Cyril had rejoined the Special Reserve on 20 August 1914, soon after the outbreak of the war. After training in England, he had been ordered on 21 October to join the British Expeditionary Force in France, made up of regulars and reservists like himself.

Cyril had crossed by night from Folkestone, and had been attached to the First Battalion, the Lincolnshire Regiment, part of the 9th Infantry Brigade. It was an appropriate posting for someone with Lincolnshire ancestry. Raised in 1685 as the 10th Foot, the Lincolnshire had been collecting battle honours since Blenheim. With considerable apprehension, Cyril was joining them in their temporary billet in the village of Rouge Croix, south of Armentières.

Despite their legendary efficiency and ésprit de corps, the men of the Lincolnshire presented a shocking sight. In the action of the past few days, they had suffered no fewer than 144 casualties, yet were called forward again that very afternoon. Cyril’s first grim taste of action was an attack on Neuve Chapelle. Advancing under heavy machine gun fire, scores of the Lincolnshires were hit, their casualties amounting to a further fourteen killed, 74 wounded and seven missing.

It had been raining heavily. Barely able to keep themselves awake, the survivors huddled overnight in hastily-dug trenches that amounted to little more than muddy ditches. When the battalion eventually withdrew before dawn, it was to spend most of the day marching wretchedly through the rain to their billets.

The following morning they advanced on Kemmel, where the landscape was unspoilt as yet and seemed more picturesque. The battalion was to reinforce the line around Messines against a formidable assault by the Germans, who were bent on breaking through to the Channel ports. On 1 November, they were ordered to re-take the village of Wytschaete, which they achieved with further heavy casualties. Cyril survived the engagement, but five of his brother officers were killed and three were wounded. Formed up on the road by the Colonel and acting Adjutant, fewer than a hundred men answered the roll call. Astonishingly, the number of dead, wounded or missing, in all ranks, now totalled 293.

Refitted and reorganised, if not fully recovered, the gallant unit received orders on 5 November to move ‘at five minutes’ notice’. Detailed as reserve battalion, the Lincolnshire sheltered from heavy shell fire in dug-outs on the Menin road, mere holes in the ground. Mud, water, rain, frost and snow combining with murderous shell fire, the regimental historian considers their predicament to have been ‘without parallel in the history of the British Army’.

The British having been driven in a desperate battle from their trenches, the Lincolnshire and other reserve battalions were now sent to recover that ground. That is how my great-grandfather found himself in the Nonne Bosschen (‘Nun’s Wood’), on the north side of the Menin road, into which the enemy had fallen.

About a hundred yards short of the German line, the Lincolnshire halted and set about digging new trenches, but were unable to penetrate below the roots of the trees. For three days they huddled in shallow, water-logged ditches, easy targets for the German machine guns. Then, on 9 November, in pouring rain, they heroically beat back repeated onslaughts by the massed enemy, his final attempt to break a way through to Ypres and the coastal towns.

The succeeding days ‘were days of almost indescribable misery, when only the inherent cheerful disposition of the British soldier kept his soul alive amidst desperate conditions’. The trenches had been flooded by the heavy rain. Liquid mud mingled with blood and gore. Relentless shelling on 12 November accounted for 29 casualties. On 13 November, there was more of the same. My great-grandfather had time to sign and date a studio portrait of himself that he had had taken in Ypres, and to post it off to his sister, Isabel, in England. I have it now and it is the one illustrated above.

A novel form of trench-mortar, the Minenwerfer or ‘Minnie’, had been turned against them, the first of its damaging shells exploding in soft ground near a burying party and spattering it with mud. Heavy rain fell and Cyril, in the forward trench, was knee-deep in mud and water.

Suddenly, Cyril found himself on the receiving end of a shell. The next he knew he was concussed, the sound of the blast ringing in his ears. The shrapnel had torn into both feet, cut up his face and knocked out a tooth. A stretcher party hastily carried him away and he was transported, in agony, to a field hospital, where his wounds were classed as ‘severe’. His wife and mother were both informed by telegram. Four days later he was taken to Boulogne and, much to his relief, embarked on the troopship Carisbrooke Castle for England.

Cyril’s recovery was slow and it was not until March 1916 that he was declared ‘fit for light duty’. Determined to be of service, he re-trained as a Railway Transport Officer and, in October 1916, returned to France, to see out the war there as an R.T.O. Based in Rouen, his work was to issue movement orders, order waggons, certify demurrage bills. The Armistice was signed in November 1918, but two years later Cyril was still in uniform. Promoted to Major in 1919, he obtained his longed-for release in April 1921, by which time he was Deputy Assistant Director of Transport, British Troops, France and Flanders, a survivor, but greatly affected by his ordeal.

Cyril’s period of active service had left him permanently disabled, his business career and his marriage both in ruins. He would not have been human if not profoundly damaged psychologically by his experiences. The decimation of the gallant Lincolnshires that he had witnessed – in spite of which they had remained an effective fighting unit – must have haunted him for the rest of his days. He died in 1938.

Men of the First Battalion, The Lincolnshire Regiment, in the trenches at Nonne Bosschen, 11 November 1914. Cyril Mumby was in this trench on 13 November when a shell landed nearby, causing 'a terrific explosion'.

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Mikhail Yur’evich Lermontov: A Hero of Our Time – with a Note on his Scottish and Tatar Ancestry

September 13th, 2014

Mikhail Yur'evich Lermontov (1814 - 1841)

The bicentenary next month of Mikhail Yur’evich Lermontov, the great Russian poet, should be marked by a reading or re-reading of his only novel, A Hero of Our Time.

The eponymous hero is the Byronic Pechorin. Cynical, world-weary, bitter and bored, Pechorin represents a literary type known as the ‘superfluous man’, a man, that is, of superior talents, who is yet condemned by the constraints of society and his own lack of purpose to lead a wasted life. The ‘superfluous man’ is a recurrent figure in contemporary Russia literature, the supreme example being Pushkin’s Evgeny Onegin.

Lermontov’s Pechorin is not merely bored but destructive. The novel is as gripping for its romantic locations and dramatic pace as for the psychological unravelling of the hero, whom, in the end, it is impossible to like. Pechorin repeatedly turns away those who would willingly love him: ‘I’m incapable of friendship,’ he says. ‘Of two friends one is always the slave of the other, though often neither will admit it. I can never be a slave, and to command in these circumstances is too exacting, for you have to pretend at the same time. Besides, I have money and servants enough’ (trans. Paul Foote, Penguin edition, 1966, p.100).

Lermontov aged about 7

While recognising his hero’s ‘malady’, Lermontov is sympathetic to a character who is so clearly modelled on himself. Like Byron, he had been deeply affected by the circumstances of his childhood. His father, Yury Petrovich Lermontov, the head of a minor gentry family, had served in an unfashionable regiment and had retired as a captain. He is said to have been a violent drunk and a womaniser. Lermontov’s mother, Maria, died when he was three and he was brought up by his adoring maternal grandmother, an aristocratic Stolypina. Her late husband, Mikhail Vasil’evich Arseniev, had also served as a captain, but in the Preobrazhensky, the foremost Guards Regiment. Madame Arsenieva considered her son-in-law to be far beneath them and he was kept at a distance.

The Arsenievs were, indeed, a distinguished military family. A distant cousin, Nikolay Dmitrievich Arseniev (1754 – 96), had commanded a column under Suvorov in the assault of Izmail in 1790, for which he is commemorated by Byron in Don Juan (Canto the Eighth, Verse IX) – ‘The columns … though led by Arseniev, that great son of slaughter/As brave as ever faced both bomb and ball’ – lines which young Lermontov was proud to be able to quote in the original. Grandfather Arseniev had, however, bequeathed him his melancholy streak – he had died in 1810 by his own hand, having poisoned himself. The atmosphere was hardly happy, and Lermontov had grown up to be isolated, indulged and introspective.

Commissioned in 1834 into the Guards Hussars Regiment, he had been thrust into St Petersburg society, of which he was sincerely disdainful, as is evident from poems like ‘The First of January’:

‘When the hands of town beauties

Which have long ceased to tremble,

Touch my cold hands with loveless audacity …’

The Siege of Izmail in 1790: Arseniev commanded a column

His failures with women, in contrast to his heroes, Pushkin and Byron, fuelled his pessimism whilst spurring his creativity. Personally somewhat unprepossessing, he was described as bow-legged, with a scowling face and droopy moustache. The conquests of both Pushkin and Byron were legion – Pushkin could even boast that he had slept with a woman, Calypso Polichroni, who had been a mistress of Byron – but Lermontov had only one great love affair, with Varya Lopukhina, the model for Vera in Hero of Our Time. Like Vera, she had ended the relationship in order to marry an older man. Lermontov ‘nursed a bitter grievance and frustration forever thereafter. As a result, it could be argued that his feelings and perceptions about love became more intense than those Byron experienced’ (Laurence Kelly, Lermontov, p.192).

Lermontov clearly felt more at home in the Caucasus, the Russian Empire’s ‘Wild West’, to which, in 1837, he was effectively exiled, having denounced the death of Pushkin as a conspiracy. The impression in Hero of Our Time is of bored officers manning remote outposts, drinking and gambling late into the night, hunting furiously during the day and hoping that they will not be picked off by savage Circassians. Lermontov, however, was enchanted by the mountain scenery and relished the solitude. Perhaps, like Pechorin, he enjoyed dressing up in the splendid local costume and going out for long, lonely rides:

‘I fancy the Cossacks gazing idly from their watch-towers must have puzzled long over the sight of me galloping without cause or purpose, for from my clothes they must have taken me for a Circassian. Actually, I’ve been told that on horseback and in Circassian dress I look more like a Kabardian than many Kabardians themselves. Indeed, when it comes to this noble warrior’s dress, I’m quite a dandy: just the right amount of braid, expensive weapons with a plain finish, the fur on my cap neither too long note too short, close-fitting leggings and boots, a white beshmet and a dark maroon top-coat. I’ve made a long study of how the hillmen sit a horse, and nothing flatters my vanity more than to be admired for my mastery of the Caucasian riding style’ (trans. Foote, p.113).

Much has been made of Lermontov’s distant Scottish ancestry, his descent from a certain George Learmont, a mercenary who had been captured at Mozhaisk in 1618, subsequently transferring his allegiance from the Polish to the Muscovite service. Less has been said of his exotic Asiatic ancestry on his mother’s side. The Arseniev ancestor, Aslan-murza Chelebi, was a Tatar prince of the Golden Horde, an undoubted descendant of Chingis Khan, who had in 1389 also transferred to the Russian service and had accepted baptism, the Grand Prince Dmitry Donskoy himself standing as godfather. The family surname derives from Aslan’s son, Arseny Issup Prokof’evich. It is perhaps no wonder that Lermontov felt at home in the wilds! (Nicolas Ikonnikov, La Noblesse de Russie, Tome A.1 (Paris, 1957) and I.1 (Paris, 1959), Arseniev and Lermontov pedigrees.)

Skirmish in Dagestan, by Lermontov

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