The Trial of Agnes Waterhouse – Witchcraft in Essex, 1566

In a recent internet deep-dive in search of social media inspiration, we came across a recurring statement declaring Agnes Waterhouse, a local Essex woman, as the first person executed for witchcraft in England in 1566. Marion Gibson, currently a professor at Exeter University, has kindly written this blog post for us, to tell us a little bit more about Agnes and why these claims about her are actually fake news.

Agnes Waterhouse was a widow from the village of Hatfield Peverel who was tried in Chelmsford for witchcraft in the summer of 1566. It’s as a witchcraft suspect that her name appears on a list of accused felons held by the Essex Record Office, among the Quarter Sessions rolls.

Q/SR 19/5 – Quarter Session Roll from 1566 which lists Agnes Waterhouse, Joan Waterhouse, and Elizabeth Frances as felons suspected of witchcraft from Hatfield Peverel

A “felony” was a serious crime, punishable by death, and the group of suspected felons who included Agnes passed through the lower court of Quarter Sessions in 1566 on their way to the higher court of the Assizes. There they would be tried and sentenced.

Agnes was going to the Midsummer Assizes, held in the hot months when England’s top judges got out of London and had time to sit in judgement over suspected provincial criminals. In Chelmsford the Assizes were held in the Market Cross House, which stood just in front of the present-day Shire Hall. The Essex historian Hilda Grieve describes it as:

‘an open-sided building, with eight oak columns supporting upper galleries and a tiled roof. The galleries, which overlooked the open “piazza” below, were lit by three dormer windows in the roof… the magistrates and justices sat in open court, which measured only 26 feet by 24 feet, with the officers of the law, counsel and clerks, plaintiffs and defendants, jurors, sureties, witnesses and prisoners, before and around them, while spectators, hangers-on, and those awaiting their turn, crowded into the galleries above or thronged the street outside.’

The Market Cross House was an unsatisfactory courtroom – packed, noisy and horribly public – but it was Agnes’ destination in summer 1566 after she had been accused as a witch.

Witchcraft was a crime that came to Assize courts regularly, but only after a new Witchcraft Act had been passed by Parliament in 1563. The new Act stated that witches who were convicted of lesser offences – like making farm animals sick – would be punished with one year in prison. Witches who were convicted of killing a person, however, were to be hanged.

Agnes was accused of murder by witchcraft, for which she would be executed if she was found guilty. She was said to have killed her neighbour William Fynee. When questioned, she also admitted harming pigs, cows and geese in her village. Eventually she said she had murdered her own husband in 1557 because they lived “somewhat unquietly” together; it is possible that this confession was drawn out, in part, by some guilt she may have felt over relief at his death and the relative freedom that widowhood granted her.

Agnes also confessed to owning a demonic spirit in the form of a pet cat called Sathan, given to her by her sister Elizabeth Fraunces, and this cat had killed her husband and done all the harm of which Agnes stood accused.

Elizabeth Fraunces and also Agnes’ daughter Joan were accused of witchcraft alongside her. Joan was just eighteen years old. She was accused of bewitching another teenager, the Waterhouse’s neighbour Agnes Browne. Joan and her mother, twelve year old Agnes Browne told the court, had sent a black dog to torment her. It brought her the key to the Browne family’s dairy and stole or damaged some of their butter. More seriously, the dog tempted Agnes Browne to suicide by bringing her a knife. He told her this was “his sweet dame’s knife” and when he was asked who this was, Agnes Browne said “he wagged his head to your house, mother Waterhouse”. As well as being a talking dog, this demonic tempter had a monkey’s face and a whistle hung around his neck: a strange beast to see trotting around Hatfield Peverel!

Agnes Waterhouse told Agnes Browne that she was making this story up: “thou liest” she told the girl stoutly. She added that she didn’t even own a dagger. It sounds as though Agnes Waterhouse was in court facing down Agnes Browne – and this account of the trial may be true. But Agnes Waterhouse didn’t need to confront Agnes Browne. She had in fact already pleaded guilty to witchcraft. Most accused felons fought for their lives by pleading “not guilty” but Agnes Waterhouse didn’t. Why did Agnes plead guilty, and why was she still fighting on in the courtroom after she had confessed? The answer is probably Joan. By pleading guilty and then standing beside her daughter to take the blame perhaps Agnes hoped to save Joan from execution.

A woodcutting, supposedly of Agnes Waterhouse, from a 1566 pamphlet of the trial.

The case made what we would now think of as “headlines”. Someone gave the statements of the accused witches to a London publisher, who added an eyewitness account of the courtroom scenes, a couple of very bad poems and a description of Agnes’ execution. Yes, that was her fate, and 29th July is the anniversary of her death. Agnes Waterhouse was executed with the other felons convicted at the Assizes, hanged in front of a crowd gathered at the gallows in Chelmsford. The site of her death lies on the road leading towards Writtle.

It was a sad end to Agnes’ life, but it was a golden opportunity for journalists. The publisher rushed out a booklet about the case and even added a portrait of Agnes to his story, a woodcut print labelled in blackletter font and showing a woman looking oddly pious, with her hand upraised in blessing. There’s a good reason for this mismatch between story and woodcut.

The picture isn’t actually of Agnes at all. It was just a woodcut from the publisher’s stockroom, with space in the label to insert metal blocks of type. In this way the publisher could give any name to the woman depicted. Witches were usually women, this was a picture of a woman: that would do.

This bit of fake news isn’t the only myth to get stuck to Agnes over the course of the last four hundred and fifty years, however. She’s routinely described as the first witch to be executed for witchcraft in England. In fact, witches had been being executed in England and the wider British Isles for centuries, often because they were judged under laws concerning treason or heresy. Examples include Petronilla de Meath from County Meath, who was executed in 1324 and Margery Jourdemayne from Eye in Suffolk, who was executed in 1441. Both women were burned at the stake. But it is true that Agnes is the first media superstar of the age when witch-hunting got serious in England. She’s a “first witch” because she’s the first witch we know about from a printed news story. In the sixteenth century, that was extraordinary fame.

We should remember Agnes on the anniversary of her execution. She died surrounded by her enemies, likely jeering and jostling for a better view, but she died knowing that her daughter Joan had been acquitted, just as Agnes had hoped.

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All the details of the case are taken from the news pamphlet ‘The Examination and Confession of Certaine Wytches at Chensforde in the Countie of Essex (1566)’.

You can read more about Agnes, including the whole text of this pamphlet, in Marion Gibson, ‘Early Modern Witches’ (London: Routledge, 2000)

In the meantime, St Andrews Church in Hatfield Peverel is probably the closest glimpse we can get of the Hatfield Peverel that Agnes knew.

Much of the building dates to the 19th century restoration, but the nave and central tower arch from the original 12th  century priory still remain and Agnes would have looked on these features much as we do now, as an enduring memento of history. (Photo by Fred Spalding c.1940)


Recreating the Record

Over the course of the UK lockdowns the music collective, Resonance have been working with the ERO to incorporate recordings preserved by us into their work, culminating in an Album which has been launched today!

Chris Adam, co-founder of Resonance takes us through the journey below together with some details about how you can purchase your own copy.

Strangely enough for a project so grounded in history, this album started from a meeting about the future. Sometime in January (I forget the actual date!), Martin [Martin Astell – the Essex Record Office Manager] and I were included in a meeting to discuss ideas incorporating digital technology into art and heritage projects in Essex. It was in this meeting I discovered the amazing resource that was essexsounds.org.uk and realised there was an opportunity for Resonance to collaborate with the Essex Record Office.

The Record Office has an extensive archive of recorded audio material from around Essex. Many of these archives are fragile and at-risk – having been initially captured decades ago on ageing formats such as reel-to-reel tapes, early records or even wax cylinders. These are continuously in the process of being digitised, in order to preserve the audio history of Essex.

All of this is probably old news to fans of the Record Office, but it struck me as a fantastic opportunity to involve the members of Resonance in an interesting project: using the archives of sound to create music that embodies the spirit of revival and restoration. Combining the old with the new.

Resonance was created with the aim of embracing an alternative side to electronic music. Many of our artists embrace the use of analogue and digital equipment, combining 1970s-inspired synthesizers with modern, digital recording methods and technology. The process isn’t all that different to the Record Office’s approach: trying to capture ephemeral one-of-a-kind sounds in a way that preserves their emotional impact.

We therefore arranged for 12 of our musicians to choose samples from the Essex Sounds website that they could use for our own compositions. Once we had cleared the sounds for licensing purposes, we were free to manipulate them however we chose. This could be cutting the samples into pieces so tiny they are perceived by the human ear as a single tone, or changing the pitch and timbre using modular synthesis (think giant electronic switchboards, and you’re not far off what this looks like!). Some of us used guitar effects pedals to change everything into unrecognisable sounds. Throughout this, computers and digital recording processes allow us to capture all these experiments and save them for arrangement and use later.

The result of these experiments is a journey that moves between dark, minimal compositions and uplifting passages that highlight the mixed history of Essex. Nostalgic sounds merge with machinery noises reminiscing of Chelmsford’s scientific and industrial heritage. Field recordings capture the Essex countryside and Southend Seafront, combined with introspective electronic melodies. The ambience of Colchester and its famous Zoo blend with trains and sampled orchestral TV programmes, inviting memories of days out around Essex and the journeys these archives capture.



A few of the initial iterations of the artwork. Due to the stochastic nature of the process around 100 different variations were made and the best selected for the final design (top left).

The artwork for the album was created from the location data of around 400 sounds from the Essex Sounds website. It is essentially a top-down map, where each of the coloured pathways start at a location one of the archived sounds is recorded. From the initial coordinates, lines (or waves) are traced through a “flow field” – a simulation of physical field that assigns a force to every pixel in the image. As the lines move through the space they flow in the direction of the underlying field. This parallels the way that sounds move from a location, following the currents of the air outward until they are heard far away from their original source.

The name of the record was a sticking point for quite some time within the collective. We knew that we wanted to use the word “record” due to its double meaning – both in the archival sense and the musical sense – but the rest of the title eluded us until we finally settled on “recreating”. This summed up the attitude we had of turning the past into something new for the future, the iterative process of recording and preserving the sounds led us into new creative directions.

That’s probably enough of my ramblings for now. Hopefully that’s given you some insight into the thought processes and background to the project, and why it was so interesting for us to work on. Please listen with an open mind and we really hope you enjoy the experience!


The album is available on the 15th July 2021, and released for download on Resonance’s bandcamp page at resonancehq.bandcamp.com.

All proceeds are going to the Friends of Historic Essex charity, who work closely with many heritage organisations to preserve Essex’s history.

For more information on the archives, visit www.essexrecordoffice.co.uk. For a closer look at the archive of sounds then the Essex Record Office have a site at www.essexsounds.org.uk with an interactive map where each sound was recorded.

Updates on Resonance events and work can be found on the Resonance Instagram (@resonancehq) and website at www.resonancehq.co.uk .

Chris Adam