Music in the archives

For this year’s Heritage Open Days we are celebrating creativity in the archives, including a chance to experience the sound of the music that would have been enjoyed at Thorndon Hall and Ingatestone Hall in the sixteenth century.

Thorndon and Ingatestone Halls, both near Brentwood, were owned by the Petre family. A number of surviving sources tell us about the musical instruments owned by the family and the music being performed in the household. Visitors to ERO on Heritage Open Day will be treated to something of the experience of the Petre family and their guests with live performances throughout the day.

Old Thondon Hall Walker map

Map showing Thorndon Hall by John Walker, 1598 (D/DP P5)

Ingatestone Hall

Drawing of Ingatestone Hall (undated) (I/Mb 196/1/30)

We are fortunate to have two music books from the household of John, 1st Baron Petre (1549-1614), which include sacred church music and secular music such as songs and dances. They are known as part books, as they only show one part of the composition, in this case the part for the bass singers.

John, 1st Lord Petre

John, 1st Lord Petre (1549-1614), owner of the music books Gaudeamus will base their performance on – from the Ingatestone Hall website

In this post we will share some sneak previews of some of the choral music which will be performed at our open day, and in another post soon we will investigate the musical instruments owned by the family.

John Petre music book

Both books have the name John Petre embossed in gold on their front covers (D/DP Z6/1 and D/DP Z6/2)

The sacred music included covers the whole Tudor period, from the reign of Henry VII (1485-1509) all the way through to the reign of Elizabeth I (1558-1601) and beyond into the early Stuart period. This music is all in Latin, the language of the Roman Catholic Church. This perhaps reflects the fact that the Petre family remained staunchly Catholic throughout the upheavals of the English Reformation (and somehow all managed to keep their heads). Despite writing in Latin, several of the composers featured in the part book served as Gentlemen of the Chapel Royal, the sovereign’s own choir. Despite being a Protestant, Elizabeth I is known to have a fondness for Latin church music.

To give you a little taster of this beautiful music, we thought we’d share a few previews of some of the pieces that Gaudeamus will be performing:

Ne irascaris Domine is by William Byrd (c.1540-1623), the best known composer associated with the Petre family. Like several other pieces which will be performed, it is a motet – a piece of choral music with several parts to it. Dating from 1589, its Latin title means ‘Be not angry O Lord’. The piece may have contained a political message for Protestant England, as it turned away from the Catholic church. (Read more about this motet here.)

William Byrd.jpg

William Byrd

Byrd was born in London, but his family had origins in Ingatestone. He was a pupil of the great composer Thomas Tallis, and became a major figure in the world of Elizabethan music. From the 1570s he became increasingly involved in the world of English Catholics, and at times was suspended from his position at the Chapel Royal, his movements were restricted and his house subject to search.

Byrd moved to Stondon Massey in Essex in about 1594, apparently to be nearer his patron, Sir John Petre. He lived the last 30 years or so of his life there, and it is thought he was buried there alongside his wife in 1623. His motet Ne irascaris Domine is included in the Petre part books, and was performed for a special recording for us a few months ago by Southend-based chamber choir Gaudeamus:

Ave Dei Patris filia is by Robert Fayrfax (1464-1521), one of the foremost composers of the early Tudor period. Its title means ‘Hail, daughter of God’, is typical of music before the Reformation, made up of complex, interweaving parts. You can get a little taste of it by listening to the extract from track 7 here.

Fayrfax played an important role in the music of the royal court, as well as in noble households. He was a Gentleman of the Chapel Royal by 1497, and led the Chapel Royal in Henry VIII’s state visit to France in 1520 known as the ‘Field of the Cloth of Gold’.

 

Lamentations is by Robert White (c.1538-1574), much of whose music was probably written for a young Elizabeth I. The 5 part Lamentations is a good example of the sort of intellectual Latin music that appealed to Elizabeth, a substantial composition lasting 22 minutes in all (Gaudeamus will be singing the first and last parts only).

White was probably born in Holborn, London, and was the son of an organ builder. As a child he was a chorister at Trinity College, Cambridge, and he stayed there as an adult singer. He took a Bacherlorship in Music from the University of Cambridge, before becoming Master of the Choristers in Ely and then at Chester Cathedral. In 1570 he was appointed organist and master of the choristers in Westminster Abbey. He died aged only about 36, along with the rest of his family, during an outbreak of plague in 1574.

Join us for our Heritage Open Day on Saturday 10 September 2016, 10am-4pm, to enjoy performances of all of these pieces and lots more, including a chance to see some of the treasures of our art and photography collections, and for fun family activities. You can find all of the details here.

Document of the Month, November 2015: Ingatestone and Fryerning’s fire engine

In an era when wooden houses were common and heating was provided by open fires, the danger of a conflagration was never far away.  The parishes of Ingatestone and Fryerning were aware of these dangers and provided a remedy – a fire engine. The two parishes jointly paid towards the expense of the engine and a team of 8 firemen.  It was housed in the south porch of Ingatestone church. 

The Fryerning vestry minutes for 5 April 1796 (D/P 249/8/2) show that two men were paid £1 per year to look after the engine and 18d was allowed to each of six men for assistance in working the engine.  In 1796 John Hogg junior and William Whichard were appointed to look after the engine, including washing it every quarter day.  A church warden from each parish was required to go along and witness the washing of the engine to ensure that it was done carefully.

D-P 249-8-2 watermarked

The fire engine was moved to the Market Place when the south porch was dismantled during the Victorian renovation of the church.  Then it was housed in the old waterworks in Fryerning Lane and eventually moved to a new fire station in the High Street.

Unfortunately this particular record does not tell us what kind of fire engine the parishes had (a bit more digging required), but it would likely have been a hand-pump fire engine with handles worked by men on each side to pump a continuous stream of water. It may have been drawn by horses to help get it to the scene of a fire as quickly as possible.

The vestry minute book will be on display in the Searchroom throughout November 2015.

How to run your manor

Following our recent posts on what a manor was, and the records produced by manorial courts, today we have the final instalment in our manorial mini-series from Archivist Katharine Schofield. Running a manor produced all sorts documents, which record boundaries, customs and obligations owed between tenants and lords – read on for just a few examples. You can find out more about manorial records and how you can use them in your own research at Essex through the ages: tracing the past using manorial records on Saturday 12 July 2014.

Imagine you are lord of a medieval manor. You might even own several manors, and they might be scattered around a county, or indeed the country.

To make sure you are making the most of your manors (and getting the most from your tenants), you are going to need to establish how much and what type of land your manors include, how much your manors cost to run, and how much income you can expect to get from them.

All of this took a great deal of estate management, and has left us with a rich archive of administrative records. This includes extents, surveys and custumals, accounts or compoti, and later maps, rentals, perambulations and terriers. Handily for the modern researcher, they were often produced in English from as early as the 15th century.

Custumals

Custumals record the customs of a manor; that is, the labour services and rents owed by tenants in return for their lands, and any obligations owed to or by the lord. The famous Dunmow Flitch ceremony, for example, has its origins in a custom of the manor of Little Dunmow.

The extent and custumal of 1329-1330 from the manor of Stansgate in Steeple (which survives as a copy of c.1450 (D/DCf M34)), records a number of customs, including the obligation of all tenants resident in Ramsey Island, Steeple and Stansgate with their own boats or barges to take the Prior of Stansgate (the priory owned the manor), monks and servants by water to and from Maldon market every Saturday with their food. In return the Priory would give them dinner on the following Sunday.

Surveys, maps, terriers and perambulations

These are all different types of document that establish the boundaries of a manor, and which bits of the manor were held by which tenants.

The survey of the manor of Ingatestone of c.1275 (D/DP M150) is stitched into a rental and names the tenants, with a brief description of their holdings and a more detailed list of the service they owed the lord. For the tenants the survey recorded the extent of their liabilities and offered the assurance that the lord could not demand more work from them. This document was known as the ‘Domesday of Barking’ (Barking Abbey owned the manor) and appears as such in a court roll of 1322-1323 where it was produced as evidence in a dispute about a customary fine.

Title page of the ‘Domesday of Barking’, for the manor of Ingatestone, here called ‘Gynges’

Title page of the ‘Domesday of Barking’, for the manor of Ingatestone, here called ‘Gynges’

The ‘Domesday of Barking’ records that Juliana Strapel (you can make out her name at the beginning of the first full line shown here) held one messuage and 10 acres. Her obligations from this landholding included the payment of 5s 3d. annually, 9d. ‘lardsilver’ (a payment to the larder of Barking Abbey), and payment of one ploughshare at Michaelmas. She was also obliged to plough twice a year, hoe and harrow each for one and a half days, make hay, reap one acre in the autumn, and provide a man to work for three days. She also owed pannage, where pigs were allowed to roam in the wood to feed off acorns, and was obliged to collect nuts

The ‘Domesday of Barking’ records that Juliana Strapel (you can make out her name at the beginning of the first full line shown here) held one messuage and 10 acres. Her obligations from this landholding included the payment of 5s 3d. annually, 9d. ‘lardsilver’ (a payment to the larder of Barking Abbey), and payment of one ploughshare at Michaelmas. She was also obliged to plough twice a year, hoe and harrow each for one and a half days, make hay, reap one acre in the autumn, and provide a man to work for three days. She also owed pannage, where pigs were allowed to roam in the wood to feed off acorns, and was obliged to collect nuts

Originally, records dealing with boundaries used written descriptions of the land in question.  During the 16th century these written descriptions developed into maps and some of the earliest local maps in the Essex Record Office were produced by manors. In 1592 Israel Amyce produced a written survey of the manor and lordship of Castle Hedingham (D/DMh M1). In order to make the written descriptions clearer he included marginal sketch maps and larger pull-out maps.

Pull-out map of centre pf Castle Hedingham in survey of manor and lordship of Castle Hedingham by Israel Amyce, 1592 (D/DMh M1)

Pull-out map of centre pf Castle Hedingham in survey of manor and lordship of Castle Hedingham by Israel Amyce, 1592 (D/DMh M1)

A survey of manor and lordship of Castle Hedingham by Israel Amyce, 1592, using a combination of written descriptions and  maps (D/DMh M1)

A survey of manor and lordship of Castle Hedingham by Israel Amyce, 1592, using a combination of written descriptions and maps (D/DMh M1)

Maps were costly to produce as it usually required the employment of somebody with the cartographical skills of Amyce or Walker. Terriers and perambulations (where the boundaries were walked) and a written description was produced, continued as a cheaper alternative to describe the bounds of a manor.

Rentals

After the Black Death of 1348-1349 and the estimated loss of between a third and half of the population, lords of the manor found it much more difficult to enforce labour obligations on their tenants. This made it much less profitable for lords of the manor to farm the land themselves and increasingly the lords commuted the labour services into a rent.  At Thaxted in 1393 the survey (D/DHu M58) lists all of the labour services which had been due from each tenant and then concludes ‘now pays to farm’. The rent payable quit the tenant of any further labour obligations and from the 15th century onwards rentals or quit rentals are found among manorial records. Rentals name the tenants, and often give a description or even names of the copyhold premises they occupied, with the amount that they owed to lord.

Accounts (compoti)

When lords of the manor farmed the lands of the manor themselves, detailed bailiff’s accounts or compoti (from the Latin computare to calculate or estimate) were produced. The parchment membranes of accounts and rentals are usually stitched together end to end to produce an effect like a giant till roll. When unrolled they can be several feet long.

D/DBw Q1, which is about 18 feet long

D/DBw Q1, which is about 18 feet long

A compotus usually runs from Michaelmas to Michaelmas and there is a set pattern, beginning with the cash amounts to be charged and then discharged, the corn and stock (in a specified order) and then labour services. The compotus for the manor of Terling, 1328-1330 (D/DU 206/22) is the record kept by the bailiff William Knott. He accounted first for all of the money and goods coming in, including the sale of produce and purchase and birth of livestock. He then continued by listing every charge on the lord’s income including shoeing horses, making wheels, wages for work including ditching the park and roofing and repairing the gutters of the hall, chapel and dovecot. Knott also accounted for every loss of livestock, including deaths from the ‘murrain’ (a catch-all word used to describe unidentifiable animal diseases) and payments of eggs to the lord’s household and to the church. One of the biggest items of expenditure was bringing a watermill from Prittlewell (£10). There were further payments for the mill including digging the pond for it and removing the earth, buying nails and tiles and timber from Boreham and paying a carpenter.

Extract from the compotus for the manor of Terling, 1328-1330 (D/DU 206/22), which records the purchase of a watermill [molend’ aquatic] from Prittlewell [Priterewelle] to be moved to Terling.

Extract from the compotus for the manor of Terling, 1328-1330 (D/DU 206/22), which records the purchase of a watermill [molend’ aquatic] from Prittlewell [Priterewelle] to be moved to Terling.

Whether you are interested in using manorial records in your own research, or just want to enjoy hearing experts talk about them, join us for Essex through the ages: tracing the past using manorial records on Saturday 12 July 2014 to find out how you can discover centuries of Essex life using these fascinating documents. There are more details, including how to book, here.