Medieval People

by Eileen Power

Such a familiar figure was once old Thomas Paycocke, clothier, of Coggeshall in Essex, who died full of years and honour in 1518. His family originally came from Clare, in Suffolk, but about the middle of the fifteenth century a branch settled at Coggeshall, a village not far distant. His grandfather and father would seem to have been grazing butchers, but he and his brother and their descendants after them followed 'the truly noble manufacture' of cloth-making, and set an indelible mark upon the village where they dwelt. Coggeshall lies in the great cloth-making district of Essex, of which Fuller wrote: 'This county is charactered like Bethsheba, "She layeth her hand to the spindle and her hands hold the distaffe."... It will not be amiss to pray that the plough may go along and the wheel around, that so (being fed by the one and clothed by the other) there may be, by God's blessing, no danger of starving in our nation[[2]] All over Essex there lay villages famous for cloth-making, Coggeshall and Braintree, Bocking and Halstead, Shalford and Dedham, and above all Colchester, the great centre and mart of the trade. The villages throve on the industry and there was hardly a cottage which did not hum with the spinning wheel, and hardly a street where you might not have counted weavers' workshops, kitchens where the rough loom stood by the wall to occupy the goodman's working hours. Hardly a week but the clatter of the pack-horse would be heard in the straggling streets, bringing in new stores of wool to be worked and taking away the pieces of cloth to the clothiers of Colchester and the surrounding villages. Throughout the fifteenth century Coggeshall was an important centre, second only to the great towns of Norwich, Colchester, and Sudbury, and to this day its two inns are called the 'Woolpack' and the 'Fleece.' We must, as I said, build up the portrait of Thomas Paycocke and his compeers from scattered traces; but happily such traces are common enough in many and many an English village, and in Coggeshall itself they lie ready to our hand. Out of three things he can be brought to life again--to wit, his house in the village street, his family brasses in the aisle of the village church, and his will, which is preserved at Somerset House. A house, a brass, a will--they seem little enough, but they hold all his history. It is the greatest error to suppose that history must needs be something written down; for it may just as well be something built up, and churches, houses, bridges, or amphitheatres can tell their story as plainly as print for those who have eyes to read. The Roman villa, excavated after lying lost for centuries beneath the heel of the unwitting ploughboy--that villa with its spacious ground-plan, its floors rich with mosaic patterns, its elaborate heating apparatus, and its shattered vases--brings home more clearly than any textbook the real meaning of the Roman Empire, whose citizens lived like this in a foggy island at the uttermost edge of its world. The Norman castle, with moat and drawbridge, gatehouse and bailey and keep, arrow slits instead of windows, is more eloquent than a hundred chronicles of the perils of life in the twelfth century; not thus dwelt the private gentleman in the days of Rome. The country manor-house of the fourteenth century, with courtyard and chapel and hall and dovecote, speaks of an age of peace once more, when life on a thousand little manors revolved round the lord, and the great mass of Englishmen went unscathed by the Hundred Years' War which seamed the fair face of France. Then begin the merchants' elaborate Perpendicular houses in the towns and villages of the fifteenth century, standing on the road, with gardens behind them, and carved beams, great fire-places, and a general air of comfort; they mark the advent of a new class in English history--the middle class, thrust between lord and peasant and coming to its own. How the spacious days of great Elizabeth are mirrored in the beautiful Elizabethan houses, with their wide wings and large rooms, their chimneys, their glass windows, looking outwards on to open parks and spreading trees, instead of inwards on to the closed courtyard. Or go into a house built or redecorated in the eighteenth century, where you will see Chippendale chairs and lacquer tables and Chinese wall-papers covered with pagodas and mandarins; and surely there will come to your mind the age of the nabobs, the age which John Company had familiarized with the products of the Far East, the age in which tea ousted coffee as the drink for a gentleman of fashion, in which Horace Walpole collected porcelain, Oliver Goldsmith idealized China in 'The Citizen of the World', and Dr Johnson was called the Great Cham of Literature. Look here upon this picture and on this: look at that row of jerry-built houses, a hundred in a row and all exactly alike, of that new-art villa, all roof and hardly any window, with false bottle glass in its panes; here is the twentieth century for you. Indeed all the social and very much of the political history of England may be reconstructed from her architecture alone; and so I make no apology for calling Thomas Paycocke's house first-rate historical evidence.

Of much the same type, though less interesting, is the evidence of monumental brasses, which are to be found in most parts of England and which abound in East Anglia, the Home Counties, and the Thames Valley.[[3]] Their variety is magnificent; brasses of ecclesiastics in vestments, of doctors of law and divinity and masters of arts in academic dress and of a few abbots and abbesses; brasses of knights in Armour; brasses of ladies, with their little dogs at their feet and dresses which show the changes in fashion from century to century and make clear all the mysteries of kirtles and cotte-hardies, wimples and partlets and farthingales and the head-dresses appropriate to each successive mode. The brasses also, like the houses, bear witness to the prosperity of the middle class, for in the fourteenth century when merchants began to build themselves fine houses they began also to bury themselves under splendid brasses. Finest of all, perhaps, are the brasses of the wool staplers, with feet resting on woolpack or sheep; but there are many other merchants too. Mayors and aldermen abound; they set their merchants' marks upon their tombs as proudly as gentlemen set their coats of arms, and indeed they had as great cause for pride. You may see them at their proudest in the famous brass at Lynn, where Robert Braunch lies between his two wives, and at his feet is incised a scene representing the feast at which he entertained Edward III royally and feasted him on peacocks. There is a tailor with his shears, as glorious as the Crusader's sword, at Northleach, and a wine merchant with his feet upon a wine cask at Cirencester. There are smaller folk, too, less dowered with wealth but proud enough of the implements of their craft; two or three public notaries with penhorn and pencase complete, a huntsman with his horn, and in Newland Church one of the free miners of the Forest of Dean, cap and leather breeches tied below the knee, wooden mine-hod over shoulder, a small mattock in his right hand, and a candlestick between his teeth. This kind of historical evidence will help us with Thomas Paycocke. His family brasses were set in the north aisle of the parish church of St Peter Ad Vincula. Several of them have disappeared in the course of the last century and a half, and unluckily no brass of Thomas himself survives; but in the aisle there still lie two--the brass of his brother John, who died in 1533, and John's wife, and that of his nephew, another Thomas, who died in 1580; the merchant's mark may still be seen thereon.

Lastly, there is the evidence of the Paycocke wills, of which three are preserved at Somerset House--the will of John Paycocke (d. 1505), Thomas's father and the builder of the house; the will of Thomas Paycocke himself (d. 1518); and the will of his nephew Thomas, the same whose brass lies in the aisle and who left a long and splendidly detailed testament, full of information upon local history and the organization of the cloth industry. For social historians have as yet hardly, perhaps, made as much use as they might of the evidence of wills. The enormous amount of miscellaneous information to be derived therefrom about the life of our forefathers can hardly be believed, save by those who have turned the pages of such a collection as the great Testamenta Eboracensia.[[4]] In wills you may see how many daughters a man could dower and how many he put into a nunnery, and what education he provided for his sons. You may note which were the most popular religious houses, and which men had books and what the books were, how much of their money they thought fit to leave for charitable purposes, and what they thought of the business capacity of their wives. You may read long and dazzling lists of family plate, all the favourite cups and dishes having pet names of their own, and of rings and brooches and belts and rosaries. There are detailed descriptions of dresses and furs, sometimes splendid, sometimes ordinary, for people handed on their rich clothes as carefully as their jewels. There are even more wonderful descriptions of beds, with all their bedclothes and hangings, for a bed was a very valuable article of furniture and must often, judging from the wills, have been a brilliant and beautiful object indeed; Shakespeare has earned a great deal of unmerited obloquy for leaving Ann Hathaway his second-best bed, though it is not to be denied that he might have left her his first-best. Even more beautiful than dressings and bed or chamber hangings are the brocaded and embroidered vestments mentioned in wills, and the elaborate arrangements for funeral ceremonies are extremely interesting. The wills are of all kinds; there are even villeins' wills, though in theory the villein's possessions were his lord's, and there are wills of kings and queens, lords and ladies, bishops and parsons and lawyers and shopkeepers. Here also is more evidence for the social prosperity of the middle class, details of their trade, the contents of their shops, the inventories of their houses, their estates (sometimes) in the country, their house rents (almost always) in the town, their dressers garnished with plate and their wives' ornaments, their apprentices and their gilds, their philanthropy, their intermarriage with the gentry, their religious opinions. Such a living picture do men's wills give us of their daily lives.

These, then, are the three sources from which the life and times of Thomas Paycocke may be drawn. All three--houses, brasses, and wills--contain much evidence for the increasingly rapid growth during the last two centuries of the Middle Ages of a large and prosperous middle class, whose wealth was based not upon landed property but upon industry and trade. It is a class of whom we have already met typical examples in Thomas Betson and the anonymous Ménagier de Paris, and we must now see what his house, his will, and his family brasses tell us about the clothier Thomas Paycocke. First and foremost, they tell us a great deal about the noble industry which supported him. Paycocke's house is full of relics of the cloth industry. The merchant mark of the Paycockes, an ermine tail, looking like a two-stemmed clover leaf, is to be found on the carved beams of the chimney, on the breastsummers of the fire-places, and set in the midst of the strip of carving along the front of the house. Thomas marked his bales of cloth thus, and what other armorial bearings did he need? The whole house is essentially middle class-the house of a man who was nouveau riche in an age when to be nouveau riche was not yet to be vulgar. His prosperity has blossomed out into exquisitely ornate decoration. A band of carving runs along the front of the house, and from the curved stem of it branch out a hundred charming devices--leaves, tendrils, strange flowers, human heads, Tudor roses, a crowned king and queen lying hand in hand, a baby diving with a kick of fat legs into the bowl of an arum lily, and in the midst the merchant's mark upon a shield and the initials of the master of the house. In the hall is a beautiful ceiling of carved oakwork, exceedingly elaborate and bearing at intervals the merchant's mark again. Upstairs in the big bedchamber is a ceiling of beams worked in bold roll mouldings; and there is an exquisite little parlour, lined with linen fold panels, with a breastsummer carved with strange animals. This elaboration is characteristic. It is all of a piece with Coggeshall Church, and with all those other spacious East Anglian churches, Lavenham, Long Melford, Thaxted, Saffron Walden, Lynn, Snettisham, lofty and spacious, which the clothiers built out of their newly won wealth. The very architecture is characteristic, nouveau riche again, like those who paid for it, the elaborate ornament and sumptuous detail of the Perpendicular taking the place of the simple majesty of the Early English style. It is just the sort of architecture that a merchant with a fortune would pay for. The middle class liked some show for its money; but again it was the ostentation without the vulgarity of wealth. Looking upon his beautiful house, or worshipping beside his family tombs, with the merchant's mark on the brasses, in St Katherine's aisle, Thomas Paycocke must often have blessed the noble industry which supported him.

The wills of the Paycockes tell the same story. To whom beside his family does Thomas leave legacies but the good folk of the neighbourhood, who worked for him. There is the Goodday family of cheerful name, two of whom were shearmen, or cloth finishers, and had substantial gifts. 'I bequeth to Thomas Goodday Sherman xx s. and ych of his childryn iij s. iiij d. apece. Item, I bequeth to Edward Goodday Sherman xvj s. viij d., and to his child iij s. iiij d. He also left money to Robert Goodday of Sampford and to Robert's brother John and to each of Robert's sisters, with something extra for Grace, who was his goddaughter; and he did not forget Nicholas Goodday of Stisted and Robert Goodday of Coggeshall and their families, nor their relative John, who was a priest and had ten shillings for a trental. All these Gooddays were doubtless bound to Thomas Paycocke by ties of work as well as of friendship. They belonged to a well-known Coggeshall family, for generations connected with the cloth industry. Thomas Paycocke's namesake and grand-nephew, whose will is dated 1580, was still in close relations with them, and left 'to Edwarde Goodaye my godson Fourtie shillinges and to every brother and sister the saide Edwarde hath livinge at the tyme of my decease tenne shillinges a pece,' and 'unto William Gooday thelder tenne shillinges.' The hurrying, scattering generation of today can hardly imagine the immovable stability of the village of past centuries, when generation after generation grew from cradle to grave in the same houses, on the same cobbled streets, and folk of the same name were still friends, as their fathers and grandfathers had been before them.

Other friends and employees of Thomas Paycocke also had their legacies. He leaves 6s. 8d. to Humphrey Stonor, 'somtyme my prentis'. We may see Humphrey Stonor, with sleepy eyes, making his way downstairs on a frosty morning, from those huge raftered attics, where perhaps the 'prentices used to sleep. He was on terms of impudent friendship, no doubt, with the weavers and fullers whom his master set to work; withal a young man of good family, a relative perchance of those Stonors for whom Thomas Betson worked, for, as Deloney wrote, 'the yonger sons of knights and gentlemen, to whom their Fathers would leave no lands, were most commonly preferred to learn this trade, to the end that thereby they might live in good estate and drive forth their days in prosperity.' Two of his friends got substantial legacies; apparently Thomas Paycocke had lent them money and wished to wipe out the debt upon his death-bed, for, says the will, 'I bequethe to John Beycham, my weyver, v li and [i.e. if] there be so moch bitwene vs and ells to make it vp v li, and a gowne and a doublett.... I bequeth and forgive Robert Taylor, fuller, all that is betwixt vs, and more I give him iij s. iiij d.' Other legacies show even more clearly that his operations were on a larger scale. 'I bequeth to all my wevers, ffullers and shermen that be not afore Rehersed by name xij d. apece, And will they that have wrought me verey moch wark have iij s. iiij d. apece. Item, I bequethe to be distributed amonge my Kembers, Carders and Spynners summa iiij li.'[[5]] Here are all the branches of the cloth industry at a glance. It is Thomas Paycocke, clothier, round whom the whole manufacture revolves. He gives the wool to the women to comb it and card it and spin it; he receives it from them again and gives it to the weaver to be woven into cloth; he gives the cloth to the fuller to be fulled and the dyer to be dyed; and having received it when finished, he has it made up into dozens and sends it off to the wholesale dealer, the draper, who sells it; perhaps he has been wont to send it to that very 'Thomas Perpoint, draper' whom he calls 'my cosyn' and makes his executor. The whole of Thomas Paycocke's daily business is implicit in his will. In the year of his death he was still employing a large number of workers and was on friendly and benevolent terms with them. The building of his house had not signalized his retirement from business, as happened when another great clothier, Thomas Dolman, gave up cloth-making and the weavers of Newbury went about lamenting:

Lord have mercy upon us, miserable sinners.
Thomas Dolman has built a new house and turned away all his spinners.[[6]]

The relations between Paycocke and his employees evinced in his will are happy ones. Such was not always the case, for if the clothiers of this age had some of the virtues of capitalists, they also had many of their vices, and the age-old strife of capital and labour was already well advanced in the fifteenth century. One detail Paycocke's will does not give us, which we should be glad to know: did he employ only domestic weavers, working in their own houses, or did he also keep a certain number of looms working in his house? It was characteristic of the period in which he lived that something like a miniature factory system was establishing itself in the midst of the new outwork system. The clothiers were beginning to set up looms in their own houses and to work them by journeymen weavers; as a rule the independent weavers greatly disliked the practice, for either they were forced from the position of free masters into that of hired servants, obliged to go and work in the clothier's loom shop, or else they found their payment forced down by the competition of the journeymen. Moreover, the clothiers sometimes owned and let out looms to their work-people, and then also part of the industrial independence of the weaver was lost. All through the first half of the sixteenth century the weavers in the cloth districts kept on petitioning Parliament against this new evil of capitalism. It was as though, long before it established itself in England they had a prevision of the factory system and of the worker no longer owning either his raw material, his tool, his workshop, or the produce of his industry, but only his labour; the master-weaver dwindled to a hired hand. Certainly the practice was growing in Essex, where, some twenty years after Thomas Paycocke's death, the weavers petitioned against the clothiers, who had their own looms and weavers and fullers in their own houses, so that the petitioners were rendered destitute; 'for the rich men, the clothiers, be concluded and agreed among themselves to hold and pay one price for weaving the said cloths,' a price too small to support their households, even if they worked day and night, holiday and work-day, so that many of them lost their independence and were reduced to become other men's servants.[[7]] Nevertheless, the outwork system remained the more common, and without doubt the majority of Paycocke's workers lived in their own cottages, though it is probable also that he had some looms in his house, perhaps in the long, low room at the back, which is traditionally supposed to have been used for weaving, perhaps in a shed or 'spinning house'.

A highly idyllic picture of work in one of these miniature factories, which we may amuse ourselves by applying to Thomas Paycocke's, is contained in Deloney's Pleasant History of Jack of Newbery. Jack of Newbury was an historical character, a very famous clothier named John Winchcomb who died at Newbury only a year later than Paycocke himself, and of whom Paycocke must certainly have heard, for his kersies were famous on the Continent, and old Fuller, who celebrates him among his Worthies of England calls him 'the most considerable clothier (without fancy or fiction) England ever beheld'.[[8]] The tales of how he had led a hundred of his own 'prentices to Flodden Field, how he had feasted the King and Queen in his house at Newbury, how he had built part of Newbury Church, and how he had refused a knighthood, preferring 'to rest in his russet coat a poor clothier to his dying day,' spread about England, growing as they spread. In 1597 Thomas Deloney, the forefather of the novel, enshrined them in a rambling tale, half prose and half verse, which soon became extremely popular. It is from this tale that we may take an imaginary picture of work in a clothier's house, being wary to remember, however, that it is an exaggeration, a legend, and that the great John Winchcomb certainly never had as many as two hundred looms in his own house, while our Thomas Paycocke probably had not more than a dozen. But the poet must have his licence, for, after all, the spirit of the ballad is the thing, and it is always a pleasant diversion to drop into rhyme:

Within one roome, being large and long
There stood two hundred Loomes full strong.
Two hundred men, the truth is so,
Wrought in these Loomes all in a row.
By every one a pretty boy
Sate making quilts with mickle joy,
And in another place hard by
A hundred women merily
Were carding hard with joy full cheere
Who singing sate with voyces cleere,
And in a chamber close beside
Two hundred maidens did abide,
In petticoats of Stammell red,
And milk white kerchers on their head.
Their smocke-sleeves like to winter snow
That on the Westerne mountaines flow,
And each sleeve with a silken band
Was featly tied at the hand.
These pretty maids did never lin
But in that place all day did spin,
And spinning so with voyces meet
Like nightingales they sang full sweet.
Then to another roome came they
Where children were in poore aray;
And every one sate picking wool
The finest from the course to cull:
The number was sevenscore and ten
The children of poore silly men:
And these their labours to requite
Had every one a penny at night,
Beside their meat and drinke all day,
Which was to them a wondrous stay.
Within another place likewise
Full fifty proper men he spies
And these were sheremen everyone,
Whose skill and cunning there was showne:
And hard by them there did remaine
Full four-score rowers taking paine.
A Dye-house likewise had he then,
Wherein he kept full forty men:
And likewise in his Fulling Mill
Full twenty persons kept he still.
Each weeke ten good fat oxen he
Spent in his house for certaintie,
Beside good butter, cheese and fish
And many another wholesome dish.
He kept a Butcher all the yeere,
A Brewer eke for Ale and Beere;
A Baker for to bake his Bread,
Which stood his hushold in good stead.
Five Cookes within his kitchin great
Were all the yeare to dress his meat.
Six Scullion boyes vnto their hands,
To make clean dishes, pots and pans,
Beside poore children that did stay
To turne the broaches every day.
The old man that did see this sight
Was much amaz'd, as well he might:
This was a gallant Cloathier sure,
Whose fame forever shall endure.[[9]]