This and that

I am in the middle of a fairly intensive library tour at the moment with at least one day a week away from home. I'm really enjoying being out on the road meeting readers, and it is great to see such a broad demographic, but it does mean that my writing time is being slightly squashed. I am preparing a couple of longer blog posts but in the meantime this is to explain why I'm not around so much - tour finishes at the end of April - and to add a few snippets of general information.

The picture at the beginning of the blog. Yikes - another headless woman (although she has her head to hand - see the stool!). No, it's not the next book cover, but part of a display put on by Leominster Library to mark their celebration of historical fiction. What a great idea! There would have been more photos but my husband went out to the car to check on the dog, who's part of the tour team, and forgot about his duties as cameraman.

Talking of covers. I am told that my work in progress about Mahelt Marshal and Hugh Bigod is going to have a new look cover. My publishers are considering their options at the moment. While the existing ones have sold very well and created a brand image, it is perhaps time to move on. The Time of Singing Paperback will have the same cover style, as will the re-issue of The Running Vixen, but then who knows? I await with excitement, interest, and trepidation.

And talking of The Running Vixen: I am just working on the first batch of edits of the rewrite.
It has been very interesting revisiting something that I last worked on around 1990 and as with The Wild Hunt, I've found that my verbosity has somewhat diminished since the early days. Part of the Running Vixen involves The Empress Matilda and I am finding that in this early novel of mine, she is slightly different to the woman I am going to be portraying once I begin writing the Empress's story. Perhaps The Running Vixen brings out her harder traits, although she is only a minor character.

I am currently building up a picture of the Empress Matilda in the Akashic Records and it's proving to be magnificent material - spot on with the history, but showing the Empress and her relationships in wonderful depth. I'll post a couple of examples in a future blog. It really is terrific material.

Meanwhile with the work in progress, I am nearing the end of draft 2. With a bit of luck, I might have it ready for the hard copy edit by the end of April or early May. It's not due in until September, but since the hard copy edit is only another layer in a long process, I'm still going to need the time.

More anon when I have a moment! In the meantime back to the edits!

Return of Castles in the Ether

Some months ago I posted an article concerning the possible whereabouts of Newbury Castle.
http://livingthehistoryelizabethchadwick.blogspot.com/2008/10/castles-in-ether-finding-newbury-castle.html
Akashic research, including some imperative and forthright input by its builder, John Marshal, had strongly suggested that the site was at Speen just outside Newbury.
I've been doing some digging around to see if the Marshals had any connections with Speen beyond the mention of the market William Marshal granted himself there in 1218 and I have come up with some very interesting data about the Marshals and Speen.

It turns out (to my great excitement) that Speen was indeed a Marshal property prior to 1218, but the quandary now is - when did it become theirs? That's my current jigsaw puzzle.

There is an interesting reference to Speen and the Marshals dated to 1270. (See Round, King's Serjeants, page 90) It says that Hamstead (Now Hampstead Marshall) and the grange at Speen were held by the Marshals by right of the service of the Marshal's rod. A grange was an agricultural outpost - 'a farmhouse with its stables and other buildings.' This gives me a frisson because in a session, John had described the castle site as having an old farmhouse, stable and buildings as well as the defensive fortress.
Service of the Marshal's rod means that the lands went with the job of being a Marshal. Now, while the dateline of the comment is 1270, the Marshal's hereditory lands had been fixed long before this time and it's highly possible that Hamstead and the grange at Speen had been held by the Marshal family for several generations. We know that Gilbert Marshal passed the rod on to his son John, 'my' John, builder of the lost castle at 'Newbury'. We know that John's son, John inherited the rod and in his turn passed it on t0 his brother, the great William Marshal. From there it went one after another to all the Marshal sons until the last one died, then to the eldest daughter, Matilda, and from her to her son Roger Earl of Norfolk. As a sideline, it's interesting to note that the job of Marshal was much coveted and John and his father had to fight a contest for the Marshalsea from Henry de Venoix and William de Hastings. An extant charter of King John relates to this incident. I can find nothing to say that Venoix or Hastings had any connection with Speen or Hamstead Marshal though. Click on the picture to enlarge the text.
But that's not the only connection to Speen and the Marshals. Here follows a story and a puzzle. When William Marshal gave shelter to the outlawed William de Braose in Ireland in 1208, King John was angry with him for sheltering an enemy, but William replied that 'Ge vos di ge n'ai caienz nul traitor, mes j-ai herbergie mon seignor, si comme faire le deveie.' 'I tell you that I keep no traitor here. What I have done is to give lodging to my lord, as was my duty.' Historians have long puzzled over why William should say this of de Braose. What was de Braose his lord for? The answer may be Speen. Speen itself was once owned by Bernard de Neufmarche, who was William de Braose's grandsire. We know in 1166-67, William de Braose rendered one mark in payment at the exchequer for lands at Speen. His daughter Sybilla, married a baron called Adam de Port, and their daughter then married John Marshal's eldest son, also called John. There is a suggestion that Speen came into the Marshal fold at this time as a dower portion. So already there's a tangle of conflicting evidence. It certainly gives credence to the Marshal/Braose connection. Speen seems to have consisted of several manors, including Woodspeen and Speenhamland, so perhaps the Marshals were consolidating the area. When all of William Marshal's sons had died without issue, the lands were divided among the daughters and Matilda, the eldest daughter, inherited the main manor at Speen while her sisters received other portions.
It is interesting too that early in the 13th Century, William Marshal Junior, enfeoffed one Thomas Basset with £10.00 worth of land in his manor of Speen. The Basset's were Marshal kin by marriage, John Marshal (my John) having once been married to Aline, whose offspring from her second marriage, went on to marry into the Basset line.
The church for Speen is that of St Mary The Virgin. On its own website http://www.achurchnearyou.com/speen-st-mary-the-virgin/ it says:
'It is a medieval church built on Saxon Foundations, and was the mother church of Newbury. In 1086 it was recorded in the Domesday Book. The church stands about 200 yards from where I purport the castle site to be and I found it interesting that the church is claimed to be the 'mother church' of Newbury. Built before the others were built. The Marshals have a connection with this church. There are several charters listed in the cartulary of Sandford Priory.
For example from 1206:
Uniuersis etc Willelmus Marescallus comes Penbr[] salutem Nouerit uniuersitas uestra me concessisse etc deo et beate Marie et fratribus militie Templi Salomonis intuitu caritatis et pro salute anime mee et Isabelle uxoris mee et puerorum meorum et antecessorum omnium et successorum meorum in liberam et puram et perpetuam elemosinam ecclesiam de Spenes cum omnibus ad eam pertinentibus et omnibus libertatibus suis habend et tenend et in usus proprios perpetuo possidendam Et ut etc Hiis testibus Edwardo abbate de Nottel
My Latin is pretty terrible, but basically it's a salutation from William Marshal giving the proceeds of the church at Speen to the Templars for his soul, for the soul of his wife, Isabelle and for the souls of their ancestors and their heirs.
Recent trawling has turned up a mention in the Pipe roll of 1199 referencing William Marshal and Speen. 'Et in perdonis Willelmo Marescallo dim.m. de wasto qod exigebatur ex eo in terra sua de Spienes per breve R. I'm still working on the translation of this one, having only just found it, but I'll get there.

None of this proves that there was a castle at Speen, but it does add to the circumstantial evidence. The Histoire de Guillaume le Mareschal tells us that John Marshal built a castle at Newbury. But no one knows where it is. Speen, on the outskirts, with its commanding views over the landscape and strategic roads would have been an ideal place. The church, within short walking distance has been there since Saxon times. The Marshal presence at Speen from the late 12th century is confirmed by pipe roll evidence and then charters - evidence I didn't know about until now. It's a slow, laborious process, but nothing turned up so far detracts from the idea that Newbury Castle was at Speen, and indeed, in a peripheral manner, supports the argument.
If I dig up any more details, I'll post them.






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Books and bits

As you'll see from my Events and Titles blog, http://elizabethchadwickevents.blogspot.com/ I am going to be fairly busy over the next couple of months visiting various libraries up and down the country. I hope this won't put too much of a downer on my Living The History posts, but bear with me if I post less frequently for a few weeks.
However - good news! My very good author friend Sharon Kay Penman has agreed to be interviewed on my blog in the soonish future. As soon as we've organised a Q and A session, I'll be posting our talk.
Next time round I'm going to post about some interesting details I've been able to dig up that add more circumstantial evidence to the lost Newbury Castle being sited at Speen. Some interesting peripheral jigsaw pieces have come to light.

For now, I've just taken a delivery of a few more research books, so I thought I'd post this latest haul.




I was after this one all the time I was writing A Place Beyond Courage. I'll read anything Professor David Crouch writes. It has now been re-issued in paperback and it's going to come in big time when I write my Empress Matilda novel. Did I mention that the Empress was on the cards? It's down to them being shuffled around slightly and the Empress has come to the top of the pack.
I've started Akashic work on her already and some very interesting and useful details have been emerging.












A general overview of cosmetics down the ages, but written by someone who knows their stuff. I particularly like the Old Irish 'nail varnish' and the minty Medieval mouthwash (authentic!)



















This one, like another on the list, was reccommended to me by my good friend, author Sharon Kay Penman. It tells us how the Medievals saw their world in terms of Geography - the names they gave to places etc. I had to obtain this one from Abe Books.
















Robert Bartlett is another of my favourite authors along with Professor Crouch. The first of 2 book on my list by him and intended for general reading and hopefully an increased understanding of the medieval European stage as a whole.














2nd book by Bartlett and I hope it'll help give me more understanding of mindsets - so important to the historical novelist who wants to get it right.
















Fiction reading here. A book highly recommended to me by Sharon Kay Penman who thought it was terrific and that it got above mentioned mindset right. Apparently it's a film too!
http://www.arnmovie.com/

HORSES FOR COURSES

Readers of my novels will know that I like my characters to have nice horses, so I thought I'd look today at the various types of Medieval horse. There weren't any named breeds as such back in the twelfth and early thirteenth centuries as we know them, although some were famed by region and what were required re type of horse was definitely known. Horses from Lombardy were prized as destriers. Spanish horses ditto. Norman baron Robert de Belleme was known to run Spanish grey horses on his Welsh Marcher lands in the late eleventh century.
Horses were known and named by their their function, their colour, their owners, their place of origin. We know William Marshal had a horse called Blancart, suggesting it was white. Richard Coeur de Lion had one called Fauvel, which meant it was a golden colour - perhaps a dun. A horse called Morel was a shiny black. We still have this with morello cherries. A Sorel horse was a chestnut or sorrel, a Bayclere was a bright bay, a Grisel was a grey.
William FitzStephen, talking of horses at the Smithfield Market in the later twelfth century speaks of the horse fair at Smithfield in London which is held on the 6th day of the week, barring feast days. Earls, barons, knights and all the citizens of London come out to look at the horses. 'It is a joy to see the ambling palfreys, their skin full of juice, their coats a-glisten as they pace softly in alternation raising and putting down the feet on one side together; next to see the horses that best befit esquires, moving roughly yet nimbly, as they raise and set down the opposite feet, fore and hind.... then the younger colts of high breeding, unbroken and high stepping with elastic tread, and after them the costly destriers of graceful form and goodly stature with quivering ears, high necks and plump buttocks. As these show their paces, the buyers watch first their gentler gait, then that swifter motion wherein their forefeet are thrown out and back together and the hind feet also. When a race between such trampling steeds is to begin, or perchance between others which are likewise, after their kind, strong carry, swift to run, a shout is raised, and horses of the baser sort are bidden to turn aside. Three boys riding these fleet-footed steeds, or at times two as may be agreed, prepare themselves for the contest. Skilled to command their horses, they curb their untamed mouths with jagged bits and their chief anxiety is that their rival shall not gain the lead.' As well as all the above high status horses, plough beasts and cart pullers are for sale too.

I've written up a few definitions, thoughts, and leading points below.

Destrier. A warhorse and valuable. It was ridden into battle and at tourneys but was not used for general riding purposes. Its name is supposed to come from the idea that either it led from the right hoof when galloping down a tiltyard run and turning, or that it was led from the right. There has been debate. Generally a destrier was a stallion, although I don't doubt that there some geldings and mares among the mix. The size of a destrier in the period I write about (late 11th to 13th centuries) was around fifteen hands high. This is according to equine historian Ann Hyland. It would look something like a modern Welsh Cob or quarter horse, or Frisian, or the Villanos type of Spanish Andalusian. The idea was to have a strong, stocky animal that was lively in movement, could live on poor rations if it had to, and that was capable of short, sharp bursts of speed - the shock charge i.e. it had to have the same straits as a good steer roping horse today and be strong enough to bear the weight of a mounted, mail-clad knight without sagging in the middle. Historian Matthew Bennet has also compared the destrier of this period with the stronger types of Morgan Horse. Cart horses they certainly weren't, as Medieval illustrations prove. You quite often come across destriers as gifts in the pipe rolls of the period, where they are referred to by the macho sounding Latin title of Equo or Equus. In 1208 Henry de Fontibus gave King John a Lombard destrier as a gift in order that he might take the daughter of Henry FitzHervey to wife. (The great roll of the Pipe for the tenth year of King John. Yorkshire. Nova Oblata)


Palfrey: A knight's or ladies riding horse. Highly bred and of good quality. A knight would ride his palfrey to the tournament or over longer distances and spare his destrier. These too are often found in the pipe rolls, as 'gifts' to appeast the king. Palfries could be divided up further into the ordinary and the Ambler As mentioned in FitzStephen, these horses walked first with their left side then their right rather than moving alternate hooves front and rear. This made for a much smoother pace. Tim Severin, when he followed the crusader's route to Jerusalem, took up with an ambling horse along his journey and it's interesting to read his descriptions of how smooth the ride actually is. These horses were sometimes also known by the old French Haquenai from which our word 'hack' or 'hackney' comes. Such horses are referred to from the thirteenth century. Since Henry II once had a mistress called 'Hikenai' I wonder if she was a good ride. (cough!). Seriously, I wonder if that's where the word came from.

Courser Comes from Chazurius - a chaser, the name used from the end of the 12th century. A horse for hunting and coursing as the name suggests. A fast hunter. The sort that was mentioned in FitzStephen's description of London in connection with 'boy racers'. The courser was the ancestor of the modern racehorse - in type if not in direct blood breeding.

Rouncy. This beast was for general all purpose riding by soldiers of lesser degree. It was a solid, all round beast that would serve you well but wouldn't draw the crowds and win friends and influence people. When the great William Marshal was down on his luck as a young man, he had to sell his cloak in order to buy a horse and all he could afford was 'un rocin' worth twenty two Angevin shillings. (I dramatised this scene briefly in The Greatest Knight). Unfortunately he needed a pack horse too, which he didn't have, so his Rouncy had to double up.

Sumpter This was what should have carried William's arms and supplies. A sumpter horse. These were really bog standard. Any lower and you'd be loading a donkey. There aren't that many illustrations of sumpters about, but in England there are plenty of native ponies that have been used extensively for haulage and on the pack routes down the centuries, so very likely the Yorkshire Fell and Dales ponies are descendants of the type, as is the ancient Cleveland Bay breed too. The latter were known as 'chapman horses' because it was the chapmen who brought the goods throughout England with their pony pack trains. These days the Cleveland has been bred up in size and mixed with thoroughbred, so is a large creature than the sumpters of yore.
Dales Pony: http://www.kellas-stud.co.uk/dales.htm
There's a description of a knackered old packhorse in the Histoire de Guillaume le Mareschal.
One of William's rivals tries to fob him off with the beast, pretending it's a destrier William won earlier (some chance!). 'Whereupon Peter brought forward a pack horse of his, with the same colour coat, grey, but it had got to such an age that it was thin and worn-out, broken-backed and covered in scars. I think it was not all in one piece, indeed a lot of its hide was missing. It was tired out and weary.' I suppose that life of an itinerant knight's pack horse was not an easy one!

The Hobby Horse comes in from the end of the thirteenth century and was a small horse or middle sized pony imported from Ireland.

The Stott was a cheap workhorse or ploughhorse.  Here's one from the Luttrell Psalter.

Signed, sealed, delivered.

First of all - my website's back up - YAY!

Now to the next post.

The other day I was looking up a charter of Hugh Bigod II (d.1225) the hero of my current work in progress. I wanted to know who had witnessed the charter because the witness list is a good indicator of who a lord was relying on for support and who was in the household at that time.
Hugh's seal was apparently attached to the charter and there is a description of it in Latin by Camden, the chap who made the transcription from the Medieval document. As I read the description I became rather interested and very curious. I read Latin very badly, but I can decipher certain words.
The transcription says 'Hec est forma posteriosis partis sigilli, in qua leonis salientis ymago quam eleganter expresso erat. Anterior pars majoris latitudinis et longitudinis ert, prae se ferens ymaginem hominins equo insedentis dextra gladium et sinistra manu clypeum gestentis. In sua clypeo anterior pars leonis emergebat.'

So, I am struggling very slightly with this, but I take it, very roughly paraphrased to mean that on the back of the seal there is a lion rearing up with both its front paws on a level (leonis salientis) and that on the front of the shield there is the image of a man on horseback with a sword in his right hand (dextra gladium) and a shield in his left. Then at the end it seems to say that a lion can be seen emerging on the front of his shield.
Now then, the standard Bigod device is a red cross on a yellow back ground. That's what was carried on their shields up until the time that Roger Bigod IV (c1245-1306) took the Marshal blazon of a half-green and half-yellow background, with the famous 'scarlet lion' rampant in the foreground. The right to carry that device came down through his grandmother, Mahelt Marshal, who was, of course, daughter of the great William Marshal whose device this had once been. It seems very likely that Mahelt's son, Roger Bigod III (1209-1270) bore the traditional Bigod cross on his shield. On his equestrian seal he carried the Bigod cross too.
One source says that the seal at the beginning of this post is that of Roger Bigod II (hero of The Time of Singing), and is the seal he used as Earl of Norfolk throughout his life. The counterseal shows the Bigod cross. (A counterseal was a smaller, personal seal that a baron might keep about his person. His main seal was often kept by a trusted administrator). However, another source tells me that this is the seal of Roger Bigod IV. This is the point where I start banging my head on my desk! The armour in the sketch suggests that this is perhaps later than Roger II. Personally I would say it is Roger III because of the cross on the shield and because a list of said seals in the British museum describes the seal of Roger III as looking like this. Then again, according to Camden, Hugh Bigod's charter seal shows a lion on the shield and on the reverse. So either Hugh Bigod (Roger II's father) had a reason for adopting a lion on his shield, or the wrong seal has been assigned to that charter by future generations. I might be able to make mileage out of this anomalous lion in the novel, I don't know yet.
None of this has any bearing on my work in progress as such, except that I would like to know if Hugh Bigod really did have a lion on his shield and if so, was the reason connected with his wife? To find that out, I'm going to have to try and get to look at the seal myself. The only way to tell is to look at the style of the armour and pray that it has a legend round the outside. A 'Hugonis' would be extremely useful!
This is the counter seal of Roger Bigod IV, last earl of Norfolk of the Bigod line.

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All this searching after seals, led me to wonder more about seals in general, and I found a wealth of fascinating information at the Durham University site.

The earliest seals in the medieval period were crude in execution and it wasn't until the thirteenth centure that they became sharper and more elegant of design. By the fourteenth century the simplicity of the earlier seals had been replaced by more elaborate seals with much fine detail.
The word 'seal' should only properly apply to the die or matrix that is used to make the impression on wax or whatever material is used. However, it is loosely used when talking about both the matrix and the impression itself. The seal matrix usually has a central design surrounded by a border legend. Matrixes could be made of bronze or latten (an alloy). Some of the higher status matrixes were fashioned from jet or silver. Engraved gems were common. Lead was a metal used by people of less exalted rank.
These seal matrixes were carefully guarded to prevent fraud by people not authorised to use them. Sometimes in monasteries, if discipline was lax, monks misused the seals and overspent the budget by authorising all sorts of luxuries and unnecessaries. This happened at Bury St. Edmunds in the twelfth century. Monastic abuse of seals was widespread and rules were introduced by which official documents could only be sealed in full view of the entire chapter.
In secular life, important seals, such as those belonging to towns, were kept locked in a box that was itself closed with the seals of the mayor and two constables.
Seals were often made by goldsmiths, who had the requisite skills. In the later Middle Ages (1440's) at Durham, Joss the goldsmith was paid twenty one shillings and 8 pence for making a seal for the prior.
If a seal ceased to be valid - if the owner died for example, it was customary to break it into pieces or deface it, a detail that is borne out by the very few surviving examples of seal matrices.
Most seal impression are imprinted in beeswax. This could come in several colours, cream, and green and red being common. The seals of the Norman kings appear to have been of cream-coloured wax mixed with a chalky substance that made them friable and easily breakable. By Henry II's period, seals, red had arrived and by the time his sons were sealing charters, green was the colour of the day. Seals were attached to documents by threads, by woven cords and braid, and by strips partially cut from the documents themselves.
Medieval seals generally come in two shapes. Round ones are used by laymen, whatever their rank, and oval ones are used by ladies and ecclesiasts. The general reason for this is that women and the clergy were usually depicted standing upright, which better suited the oval shield shape.
Here's an enlarged copy of the shield of Isabelle de Clare, wife of William Marshal.

Seal rings were not so much in use in the period about which I write, although they had been popular earlier on in Roman and Carolignian times, and were to become popular again later, returning to full vogue around the end of the fifteenth century.
In general terms, the larger the seal, the more important the person. Royal seals were larger than those of the magnates, and lesser gentry had smaller seals again. A bishop had a bigger seal an an archdeacon. I think it interesting that when William Marshal became a magnate, he kept the smaller, equestrian seal he had had as a knight. I wonder if it was from a sense of quiet personal pride, or to remind himself of his roots that he continued to use this seal rather than opting for an ostentatious one. Keeping the old one fits his character. He knew the things that mattered and those that didn't.
Seals were very carefully attached to documents because a document without them was invalid.
The earliest medieval seals were fixed by the wax being rivetted through a cross shaped incision cut into the parchment. From there the technique developed and seals were attached by partly cutting a strip from the parchment on the lower edge of the document and fixing the seal to this.
There was also the technique of cutting an incision into the parchment fold at the bottom of the deed or charter, passing a narrow strip of parchment or leather through this incision, and then attaching the seal to the two loose ends. Sometimes several seals were attached to a document by this method. From the end of the 12th century, silk and wool cords were used in documents concerning the higher ranks in society.
When there were a lot of seals on a document, the most important personage took preference and the grandest would begin at the bottom left hand corner and the others would progress in order of status to the bottom right.

I have paraphrased most of this from the very interesting article on Durham University's site. For readers wanting to study the full article, the url is here. Fascinating stuff!
http://flambard.dur.ac.uk/dynaweb/handlist/ddc/dcdmseal/

Temporary Website Blip

Just to say that my website has temporarily gone splat due to a technical hitch. Normal service will be resumed as soon as possible! Thanks to Marg at Historical Tapestry for alerting me.

Also to say that in the next couple of days - hopefully Monday night at the latest, I'll have a new post up all about Medieval seals and an interesting conundrum re one of the Bigod ones that I've been investigating and still haven't resolved.

I think I mentioned but I can't remember, that I've put an excerpt from my work in progress about Mahelt and Hugh Marshal on my novel extracts blog.
http://elizabethchadwicks.blogspot.com/

Back anon, by which time I hope I'll have a website again!

Elizabeth.

Where Did You Get That Hat?

I mentioned in my Christmas post that I was going to put up a post during the holiday season about Roger Bigod's hats.
While writing The Time of Singing and conducting the Akashic Record research, http://www.elizabethchadwick.com/akashic_record.html
I came across the detail that Roger Bigod, my hero, was rather fond of his hats. I think they served several purposes for him. They were functional and kept his ears warm and the weather out in winter, and protected him from the sun in summer. They conveyed status and propriety. They were disguises to conceal expressions and to hide behind, they were confidence boosters, and sometimes they were fun, flamboyant objects that said 'Look at me. I'm really a unique fun guy under this quiet facade.'
I asked Alison if she would draw the hats that she had seen Roger wearing in the course of our session and she very kindly sketched and coloured a selection. When I first saw them, I was a bit surprised because some of them looked slightly later in period than what I had envisaged. I sent them to a medievalist friend for evaluation. She said that what we actually know about hats in the late twelfth and early thirteenth century is very little. There are a few examples around, but to put it in context, it's like looking around the streets of Nottingham - where I live - choosing someone at random who's wearing a particular style of hat and then saying that this hat is the only sort people wore in Europe in the 21st century. There just aren't enough existing examples. We don't know enough about the variety and styles, so Roger's hats are perfectly feasible. Certainly I have found examples of similar by trawling paintings from the next two centuries and the Maciejowski Bible, dating to the mid 13th has some close relatives.
Anyway, without further ado, here's a wander through Roger Bigod's hat gallery, complete with the Akashic session context of how and where the particular hat was mentioned: I've also added some pictures from my gallery of later, conventional illustrations. Not all the hats or the circumstances appear in the novel, but they inform the background. Enjoy!
With grateful thanks to Alison King for her artwork efforts! Click on the images to enlarge.