¶Critical Introduction
Thomas Middleton wrote The Triumphs of Truth in 1613, to honour
the Lord Mayor of the same name, Sir Thomas Middleton, Grocer.
The Triumphs of Truth was
the most expensive mayoral pageant of the Renaissance,and, despite the propaganda that is construed negatively today, it was arguably Middleton’s
finest(Bergeron Civic 179).
The Triumphs of Truth is what Margot Heinemann calls
a sustained moral allegory(Heinemann 127). It relies on theme and symbolism rather than plot, and the theme that is
sustainedthroughout the pageant is
Truth prevails over Error.Thomas Middleton also makes use of allegorical characters, such as Truth, Zeal, and Error, and costumes them emblematically so that the members of the civic audience will be able to know who each character is, even if they cannot hear the pageant. David M. Bergeron praises Middleton’s descriptions of the allegorical characters. He says,
No other pageant-dramatist Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents. (KL)[…] gives greater evidence of understanding the traditional iconographical presentation of allegorical figures. It is not merely a portrait, however, for it has a dramatic function: to sharpen the contrast between good and evil(Bergeron Civic 182). Lawrence Manley says that
Middleton’s pageants, sponsored by such Puritan-dominated companies as the Grocers or the Skinners, were especially frank in their allusions to contemporary vices threatening the City rulers(Manley 282). In The Triumphs of Truth, Middleton deals explicitly with bribery and corruption, which is atypical for the Lord Mayor’s Show (Heinemann 125), through the character of Error. Error, typifying how not to rule as Lord Mayor, promises to teach the Lord Mayor how to
cast mists,and to bring the Lord Mayor bribes.
The Lord Mayor’s Show was unlike a stage play in that the pageant was
peripatetic, and no one member of the audience saw it from start to
finish. There was a need to write in a simple style and incorporate
repetitive action (like the struggle between Error and Truth with the
mist), so that the
moralor
themewould be obvious to a person who had not seen or heard what came before. The
cause of dramatic unityis strengthened in The Triumphs of Truth by the
movement throughout the processional of all the devices; thus the audience at almost any point has a chance to understand the dramatic action(Bergeron Civic 186).
Unity in The Triumphs of Truth is also achieved by using simple imagery -- light to represent
good and dark to represent evil (181). Truth’s Angel is wearing
white silkwhich is
powdered with stars of goldand Truth is adorned in
white satin,and wears a
diadem of stars,while Error wears
ash-colour silke.
Taking the conflict of the light/dark imagery a step further are the
Moors. The King of the Moors makes reference to his dark face, but
states that
Truth in [his] soul sets up the light of grace.It seems
that this King of Moors and his queen had been converted to Christianity by English merchants traveling in their land(183), and they rejoice in their new found religion. As well as setting up a hierarchy with
Goodover
Evil,in this scene of The Triumphs of Truth a hierarchy is created with
Christianover
Pagan.In this sense, The Triumphs of Truth is justifying the Christianization of far off lands, and promoting trade as a method to do so (Knowles 168).
¶Textual Introduction
This text is based on a collation of the two editions of The Triumphs of Truth. There are three surviving copies of the first edition (STC 17903), and seven copies
of the second (STC 17904).
This edition is based on the British Museum copies of both editions.
The two original editions were printed by Nicholas Okes in 1613. The central difference between the
two editions of the pageant is the inclusion in the second edition of the entertainment
at
Amwell-Head on Michaelmas Day; it is absent from
the first edition. The second edition has a new title page, reflecting
the inclusion of the new section of text. The second edition corrects
some textual errors that appeared in the first edition. The type does
not appear to have been reset between the two editions, however; other
than the compositor’s corrections in the second edition, the two texts
are identical.
Unlilke other MoEML texts, this diplomatic transcription modernizes the u/v and i/j
typographical conventions. The only other change that has been made has been
the distinction between then and than. In the original text it
appears as then almost exclusively. Where appropriate, it has been
changed to than. This edition also corrects obvious compositional
errors, noting these corrections in editorial notes.
Middleton wrote The Triumphs of Truth at a time when pageants were made not only as entertainment,
but also as literary texts. The printing, and then reprinting of The Triumphs of Truth, suggests that it was not
only a successful pageant, but was also a successful literary
achievement.
¶The Route
![The Triumphs of Truth - route map The Triumphs of Truth - route map](graphics/TRIU1-map-lg.jpg)
-
The Lord Mayor begins the day at Guildhall.
-
Musicians are already playing as the Lord Mayor makes his way from Guildhall to Soper-Lane End. After a song, the Lord Mayor is welcomed with a trumpet flourish. London greets him and makes her first speech.
-
The Lord Mayor, his company, and the waits of the city (a small body of wind instrumentalists maintained by a city), are led down to the banks of the Thames, where they see the five islands for the first time.
-
The Lord Mayor then proceeds by water to Westminster where he swears his Oath of Mayoralty.
-
The Lord Mayor returns to the City and is met by Truth’s Angel and Zeal at Baynard’s Castle. Lawrence Manley suggests that landing at Baynard’s Castle is a deviation from the standard route of the Lord Mayor’s show. In his Literature and Culture in Early Modern London, he shows the route using Paul’s Stairs instead (Manley 226-27). The green line on the map represents the route that Manley suggests was standard, and the yellow line represents the route that The Triumphs of Truth took.
-
Truth’s Angel and Zeal accompany the Lord Mayor to Paul’s Chain, where he is
assaulted
by Error and his champion, Envy. Truth arrives withher celestial handmaidens, the Graces and Virtues
to give the Lord Mayor some advice. -
Everyone moves to Paul’s Churchyard. The five islands seen earlier on the river are now set up in the Churchyard, but now they carry the Five Senses. A ship carrying Moorish royalty is
sailing
on dry land towards the party. -
The Pageant moves into Cheapside with the islands in the lead. Once at the Little Conduit they encounter
London’s Triumphant Mount,
veiled in Error’s mist and guarded by his evil monsters. Truth drives the fog away to reveal London accompanied by Religion, Liberality, and Perfect Love. -
The whole
Triumph
moves to the cross in Cheap. Error continuously shroudsLondon’s Triumphant Mount
in his mist, and Truth keeps banishing it. This battle continues all the way to the Standard. -
At the Standard, Error succeeds in covering the Mount in mist until the Pageant reaches St. Laurence Lane End, where Truth drives the mist away.
-
The Pageant makes its way back to Guildhall for the feast.
-
Following the pink line on the map, the Lord Mayor, after feasting, is taken to St. Paul’s to
perform those yearly ceremonial rights which ancient and grave order hath determined,
with Error and Truth shrouding and uncovering the Mount along the way. -
Following the orange line on the map, the Pageant moves from St. Paul’s to
the entrance of his lordship’s gate near Leadenhall,
where Error is vanquished once and for all in a spectacular fireworks show.
¶Staging
While much is known about the mechanics of the court masque, the
mechanics of the Lord Mayor’s Show is an under-investigated field. In
The Triumphs of Truth, Thomas Middleton
worked with master Humphrey
Nichols, who made
the fire-workethat defeated Error, but what exactly is meant by
the fireworkis unknown. The direction in the text for Error’s fiery defeat states that
a Flame shootes from the head of Zeale, which fastening upon the / chariot of Error sets it on fire, and all the beasts that are joynde to it.Robert Withington says that Error and his companions were
obviously not alive(Withington 35), suggesting that effigies had replaced them in the chariot. This theory is sound because Error does not speak in the last scene of the Pageant, and an effigy could easily be substituted for the character of Error while everyone was distracted by the speeches of London and Truth. But how did Zeal shoot a flame from his head? Zeal could not have been an effigy, because he makes a speech as he shoots Error, saying
Then here’s to the destruction of the seate, / There’s nothing seene of thee but fire shall eate.With the danger involved, it seems unlikely that fireworks would have been rigged to an actor’s head. Perhaps Zeal shot some sort of symbolic flame towards Error’s chariot, and someone would have been standing by to start the fireworks and light the chariot on fire.
Somewhat easier to explain is the staging of the five islands that first
appear in the river Thames. These pieces of
the set,presumably constructed by John Grinkin, are established as islands when they are seen surrounded by the water of the Thames. Later, in Paul’s Churchyard, they appear on dry land. George Unwin explains their amphibiousness with the use of
trolleys(Unwin 279). By using trolleys, one could build a boat on which an
islandcould be constructed, then, as the Lord Mayor makes his way to and from Westminster, the islands could be loaded onto carts and hauled up to St. Paul’s.
The last problem with staging The Triumphs of
Truth is that of Error’s mist. It is described as
thick, sulphurous darkness,and as
a fog or mist.In reality, the
mistwas just material that Error used to shroud
London’s Triumphant Mountover and over again. The reason Truth and Error raise and lower the shroud all the way from the cross in Cheap to the end of the pageant is so that all the onlookers get to see what is going on. This action basically sums up the entire plot of the play -- Truth wins over Error -- so it is important that the audience sees it. Had the shroud been raised only once, the majority of Londoners watching the Show would have missed its message.
¶About Mayoral Pageantry
Civic pageantry does not refer to court masques or plays produced in
commercial theatres. Civic pageantry refers to entertainments that
were generally accessible to the public(Bergeron Civic 2). Examples of civic pageantry include the Royal Entry and the Lord Mayor’s Show. David M. Bergeron also points out that
[t]he involvement of the trade guilds and the cities in preparation and production of many of these entertainments also accounts for the ‘civic’ nature of the shows(3). The civic pageant, like the court masque,
was designed for a specific occasionand therefore had a limited lifespan. When the occasion ended,
so did the dramatic life of the pageant(3).
The Lord Mayor’s Show, celebrated on
the morrow next after Simon and Judes day,was probably the most familiar form of civic pageantry to a Londoner of the sixteenth or seventeenth century. The Show has its origins in another civic pageant called
The Midsummer Watch,which was what Robert J. Blackham calls
a sort of civic torchlight tattoo(Blackham 41). The Watch, which was
part folk tradition, part military exercise, part civic display,consisted of a
night-time procession through the City streetsof
armed men, bowmen, cresset light bearers, Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents. (KL)[…] musicians, and morris dancers(Lancashire 81). As with its successor, the Lord Mayor’s Show, the livery companies or trade guilds were involved in The Midsummer Watch. Each company was responsible for paying its cresset-bearers, archers, and men in harness, and the Company
to whom the mayor and sheriffs belonged provided their pageants, giants, and morris dancers(Unwin 269). The expense of The Watch to the Companies was significantly less than the expense of a Lord Mayor’s Show. Compare the £3 that the Carpenters spent in 1548 (269), to the £900 The Grocers spent on The Triumphs of Truth in 1613 (278).
The Midsummer Watch was suppressed by royal edict in 1539 (Manley 264), probably because of its
traditional Catholic dates and elements(Lancashire 83). Instead the
typical Watch pageantrytranslated into the secular Lord Mayor’s Show (83), and it became the
one great civic pageant of the year(Unwin 274), almost immediately after the suppression of The Watch (Manley 265).
Though the office of Lord Mayor has existed since 1189, the title of
Lord Mayor was not adopted until 1540(The Lord Mayor’s Show 2002), and Robert Withington suggests that the
first definite Lord Mayor’s Showwas not until 1553 (Withington 13), though some sort of procession had been going on since much earlier. In 1215, King John granted a charter that allowed the citizens of the City of London to elect their own Mayor, on the condition that the Mayor
be presented to the Sovereign for approval and Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents. (KL)[…] swear fealty to the Crown(The Lord Mayor’s Show 2002), and so the tradition of the procession to Westminster began. In fact, the original
Showconsisted of just the Mayor’s trip to Westminster (The Lord Mayor’s Show 2002). It was not until the Elizabethan era that the Lord Mayor’s Show became extravagant (Unwin 275).
Before the mid-fifteenth century,
the journey [to Westminster] was normally made entirely by land(Lancashire 82). It was not until 1453 that, according to popular legend, John Norman was the first Lord Mayor to make the trip to Westminster by water (Unwin 275). Robert Withington, however, disagrees, pointing out that Walderne, the Mayor of 1422, seems to have been the first to go by water (Withington 4). Perhaps John Norman is credited with making the first water journey because he was also the first to have
the barge that he sat inmaking him theburn on the water,,
originator of the fire-barge, which afterwards became a regular feature of all pageants(Unwin 275). Eventually, all the Companies bought or hired barges for the procession on the Thames (Blackham 45), which progressed in the
traditional hierarchyof the guilds (Knowles 166). Even if a Company was not a Great Company, its barge was still a
matter of guild pride(166).
The Lord Mayor’s Shows were
[c]ommissioned and paid for by the bachelors of the company(Manley 261), who were elected because they were the wealthiest men of the yeomanry, which was the general body of freemen of a livery company. The Lord Mayor’s Show was
the Company’s gift to one of its illustrious members(261). As time went on, the
giftscost more each year.
The Companies showed their wealth and affluence through the extravagance
of their pageant. This resulted in a
healthy rivalry,which also
generate[d] expensive productions(Bergeron Civic 138). For example, the 1561 pageant costs £151, while the 1602 pageant cost an excess of £747 (138), and The Triumphs of Truth in 1613 cost around £900 (Unwin 278). Along with rising costs came the growing intricacy of the show itself. At first, the pageants consisted of a silent show, but by the Elizabethan era
the characters were given long speeches(Blackham 43). Eventually, the pageants had about a
half-dozen different scenesand
numerous personages,all of which George Unwin calls
natural product[s] of the Elizabethan age(Unwin 275).
The first pageant
textthat we know of was written by George Peele in 1585 for Sir Wolstone Dixie, Skinner. The text is a pamphlet which contains
only the speeches spoken by the characters in the pageant(Withington 23), unlike Middleton’s text of The Triumphs of Truth (1613), which includes descriptions and explanations of the emblematic costumes. Peele’s 1585 text is also significant because it is the first time a
well-known dramatist [was] responsible for the entertainment(Bergeron Civic 131). Other widely known writers who penned civic pageants were George Gascoigne, John Lyly, Ben Jonson, Thomas Dekker, John Webster, Thomas Heywood, and Anthony Munday (4).
The pageant theatre,says David M. Bergeron,
is the quintessence of emblematic theatre(Bergeron Civic 2), and the writer who was used to creating pieces for the theatre would have to take a different approach when writing civic pageantry. The pageant had to be accessible and understandable to those people watching, and therefore could not be plot-based, and if there is
little or no plot, then the dramatic burden of the pageant must fall on theme(7). The theme of The Triumphs of Truth is
Truth conquers Error.Anyone watching the pageant at any point on the route would be able to discern this theme from the emblematic costumes and the simple action, even without being able to hear the speeches.
The Elizabethan and Jacobean eras were
sympathetic to and indeed educated to symbolism(Bergeron Civic 2), and therefore playwrights and pageantwrights could use symbols and emblems to tell the crowd what exactly the pageant was about. At the same time, the symbols were used to reinforce the greatness of the host Company (like the five islands in The Triumphs of Truth
garnishedwith fruit trees, drugs, and spiceries, which are meant to glorify the Grocers’ Company), and to promote the
oligarchic dominationof the Companies (Manley 267). The Lord Mayor’s Show
celebrat[ed] the power and the values of the City’s innermost mercantile elite(284). As much as it was a day of fun for the average Londoner, the Show was also used as propaganda for the Companies.
The reign of James I
was the Golden Age of the Lord Mayor’s Show(Unwin 277). As the seventeenth century progressed,the pageants reached the height of their extravagance (Blackham 43), only to move in a new direction during the Restoration. The Shows of the Restoration were comical, and replaced the
stilted speechesof the Renaissance with
jocular songs and clowning(43-44). Raymond D. Tumbleson says the shift from serious to silly is because
[b]y 1701, there was no longer a need to enact symbolic Triumphs of London because London had triumphed(Tumbleson 54).
¶About the Livery Companies
The livery companies were the most important organizations in London in
the sixteenth and seventeenth centuries, and even more important to
London, perhaps, than the monarchy. The livery companies were
responsible in part for the extreme wealth in London, and even provided
the monarch with money. Robert J. Blackham writes,
The livery companies, with their political and municipal power, are peculiar to London. No other city has permitted such a development of its mistries and trades, nowhere else in England have chartered associations of the kind attained such wealth and power(Blackham 2).
The livery companies originated from medieval organizations called
guilds, which were
voluntary associations formed originally for mutual protection, with religious, benevolent and social elements(Grocers’ 1). The guilds were a
mixture of worldly and religious idealsand there was a strong sense of
Christian brotherhoodbetween the members of a particular guild (Blackham 2). Being a member of a Worshipful Company was a source of pride and dignity for
the old world trader(3).
The guilds were not just for
social elementsand
mutual protection,they were also about money. The guildsmen were not just
merchants, traders and craftsmen,they were also
bankers and financiers(13) helping to establish London as the commercial and financial capital of the world. Sir Thomas Gresham, a Mercer, was responsible for the building of the Royal Exchange, which helped develop overseas trade, and helped London expropriate the title of
commercial capitalfrom Antwerp (13).
Regarding the commercial aspect of the guilds, Blackham says they were
designed to represent the interests of Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents. (KL)[…] the employer, the workman and the consumer," though those interests may be "distinct and antagonistic(12). The guilds protected its members by being able to regulate
the establishment of businesses in the crafts and trades they controlled(Rappaport 29). No one could practice a certain trade except the members of the corresponding Company (Blackham 13), and this protected the employer from the
incompetency of the artisan(11). The Company controlled the intake of apprentices and the rates of wages, and no journeyman was permitted to work outside his Company (13). The Company was committed to protecting the journeyman, who was a
trained workman,by
preventing his being undersold in the labour market by an unlimited number of competitors(11).
It is no surprise, with their great financial and political power, that
the livery companies were the
most important social organizations in sixteenth-century London(Rappaport 26). By the early seventeenth century, two-thirds of the men in London were citizens of a livery company (53), and the responsibilities of the companies had been extended to providing relief for the poor, collecting taxes, and organizing pageants (26).
The first twelve companies eventually came to be known as
The Twelve Great Companies.They are: the Mercers, the Grocers (for whom Thomas Middleton wrote The Triumphs of Truth), the Drapers, the Fishmongers, the Goldsmiths, the Merchant Taylors, the Skinners, the Haberdashers, the Salters, the Ironmongers, the Vintners and the Clothworkers. These Companies wielded the true power in the City of London. Each year the Lord Mayor was selected from one of the twelve, and that Company was responsible for organizing and funding that year’s Lord Mayor’s Show.
In fact, citizens, or freemen, were the only people who held any power
in London. To become a freeman, a man who had just finished his
apprenticeship would swear an oath before his master and the governors
of the Company associated with his trade in
a simple ceremony at the hall,and become a member of the Company (Rappaport 23-4). Soon after, the former apprentice (usually now a journeyman), would go to Guildhall where he would be sworn as a citizen or a freeman of London (24).
With his new found freedom, the citizen acquired a number of rights
that the
non-freecould not enjoy. These rights included the right to vote and the right to hold municipal office (30), and the right to
engage independently in economic activity(29). It is interesting to note that, while there was no law preventing women from accepting the freedom,
it is clear they were excluded from the right and privileges of citizens(49). In practice, they were excluded from becoming apprentices, with a few exceptions. There were only seventy-three women enrolled as apprentices during the entire sixteenth century (37), and in fact, the Weavers’ Company made it policy in 1550
not to take on women apprentices(37).
Apprentices were the bottom of the social hierarchy within the livery
companies (232). Above them
were the journeymen, the householders, the liverymen, and the assistants
at the very top (217). The
apprentices could work their way up through the ranks, but first they
had to complete their apprenticeship. Apprenticed to a master for a
certain number of years, the apprentice had a set of rules he was
expected to follow. He was not allowed to marry or
commit fornication,nor take part in any
unlawful gameslike dice or cards, and he was not supposed to go to the taverns or the theatres (234). The master provided his apprentice with clothing, as well as room and board (234). When the apprentice completed his term, the master also
paid the fees for making him a free man and a member of the company(235).
Above the apprentices in the hierarchy were the journeymen, who worked
for wages, and householders, who ran their own shops (221). These two groups formed a
sub-organization in the Company called the yeomanry. The origins of
the yeomanry lie with
illegal fraternities of journeymen in late medieval London(219). These journeymen capitalized on labour shortages, working only for double or triple the normal wage (219), and threatening
strikes against masters who employed foreigners(220). It was like a union for journeymen. Something happened during the fifteenth century, in which the fraternities
underwent a striking transformation(220), and by the sixteenth century London’s yeomanries included journeymen and householders -- the
employees and employers(220).
The yeomanry of the Renaissance was a
somewhat autonomous organizationwithin a Company (219), and included the men who were
not eliteenough to be in
the livery,which was the other sub-organization within the Company. The livery included only one-fifth of all members, making the yeomanry the bulk of the company (219). The yeomanry was able to stay
somewhat autonomousby providing its own income through the collection of
quarterage dues(Archer 108). Among the responsibilities of the yeomanry was
enforcing many of the regulations governing a company’s craft or trade(Rappaport 224).
In the Great Companies, there was a
separate livery of the yeomanry called ‘the bachelors’(226). This special livery would be created only on the year when a member of that company was going to serve as Lord Mayor (226). The bachelors were responsible for
attend[ing] upon the Lord Mayor at his going to Westminster to take his oath and certain other days of like service(226). On the day of the Lord Mayor’s Show, the bachelors would also be required to dress in special costume (226). Being elected to bachelor status
marked an important distinction between the men of substance who might eventually attain the livery of their company and the lesser artisans and shopkeeps who never would(Manley 262-63).
Movement was possible between the members of the yeomanry and the elite
livery. One could be promoted from the yeomanry to the livery (Rappaport 221), but
only the wealthiest householders were chosen(256). It was expensive to stay in the livery. Upon being chosen, one would have to pay an admission fee (257), and buy a
fur-lined cloak and satin hoodfor formal occasions (218). If a liveryman’s funds were dwindling, he could find himself back in the yeomanry (258).
The responsibilities of a liveryman included serving on committees which
performed important administrative, [and] deliberative Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents. (KL)[…] functions,as well as
overseeing lawsuits and appeals for action to the crown or parliament(255). The elite liverymen, the assistants, were required to attend court, and serve periodically as warden or master (268).
Since the Companies were so wealthy, the Tudor monarchy was
heavily dependent on the good will of the Citybecause
the City’s wealth was a source of financing more dependable than Parliament(Manley 219). When a monarch demanded money from a Company, it would collect from its members to meet the sum of the request. When Queen Mary demanded a loan from the City in 1558, the Grocers Company had to come up with £7 555. These compulsory loans were called Benevolences (Grocers’ 10). Queen Elizabeth frequently demanded money, which she would borrow
free of interest, and then was graciously pleased to lend at 8 per cent!(10). The Stuart family, however, was the worst for borrowing huge sums of money and seldom repaying it. To fund James I, the Companies
supplied the money first from their common stock, then by assessment, at first voluntary, subsequently compulsory of individual members(10).
Despite being constantly squeezed for money, the Companies were still
able to partake in good works, such as establishing almshouses and
providing pensions (Archer
120). The Companies would also
assistwidows of Company men, and help the younger members of the Company by providing
two- to four-years interest-free loans of ten to fifty pounds to young men in need of capital to begin businesses(Rappaport 39).
The livery companies have been described as
the rock upon which the life of the City was built(Grocers’ 1), and their presence certainly helped London achieve great status during the Renaissance.
¶About the Grocers’ Company
The Grocers’ Company, one of the Twelve Great Companies, emerged from a
much older Company -- the Pepperers. The Pepperers were first mentioned
in 1180 as the Gilda
Piperariorum (Grocers’ 1).
Unlike many other guilds, the Pepperers did not specialize in one
particular area, but rather in many areas. They were
recognised as general traders who bought and sold Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents. (KL)[…] all kinds of merchandise(2). They were also the guild that was in charge of weighing merchandise in the City (2), and they had access to warehouses and shops for the purpose of
garbling or cleaning spices, drugs and kindred commodities(2). Garbling meant to check for fraud by
cleansinggood that were sold by weight, like spices and drugs (6).
The first mention of the Grocers is in 1373, when they were referred to as the
Company of
Grossers(6). It was not until 1376, after revising their ordinances, that they came to be known as
the Grocers of London (Les Grocers de Loundres)(6).
As was customary, the Grocers had a patron saint -- Saint Antony of Coma who was
credited with the power of curing skin diseases(5). The reason for adopting Antony of Coma as their patron saint had little to do with curative powers and more to do with location. The Pepperers occupied Soper’s Lane and attended the church at the south end of the lane, the Church of St. Antolin (another form of Antony) (5), and because of their membership in the church, St. Antony of Coma seemed a natural choice for a patron saint.
The Grocers Company was very wealthy during the reign of James I. When one of their
members, Sir Thomas
Middleton (not to be confused with Thomas Middleton the writer) was chosen to
be the Lord Mayor in 1613,
the Grocers were prepared to spend almost £900 on their pageant, The Triumphs of Truth (Unwin 278). The
costs included: £200 for drapery, including blue gown sleeves for 124
aldermen; £48 for 288 white staves for the whifflers (men employed to
keep the way clear for a procession), and for 780 torches; £67 for
mercery; and £282 for the poetry, scene painting, and general
upholstery. On top of these costs, the Grocers paid the wages of the
city waits, 32 trumpeters, and 18 flourishers of long swords. The cost
of the loot to be tossed into the crowd was also enormous as the Grocers
provided 500 loaves of sugar, 36 lbs. of nutmegs, 24 lbs. of dates, and
114 lbs. of ginger (278).
As a salute to the Grocers’ Company, Thomas Middleton, author of The Triumphs of
Truth, followed the tradition of including islands
garnishedwith fruit trees, drugs, and spiceries. The tropical island was a
permanent feature of the Lord Mayor’s Shows in the seventeenth century(271), as it served to indicate the Grocers’
association with the East from which they imported their drugs and spices(Blackham 41).
The Grocers were fond of Middleton’s work, and they hired him again in 1617, and several times more
until his death in 1627.
¶About the Author
Thomas Middleton was born to
William and Anne Middleton in London in
1580 (Heinemann 49). His father was a prosperous
brickmason and landlord,according to David M. Holmes (xvi), or a
bricklayer and builder,according to Margot Heinemann (49). William died in 1586, when Middleton and his sister Avice were just young (49).
His mother remarried a
broken grocernamed Thomas Harvey. Harvey spent the Middletons’ money recklessly, which resulted in a series of lawsuits against him (49).
At the age of eighteen, Middleton matriculated at Queen’s College Oxford (Holmes xvii), but he never
finished his degree (Heinemann
49). In 1601, he
decided to
accompany the playersin hopes of making some money (50), and ended up marrying Mary Marbecke (50), the sister of one of the Admiral’s Men. They had a son called Edward (Holmes xvii).
Critical opinion of Middleton
varies. His works have been described in many different ways. His
comedies have been called
cynical,
amoral,
disgusting,
boring,and
profoundly serious moral fables,and his tragedies, according to T.S. Eliot, have
no point of view(qtd. in Heinemann 1). Some sense a
strong Calvinist biasin his work (1), while others feel his work suggests that
he came from a moderate Puritan background(51).
During his early years as a dramatist, Middleton wrote primarily for the boy
players,
particularly for the Children of St. Paul’sfor whom
he did six plays(63). Middleton also wrote for the Children of the Revels, Lady Elizabeth’s, and Prince Charles’s companies, and, from 1615 onward, the King’s Men (Holmes xviii). His play A Game at Chess (1624), a
sharp satire on royal policy,was the
greatest box-office success of the whole Jacobean period(Heinemann 2). With such success came fame, or, in Middleton’s case, infamy. The King heard of the satirical A Game at Chess and
ordered it to be suppressed and the dramatist punished(130). As a result of this decree, Middleton was forced into hiding in 1624 (130).
Middleton’s first experience
with writing civic pageants was in 1603, when he contributed a speech for Zeal in Dekker’s entertainment for the
Royal Entry of James I into London (124). He proceeded to write his own pageant in 1613 entitled The Triumphs of Truth. Critics assert that this pageant was
his best work for the civic stage. It was his
finest and his most elaboratepageant, as well as the
most expensive mayoral pageant of the Renaissance(Bergeron Civic 179).
It is interesting to note that Middleton sneers at fellow dramatist, Anthony Munday, in the very beginning of the
text, and later acknowledges him for providing
apparrell and porters.Middleton takes the opportunity to
hurl a few barbs at his rivalin The Triumphs of Love and Antiquity, written for the Skinners in 1619 (Bergeron Civic 189), but then collaborates with Munday in 1621 (191), and again in 1623 (195). Perhaps their rivalry was just for show, or maybe they were forced to collaborate because they needed the work and the money.
The Grocers’ Company hired Middleton once again to write the Lord Mayor’s Show of 1617. The Triumphs of Honour and Industry (for the record, six of the
seven shows written by Middleton were entitled The Triumphs of Gap in transcription. Reason: Editorial omission for reasons of length or relevance.
Use only in quotations in born-digital documents.[…]), was more
conservative and traditional than The Triumphs of Truth, and
the result is a rather undistinguished work(186). Distinguished or not, Middleton was paid handsomely for his efforts.
Middleton wrote seven Lord
Mayor’s Pageants in all: The Triumphs of Truth (1613), The Triumphs of Honour and Industry (1617), The
Triumphs of Love and Antiquity (1619), The Sun in
Aries (1621),
The Triumphs of Honour and Virtue (1622), The
Triumphs of Integrity (1623), and The Triumphs of Health and
Propsperity (1626) (Tumbleson 57).
He was also the author or co-author of
some twenty plays,as well as several court masques (Heinemann vii). In addition to his creative work, Middleton was appointed City Chronologer in 1620, a position he held until his death in 1627 (Holmes xviii).
References
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Archer, Ian. The Pursuit of Stability: Social Relations in Elizabethan London. Cambridge: Cambridge UP, 1991. Print.This item is cited in the following documents:
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Bergeron, David M. English Civic Pageantry 1558–1642. London: Edward Arnold, 1971. Print.This item is cited in the following documents:
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Blackham, Colonel Robert J. The Soul of the City: London’s Livery Companies. Their Storied Past, Their Living Present. London: Sampson Low, Marston & Co., 1932. Print.This item is cited in the following documents:
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Grocers’ Company. A Short History of the Grocers’ Company, Together With a Description of the Grocers’ Hall and the Principal Objects Therein. London: Metcalfe and Cooper, 1960. Print.This item is cited in the following documents:
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Heinemann, Margot. Puritanism and Theatre: Thomas Middleton and Opposition Drama under the Early Stuarts. Cambridge: Cambridge UP, 1980. Print.This item is cited in the following documents:
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Holmes, David M. The Art of Thomas Middleton. Oxford: Clarendon, 1970. Print.This item is cited in the following documents:
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Knowles, James.The Spectacle of the Realm: Civic Consciousness, Rhetoric and Ritual in Early Modern London.
Theatre and Government Under the Early Stuarts. Ed. J.R. Mulyne and Margaret Shewring. Cambridge: Cambridge UP, 1993. 157–189. Print.This item is cited in the following documents:
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Citation
Lancashire, Anne.Continuing Civic Ceremonies of 1530s London.
Civic Ritual and Drama. Ed. Alexandra F. Johnston and Wim Hüsken. Amsterdam: Rodopi, 1997. Print.This item is cited in the following documents:
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Lord Mayor’s Show. London Stock Exchange Group. open.This item is cited in the following documents:
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Citation
Manley, Lawrence. Literature and Culture in Early Modern London. Cambridge: Cambridge UP, 1997. Print.This item is cited in the following documents:
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Citation
Middleton, Thomas. The Triumphs of Truth. London, 1613. STC 17904. Reprint. EEBO. Web. [Differs from STC 17903 in that it contains an additional entertainment celebrating Hugh Middleton’s New River project, known as the Entertainment at Amwell Head.]This item is cited in the following documents:
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Citation
Middleton, Thomas. The Triumphs of Truth. London, 1613. STC 17903. Reprint. EEBO. Web.[Differs from STC 17904 in that it does not contain the additional entertainment.]This item is cited in the following documents:
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Citation
Rappaport, Steve. Worlds Within Worlds: Structures of Life in Sixteenth-Century London. Cambridge: Cambridge UP, 1989. Print.This item is cited in the following documents:
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Citation
Tumbleson, Raymond D.The Triumph of London: Lord Mayor’s Day Pageants and the Rise of the City.
The Witness of Times: Manifestations of Ideology in Seventeenth Century England. Ed. Katherine Z. Keller and Gerald J. Schiffhorst. Pittsburgh: Duquesne UP, 1993. 53–68. Print.This item is cited in the following documents:
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Citation
Unwin, George. The Gilds and Companies of London. 4th ed. London: Frank Cass, 1963. Print.This item is cited in the following documents:
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Citation
Withington, Robert. English Pageantry: An Historical Outline. Vol. 2. 1926. Reprinted by New York: Benjamin Blom, 1963. Print.This item is cited in the following documents:
Cite this page
MLA citation
Critical Companion to The Triumphs of Truth.The Map of Early Modern London, edited by , U of Victoria, 15 Sep. 2020, mapoflondon.uvic.ca/TRIU1_critical.htm.
Chicago citation
Critical Companion to The Triumphs of Truth.The Map of Early Modern London. Ed. . Victoria: University of Victoria. Accessed September 15, 2020. https://mapoflondon.uvic.ca/TRIU1_critical.htm.
APA citation
2020. Critical Companion to The Triumphs of Truth. In The Map of Early Modern London. Victoria: University of Victoria. Retrieved from https://mapoflondon.uvic.ca/TRIU1_critical.htm.
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Provider: University of Victoria Database: The Map of Early Modern London Content: text/plain; charset="utf-8" TY - ELEC ED - Jenstad, Janelle T1 - Critical Companion to The Triumphs of Truth T2 - The Map of Early Modern London PY - 2020 DA - 2020/09/15 CY - Victoria PB - University of Victoria LA - English UR - https://mapoflondon.uvic.ca/TRIU1_critical.htm UR - https://mapoflondon.uvic.ca/xml/standalone/TRIU1_critical.xml ER -
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RT Web Page SR Electronic(1) A6 Jenstad, Janelle T1 Critical Companion to The Triumphs of Truth T2 The Map of Early Modern London WP 2020 FD 2020/09/15 RD 2020/09/15 PP Victoria PB University of Victoria LA English OL English LK https://mapoflondon.uvic.ca/TRIU1_critical.htm
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<bibl type="mla"> <title level="a">Critical Companion to The Triumphs of Truth</title>.
<title level="m">The Map of Early Modern London</title>, edited by <editor><name ref="#JENS1"><forename>Janelle</forename>
<surname>Jenstad</surname></name></editor>, <publisher>U of Victoria</publisher>,
<date when="2020-09-15">15 Sep. 2020</date>, <ref target="https://mapoflondon.uvic.ca/TRIU1_critical.htm">mapoflondon.uvic.ca/TRIU1_critical.htm</ref>.</bibl>
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James Campbell
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Kim McLean-Fiander
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Director of Pedagogy and Outreach, 2015–present. Associate Project Director, 2015–present. Assistant Project Director, 2013-2014. MoEML Research Fellow, 2013. Kim McLean-Fiander comes to The Map of Early Modern London from the Cultures of Knowledge digital humanities project at the University of Oxford, where she was the editor of Early Modern Letters Online, an open-access union catalogue and editorial interface for correspondence from the sixteenth to eighteenth centuries. She is currently Co-Director of a sister project to EMLO called Women’s Early Modern Letters Online (WEMLO). In the past, she held an internship with the curator of manuscripts at the Folger Shakespeare Library, completed a doctorate at Oxford on paratext and early modern women writers, and worked a number of years for the Bodleian Libraries and as a freelance editor. She has a passion for rare books and manuscripts as social and material artifacts, and is interested in the development of digital resources that will improve access to these materials while ensuring their ongoing preservation and conservation. An avid traveler, Kim has always loved both London and maps, and so is particularly delighted to be able to bring her early modern scholarly expertise to bear on the MoEML project.Roles played in the project
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Janelle Jenstad
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Janelle Jenstad is Associate Professor of English at the University of Victoria, Director of The Map of Early Modern London, and PI of Linked Early Modern Drama Online. She has taught at Queen’s University, the Summer Academy at the Stratford Festival, the University of Windsor, and the University of Victoria. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media (Routledge). She has prepared a documentary edition of John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Renaissance and Reformation,Journal of Medieval and Early Modern Studies, Early Modern Literary Studies, Elizabethan Theatre, Shakespeare Bulletin: A Journal of Performance Criticism, and The Silver Society Journal. Her book chapters have appeared (or will appear) in Institutional Culture in Early Modern Society (Brill, 2004), Shakespeare, Language and the Stage, The Fifth Wall: Approaches to Shakespeare from Criticism, Performance and Theatre Studies (Arden/Thomson Learning, 2005), Approaches to Teaching Othello (Modern Language Association, 2005), Performing Maternity in Early Modern England (Ashgate, 2007), New Directions in the Geohumanities: Art, Text, and History at the Edge of Place (Routledge, 2011), Early Modern Studies and the Digital Turn (Iter, 2016), Teaching Early Modern English Literature from the Archives (MLA, 2015), Placing Names: Enriching and Integrating Gazetteers (Indiana, 2016), Making Things and Drawing Boundaries (Minnesota, 2017), and Rethinking Shakespeare’s Source Study: Audiences, Authors, and Digital Technologies (Routledge, 2018).Roles played in the project
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Jenstad, Janelle.
Building a Gazetteer for Early Modern London, 1550-1650.
Placing Names. Ed. Merrick Lex Berman, Ruth Mostern, and Humphrey Southall. Bloomington and Indianapolis: Indiana UP, 2016. 129-145. -
Jenstad, Janelle.
The Burse and the Merchant’s Purse: Coin, Credit, and the Nation in Heywood’s 2 If You Know Not Me You Know Nobody.
The Elizabethan Theatre XV. Ed. C.E. McGee and A.L. Magnusson. Toronto: P.D. Meany, 2002. 181–202. Print. -
Jenstad, Janelle.
Early Modern Literary Studies 8.2 (2002): 5.1–26..The City Cannot Hold You
: Social Conversion in the Goldsmith’s Shop. -
Jenstad, Janelle.
The Silver Society Journal 10 (1998): 40–43.The Gouldesmythes Storehowse
: Early Evidence for Specialisation. -
Jenstad, Janelle.
Lying-in Like a Countess: The Lisle Letters, the Cecil Family, and A Chaste Maid in Cheapside.
Journal of Medieval and Early Modern Studies 34 (2004): 373–403. doi:10.1215/10829636–34–2–373. -
Jenstad, Janelle.
Public Glory, Private Gilt: The Goldsmiths’ Company and the Spectacle of Punishment.
Institutional Culture in Early Modern Society. Ed. Anne Goldgar and Robert Frost. Leiden: Brill, 2004. 191–217. Print. -
Jenstad, Janelle.
Smock Secrets: Birth and Women’s Mysteries on the Early Modern Stage.
Performing Maternity in Early Modern England. Ed. Katherine Moncrief and Kathryn McPherson. Aldershot: Ashgate, 2007. 87–99. Print. -
Jenstad, Janelle.
Using Early Modern Maps in Literary Studies: Views and Caveats from London.
GeoHumanities: Art, History, Text at the Edge of Place. Ed. Michael Dear, James Ketchum, Sarah Luria, and Doug Richardson. London: Routledge, 2011. Print. -
Jenstad, Janelle.
Versioning John Stow’s A Survey of London, or, What’s New in 1618 and 1633?.
Janelle Jenstad Blog. https://janellejenstad.com/2013/03/20/versioning-john-stows-a-survey-of-london-or-whats-new-in-1618-and-1633/. -
Shakespeare, William. The Merchant of Venice. Ed. Janelle Jenstad. Internet Shakespeare Editions. Open.
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Stow, John. A SVRVAY OF LONDON. Contayning the Originall, Antiquity, Increase, Moderne estate, and description of that Citie, written in the yeare 1598. by Iohn Stow Citizen of London. Also an Apologie (or defence) against the opinion of some men, concerning that Citie, the greatnesse thereof. With an Appendix, containing in Latine, Libellum de situ & nobilitate Londini: written by William Fitzstephen, in the raigne of Henry the second. Ed. Janelle Jenstad and the MoEML Team. MoEML. Transcribed. Web.
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Stewart Arneil
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Lacey Marshall
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Student contributor enrolled in English 412: Representations of London at the University of Windsor in Fall 2002. BA combined honours student, English Language and Literature and German, University of Windsor. Lacey Marshall went on to study speech-language pathology at Dalhousie University.Roles played in the project
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St. Anthony of Egypt is mentioned in the following documents:
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Thomas Dekker is mentioned in the following documents:
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Bevington, David. Introduction.
The Shoemaker’s Holiday.
By Thomas Dekker. English Renaissance Drama: A Norton Anthology. Ed. David Bevington, Lars Engle, Katharine Eisaman Maus, and Eric Rasmussen. New York: Norton, 2002. 483–487. Print. -
Dekker, Thomas. Britannia’s Honor.
The Dramatic Works of Thomas Dekker.
Vol. 4. Ed. Fredson Bowers. Cambridge: Cambridge UP, 1961. Print. -
Dekker, Thomas. The Dead Tearme. Or Westminsters Complaint for long Vacations and short Termes. Written in Manner of a Dialogue betweene the two Cityes London and Westminster. 1608. The Non-Dramatic Works of Thomas Dekker. Ed. Rev. Alexander B. Grosart. 5 vols. 1885. Reprint. New York: Russell and Russell, 1963. 4.1–84.
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Dekker, Thomas. The Gull’s Horn-Book: Or, Fashions to Please All Sorts of Gulls. Thomas Dekker: The Wonderful Year, The Gull’s Horn-Book, Penny-Wise, Pound-Foolish, English Villainies Discovered by Lantern and Candelight, and Selected Writings. Ed. E.D. Pendry. London: Edward Arnold, 1967. 64–109. The Stratford-upon-Avon Library 4.
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Dekker, Thomas. The Gul’s Horne-booke. London: [Nicholas Okes] for R. S[ergier?], 1609. Rpt. EEBO. Web.
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Dekker, Thomas. If it be not good, the Diuel is in it A nevv play, as it hath bin lately acted, vvith great applause, by the Queenes Maiesties Seruants: at the Red Bull. London: Printed by Thomas Creede for John Trundle, 1612. STC 6507. EEBO.
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Dekker, Thomas. Lantern and Candlelight. 1608. Ed. Viviana Comensoli. Toronto: Centre for Reformation and Renaissance Studies, 2007. Publications of the Barnabe Riche Society.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: British Library; Shelfmark: C.34.g.11.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: Huntington Library; Shelfmark: Rare Books 59055.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: National Library of Scotland; Shelfmark: Bute.143.
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Dekker, Thomas. London’s Tempe. The Dramatic Works of Thomas Dekker. Ed. Fredson Bowers. Vol. 4. Cambridge: Cambridge UP, 1961. Print.
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Dekker, Thomas. The magnificent entertainment giuen to King James, Queene Anne his wife, and Henry Frederick the Prince, upon the day of his Majesties triumphant passage (from the Tower) through his honourable citie (and chamber) of London, being the 15. of March. 1603. As well by the English as by the strangers: with the speeches and songes, deliuered in the severall pageants. London: Printed by Thomas Creede for Thomas Man the younger, 1604. EEBO. Reprint. Subscr.
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Dekker, Thomas. The Magnificent Entertainment: Giuen to King James, Queene Anne his wife, and Henry Frederick the Prince, ypon the day of his Majesties Triumphant Passage (from the Tower) through his Honourable Citie (and Chamber) of London being the 15. Of March. 1603. London: T. Man, 1604. Treasures in full: Renaissance Festival Books. British Library. Web. Open.
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Dekker, Thomas? The Owles almanacke prognosticating many strange accidents which shall happen to this kingdome of Great Britaine this yeere, 1618 : calculated as well for the meridian mirth of London, as any other part of Great Britaine : found in an Iuy-bush written in old characters / and now published in English by the painefull labours of Mr. Iocundary Merry-braines. London, 1618. EEBO. Reprint. Subscr.
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Dekker, Thomas. Penny-wise pound foolish or, a Bristow diamond, set in two rings, and both crack’d Profitable for married men, pleasant for young men, and a rare example for all good women. London, 1631. EEBO. Reprint. Subscr.
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Dekker, Thomas. The Second Part of the Honest Whore, with the Humors of the Patient Man, the Impatient Wife: the Honest Whore, perswaded by strong Arguments to turne Curtizan againe: her braue refuting those Arguments. London: Printed by Elizabeth All-de for Nathaniel Butter, 1630. STC 6506. EEBO.
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Dekker, Thomas. The seuen deadly sinnes of London drawne in seuen seuerall coaches, through the seuen seuerall gates of the citie bringing the plague with them. London, 1606. EEBO. Reprint. Subscr.
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Dekker, Thomas. The Shoemaker’s Holiday. Ed. R.L. Smallwood and Stanley Wells. Manchester: Manchester UP, 1979. The Revels Plays.
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Dekker, Thomas. The Shomakers Holiday: or, The Gentle Craft With the Humorous Life of Simon Eyre, Shoomaker, and Lord Maior of London. London, 1600. EEBO. Reprint. Subscr.
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Dekker, Thomas, Stephen Harrison, Ben Jonson, and Thomas Middleton. The Whole Royal and Magnificent Entertainment of King James through the City of London, 15 March 1604, with the Arches of Triumph. Ed. R. Malcolm Smuts. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 219–79.
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Dekker, Thomas. Troia-Noua Triumphans. London: Nicholas Okes, 1612. STC 6530. DEEP 578. Greg 302a. Copy: Chapin Library; Shelfmark: 01WIL_ALMA.
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Dekker, Thomas. Westward Ho! The Dramatic Works of Thomas Dekker. Vol. 2. Ed. Fredson Bowers. Cambridge: Cambridge UP, 1964.
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Middleton, Thomas, and Thomas Dekker. The Roaring Girl. Ed. Paul A. Mulholland. Revels Plays. Manchester: Manchester UP, 1987. Print.
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Munday, Anthony, Henry Chettle, Thomas Dekker, Thomas Heywood, and William Shakespeare. Sir Thomas More. Ed. Vittorio Gabrieli and Giorgio Melchiori. Revels Plays. Manchester; New York: Manchester UP, 1990. Print.
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Smith, Peter J.
Glossary.
The Shoemakers’ Holiday. By Thomas Dekker. London: Nick Hern, 2004. 108–110. Print.
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Sir Wolstan Dixie
Sir Wolstan Dixie Sheriff Mayor
(b. between 1524 and 1525, d. 1594)Sheriff of London 1575-1576. Mayor 1585-1586. Member of the Skinners’ Company. Knighted on 6 February 1586. Buried at St. Michael Bassishaw.Sir Wolstan Dixie is mentioned in the following documents:
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Elizabeth I
Elizabeth This numeral is a Roman numeral. The Arabic equivalent is 1I Queen of England Queen of Ireland Gloriana Good Queen Bess
(b. 7 September 1533, d. 24 March 1603)Queen of England and Ireland 1558-1603.Elizabeth I is mentioned in the following documents:
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George Gascoigne is mentioned in the following documents:
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Sir Thomas Gresham
(b. 1518, d. 1579)Member of the Mercersʼ Company. Founder of the Royal Exchange. Father of Richard Gresham. Son of Sir Richard Gresham.Sir Thomas Gresham is mentioned in the following documents:
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John Grinkin
Artificer of mayoral shows.John Grinkin is mentioned in the following documents:
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Thomas Harvey is mentioned in the following documents:
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Thomas Heywood is mentioned in the following documents:
Thomas Heywood authored or edited the following items in MoEML’s bibliography:
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Heywood, Thomas. The Captives; or, The Lost Recovered. Ed. Alexander Corbin Judson. New Haven: Yale UP, 1921. Print.
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Heywood, Thomas. The First and Second Parts of King Edward IV. Ed. Richard Rowland. Manchester: Manchester UP, 2005. The Revels Plays.
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Heywood, Thomas. The Second Part of, If you know not me, you know no bodie. VVith the building of the Royall Exchange: And the Famous Victorie of Queene Elizabeth, in the Yeare 1588. London, 1606. STC 13336. EEBO. Web. Subscr.
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Munday, Anthony, Henry Chettle, Thomas Dekker, Thomas Heywood, and William Shakespeare. Sir Thomas More. Ed. Vittorio Gabrieli and Giorgio Melchiori. Revels Plays. Manchester; New York: Manchester UP, 1990. Print.
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Thomas Heywood Heywood’s Dramatic Works. 6 vols. Ed. W.J. Alexander. London: John Pearson, 1874. Print.
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James VI and I
James This numeral is a Roman numeral. The Arabic equivalent is 6VI This numeral is a Roman numeral. The Arabic equivalent is 1I King of Scotland King of England King of Ireland
(b. 1566, d. 1625)James VI and I is mentioned in the following documents:
James VI and I authored or edited the following items in MoEML’s bibliography:
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James VI and I. Letters of King James VI and I. Ed. G.P.V. Akrigg. Berkeley: U of California P, 1984. Print.
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Rhodes, Neill, Jennifer Richards, and Joseph Marshall, eds. King James VI and I: Selected Writings. By James VI and I. Aldershot: Ashgate, 2004.
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Ben Jonson is mentioned in the following documents:
Ben Jonson authored or edited the following items in MoEML’s bibliography:
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Chapman, George, Ben Jonson, and John Marston. Eastward Ho! Ed. R.W. Van Fossen. New York: Manchester UP, 1999. Print.
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Dekker, Thomas, Stephen Harrison, Ben Jonson, and Thomas Middleton. The Whole Royal and Magnificent Entertainment of King James through the City of London, 15 March 1604, with the Arches of Triumph. Ed. R. Malcolm Smuts. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 219–79.
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Gifford, William, ed. The Works of Ben Jonson. By Ben Jonson. Vol. 1. London: Nichol, 1816. Remediated by Internet Archive.
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Jonson, Ben. The Alchemist. London: New Mermaids, 1991. Print.
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Jonson, Ben. Bartholomew Fair. Ed. E.A. Horsman. Manchester: Manchester UP, 1979. Revels Plays. Print.
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Jonson, Ben. Bartholomew Fair. Ed. Suzanne Gossett, based on The Revels Plays edition ed. E.A. Horsman. Manchester: Manchester UP, 2000. Revels Student Editions. Print.
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Jonson, Ben. B. Ion: his part of King Iames his royall and magnificent entertainement through his honorable cittie of London, Thurseday the 15. of March. 1603 so much as was presented in the first and last of their triumphall arch’s. London, 1604. STC 14756. EEBO.
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Jonson, Ben. The Complete Poetry of Ben Jonson. Ed. William B. Hunter. Stuart Edtions. New York: New YorkUP, 1963.
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Jonson, Ben. The Devil is an Ass. Ed. Peter Happé. Manchester and New York: Manchester UP, 1996. Revels Plays. Print.
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Jonson, Ben. Epicene. Ed. Richard Dutton. Revels Plays. Manchester: Manchester UP, 2004. Print.
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Jonson, Ben. Every Man Out of His Humour. Ed. Helen Ostovich. Manchester: Manchester UP, 2001. Print.
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Jonson, Ben. The First, of Blacknesse, Personated at the Court, at White-hall, on the Twelfth Night, 1605. The Characters of Two Royall Masques: The One of Blacknesse, the Other of Beautie. Personated by the Most Magnificent of Queenes Anne Queene of Great Britaine, &c. with her Honorable Ladyes, 1605 and 1608 at White-hall. London : For Thomas Thorp, and are to be Sold at the Signe of the Tigers Head in Paules Church-yard, 1608. Sig. A3r-C2r. STC 14761. Reprint. EEBO. Web.
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Jonson, Ben. Oberon, The Faery Prince. The Workes of Benjamin Jonson. Vol. 1. London: Will Stansby, 1616. Sig. 4N2r-2N6r. Reprint. EEBO. Web.
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Jonson, Ben. The Staple of Newes. The Works. Vol. 2. London: Printed by I.B. for Robert Allot, 1631. Sig. 2A1r-2J2v. Reprint. EEBO. Web.
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Jonson, Ben. The Staple of News. Ed. Anthony Parr. Manchester; New York: Manchester UP, 1999. Revels Plays. Print.
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Jonson, Ben.
To Penshurst.
The Norton Anthology of English Literature. Ed. Stephen Greenblatt, Carol T. Christ, Alfred David, Barbara K. Lewalski, Lawrence Lipking, George M. Logan, Deidre Shauna Lynch, Katharine Eisaman Maus, James Noggle, Jahan Ramazani, Catherine Robson, James Simpson, Jon Stallworthy, Jack Stillinger, and M. H. Abrams. 9th ed. Vol. B. New York: W.W. Norton & Company, 2012. 1547. -
Jonson, Ben. The vvorkes of Beniamin Ionson. Containing these playes, viz. 1 Bartholomew Fayre. 2 The staple of newes. 3 The Divell is an asse. London, 1641. EEBO. Reprint. Subscr. STC 14754.
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John Lyly is mentioned in the following documents:
John Lyly authored or edited the following items in MoEML’s bibliography:
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Mary Marbecke
Wife of Thomas Middleton.Mary Marbecke is mentioned in the following documents:
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Mary I
Mary This numeral is a Roman numeral. The Arabic equivalent is 1I Queen of England Queen of Ireland
(b. 18 February 1516, d. 17 November 1558)Mary I is mentioned in the following documents:
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Thomas Middleton is mentioned in the following documents:
Thomas Middleton authored or edited the following items in MoEML’s bibliography:
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Brissenden, Alan.
Introduction.
A Chaste Maid in Cheapside. By Thomas Middleton. 2nd ed. New Mermaids. London: A&C Black; New York: Norton, 2002. xi–xxxv. Print. -
Dekker, Thomas, Stephen Harrison, Ben Jonson, and Thomas Middleton. The Whole Royal and Magnificent Entertainment of King James through the City of London, 15 March 1604, with the Arches of Triumph. Ed. R. Malcolm Smuts. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 219–79.
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Middleton, Thomas, and Thomas Dekker. The Roaring Girl. Ed. Paul A. Mulholland. Revels Plays. Manchester: Manchester UP, 1987. Print.
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Middleton, Thomas. A Chaste Maid in Cheapside. Ed. Alan Brissenden. 2nd ed. New Mermaids. London: Benn, 2002.
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Middleton, Thomas. Civitatis Amor. Ed. David Bergeron. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 1202–8.
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Middleton, Thomas. The Triumphs of Honour and Industry. London: Printed by Nicholas Okes, 1617. STC 17899. Reprint. EEBO. Web.
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Middleton, Thomas. The Triumphs of Integrity. Ed. David Bergeron. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 1766–1771.
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Middleton, Thomas. The Triumphs of Love and Antiquity. London: Printed by Nicholas Okes, 1619. STC 17902. Reprint. EEBO. Web.
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Middleton, Thomas. The Triumphs of Truth. London, 1613. Ed. David M. Bergeron. Thomas Middleton: The Collected Works. Ed. Gary Taylor and John Lavagnino. Oxford: Clarendon, 2007. 968–76.
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Middleton, Thomas. The Triumphs of Truth. London, 1613. STC 17903. Reprint. EEBO. Web.[Differs from STC 17904 in that it does not contain the additional entertainment.]
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Middleton, Thomas. The Triumphs of Truth. London, 1613. STC 17904. Reprint. EEBO. Web. [Differs from STC 17903 in that it contains an additional entertainment celebrating Hugh Middleton’s New River project, known as the Entertainment at Amwell Head.]
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Middleton, Thomas. The Works of Thomas Middleton, now First Collected with Some Account of the Author and notes by The Reverend Alexander Dyce. Ed. Alexander Dyce. London: E. Lumley, 1840. Print.
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Taylor, Gary, and John Lavagnino, eds. Thomas Middleton: The Collected Works. By Thomas Middleton. Oxford: Oxford UP, 2007. The Oxford Middleton. Print.
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Sir Thomas Middleton
Sir Thomas Middleton Sheriff Mayor
(b. between 1549 and 1556, d. 1631)Sheriff of London 1603-1604. Mayor 1613-1614. Member of the Grocers’ Company. Knighted on 26 July 1603. Not to be confused with Thomas Middleton.Sir Thomas Middleton is mentioned in the following documents:
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Anne Middleton is mentioned in the following documents:
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William Middleton is mentioned in the following documents:
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Avice Middleton
Sister of Thomas Middleton.Avice Middleton is mentioned in the following documents:
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Edward Middleton
Son of Thomas Middleton and Mary Marbecke.Edward Middleton is mentioned in the following documents:
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Anthony Munday
(bap. 1560, d. 1633)Playwright, actor, pageant poet, translator, and writer. Possible member of the Drapers’ Company or Merchant Taylors’ Company.Anthony Munday is mentioned in the following documents:
Anthony Munday authored or edited the following items in MoEML’s bibliography:
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Anthony Munday. The Triumphs of Re-United Britannia. Arthur F. Kinney. Renaissance Drama: An Anthology of Plays and Entertainments. 2nd ed. Toronto: Wiley, 2005.
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Munday, Anthony. Camp-Bell: or the Ironmongers Faire Feild. London: Edward Allde, 1609. DEEP406. STC 18279.
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Munday, Anthony. Chruſo-thriambos. The Triumphes of Golde. London, 1611. STC 18267.5. Trinity College, U of Cambridge copy Reprint. EEBO. Web.
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Munday, Anthony, Henry Chettle, Thomas Dekker, Thomas Heywood, and William Shakespeare. Sir Thomas More. Ed. Vittorio Gabrieli and Giorgio Melchiori. Revels Plays. Manchester; New York: Manchester UP, 1990. Print.
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Munday, Anthony. Metropolis Coronata, The Trivmphes of Ancient Drapery. London: George Purslowe, 1615. DEEP 630. STC 18275. Henry E. Huntington Library and Art Gallery copy filmed by EEBO.
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Munday, Anthony. The Trivmphs of the Golden Fleece. London: T[homas] S[nodham], 1623. STC 18280. British Library copy filmed by EEBO.
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Stow, John, Anthony Munday, and Henry Holland. THE SVRVAY of LONDON: Containing, The Originall, Antiquitie, Encrease, and more Moderne Estate of the sayd Famous Citie. As also, the Rule and Gouernment thereof (both Ecclesiasticall and Temporall) from time to time. With a briefe Relation of all the memorable Monuments, and other especiall Obseruations, both in and about the same CITIE. Written in the yeere 1598. by Iohn Stow, Citizen of London. Since then, continued, corrected and much enlarged, with many rare and worthy Notes, both of Venerable Antiquity, and later memorie; such, as were neuer published before this present yeere 1618. London: George Purslowe, 1618. STC 23344. Yale University Library copy Reprint. EEBO. Web.
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Stow, John, Anthony Munday, and Humphrey Dyson. THE SURVEY OF LONDON: CONTAINING The Original, Increase, Modern Estate and Government of that City, Methodically set down. With a Memorial of those famouser Acts of Charity, which for publick and Pious Vses have been bestowed by many Worshipfull Citizens and Benefactors. As also all the Ancient and Modern Monuments erected in the Churches, not only of those two famous Cities, LONDON and WESTMINSTER, but (now newly added) Four miles compass. Begun first by the pains and industry of John Stow, in the year 1598. Afterwards inlarged by the care and diligence of A.M. in the year 1618. And now compleatly finished by the study &labour of A.M., H.D. and others, this present year 1633. Whereunto, besides many Additions (as appears by the Contents) are annexed divers Alphabetical Tables, especially two, The first, an index of Things. The second, a Concordance of Names. London: Printed for Nicholas Bourne, 1633. STC 23345.5. Harvard University Library copy Reprint. Early English Books Online. Web.
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Strype, John, John Stow, Anthony Munday, and Humphrey Dyson. A Survey of the Cities of London and Westminster. Vol. 2. London, 1720. Remediated by The Making of the Modern World.
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Humphrey Nichols is mentioned in the following documents:
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Sir John Norman
Sir John Norman Sheriff Mayor
(fl. 1461-68)Sheriff of London 1443-1444. Mayor 1453-1454. Member of the Drapers’ Company. Not to be confused with John Norman.Sir John Norman is mentioned in the following documents:
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Nicholas Okes is mentioned in the following documents:
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George Peele is mentioned in the following documents:
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Sir William Walderne is mentioned in the following documents:
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John Webster is mentioned in the following documents:
John Webster authored or edited the following items in MoEML’s bibliography:
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Webster, John. The dramatic works of John Webster. Vol. 3. Ed. William Hazlitt. London: John Russell Smith, 1897. Print.
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Webster, John. The Tragedy of the Dutcheſſe of Malfy. London: Nicholas Okes, 1623. STC 25176. Subscr. EEBO.
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Webster, John. The Works of John Webster: An Old-Spelling Critical Edition. 3 vols. Ed. David Gunby, David Carnegie, and Macdonald P. Jackson. Cambridge: Cambridge UP, 2007. Print.
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Webster, John. The Works of John Webster. Ed. Alexander Dyce. Rev. ed. London: Edward Moxon, 1857. Print.
Locations
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Guildhall is mentioned in the following documents:
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Soper Lane
Soper Lane was located in the Cordwainers Street Ward just west of Walbrook and south of Cheapside. Soper Lane was home to many of the soap makers and shoemakers of the city (Stow 1:251). Soper Lane was on the processional route for the lord mayor’s shows.Soper Lane is mentioned in the following documents:
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Westminster Palace is mentioned in the following documents:
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Baynard’s Castle
Located on the banks of the Thames, Baynard’s Castle was built sometime in the late eleventh centuryby Baynard, a Norman who came over with William the Conqueror
(Weinreb and Hibbert 129). The castle passed to Baynard’s heirs until one William Baynard,who by forfeyture for fellonie, lost his Baronie of little Dunmow
(Stow 1: 61). From the time it was built, Baynard’s Castle wasthe headquarters of London’s army until the reign of Edward I
when it washanded over to the Dominican Friars, the Blackfriars whose name is still commemorated along that part of the waterfront
(Hibbert 10).Baynard’s Castle is mentioned in the following documents:
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Paul’s Chain
Paul’s Chain was a street that ran north-south between St Paul’s Churchyard and Paul’s Wharf, crossing over Carter Lane, Knightrider Street, and Thames Street. It was in Castle Baynard Ward. On the Agas map, it is labelledPaules chayne.
The precinct wall around St. Paul’s Church had six gates, one of which was on the south side by Paul’s Chain. It was here that a chain used to be drawn across the carriage-way entrance in order to preserve silence during church services.Paul’s Chain is mentioned in the following documents:
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St. Paul’s Churchyard
Surrounding St. Paul’s Cathedral, St. Paul’s Churchyard has had a multi-faceted history in use and function, being the location of burial, crime, public gathering, and celebration. Before its destruction during the civil war, St. Paul’s Cross was located in the middle of the churchyard, providing a place for preaching and the delivery of Papal edicts (Thornbury).St. Paul’s Churchyard is mentioned in the following documents:
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Cheapside Street
Cheapside, one of the most important streets in early modern London, ran east-west between the Great Conduit at the foot of Old Jewry to the Little Conduit by St. Paul’s churchyard. The terminus of all the northbound streets from the river, the broad expanse of Cheapside separated the northern wards from the southern wards. It was lined with buildings three, four, and even five stories tall, whose shopfronts were open to the light and set out with attractive displays of luxury commodities (Weinreb and Hibbert 148). Cheapside was the centre of London’s wealth, with many mercers’ and goldsmiths’ shops located there. It was also the most sacred stretch of the processional route, being traced both by the linear east-west route of a royal entry and by the circular route of the annual mayoral procession.Cheapside Street is mentioned in the following documents:
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Little Conduit (Cheapside)
The Little Conduit in Cheapside, also known as the Pissing Conduit, stood at the western end of Cheapside outside the north corner of Paul’s Churchyard. On the Agas map, one can see two water cans on the ground just to the right of the conduit.Little Conduit (Cheapside) is mentioned in the following documents:
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Cheap Ward
MoEML is aware that the ward boundaries are inaccurate for a number of wards. We are working on redrawing the boundaries. This page offers a diplomatic transcription of the opening section of John Stow’s description of this ward from his Survey of London.Cheap Ward is mentioned in the following documents:
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The Standard (Cheapside) is mentioned in the following documents:
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St. Laurence Lane (Guildhall)
In early modern London, there were two Laurence Lanes: St. Lawrence Poultney Lane, which served as the boundary between Downgate and Candlewick wards, and St. Laurence Lane, Guildhall which was in Cheap ward (Harben). The latter Laurence Lane, to which this page refers, held great importance in the procession of mayoral pageants. It ran north-south, connecting Cheapside at the south and Cateaton Street (labelled on the Agas map asKetton St.
) in the north. It ran parallel between Milk Street to the west and Ironmonger Lane to the east. It is drawn correctly on the Agas map and is labelled asS. Laurence lane.
St. Laurence Lane (Guildhall) is mentioned in the following documents:
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St. Paul’s Cathedral
St. Paul’s Cathedral was—and remains—an important church in London. In 962, while London was occupied by the Danes, St. Paul’s monastery was burnt and raised anew. The church survived the Norman conquest of 1066, but in 1087 it was burnt again. An ambitious Bishop named Maurice took the opportunity to build a new St. Paul’s, even petitioning the king to offer a piece of land belonging to one of his castles (Times 115). The building Maurice initiated would become the cathedral of St. Paul’s which survived until the Great Fire of London.St. Paul’s Cathedral is mentioned in the following documents:
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Leadenhall is mentioned in the following documents:
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The Thames is mentioned in the following documents:
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Royal Exchange
Located in Broad Street Ward and Cornhill Ward, the Royal Exchange was opened in 1570 to make business more convenient for merchants and tradesmen (Harben 512). The construction of the Royal Exchange was largely funded by Sir Thomas Gresham (Weinreb, Hibbert, Keay, and Keay 718).Royal Exchange is mentioned in the following documents:
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St. Antholin is mentioned in the following documents:
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St. Paul’s School is mentioned in the following documents:
Organizations
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Grocers’ Company
Worshipful Company of Grocers
The Grocers’ Company (previously the Pepperers’ Company) was one of the twelve great companies of London. The Grocers were second in the order of precedence established in 1515. The Worshipful Company of Grocers is still active and maintains a website at http://www.grocershall.co.uk/ that includes a history of the company.The coat of arms of the Grocers’ Company, from Stow (1633). [Full size image] This organization is mentioned in the following documents:
Glossary
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bachelor
A junior or inferior member of a livery company. (JJ)This term is tagged in the following documents:
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freedom
Having the freedom of the City meant that a person could practice trade within London. Normally, a person entered into the freedom by becoming a member or brother of one of the livery companies. (JJ)This term is tagged in the following documents: