(Friday, March 13th, 1600)

In order not to be conspicuous, I can't carry a personal wristwatch in this century. But I can get away with a pendant watch on a necklace. Whoever was occupying the room next to mine at the Bell Inn for the last couple of days was suffering with a very bad chest infection; coughing and wheezing all night and most of the day when I was there. And the inn staff were often bringing hot soup and strong-smelling home remedies to the room. While I haven't been able to get much sleep, I've managed. But I feel worse for the poor soul in the next room. According to my pendant watch at about four thirty this morning one of the inn staff woke me banging on his door, and it turned out that he had finally succumbed to his illness.

After that, I couldn't really sleep - too much coming and going; a priest administering a final blessing, the constable of the town making certain that no mischief had been done, and two men from the almshouses to collect the body.

One of the good things about an inn is that it never sleeps. For the next couple of hours I sat in the snug nursing a mug of mulled cider before breakfasting on oatmeal with cream and a drop of honey. And for once, Master Kemp didn't leave me behind. Although I should admit I was still brushing down Leto and had to make haste to saddle her.

By mid-morning we had reached the village of Rockland where Master Kemp intends to rest awhile, generously standing a round of drinks for all in the party. But forasmuch as he would like to speak to the innkeeper, Master Garner would not see us until he had put off his workaday clothes for his armour! When he finally honored us with his presence he made Master Kemp such a welcome as I don't think I have seen anywhere else, nor do I expect to, as Will himself later remembered it: "Going down on his knees he blessed the hour that any of the Queens well-wishers or friends would vouchsafe to come within his house." (Personally, I think he was a little overawed firstly by Will's reputation which had preceded him by some days, and secondly by a visit from a gentleman from London, no less. Someone who had entertained Her Majesty!)

Yet again, someone who has heard tell of Kemp's epic journey chooses to keep company with him in his dance, but like so many before him, Trojan that he is, Master Garner lays down in the way, red-faced and puffing before we have gone two furlongs from the village.
And once more, the road, such as it is, is so muddy, wet and sticky, that I am obliged to dismount for fear of Leto losing her footing.

Kemp's Jig on Google Maps

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

(Friday, March 10th, 1600)

During our stay in St.Edmundsbury I have had opportunity to ask around, and found that Moyse's Hall is currently the home of the King family, local merchants. From Mistress Woodgate, one of the family servants, I learn that the house was, as I thought, originally the home of a Jewish financier who dedicated the hall on the first floor for use as a synagogue, although later part of the building was used as a tavern before being bought by the King family.

Since Will Kemp planned to stay a few more days in Bury St. Edmunds, I had time to follow up my ambition to trace the town walls. Of course there are places where it was difficult or impossible to follow the path of the walls, but in many places the knapped flint walls are still standing at least partially. And the houses don't reach all the way to the wall; in many places there are small meadows with sheep or blanketed horses huddling against the snow and munching from bundles of hay on both sides of the wall.

In the course of my exploration I took a few minutes to ask one of the shepherds about the tedious business of stone-picking and he told me that the flints grow underground during the winter, so that every year there are more stones to be picked!

Once again, undeterred by the frosty dark, Will Kemp sets out at 7a.m., jigging with unbelievable stamina past conyers heath*, and through the villages of Timworth and Ingham where an enterprising carter has stationed a wagon beside the road for curious villagers to cheer him onward, and by 10 o'clock we reach the enthusiastic crowds at the edge of the small market town of Thetford!

Since the assizes are in progress the town is packed and Sir Edwin Rich of Mulbarton, in deep crimson velvet hat and cloak greets Will personally from horseback, welcoming him to the town, and inviting him to accept the hospitality of his manor.

I feel obliged to write in support of Master Kemp that though he has been succoured in diverse places, he has remained true to his cause in taking up his jig at whatever place he left off. And it has been encouraging to see the generosity that has been offered to him by men of all stations appointed by God.

Kemp's Jig on Google Maps

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Thank goodness you've arrived! It's a bit of a climb, but I think it's worth it for the view across the valley.

This naughty old shepherd tells me his name is written in the Book of Life: Guglielmo Bondone. But young Giovanna there tells me everyone in the nearby town of Cortona calls him Poppa Glug on account of his drinking habit. I was flirting with him a little, but he seems more intent on something serious! (And he's sixty-seven years old, for Pete's sakes!) He excuses himself saying that "Tomorrow we may be dead of the plague, but today, how about a little smooching in the sunshine? I can give you a fine, strong baby. Does that not appeal?"

He also told me that he has been suffering with a toothache, but doesn't think it is bad enough to pull the tooth. He has been chewing on cloves to keep the pain under control. I came up here with his granddaughter Giovanna, to bring him this leather scrip with his lunch - bread made with herbs, and a chunk of sheepsmilk cheese, and a pitcher of wine. He tells me he came up here a little before the bell sounded for lauds down in the priory (about 6.00 am), with a breakfast of small honey-cakes which made the toothache worse for a bit, and will be up here until after compline (about 7.00 pm).

I'm staggered by the size of the flock of sheep Poppa Glug is watching. (I can't help thinking of him as Poppa Glug, especially after watching him drink) He tells me the flock is one hundred and twenty sheep at present (not all his own), although it varies with lambing and slaughter. The sheep are used for milk (which surprises me), wool, and eventually meat. But there isn't much need for rams, so they just get fattened for meat.

We are both invited to join Poppa Glug when his grandson takes over watching the sheep to go into the town itself; there is a dance in the piazza this evening and there will be plenty of meat and drink on offer. Who knows, we might even find some handsome young man? (He really is the most incorrigible rogue, but quite fun to be with in a non-committal way).

In the town, apart from the crowds, the first thing that strikes me is that the Italians must have been among the first people to develop high-rise buildings. Part of their Roman heritage, perhaps? and the pavements, none of them are the same, different types of stone, different textures. I'm sure I could navigate blindfold if I knew the town better, just by the feel of the pavement under my feet.

X:35
T:Saltarello 3
M:6/8
L:1/8
Z:Andy Hornby
%%ID:00000da6
F: http://www.leeds.ac.uk/music/Info/RRTuneBk/gettune/00000da6.abc
K:C
cBA GAB|cdB c2 G|ABc ABG|cBc d2e|
cgf e2d|cgf e2d|cBc A2e|Aee A3:|
|:edc B2A|c2d e2d|cBc A2B|GAB c2G|ABc ABG|
cBc d2e|cgf e2d|cgf e2d|cBc A2e|Aee A3:|
|:ede g2c|ggc g3|ede g2e|fed e2d|
cBc A2B|GAB c2G|ABc ABG|cBc d2e|
cgf e2d|cgf e2d|cBc A2e|Aee A3:|

For anyone who wants to know, the band comprised three shawms (S, T, T), one of the shawm players doubled on Alto recorder solo for a couple of slow dances, a sacbut, and Nakers.

That saltarello is the one tune I could remember when I got back! If you can visualize a square full of whirling bodies, and leaping young men; this is a jumping dance, and very energetic. And although I had to sit this one out, even Poppa Glug was in the mix, throwing himself into it with gusto. I got the impression that a lot of the young men were competing to see who could make the highest jumps.

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Today (March 7th) is the feast of Saint Felicitas, patron saint of expectant mothers and here, in Langres, whose patron Saint Mammes is the saint of newborn babies, a special mass is being said for expectant mothers. Throughout the day there are various events including dancing (I am hoping several pavanes ¹ will be included for ladies in the more gravid condition).

 

Not being terribly familiar with sixteenth century dance (somebody once said I seemed to have eight left feet!), I thought it might be a good idea to look up any information I could find before leaving, and the best-known dance manual of the period which the library recommended was a French book, Orchésographie , by Thoinot Arbeau.

Let me quote below, the opening of his book, which takes the form of a conversation between a teacher and a visiting ex-pupil;

Capriol
I come to pay you my respects, Monsieur Arbeau. You do not remember me, for it is six or seven years since I left this town of Langres to go to Paris and thence to Orleans. I am an old pupil of yours, to whom you taught computation.

Arbeau
Indeed at first glance I failed to recognize you because you have grown up since then, and I feel sure that you have also broadened your mind by manliness and learning. What do you think of the study of law? I pursued it in bygone days myself.

Capriol
I find it a noble art and necessary in the conduct of affairs, but I regret that while in Orleans I neglected to learn fine manners, an art with which many scholars enriched themselves as an adjunct to their studies. For, on my return I have found myself in society, where, to put it briefly, I was tongue-tied and awkward, and regarded as little more than a block of wood.

Arbeau
You took consolation in the fact that the learned professors excused this shortcoming in recognition of the learning you had acquired.

Capriol
That is so, but I should like to have acquired skill in dancing during the hours between my serious studies, an accomplishment which would have rendered my company welcome to all.

Arbeau
This will be an easy thing by reading French books in order to sharpen your wit and by learning fencing, dancing and tennis that you may be an agreeable companion alike to ladies and gentlemen.

Capriol
I much enjoyed fencing and tennis and this placed me upon friendly terms with young men. But, without a knowledge of dancing, I could not please the damsels, upon whom, it seems to me, the entire reputation of an eligible young man depends.

Arbeau
You are quite right, as naturally the male and female seek one another and nothing does more to stimulate a man to acts of courtesy, honour and generosity than love. And if you desire to marry you must realize that a mistress is won by the good temper and grace displayed while dancing, because ladies do not like to be present at fencing or tennis, lest a splintered sword or a blow from a tennis ball should cause them injury. You remember Virgil's lines that tell of Turnus and his mistress, the beautiful Lavinia, daughter of King Latinus.

Illum turbat amor, figitque in virgine vultus:
Ardet in arma magis etc.

And there is more to it than this, for dancing is practised to reveal whether lovers are in good health and sound of limb, after which they are permitted to kiss their mistresses in order that they may touch and savour one another, thus to ascertain if they are shapely or emit an unpleasant odour as of bad meat. Therefore, from this standpoint, quite apart from the many other advantages to be derived from dancing, it becomes an essential in a well ordered society.

There's a recording of the Washerwomen's Bransle here, which gives a feel for the kind of music being played.

X:7
T:The Washerwomen's Bransle  % title
C:Thoinot Arbeau             % composer
O:Orchésographie              % origin.
N:Thoinot Arbeau was the nom-de-plume of Maitre Jehan Tabourot
N:Cleric, of Langres
M:4/4                        % meter
L:1/4                        % length of shortest note
Q:180                        % tempo
K:F                          % key
V:1                          % voice 1
|: "C7" G G G G | "F" F F B2 | "C7"c B A G | "F" G F G2 :|
|:"C7" G d "G" B d | "C7"c B A "F" G :|
|:"C7" G G F2 | "F"G2 A2 | "F"A A A B | "C7"c B A G |
"C7"G G F2 | "F" G2 A2 | "C7"c B A G | "F" G F "C7" G2 :|]
X:4                          % number
T:Belle qui tients ma vie    % title
C:Thoinot Arbeau             % composer
N:Thoinot Arbeau was an anagram of Jehan de Tabourot
N:A professor of mathematics
O:Orchésographie             % origin.
S:Transcribed from an arrangement by Karl Aloritias.
M:C|                         % meter
L:1/4                        % length of shortest note
Q:                           % tempo
K:F                          % key
V:1 name=Soprano sname=sop.  % voice 1
V:2 name=Alto sname=alt.
V:3 name=Tenor sname=ten.
V:4 name=Bass sname=bass clef=bass
[V:1]|: G2 G ^F | G A B2 | B d c B | B A B2 :|
w:1.Bel-le qui tiens ma vi-e Cap-ti-ve dans tes yeulx,
w:2.Pour-quo fuis tu, mi-gnar-de, Si je suis pres de toi?
w:3.Tes beau-tes et ta gra-ces Et tes di-vins pro-pos
w:4.Mon am-e vou-lait e-tre Li-bre de pas-si-on
w:5.Ap-pro-che donc ma bell-e, Ap-pro-che toi mon bien,
w:6.Je meurs, mon An-ge-let-te, Je meurs en te bais-ant
w:7.Plu-tot on ver-ra l'on-de Con-tre-mont re-cul-er,
[V:2]|: D2 D D  | D F F2 | F F E F | G F F2 :|
[V:3]|: B2 B A  | B c d2 | d B G d | c c d2 :|
[V:4]|: G,2 G, D, | G, F, B,,2 | B,, B,, C, D, | _E, F, B,,2 :|
%
[V:1]B2 A A | G G F2 | D2 E/F/ G | G ^F G2 |
w:1.Qui m'as l'ame ra-vi-e D'un sour--ris gra-ci-eux,
w:2.Quand tes yeux je re-garde Je me_ perds de-dans moi,
w:3.Ont echauf-fé la gla-ce Qui me_ ge-lait les os,
w:4.Mais l'a-mour s'est fait maitre De mes_ af-fec-ti-ons
w:5.Ne me sois plus re-belle Puis-que mon co-eur est tien,
w:6.Ta bou-che tant dou-cette Va mon_ bien rav-is-sant
w:7.Et plu-tot l'oeil du monde Ce-s-se-ra de bru-ler,
[V:2]F2 F F | D _E D2| D2 C D    | D D [D2=B,2]|
[V:3]d2 c d | B c A2 | B2 G B    | A A [=B2G2]|
[V:4]B,2 F, D, | G, C, D,2 | B,2 C, G,, | D, D, G,,2|
%
[V:1]B2 A A | G G ^F2 | D2 =E/^F/ G | G ^F G2 |]
w:1.Viens tot me se-cou-rir Ou me_ fau-dra mou-rir.
w:2.Car tes per-fec-ti-on Chan-gent_ mes ac-ti-ons
w:3.Et ont rem-pli mon coeur D'une a--mou-reuse ar-deur.
w:4.Et a mis sous sa loi Et mon_ coeur et ma foi.
w:5.Pour mon mal ap-pais-er Don-ne_ moi un bai-ser.
w:6.A ce coup mes es-prits Sont tous_ d'a-mour e-pris.
w:7.Que l'a-mour qui m'e-point De-crois--se d'un seul point.
[V:2]_B,2 F F | D _E D2 | F2 E D | D D D2 |]
[V:3]d2 c d   | B c A2  | B2 G B | A A [=B2G2]|]
[V:4]G,2 F, D, | G, C, D,2 | B,,2 C, G,, | D, D, G,,2 |]

I thought it might be interesting to pay a visit to Monsieur Arbeau, but none of the contemporary people with whom I talked had heard of him, which puzzled me particularly, since his dance manual seems to be almost unique; nothing as comprehensive has survived. It wasn't until I returned to my own time that the mystery was solved. When I talked to the librarian about the difficulty of locating Monsieur Arbeau I learned that his name was an anagram of Jehan Tabourot, a canon and teacher of mathematics and law at the Cathedral in Langres. Perhaps because he felt that a manual on dance would be an undignified publication to be associated with a professor, or perhaps simply to maintain the integrity of his reputation as a teacher, he adopted this innocent subterfuge. And once again, I find that wherever I go in history, it seems as if there is no escaping the clerics!

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

---

Notes

1. Also known as the Cinque Pas, or "Sink-a Pace", for its five steps.