Contains Scenes of a Graphic Nature: Reconstructing the East Ang

Reconstructing the East Anglia Witchcraze This blog follows the progress of my M.A. project at Carleton University, under the supervision of Professor David Dean, Department of History, and tracks my exploration into how graphic novels can be used to play with our interpretation and understanding of past events and historical characters. My M.A. project concerns the story of witch-hunts in mid-17th century England. If this is a topic that you might find disturbing then it is time to stop reading this blog. contact: [email protected]

[graphic-witchfinders]

An Ocular-Centrist’s Representation of the Seventeenth Century

The overall visual style of my graphic novel is intended to be reminiscent of the woodcuts of the seventeenth century. However, my initial inspiration for the style of drawing that I used in my graphic novel came when our witchcraft seminar visited the Prints and Drawings Room of the National Gallery of Canada to view woodcuts and engravings by Albrecht Dürer. Even though Dürer's woodcuts are very much situated in sixteenth-century Germany, I found myself more naturally able to replicate some of the techniques he uses to create intricately detailed monochromatic prints. I also found that the illustrations collected by Ernst and Johanna Lehner in Devils, Demons, and Witchcraft was another valuable resource that helped me to create a style with an underlying tone that could easily shift from light to dark. It was important that the visual component of my graphic novel added to the historical tone and atmosphere of the narrative. However, because the majority of the narrative is understood through the visuals, I wanted the style to have some foundation within the visual culture of the time period. I address the evolution of the visual style of my graphic novel further in my project blog, but ultimately my intention was to emulate the style of visual art that would have been most accessible in the popular culture of that time period. In the following section, I will address the decision-making and creative process for the components that encapsulate the graphic narrative of this project; character design, mise en scene, dramaturgy and panel layout and the dialogue.

The success of my graphic novel is strongly tied to the representation of the historical actors within the narrative. I was initially intrigued by the idea of taking a more artistic and stylized approach to the character designs -- exaggerated and expressive features, somewhat removed from the more realistic designs which I ultimately settled. However, because the reader is dropped directly into a character-driven narrative I needed to be able to quickly establish who each character was and their role in the narrative. Audiences are more easily able to establish connections to characters that are expressive and have realistic proportions; the more realistic and human a character appears the more relatable they become. I go into a fair amount of detail about the fundamentals of drawing characters and how using basic shapes as the foundation of character design can be used to determine a character’s role within a narrative on my blog. However, I am now going to further touch on the nuances and details of character design, which I incorporated into my narrative to address the archetypes of heroes and villains.

On the surface, Matthew Hopkins and John Stearne are both classic heroic characters with youthful and handsome faces that are drawn to attract the reader and appear trustworthy. I had the fortune of being able to refer to a period woodcut print of Matthew Hopkins to identify key features that I would be able to incorporate into his design. I started out drawing both Hopkins and Stearne with body types that were typical of male heroes, muscular and trim, but I quickly changed this so that there was more diversity within the characters’ appearances making them more easy to differentiate and identify. Initially, this was only reflective in their hair colour and styles; because Hopkins is depicted with dark hair and a Van Dyke beard, therefore, I drew Stearne with blonde hair and because I knew he was most likely older than Hopkins, I gave him a full beard and few wrinkles around the eyes. Since the first version of their designs, Stearne has changed very little in appearance, I would hazard a guess that this is because I felt the most confident in my portrayal of him. Whereas Hopkins has gone through many changes. The first iteration of Hopkins that I drew depicted him without facial hair, as I was unsure whether this would significantly age his appearance, but he was so reminiscent of a Disney prince that I immediately began to practice drawing facial hair. Eventually, I decided to incorporate some hint of the illness which eventually killed Hopkins, tuberculosis, because I felt it added a sense of desperation to his actions - that perhaps from 1645 to 1647 he was attempting to give aid to those he could before dying. To hint at this illness without making him appear too sickly or unattractive, I gave him a more slender figure and sharper cheekbones. The advantage of giving both men sharp features; Hopkin’s jawline and cheekbones and Stearne’s nose and brow ridge, was that at times their appearance could walk the line between hero and villain. Unlike Gaule, whose weathered face, protruding nose and chin, and small narrow eyes are all intended to signal to the audience that he villainous character. Gaule and Hopkins are intentionally designed so that even their appearance is in opposition with one another, while still holding some minute similarities. Where Hopkins’s hair is dark, sleek and straight, Gaule’s is lighter, frizzy and curled; where Hopkins has a youthful face and delicately shaped nose, Gaule’s face is heavy with wrinkles and he has a bulbous nose; where Hopkins is clad in lighter, tailored clothing, Gaule wears long dark robes. Both figures have strong chins and defined jawlines and smaller frames compared to John Stearne or Benjamin Wyne. Margaret Moore’s character design has similar nuances built into it to suggest and elicit certain responses. I did not want to draw a buxom beauty or a haggard crone, I wanted Moore to appear very plain and almost remarkable. I wanted her to appear to be middle-aged and to appear as though she had lived a hard and tiring life. To suggest this I decided that she needed to have a small, delicately built frame. Despite being intent on Moore having a plain appearance, I eventually decided that I wanted there to be some suggestion that when she was young she had been quite beautiful. I did this by angling and widening her eyes, as well as giving her a fuller lip. However, because everything was in black and white very subtle changes to her facial features resulted in a very different character. In giving Margaret Moore full lips, I was treading into the territory of glamour that I wanted to avoid and so Moore’s mouth became thin and less remarkable.

As I’ve mentioned before, the purpose of these portrayals is for the reader to feel conflicted about their interpretation of the characters via their appearance when confronted with their actions later in the narrative. Each character in the narrative has moments where their role as hero or villain is suddenly reversed. I included subtle indicators into the character designs to highlight this duality or to help emphasize specific moments. For example, Matthew Hopkins is the only character in the graphic novel seen wearing a cape, a symbol firmly rooted in heroism. Another example would be Margaret Moore’s nose and wart, which are intended to echo those of the Wicked Witch of West. The hopes I had doing this was to indicate to the reader the range of ways actors can be represented and to unsettle the very “black and white” contemporary attitude towards anything.

I had anticipated that I would delve into a great deal of research on animation, and a little bit of psychology as well, when I was working on the character design stage of my project. However, I did not anticipate how much additional historical research I would need to create mise-en-scène that contributed to my narrative as well as being historically accurate. Constructing the historical setting within each panel required research on the architecture of the sixteenth and seventeenth century, as well as research on decorative arts, interiors of tavern and inns, horse bridles, and horse anatomy. As is the case when attempting to find references for the life of the lower classes, I turned to Dutch paintings of working life, specifically those by Adriaen van Ostade such as: Peasants in an Interior, 1661; An Alchemist, 1661; The Peasant Settling His Debt, 1644. The work of Dutch painters in the seventeenth century was invaluable to helping me create historically appropriate settings and costumes for this graphic novel. However, I also drew inspiration from set designs and costuming in historical dramas such as BBC’s The Musketeers and Channel 4’s The Devil’s Whore, both of which are set in the sixteenth century.

[graphic-witchfinders]

Who Was John Stearne?

John Stearne’s involvement with the East Anglia witch trials was well documented, considering he was the more prolific of the witch-finding duo. However, Stearne has not received the same kind of attention or study from scholars and historians. The attention has been focused on Matthew Hopkins. 

There is even less information known about John Stearne, prior to March 1645, than there is about Matthew Hopkins but John Stearne’s A Confirmation and Discovery of Witches provides a valuable account of how he perceived their actions and their role in the witchcraze that flourished in East Anglia between 1645 and 1647. Malcolm Gaskill used this source and did an excellent job of fleshing out the details from Stearne’s work, however, Witchfinders provides little speculation as to what kind of a person he may have been. General

Prior to 1645, little is known about John Stearne. Older than Matthew Hopkins, it has be assumed that he was in his mid-30s during the witchcraze. John Stearne died in 1670 and was buried at Lawshall.1 

After Matthew Hopkins died in August 1647, Stearne returned home to Lawshall. Perhaps he lost interest in the witch-hunt without Hopkin’s motivation to spur him onward or perhaps he returned home to mourn his friend. Stearne dedicate a great deal of time to defending his and Hopkins’s actions. In 1648, A Confirmation and Discovery of Witches was published with the intention of dispelling rumours about their methods.

Background

John Stearne’s education is evidence that he was from a wealthy East Anglian family, he may have grown up in rural Suffolk, like Matthew Hopkins had.2 Though Stearne may not have been the son of a minister, growing up in East Anglia during the early seventeenth century would suggest that a major component of his childhood would have involved studying scriptures. Like Hopkins, Stearne has been categorized as a puritan by other scholars and historians. The scriptural references found in A Confirmation are evidence of a strong faith that was typical of East Anglians during this period. 

John Stearne married Agnes Cawston and shortly before the East Anglia witch-hunt, in 1644, their first child was born. As an adult, his station was that of a country gentleman, and he was wealthy enough to own property in Lawshall as well as Manningtree. Stearne may have been a “landlord,” renting out agricultural land in Lawshall to farmers or perhaps renting housing properties in Manningtree to families. As a landlord, Stearne would have had the flexibility and freedom necessary for the amount of traveling he did between 1645 and 1647. Being a landlord may have involved a fair amount of labour and skill; in order to ensure that his tenants were able to pay rent Stearne may have assisted his tenants with any issues related to housing or agriculture. This may have required him to be familiar with agriculture and farming, or housing and building maintenance.

The witchcraze of East Anglia dwindled following the death of Matthew Hopkins in August 1647. Despite some claims that Hopkins and Stearne were using the witchcraze to make money, Stearne expressed that he would have been better able to take care of his family and property if he had not become involved in the witch-hunt.3 Compared to the income he received from his “Calling and Practice,” a witchfinder’s pay hardly covered the cost of travel and lodging, as well as taking care of his family and property.4 Gaskill mentions that the years following the witchcraze, Stearne’s money trouble increased. Disputes with his neighbors resulted in legal action that he could not afford. He and his wife had five more children between 1653 and 1660.5 In 1660, he no longer owned property in Manningtree. Stearne’s declining wealth resulted in his station downgrading from gentleman to yeoman.6 Gaskill believes Stearne worked as a scribe for a gentleman in Herringswell and he was relying on inheritances from relatives, up until his death in 1670.7

Psychology

Growing up in a Puritan household, it is possible that John Stearne may have come across texts like The Plain Man’s Pathway to Heaven, by Arthur Dent and The Practice of Piety, by Lewis Bayly. Arthur Dent’s work outlined the various benefits and consequences of an individual’s actions, the influence this would have on an individual would effect their understanding of themselves and even more so, those around them. For example, Swearing was “of all other sins most rife in this land”8 and that by swearing “we do rob God of his honour.”9

The Puritan or Calvinist of the seventeenth century would have been constantly reminded of these strict guidelines which their faith demanded of them, throughout childhood and adulthood. Their belief in predestination would have add further pressure to follow these social-religious rules. The elect were predestined for salvation, which led Calvinist to constantly monitor and assess their own behaviour to determine whether or not they were one of the elect. It would have been a life where self-doubt and vacillation constantly floated beneath every action and behaviour. 

These manuals for the seventeenth century every-man also outline the puritan attitude towards lying: “God abhoreth liars, and hath reserved great torments for them,” and “liars shall haveth their part and portion in the lake which burneth with fire and brimstone.”10 It can be assumed that John Stearne and Matthew Hopkins were both aware of the consequences of indulging such behaviour. Yet, if either were as devious and greedy as some historians have theorized, it would have been extremely out of character for their station and religious background. Faith and religious belief were the guiding principles for Stearne’s moral and intellectual compass.

A Confirmation and Discovery of Witches may have been written with a mixture of confidence and doubt, as at times it seems to have been an attempt to convince his audience as well as himself. This reflection on their actions could be a way of dealing with the “ghosts.” He may be expressing regret but still exhibits hard and cynical attitude towards the communities of East Anglia perhaps because of the hostility he faced following the witchcraze.11

His recollection of the cases are very detailed and his intent was to prove the necessity of his and Hopkins’s actions but also intended it as tribute to Hopkins. Stearne exhibits a strong sense of loyalty to Hopkins. It is not only evident in how and what he wrote in this pamphlet but the very decision to publish a pamphlet is evidence of this loyalty. Rather than fading into obscurity, Stearne felt a need to defend and honour his former partner. Stearne could have easily written a pamphlet which damned Matthew Hopkins and alleviate any of the blame from himself. Instead Stearne wrote: “I never knew that he either unjustly favoured any, or received bribes, or used such extremity as was reported of him“ and ”...he was the son of a godly Minister, and therefore without doubt within the Covenant.”12

John Stearne exhibited a knowledge of physiology when concerned with markings on the body that may be mistaken for a Devil’s mark. He expressed a knowledge of skin-tags piles, hemorrhoids, warts, and moles; how and where they typically form; the various stages of their appearance.13 This is evidence of an interest in learning and gaining knowledge as well as a desire to be able to properly identify and differentiate a natural condition from a Devil’s mark. In A Confirmation and Discovery of Witches, Stearne described how he undertook the role of searcher when males were accused of witchcraft.14 This shows initiative and as well as a desire to more involved in the investigation; perhaps he felt that because his decision carried so much weight with the townspeople and judicial officials that he may have felt inactive and wanted to be more involved in the evidence-gathering process. Stearne highlighted the importance of accuracy in identifying Devil’s marks and he expressed a reluctance to accuse someone of being a witch without substantial evidence, even when he believes that they are one.15

1. Malcolm Gaskill, Witchfinders: a seventeenth-century English Tragedy. Amazon Kindle Edition., ( London: John Murray, 2005.) 2. S.F Davies, ed. The Discovery of Witches and Witchcraft: The Writings of the Witchfinders, (Brighton: Puckrel Publishing, 2007) p. xi 3. John Stearne. A Confirmation and Discovery of Witches. 1648. Reprint, (Devon: The Rota, 1973.) p. 60 4. Ibid, p. 60 5. Gaskill, Loc 4620 6. Ibid, Loc 4604 7. Ibid, Loc 4620 8. Arthur Dent. The Plain Man’s Pathway to Heaven, 50th ed. (Belfast: Northern Ireland Book & Tract Depositry, 1859) p. 113 9. Ibid, p. 116 10. Ibid, p. 122 11. Gaskill, Loc 4620 12. Stearne, p. 61 13. Ibid, p. 47 14. Ibid, p. 46 15. Ibid, p. 46

[graphic-witchfinders]

Who Was Matthew Hopkins?

Matthew Hopkins’s character and personality has been constructed by historians and authors and film-makers. He has been a topic of interest since before the twentieth century; however, like most bogeymen of the past there is little material that can be used to provide a conclusive answer to the question: who was Matthew Hopkins? A careful reading of the texts and sources that are available has ruled out some of the more dramatic and questionable claims that have been made about him. 

The Discovery of Witches and the few records of his testimony are the only sources from which one can locate Matthew Hopkins’s voice. Beyond what can be gleaned from these sources, claims concerning his interest in witches or the motivations and intent behind his actions are simply educated-guesses; supplemented by research about the time period and events.

General

During the period of the East Anglia witch craze, Matthew Hopkins was in his mid to late 20s. If Matthew Hopkins died of tuberculosis, he may have been fighting the disease during his entire time as the Witchfinder because the infection has been to known to wax and wane (periods of tissue destruction balanced out by periods of healing).1 John Stearne refers to it as “consumption,” a name which was given to the disease due to the weight loss which is symptomatic. Therefore, Matthew Hopkins was likely a man of slender build and his face may have been gaunt or tired looking (especially by 1647). 

During the interrogations he did not employ methods that were outside the norm of what was usually used. Based on The Discovery of Witches, it can be suggested that he made an effort to study physiology, based on his knowledge of conditions like piles and hemorrhoids.2

Background

The son of James Hopkins who became the minister of Great Wenham (also known as Wenham Magna) in 1612, a small parish in Suffolk.3 Matthew Hopkins parentage isn’t confirmed, but this theory has been consistent among most scholars who have studied him.] He was already married when he became the minister in Great Wenham, to a woman named Mary. James Hopkins has been described as being a Protestant, and more specifically as a Calvinist. These sub-categories of Protestantism and Calvinism were only just forming, but had not been acknowledged as separate denominations this early in the seventeenth century. Great Wenham was one of the parishes where William Dowsing failed to find anything to “reform,” or in less diplomatic terms, he failed to find any catholic paraphernalia to destroy.4 This could suggest that the parish was decidedly Calvinistic and due to its small scale was most likely a very close-knit and godly community. Shortly after becoming minister of Great Wenham, James and Mary Hopkins had three sons: James, Thomas and John.5Matthew Hopkins was most likely born around 1620.6

James Hopkins was educated and wealthy, he was most likely able to ensure that his children had a good education as well. Matthew and his brothers would have had a strict, but good, upbringing. They may have been led in study by their father before even attending school.7 Given James’s occupation it is possible that his faith and God played even more of a role in family and daily life than it already would have in this period and place in history. Like most Calvinists, godliness and community was an “extension of their innate being.”8 During a period of religious and political change, these shifts influenced the childhood and the raising of children. Their father may have routinely informed them of the importance of adhering to Calvinist principles as a means of counteracting the constant changes in political/religious climate. Gaskill describes James Hopkins as having a “combative” nature which he may have passed down to his son.9

James Hopkins died in 1635, after spending the winter of 1634 confined to bed.10 At this time the eldest son was being groomed to follow in his father’s footsteps and Thomas had left for the American colonies, Matthew Hopkins would have been in his teens, as the fourth son he may not have had as great an inheritance as his older brothers but he would have been there during the last days of his father’s life - and so a close relationship between father and son should not be discounted simply because Matthew is not mentioned in the will (as Gaskill seems to imply: “[he] had no special place in his father’s plans”).11 His father’s estate ensured that the family was well taken care of after his death, each child received a legacy inheritance.12

Matthew Hopkins came of age just as the political strife in England came to a boiling point. The rise to power of Oliver Cromwell and the results of the 1640 elections are evidence of the growing popularity of puritanism in the counties of the Eastern Association. Matthew Hopkins’s beliefs and world view would not have stood-out as odd or zealous among his country men. There have been a few different theories discerning the kind of work Hopkins was involved in before becoming the Witchfinder. Craig Cabell suggests he worked as a shipping clerk,13 while Gaskill argues that he was a lawyer, a theory which Richard Deacon seems to have leaned towards as well.

Some research has suggested that Mary Hopkins may have remarried the rector of Manningtree, Thomas Witham, after James died. This helps to explain why Matthew Hopkins may have been living in Mistley in 1644. This theory also suggests that Matthew Hopkins may have had some connection with one of the victims of the witches. Thomas Witham had a daughter, Susan, with his previous wife Free-Gift, who had died in 1633.14 Susan married Richard Edwards15 and it was their newborn son, John Edwards, who was bewitched and killed by one of the Manningtree witches.

Psychology

The Discovery of Witches provides only a vague sense of what kind of person Matthew Hopkins might have been. The Discovery of Witches suggests that he was diplomatic and capable of viewing an argument from both sides. The answers to the questions he discussed in this book suggest that he perceived himself as separate from peasant life, using the term “rusticall people.”16

He has not relied as heavily on scripture or religious references to explain and support his claims, as compared to some documents from the time period that discuss the subject of witches. Even though it was his faith that guided his decisions and actions, he also had nonreligious justifications for his choices. This suggests he was prudent and thoughtful, and aware that not everyone would agree with him or feel the same as he did.

It was John Stearne who was given the warrant to interrogate Elizabeth Clarke of Manningtree; Hopkins volunteered his services. If the familial connection between Hopkins and one of the victims, John Edwards, is correct Hopkins may have felt honour-bound to his step-family to assist in whatever way he could. Perhaps, it was his puritanical belief in predestination may have compelled him to volunteer and assist with this investigation. He may have felt a duty to his community as a puritan gentleman.

Based on what is known about the social atmosphere of East Anglia during the seventeenth century and especially during the English Civil War, Matthew Hopkins behaviour and decisions are not out of character for a man of his time period. There was another duo of witch-hunters who were gathering accused witches to stand trial at Chelmsford, Sir Harbottle Grimston, a magistrate and his younger associate, Sir Thomas Bowes. Of the twenty eight witches that were tried at Chelmsford in June 1645, Matthew Hopkins was only directly involved with Elizabeth Clarke, Anne Leech, Anne West, and Rebbecca West.17

1.John Stearne. A Confirmation and Discovery of Witches. 1648. Reprint, (Devon: The Rota, 1973.) p. 60 2.Matthew Hopkins, The Discovery of Witches. 1647. Reprint (North Charleston: CreateSpace, 2015.) p. 7, p. 19 3.Malcolm Gaskill, Witchfinders: a seventeenth-century English Tragedy. Amazon Kindle Edition., ( London: John Murray, 2005.) Loc 321 Matthew Hopkins parentage isn’t confirmed, but this theoy has been consistent among most scholars who have studied him. 4. The Journal of William Dowsing, entry 97 on p. 237 5. Richard Deacon, Matthew Hopkins: Witch Finder General. (London: F. Muller, 1976) p. 13 6. Gaskill states (loc 444) that there were a total of 6 children but I have not learned the who the other two were or when they might have been born. 7. Gaskill, Loc 364 8. Ibid, Loc 351 9. Ibid, Loc 386 10. Ibid, Loc 401 11. Ibid, Loc 401 12. Ibid, Loc 444 13.Craig Cabell, The Witchfinder General: The Biography of Matthew Hopkins. (UK: The History Press, 2006) p. 16 14. "England, Essex Parish Registers, 1503-1997," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:QJDW-9BMQ : accessed 8 April 2016), Free-Gift Witham, 19 Dec 1633, Burial; citing , Mistley, Essex, England, Record Office, Chelmsford; FHL microfilm 560,909. 15. "England, Essex Parish Registers, 1503-1997," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:QJDW-95TD : accessed 8 April 2016), Richd Edwards and Susan Witham, 01 Nov 1639, Marriage; citing , Mistley, Essex, England, Record Office, Chelmsford; FHL microfilm 560,909. 16. Hopkins, p. 13 17.  Unknown. “A True and Exact Relation of the severall Informations, Examinations, and Confessions of the late Witches, arraigned and executed in the County of Essex.” (London: 1645. From Division of Rare & Manuscripts Collections, Cornell University.) <http://ebooks.library.cornell.edu/cgi/t/text/text-idx?c=witch;idno=wit094> p. 8, 19

[graphic-witchfinders]

Dear Readers,

Due to unforeseen circumstances I was not able to send out my questionnaire to those who volunteered to read and respond to my graphic novel. However, I would greatly appreciate any feedback that those of you who have read it, might like to provide.

I would be especially interested in hearing about your reactions to the characters and how the roles of villain and hero applied to them. Whether or not the appearance or style of the characters had any influence on your interpretation of who they were and what role they played in the narrative. I’d also be interested in hearing about how the overall visual elements affected your interpretation of the story, whether it was positive or negative.

I’d love to know if there were any instances that felt “unrealistic” or “fictional,” and your opinion on the graphic novel as a format for representing history. Please feel free to also include any other suggestions you might have for improving it, should I endeavor to do a second edition.

I would be happy to take your feedback here or via email at: [email protected]

[graphic-witchfinders]

The Graphic Novel Soundtrack

Since the age of Adam West’s Batman, sound effects have typically become associated with more comics and graphic novels that are created for a younger demographic. Multiple authors who have written on the topic of graphic novels have discussed how the superimposed “POW” and “WHAM” over the campy action of the 1960s Batman TV show began to discourage the use sound effects in comics with more serious content that was geared towards a more mature audience. Gary Spencer Millidge highlighted, in his book Comic Book Design, that there had been some resurgence of these types of sound effects in more contemporary comic creators using onomatopoeia to help “immerse the reader as much as possible in the story, allowing the sound effects to be come part of the panel composition themselves.”1

Contemporary super hero comics are some of the most common locations where you’ll find the inclusion of sound effects to highlight the action panels, but most of the time they avoid using sound effect like “BONK” or “ZAP,” that typified the 1960s.

Greg Pak, John Romita Jr. and Christina Strain. World War Hulk #5,  (New York: Marvel, November 14 2007), p.8

Greg Pak, John Romita Jr. and Christina Strain. World War Hulk #5,  (New York: Marvel, November 14 2007), p.8

The inclusion of sound effects help a reader to imagine the action taking place, static visuals appear more active; similar to effect created by the use of motions lines. While a silent graphic novel means that the artwork and narrative have the “additional burden of creating a soundtrack in the mind of the reader.”2 

The Walking Dead series is a good example of how a more subtle use of sound effects in graphic novels can also add to the tension and atmosphere of narrative. Sound effects are sparse and sometimes very subtle, providing a more of a suspenseful cinematic feel to the narrative than high-energy action sequences in the examples above. This effect is one that I hope to emulate.

Robert Kirkman and Tony Moore, The Walking Dead #1, (California: Image, October 8, 2003), p. 21

I have found a resource that makes the creation of these onomatopoeia's much more simple. Written Sound is essentially a dictionary for sounds. However, due to the lack of action sequences I've been struggling to find situations for the inclusion of sound effects. Determining when and what would be appropriate has been difficult. The sounds need to enhance the situation and shouldn't be used as decoration on the page or panel.

1. Millidge, Gary Spencer  Comic Book Design, (New York: Watson-Guptill Publications, 2009) p. 106 2. Ibid.

[graphic-witchfinders]

The Panel Interior

Backgrounds. I spoke about this in my previous post, though I focused more on objects, or props, that can be used to fill and decorate the space surrounding the characters as the narrative takes place. At times these props become unnecessary clutter. However the background, more specifically, an interior setting is very important for distinguishing scenes from each other. A change of scene can help to indicate the passage of time and progression of the plot. 

Pinterest and Almay, a stock image gallery, have been valuable in providing general ideas for a basic setup and atmosphere for interior scenes. For more specific information and examples, I went to a more unexpected place for references: the Panelling Division of The Woodcarvers Guild, UK.

At first glance, you wouldn’t expect it to be useful, but this is an example of how important it is to leave no stone un-turned when working on a project that has the potential to require a wide array of resources. The website provides a history British wall-panelling and interior design as well as illustrations the designs from the 16th century onward. Below are a few pictures from the website.

Click through to see some of the example from the website that I found useful.

[graphic-witchfinders]

Background Fact-Checking

or “Fact-Checking the Background”

Filling a panel sometimes requires more than just a few characters and some dialogue bubbles. Sometimes the scene calls for a buildings, windows, and tables. Sometimes they require wells, fireplaces, and chairs. Sometimes they require small or more personal items such as a bowl, a candle holder, or a writing instrument.

Constructing a graphic novel with the purpose of discuss a certain event or period in history requires a surprising amount of additional research, aside from that period/event. 

In addition to researching clothing that was worn by the various classes in 17th century England and the kind of architecture that might have been found in Great Staughton in the 1640s. I’ve also found myself researching the history of English saddles, 17th century hardware for doors and shutters, and the history of the graphite pencil. 

This can be very time consuming and difficult, sometimes hours of researching social history and 17th century decorative arts culminates in little results or more unanswered questions. I have found myself turning to another non-traditional medium for inspiration when I have trouble discerning the kinds of settings and props that would be appropriate for this time period. Television and film. Specifically, BBC’s television miniseries The Musketeers (2014-current) and Channel 4′s television miniseries The Devil’s Whore (2008). 

The Musketeers is set in 1630s, in France. Though there is a significant difference between 17th century France and 17th century England, both in culture and religion, the show provides insight into what the lives of the lower and working classes might have looked like. However, The Devil’s Whore, was the true “diamond in the rough” that I discover. The television miniseries is set during the English civil war, following a catholic noblewoman and leveller soldier, over the span of 30 years.

I am making a special effort to avoid any sort of movie or TV show that discusses any part of the early modern witch hunts in Europe or America, so that I can fully ensure that no part of my graphic novel influenced by these other depictions of the subject matter.

[graphic-witchfinders]

Couldn’t help myself, I had to post this video as well as a link to another one about panel density. Strip Naked Panel has done a wonderful job of explaining the control and context that is created by the structure and layout of panels on pages. It’s not only confirmed many of points I have come to while working on this project, but has also been a great help in reminding me of the importance of pacing through my panels. 

I’ve been a hitting a few creative slumps, as well as falling behind in my weekly page quota, but watching these videos have helped to reinvigorate me as well as help me to sort out some of the reasons why I’ve been stalling. Something wasn’t feeling right with a few of the pages I’ve been working on. I realized it had a lot to do with the visual density of the panels. I was over-loading the panels with details, even small panels, thinking that I needed to fill up every section in order for it to be finished.  I think I was becoming consumed by the scenery and establishing the historic time period within each panel. Ensuring that each panel shows some detail of it. That’s unnecessary! The characters tell the narrative. Make sure you watch: Panel Density - Strip Naked Panel, this was the video helped climb this obstacle.

It will be interesting to see if people can tell which pages I drew before this realization and which were drawn after.

[graphic-witchfinders]

Before I move away from the topic of graphic novels and back to discussing history I wanted to introduce a really neat YouTube channel that I stumbled across. Strip Panel Naked is a channel devoted to discussing the ins and outs and often overlooked elements that go into creating a graphic novel or comic. Typically focusing on the choices that creators have to think about consider whem determining the tone and narrative of their story. It is a very interesting series. The video I have linked above discuss the reasoning behind colour choices. " 'If you have a million colors to choose from—as colorists do—and you use them all, they all start to lose meaning,” explains Otsmane-Elhaou. “If you reduce that number to a limited selection, it allows you to tell your audience ‘this is our color space.' Once they understand that, you can start breaking those rules...' " - The Creators Project

[graphic-witchfinders]

Testing out some techniques that I might use for flashbacks and/or dream sequences. I wanted to differentiate these panels from the rest in some way, the first idea I had come-up with was to do something different to the gutters and panel borders à la the forest scenes in Kill Shakespeare vol. 2 where the borders are tree branches. The other idea that I had was to invert the colours. As I am working in black and white, I thought the inverse would add to the atmosphere of the panels. 

I do like how it looks, however, because I have not been able to find a fine-tip pen in white ink I may have to adjust the style as well. Another option is to invert the panels after they have been drawn and scanned into the computer.

[graphic-witchfinders]

What’s in a Layout? That which we call a page by any other name would read as well... or Does it?

It does! It really, really does! 

This is a fact which I was not entirely aware of prior to beginning this project. I was well-versed in the magic of gutters, the blank space between panels which denote action and change within a scene. However, the full impact of a page layout, panel size and shape did not quite dawn on me until I began story-boarding.

When I began story-boarding I decided to look through some of my favourite comic books as well as graphic novels which had a historical setting and it immediately dawned on me that panel design and page layouts play a much more significant part in telling the narrative of the the story than I had previously imagined.

How the page is laid out effects how it is read. The intensity of the scene depicted on the page is controlled by the layout. Artist of graphic novels and comic books use the size shape and placement of the panels to add another level of engagement and interaction for the reader. There is also a thematic component to a layout, contemporary or modern day stories are more likely to have very geometric, almost tetris-like, page layouts.

- Jim Cheung, illus.Avengers: The Children’s Crusade #8. Written by Allan Heinberg (New York: Marvel Comics, 2011) p. 11

For most graphic novel and comic book readers, this page from the Young Avengers is a pretty standard page to see. The set-up allows for a great deal of dialogue that continues over multiple panels. However, panels will often overlap one another to create a more dynamic page and to emphasize drama, scale and/or the magnitude of a scene, Marvel often makes use of the full-page or two page spreads.

- Jim Cheung and Mark Morales. illus. Avengers: The Children’s Crusade #9. Written by Allan Heinberg (New York: Marvel Comics, 2012) p. 2

What you won’t see in a comic like this are imperfect shapes and gutters of various sizes. Marvel super hero comics have a simplified layout to ensure that the page is easy to read and follow. Unlike Kill Shakespeare, has incorporated the theatricality of its subject matter even into the layout of the page. Kill Shakespeare’s narrative is greatly enhanced by the often playful and sometimes enigmatic design of its pages.

- Andy Belanger, illus. Kill Shakespeare Vol. 1. Written by Conor McCreery and Anthony Del Col. (San Diego: IDW Publishing, 2010) p. 6 

The reader is required to take a little more time to consider the meaning and purpose of the layout before continuing to the next page. The words and dialogue in the panels tell one part of the story, the graphics tell another and the page design tells the third part.

- Andy Belanger, illus. Kill Shakespeare Vol. 2. Written by Conor McCreery and Anthony Del Col. (San Diego: IDW Publishing, 2011) p.1

The above image is a great example of Kill Shakespeare incorporating the origins of its subject matter into the narrative through the design of the page. Rather than use the traditional white or black border, red curtains and stage lights act as the page border.

- Andy Belanger, illus. Kill Shakespeare Vol. 2. Written by Conor McCreery and Anthony Del Col. (San Diego: IDW Publishing, 2011) p.8-9 and p.50-51

I found myself re-reading Kill Shakespeare and discovering a whole new level of interpretation that I had been barely conscious of when I had first read the series. Visual interest and creativity that went into designing the pages and panels for this series was very inspirational when it came to tackling the story-boarding for my own graphic novel. However, there were a number of things that I needed to be cautious of: first, that my page and panel design didn’t become overly intricate and eat into my schedule and deadline; second, that I avoid redesigning my chosen style to exactly emulate my inspiration; thirdly, that the narrative and overall purpose of my graphic was not drowned out. 

Working on a project where history and visual art are so deeply intertwined, I find I need to remind be careful of I how balance the two components. 

Although I will working on the final details of the border and gutters after I have finished drawing all of the pages for my graphic novel, it is something that I need to be taking into account now. I need to know where I will be placing the speech bubbles and whether or not the border and gutters will interrupt the action within a panel or draw attention away from the focal point. I also need to know how to place and position my figures within the panel so that the layout of the page is easy to read and follow, without becoming static and repetitive.

The image below is a portion of the second page of my graphic novel, in it I am testing out a simplified design that allows for the drawings and text to speak for themselves. It could provide an opportunity to be a little more creative with the font.

While in this version I have quick created a variation of the above where instead of clean borders, they are rough and cracked. It will take more time to “polish” these borders and perfect the effect, but first I need to determine if it adds or detracts from the overall narrative.

Do the add effects hinder the function of the gutter? The gutters are of great importance, in my opinion, to my narrative. The gutters signify action, the passage of time, and change. BUT because the gutters are empty space between the panels what occurs within them is up to the reader. Scott Mcloud describes this relationship very eloquently:

“Every act committed to paper by the comics artist is aided abetted by a silent accomplice. An equal partner in crime known as the reader. I may have drawn an axe being raised in this example, but I'm not the one who let it drop or decided how hard the blow, or who screamed, or why. That, dear reader, was your special crime. Each of you was committing it in your own style. All of you participated in the murder all of you held the axe and chose your spot.” - Scott Mcloud, Understanding Comics, p. 68

For myself, this is similar to subjective nature with which history is interpreted, written and read. I won’t dig too far into that just in case anyone who will be reading my graphic novel is reading my project blog.

For an overview of the preparation that goes into planning a page...

Before I begin drawing I need to map out the page

The live area or safe area is represents the area of that will be visible in the final product of the graphic novel. All lettering, dialogue, and panel borders should be contained within this area of the page unless the design is suppose to the reach the edge of the page (i.e. borderless).

 The trim line specifies where the trimming of the page will be, anything outside of the trim line will probably be cut off. There is some flexibility to the trim line, as it depends on whether or not a page is properly aligned page. 

The bleed area is the area between the document size and trim line, anything within this area is going to be cut off. It exist as an insurance against incorrect trimming of the page. This area becomes important if the page does not have the traditional borders on all four sides because any portion of the text, captions, dialogue balloons will need to be kept inside the live or safe area. 

- Ka-Blam Printing, 2010

The shape of the comic panels can vary a lot, and depending on the type of sequential art (comic strip, web comic, graphic novel, super hero comic etc.) the panels aren’t always squares and rectangles. Circular, star shaped, or wavy panels give different feelings, just look the pages of Kill Shakespeare seen above.

Quick References about Layout Planning and Design:

Sara Berntsson, “Create a Comic: How to Plan and Layout Your Comic” July 17, 2015. Envatotuts+. <http://design.tutsplus.com/tutorials/create-a-comic-how-to-plan-and-lay-out-your-comic--cms-24179>

“Tutorial: Composition and Page Layout” November 11, 2009. IDrawDigital. <http://www.idrawdigital.com/2009/11/tutorial-composition-and-page-layout/>

Underdogs, “Panel Layout: The Golden Ratio,” May 7, 2014. Making Comics: Comics Education for Everyone. <http://www.makingcomics.com/2014/05/07/panel-layout-golden-ratio/>

[graphic-witchfinders]

Philosophical Character Design Pt. 2

I have been putting pressure on myself to create interesting and well-designed characters that are easily identifiable and simple for me to replicate. The appearance of these characters will greatly determine how readers will react to and interpret the story. I have to fight off the urge to create “overly” artistic and exaggerated characters so that are more relatable. I’ve decided to make use of tropes that appear in all kinds of stories (tv shows, epic tales, cartoons). Making use of tropes will allow me to play dueling (dual) personas of Matthew Hopkins and John Stearne, that I have come to engage with during my research. 

If I am lucky perhaps the character designs that create will have readers unconsciously inserting themselves into the roles of these men and women; finding themselves struggling with the contemporary understanding of this period in history and with the complexity of these people who have been whittled down to one dimensional “icons” due to our historical distance. And if I’m even luckier, readers will fall into the trap of the tropes - deciding who “hero” and “villain” is at the beginning, only to switch these labels when they reach the end of the story. 

The characters we know as villains and heroes share a great deal in common across genres and animation styles. This is based on shape symbolism, which Tom Bancroft (@tombancroft1) describes as the “basic shapes which give you the visual cues that...become the foundation for your characters’ personality traits and overall attitudes.”1 Shape symbolism enables us to create characters that have clues in their design and appearence which an audience unknowningly (or knowingly) picks up on and then makes assumptions about the character before they even speak or act.

The key traits and roles of a character determine the basic shapes to begin the character design with. The basic shape does not always have to be obvious, but it reveals itself somewhere in the design.

Sidekick? Comedic relief? Neighbourly? The basic shape is probably a circle.

Strong? Heroic? Maybe a bit dimwitted but makes up for it with muscle? Then it’s a rectangle/square.

Conniving? Mad? Villainous? Then the basic shape is a triangle.

The Circles (starting at top-left: Peppermint Butler, Adventure Time;  Heimlich, A Bug’s Life; Neil, ParaNorman; Pumba, The Lion King; Jake, Adventure Time; Phil, Hercules.)

The Rectangles (staring at top-left: Batman, Batman; Kronk, The Emperor’s New Groove; Samurai Jack, Samurai Jack; John Smith, Pocahontas; Captain Phoebus, Hunchback of Notre-Dame; Hercules, Hercules; Finn, Adventure Time.)

The Triangles (Ice King, Adventure Time; Cruella De Vil, 101 Dalmations; Frollo, Hunchback of Notre-Dame; Jafar, Aladdin; Scar, The Lion King; Yzma, The Emperor’s New Groove; Joker, Batman.)

As I’ve been drawing and working on these character designs I have begun to feel that these characters I’ve created are generic and cookie cutter in appearance, but I guess that means I’m using these tropes correctly. However, I hope that by using “shape symbolism” I can trick my readers with the design of my characters. I might pull a “Hans,” if you will.

What’s a “Hans,” you ask?

One minute, Hans (from Frozen) is all rectangles with a dash of circle. He’s your standard Disney hero and love interest.

And then in the next minute, the pointy triangle reveals itself.

Why Hans!? Why!?

Footnotes 1. Tom Bancroft, Creating Characters with Personality: For Film, TV, Animation, Video Games, and Graphic Novels, (New York: Watson-Guptill, 2006) p. 32

[2dtraditionalanimation]

Simon Otto

[graphic-witchfinders]

The internet is full of wonderful resources and references.

[graphic-witchfinders]

Philosophical Character Design Pt. 1

Character design is not a straightforward task. As I mentioned in a previous post, I had spent sometime during my fall and winter semesters practicing drawing male figures, as well as trying to hone in on a style that is neither overly cartoonish or realistic. However, because of the nature of this project I believe that is important to take into consideration the philosophy and psychology behind my character design choices. “Shape symbolism” and “icons” are two of the terms which commonly appear in the materials that I have read about the visual elements of graphic novels.

Scott McCloud discusses the philosophy behind the “icon” in his book Understanding Comics. He uses “icon” to refer to any image which represents an idea, person, place or thing. This is extended into character design is via the varying degrees in which an icon differs from the real-thing: “The photograph and the realistic picture are the icons that most resemble their real-life counterparts,” (McCloud, p.27-28). The human face can be represented realistically, i.e. a photograph or photo-realism, or abstractly with simplified details and dimensions. A neurological phenomenon known as Pareidolia, is associated with the human tendency to see faces in objects and things. This is why all the human features and details can be removed and yet a face will still be identifiable as a face.

The less complex a face is the more likely any individual will be able to describe, increasing the universality of the face as well as increasing the ability for a person to identify with that face. McCloud describes the cartoon as a “vacuum into which our identity and awareness are pulled into,” (McCloud, p.36).

- Understanding Comics by Scott McCloud p. 36

The cartoon acts as a sort of tabula rasa or shell, which our awareness of self flows into because the importance of the physical world is diminished in favor of conceptual understanding of the world. How a reader reads, engages, and interprets the story in a graphic novel, comic, or cartoon show is great effected by the visual appearance of the characters and setting.

Image 1. A face...(the original OMG Wall) by Wout via Flickr

[graphic-witchfinders]

The Seventeenth Century Puritan Gentleman

Understanding how much faith and religion shaped Matthew Hopkins and John Stearne’s points of view and their action has been one of the two most consistently difficult tasks.  When I first had the idea of using their story as the subject for my graphic novel I had prejudices about these two men were. I had accepted the popular perception of these two men as being sadistic, money-hungry, woman-hating villains, I thought it would be an interesting twist to portray them as heroes who believed they were doing right. However, as I began my research into the East Anglian witch-hunt and into the lives of these men, more specifically the familiarized myself with the beliefs of seventeenth century English Puritanism I realized things were not as black and white as I had assumed. My interpretation of who these two men were disintegrated and since then I have been slowly piecing them back together.

Frontispiece from The Discovery of Witches by Matthew Hopkins, 1647 

More than once my supervisor has had to remind me that religion permeated every aspect of daily life in the seventeenth century, especially for the Puritan. Predestination determined that God had selected specific people for salvation, the elect, and this decision was not based on their actions, decisions, or faith, but had been determined by God for his own purposes. Predestination was a component of seventeenth century Puritan beliefs and resulted in a constant self-policing, as individuals attempted to determine through their behaviour, actions and thoughts if they were one of the elect. Constant self-examination was done in the hopes to find sign of God’s will. In the Diary of Lady Hoby, proof of one’s sinfulness could tied to a toothache or headache, these natural afflictions were seen as “Divine punishment” for any transgression or misstep. 

There were texts and publications which described the kinds of traits and characteristics which are found in the elect, providing a code of behaviour for Puritans (perhaps following these codes of behaviour helped to convince themselves that they were of the elect).Two examples of such texts are The Plain Man’s Pathway to Heaven, by Arthur Dent and The Practice of Piety, by Lewis Bayly. From childhood, the Puritan or Calvinist of the seventeenth century would have been constantly reminded of these strict guidelines which their faith demanded of them. For example, Swearing was “of all other sins most rife in this land” (Dent, p.113) and that by swearing “we do rob God of his honour.”(Dent, p. 116). The intent of both publications was to instruct the Christian person how to behave so that may please God (that is actually the tagline for The Practice of Piety). They outlined the benefits and dire consequences of an individual’s actions. 

“...but if thy heart be not, at thy first waking, filled with some meditations of God and his word, and dressed, like the lamp in the tabernacle (Exod. xxvii. 20, 21), every morning and evening, with the oil-olive of God’s word, and perfumed with the sweet incense of prayer (Exod. xxx. 6, 7), Satan will attempt to fill it with worldly cares or fleshly desires, so that it will grow unfit for the service of God all the day after, sending forth nothing but the stench of corrupt and lying words, and of rash and blasphemous thoughts” -  The Practice of Piety, by Lewis Bayly.

Private and public prayer was a part of daily life, knowing this it becomes easier to understand how faith and God had become connected to every facet of a seventeenth century person’s life:

“After private prayers I did walk and eat my breakfast : after I wrote, read of the bible and prayed, and then went to dinner : after, I wrote, and dispatched some business and, before 6 o’clock, I went to private prayer and examination : after, I supped and, after that, prayed, and not long after that went to bed.” - Diary of Lady Hoby, p. 86 (edited for modern spelling)

Both John Stearn and Matthew Hopkins would have grown up a Puritan household where rigorous study of the scriptures began at a very early age. The very texts that taught them how to read and spell doubled as tools for learning verses and the Lord’s Prayer, an example of this would The Protestant Tutor by Benjamin Harris (the publication which the New England Primer is largerly based on.

- Page from The New England Primer by  Westminster Assembly (1643-1652) Shorter Catechism

The seventeenth century Puritan would have had a life where self-doubt and vacillation constantly floated beneath every action and behaviour. The level of self-monitoring and fear of damnation suggests, to me, that the kind of greed and wilful maliciousness that Matthew Hopkins and John Stearne have are so often accused off does not fit. Lying seemed to be an even greater offense to Puritan than swearing was:

“God abhoreth liars, and hath reserved great torments for them,” and “liars shall haveth their part and portion in the lake which burneth with fire and brimstone.” - The Plain Man’s Pathway to Heaven by Arhtur Dent

It can be assumed that John Stearne and Matthew Hopkins were both aware of the consequences of indulging such behaviour. Yet, if either were as devious and greedy as some historians have theorized, it would have been extremely out of character for their station and religious background. Faith and religious belief were the guiding principles for Stearne’s moral and intellectual compass. However, what does make sense, is how this internal monitoring and struggle for purity and piety was projected outwards. Protestantism emphasized the importance of community, and in Calvinism and Puritanism, the radical movements of the early modern England, one’s community was a reflection of oneself. The behaviour and godliness of your community  impacted how the Lord viewed you, and vice versa.

These manuals which outlined the behaviour and practice of a good and pious person helped to highlight the behaviours that might identify a witch; common marks of a witch included foul-language and lewd or bawdy behaviour. This calls back to the ideas of inverted symbols, the behaviour of a witch was the inversion of a pious and godly Puritan. There were several publications in the sixteenth and seventeenth century (not all of them written by Protestants) that discuss the pact with the Devil, demonic temptation, as well as the inversion of Christian practices. 

 The Calvinist response to the Antichrist was to wage war against Satan by taking action against witchcraft. The Protestant belief in witches and witchcraft was closely tied to the Devil, the Antichrist, and the end of days. The belief that the end of days was upon them, towns and villages would have been believed to be under a constant threat from sin. The Puritan gentlemen would have seen it as his duty to both God and his fellow country to help communities weed out any witches or servants of the Devil.

[graphic-witchfinders]

Putting the Graphic in “Graphic Novel”

I began drawing and doodling the moment the idea of creating a graphic novel was first raised. I knew my strengths (women, animals, and static poses) and my weaknesses (landscapes, architecture, consistency)  were. I began to practice in the areas where I was weakest, which were drawing men and being able to draw the same thing multiple times. I spent a great deal of time drawing while watching Disney movies like The Road to Eldorado, Pochahontas, Beauty and the Beast, and the Hunchback of Notre Dame. 

I was concerned that I was drawing myself into a stylistic rut. I was only learning how to draw male figures that fit into a Disney scene. I was still in the early stages of brainstorming my graphic novel and the reference material around me, Marvel: 1602 and Witch Hunt: The Graphic History of the Burning Times, both refer to early modern woodcuts and pamphlet illustrations as being part of the inspiration for the graphic elements. 

My personal style wavers a great deal between realistic and cartoonish, but being the perfectionist that I am, It can take me hours to draw in either style.

One of the challenges I will face in doing this project finding a style that I will be able to consistently reproduce within a tight time-frame, in addition to enhancing the story and contributing to my reconstruction of the seventeenth century English witchcraze. I spent a great deal of time stressing over how to balance a contemporary, more superhero-like appearance with the woodcuts and paintings that I was finding from the seventeenth century. 

Fortunately, during a visit to the National Gallery of Canada I had the opportunity to view some prints by Albrecht Dürer; I was struck by how well the woodcut prints might lend themselves a contemporary medium like graphic novels. His human figures and animals are quite intricately detailed and much different from my own style and set of skills. Dürer’s landscapes and architecture were something that I believed I could feasibly reproduce and adapt to match the character designs.

Samson Killing the Lion - Albrecht Dürer, 1498

My first attempt to duplicate the style of Albrecht Dürer turned out much better than I had initially expected. The prints made from woodcut prints typically have very clean lines, which is an aesthetic that I find very appealing and suitable for a graphic novel. 

I think that using a style of drawing that replicates this aesthetic and is inspired by the woodcuts and pamphlet illustrations of the early modern period will help to unify the historical narrative with the graphic component.

[graphic-witchfinders]

The Seventeenth Century Believer

As a 21st century, agnostic woman, trying to understand the perspectives of Matthew Hopkins and John Stearne has not be easy. The first step was to understand the context of their belief and world view. My professor used the paintings of Hieronymus Bosch as a way of seeing the world through the eyes of an early modern christian. 

Contemporary interpretations of his paintings refer to the demons and monsters as symbols of the evil in humans. However, their appearance would also correlate with a genuine belief and fear of demons, their influence on humanity, and demonic magic. Bosch’s paintings relied greatly on symbolic meaning and the inversions of symbols; inversion was a major component of witchcraft belief.

The Last Judgement - Hieronymus Bosch c. 1482

There were various religious texts of the early modern period discussed the events that signaled the end of days. These events that the texts described would have bore a great likeness to many of the experiences which 15th century people had witnessed. The black plague, famine, and locusts were still part of living-memory. The Book of Revelation stated that when the Antichrist rose that this would signal the beginning of the end of days. It also stated that that after a thousand years of subjugation under the Antichrist, Satan would be released and the end of days would begin. Luther argued that the Pope was the Antichrist and that the Catholic church was a tool of the Antichrist. For protestants, this meant that the end of days had already begun.

In England, witchcraft and witches were closely linked with the Antichrist. John Gaule wrote, in 1646, that: 

“a witch is an Antichrist, opposite to Christ not only in his works, but in his person; for as Christ is a God incarnate: so is a witch (as it were) a Devil incarnate. I do not say, a witch is the Antichrist; but I am sure, the Antichrist must needs be a witch.”  - Select Cases of Conscience Touching Witches and Witchcraft, p. 20-21

It is believed that, based on Bosch’s work, he opposed certain elements of the Catholic Church and that his beliefs the same as the Cathars and Adamites, which were pre-reformation radical religious movements that share similarities with Protestantism. Bosch believed in personal piety; that an individual was solely responsible for their relationship with god and that the church or clergy were not necessary. Individual or personal piety was part of the movement away from centralized ecclesiastical control, it was a major tenant found in a number of branches of Protestantism like Puritanism. Bosch’s paintings reflect the concern over the fate of humanity that was strongly felt in many places during the early modern period. People became more and more devout and earnest in their faith in order to save their soul.

Wood engraving from the Compendium Maleficarum by  Francesco Maria Guazzo, 1608

Understanding how they rationalized demons and demonic magic provided some help for me to rationalize their belief in it. Stuart Clark explained that the Devil’s greatest power was its ability to deceive. There were limitations on demonic magic but it was by camouflaging these limitations that the devil and demons were credited with a wide range of powers. The Devil was able to: 

“corrupt external perception, persuading his victims (as Theodor Thumm said) ‘to hear, sense, see, and touch’ things that, in truth, were only appearances presented to their deluded senses” - Thinking with Demons, p.166

Thus, a pact with the Devil would allow a person to have similar powers. Witches were often accused of causing crops to fail, as well as causing sickness and death. Rather similar to a certain group of gentleman on horseback, is it not? 

The natural world (i.e. climate, land, animals, as well as the human body) was intrinsically linked to the spiritual world, changes in the natural world had an effect on the spiritual world or vice versa. Sceptics of witchcraft often used this link between nature and Demonic magic and witchcraft to debate the existence of witches. However, Stuart Clark offered another method of thinking about the existence of magic in relation to the scientific and natural world:

“All presumed examples of angelic agency beyond nature must be attributed to human mistakes about just where the natural limits of actions lay. This was the case with demonic magic; it was thought to exceed nature but was in fact worked entirely through the natural powers of demons and only seemed miraculous by comparison to the natural powers of men and women.” - Thinking with Demons, p. 153

Demons and the devil were attached to the natural world thus making Demonology a necessary component of early modern science. The decline in the belief of demons and witchcraft correlated with an increasing knowledge and understanding of nature.

To put myself in the shoes of a seventeenth century person who steadfastly believed in witches and demons and felt genuinely threatened by them, is surprisingly simple now. It’s not so different from my belief in global-warming, humanity’s contribution to it, and the detrimental effects it has on the planet and ourselves.