In this episode, our journey through the Viking Age continues, drawing us ever closer to the dramatic events of the Norman invasion in 1066.

The artwork: Pietro Perugino painted Mary at the Cross around 1482.

The work is now in the National Gallery in Washington, DC. This scene forms the central panel of “The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene.”

But before we begin the next chapter, let us turn briefly to a hymn that has endured for centuries.

The music you’ll hear is Pergolesi’s Stabat Mater, performed by Emma Kirkby and James Bowman.

The Stabat Mater is a Latin poem, long set to music. Pergolesi’s version, written in 1736 for a Neapolitan brotherhood, soon became his most famous sacred work, so powerful that it even inspired Johann Sebastian Bach to create his own adaptation.

Its opening words, “Stabat Mater dolorosa”, mean, “The sorrowful mother was standing”. They capture a moment of grief, stillness, and deep reflection. Though its author remains uncertain, its influence is unmistakable, echoing through medieval churches and continuing to resonate today as a meditation on suffering, faith, and devotion.

The music plays for the first 90 seconds, then continues for another 35 seconds after the episode ends.

The picture: is a current, live photograph of Gainsborough Old Hall.

Gainsborough Old Hall is one of the best-preserved medieval manor houses in England and played an important role in the history of the early Separatists. Built in the late 15th century, the Hall took on a new role in the early 1600s, becoming a meeting place for religious dissent. Between 1602 and 1606, groups led by John Smyth gathered here in secret, men and women who had come to believe that the Church of England could not be reformed from within. Instead, they started independent congregations based on voluntary faith instead of enforced authority.

The music is: an a cappella version of "Let All Mortal Flesh Keep Silence", set to the old French carol tune "Picardy," sung by The Living Stones Quartet.

This text became well known in the English-speaking world thanks to Gerard Moultrie, a mid-19th-century Anglican cleric, who drew on it for his hymn. This haunting and meditative hymn centres on the Incarnation of Christ. It highlights solemn worship, Christ’s divinity as born of Mary, and His role as heavenly food.

The hymn comes from the Liturgy of St James. It is sung at the Great Entrance instead of the Cherubic Hymn during the Divine Liturgy of St Basil the Great on Holy Saturday morning.

The Living Stones Quartet is a gospel group from Kerala, India, known for singing Southern Gospel, Spirituals, and a cappella music. Formed in 2012, they perform at concerts, youth camps, and Christian retreats.

The Music is played at the start of the episode for 40 seconds, and continues after the end of the narration, for 1 minute, 55 seconds.

Episode Description.

By the early seventeenth century, the lines had been drawn.

Pressure was mounting across England. Ministers were expected to conform or risk losing their positions, livelihoods, and voices; those who refused were, in many cases, removed.

Amid this growing tension, for figures like John Robinson, the question was beginning to change. It was no longer only about reforming the Church of England, but whether true faith could survive within it at all.

In this climate, in places like Gainsborough and Scrooby, small groups of believers met secretly to form independent congregations, choosing conscience over authority and conviction over safety.

Furthermore, events such as the Gunpowder Plot just deepened suspicion and hardened attitudes. Tolerance diminished, anxiety spread, and the cost of dissent grew ever higher.

By 1606, a difficult truth was becoming clear: For these believers, remaining in England was no longer safe or even possible.

Dame Sarah Mullally, former Bishop of London and a one-time Chief Nursing Officer for the NHS, became the 106th Archbishop of Canterbury on 25 March 20 26.

As the first woman to lead both the Church of England and the wider Anglican Communion, her appointment marks a historic moment. She succeeds Justin Welby, who stepped down, following criticism over his handling of an abuse scandal.

Her priorities are clear: to improve safeguarding, offer strong pastoral leadership, and address what she has described, as the Church’s “Legacy of Harm”.

The artwork is : St John the Baptist church Inglesham, Wiltshire.

St John the Baptist Church in Inglesham, near Swindon in Wiltshire, has Anglo-Saxon origins, though much of the present structure dates from around 1205. Remarkably, large parts of the building have remained unchanged since the medieval period. Now a Grade I listed building, the church has been in the care of the Churches Conservation Trust since 1981 and is no longer used for regular worship.

It stands above the water meadows, close to where the River Thames meets the River Coln and the Thames and Severn Canal. Much of the fabric dates from the 13th century, though traces of an earlier church still survive. Inside, the walls tell a unique story—layered with paintings spanning over 600 years, in some places up to seven layers thick. There is also an Anglo-Saxon carving of the Virgin and Child, along with historic box pews, a pulpit, and memorials.

The church’s history reflects its importance. In 1205, King John granted it to the Cistercian monks of Beaulieu Abbey. Later, in 1231, Pope Gregory IX confirmed this arrangement at the request of Henry III. Then, in 1355, both the manor and the church passed into the hands of a Leicester hospital, The College of the Annunciation of St Mary.

The featured music is “Thine Be the Glory, Risen Conquering Son,” recognised as one of the most significant hymns of Easter.

Ben Maton performs this piece on the harmonium, a small reed organ, recorded inside St John the Baptist Church.The organ, constructed by Story & Clark of Chicago and installed between 1880 and 1890, remains preserved in the church today. It is notable that an American organ continues to function after nearly 150 years in a small medieval English country church.

After a short introduction, the music plays at 3 minutes 54 seconds.

Listeners interested in this performance may wish to explore additional works by Ben Maton, also known as The Salisbury Organist.Further performances by Ben Maton are available at www.youtube.com/@SalisburyOrganist.

Swiss minister Edmond Budry composed the lyrics, which are set to a triumphant melody by George Frideric Handel, who is best known for Messiah. The melody originally appeared in Handel’s 1747 oratorio Joshua, a work that celebrates victory in battle and aligns with the hymn’s theme. More than a century later, Budry wrote new words inspired by loss but filled with hope in the resurrection. The hymn was first written in French, and it reached a wider audience when Richard Hoyle translated it into English in 1923. At its core, the hymn conveys a simple yet powerful message: through Christ, death is overcome, and victory is achieved.

The artwork shows a scene from the 11th-century Bayeux Tapestry, featuring William the Conqueror at the Battle of Hastings in 1066.

The Bayeux Tapestry uses pictures to tell the story of the events leading up to the Norman conquest of England by William the Conqueror, Duke of Normandy, and his defeat of King Harold Godwinson at the Battle of Hastings in 1066.

The tapestry was made between 1067 and 1079, most likely by embroiderers in Canterbury, England, and probably for Odo, the Bishop of Bayeux.

Although it is called a tapestry, the scenes are actually embroidered, not woven, onto the linen.

It is the largest and best-preserved work of its kind from the Middle Ages. The tapestry is important not just for telling the story of the Norman invasion, but also for showing many details of medieval warfare and daily life.

Today, the tapestry is on permanent public display at the William the Conqueror Centre in Bayeux, Normandy, France.

The music is Fantasia on a Theme by Thomas Tallis.

Also called the Tallis Fantasia, this is a one-movement piece for string orchestra by English composer Ralph Vaughan Williams.

Williams based the piece on a melody by the 16th-century Tudor composer Thomas Tallis.

It was first performed at Gloucester Cathedral during the 1910 Three Choirs Festival and has since become one of the most loved works in English orchestral music.

Tallis first wrote the tune in 1567 for a Psalter commissioned by Matthew Parker, the Archbishop of Canterbury.

The tune was used for a metrical version of Psalm 2, which begins in the King James Bible, “Why do the heathen rage, and the people imagine a vain thing?”

Over four centuries, the melody moved from the English Reformation to the modern concert hall, making it a fitting choice for a story connected to England’s religious history.

Episode description.

History. Part 1 - The Anglo-Saxon Path: Hardship and Faith.

A few listeners have asked for a clear introduction to early British history, the long journey that shaped these islands into the Britain we know today.

In these three bonus episodes, we look back to explore the people, invasions, ideas, and institutions that shaped the country long before it became one nation.

We revisit familiar but often misunderstood names like the Anglo-Saxons, Vikings, Normans, the Church, and the Crown, and place them in their proper historical context.

Without this deeper background, events like the English Reformation can seem sudden or merely political, when in reality they emerged from centuries of conflict, belief, and change.

This is not just a timeline but a story of continuity, showing how earlier choices shaped later upheavals.

Through migration and conquest, as well as cooperation and rivalry, the landscapes, languages, and loyalties of Britain slowly took shape.

Britain’s history is a story of new peoples arriving and cultures clashing.

By looking more deeply, we can see how generations of events have shaped the nation we now call Great Britain.

If you’ve enjoyed the journey, let me know, or tell me what I got wrong.

Email me at shaughan@nashcom.co.uk

Audio • Season 2 • Episode 9 • The Deprivations of the Puritan Non-Conformists

Artwork • Portrait of Richard Bancroft, Archbishop of Canterbury.

Lord Clarendon, in praise of him stated that “If Bancroft had lived, he

would have quickly extinguished all the fire in England that was kindled

at Geneva.”

Music 1 • “O Mistress Mine”

Composer : • Thomas Morley (1557/8–1602).

He was an English composer known for madrigals and other secular music.

The song : • An instrumental piece titled "O Mistress Mine" appeared in his 1599 collection, Consort Lessons.

The lyrics : • The famous lyrics are from William Shakespeare's play Twelfth Night, appearing in Act II, Scene 3.

Scholars speculate Morley may have written the music for the play, though the timeline suggests his published instrumental piece came before the play was first performed.

The song is a plea from a lover to his mistress to embrace the present moment, with the lyrics emphasizing that "youth's a stuff will not endure" and that "in delay there lies no plenty". The song is a call to carpe diem, or “seize the day”, urging the mistress to "come kiss me, sweet and twenty".

Twelfth Night, or “What You Will”, was written around 1601–1602.

It was likely intended for performance as a Twelfth Night entertainment to celebrate the end of the Christmas season. The first documented public performance took place on 2 February 1602. This romantic comedy was first performed at Middle Temple in London, one of the four Inns of Court, during the Candlemas celebration.

Candlemas is a Christian festival celebrated on February 2nd, commemorating the

presentation of Jesus at the Temple and the purification of Mary. It marks the end of the Christmas season with a focus on light, as it is the day when churches traditionally bless candles that symbolize Christ as the "Light of the World".

Matteo Bandello (c.1480–1562) was an Italian writer, soldier, Dominican friar and bishop, best known for his novellas. His collection of 214 novellas, many of which made the journey to England, made him the most popular short-story writer of his day.

Four Bandello stories were adapted by Shakespeare, including Romeo and Juliet and Twelfth Night.

Episode Description

One significant incident in the history of the English church during the reign of James I that is frequently mentioned by historians is the Deprivation of the Puritan Non-Conformists.

In March 1604, Richard Bancroft introduced 141 Canons aimed at regulating church life, specifically targeting Puritan ministers who did not comply with the established norms.

These regulations met strong opposition in Parliament, which argued that no Canon enacted in the previous decade could infringe upon individuals' freedom of expression.

As a result, church authorities suspended around 300 ministers, many of whom later publicly retracted their previous statements.

Despite this backlash, at least seventy ministers were removed from their positions, marking the most significant reduction of Puritan ministers up to that point.

The dismissals were carried out harshly, with little compassion shown to those affected.

Among those dismissed were Richard Bernard, John Smyth, Richard Clyfton, and John Robinson.

The Lambeth Articles to Hampton Court.

Part 2. From York to Canterbury, by way of Sturton-le-Steeple.

The Common Era (CE/BCE) is a neutral alternative to BC/AD, used for the same calendar in academic and multicultural contexts.

Artwork • St Peter and St Paul's Church, Sturton-le-Steeple.

St Peter and St Paul’s Church, Sturton-le-Steeple is a Grade II listed Church of England parish church near Retford, Nottinghamshire. Dating from the 12th century, it was rebuilt in 1902 after a fire. The church has six bells, medieval and later monuments, and is in the village where John Robinson, the “Pilgrim Pastor,” was born.

Music • Viral Dance. Medieval Dance. Hurdy-Gurdy, Organ & Drum. Andrey Vinogradov

Part 2 Episode Notes.

In 866 CE, Viking forces captured the Anglo-Saxon settlement of Eoforwic, transforming the former Roman fortress of Eboracum into the thriving city of Jórvík. This conquest marked the rise of Norse power in northern England and the establishment of the Danelaw, leaving a lasting impact on English religion, culture, law, and language. Over the centuries, York evolved into a major medieval city and religious centre, its name later inspiring the naming of New York. The city’s history reflects centuries of conquest, cultural fusion, and change that shaped Britain and beyond

In January 1604, king James I, convened a conference at Hampton Court Palace in response to the Millenary Petition, which called for further reform within the Church of England.

The meeting—delayed from November 1603 due to an outbreak of plague—brought together representatives of the established church and leading Puritan figures. Presiding over the bishops was Archbishop Whitgift, supported by eight senior clergy, including Richard Bancroft. Together, they stood firmly against most Puritan demands, setting the tone for James’s religious policy and signalling that, despite initial hopes, sweeping reform would not come easily.

© 20 26 The Rise of the Protestants., Author, Shaughan Holt.

"All rights reserved. No part of this podcast may be reproduced, translated, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the copyright holder, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law".

The Lambeth Articles to Hampton Court, No Bishop, No King!.

Part 1. Britain and its beginnings, language and religion.

Artwork • Lambeth Palace.

Lambeth Palace is the official London residence of the Archbishop of Canterbury.

Located in North Lambeth on the south bank of the River Thames, it stands roughly 400 yards southeast of the Palace of Westminster, home to Parliament, directly across the river.

Music • Rhenish Hymns of Praise to the Virgin (c. 1500)

Song:Puer natus in Bethlehem, “A child is born in Bethlehem”, is a medieval Latin Christmas hymn. Its thirteenth-century text is traditionally paired with a fourteenth-century melody of the same name.

It relates the story of Jesus' incarnation, from the announcement by Gabriel to the visit of the Three Wise Men.

Performed by: Ars Choralis Coeln.

The hymn appears in the Songbook of Anna of Cologne, an important late-medieval manuscript from the Rhine–Meuse region, compiled around 1500 with additions after 1524.

The original manuscript is preserved in the Berlin State Library.

The songbook contains eighty-two Latin and vernacular songs, primarily in German and Dutch. Twenty-four include musical notation, of which only two are polyphonic.

Attributed to its first owner, Anna van Collen, who likely lived in a Beguine community, the manuscript was copied by seven different scribes, indicating a communal effort.

It offers valuable insight into the spiritual and cultural life of Beguine convents in the Lower Rhine during the Late Middle Ages and reflects the ideals of the “Devotio Moderna”, which emphasised using everyday language as a tool for devotion and instruction.

Beguine communities were groups of lay religious women who lived communally without permanent vows. They focused on prayer, work, and caring for the poor, supporting themselves through trades such as weaving or teaching.

Widespread in the medieval Low Countries, they offered an independent alternative to marriage or convent life, though many later declined due to Church opposition.

Overview Notes

While revisiting this episode, it became clear that parts of it needed updating—and in the process, the scope grew larger than expected.

The story simply demanded more room to breathe.

For that reason, this episode has been reworked and divided into two parts.

In Part One, we begin with a brief but powerful journey through the origins of the British people and the land they came to inhabit.

From the pagan Celts to the marching Roman legions; from relentless attacks by Germanic tribes to near-erasure at the hands of Viking hordes—these islands have endured wave after wave of conquest and upheaval.

And just when survival seemed achievement enough, Britain faced its final great invasion: subjugation by the Norman conquerors.

It is a history marked by resilience, adaptation, and survival against overwhelming odds. Yet what followed is perhaps the most remarkable chapter of all.

Instead of turning inward and tearing ourselves apart once more, Britain looked outward—often by force—and went on to build a global empire unlike anything the world had seen before.

As for where Part Two will take us… that’s a story you’ll have to wait to discover. But not for long—I promise.

Part 1 Episode Notes.

We start with the earliest pagan traditions, then look at our gradual conversion to Christianity, first as a Catholic nation, and finally our often reluctant shift to Protestantism.

In 1603, the theologian John Robinson delivered a sermon in Norwich on Psalm 118:24, expressing cautious hope that the accession of King James would bring positive change to the Church of England.

That hope had been building for years amid growing theological tension.

On 20 November 1595, senior church leaders—led by Archbishop of Canterbury John Whitgift—had met at Lambeth Palace to draft what became known as the Lambeth Articles.

Drawn up without the knowledge or consent of Queen Elizabeth I, these nine doctrinal statements were intended to settle fierce disputes over predestination.

In doing so, they represented the first explicitly Calvinist supplement to the Thirty-Nine Articles and were aimed squarely at countering the rising influence of Arminian theology.

With James I now on the throne, long-standing grievances resurfaced.

Part 2 Preview Notes.

In January 1604, the new king convened a conference at Hampton Court Palace in response to the Millenary Petition, which called for further reform within the Church of England.

The meeting—delayed from November 1603 due to an outbreak of plague—brought together representatives of the established church and leading Puritan figures.

Presiding over the bishops was Archbishop Whitgift, supported by eight senior clergy, including Richard Bancroft.

Together, they stood firmly against most Puritan demands, setting the tone for James’s religious policy and signalling that, despite initial hopes, sweeping reform would not come easily.

© 20 26 The Rise of the Protestants., Author, Shaughan Holt.

"All rights reserved. No part of this podcast may be reproduced, translated, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the copyright holder, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law".

Artwork • Funeral of Queen Elizabeth I - April 28, 1603.

Published by janetwertman

Music • Drop, drop, slow tears. Sung by the Cambridge Chorale, in Ely Cathedral.

From a Poem by Phineas Fletcher (1582-1650), Composer is Orlando Gibbons 1583—1625).

Drop, drop, Slow tears, is a devotional reflection sung at Passiontide, but not specific to that season. Orlando Gibbons, joined text by the Jacobean poet and clergyman Phineas Fletcher to a hymn tune, Song 46, which was published in 1623.

Interestingly, the poet and composer are linked by their connection with King’s College Cambridge, where Gibbons was a chorister and Fletcher a student.

By the 1610s, Gibbons was the leading composer and organist in England.

His career was cut short when he died , aged 41, in 1625, which is thought to have been caused by the Plague.

Passiontide, in the Christian liturgical year, is a name for the last two weeks of Lent,

beginning on the Fifth Sunday of Lent, long celebrated as Passion Sunday, and continuing

through Lazarus Saturday.

It commemorates the suffering of Christ , Latin "passio" meaning is “suffering”.

Music 2 • Prevent Us, O Lord - Sung by Recordare Chamber Choir.

Composer William Byrd. c. 1540-1623

Manuscript: 1580 in Dow Partbooks, no. 58. The Dow Partbooks is a collection of five partbooks in Oxford around 1580. The collection includes choral and also instrumental pieces. Robert Dow was a trained calligrapher and the books are unusually easy to read among Tudor manuscripts.

Artwork • The Canons of Dort, or Canons of Dordrecht.

Formally titled The Decision of the Synod of Dort on the Five Main Points of Doctrine in Dispute in the Netherlands, is an exposition of orthodox Reformed soteriology against Arminianism, by the National Synod held in the Dutch city of Dordrecht in 1618–1619.

Music • Be Still for the Presence of the Lord.

Text & Melody by David J. Evans. Both the words and the music for ‘Be Still for the Presence of the Lord’ were written in 1985 by a piano teacher called David Evans. Born in Dartford in Kent in 1957, he grew up in Winchester and studied Social Sciences at the University of Southampton.

Hymn, sung by the congregation and choir of Beverley Minster. Beverley Minster, otherwise known as the Parish Church of Saint John and Saint Martin, in Beverley, East Riding of Yorkshire, is a parish church in the Church of England.

It is one of the largest parish churches in the UK, larger than one-third of all English cathedrals and is regarded as a Gothic masterpiece

Artwork • John Whitgift, Archbishop of Canterbury, 1602.

John Whitgift (c1530-1604) was Master of Trinity College, Cambridge from 1567-1576. He became Archbishop of Canterbury in 1583. He attended Elizabeth I on her deathbed and crowned James I.

Music (1) • Hela'r Dryw (Hunting the Wren).

An Ancient Welsh folk song, sung by the band Fernhill.

Hunting the Wren’ in Wales usually took place between the 6th of January and the 12th which was Twelfth Night. It was a custom connected with luck-visiting and formed part of the celebrations around the winter solstice.

Music (2) • The Passionate Shepherd to His Love (1599).

A pastoral poem from the English Renaissance (1599). Written by Christopher Marlowe (1485–1603).

Marlowe composed the poem in iambic tetrameter (four feet of one unstressed syllable followed by one stressed syllable) in six stanzas, and each stanza is composed of two rhyming couplets; thus the first line of the poem reads: "Come live with me and be my love".

Read by @thebardscz

Artwork • The Gasthuiskerk is a Protestant church of the Christian Reformed Churches in Middelburg in the province of Zeeland .

The church was built in 1493 as a chapel dedicated to Saint Barbara . The originally Roman Catholic hospital chapel was used by the residents of the abbey from 1568 to 1571 and was rented to English merchants from 1579 to 1589. The chapel was subsequently assigned to the Reformed Church in 1589 and in 1799 it became a Roman Catholic church again. In 1845 the building was sold to the Christian Separated Churches and in 1936 it was purchased by the Christian Reformed Churches.

Music • My Sweetest Lesbia, composer: Thomas Campion, performed by Andreas Scholl.

The poem, "My Sweetest Lesbia", is sometimes described as a translation. Its inspiration is the Latin poet Catullus's poem, Carmen V.

The theme of the poem is; We must live now, because we don't have forever.

Thomas Campion belongs to that fascinating tradition of medically-trained poets. He was a poet, composer, musical and literary theorist, and physician. Born in London in 1567, left Cambridge without a degree, briefly studied law, but ultimately graduated from the University of Caen with an MD. After practising medicine in London he later returned to the continent as a gentleman-soldier. He is believed to have died of the plague in London in 1620.

Artwork • Scrooby Manor House

Music • At the Round Earth's Imagined Corners, Performed by The Aeolian Chorale.

The poem "At the round earth's imagined corners", is one of English poet John Donne's(1572–1631) Holy Sonnets, where he explores the struggles and consolations of his Christian faith. The speaker in the poem tries to imagine Judgment Day and finds comfort in the idea of God's infinite mercy and forgiveness.

Williametta Spencer, born on August 15, 1927, is an American composer best known for her award-winning choral work.

Artwork • The Cambridge University Library copy of:

The fifth Marprelate Tract "Theses Martinianæ", published 22 July 1589.

Printed by John Hodgkins in Wolston Priory Warwickshire, at the residence of Roger Wigston. Exhaustive biblical references fill the margins, connecting passages with specific verses related to Christian brotherhood.

Music • Bradley Johnson plays Monsieur's Almain by Daniel Bacheler, - on guitar. Guitar arrangement by Phillip Woodfield. 2013.

Original Composer: Daniel Bacheler. 1572-1619.

Original Instrument: Lute.

Genre: Allemande, a popular dance form of the era.

Historical Context: Bacheler was a prominent court musician, serving as groom of the privy chamber to Queen Anne of Denmark. The tune of "Monsieur's Almain" is thought to predate Bacheler's variations and appears in other settings by composers like Thomas Morley and William Byrd.

This set of variations on a popular tune is found in Robert Dowland's Varietie of Lute Lessons.

The title is thought to refer to Francis Duke of Alençon and, later Anjou, youngest son of Henry II of France and Catherine de Medici and brother of two French kings (Charles IX and Henry III).

He paid suit to the English queen Elizabeth I and she referred to him on correspondence as ‘Monsieur’; Elizabeth also referred to Francis as 'The Frog’ - perhaps the origin of the title of John Dowland’s Frog Galliard.

Episode Notes:

For more than 4 centuries, scholars have been intrigued by the authorship of the Marprelate Tracts.

From their very beginning, the publications aimed to protect, both authors and printers, by purposefully concealing their identities.

A total of 7 anonymous Marprelate tracts, were secretly printed on a movable press, and transported across several counties in England, to avoid detection by the authorities, during Queen Elizabeth’s reign.

From October 1588 to September 1589, the press operated in the homes of Puritan sympathisers, in many counties across England.

Artwork • The Cambridge University Library copy of:

'The Protestation of Martin Marprelate’, 1589, the final instalment, in the series

Hastily created on an antiquated press hidden in a barn on a Coventry property, this last pamphlet was probably typeset by Martin’s collaborators, Job Throckmorton and John Penry. of Martin Marprelate'.

Music • Daniel Bacheler: To Plead My Faith · The Consort of Musicke · Anthony Rooley

Music • Daniel Bacheler: To Plead My Faith • The Consort of Musicke • Anthony Rooley

Daniel Bacheler, 1572 – 1619, was an English lutenist and composer.

Daniel Bacheler served an apprenticeship with his uncle, Thomas Cardell, who was a lutenist and dancing-master in the court of Queen Elizabeth I.

Bacheler worked for Sir Francis Walsingham, Robert Devereux, 2nd Earl of Essex, as a groom of the bed chamber for Queen Anne of Denmark, and the consort of James I. At the royal court he composed some fifty lute pieces.

This is his only surviving song, set to the words of Robert Devereux, the Earl of Essex, 1565-160.

Notes:

In the late 1500’s in London, if you wanted to buy a good book, or some other publication, there was only one place to go: St. Paul’s Churchyard.

Today, visitors standing at its north gate, see sloping paths and quiet gardens, but 435 years ago, this open space was packed with a dense maze of bookshops. Shops were tucked between buildings, wedged against the cathedral’s buttresses, and even wrapped around the walls. Everywhere you turned, there were books, and the people who loved them.

In and around, these bustling stalls, groups of shoppers from long ago, rummaged through all manner of publications, while gossiping, and sharing the latest news.

By the end of the 1580s, there was but one name, on everyone’s lips: Martin Marprelate.

Artwork • The Execution of Mary Queen of Scots at Fotheringhay Castle on 8 February 1587, drawn by Robert Beale (1541-1601), Clerk of the Privy Council to Queen Elizabeth I, who wrote the official record of the execution to which he was an eyewitness.

The evening before the execution he had read-out to Mary her death warrant and informed her that she was to be executed the following morning.

Key to numbers: George Talbot, 6th Earl of Shrewsbury and Henry Grey, 6th Earl of Kent are seated to the left (1 & 2) and Sir Amias Paulet, one of Mary's guards, is seated behind the scaffold (3)

Music 1 • Christum wir sollen loben schon, 1586 · Württemberg Chamber Choir. Lyricist: Martin Luther. Composer: Lukas Osiander.

Martin Luther initially adapted his melody from the Latin hymn melodies associated with 'A solis ortus cardine' by Caelius Sedulius to make it suitable for his German verse. The chorale text and melody first appeared in print in Erfurt 'Enchiridion' in 1524.

Music 2 • Miserere Mei. Composer: Gregorio Allegri (c. 1582–1652)

Composed for the Sistine Chapel Choir to be sung during the Tenebrae services of Holy Week.

"Miserere mei" is Latin for "Have mercy on me, O God," the opening words of Psalm 51. The phrase is most famously known from the Gregorio Allegri motet Miserere (c. 1630s), a sacred choral piece and known for its complex polyphony and use of a high, soaring vocal line.

There are some writings which Seethe, with a barely concealed anger, even after more than four centuries.

Two memoranda by Robert Beale, Clerk to the Privy Council under Queen Elizabeth the first, exemplify this; in them, he expresses his outrage at Elizabeth’s efforts to shift the blame for the death of Mary Queen of Scots.

After agreeing to the assassination of Mary, Elizabeth would later blame Secretary of State William Davison and the Privy Council, for executing the very death warrant, she had signed.

Welcome, and thank you for joining me for series 2.

In this podcast, we examine the emergence of Protestantism, its challenge to established traditions, its transformation of key beliefs, and its global impact.

At the heart of our story are England’s Nonconformist and Separatist movements, and we’ll show why they matter in the wider Christian tradition.

We examine how these movements changed Christian beliefs, shaped Western Christianity, and deepened the divide between Roman Catholicism and the new Protestant groups.

Our journey unfolds chronologically, beginning in early 1500s Germany, where Martin Luther is cast out of the church, and concluding a century later, along the southern shores of England.

Each episode, begins and ends with a short piece of music, that is relevant to the content presented

A complete transcript, also accompanies every episode.

This series does not seek to persuade or promote any particular belief.

Instead, the objective is to examine the events, ideas, and conflicts that shaped a pivotal period in European religious history.

Throughout the series, you’ll meet early Puritans, Nonconformists and Separatists.

These individuals confronted a hostile society, endured persecution, and frequently risked their lives to uphold their beliefs.

Their actions contributed, to the foundation of religious freedom and individual rights, that are widely valued today.

In the first 12 episodes, we examined the contributions of figures such as Beza, Vermigli, Calvin, Tyndale, Knox, and Robert Browne, who is often referred to as the father of Congregationalism.

The subsequent twelve episodes begin in 1585, a period when the Protestant movement, was encountering significant challenges in Holland.

From this point, we trace the events leading to the execution of Mary Queen of Scots, and examine the narrative of another significant figure, Martin, who is frequently overlooked.

These events move the story from the time of Queen Elizabeth, to the troubled reign of King James I, Mary's only son.

In the third series, commencing in 1607, we examine the challenges encountered by Puritan Nonconformists, as they transition from Puritanism to Separatism, and ultimately migrate to newly established English Separatist communities in Holland and Europe.

Artwork • Simeon's Song of Praise by Aert de Gelder, around 1700–1710.

This Dutch Baroque oil painting on canvas is now part of the Mauritshuis collection in The Hague.

It shows the moment when the elderly Simeon recognises the infant Jesus as the Messiah.

The painting depicts the biblical story from the Gospel of Luke, in which the prophet Simeon holds the infant Jesus in the temple and sings a song of praise.

The Mauritshuis is internationally renowned for its distinguished collection of paintings by Dutch and Flemish artists from the period of Rembrandt and Vermeer.

Music: The Nunc Dimittis, also known as, 'Now lettest thou depart,' was composed by Orlando Gibbons (1583-1625).

This piece is featured in, 'The Best of Choral and Organ Works' by the Oxford Camerata.

It is also called the Song or Canticle of Simeon.

This canticle comes from the second chapter of the Gospel of Luke, verses 29 - 32.

© 2025 The Rise of the Protestants. Author, Shaughan Holt.

"All rights reserved. No part of this podcast may be reproduced, translated, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the copyright holder, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law".

This podcast looks at the rise of Protestantism, how it challenged old traditions, changed core beliefs, and started a transformation that changed the world.

At the heart of this story are England’s Nonconformist and Separatist movements, whose influence echoes throughout the broader Christian tradition.

By looking at these movements in the broader context of Christian history, we can see how they changed doctrine, shaped Western Christianity, and deepened the lasting split between Roman Catholicism and the new Protestant groups.

This series follows a chronological timeline, beginning in early 16th-century Germany with Martin Luther’s excommunication, and concluding a century later, on England’s southern coast.

Each episode starts and ends with a short piece of music, that fits its theme.

A complete transcript accompanies each episode for your reference.

The series does not seek to persuade listeners, or advocate, for any particular belief system.

Instead, it aims to explore the events, ideas, and conflicts that shaped one of the most important times in European religious history.

Throughout the series, the determination and conviction of early Puritans, Nonconformists, and Separatists are highlighted.

These individuals challenged prevailing norms, endured persecution, and frequently risked their lives for their beliefs.

Their courage, contributed to the foundation of religious freedom, and individual rights that are widely valued today.

The first 12-episode series, highlights the contributions of figures such as Beza, Vermigli, Calvin, Tyndale, Knox, and Robert Browne, who is frequently referred to as the father of Congregationalism.

The second 12-episode series begins in 1585, when the Protestant crusade in Holland begins to fall apart.

From there, we follow the events, leading to the execution of Mary Queen of Scots, and discover the story of another important, though often overlooked Martin.

These events take us from the reign of Elizabeth the First into the turbulent rule of King James, Mary’s only son.

The third series, commencing in 1607, examines the struggles of Puritan Nonconformists as they transition from Puritanism to Separatism, and ultimately, migrate, to the emerging English Separatist communities, in Holland and Europe.

The featured artwork, is Exsurge Domine, which translates as 'Arise, O Lord'.

It is the cover page of the Papal Bull, made public, on 15 June 1520, by Pope Leo X.

The document was promulgated, in response to Martin Luther's teachings, which conflicted with the Catholic Church's doctrines.

The musical selection featured is, "Dies Irae", which means, The Day of Wrath.

This piece is a Medieval Latin poem, most recognised for its use in the Roman Rite Requiem, for the Dead, and funeral Mass.

This version of the episode is shorter - for a quicker read.

The artwork is a portrait painting of Martin Luther from 1528.

Lucas Cranach the Elder (1472–1553) created the painting, which is currently housed at Coburg Fortress, a medieval castle situated above the town of Coburg in Bavaria, Germany.

The featured music is 'Kyrie' from the Gregorian Plainsong Mass known as Missa Orbis Factor.

This episode examines the origins of the Protestant movement and its impact on central Christian doctrines.

The term "Protestant" originates from the Protestation at Speyer in 1529, when nobles opposed the decrees of the Diet of Worms, which threatened to confiscate property from supporters of Lutheranism.

Martin Luther, born on 10 November 1483 in Saxony, was a German priest, theologian, reformer, author, and Augustinian friar. He played a central role in the Protestant Reformation and is widely regarded as the movement's principal leader, whose followers became known as Lutherans.

Desiderius Erasmus of Rotterdam was a prominent intellectual and activist during the European Renaissance, contributing significantly to the development of the humanist movement in Northern Europe.

It is also important to understand predestination. The Puritans believed that when the world was created, God had already decided who would be saved and who would be condemned.

Finally, William Tyndale is often considered the most influential English biblical scholar.

The Artwork is: The cover page of the Coverdale Bible, which was first printed in 1535.

The Music is: Ein feste Burg ist unser Gott, 'A Mighty Fortress Is Our God'; Composer: Martin Luther.

This version of the episode is shorter - for a quicker read.

In this episode, we discuss the life and death of Thomas More, author, statesman, and noted Renaissance humanist. We then focus on Myles Coverdale, an important English Bible translator and reformer.

Working alone, Coverdale carried out his mission independently, successfully creating the first fully printed English Bible, commonly known as The Coverdale Bible.

Our story then leads us to Thomas Cranmer, who was born in Nottinghamshire to a family with connections to the local gentry.

Printed in Antwerp in 1537, the Matthew Bible was an early compilation of English translations of the Bible's books.

The Great Bible of 1539 was the first edition of the Bible in English, authorised by King Henry VIII of England to be read aloud in the church services of England.

Three key English Bibles - the Great Bible published in 1539, the Bishops' Bible in 1568, and the King James Bible in 1611 - were all significantly influenced by Tyndale's biblical translations.

His work profoundly influenced later English translations and played a crucial role in the development and widespread use of the English language.

This version of the episode is shorter – for a quicker read

Artwork • The Family of Henry VIII, c. 1543-1547

Music • John Taverner: Quemadmodum , Psalm 42, c.1540.

In 1547, King Henry VIII's nine-year-old son, Edward VI, became the first English monarch raised as a Protestant.

Notable French Protestant reformer John Calvin was a key figure in the second wave of the Protestant Reformation, publishing his influential work, "Institutes of the Christian Religion".

Meanwhile, Anabaptism emerged from the 16th-century Protestant Reformation, distinguishing itself from the Catholic Church with its unique principle of adult baptism.

John Calvin was born on 10 July 1509 in Picardy, France.

He was a French theologian, a pastor in Geneva during the Protestant Reformation, the leading French Protestant reformer and the most important figure in the second generation of the Protestant Reformation.

John Calvin’s interpretation of Christianity in his “Institutes of the Christian Religion”, first published in Basel, Switzerland, was a seminal work of Systematic Theology.

Ulrich Zwingli was born on 1 January 1484 in Wildhaus in the Swiss Confederation.

He led the Reformation in Switzerland during a time of emerging Swiss patriotism, believing that the state governed with divine sanction and that the church and state were subject to the sovereign rule of God.

Peter Martyr Vermigli was born on 8 September 1499 in Florence. He was a leading Italian religious reformer whose chief concern was Eucharistic doctrine.

The Artwork is Portrait of Mary by Antonis Mor. c.1554

The Music is The Lord is my light and my salvation (Psalm: 27) Anglican chant.

This is a shorter version of the original episode, - for a quicker read !

After Edward's death, Lady Jane Grey was proclaimed Queen on 10 July 1553 but was soon replaced by Mary Tudor, who fled to East Anglia for safety.

On 1 October 1553, Mary was crowned Mary I at Westminster Abbey, becoming the first queen to rule England in her own right.

Known as "Bloody Mary," she ordered the execution of 280 Protestants in an effort to restore Catholicism, which led to the emergence of a hidden Protestant church in London.

Notably, Cranmer, Ridley, and Latimer were burned at the stake in Oxford.

Thomas Cranmer's trial began on 12 September 1555 under papal jurisdiction, and the Vestarian Controversy arose during this time, marking a key moment in the Puritans' reform campaign.

The artwork is the cover from an original copy of the Geneva Bible dated 1560.

The Geneva Bible is one of the most historically significant translations of the Bible into English, preceding the Douay Rheims Bible by 22 years, and the King James Version by 51 years. It was the primary Bible of 16th-century English Protestantism and was used by William Shakespeare, Oliver Cromwell, John Knox, John Donne and others.

It was one of the Bibles taken to America on the Mayflower and its frontispiece inspired Benjamin Franklin's design for the first Great Seal of the United States. Benjamin Franklin's design for the Great Seal of the United States featured a scene from the Exodus in the Bible. The design illustrated Moses parting the Red Sea with his staff, while Pharaoh and his chariots were submerged by the waters. Franklin's design also included the motto:- "Rebellion to tyrants is obedience to God."

The Music is I Greet Thee, Who My Sure Redeemer Art,

Sung by the Capitol Hill Baptist Church, Washington, D.C. Author: Anonymous. Source: French, 1545; French Psalter, Strasbourg, 1545.

First published in 1560, the Geneva Bible was a groundbreaking work that represented a remarkable achievement in Renaissance scholarship, printing, and Reformation theology.

John Knox, a Scottish minister, theologian, and writer, played a crucial role in shaping the Church of Scotland. His work and ministry also contributed to developing the Puritan movement in Elizabethan England.

John Calvin spent much of his life as a minister in Geneva. His ideas, actions, and sermons greatly influenced the Protestant Reformation and transformed Geneva into Europe's intellectual capital.

Theodore Beza established the Academy of Geneva using Strasbourg's successful model. By the end of the sixteenth century, many distinguished Englishmen had made Geneva an essential place to study.

In 1545, John Bale published his book, "The Image of Both Churches," which provides a detailed commentary on the Book of Revelation, the final book of the Christian Bible.

The Artwork isa Portrait of Elizabeth I, Queen of England, by anonymous Artist.

It location is The Rijks Museum, Amsterdam.

The Music is The Volta, a couples' renaissance dance.

The Protestant exiles, who had fled Mary’s revived heresy laws and executions, were beginning to return to England and campaign for ecclesiastical reforms.

They sought to recreate the pattern of church life recorded in Scripture without vestments and prelates such as cardinals, abbots, or bishops.

When Elizabeth became Queen, she worked with the Privy Council, intending to devise a religious settlement that would unite the country under a single Church.

The Elizabethan Religious Settlement, introduced in 1558, aimed to bridge the gap between Catholics and Protestants and address the variations in their religious services and beliefs.

It attempted to make England Protestant again, without alienating a population that had

previously supported Catholicism under her sister Mary.

Heinrich Bullinger was a Swiss reformer and theologian; he succeeded Ulrich Zwingli as head of the Zurich church and pastor at Grossmünster.

His publication “The Decades” was the most famous of the 150 treatises and manuscripts he wrote.

Audio • Season 1 • Episode 7 Mary Queen of Scots

The Artwork is A Miniature of Mary Queen of Scots. c 1559 by François Clouet.

This exquisite miniature is related to a drawing by the artist François Clouet, held in the Bibliothèque nationale de France Paris, likely dated slightly earlier to 1555. Her clothing is updated in the miniature, particularly the detail of the ruff in the drawing, which is changed into an open-standing collar.

The original drawing is only bust-length, whereas the miniature includes the sitter's hands, indicating their significance to the portrait's function. The gesture of placing a ring on the fourth finger of her right hand is thought to allude to Mary Queen of Scots’ marriage to the French Dauphin, the future Francis the Second, in 1558.

This portrait was commissioned by the French royal family from their court artist to commemorate the royal marriage. The size and details of the miniature are: A watercolour, 8.3 x 5.7 cm, on a canvas panel stretcher.

The miniature was almost certainly Queen Elizabeth I's personal possession and would later become part of the Royal Collection.

The Royal Collection of the British Royal Family is the most extensive private art collection in the world. It is held in trust by The King, as Sovereign, for his successors and the nation. He does not own it as a private individual. The Collection was formed mainly after the Restoration of the Monarchy in 1660. Following Charles I's execution in 1649, most of the King's possessions were sold by order of the Lord Protector, Oliver Cromwell.

The Music is Alas Madame. French, Bayeux Manuscript (English: Alas my Lady)

The Bayeux Manuscript is an illustrated manuscript that contains one hundred and three songs, and was compiled by Charles III, Duke of Bourbon, in the early 16th century. These songs were composed in the late 15th century, shortly after the conclusion of the Hundred Years' War. The manuscript is housed in the Bibliothèque Nationale de France.

Some contents of the episode are:

The Thirty-nine Articles of Religion.

The Convocation of 1563.

The second part of the Vestiarian Controversy.

Foxe's Book of Martyrs.

Artwork • The International Monument to the Reformation, usually known as the Reformation Wall, was inaugurated in 1909 in Geneva, Switzerland.

The Wall, stands within the premises of the University of Geneva, honouring the legacy of John Calvin, its founder.

At the centre of the monument, (from left to right) four 5 metre-tall statues of Calvinism's main proponents are depicted:

William Farel (1489–1565), John Calvin (1509–1564), Theodore Beza (1519–1605), John Knox (c.1513–1572).

To the left of the central statues are 3 metre-tall statues of:

Frederick William of Brandenburg (1620–1688). William the Silent (1533–1584), Gaspard de Coligny (1519–1572).

To the right are 3 metre-tall statues of:

Roger Williams (1603–1684), Oliver Cromwell (1599–1658), Stephen Bocskai (1557–1606).

Along the wall, to either side of the central statues, is engraved the motto of both the Reformation and Geneva:

Post Tenebras Lux (Latin for After darkness, light). On the central statues' pedestal is engraved a Christogram: ΙΗΣ.

The Wall is in the grounds of the University of Geneva, which was founded by John Calvin, and was built to commemorate the 400th anniversary of Calvin's birth and the 350th anniversary of the university's establishment.

It is built into the old city walls, and the monument's location there is designed to represent the integral importance of the fortifications, and therefore of the city of Geneva, to the Reformation.

Music 1 • Why Fum'th In Fight. (Third Psalm Tune for Archbishop Parker's Psalter of 1567). Psalm 2:1. Composer Thomas Tallis. Masterworks Gallery.

Music 2 • Psalm 91. (Scottish Metrical Psalms) Stevenston High Kirk

Music 3 • Why Fum'th In Fight.

The Artwork is The title page of Travers’ Ecclesiasticae Disciplinae. Located in the University of Glasgow library.

The Music is John Dowland. Now, O Now Our Needs Must Part, Lute Song by Les Canards.

From The First Book of Songs or Airs. A collection of songs by John Dowland, which includes one instrumental piece. The book was published in London in 1597 and was reprinted four times during the composer's lifetime.

The Admonition Controversy.

The Admonition Controversy of the early 1570s marked the start of the first organised attack on the government of the established Church in protestant England.

The Admonition to Parliament demanded the elimination of the Episcopal hierarchy of the Church of England, replacing it with the system of Church government ordained by God -Presbyterianism.

The publication of this, the first open manifesto of the Puritan party, set the stage for the most important literary and religious duel in the Elizabethan period.

English Presbyterianism.

In early 1573, the first phase of the Presbyterian offensive reached its peak.

Ecclesiastical authorities struggled to shut down Presbyterian presses and halt the spread of a message that threatened the Church's theological and organisational foundations.

“Ecclesiasticae Disciplinae",

Walter Travers wrote "A Full and Plain Declaration of Ecclesiastical Discipline" in 1574.

Originally written in Latin, this small volume argued that the English church should abolish governance by bishops and instead adopt a Presbyterian model.

“Prophesying”.

The Puritan clergy had started organising prayer gatherings known as "Prophesying," which Elizabeth found troubling.

During these meetings, the Puritans embraced a more liberal prayer style that did not align with Elizabeth’s guidelines.

Elizabeth and her advisers were concerned about the potential spread of this practice, which they feared would undermine her Religious Settlement.

Modelled on Zwingli’s utopian vision, namely the “Prophezeit”, Puritans learnt of the practice through contact with the congregations of the Zurich refugees, who had settled in London.

The artwork is The St Andrew's and Blackfriars' Halls, together with their crypt and cloister, and is known collectively as The Halls Norwich.

Grade 1 listed they form the most complete medieval friary complex still surviving in England.

The first piece of music is Greensleeves, a traditional English folk song.

Its roots can be traced back to a broadsheet ballad, officially registered by Richard Jones with the London Stationers' Company in September 1580.

The second music played at the end is The Old Hundred, a hymn melody from the second edition of the Genevan Psalter. It is credited to L. Bourgeous (1510-1561).

This tune is frequently used to accompany the lyrics that commence with "All People That on Earth Do Dwell," a version that originated in the Anglo-Genevan Psalter of 1561 and which is attributed to the Scottish clergyman William Kethe.

Although the melody was initially associated with Psalm 134 in the Genevan Psalter, it acquired its current name from its connection to the 100th Psalm, as translated by William Kethe and titled "All People that on Earth do Dwell."

The melody is also employed with other lyrics, including commonly sung praises and German Lutheran chorales. Johann Sebastian Bach utilized this melody in his chorale cantata "Herr Gott, dich loben alle wir", Lord God, we all praise you.

The city of Norwich played a crucial role in the emergence of Congregationalism, and Robert Browne would experience a defining moment in his career, during his visit to this ancient city. Unaware of the chaos looming on the horizon, Browne continued to focus on delivering his separatist sermons in the Bury Saint Edmund area.

The clergy began to express their concerns to the Bishop about Browne's unauthorised preaching, and its impact on their congregations. Browne was charged with preaching without a licence, a bold act that defied established conventions. This incident marked the beginning of Browne's thirty-two imprisonments.

While in Norwich, Browne attempted to establish a Congregational Church, likely influenced by local Dutch woolworkers who held Anabaptist beliefs. In 1581, he established the first Congregational Church in England, close to the cathedral and the bishop's palace.

The artwork is a commemorative stone located in the churchyard of St. Giles in Northampton, part of a memorial dedicated to Robert Browne.

The music performed is "This Is the Record of John," arranged by Nico Muhly and played by the San Francisco Symphony Orchestra.

This verse anthem was composed by Orlando Gibbons (1583–1625) and is an Anglican-style piece that draws inspiration from a passage in the Gospel of John from the Geneva Bible. When sung, the lyrics are taken from the Gospel of John in the Geneva Bible, and the composition reflects the distinctive Anglican style that was prevalent during that time.

In late 1581, Robert Browne's congregation, known as the Brownists, was compelled to relocate to Middelburg in Zeeland. Middelburg, a medieval walled city in the Zeeland province of southwest Holland, was a refuge for fleeing Puritans.

After unsuccessful attempts to reform the English Church in Middelburg, Browne shifted his focus to the stronghold of Presbyterianism in Edinburgh, Scotland. While Scottish Presbyterians may have agreed with him theologically, they did not share his views on church organisation.

Upon returning to England, Browne had to confront the consequences of his actions again. Robert Browne was an active Separatist from 1579 to 1585, after which he returned to the Church of England.

Following Browne's compliance in 1587, the Brownist movement revived in London. Henry Barrow and John Greenwood led this revival, both of whom were arrested and placed in custody. While imprisoned, they secretly authored numerous books on Brownist theology and engaged in passionate polemics against perceived societal injustices.

In the early 17th century, John Robinson and John Smyth established religious communities in northern England known as Brownist congregations.

Series 1 • Episode 12 • The Protestant Crusade in Holland

The artwork is "The Ratification of the Peace of Münster".

Painted in 1648, by Gerard ter Borch, 1617 to 1681.

It depicts the treaty between Spain and the Dutch Republic, signed in the town hall of Münster, Westphalia on 15 May 1648.

The music is Ave Verum Corpus – Composed by William Byrd and performed by The Sixteen.

William Byrd, circa 1540 to 4 July 1623, was an English Renaissance composer.

Considered among the greatest composers of the Renaissance, he had a profound influence on composers both from his native country and on the Continent.

He is often considered as one of England's most important composers of early music.

Byrd wrote in many of the forms current in England at the time, including various types of sacred and secular polyphony, keyboard and consort music.

He produced sacred music for Anglican services, but during the 1570s became a recusant Catholic, writing Catholic sacred music, later in his life