What was the Gunpowder Plot? The Traditional Story Tested by Original Evidence

While in this most serious and silent meditation, divided between rapture at God's infinite mercy and justice, and thought of his own happiness to live under a king pleasing to God for his zealous endeavours to cleanse the vessels of his kingdom from the dregs and lees of the Romish grape, – and while his heart was not a little cheered to observe any note of his own name in the royal register, for one that had been of any little use in this so fortunate discovery, – as the poor day labourer who taketh contentment when he passeth that glorious architecture, to the building whereof he can remember to have carried some few sticks and stones, – while thus blissfully engaged, he is grieved to find himself singled out from the honourable body of the council, – why, he knows not, for with it he would be content to be identified – as the author of the policy which is being adopted; and, conscious that in his humble person the Body of Authority is assailed, he thinks it well, for once, to make a reply.

Having recited the threatening letter in full, he presently continues:

"Though I participate not in the follies of that fly who thought herself to raise the dust because she sat on the chariot-wheel, yet I am so far from disavowing my honest ambition of my master's favour, as I am desirous that the world should hold me, not so much his creature, by the undeserved honours I hold from his grace and power, as my desire to be the shadow of his mind, and to frame my judgment, knowledge, and affections according to his. Towards whose Royal Person I shall glory more to be always found an honest and humble subject, than I should to command absolutely in any other calling."

Of those who threaten him he says very little, assuming, however, as self-evident, that they are set on by some priest, who, after the manner of his tribe, doth "carry the unlearned Catholics, like hawks hooded, into those dangerous positions."

But, as for himself, let the world understand that he is not the man to neglect his duty on account of the personal danger it entails. "Far I hope it shall be from me, who know so well in whose Holy Book my days are numbered, once to entertain a thought to purchase a span of time, at so dear a rate, as for the fear of any mortal power, in my poor talent, Aut Deo, aut Patriæ, aut Patri patriæ deesse."439

In spite of the singular ability of this manifesto, the art of the writer is undoubtedly somewhat too conspicuous to permit us to accept it as the kind of document which would be produced by one who felt himself confronted by a serious peril. An interesting and most pertinent commentary is supplied by a contemporary Jesuit, Giles Schondonck, Rector of St. Omers College, in a letter to Father Baldwin, the same of whom we have already heard in connection with the Plot.440

Schondonck has, he says, read and re-read Cecil's book, which Baldwin had lent him. If his opinion be required, he finds in it many flowers of wit and eloquence, and it is a composition well adapted for its object; but the original letter which has evoked this brilliant rejoinder is a manifest fraud, not emanating from any Catholic, but devised by the enemies of the Church for her injury. The writers plainly contradict themselves. They begin by denouncing the Powder Plot as impious and abominable, and they do so most righteously, and they declare its authors to have been turbulent spirits and not religious, in which also they are right. But they go on to approve the design of murdering Cecil. What sense is there in this? If the one design be impious and detestable, with what colour or conscience can the other be approved? There is no difference of principle, though in the one case many were to be murdered, in the other but a single man. No one having in him any spark of religion could defend either project, much less approve it. Moreover, much that is set down is simply ridiculous. Men in the last extremity of sickness, or broken down by sorrow, are not of the stuff whereof those are made by whom desperate deeds are done.

From another Jesuit we obtain instructive information which at least serves to show what was the opinion of Catholics as to the way in which things were being managed. This is conveyed in a letter addressed December 1st, 1606, to the famous Father Parsons by Father Richard Blount, Father Garnet's successor as superior of the English mission.441 It must be remembered that this was not meant for the public eye, and in fact was never published. It cannot have been intended to obtain credence for a particular version of history, and it was written to him who, of all men, was behind the scenes so far as the English Jesuits were concerned. Much of it is in cipher which, fortunately, has been interpreted for us by the recipient.

Blount begins with a piece of intelligence which is startling enough. Amongst the lords of the council none was a more zealous enemy of Popery than the chamberlain, the Earl of Suffolk,442 who was more than once on the commission for expelling priests and Jesuits, and had in particular been so energetic in the matter of the Powder Plot that Salisbury modestly confessed that in regard of the "discovery" he had himself been "much less forward."443 Now, however, we are told, only a twelvemonth later, that this nobleman and his wife are ready for a sufficient fee to procure "some kind of peace" for the Catholics. The needful sum may probably be raised through the Spanish Ambassador, but the issue is doubtful "because Salisbury will resist." – "Yet such is the want of money with the chamberlain at this time – whose expenses are infinite – that either Salisbury must supply, or else he must needs break with him."444

After some particulars concerning the jealousy against the Scots, and the matter of the union (which "sticketh much in the Parliament's teeth") Blount goes on to relate how Cecil has been attempting to float a second Powder Plot – the scene being this time the king's court itself. He has had another letter brought in, to set it going, and had seemingly calculated on capturing the writer himself and some of his brethren in connection with it. In this, however, he has been foiled, and the matter appears to have been dropped. In Blount's own words:445

"Now these last days we expected some new stratagem, because Salisbury pretended a letter to be brought to his lordship found by chance in St. Clement's Churchyard, written in ciphers, wherein were many persons named, and a question asked, whether there were any concavity under the stage in the court. But belike the device failed, and so we hear no words of it. About this time this house was ransacked, where by chance Blount came late the night before, finding four more, Talbot, N. Smith, Wright, Arnold; being all besieged from morning to night. If things had fallen out as was expected, then that letter would have haply been spoken of, whereas now it is very secret, and only served to pick a thanks of King James, with whom Salisbury keepeth his credit by such tricks, as upon whose vigilancy his majesty's life dependeth."

One other feature of the after history demands consideration. As Fuller tells us,446 "a learned author, making mention of this treason, breaketh forth into the following rapture:

'Excidat illa dies aevo, ne postera credantSaecula; nos certe taceamus, et obruta multâNocte tegi propriae patiamur crimina gentis.''Oh, let that day be quite dashed out of time,And not believ'd by the next generation;In night of silence we'll conceal the crime,Thereby to save the credit of the nation.'"

"A wish," he adds, "which in my opinion, hath more of poetry than of piety therein, and from which I must be forced to dissent." Assuredly if it were judged that silence and oblivion should be the lot of the conspiracy, no stranger means were ever adopted to secure the desired object. A public thanksgiving was appointed to be held every year, on the anniversary of the "discovery;" a special service for that day was inserted in the Anglican liturgy, and Gunpowder Plot Sermons kept the memory of the Treason green in the mind not of one but of many generations.

Moreover, the country was flooded with literature on the subject, in prose and rhyme, and the example of Milton is sufficient to show how favourite a topic it was with youthful poets essaying to try their wings.447

In regard of the history, one line was consistently adopted. The Church of England in its calendar marked November 5th, as the Papists' Conspiracy, and in the collect appointed for the day the king and estates of the realm were described as being "by Popish treachery appointed as sheep to the slaughter, in a most barbarous and savage manner, beyond the examples of former ages." Similarly, preachers and writers alike concurred in saying little or nothing about the actual conspirators, but much about the iniquity of Rome; the official character of the Plot, and its sanction, even its first suggestion, by the highest authorities of the Church, being the chief feature of the tale hammered year after year into the ears of the English people. The details of history supplied are frequently pure and unmixed fables.448

Nor was the pencil less active than the pen in popularizing the same belief. Great was the ingenuity spent in devising and producing pictures which should impress on the minds of the most illiterate a holy horror of the Church which had doomed the nation to destruction. One of the most elaborate of these was headed by an inscription which admirably summarizes the moral of the tale.

The Powder Treason. – Propounded by Satan: Approved by Antichrist [i. e. the Pope]: Enterprised by Papists: Practized by Traitors: Revealed by an Eagle [Monteagle]: Expounded by an Oracle [King James]: Founded in Hell: Confounded in Heaven.

Accordingly we find representations of Lucifer, the Pope, the King of Spain, the General of the Jesuits, and other such worthies, conspiring in the background while the redoubtable Guy walks arm in arm with a demon to fire the mine, the latter grasping a papal Bull (unknown to the Bullarium), expedited to promote the project: or again, Faukes and Catesby stand secretly conspiring in the middle of the street, while Father Garnet, in full Jesuit habit (or what is meant for such) exhorts them to go on: or a priest gives the conspirators "the sacrament of secrecy;" or representative Romish dignitaries blow threats and curses against England and her Parliament House, – or the Jesuits are buried in Hell in recompense of their perfidy.

It cannot, however, escape remark that while the limners have been conscientiously careful in respect of these details, they have one and all discarded accuracy in regard of another matter in which we might naturally have expected it. In no single instance is Guy Faukes represented as about to blow up the right house. Sometimes it is the House of Commons that he is going to destroy, more frequently the Painted Chamber, often a nondescript building corresponding to nothing in particular, – but in no single instance is it the House of Lords.

The most extraordinary instance of so strange a vagary is afforded by a plate produced immediately after the occurrence it commemorates, in the year 1605 itself.449 In this, Faukes with his inseparable lantern, but without the usual spurs, is seen advancing to the door of the "cellar," which stands conspicuous above ground. Aloft is seen the crescent moon, represented in exactly the right phase for the date of the discovery.450 The accuracy exhibited as to this singular detail makes it more than ever extraordinary that the building to which he directs his steps is unquestionably St. Stephen's Chapel – The House of Commons.

One point of the history, in itself apparently insignificant, was at the time invested with such extravagant importance, as to suggest a question in its regard, namely the day itself whereon the marvellous deliverance took place. A curious combination of circumstances alone assigned it to the notorious Fifth of November. Parliament, as we have seen, was originally appointed to meet on the 3rd of October, but was suddenly adjourned for about a month, and so little reason did there seem to be for the prorogation451 as to fill the conspirators with alarm lest some suspicion of their design had prompted it; wherefore they sent Thomas Winter to attend the prorogation ceremony, and observe the demeanour of those who took part in it. Afterwards, though the discovery might have easily been made any time during the preceding week, nothing practical was done till the fateful day itself had actually begun, when, as the acute Lingard has not failed to observe, a remarkable change at once came over the conduct of the authorities, who discarding the aimless and dilatory manner of proceeding which had hitherto characterized them, went straight to the point with a promptitude and directness leaving nothing to be desired.

Whatever were their motive in all this, the action of the government undoubtedly brought it about that the great blow should be struck on a day which not a little enhanced the evidence for the providential character of the whole affair. Tuesday was King James' lucky day, more especially when it happened to be the 5th of the month, for on Tuesday, August the 5th, 1600, he had escaped the mysterious treason of the Gowries.

This coincidence evidently created a profound impression. "Curious folks observe," wrote Chamberlain to Carleton,452 "that this deliverance happened on the fifth of November, answerable to the fifth of August, both Tuesdays; and this plot to be executed by Johnson [the assumed name of Faukes], and that at Johnstown [i. e., Perth]." On the 27th of November, Lake suggested to the Archbishop of Canterbury,453 that as a perpetual memorial of this so providential circumstance, the anniversary sermon should always be delivered upon a Tuesday. Two days later, the Archbishop wrote to his suffragans,454 reminding them how on a Tuesday his majesty had escaped the Gowries, and now, on another Tuesday, a peril still more terrible, which must have ruined the whole nation, had not the Holy Ghost illumined the king's heart with a divine spirit. In remembrance of which singular instance of God's governance, there was to be an annual celebration.455

Most important of all, King James himself much appreciated the significance of this token of divine protection, and not only impressed this upon his Parliament, but proroguing it forthwith till after Christmas, selected the same propitious day of the week for its next meeting, as a safeguard against possible danger. "Since it has pleased God," said his majesty,456 "to grant me two such notable deliveries upon one day of the week, which was Tuesday, and likewise one day of the month, which was the fifth, thereby to teach me that as it was the same devil that still persecuted me, so it was one and the same God that still mightily delivered me, I thought it therefore not amiss, that the twenty-first day which fell to be upon Tuesday, should be the day of meeting of this next session of parliament, hoping and assuring myself, that the same God, who hath now granted me and you all so notable and gracious a delivery, shall prosper all our affairs at that next session, and bring them to an happy conclusion."

Whatever may be thought of this particular element of its history, it is perfectly clear that the fashion in which the Plot was habitually set before the English people, and which contributed more than anything else to work the effect actually produced, was characterized from the first by an utter disregard of truth on the part of those whose purposes it so opportunely served, and with such lasting results.

A Summary

The evidence available to us appears to establish principally two points, – that the true history of the Gunpowder Plot is now known to no man, and that the history commonly received is certainly untrue.

It is quite impossible to believe that the government were not aware of the Plot long before they announced its discovery.

It is difficult to believe that the proceedings of the conspirators were actually such as they are related to have been.

It is unquestionable that the government consistently falsified the story and the evidence as presented to the world, and that the points upon which they most insisted prove upon examination to be the most doubtful.

There are grave reasons for the conclusion that the whole transaction was dexterously contrived for the purpose which in fact it opportunely served, by those who alone reaped benefit from it, and who showed themselves so unscrupulous in the manner of reaping.

APPENDIX A.

NOTES ON THE ILLUSTRATIONS

Frontispiece. The Powder Plot. I

From the Crace Collection, British Museum, Portf. xv. 20. Thus described in the catalogue of the collection:

"A small etching of the House of Lords. Guy Fawkes in the foreground. W.E. exc. 1605."

This plate is of exceptional interest as having been executed within five months of the discovery of the Plot, i. e., previously to March 25th, 1606, the first day of the year, Old Style.

Guy Faukes is represented as approaching the House of Commons (St. Stephen's Chapel), not the House of Lords, as the catalogue says.

Title-Page

Obverse, or reverse, of a medal struck, by order of the Dutch senate, to commemorate the double event of the discovery of the Gunpowder Plot and the expulsion of the Jesuits from Holland. Drawn from a copy of the medal in pewter, by Paul Woodroffe. The design here exhibited is thus described in Hawkins and Frank's Medallic Illustrations:

"The name of Jehovah, in Hebrew, radiate, within a crown of thorns.

"Legend, chronogrammatic,

Non DorMItastI AntIstes IaCobI"

[which gives the date 1605]

On its other face the medal bears a snake gliding amid roses and lilies [symbolizing Jesuit intrigues in England and France], with the legend Detectus qui latuit. S.C. [Senatus Consulto]."

This is reproduced on the cover.

Group of Conspirators (p. 3)

From a print published at Amsterdam.

Eight conspirators are represented, five being omitted, viz., Grant, Keyes, Digby, Rokewood, and Tresham.

Bates, as a servant, wears no hat.

The Houses of Parliament in the time of James I. (pp. 56-7)

Restored from the best authorities, and drawn for the author by H.W. Brewer.

Ground Plan of House of Lords and adjacent Buildings (p. 59)

Extracted from the "Foundation plan of the Ancient Palace of Westminster; measured, drawn and engraved by J.T. Smith" (Antiquities of Westminster, p. 125)

The House of Lords in 1807 (p. 61)

From J.T. Smith's Antiquities of Westminster.

This sketch, made from the east, or river, side, was taken during the demolition of the buildings erected against the sides of the Parliament House. These were put up previously to the time when Hollar made his drawing of the interior (temp. Charles II.), which shows the walls hung with tapestry, the windows having been blocked up.

According to a writer in the Gentleman's Magazine (No. 70, July, 1800), who signs himself "Architect," in a print of the time of James I. the tapestry is not seen, and the House "appears to have preserved much of its original work." The only print answering to this description which I have been able to find exhibits the windows, but is of no value for historical purposes, as it is a reproduction of one of the time of Queen Elizabeth, the figure of the sovereign alone being changed. This engraving is said to be "taken from a painted print in the Cottonian Library," of which I can find no trace. [B. Mus., K. 24. 19. b.]

To the left of our illustration is seen the gable of the Prince's Chamber. The door to the right of this opened into the cellar, and by it, according to tradition, Faukes was to have made his exit.

In front of this is seen part of the garden attached to Percy's lodging.

Interior of "Guy Faukes' Cellar" (p. 71)

Two views of the interior of the "cellar," drawn by H.W. Brewer, from elevations in J.T. Smith's Antiquities of Westminster, p. 39.

The remains of a buttery-hatch, at the southern end, testify to the ancient use of the chamber as the palace kitchen; of which the Earl of Northampton made mention at Father Garnet's trial.

The very ancient doorway in the eastern wall, seen on the left of the picture, was of Saxon workmanship, and, like the foundations beneath, probably dated from the time of Edward the Confessor, who first erected this portion of the palace, most of which had been rebuilt about the time of Henry III. By this doorway, according to some accounts, Faukes intended to escape after firing the train, though others assign this distinction to one near the other end.

These two illustrations were originally prepared for the Daily Graphic of November 5th, 1894, and it is by the courtesy of the proprietors of that journal that they are here reproduced.

Vault under the East End of the Painted Chamber (p. 73)

From Brayley and Britton's Palace of Westminster, p. 247.

This has been constantly depicted and described as "Guy Faukes' Cellar."

Arches from Guy Faukes' Cellar (p. 75)

Drawn for the author by H.W. Brewer.

Sir John Soane, who in 1823 took down the old House of Lords, removed the arches from the "cellar" beneath it, to his own house in Lincoln's Inn Fields, now the Soane Museum, where they are still to be seen in a small court adjoining the building. They do not, however, appear to have been set up precisely in their original form, being dwarfed by the omission of some stones, presumably that they might occupy less space. In our illustration they are represented exactly as they now stand, with the modern building behind them. Some incongruous relics of other stonework which have been introduced amongst them have, however, been omitted.

The architecture of these arches, and of the adjacent Prince's Chamber, assigns them to the best period of thirteenth century Gothic.

Cell at S.E. corner of Painted Chamber (p. 83)

Often styled "Guy Faukes' Cell."

From Brayley and Britton, op. cit., p. 360.

There appears to be no reason for associating this with Faukes.

The Powder Plot. II. (p. 90)

"Invented by Samuel Ward, Preacher, of Ipswich. Imprinted at Amsterdam, 1621." [British Museum, Political and Personal Satires, i. 41.]

This is the portion to the right of a composition representing on the left the Spanish Armada, and in the centre a council table at which are gathered the Devil, the Pope, the King of Spain, the General of the Jesuits, and others. An eye above is fixed on the cellar. Faukes in this case is going to blow up the Painted Chamber.

Interior of the old House of Lords (Scene on occasion of the King's Speech, 1755) (p. 97)

This plate represents the House in the reign of George II. In the century and a half since the time of the Powder Plot it is probable that the windows in the side walls had been blocked up, and the tapestry hung. The latter represented the defeat of the Armada.

[From Maitland's London (1756), ii. 1340.]

Lord Monteagle and the Letter (p. 115)

From Mischeefes Mystery.

King James enthroned, with crown and sceptre, upon a daïs, at the foot of which stands the Earl of Salisbury. An eagle bears a letter in its beak, to receive which the king and his minister extend their left hands.

The English poem, by John Vicars, embellished with this woodcut, was published in 1617, being a much expanded version of one in Latin hexameters, entitled Pietas Pontificia, by Francis Herring, which appeared in 1606.

Arrest of Guy Faukes (p. 125)

From Mischeefes Mystery.

Guy Faukes booted and spurred, and with his lantern, prepares to open a door at the extremity of the Painted Chamber. Sir Thomas Knyvet with his retinue approaches unseen. The stars and the beams from the lantern show that it is the middle of the night.

Discovery of the Gunpowder Plot (p. 136)

From a print in the Guildhall Library.

Catesby, Faukes, and Garnet (the latter in what is apparently meant for the Jesuit habit) stand in the middle of the street conspiring secretly. Through the open door of the "cellar" the powder barrels are seen.

This illustration (without the coins) stands at the head of Book XVIII. of M. Rapin de Thoyras' History of England, translated by N. Tindal.