William II de Soules

I promised you another post about my inspiration for The Wolf & the Witch, but things got away from me. The last two months have been hectic, but I’m catching up.

The Wolf & the Witch, book one of the Blood Brothers trilogy of medieval Scottish romances by Claire Delacroix

In The Wolf & the Witch, the father of the heroine, Alys, was Robert Armstrong. He died when she was a child (no spoilers from me!) but had a reputation as a man who had made a deal with a demon. She reveals that he had lost a great deal before he died himself: her mother had died in childbirth, so he was a widower; he had made some poor decisions in administering his holding and household, so had no servants or villeins any longer; he had been robbed of all his wealth and his treasury was empty; and finally, he was reputed to have made a deal with a demon of the classic one-soul-for unlimited-power variety. (Why he would have been in such dire straits after making such a deal is another question altogether.) The ruin of Kilderrick is said to be haunted by a redcap goblin, which was Robert’s familiar – a detail that Alys uses to advantage to keep intruders away. In the course of the story, Alys realizes a few key truths about her father.

But the point of this post is to share my inspiration for Robert, which was William II de Soules. (I’ve already posted about Hermitage Castle being the inspiration for fictional Kilderrick.) William was a nobleman in the fourteenth century who held Hermitage castle and died in 1321. Like the fictional Robert, William had a considerable reputation, not all of which was true.

Let’s go back a bit. The first William de Soules was a Scottish nobleman granted the holding of Liddesdale by the Scottish king, and Butler of Scotland. His son, Nicholas de Soules, inherited the holding and the titles upon his father’s death around ???. When Margaret, the Maid of Norway, died in 1290, Nicholas was one of the contenders for the Scottish crown—the story was that his grandmother had been an illegitimate daughter of King Alexander II. His quest for the throne did not succeed and in 1296, he pledged homage to Edward I of England. He and his wife, Margaret Comyn, had two sons, William and John.

Nicholas’ son, William (II), was received into the peace of England by Edward I in 1304. He remained in the service of the English until Robert the Bruce’s victory at Bannockburn in 1314—then he changed his allegiance back to Scotland. He became Butler of Scotland, like his father and grandfather, but then, in 1320, was part of a plot challenging Robert the Bruce. It seems likely that the old idea of the de Soules line having a claim to the throne might have been behind this. The plot was found out and William arrested at Berwick. He confessed to his treason at the Black Parliament of 1320, but the king spared his life, making his considerable lands forfeit instead. William was imprisoned in Dumbarton Castle, where he died in 1321, leaving a daughter and heiress, Ermengarde.

The rumors about William are far more interesting! He was reputed to be a sorceror, tutored by the famous (dead) magician, Michael Scot. William could not be bound with ropes, injured by steel or killed by ordinary means because of his powers. He was large and cruel, seizing children for his blood rites and terrorizing both his vassals and his neighbors. He was said to have fortified his fortress, Hermitage Castle, against the king using supernatural means. (Even so, it wasn’t the castle that we recognize on that site: the castle that survives is a remnant of the fortification build by the Earl of Douglas after the holding was forfeited by Soules.) William’s abused vassals complained repeatedly to the king, Robert the Bruce, who is dismissive of their concerns in these stories, telling them “Boil him, if you please, but let me hear no more of him.”

And so, they do. The villagers have a chain forged to restrain the large and powerful William. He is taken forcibly to the Ninestang Ring and boiling him in molten lead. The story continues that Hermitage Castle sank into the ground after the passing of its lord, and that the keep is haunted still by William’s familiar, Robin Redcap.

There is a ballad about William called Lord Soulis composed by J. Leyden and included by Sir Walter Scott in his Minstrelsy of the Scottish Border. (It’s in Volume IV). It ends like this:

At the Skelf-hill, the cauldron still
The men of Liddesdale can show;
And on the spot, where they boil’d the pot,
The spreat and the deer-hair ne’er shall grow.

I didn’t have nearly enough fun with Robin Redcap in The Wolf & the Witch, but we’ll see more of him in The Scot & the Sorceress. I think Nyssa knows a lot more about goblins and hauntings than I do—and more than Murdoch would like to believe.

A Fifteenth Century Dress

One of the things going on behind the scenes here is the translation of many of my books into other languages. This is a really interesting exercise: I love seeing the covers translated and also the discussions with my translation teams. One team in particular sends me questions to make sure they get the details right. This can require a bit of detective work on my end, since we’re starting translations with the Jewels of Kinfairlie series, which I wrote in 2005. Sometimes I just don’t remember! I thought I would share one of my recent investigations with you, when I went looking for a 15th century dress.

The Rose Red Bride, #2 of the Jewels of Kinfairlie series of medieval Scottish romances by Claire Delacroix

The translators are working on The Rose Red Bride, and wanted more explanation about Vivienne’s dress. Here’s what it says in the book:

“Her finest chemise of sheer linen was an obvious choice, as she wished to impress her fairy lover with her finery. It was cut full and gathered at the neck on a drawstring, as was typical, but was distinguished by sleeves fitted from elbow to wrist and secured with dozens of tiny buttons made of shell.


It was no small feat to don the chemise without the aid of one of her sisters or their maid, but Vivienne managed the deed.


She then donned her favorite kirtle, also a gift from Rosamunde, which was wrought of silk woven in two shades of emerald. The sleeves were slit from the shoulders to reveal the chemise and trailed to the ground, while the hem pooled upon the floor. The hem and neckline and sleeve edges were all graced with intricate golden embroidery. The men in her family had called it a most impractical garment, while her sisters openly coveted it.”

Illustration from The Chronicle of Western Fashion by John Peacock

It sounded to me as if I’d been inspired by a specific dress, so I went looking in my library for the source. I found it in The Chronicle of Western Fashion, by John Peacock, a book of illustrations I’ve had for a long time.

It’s labelled as being the outfit of an Italian lady from 1410. If you look closely, you can see the buttons along the sleeve of the ochre chemise, from elbow to wrist.

I did wonder whether I could find more detail, though, and kept looking.

In Medieval Costume in England and France by Mary G. Houston, I found the image below. It looks like the same dress but the woman is illustrated with three other people.

Illustration from Medieval Costume in England and France by Mary G. Houston

One of the interesting things about medieval costume is that there aren’t that many sources, and the sources are a bit different than you might expect. Queens and kings carved onto cathedrals, for example, or depicted in marginalia of manuscripts or woven into tapestries will usually be dressed in the style of the times of the artist and not of their actual era. An illustration of Noah at the flood could show 13th century court dress very well.

This line drawing was inspired by an image in the Très Riches Heures of the Duc de Berry, a 15th century book of hours filled with miniature paintings. Books of prayer are also a great source of social history details, including clothing styles.

This is the painting for April from the Très Riches Heures, which shows fruit trees in bloom in a walled garden, maidens picking flowers, men fishing and a couple pledging their troth. It’s just what you might expect to happen in April in the northern hemisphere. You’ll recognize the woman in blue as the inspiration for the drawings, and for Vivienne’s dress.

April from the Tres Riches Heures of the Duc de Berry

This image is from a website called Digital Medievalist. You can see it in more detail, here.

Here’s the Wiki on the Très Riches Heures, too, which is a comparatively large book of hours. It measures about 8″ by 12″ but many books of hours are tiny, only four inches or so in each dimension. The detail in them is incredible! If you’re ever at the Cloisters in New York, they have a collection of books of hours and there are always a few on display. You can also see selected pages from the books of hours in the collection of the Metropolitan Museum (which owns the Cloisters) on this page of search results.

The Rose Red Bride, book two of the Jewels of Kinfairlie series of medieval romances by Claire Delacroix, German edition

So, I found Vivienne’s 15th century dress, and now the translators know what the sleeves look like.

The German edition of The Rose Red Bride – which will be called die rosenrote Braut – should be available in January.