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L E A R N I N G W A R G A M E S S E R I E S

STARSHIP
TECHNIQUES
 WARGAME
STARSHIP
TECHNIQUES
2 INTRO KIRILL KANAEV
22 SPACE MARINES STORM SPEEDER
38 CRASHED SERPENT
56 BARC SPEEDER
70 STORMFANG GUNSHIP
80 NECRON NIGHT SHROUD BOMBER
90 ADEPTUS ASTARTES XIPHON INTERCEPTOR

www.ak-interactive.com

Collaborators:
Kirill Kanaev / Rubén González / Rick Lawler / Juan Villegas / Eduardo Fernández / Brennan Baker / Damien Tomasina
Original idea: Fernando Vallejo / Editorial: AK Interactive / Editor: David Martínez
Design: Murat Özgül / Cover design: BMS / Translation: Jon Feenstra
Printed in Logroño
© 2023 AK Interactive. All right reserved. This publication cannot be reproduced or disseminated in any way and by
any source, electronic or mechanical, present or future, including photocopy, recording or any other means of storage
or retrieval of information, without the written consent of the editor.
WARGAME STARSHIP MODELING

INTRODUCTION
This second volume will delve into the techniques and effects
KIRILL KANAEV
for modelers who want to take miniatures a step further, with
even more realistic and spectacular finishes. We will show again
ships from different universes and games, representing them
in an operational way or in scenarios that contextualize and re-
inforce the message we want to convey.

No matter what the vehicle is called, be it a spaceship, a skimmer

or an anti-gravity flyer, all these vehicles can fly very fast. Before
I start painting I always try to find a good idea and ­photographic
references based on real objects. Good photo ­references are
an ideal source for checking details that can make any model
look authentic, no matter how fantastic it is. In this introduction
we will talk about two different ways to approach the painting
of ­flying machines: one based on known technologies and one
based on technologies without real analogues.

The first way I use to paint the vehicles is based on human

technologies of the future. It is something material and real,
although these technologies have not yet been invented. For
the representation of this type of vehicle I try to imagine the
purpose of the machine, how old or new it is, the thickness of
the material, if it is composed of metal or other material, if it
is painted or has a rough surface, how is the operating envi-
ronment, and so on. Once all these details are estimated, I
look for actual vehicle references that can approximate these
thoughts. For example, the giant robot looks like the battle tank.
The giant robot does not exist, no one has seen it. But every-
body saw the battle tank, so some details that are typical for
armored vehicles, such as rust, scratches, water streaks, dirt
and battle damage could be applied on the giant robot as well
and make this non-existent machine more authentic. Precisely
these small details are important to bring the fantasy to life.
But what to do if we have to paint a spaceship? We can imagine
what the weathering might be like on the robot, as it will be the
same effect as on the tank, because they both operate on the
same terrain. But we have never seen real spacecraft. We have
orbital spacecraft, but they don’t meet all the conditions. They
fly only in vacuum and have no damage, scratches or rust - this
is simply impossible in open space. The closest to the image of
starships would be the space shuttle, which lands through the
atmosphere. Compared to sterile orbital spacecraft, the shuttle
has high temperature marks as it passes through the air and
looks more material.
 2¦3

The surface of the space

shuttle is covered with ce-
ramic tiles, it is possible to
see how different its colors
are after landing, it looks
more interesting compared
to the perfect surfaces of
the orbital spacecraft and
could be a great source of
­references.

Another type of machine that could be a basis for the imagination of starships are jet fighters.

All the effects of aging, scratches, rust, watermarks and o­ thers to float above the surface and jet engines that make them fast.
could also be applied to science fiction vehicles. And here it Some of them are light armored and some are heavy like battle
must be said again that sci-fi ships do not yet exist in reali- tanks. In my opinion, they are similar to actual tanks, not alumi-
ty and this allows us the freedom to paint them as we want to num jet aircraft. They are made of thick metal and look bulky,
make them beautiful and interesting. This means that we are have no aerodynamic lines, but have jet engines. The WH40K
not obliged to reproduce all the aging effects, we can choose universe is a mix of science fiction and simple technologies, so
only what we like to enhance the model because we can their hulls can be made of steel and have rust marks. Compared
­imagine the ­non-existing technologies. It can help us create an to real vehicles that are painted in camouflage, Space Marines
­approximation and a context about the universe our starship is use bright and flashy colors. This is the reason why I choose
in and exact precise technologies are not necessary. It can be a military modeling techniques and apply them to bright colors.
combination of anything we choose. It should also be remembered that these are game models and
sometimes they have to be painted in large quantity for the
At this point I would like to focus on the flying vehicles of the game. Hence the need to make the painting algorithm that will
Warhammer 40,000 universe. Let’s take a look at some m ­ odels be simple, understandable and possible to repeat many times
I painted for the board game - Space Marine skimmers, based to give the same look to many vehicles. I have played WH40K
on anti-gravity technologies. Warhammer 40K is a very dark since 1998 and during this period I have used different paints
setting combining high tech and medieval gothic, arcane tech- and schemes and only in 2013 have I found a good pattern that
nologies and something well known as machine guns or jet I was satisfied to spread it and apply it on all game models. The
engines. I try to imagine the purpose and materials for my ve- painting algorithm I was talking about is based on several ideas
hicles. These are attack vehicles that use anti-gravity shields and concepts that we will see below.
WARGAME STARSHIP MODELING ¦ INTRODUCTION

1. Preshading in black and white. It is used in con-

ventional modeling and I have adapted this tech-
nique to my own needs. This technique has two main
objectives: first, it allows showing a volume more
­accentuated by light and shadows.

Looking at this pencil drawing we see that the flat

surfaces do not have the same tone everywhere,
­instead they have a gradient that helps to interpret
the 3D volume.

The same meaning has the black and white p

­ reshading
in the scale model, it increases the shadows and
makes the volume more accentuated. It is even more
useful for small scale models (WH40K models have a
scale of about 1:60).

The second purpose is to show the color modulation of the paint 2. Application of the main colors. One option to achieve clear
layer as it would be visible in reality. After a long use, the vehicle’s and bright colors are inks. Compared to normal paints, inks are
paint may appear damaged, partially blurred at the ­edges, show very transparent, but have pure and saturating pigments. On
some dirt or be discolored by ultraviolet rays. These ­effects can the white base coat, the inks get a perfect pure color. Another
also be shown using the black and white preshading technique. reason why the inks work perfectly with this technique is the
To perform this technique we can use the airbrush or do it with a transparency. The black and white preshading under the paint
brush. It is also possible to apply powder pigment to darken the layer loses contrast, which is good for large scale vehicles, but
deepest places and the marks of the volumes on a white base. in 1:60 scale we need to maintain a strong contrast to enhance
the volume of the model. The inks reduce the contrast between
black and white keeping the pattern visible but with color and
we can increase the opacity of the ink by adding layers.
 4¦5

For this example I have used

Schmincke Aero ­Color Per-
manent Green. We are going
to explain the importance of
the base shade to achieve
a correct ­ transparency on
different colors.

Airbrushed inks work as a fixative and it is not necessary to use

fixative on the black pigment.

We have to take into account this important aspect when

­working with colors other than green. For the areas of the
­markings, numerals and badges we will work with masks de-
limiting the areas.

In these models there are many white, yellow and orange

­badges. For the shadows of the white color do not use black
because we need to receive the same level of contrast as in
the finished green parts or the miniature will look very strange
and unbalanced. Instead of black we will use gray. In the graphic
on the right we can see how with the same green gradient the
shadows of the white are much softer and in accordance with
gray in the lower dupla.

The preshading for yellow and orange also needs to be changed.

Black through these two colors will become dark green or khaki.

To avoid this distortion, instead of black

we will use red brown for the shadows.
On top of this, yellow and orange will look
darker, but warm.
WARGAME STARSHIP MODELING ¦ INTRODUCTION

If we need to get a nice saturated yellow with airbrush over the white under-
coat, it is better to use transparent orange instead. The transparent pigment
property makes a thin layer of orange look like yellow. If what is needed is to
have exactly orange, then we just need to airbrush more layers.

This operation must be transferred to the colors

­applicable in each situation.

If you choose another color, check how it looks on

white and black, you should probably change the
black for another shade.

For example, warm red tones placed on white may

appear cooler and closer to pink. To avoid this dis-
tortion we can use instead of white some light
­yellow color, for example sand yellow.

Just always keep in mind that airbrushed colors on the dark or

light undercoat can change the tone. Before painting I s­ trongly
recommend that you check your paints on a simple paper
­instead of on the model, this way you will avoid unpleasant sur-
prises.

If the model has some decals it is better to place them in this

step, with the paint in good condition, without any chipping,
scratches or dirt. Then start the weathering process and they
will be integrated. My goal was to make a vehicle that looks
authentic, working the effects by layers. Next I will explain the
order of the layers.

3. Scratches. At this stage some simple weathering techniques

are performed that do not require a lot of time or special skill,
but make the appearance of the vehicle more realistic and
­elaborate. These techniques look more spectacular on bright
colors. We need to imagine in what order the paint layers have
been applied on the vehicle. For example, the green base over
which yellow stripes have been applied and black over these.
We need to paint the scratches in the reverse order: yellow on
black, then green on yellow.

1 2 3 4 5
 6¦7

The next layer represents the

deepest scratches. It is ­necessary
to show the surface of the bare
metal. The pattern is very simple.
We use two dark green colors,
mixing the base color, a little black
and brown. The first layer we
­apply with sponge, mostly on the
edges. The second layer is darker
and covers less space. With this
color we also paint fine lines with
a brush as rubbing. 1 2

It is possible to use more than two colors in this step depending on the scale of the vehicle and the surface space. In 1:60 scale this
is enough to achieve an interesting look. Then we check the assembly. Sometimes inks, paints and decals can have a different gloss.
To correct it and unify the finish we will use satin or matte varnish.

4. The next optional step is the coating of assorted dry pigments that may represent some type of rust or smoke and dirt particles
absorbed by the paint layer. In my thoughts, the skimmers are made of thick steel plates and a little dark brown pigment helps me
achieve the look of an old machine. I add dark brown pigment applied with a dry brush and a coat of pigment fixative. If we need an
even more shabby look we can use different shades of brown and black. We can apply watermarks and drips with watercolor pencils.
It is possible to use any aging technique and modeling materials. You just need to follow a certain logic. For example, if you paint
something like a starship you have to keep in mind that there is no dirt in open space. But if your spacecraft has a landing gear it
may touch the ground and have mud and dust on the struts. The last detail in this step is the oil wash for the panel marking. This was
done with sepia brown mixed with White Spirit. This technique is also similar to those used in military modeling.
WARGAME STARSHIP MODELING ¦ INTRODUCTION

5. When all these steps are applied, the final touch on the hull is the painting of the edges to show the polished steel on external
parts. Graphite pencil or pigment can be used. In the examples of this introduction these ships were for playing, so I needed some-
thing more durable, otherwise it could be erased by the hands. So I painted the edges with gunmetal. After this final touch the hull
looks more solid and material. ,

6. Once the hull is complete we can focus on small de-

tails like bare metal fittings, lenses and others. I would
like to repeat the same thought as at the beginning:
the most important thing is to do a beautiful job. This
means that it is possible to add details that might not
look very realistic on a tank today, but on the spacecraft
they look simply spectacular (this is science fiction and
your dream, why not).

In the example, some metal parts I have not painted in

a matte tan tone, but with a mix of metallic brown and
metallic bluish tones. The burnt steel of the jet engine
exhausts looks bluish and gray, but for the science
fiction model it is possible to paint them brighter and
show the rainbow effect on the surface of the tempered
metal.

It is possible to do this with colored metallic shades

or with transparent inks applied with erograph in the
­correct order. This effect could be especially exagger-
ated, as in commercial tuned parts of bicycles or cars.
 8¦9

7. Especially for WH40K I try to combine

matte surfaces with metallic surfaces to
achieve an interesting look, this simple rule
makes the model more spectacular and
attractive.
WARGAME STARSHIP MODELING ¦ INTRODUCTION

The second way of painting fantasy starships is completely

different. These are alien technologies or technologies from
the far future that have absolutely no analogues in real life.
It can be anything strange as long as it is beautiful, alien
materials, mysterious decoration, strange details of min-
erals or whatever. As a source of inspiration I recommend
fantasy and science fiction works from computer games
and movies. This way of painting is closer to painting fan-
tasy miniatures, especially in some magical artifacts on
starships. The finish can be combined with the real thing
as described above, but the main work here is based on
freehand painting effects and showmanship. Let’s look at
some works to explain these ideas on examples.

The following vehicles belong to the anti-gravity flying

ships of the Eldar race from the Warhammer 40,000 uni-
verse. They all have the same paint pattern - empty black
surfaces combined with richly decorated freehand areas.
The black surface accentuates the artwork and focuses
attention on the strange alien motifs. No one knows what
the material of these ships is - it is not steel, aluminum or
titanium. The alien materials are very durable, no scratches
or rust. It is not known how the decoration on their surface
was made. They are all made in the same range of colors:
black, blue and brown. On the black panels we chose to
highlight only the edges. The semi-transparent blue stones The first of these vehicles is the Wave serpent transport. We can
are the characteristic detail of the Eldar. appreciate the elaborate motifs and the expensive freehand
work of the decoration.

This model is also a bit transformed.

To show the mysterious origin of the ancient aliens I re-sculpted

the hull and turret cockpit. They were replaced by golden masks
with arrogant smiles based on the technical logic of the Eldar.

The freehand golden brown contains the motifs of the Eldar

runes. The symbols have different brightness and their layers
overlap each other. The runes are grouped in lines around the
ship’s construction elements and armor panels. Some tubes on
the lower part of the ship glow with a mystical blue light and are
also covered with runes.
1 0 ¦ 11
WARGAME STARSHIP MODELING ¦ INTRODUCTION

The second Eldar vehicle of this style is the Fire

Prism Grav Tank.

This is a fire support tank armed with a large prism

cannon. Instead of freehand golden brown, this ship
is painted with a beige brown over black.

Lines, spirals and freehand drawings are also

grouped around the panel lines. This painting
was inspired by the elven style and also looks
very alien.
1 2 ¦ 13
WARGAME STARSHIP MODELING ¦ INTRODUCTION

The third ship in this group is the Cobra Super

Heavy Grav Tank.

It is much larger than the previous two mod-

els and is made in resin by Forgeworld. The
vehicle is freehand painted in a range of
browns and oranges on the black base. It has
some large blue gems that we have also paid
close attention to. The material might look like
­copper but it is not, the Eldar use other mate-
rials. I would like to highlight the evil side of the
Eldar, in the painting it is possible to see the
faces and eyes of the angry spirits. This free-
hand painting was also inspired by the Silvan
Elves. The surface of this ship is huge and the
black parts are also decorated with runes to
make them also more interesting. The three
ships described are a­ symmetrical and to
emphasize the alien origin we have also
taken into account the asymmetry in
the freehand drawings.
 1 4 ¦ 15

The ship’s own aesthetics show the atti-

tude of the Eldar and the respect for the
­machinery, which is not just a vehicle, it is
a work of art and a relic loved by them. The
oval gems are not a decoration, in the WH40K
universe they are the shades where the Eldar
keep the souls of their fallen comrades. That
is why the ships are not only machines, they
are also the tombs of the ancestors.
WARGAME STARSHIP MODELING ¦ INTRODUCTION

These ancient, arrogant aliens are not kind. Their long history is full of dark and sinister secrets. To show this dark side of the Eldar
I have painted another spaceship in a style taken from the artwork of H.R. Giger - this one is biomechanical. You can see the same
aesthetic in the Alien movies. I have adapted this grim style to the shapes of the flying machine. The Nightwing is exactly the space-
craft for operations in open space and atmosphere. It is reminiscent of a fighter plane and has wings of variable geometry.

There are no bright colors, the whole range is monochromatic in black and white. A little dark navy blue
has been added so that the gray tone is not so simple, it is more interesting and allows us to modulate
the shades minimally. It reminds us of death and eternity. Even the precious stones have a pale gray
color and do not present any striking tone that breaks the harmony.
 1 6 ¦ 17

The shapes of the ship are very aggressive, the central part is reminiscent of a skull. In my opinion the fuselage is ­semi-transparent
like dark volcanic glass, all the structures are skeletal, the hoses and membranes make up the internal structure of the ship, ­visible
through the armor. It is a rib cage around the engines, the hoses running the length of the ship are reminiscent of worms or intes-
tines, the membranes enveloping that structure look like connections between organs, the rings around the air intakes look like
sphincters. These alien technologies are completely different from anything humans know. All these elements are not randomly
placed but are combined with the main compositional lines and volumes of the model.
WARGAME STARSHIP MODELING ¦ INTRODUCTION
1 8 ¦ 19
WARGAME STARSHIP MODELING ¦ INTRODUCTION

This example is not exactly a

spaceship, but it has engines
to fly or jump, so it is very close
to spaceships. This is Revenant
Titan, a giant robot with great
mobility. This resin model from
Forgeworld won a bronze in the
Golden Demon UK 2005 com-
petition in the open category.

In this model I repeat again the biomechanical style of H.R.Giger but adding more details and complicating even more the scheme.
The greenish black part of the machine is semi-transparent, the internal structure is visible through the plates and armor. The head
is sculpted again and has a face with a distant smile. The greenish stones are reminiscent of jade. The non-transparent parts of the
armor are painted in a range of greens and browns with stripes reminiscent of reptile skin. On this area I have added the pipes as a
structure, painting as lights and shadows on the armor plates.
 2 0 ¦ 21

As you can see, science fiction machinery can be very different and have many nuances. We can be inspired by whatever we want,
both in the fine arts or nature itself. The artistic component and the freedom that the genre allows us, unlike the corseted colors and
markings of historical modeling that try to imitate a reality in which there is not much margin, is what really engages and allows us
to demonstrate and take risks in techniques, finishes and impossible colors.
In the following pages we will approach different examples step-by-step with different degrees of difficulty and we will focus in each
one on a more specific aspect or technique.
WARGAME STARSHIP MODELING

How to make a volumetric work with two colors

INTRODUCTION Using AK’s DUAL EXO range of paints we THE SHIP This fast war machine for Space Marines is heavily
are going to see how to use two paints to achieve volumes on armed to annihilate entire swaths of enemy infantry in barrages
this fantastic sci-fi model. One of the virtues of these pairs of blistering projectiles. Speeding over the battlefield, its spe-
of pots included in the DUAL EXO boxes is precisely the color cialized crew destroys formations, barricades and defenses
harmony that they present and that allows us to simplify and with equal ease.
greatly accelerate the work of searching for analogous c­ olors,
for example, when applying modulation or even z­enithal
­lighting to our models. After this stage we will see how to work
a ship with a professional finish that includes different types
of paint and effects.

Volumes
with two colors
and professional finish
Zenithal Light"Modulation
 2 2 ¦ 23

GAMES WORKSHOP ¦ WARHAMMER 40,000

BRUSH AIRBRUSH DIFFICULTY LEVEL

1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10
WARGAME STARSHIP MODELING ¦ SPACE MARINES STORM SPEEDER

01

02

03

01 This aircraft is injected in a very manageable and easy to

work with grayish plastic. It has a simple exploded view and in-
cludes clear assembly instructions and a complete decal sheet
to complement the decoration work.
Before starting to assemble it is advisable to study the model
well and see how we can organize the work to make the painting
process more comfortable. On some occasions it is preferable
to assemble the whole model while on others it will be better to
work in sub-assemblies.
Taking into account that the modulation process in general
is somewhat complicated since it requires the use of masks,
in this case we will apply the base paint and the modulation
­separately on the pieces.
 2 4 ¦ 25

04

05

02 To assemble we will use the necessary tools such as cut-

ting pliers and knives to separate pieces and remove burrs.
It is also common to use putty for the most obvious joints,
and all kinds of sandpaper and files to smooth the joints and
unions so that they are not noticeable to achieve a clean
paint job. This work can be time consuming but it makes the
­difference between a professional finish and a quickly assem-
bled model in a careless way.

03 After separating and cleaning the parts, we can complete

or modify certain parts with plastic sheets and strips. In this
case the pilots and the handle have been removed to represent
the unoccupied ship and to be able to detail the interior without
problems.

04 With the ship completely disassembled and the parts

cleaned of burrs, we started airbrushing RC001 Flat Black and
RC057 Dark Gray lacquers on the different parts of the inte-
rior. These lacquers work perfectly with the airbrush with an
­approximate dilution ratio of 30% of paint and 70% of specific
thinner being able to reach a 50/50 without problems. In addi-
tion to the thinner of the brand itself we can also use without
problems the thinners of Tamiya yellow cap, Gunze or Gaia.

05 With dry brushing (DB) we can highlight all the details on

06
any type of surface, especially if it is the panels and instrument
panels that make up the interior.
On dark backgrounds we can apply any shade of gray. This will
help and guide us when painting the instruments, buttons and
dials, delimiting their perimeters to perfection. To apply DB it is
advisable to use acrylics due to their high viscosity. The tech- 06 Then we can use acrylic colors to paint all the de-
nique is simple and only requires, after wetting the brush, to tails such as buttons, dials, wiring,... always using our
unload it on a cloth or absorbent paper before applying the paint best brushes. To keep them sharp and their bristles in good
by rubbing on the surface in question. condition we must clean them well with soap and water after
each use. It is advisable to restrict the use of some exclusively
to acrylics.
WARGAME STARSHIP MODELING ¦ SPACE MARINES STORM SPEEDER

07 08

07 Once we have finished with the details we can apply a light 08 After finishing the painting of the interior and before s­ tarting
earthy filter in the crevices and recesses. As the tone contrasts to airbrush the exterior color we must prime the model exter-
a lot the dilution and pigmentation of the filter is enough to nally. To do this it will be enough to airbrush a lacquer type RC
achieve the subtle aspect we are looking for in the piece. It is or similar, preferably light gray or even white. We can also use
normal that we unintentionally stain other areas, to clean the specific primers.
excess first let the filter dry and then, with a clean brush dipped
in White Spirit type thinner we will clean where necessary.
 2 6 ¦ 27

DUAL EXO As we mentioned at the beginning of the ar-

ticle to paint the exterior of the ship we will use the Dual
Exo paint applied by airbrush to try to get the effect of
color modulation.
This paint is an acrylic specially designed for this type
of work and in addition to other technical improvements
over other paints of this type, has a feature that makes
them particularly attractive and is nothing more than
paired with another tone to obtain smooth and effective
transitions to the eye. Depending on which color we use
of those that form each pair of Dual Exo, either light or
dark, we can use the other color to make the lights or
shadows in total harmony and with surprising results.
In addition we can always mix the paint with white or
black in each case to force the lights and shadows if
necessary.

09 The pair we will use is AK1559 com-

posed of two blues, the light one is
AK1529 Ultra Blue that is very suitable
for Space Marines, and AK1530 Almirant
Blue with which we will darken the previ-
ous one. We have used the specific Dual
Exo thinner AK1566 in an approximate
ratio of 30/70 of paint and thinner
­respectively. We must be aware of
the viscosity of acrylic paints in
general so it will be better to
use an airbrush with a 0.3
or 0.4mm nozzle.

09
WARGAME STARSHIP MODELING ¦ SPACE MARINES STORM SPEEDER

11

10

10 First we airbrush the dark blue, being careful to do it from

below on the vertical pieces, without covering the upper half of
the piece approximately. On the lower part of the ship we apply
this color covering completely the surfaces.

11 Now we make a mixture of more or less

50% of the 2 blues. With this mixture we air-
12
brush from above the side parts of the ship
covering approximately half of it, filling the area
that had been left unpainted after applying the
dark blue in the previous step.
When painting larger or larger scale ships or vehi-
cles, variations can be made by varying the ratios and
­making smoother transitions.

13
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Unlike many celebrated men, he was unaffectedly modest, and
devoid of self-seeking, so that while it was said of some other great
personages that they seemed wiser than they were, the common
voice of the nation agreed in this, that Sir Nicholas Bacon was even
wiser than he seemed.
To the Queen he was indeed a most valuable minister, and a most
trusty counsellor, for not only was he as a statesman remarkable for
a clear head, and wise, farseeing sagacity, but he had marvellous
skill in balancing factions, and it was thought he taught the Queen
this same secret, the more important to Elizabeth, for being, as Her
Majesty was, the last of her family, she was without those supports
that are ordinarily incidental to Princes.
In Chancery, also, Bacon much distinguished himself by the very
moderate use he made of power, and by the great respect he ever
showed for the Common Law. But better than all, in an age of
bigotry, when religious differences aroused in men every violent and
cruel passion, Bacon showed that though his own religious opinions
were strong, he could speak and act on that, as on all other
subjects, with moderation and with strict equity.
The main business of the session of January, 1559, was the
settlement of religious observances, and no man had a greater share
in this momentous and difficult question than the Lord Keeper.
The speeches he made at this period are described by many
contemporary writers as "most eloquent, solid, and excellent
speeches;" and at this day we can perceive that they were, as
another old chronicler observes, "models of eloquence, profound
wisdom, and conciliatory discretion."
Few men have left behind them so delightful a character as this
famous statesman and lawyer.
Powerful and wise in public life, in his home he was the tender
father, the affectionate relative, the indulgent and unostentatious
friend.
Though endowed with a keen appreciation of art, and gifted with a
fine and graceful taste, as appeared by his house and gardens at
Gorhambury, yet he never permitted himself to indulge in an undue
or lavish expenditure. So simple and modest was he in this respect,
that, when the Queen came to visit him at Redgrave, Her Majesty
said she found the house too small for so great a man.
"Nay, madam," said the Chancellor, "but it is your Majesty who has
made me too great for my house."
Yet, with his usual graceful tact and ready acquiescence in the
wishes of his Royal Mistress, he immediately built two small wings to
his house.
His health began to fail during the later years of his life, and he
became distressingly corpulent; but he was as diligent in his work,
and his temper remained as kind, and his wit as bright as ever.
After having held the Great Seal more than twenty years, this able
statesman and faithful counsellor was suddenly removed from this
life by the following accident:
He was under the hands of his barber, and the weather being rather
sultry, although February, Sir Nicholas, who suffered much from heat
by reason of his great size, caused the window before him to be
opened. He presently fell asleep, but after a time, a current of cold
air blowing upon him, he awoke shivering and feeling very ill.
"Why," said he to his servant, "did you suffer me to sleep thus
exposed?"
The man replied that he durst not venture to disturb him.
"Then," said the Lord Keeper, "by your civility I lose my life." And so
indeed it proved. He was removed immediately to his bed-chamber,
and was tended with loving care, but he expired a very few days
after being taken ill.
Sir Nicholas was twice married. By his first wife, Jane, daughter of
William Fernley, he had three sons, who died young, and three
daughters.
By his second wife, Anne, daughter of Sir Anthony Cooke, a woman
distinguished alike for her beauty, her piety, and her learning, he had
two sons, of whom the youngest, Francis, became so celebrated as
Chancellor, philosopher, and writer; a man whose exceptionally
brilliant gifts have thrown comparatively into the shade the far more
elevated character of his father.
Happy would it have been for the son, if, with his father's talents, he
had inherited his father's unswerving integrity and noble sense of
honour.
Far happier would have been the closing years of Lord Bacon's life
had he, like his father, Sir Nicholas, dealt righteously with all men.
 SIR WILLIAM GASCOIGNE.

It is not unusual to find amongst ancient families that the same

Christian name is retained from generation to generation, constantly
descending for centuries in unbroken succession.
Sometimes this name is preserved in memory of a distinguished
ancestor. Sometimes from respect to some prince or powerful patron
who had conferred honour or lands upon the family.
Many have supposed that the name of William came to this country
at the time of the Norman Conquest. It has been ascertained,
however, that long before that date it was in common use in Saxon
families, especially amongst those who inhabited the Northern
Counties.
This name William is a German word, and, according to Martin
Luther, of compound meaning.
Helm, signifying "defence;" and Kenhelm, "Defence of kindred."
Willy, Villi, or Billi with the Germans, like Poly amongst the Greeks,
before several names indicates "many," consequently Wilhelm, now
softened into William, means "Much defence" or "Defence of many."
Not only did the Normans, who had settled here when their Duke
became King of England, call their sons after their victorious
sovereign, but many of the old lords of the soil, who, wearied with
Harold's tyranny, had gladly welcomed the advent of the foreign
prince, gave their children the name now so much in vogue. In
addition to this compliment to their new King, some of the Saxon
Thanes and great landed proprietors moulded their rougher
Northern surnames into courtly Norman terminations.
Thus Gaskin, an old West Riding family, Normanised itself into
Gascoigne.
As time went on, this Royal name of William was regularly
transmitted from father to son amongst those families who
depended upon the Conqueror or his line, or who had received gifts
of offices, lands, seignories, or privileges, until in a few years it
became so common amongst those of high rank, that at a certain
festival given at the Court of King Henry II., when Sir William St.
John and Sir William Fitz-Hamon, two especial officers, commanded
that none "but those of the name of William should dine in the Great
Chamber with them," they were accompanied by a hundred and
twenty Williams, all knights.
Sir William Gascoigne, Chief Justice of the King's Bench in 1401, the
second year of the reign of King Henry IV., was the eighth Sir
William in lineal descent, and was succeeded, as we learn from
Dugdale and Fuller, by seven more Sir Williams, all knights.
The Chief Justice was born in 1350, temp. Edward III., at Gawthorp,
in the parish of Harwood, between Leeds and Knaresborough.
Sir William was the eldest of five brothers. He married twice: first,
Elizabeth, daughter and heiress of Alexander Mowbray, and by her
had an only son, Sir William Gascoigne, of Gawthorp, a brave
commander in the wars under King Henry V. His descendant, the last
Sir William of this branch, married Beatrice, daughter of Sir Richard
Tempest, and had four sons, all of whom died young, and one
daughter, Margaret, his sole heir, in whom the Gascoignes of this line
terminated. This daughter married, in 1552, Thomas Wentworth, of
Wentworth Woodhouse, in Yorkshire, and brought great estates into
that family. Thomas Wentworth was Sheriff for Yorkshire in the
twenty-fourth year of Queen Elizabeth, and had, besides four
daughters, an only son, who became afterwards Sir William
Wentworth, and was the father of Thomas, first Earl of Strafford.
The Chief Justice married, secondly, Joan, daughter of Sir William
Pickering, and widow of Sir Ralph Graystock, Baron of the
Exchequer. By this marriage Sir William had also an only son, James
Gascoigne, settled at Cardington, in Bedfordshire. A descendant of
this James Gascoigne, the inheritrix of Cardington, married her
distant cousin William, a younger son of the Gascoignes of
Gawthorp.
This William Gascoigne was Sheriff for Bedfordshire in 1506, temp.
King Henry VII., and was Sheriff for Buckinghamshire in the fifth
year of King Henry VIII. He was subsequently knighted by Henry
VIII., and became Comptroller of the Household to Cardinal Wolsey;
for the great Cardinal in many respects affected Royal state, and
succeeded in having the chief offices of his household held by
nobles, or by men of gentle birth. This branch of the Gascoignes also
terminated in a daughter, Dorothy, who married Sir Jarrett Harvye;
thus the direct descendants of the famous Chief Justice became
merged in other families. Of collateral descendants, however, there
are many; Nicholas Gascoigne of Lavingcroft, Sir William's next
brother, having left a numerous family of sons and daughters, who
married amongst the Percys, Latimers, Vavasours, etc.
From the eldest son of this Nicholas descended a somewhat
celebrated man, Richard Gascoigne, who was not only a learned
antiquary and collector, but who has done good service to the
history of this country by having brought before the public in 1638
Mr. Dugdale, whose writings have given much interesting and
important information.
The greater part of the valuable collections made by Richard
Gascoigne is now at Wentworth Woodhouse, Yorkshire. There are
also relics of the Gascoigne family at Ickwellbury, Bedfordshire.
William Gascoigne became a student of the Law at Gray's Inn, and
was early enrolled a member of that learned Society. His career was
both brilliant and rapid. Towards the end of the reign of King Richard
II. he was already so eminent in his profession that, in 1398, he was
made one of the King's Serjeants.
There are records of many transactions at this period, all of which
give proof, not only of Gascoigne's great abilities as a lawyer, but
also testify to the esteem in which he was held on account of the
fidelity and uprightness of his advice, and the invariable justice of his
decisions. His great merits caused him to be appointed one of the
Commissioners for Henry of Lancaster, Duke of Hereford, when this
Prince was about to go into banishment.
Gascoigne had to watch over the interests and receive all moneys
that might come to the Duke during his absence from England. A
most onerous appointment, involving not only considerable difficulty
but also no inconsiderable danger, for in those turbulent days the
law of might frequently warred most successfully against the law of
right.
So early as the second year of the reign of King Henry IV., Gascoigne
was made Chief Justice of the King's Bench, and we find that in
1403 Judge Gascoigne and Ralph Nevill, Earl of Westmoreland, were
commissioned by the King to levy and assemble forces in the
counties of York and Northumberland in order to quell the
insurrection of Henry Percy, Earl of Northumberland.
Somewhat later these Commissioners were also empowered to treat
with this same rebellious Earl.
When Archbishop Scrope and others were taken in arms against the
King, His Majesty would have had Gascoigne immediately to give
sentence of death against the contumacious Archbishop; but the
Chief Justice refused, resolutely declaring he would not pronounce
such a sentence in so irregular and illegal a manner. This refusal
brought upon him the King's high displeasure, but the people praised
him much for his justice and his moderation.
Again, when certain abbots, priors, knights, esquires, and other
persons of distinction had been wrongfully accused, and were
suffering imprisonment in consequence of the evidence of a perjured
witness, Sir William detected the fraud. He then caused the false
witness to be exposed and condemned, and obtained the release of
the guiltless persons.
About this time, also, attorneys, by reason of their multitude, and
from their malpractices, had grown to be a public nuisance. Chief
Justice Gascoigne caused an Act to be passed limiting their number
in every county. They had also to swear every Term that they would
deal faithfully and truly by their clients, and could it be proved that
they had not done so they were liable to be imprisoned for a twelve-
month and condemned to pay a ransom according to the King's
pleasure.
In the abstract of the Parliament rolls there is a lone insertion made
of a curious and important case referred in part to the judgment of
the Chief Justice. William, Lord Roos of Hamalake, brought an action
against Sir Robert Therwit, one of the Justices of the King's Bench,
inasmuch as he had withheld certain manors and commons in the
county of Lincoln, and that he had lain in wait with five hundred men
to seize or apprehend the said Lord. Sir Robert confessed his fault
before the King, and offered to abide by the award of two Lords of
the complainant's kindred.
These two Lords made a long judgment, and amongst other items
enjoined that Sir Robert should make a great feast at Milton-le-Roos.
That for this feast he should prepare two fat oxen, twelve sheep,
two tuns of Gascon wine, and other provisions. That he should then
assemble there all such knights, esquires, and yeomen as had been
his accomplices. That they should then confess their fault to Lord
Roos, craving his pardon, and offering him five hundred marks as
compensation. Lord Roos should refuse this sum, but he should
pardon them, and partake of their dinner.
The arbitration respecting the land however, which was the point of
the greatest difficulty, was to be referred to Sir William Gascoigne,
the Chief Justice.
But the event which became so noticeable in legal and in historical
annals, is a remarkable circumstance that has been described by
many writers, namely, his having committed the Heir Apparent to
the Throne, Prince Henry, to prison for contempt of Court.
A story so extraordinary has of course been seized upon by
dramatists and poets, who have so embellished the original history,
that they have caused the fact to be doubted by some. However, the
affair has been too simply related by some of our best historians and
other grave writers to permit reasonable doubts that the
circumstance did actually take place as recorded.
It appears that a servant of Prince Henry's being arraigned at
Westminster before Chief Justice Gascoigne for felony, the Prince,
hearing of the matter, came hastily into Court, and commanded that
his follower should be unfettered and set at liberty immediately.
This demand was refused, the Chief Justice exhorting the Prince to
be patient, for his servant was to be tried according to the ancient
laws of the realm, adding that even in case the rigour of the law
should condemn the accused, His Highness might still obtain the
gracious pardon of the King, his father.
Far from being appeased by this answer, the anger of the Prince
seemed only the more inflamed, and striding fiercely to the Bar, he
endeavoured to rescue the prisoner by force.
Thereupon the Judge, with admirable courage and intrepidity,
commanded the Prince to forbear and to depart on his way; but the
Prince's rage at being thus thwarted made him quite beside himself,
and, turning hastily towards the Bench, he either struck, or
endeavoured to strike, the Chief Justice.
At so unparalleled an insult the Court was stricken with horror, and
many threw themselves around the Judge, fearing the Prince was
about to slay him, but Sir William, nothing moved by the affront that
had been offered to him, nor by the peril in which he was placed,
never stirred from his seat, and with dignified calm, and with a bold
and assured countenance, said to the Prince:
"Sir, remember yourself. I keep here the place of your Sovereign
Lord and father, to whom you owe double obedience. Wherefore in
his name I charge you, desist from your wilfulness, and from this
unlawful enterprise. From henceforth give good example to them,
who hereafter will be your own subjects. And now, for your
contempt and disobedience, go you to the prison of the King's
Bench, whereunto I commit you, and remain there a prisoner, until
the pleasure of the King your father be further known."
So dignified was the Judge's bearing, so noble and calm were his
few coercive sentences, wherein were combined the paternal
authority of the King, and the awful gravity of the Judge, that the
Prince was instantly subdued.
His Highness at once laid aside his weapon, and doing reverence to
the Court, he straightway withdrew, and submitted to the disgraceful
punishment—a punishment degrading indeed to a Prince, the Heir
Apparent to the Throne, but well merited from the outrageous insult
that had led to it.
When some officious persons represented the affair to the King in
such a manner that His Majesty might well have taken offence at it,
the wise monarch, the wise father, defeated the ill-will of the
informers by "thanking God, who had given him not only a judge
who could minister, but also a son who could obey justice."
Prince Henry had been carefully educated and governed at the
University of Oxford, and was afterwards for some years engaged
with his father's armies in stilling the commotions constantly taking
place on the borders of Wales. He seems to have done well also
when first appointed President of the Council, for again our old
chronicler tells us that the Commons voted him thanks for his good
employment of the treasure; but, unhappily, before his Royal father's
death he abandoned himself to dissolute courses, and made
discreditable associates his intimate companions and friends.
After his father's death, however, on ascending the throne as Henry
V., he discarded his unworthy followers, and applied himself with
both assiduity and talent to the government of his kingdom.
We learn from Tressel's continuation of "Daniel's Collection of the
History of England, 1641," that the King, addressing himself to his
former friends, said:
"It was sufficient that for many years he had fashioned himself
according to their unruly dispositions, and had wandered with them
in a wilderness of riot and unthriftiness; whereby he had made
himself almost an alien to the hearts of his father and allies, and had
so disparaged himself, that in the eyes of mankind his presence was
grown vulgar and stale, and like the cuckoo in June, was heard but
not regarded." The King then proceeds to relate in brief, that when
one of his associates was summoned before the Lord Chief Justice
he had interposed, and had even struck the Judge, and that for this
offence he had deservedly been committed to prison by the Chief
Justice. The King thus terminates his speech: "For which act of
justice I shall ever hold him worthy of the place and of my favour. I
wish all my judges to have the like undaunted courage to punish
offenders of what rank soever."
It is greatly to the honour of Henry V. that the brave and good old
Chief Justice retained his post until age and infirmities compelled
him to relinquish it.
Sir William Gascoigne appeared in his place in Parliament and sat in
Court in Westminster Hall during the first year of the reign of King
Henry V. But his long and arduous career had aged him before the
allotted threescore years and ten that are given to man, and in 1413
he quitted public life.
He did not long survive his retirement, but, after a short illness,
expired within a year of his resignation.
His funeral was celebrated with the magnificence due to his eminent
dignity, his honourable family, his large fortune, and his exalted
fame.
On a stately monument in Harwood Church, Yorkshire, where he was
interred, he is represented lying at full length, attired in his judge's
robes, with a hood drawn over his head. At his right side is a long
dagger; on the left, a purse fastened to his girdle. One of his wives
lies beside him. There are the remains of an inscription cut in brass
around the edge of the tomb. Unfortunately, during the Civil Wars
much of this brass-work was torn away.
In the east window of the same church there still remain some
portions of the ancient glass, and in this glass can be traced the
figure of a man arrayed in the scarlet robes of a judge. Both on his
right hand and on his left is the figure of a kneeling woman, and
above these three figures are the arms of the Gascoigne family, and
also those of the Mowbrays and of the Pickerings.
 LORD BURLEIGH.

William Cecil, Baron of Burleigh, Burghley, or Burley, for some time

Secretary of State during the reigns of Edward VI. and Queen
Elizabeth, and eventually Lord High Treasurer of England, was one of
the ablest statesmen, one of the worthiest ministers that England, or
indeed, any other country, has ever possessed.
He was born at Bourne, in Lincolnshire, in 1520, and was educated
at the Grammar Schools of Grantham and Stamford.
He was then sent to St. John's College, Cambridge, where, finding
himself associated with several young men of much talent, he was
seized with such a vehement passion for learning, that it is related of
him that he hired the bell-ringer to call him up every morning at four
o'clock.
Unfortunately, he applied himself with too much zeal to his studies,
for, by neglecting to take due precautions to keep himself in health,
he brought on a severe illness, of which he was with difficulty cured.
Amongst other painful disorders, want of exercise caused his legs to
swell to an immense size; and his physicians always declared that
this distressing illness laid the foundation of the severe attacks of
gout from which he suffered greatly during the latter years of his
life.
However, during his youth, no amount of suffering could subdue his
passion for learning.
He doubtless loved knowledge for the sake of acquiring knowledge;
but, at the same time, it is evident from the notes he made, that a
keen desire to excel all his companions and contemporaries was one
of the chief spurs to his exertions.
At sixteen he read a "Lecture on Sophistry," and at nineteen he had
written a lecture in Greek, a very remarkable circumstance, even
amongst students at this time, as there were but few men, either at
Cambridge or elsewhere, who were so perfectly masters of Greek
that they could write and deliver a discourse in that language.
From Cambridge he proceeded to Gray's Inn, where he soon
attracted attention, both by his energy and by the assiduity with
which he applied himself to the intricate study of the law.
He was happy in the possession of two excellent qualities, qualities
not often found united in the same person, sound judgment, and a
remarkably retentive memory. He strengthened these powers not
only by indefatigable application, but also by his habit of recording
with his pen every incident or remark that appeared to him worthy
of notice, both when reading or from observation. The prodigious
number of notes he has left behind him, testify to the marvellous
industry and care with which he devoted himself to any subject of
interest.
He also seized every opportunity of meeting and conversing with
clever men, delighting much in free disputes upon all sorts of
subjects, by which means he early became an eloquent and a
correct speaker.
He had originally intended to adopt the Law as a profession, but
chance introduced him to the knowledge of, and led to his obtaining
the favour of his Sovereign.
Happening one day to pay a visit to his father, who was at that time
Master of the Robes to the King, he met there two priests, chaplains
to O'Neill, a famous Irish Chief, who was then at the English Court.
Falling into a violent dispute with them, touching the supremacy of
the Pope, young Cecil displayed so much skill in the argument, which
was carried on in Latin, that the circumstance came to the King's
ears.
Henry, who was one of the most learned princes of the age, and
who delighted in learned people, desired to see the young man who
had evinced such remarkable talent, and was so favourably
impressed with Cecil's good manners and good conversation, that he
presently gave him the reversion of the post of Custos brevium.
This early introduction to Court led to an alteration of plans with
respect to the Law; and as Cecil's marriage, which took place soon
afterwards, with the daughter of Sir John Cheeks, brought him to
the notice of the Duke of Somerset, he resolved to devote himself to
the career that was now open to him.
The Protector, the Duke of Somerset, took him into great favour, and
soon appointed him Master of Requests, a position of considerable
importance; and in 1547 still further promoted him by advancing him
to the dignity of a Secretary of State.
As another mark of regard the Protector allowed Cecil to accompany
him to Scotland—a proof of affection that had well-nigh cost the
young statesman his life. At the battle of Musselburgh Cecil must
have been killed in the mêlée, had not one of his friends saved him
at the expense of losing his own arm.
Within a year after the Scottish expedition the Duke of Somerset fell
into disgrace, and Cecil, sharing in the misfortunes of his friend and
patron, was also sent to prison, where he remained three months.
On the accession of Elizabeth, however, he was not only set at
liberty, but he was reinstated in his office of Secretary of State, and
in 1561 the additional appointment of Master of Wards was
conferred upon him.
Notwithstanding all these dignities and emoluments, his life at this
time was a sorely troubled one. Not only did factious opposition
distract both the Government and the Kingdom, but endless
conspiracies were formed that threatened each one of the Ministry.
Like the old fable of the dragon's teeth, no sooner was one plot
discovered and crushed than another arose in its place.
In Leicester also Cecil had a powerful and formidable rival; but the
favourite, unfortunately for himself, was intemperate in speech, and
rash and violent in action.
Cecil, on the contrary, was remarkable, not only for the control he
possessed over his temper during political controversies, but also for
the moderation of the opinions he gave to the world. All men also
agreed that he was eminently just.
The Queen, therefore, was far too clear-sighted not to perceive how
valuable a minister, how judicious a counsellor she had in Cecil. The
Queen also saw plainly that Cecil's interests were intimately
interwoven with her own; and this wise Sovereign perfectly
understood that he was fitted to be her adviser and her minister
whose personal welfare, and indeed safety, depended upon the
success of the counsels that he gave.
Thus, amidst all the political storms and tempests that convulsed
these troubled times, Cecil, by his skill and prudence, steered both
himself and his Royal Mistress safely through the rocks and shoals by
which they were surrounded. Others rose and fell, but Cecil ever
maintained his position, and year by year gained fresh honours.
In 1571 he was raised to the Peerage by the title of Baron Burleigh.
He was soon afterwards appointed Lord High Treasurer, and the
great distinction of the Garter was bestowed upon him.
But while his public life was thus brilliant, his heart was bowed down
by domestic affliction. His first wife had lived but a few years, and
after her death he married Mildred, daughter of Sir Anthony Cooke
and elder sister of Anne Cooke, afterwards Lady Bacon.
These sisters were remarkable for their beauty, their
accomplishments, and their learning. They were well skilled in music,
could converse in many foreign tongues, and in their knowledge of
Latin and Greek were equal to some of the most famous scholars of
the day. Both these fair and charming women not only obtained but
succeeded in keeping the strong love of their husbands.
After a married life of forty-three years, the loss of the wife he had
so fondly loved rendered Lord Burleigh a broken-hearted man. His
health gave way under the excess of his affliction, and, for the first
time during his long and arduous career, he felt himself unable to
perform the duties of his office.
He became changed in many ways. The brightness and cheerfulness
of his temper left him. He grew silent and melancholy, and from the
sad hour when she, who had been the angel in his house, was taken
from him, he never regained that sunny hopefulness of disposition
that in happier days had been one of his peculiar characteristics.
He entreated the Queen to allow him to resign, for he desired now
to spend the remainder of his days in quiet and retirement; but
Elizabeth, well aware that his abilities were as brilliant as ever, was
unwilling to part with her most trusted counsellor.
He yielded to the Royal command, and from this time laboured if
possible more assiduously than ever, giving himself neither rest nor
relaxation. Notwithstanding such prodigious exertions, and the acute
sufferings he endured from attacks of gout, his life was prolonged
beyond the usual age of man.
His last memorable public act was endeavouring to give peace to his
country, when reasonable terms might have been obtained from
Spain.
These terms, though considered reasonable by Burleigh, were
violently opposed by the Earl of Essex; who, having gained some
reputation by the sword, was unwilling to favour peace.
He, in fact, expressed himself in such passionate language, that the
Lord Treasurer, after listening for a considerable time in calm silence,
was at length moved to say, "that the noble Lord seemed intent on
nothing but blood and slaughter."
Then he pulled out a prayer-book, and with a dignity befitting his
age and experience, and with an earnestness that deeply impressed
those around, he pointed to the following words: "Men of blood shall
not live out half their days." This was his last appearance in public.
Never again did Lord Burleigh attend either Council or Parliament,
but even when confined to his bed during the last trying and
suffering illness, he prepared and settled a new treaty between the
Queen and the States, whereby this nation was relieved of an
expense of one hundred and twenty thousand pounds per annum.
Then, having filled the highest and most important offices of State,
in the seventy-eighth year of his age, calmly and peacefully, about
five o'clock in the morning of the 4th of August, 1598, surrounded
by his children and grandchildren, his dearest friends, and by many
old and faithful servants, he passed away from this life, full of years,
rich in honours, at peace with all men, and humbly trusting by the
mercy of his God, he should again see her whom he had so
passionately loved.
The history of Burleigh's life is the history of England during one of
the most anxious and troubled, but also one of the most memorable
and glorious periods this country has ever known.
For forty years this great statesman guided the helm of Government,
and although the Queen from time to time allowed others to have
influence with her, yet whenever difficulties arose or matters
occurred of more than ordinary moment, it was in her long-tried and
faithful Minister that Elizabeth invariably confided.
The moderate views, the calm foresight and wisdom of this
consummate politician, caused him not only to be regretted after his
death, but to be valued during his life, a good fortune that but rarely
falls to the lot of even the most celebrated political leaders.
Burleigh deserved, and he obtained, the esteem and respect both of
his Sovereign and of her people, and from the beginning to the end
of his glorious career, however much men may have differed from
him in opinion, they ever acknowledged his honesty of purpose, his
hearty love for his country, and his earnest desire to increase both
her prosperity and her renown.
At this distance of time, when subsequent events have shown the
fallacy of most of the hopes and fears that then influenced mankind,
many may see reason to disapprove of his policy; but it must be
remembered that in the sixteenth century swords were more readily
drawn than they now are. Measures that to-day seem needlessly
harsh, were often forced upon statesmen of that period by the fears
and also suspicions of their own partisans.
Not only was Burleigh gifted with talents beyond the ordinary
endowments of men, but in all outward seeming Nature had been
lavish in her kindly gifts to him. Well-shaped, handsome, and
graceful in person, he also possessed in no common degree that
winning charm of manner that not only gains the affection of friends,
but which also adds such especial happiness to the intercourse of
domestic life.
His mode of living was such as became a man of high rank,
entertaining with magnificent hospitality all those who, from rank,
merit, and talent, were entitled to his acquaintance. To every one
who came to his house he was courteous and cheerful, for he held
that a host should not, by silent or reserved behaviour, mar the
enjoyment of his guests.
Whenever he could obtain a little relaxation from the press of public
business, he would hasten to the country, for his great delight was
to improve and beautify both his family seat at Burleigh and his
house and gardens at Theobalds; but above all he loved Theobalds,
and, as he expresses it, always fled there whenever it was possible
to bury himself in its delightful privacy.
Lord Burleigh had also two other places of residence—his lodgings at
Court, and his house on the Strand. In his house in London he had
fifty persons of his family, and his expenses there, he writes to a
friend, were thirty pounds a week when absent, and between forty
and fifty when present. At Theobalds he had thirty persons of his
household. Besides the sum he gave away in charity, he directed
that ten pounds a week were always to be laid out in keeping the
"poor" at work in his gardens. His stables cost him about a thousand
marks a year.
In his service, or, rather, in his household, he had ever young men of
much distinction, they deeming it an honour to serve him.
Besides his customary hospitality, he several times entertained the
Queen sumptuously, and at an expense of many thousand pounds.
He built three fine houses—one in London, on the Strand, another at
Theobalds, and a third at Burleigh. All these houses were, though
large and grand, still more remarkable from their neatness and
general convenience.
Though thus spending both liberally and magnificently, Burleigh was
ever prudent and careful. He took good heed as to how his money
went. He kept rigid accounts, and attended carefully, even minutely,
to all domestic matters.
Writing to a friend respecting household arrangements, he says:
"My house of Burghley is of my mother's inheritance, who liveth and
is the owner thereof. I am but a farmer; yet, when I am in the
country, I must buy my grain, my beef, my mutton; and, for my
stable, I buy my hay for the greatest part, my oats and my straw
totally."
When in the country he loved to walk about and talk to the country
folk, and would often stop to soothe little children in their troubles,
or watch them in their play, so gentle was his temper, so abundant
was his good-nature.
At his death, notwithstanding his liberal and magnificent
expenditure, and though he was so little avaricious that he made
less during his forty years of office than most men at that period
would have made in seven, so prudently had he managed his affairs,
that he left about £4,000 a year in land, £11,000 in money, and
about £14,000 in valuable effects.
 SIR EDWARD COKE.

Although Sir Edward Coke, Lord Chief Justice of the King's Bench
during the reign of James I., was not a member of the Ancient and
Honourable Society of Gray's Inn, yet, as his portrait hangs in the
Great Hall, and as he occupied himself much in the affairs of this Inn
of Court, a few words respecting this eminent lawyer may not be
misplaced here.
There has probably never been a more consummate master of his
profession than Sir Edward Coke. His interest in it amounted to
enthusiasm. He loved to grapple with every legal difficulty, and
brought to bear upon all its intricate technicalities a dispassionate
calmness that unfortunately failed him in the ordinary affairs of life.
For this reason he was even a greater man during the periods of his
disgrace than when most triumphant.
During these seasons of enforced retirement he could devote himself
to a subject that he loved, and with which he was thoroughly
conversant, whereas the too great energy of his character, whilst in
the enjoyment of successful power, led to his giving way to
intemperate violence both of expression and action.
Like most distinguished lawyers, success came to him early in life.
One of his first cases was a remarkable one, and brought him much
credit.
Mr. Edward Denny was Vicar of Northlinham in Norfolk, and the then
Lord Cromwell, who lived in the neighbourhood, procured two
persons to preach several sermons in Mr. Denny's church.
Both these persons took the opportunity thus afforded them of
inveighing against the Book of Common Prayer, styling it
superstitious and impious.
For this reason, the Vicar, having learnt they had no license, when
one of them came next to preach would have prevented him, but
the man being protected by Lord Cromwell insisted on preaching,
and did preach.
This proceeding caused warm words to pass between Lord Cromwell
and the Vicar, the former saying:
"Thou art a false varlet, and I like not of thee."
To which the latter replied:
"It is no marvel that you like not of me, as you like those others"
(meaning the preachers) "that maintain sedition against the Queen's
proceedings."
Upon this Lord Cromwell brought an action against the Vicar, de
scandalis magnatum. The defendant justified, thereupon the plaintiff
demurred, and the bar was held insufficient; but upon a motion in
arrest of judgment, that the declaration was insufficient, the Court
gave judgment for the defendant.
Lord Cromwell then brought another action, and so the matter went
on for years until Coke became engaged in the case, and he so
skilfully seized the opportunity of managing and reporting it that his
name was at once brought favourably before the public.
His marriage with Bridgett, daughter and co-heiress of John Paxton,
Esq., a lady, with whom he had £35,000, and who was allied to
some of the most powerful families in the kingdom, doubtless aided
him in his career, although in after life he was wont to boast that he
had triumphed neither by "pen nor purse," signifying thereby that he
had never craved any man's help, nor had he ever opened his purse
to buy any place.
His perfect knowledge of the laws of England, and his wonderful
memory in recalling every technical circumstance bearing on or
connected with those laws, was something marvellous. For this
reason his judgments on all legal points have ever been held to be
of exceeding value.
Unhappily in criminal trials his warmth of temper and his violence of
language tended much to injure his reputation and to lessen him in
the opinion of the world. Still, in spite of these great defects, his
unequalled talents forced men to yield to his judgment, and however
much they might condemn him they bowed to his will.
A notable instance of this occurred during the famous trial of Sir
Walter Raleigh.
Sir Edward Coke, who was then Attorney-General, conducted the
case on behalf of the Crown, and expressed himself with such
energy against the prisoner, that Lord Cecil at length interfered and
desired him to be more patient.
Much offended, Coke at once sat down, and preserved an angry
silence. At length the Commissioners were compelled to entreat him
to continue his address. For some time he refused; then suddenly
rising, with a power and skill that electrified all present, he
recapitulated the charges. So powerful were his words, so lucid were
his arguments, that it was evident from that moment that the
prisoner's doom was sealed.
The scene that day in the Court at Winchester, where the trial took
place, must have been alike impressive and sorrowful.
The handsome, gallant Sir Walter Raleigh, the quondam favourite of
the Queen, for years the popular hero of the nation, now worn and
bent by age and many troubles, is standing at the bar, to be tried for
his life, accused of treason against his Sovereign and against his
country.
Brave he has ever been, brave he is now, and the noble face, though
pale and haggard, is stern and composed. Unmoved in look or
action, he listens attentively to the words of one who is urging the
Judges, with all the might of burning eloquence, to pronounce him
worthy of death.
Perchance for one moment a gleam of hope may have entered the
prisoner's breast when he heard Lord Cecil speak, but if so, it must
have been speedily dispelled when the Attorney-General addressed
the Court.
Spare in form, exquisitely neat in dress, passionate in action and
emphasis, the fiery and searching eye of the great lawyer seems to
scan alike the thoughts as well as the faces of those on whom he
looks. And his voice, deep yet penetrating, has a ring that stirs
men's hearts, and brings conviction in its very accents.
With terrible minuteness, and with crushing legal skill, he states
every circumstance that can tell against the accused, and each
powerfully-worded sentence that fell from the lips of the Counsel for
the Crown must, to the friends of the unhappy man, have been as
another nail driven into the coffin that awaited him.
Long ere that famous speech was ended, hope and suspense must
have been over for the prisoner. The evidence against him had been
slender, but Coke's eloquence prevailed. Sir Walter was found guilty,
and condemned to death.
For a month he lay in prison, daily expecting his execution. Then he
was reprieved, and sent to the Tower, where he remained a prisoner
for sixteen long years.
After his release, he organised an expedition to Guiana, but, failing
in this, he returned to England, where he was soon after seized,
imprisoned, and beheaded, not for any fresh crime or
misdemeanour, but solely on the strength of his former trial and
condemnation nineteen years previously. He was executed in Old
Palace Yard, 1618, and died, as he had lived, a brave and resolute
man.
Coke's speech on this occasion, and also another made at the trial of
Sir Everard Digby, are masterpieces of skill and intelligence; but,
although such brilliant displays of eloquence and learning increased
his reputation as a lawyer, or rather as an orator, it was felt by the
world in general that he had permitted himself a license of
expression not seemly in one who held so high and responsible a
position.
These speeches, nevertheless, led to his promotion, for soon
afterwards he was appointed Chief Justice of the Common Pleas.
This place fulfilled all his ambition, and here he would have willingly
remained, but his bitter tongue, his caustic remarks, his intolerance
of the least opposition, made him many enemies, many detractors.
His foes calculated that were he placed in a position of greater
power, and therefore of greater prominence, his many faults of
temper would, notwithstanding his profound legal knowledge,
speedily lead to his downfall.
They suggested, therefore, that his talents merited a higher post,
and after a time they succeeded in having him raised to the more
elevated, but, in those days, perilous position of Chief Justice of the
King's Bench, or as he styled himself, Chief Justice of England.
They calculated, and the result showed they were correct, that on
account of the class of cases ordinarily brought within the
jurisdiction of the King's Bench, the Chief Justice would ere long find
himself at antagonism with the Court.
The annals of the Law Courts at this period of English history are
terrible to read. It is frightful to see on what slight grounds men
were accused, tried, convicted, and executed for treason.
Verily, in those days our laws appeared to have been written in
blood; but, notwithstanding their severity, it was for having shown
too great leniency in an affair that occurred about two years after he
was made Chief Justice that Sir Edward lost the King's favour.
This extraordinary and dreadful business was the discovery that Sir
Thomas Overbury had been murdered in the Tower, and as light was
gradually thrown on this dark matter, it became more and more
evident that great and powerful personages were deeply implicated,
not only in the foul murder, but also in other crimes of the most
heinous and disgraceful description.
In tracing and detecting the secrets of this black business, Lord Chief
Justice Coke showed so much zeal and diligence that he succeeded
in having apprehended and brought to justice some of the
(apparently) principal culprits, in spite, not only of the attempts that
were first made to enable them to escape, but of the influence that
was afterwards employed to stay their execution.
Richard Weston, who had been Overbury's keeper in the Tower, was
early brought to trial. At first he seemed resolved to be silent on
every subject, induced thereto, it is said, by an immense bribe from
the Earl of Somerset, but at length he was prevailed on to plead.
Poor wretch, the "persuasions" to which he yielded were the
thumbscrew and the rack, but no sooner did he plead than he was
speedily convicted and executed. Even at the foot of the gallows the
miserable creature was not left in peace. Lord Clare, Sir John
Wentworth, and Mr. Lumsden (friends of Somerset) attended him to
the scaffold, and vehemently urged him to declare, in these his last
moments, that a conspiracy had been concocted against Somerset.
So evident was it that Overbury's murder concealed even darker
secrets, and that these secrets implicated powerful and therefore
formidable personages, that Sir Edward, with his keen legal
foresight, early foresaw peril. So imminent, indeed, did he consider
the danger, that he went to the King at Royston to beg His Majesty
would appoint a commission to assist him during the necessary
investigations, and thus in some degree enable him to share the
onus with others.
It has been hinted by some historians that the King knew more
about this hateful matter than he cared to acknowledge.
James I. was a shrewd and prudent man; he was timid also, and
ever shrank from allowing his name to be involved in any way with
affairs that would be distasteful to, or unpopular amongst, his newly-
acquired people. His shrewdness and his fears, however, led in
several instances to his acting in both a cowardly and a treacherous
manner.
In this case, whatever may have been the knowledge the King
possessed, he skilfully concealed his suspicions from the chief
person implicated. When informed of Overbury's murder, without a
moment's delay he despatched a messenger to the Chief Justice,
desiring him to arrest Lord Somerset.
Sir Edward Coke at that time lived in the Temple, and so
methodically did he measure out his time, that every hour had its
appointed usage. One of his rules was to go to bed at nine of the
clock, and to rise at three in the morning.
The Royal messenger arrived at the Temple about 1 a.m., and at
once proceeded to Sir Edward's lodging. Sir Edward's son was there,
and also some friends, but the Chief Justice was in bed.
Mr. Coke therefore received the messenger, who said:
"I come, sir, from His Majesty the King, and must have instant
speech with your father."
"Though you come from the King," said Mr. Coke, "you cannot and
shall not see my father, for if he be disturbed in his sleep he will not
be fit for any business; but if you will do as we do, you shall be
welcome. In two hours my father will rise, and you can then do as
you please."
To this proposal the messenger was compelled to assent, so he
waited.
At three o'clock, Sir Edward rang a little bell to give notice to his
servant to come to him.
The Royal messenger then entered, and gave the King's letter to the
Chief Justice, who at once made out the warrant for Somerset's
apprehension.
The messenger went post-haste back to Royston with the warrant,
and on being introduced into the Royal presence, found the King
sitting with his arm round the favourite's neck.
When the officer with the fatal document entered the room, James
was saying to the man whom he himself was causing to be arrested
on a charge of murder: "When shall I see thee again?" the favourite
being on the eve of his departure for London.
Somerset, when arrested by Sir Edward's warrant, exclaimed
indignantly at the affront thus offered to a peer of the realm, even in
the presence of the King's Majesty. In his anger he appealed to
James.
"Nay, man," said the King, "if Coke sends for me, I must go."
No sooner, however, was Somerset out of the room, than his wily
master added:
"Now the de'il go with thee, man, for I will never see thy face any
more."
It is difficult to understand what was really the King's belief, or what
were really the King's motives, on this occasion.
To some persons he asserted that he did not believe Somerset had
anything to do with the actual murder. Yet it was he who caused his
favourite to be arrested; and when that arrest had been made and
the Chief Justice had arrived at Royston, the King spoke with
exceeding angry energy, charging Sir Edward to prosecute the affair
with the utmost diligence.
He was to search into the very bottom of the conspiracy, and to
spare no man, however great he might be; the King concluding his
adjuration thus:
"God's curse be upon you and yours if you spare any of them, and
God's curse be upon me and mine, if I spare any one of them."
Not only the Earl of Somerset, but his wife, the young and beautiful
Countess of Somerset, was also arrested as being implicated in the
crime; and whilst their trials were in course of preparation, many
other persons of inferior rank were tried, condemned, and executed.
On the 7th November, Mrs. Anne Turner, who had been about Lady
Somerset from her childhood, was tried, convicted, and hanged.
On the 16th of the same month, Sir George Ellways, Lieutenant of
the Tower, was also convicted, and was hanged on Tower Hill on the
20th.
A week later, namely, on the 27th, James Franklin was tried,
convicted, and, a few days afterwards, hanged.
It might have been supposed that so many trials and executions
showed no want of zeal on the part of the Chief Justice and the
other Commissioners. Yet notwithstanding so sanguinary a list, Sir
Edward fell into disfavour for not hunting down and giving over to
the gibbet more of these miserable victims—victims who in all
probability had been but the creatures and tools of those who were
far more deeply implicated, and far more deeply culpable.
It has been supposed that the friends of Somerset trusted that the
nation would at length weary of so much bloodshed, and that time
and political events would cause the recollection of one black crime
to fade away.