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Beatrice de Roos and the Making of Art

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Sarah Brown discusses Beatrice, dowager Baroness Roos (d. 1415) and her artistic pursuits.

Image courtesy of interviewee. March 12, 2024

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This video video discusses the life of Beatrice Deus, an aristocratic woman from the period of King Edward III. She was the daughter of an influential earl who utilized strategic marriages to enhance the family's political power. Beatrice was the youngest of three daughters and first appeared in historical records as part of her father's political maneuvers.

Her life progressed through three significant marriages, beginning with an Irish Earl, followed by Thomas Rus, a successful military figure. Each marriage enhanced her social standing, and she inherited a portion of her husbands' wealth upon their deaths. After her second husband, Rus, died, Beatrice gained considerable personal wealth, which she managed independently.

Beatrice's influence is highlighted through her commissioning of a large tomb for her third husband in St. Paul's Cathedral, using her coat of arms to assert her identity. She also became a patron of the arts, notably commissioning a stained glass window dedicated to St. William of York, where her image appears, emphasizing her role in the social and artistic landscape of her time.

The analysis emphasizes Beatrice's agency, wealth, and the significance of her patronage. By examining her life through various interdisciplinary sources, including visual arts and heraldry, the text illustrates her as a prominent figure, managing her resources and legacy while contributing to the cultural fabric of her era.

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Beatrice Deus was, an aristocratic woman.

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She was, in many respects, very typical of her period

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and her social class.

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She was the daughter of an earl.

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Um, he had, her father had propelled the family

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to a position of very considerable prominence in the reign

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of King Edward iii, partly through diplomacy, partly

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through his military prowess, and probably

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because he was a very good operator,

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and he made very advantageous marriages for his daughters

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and used his daughters as part of his sort

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of political mechanism, if you like.

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And Beatrice was the youngest of his three daughters.

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So she first appears in the record as the daughter

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of a very powerful political manipulator.

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And it's only later in her successive marriages

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that she begins to emerge as an individual

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with an interesting degree of agency in her own life.

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And subsequently as the, as the patron of, of artists.

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Beatrice was first married off to, a,

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an Irish Earl.

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And this was clearly part of, a strategy

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to bring the Irish Elms back into a, a, a good relationship

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with the English throne.

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Um, but she was very young at the time of the marriage,

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and she probably was only 13 at the time

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that her equally young husband died.

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So she remained a widow initially for a very brief period.

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And then she was married very quickly to, Thomas Rus,

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who was a, a, a very successful military

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figure in the north of England.

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In some respects, her marriage, her,

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her first marriage was the most socially advantageous,

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in that she became briefly, a Countess.

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She subsequently married less August people in terms

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of their social scale, but each time she was getting closer

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and closer to the center

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of political power in England in the period.

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And most importantly, each time she married, she was awarded

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as was common practice, a third interest in her husband's,

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earthly wealth.

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And when she was widowed each time, she kept that

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one third doer, as it was called, to sustain the life

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to which she had become accustomed.

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So she married, first of all, all of Desmond who,

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as I say, died when they were both quite young.

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She was then very swiftly married to Thomas Rus.

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She was probably only 13

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or 14 at the time of her second marriage.

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And she gave Thomas six children. He

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Then died leaving her as a already quite a wealthy widow

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of only about 40 years of age.

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And her third marriage was probably very much

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to her own pre, according to her own preferences.

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And she married a man

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who was actually socially her inferior,

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but who was extraordinarily well connected.

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He was one of the, most important members of the Renu,

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of the Earl of Lancaster, who was the younger son

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of King Edward iii.

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And at that point, she really is mixing with people

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who are very much at the top of the, of the,

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courtier class in the circle of, of Edward iii.

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Well, Beatrice, was by the time of the death

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of her third husband, Richard Burley,

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clearly in possession of a significant amount of

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personal wealth that she was able to dispose of, more

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or less at will.

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She was probably residing in houses

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provided for her by her second husband.

04:02.425 --> 04:05.645
And she clearly remained in contact with her, her children

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by Thomas Rus, her, her six children.

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But the fact that she had such significant wealth meant she

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needed to have the means of, managing her estates.

04:18.585 --> 04:20.925
And she therefore had a personal seal,

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which is very distinctive in its design,

04:25.025 --> 04:29.605
and shows the way that she was using, heraldry,

04:29.905 --> 04:34.285
to, create a particular identity for herself.

04:34.945 --> 04:38.845
And through the seal, we are able to make a connection

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with a very important monument in St.

04:42.785 --> 04:46.045
Paul's Cathedral because this very distinctive coat of arms,

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which is very obviously the personal coat of arms

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of Beatrice, was carved into the canopy of a tomb

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that she commissioned for her third husband, Richard Burley.

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And this tomb was very considerable in size,

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but its importance is also flagged up by the fact

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that it was, located right next

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to an absolute monstrous, tomb created for John

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of Gaunt, the, the Earl of Lancaster, a monument

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for him and his wife.

05:20.745 --> 05:23.405
And this was in the most elite part of St.

05:23.405 --> 05:24.685
Paul's Cathedral in London.

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So Beatrice uses her wealth,

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and I think probably her influence to,

05:32.065 --> 05:33.845
create this enormous monument.

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It no longer sadly survives,

05:36.305 --> 05:40.405
but we know of it, from, antiquarian sources.

05:40.705 --> 05:42.925
And it's the, it's the brand.

05:42.925 --> 05:45.325
It's the branding, if you like, of the monument

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with her coat of arms known from her seal that enables us,

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us to identify it very, a very small number

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of years later, it's clear

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that she is in negotiation with the chapter

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of York Minster, the, the family to which she,

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is most closely associated, the Ruth's family of, of,

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they are one

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of the powerful families in the vicinity of Yorkin.

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And at this time, the minster is being,

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the eastern arm of York.

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Minster is being filled with stained glass

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and either side of the high altar in York Minster.

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There are two enormous windows filled

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with stained glass narratives dedicated to St.

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William of York, who was enshrined in

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Northminster and to St.

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Cuthbert, the great saint from Durham, the other great saint

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of the north of England.

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It looks as if the dean

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and chapter were very successful in persuading Beatrice

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to become the donor, the patron of this great St.

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William of York window.

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And she appears at the bottom of that window in a position

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of great honor.

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The reasons that she was drawn, I think, to the window is,

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first of all, I suspect because there is a, a con.

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There was a, a distant family connection between St.

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William of York and the Ruth family.

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But in the story of the various miracles associated with St.

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William, a very significant number of women were depicted

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as beneficiaries of his miracle working.

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So I think there would've been inherently an appeal,

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to Beatrice, as a woman

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and as a donor, of this window.

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And there are also tantalizingly two scenes in the window,

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which are positioned directly above the location

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where the image of Beatrice herself is depicted,

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which cannot be accounted for through the various accounts

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of the miracles of St.

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William, they show a richly dressed aristocratic woman,

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first of all, apparently being trampled by a horse.

08:10.945 --> 08:15.765
And then in the subsequent scene, she is shown

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at the shrine of St.

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William, which of course stood right below the window.

08:20.865 --> 08:22.725
Um, and she's clearly giving thanks

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for her deliverance from this sort

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of horse accident about which we know absolutely nothing.

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And the, the way the woman in the miracle seam is dressed,

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the location of the scenes above the donor figure of,

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Beatrice, it's very tempting to suppose

08:39.525 --> 08:42.245
that this is some kind of personal

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incident in her own history, to which she ascribed St.

08:48.245 --> 08:50.085
Williams Miracle working.

08:50.665 --> 08:53.245
So there's, I think, an argument to be made

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for a very personal link to this window.

08:57.155 --> 08:59.375
And then finally, in a coat of arms

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in stained glass in Northminster, there is a tribute

09:03.275 --> 09:04.455
to Beatrice herself.

09:05.035 --> 09:06.615
I'm not suggesting in this case

09:06.645 --> 09:09.855
that this particular shield was paid for by Beatrice,

09:10.315 --> 09:13.975
but it's the only shield of arms in the glass of the choir.

09:14.455 --> 09:17.615
IE the liturgical sort of center of the minster,

09:18.225 --> 09:19.775
which commemorates a woman.

09:20.795 --> 09:23.575
And I think the likely explanation is that the dean

09:23.575 --> 09:26.455
and chapter of the medieval cathedral,

09:26.605 --> 09:31.375
were acknowledging the enormous, generosity of Beatrice

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because this was an enormous window, and it must

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therefore have been extraordinarily costly.

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She died barely a year after the window was commissioned.

09:42.915 --> 09:46.455
Um, and so I think this would've been the, the final way

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that she would mobilize her very considerable wealth,

09:49.795 --> 09:53.095
you know, to ensure that she and her family,

09:53.155 --> 09:55.695
and particularly her offspring were commemorated

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at the heart of Northminster's, liturgical choir.

10:00.255 --> 10:03.695
Beatrice likes so many medieval women, you know,

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is glimpse through a handful of,

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documentary references.

10:09.075 --> 10:13.615
And, and generally speaking, she's really only being

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seen in the, in the documentary record as a daughter,

10:19.315 --> 10:20.975
as a wife, as a mother.

10:21.875 --> 10:26.055
But I think through, interdisciplinary researches

10:26.195 --> 10:30.615
and looking at a, a variety of sources, the visual arts,

10:30.795 --> 10:33.335
I'm an art historian, so the visual arts, of course,

10:33.435 --> 10:35.735
of course were my jumping off point.

10:36.155 --> 10:38.735
But I think by bringing together these different strands

10:38.735 --> 10:42.215
of evidence, we begin to see much more of the richness of,

10:42.235 --> 10:47.015
of her agency as a woman with her own resources,

10:47.935 --> 10:50.615
a woman who clearly had an interest in the arts,

10:51.235 --> 10:54.575
and I think particularly through her manipulation

10:54.575 --> 10:58.855
of heraldic display, was very attuned to the possibility

10:58.915 --> 11:02.935
of crafting a kind of personal identity,

11:02.935 --> 11:07.815
through heraldry, the way in which she, chose to present

11:08.355 --> 11:09.575
the arms of her father

11:09.915 --> 11:12.935
and the arms of her husband's on her shield,

11:13.155 --> 11:17.495
and indeed on the circo that she wears in the, in the St.

11:17.495 --> 11:20.495
William window, shows that she was prepared to sort

11:20.495 --> 11:25.015
of manipulate the, the rules of heraldry,

11:25.015 --> 11:28.215
which were becoming quite, highly developed

11:28.795 --> 11:31.495
and quite specific in their use.

11:32.155 --> 11:35.215
She was clearly prepared to manipulate these in order to,

11:35.715 --> 11:38.455
you know, project her own personal image

11:38.955 --> 11:43.135
and a sense of the prominence of, of her role, the fact

11:43.135 --> 11:46.095
that she's presented in the, the window,

11:46.355 --> 11:48.015
in a panel entirely on her own.

11:48.105 --> 11:50.895
She's not accompanied by any of her husbands,

11:51.355 --> 11:52.775
but she is accompanied by

11:53.425 --> 11:55.445
Her son and her five grandsons.

11:55.505 --> 11:59.485
So this is a window in which she's not really,

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celebrating, the past or commemorating the past.

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She's actually celebrating her own role as a kind

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of progenitor of the future.

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And it's very unusual, in this period

12:14.905 --> 12:19.645
to have evidence of multiple, expressions

12:19.865 --> 12:24.765
of artistic patronage, over quite a long period of time

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because we can, we can, show her act her being active,

12:29.305 --> 12:33.885
from the 1380s until the second,

12:33.985 --> 12:36.125
decade of the 15th century.

12:36.305 --> 12:39.285
So I think with Beatrice, we have a case study

12:39.385 --> 12:42.605
who sheds a great deal of light on the role of a,

12:42.785 --> 12:46.325
of aristocratic women in this period, in a way

12:46.325 --> 12:49.725
that we can very rarely do for other women of her time

12:49.745 --> 12:50.405
and her class.

00:00 - Beatrice Deus was, an aristocratic woman. She was, in many respects, very typical of her period and her social class. She was the daughter of an earl. he had, her father had propelled the family to a position of very considerable prominence in the reign

00:22 - of King Edward iii, partly through diplomacy, partly through his military prowess, and probably because he was a very good operator, and he made very advantageous marriages for his daughters and used his daughters as part of his sort of political mechanism, if you like. And Beatrice was the youngest of his three daughters. So she first appears in the record as the daughter of a very powerful political manipulator. And it's only later in her successive marriages

00:58 - that she begins to emerge as an individual with an interesting degree of agency in her own life. And subsequently as the, as the patron of, of artists. Beatrice was first married off to, a, an Irish Earl. And this was clearly part of, a strategy to bring the Irish Elms back into a, a, a good relationship with the English throne. but she was very young at the time of the marriage, and she probably was only 13 at the time

01:32 - that her equally young husband died. So she remained a widow initially for a very brief period. And then she was married very quickly to, Thomas Rus, who was a, a, a very successful military figure in the north of England. In some respects, her marriage, her, her first marriage was the most socially advantageous, in that she became briefly, a Countess. She subsequently married less August people in terms of their social scale, but each time she was getting closer

02:10 - and closer to the center of political power in England in the period. And most importantly, each time she married, she was awarded as was common practice, a third interest in her husband's, earthly wealth. And when she was widowed each time, she kept that one third doer, as it was called, to sustain the life to which she had become accustomed. So she married, first of all, all of Desmond who, as I say, died when they were both quite young.

02:45 - She was then very swiftly married to Thomas Rus. She was probably only 13 or 14 at the time of her second marriage. And she gave Thomas six children. He Then died leaving her as a already quite a wealthy widow of only about 40 years of age. And her third marriage was probably very much to her own pre, according to her own preferences. And she married a man who was actually socially her inferior,

03:18 - but who was extraordinarily well connected. He was one of the, most important members of the Renu, of the Earl of Lancaster, who was the younger son of King Edward iii. And at that point, she really is mixing with people who are very much at the top of the, of the, courtier class in the circle of, of Edward iii. Well, Beatrice, was by the time of the death of her third husband, Richard Burley, clearly in possession of a significant amount of

03:51 - personal wealth that she was able to dispose of, more or less at will. She was probably residing in houses provided for her by her second husband. And she clearly remained in contact with her, her children by Thomas Rus, her, her six children. But the fact that she had such significant wealth meant she needed to have the means of, managing her estates. And she therefore had a personal seal, which is very distinctive in its design,

04:25 - and shows the way that she was using, heraldry, to, create a particular identity for herself. And through the seal, we are able to make a connection with a very important monument in St. Paul's Cathedral because this very distinctive coat of arms, which is very obviously the personal coat of arms of Beatrice, was carved into the canopy of a tomb that she commissioned for her third husband, Richard Burley. And this tomb was very considerable in size, but its importance is also flagged up by the fact

05:06 - that it was, located right next to an absolute monstrous, tomb created for John of Gaunt, the, the Earl of Lancaster, a monument for him and his wife. And this was in the most elite part of St. Paul's Cathedral in London. So Beatrice uses her wealth, and I think probably her influence to, create this enormous monument. It no longer sadly survives,

05:36 - but we know of it, from, antiquarian sources. And it's the, it's the brand. It's the branding, if you like, of the monument with her coat of arms known from her seal that enables us, us to identify it very, a very small number of years later, it's clear that she is in negotiation with the chapter of York Minster, the, the family to which she, is most closely associated, the Ruth's family of, of, they are one

06:12 - of the powerful families in the vicinity of Yorkin. And at this time, the minster is being, the eastern arm of York. Minster is being filled with stained glass and either side of the high altar in York Minster. There are two enormous windows filled with stained glass narratives dedicated to St. William of York, who was enshrined in Northminster and to St. Cuthbert, the great saint from Durham, the other great saint

06:42 - of the north of England. It looks as if the dean and chapter were very successful in persuading Beatrice to become the donor, the patron of this great St. William of York window. And she appears at the bottom of that window in a position of great honor. The reasons that she was drawn, I think, to the window is, first of all, I suspect because there is a, a con. There was a, a distant family connection between St.

07:15 - William of York and the Ruth family. But in the story of the various miracles associated with St. William, a very significant number of women were depicted as beneficiaries of his miracle working. So I think there would've been inherently an appeal, to Beatrice, as a woman and as a donor, of this window. And there are also tantalizingly two scenes in the window, which are positioned directly above the location where the image of Beatrice herself is depicted,

07:55 - which cannot be accounted for through the various accounts of the miracles of St. William, they show a richly dressed aristocratic woman, first of all, apparently being trampled by a horse. And then in the subsequent scene, she is shown at the shrine of St. William, which of course stood right below the window. and she's clearly giving thanks for her deliverance from this sort of horse accident about which we know absolutely nothing.

08:29 - And the, the way the woman in the miracle seam is dressed, the location of the scenes above the donor figure of, Beatrice, it's very tempting to suppose that this is some kind of personal incident in her own history, to which she ascribed St. Williams Miracle working. So there's, I think, an argument to be made for a very personal link to this window. And then finally, in a coat of arms in stained glass in Northminster, there is a tribute

09:03 - to Beatrice herself. I'm not suggesting in this case that this particular shield was paid for by Beatrice, but it's the only shield of arms in the glass of the choir. IE the liturgical sort of center of the minster, which commemorates a woman. And I think the likely explanation is that the dean and chapter of the medieval cathedral, were acknowledging the enormous, generosity of Beatrice because this was an enormous window, and it must

09:34 - therefore have been extraordinarily costly. She died barely a year after the window was commissioned. and so I think this would've been the, the final way that she would mobilize her very considerable wealth, you know, to ensure that she and her family, and particularly her offspring were commemorated at the heart of Northminster's, liturgical choir. Beatrice likes so many medieval women, you know, is glimpse through a handful of, documentary references.

10:09 - And, and generally speaking, she's really only being seen in the, in the documentary record as a daughter, as a wife, as a mother. But I think through, interdisciplinary researches and looking at a, a variety of sources, the visual arts, I'm an art historian, so the visual arts, of course, of course were my jumping off point. But I think by bringing together these different strands of evidence, we begin to see much more of the richness of, of her agency as a woman with her own resources,

10:47 - a woman who clearly had an interest in the arts, and I think particularly through her manipulation of heraldic display, was very attuned to the possibility of crafting a kind of personal identity, through heraldry, the way in which she, chose to present the arms of her father and the arms of her husband's on her shield, and indeed on the circo that she wears in the, in the St. William window, shows that she was prepared to sort of manipulate the, the rules of heraldry,

11:25 - which were becoming quite, highly developed and quite specific in their use. She was clearly prepared to manipulate these in order to, you know, project her own personal image and a sense of the prominence of, of her role, the fact that she's presented in the, the window, in a panel entirely on her own. She's not accompanied by any of her husbands, but she is accompanied by Her son and her five grandsons.

11:55 - So this is a window in which she's not really, celebrating, the past or commemorating the past. She's actually celebrating her own role as a kind of progenitor of the future. And it's very unusual, in this period to have evidence of multiple, expressions of artistic patronage, over quite a long period of time because we can, we can, show her act her being active, from the 1380s until the second, decade of the 15th century.

12:36 - So I think with Beatrice, we have a case study who sheds a great deal of light on the role of a, of aristocratic women in this period, in a way that we can very rarely do for other women of her time and her class.

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