Sir Gawain and the Green Knight, the Middle English alliterative Arthurian poem, has long captured the imagination of audiences, medieval and modern. Recently, Valiant Comics has adapted the SirGawain and the Green Knight into a comic titled “Immortal Brothers: The Tale of the Green Knight” and brought the poem to modern audiences (2017). The same year, Emily Cheeseman adapted SirGawain and the Green Knight into a graphic novel (2017), which was funded by Kickstarter and which is now publicly available online.
Film adaptions of SirGawain and the Green Knight have also emerged in modern times, including Steven Weeks’ two movies based on the medieval story: Gawain and the Green Knight (1973), and then about a decade later, The Sword of the Valiant: The Legend of Sir Gawain and the Green Knight (1984), which famously features Sir Sean Connery as the Green Knight. While Weeks draws primarily from Sir Gawain and the Green Knight in his film adaptations of the medieval poem, he also borrows from other Arthurian legends, such as the tale of Sir Gareth in Thomas Malory’s Le Morte d’Arthur and Yvain, the Knight of the Lion by Chrétien de Troyes.
The Green Knight (Sean Connery) in Stephen Weeks’ “The Sword of the Valiant: The Legend of Sir Gawain and the Green Knight” (1984).
Moreover, last year a new film adaption of the poem, titled The Green Knight (2021), directed, written, edited, and produced by David Lowery, was released in theaters. This recent movie adaption of Sir Gawain and the Green Knight drew both praise and opprobrium from critics, prompting me to view and write my own review of the film. The Green Knight stars Dev Patel as Gawain, a nephew of King Arthur in this adaptation, who embarks on an epic quest to test his chivalry and confront the Green Knight.
The Green Knight (Ralph Ineson) in David Lowery’s The Green Knight (A24 Films, 2021).
But today, as I previewed in my previous post on adaptations of Beowulf in modern cartoons, I want to discuss the introduction of a character adaptation of the Green Knight in the final season of Cartoon Network’s Adventure Time. The episode that features and centers the Green Knight is called “Seventeen” (Season 10 Episode 5), in which the plot borrows substantially from the medieval alliterative poem, despite significant redactions and reworking on certain characters and themes from the source text.
Opening image for Adventure Time‘s S10E5 “Seventeen” (2017).
As in the Middle English romance, the episode begins with feasting and a celebration. In Sir Gawain and the Green Knight, King Arthur and his court at Camelot are celebrating Christmas and Yuletide. In Adventure Time, the celebration centered on the 17th birthday of Finn the Human, who is also the main hero and one of the primary protagonists of the show, at Princess Bubblegum’s court in the Candy Kingdom. In both the medieval poem and modern cartoon series, the Green Knight rudely barges into court, unannounced, uninvited and riding on his green horse, before offering a green battle axe and proposing a dangerous challenge.
The Green Knight barges into the Candy Court in S10E5 of Adventure Time, “Seventeen” (2017).
In “Seventeen” when the stranger enters, Finn exclaims “you’re green,” to which the guest responds “I’m the Green Knight.” Like in the medieval poem, Adventure Time‘s Green Knight is exceedingly green, from his armor and clothes, to his hands and face, and even his mount and weapon are all shades of green. The special attention the cartoon gives the green axe and green horse pays homage to the Middle English romance, which contains detailed descriptions of the green man, his green axe and his green steed.
The mysterious Green Knight in S10E5 of Adventure Time, “Seventeen” (2017).
In both the television series and Middle English poem, the Green Knight’s arrival is shrouded in anticipation and ladened with suspense. Just as in the original poem, the Green Knight in Adventure Time is a mystery knight, come to challenge the champion and test his opponent’s heroism and mettle. In keeping with its source, Adventure Time makes games central to the episode, beginning with the very game featured in the original poem.
The Green Knight gives Finn a birthday axe in S10E5 of Adventure Time, “Seventeen” (2017).
In Adventure Time, since it is Finn the human’s 17th birthday party, when the Green Knight arrives at the court of Princess Bubblegum, he gifts his green axe to Finn for the occasion. The Green Knight greets Finn by saying: “And before you ask, of course I brought you a birthday present. It’s a battle axe.” The Green Knight follows up with a cryptic caveat “But only if you play me a game for it.” As Gawain does in the Middle English romance, Finn accepts the battle axe and the Green Knight’s challenge, deciding to game with the mysterious guest.
Finn beheads the Green Knight in S10E5 of Adventure Time, “Seventeen” (2017).
As in Sir Gawain and the Green Night, the first birthday contest in “Seventeen” is a weird beheading game. When Finn asks which game they will play, the Green Knight describes the game: “Oh this game is called all you have to do is strike me with it and it is yours.” Finn struggles with the idea of “axing a stranger” but soon has a revelation. Noting the absence of his partner, Finn assumes that the mysterious Green Knight is nothing more than a birthday prank orchestrated by his best friend Jake, so the hero plays along and is unfazed by the uncanny strangeness of the proposed game. Finn deals what appears to be a death-dealing blow to the neck, decapitating the Green Knight, much like Gawain does in the original poem.
Green Knight grabs its severed head as Jake arrives in S10E5 of Adventure Time, “Seventeen” (2017).
Again, as in its source, the Green Knight in “Seventeen” proves to be some sort of undead being, able to simply pick up and replace his head after his beheading. It is at this point that Jake arrives, signaling that the Green Knight is not an elaborate birthday hoax by Jake, and what was planned as a fun birthday turns into a fight for his life. Citing fairness, the Green Knight isolates Finn from the rest of his friends so that they cannot aid him, or warn him of any foul play on the part of the Green Knight.
Unlike in the Middle English romance, in “Seventeen” Finn asks for alternative games rather than allowing the Green Knight to return an axe stroke to his neck. This marks the major point of divergence in what follows as a loose adaptation. The stakes are set: if Finn wins, the Green Knight will reveal the mystery of his identity and the Green Knight makes plain his reward, stating, “if I win, chop, chop.”
The green horse interferes with the first game in S10E5 of Adventure Time, “Seventeen” (2017).
The Green Knight is able to win the first contest through deception and subterfuge, ideas central to the source text as well, and then the Green Knight allows Finn to win the second contest without competing at all, undercutting his heroism. This ultimately proves the only game in which Finn defeats his opponent. Again, the Green Knight has a trick up his sleeve, this time the plan is to allow Finn to expend his energy and strength, giving the Green Knight the upper hand in the decisive game between Bubblegum’s champion and the mysterious guest.
Green Knight is revealed as Fern in S10E5 of Adventure Time, “Seventeen” (2017).
Finn recognizes the trick immediately, but Finn believes his “robot arm” will continue to provide him with an advantage in the final contest of strength: an arm wrestling match. While Finn is able to compete with the Green Knight until the first mystery is revealed, once the hero learns that the Green Knight is none other than Fern, his formerly deceased, plant-form doppelgänger, he becomes overwhelmed causing him to lose their last game. The surprise of the Green Knight’s identity disarms the hero and allows Fern to easily defeat Finn. Fern, in Green Knight form, smashes his enemy upon the table, breaking it, and leaving Finn on the floor, vulnerable and in shock, as the Green Knight approaches, axe raised and ready to deliver a fatal blow.
Finn as he is about to receive an axe stroke in S10E5 of Adventure Time, “Seventeen” (2017).
These additional games replace the hunting and bedroom games featured in the Middle English romance, but the narrative of “Seventeen” nevertheless realigns with the original plot as the hero ultimately fails and appears as if he is about to be beheaded by his opponent. In the medieval poem, the Green Knight is revealed to be Bertilak, the lord who houses Gawain and whose wife seduces him. But the double reveal includes the revelation the it was Morgana Le Fay (2446), a witch and King Arthur’s half sister, who sent the Green Knight to Camelot to test the Knights of the Round Table and frighten Queen Guenevere.
Uncle Gumbald, Aunt Lolly & Cousin Chicle are revealed in S10E5 of Adventure Time, “Seventeen” (2017).
Similarly, in Adventure Time, the Green Knight is a servant of disgruntled, royal relatives. In “Seventeen,” the Green Knight is called off by his own steed, which is shown to be a mechanical horse in which three treacherous relations of Princess Bubblegum are hidden: Uncle Gumbald, Aunt Lolly and Cousin Chicle. The double mystery aspect of the cartoon mirrors the medieval poem’s dual reveal at the end of narrative, in both cases returning focus to intrafamily power struggles over the throne while simultaneously demonstrating the limitations of chivalry and the dangers of hubris. By the end, in both Sir Gawain and the Green Knight and “Seventeen” the royal champions are bested by the Green Knight, although in Adventure Time, the Vampire Queen Marceline is there to step in and scare off the intruders, causing the Green Knight to retreat into the night.
Marceline vs the Green Knight in S10E5 of Adventure Time, “Seventeen” (2017).
The way in which Adventure Time creatively adapts and reinvents Sir Gawain and the Green Knight for a broad modern audience carries forward the medievalism from “The Wild Hunt” (Season 10 Episode 1). Although at times the episode deviates dramatically from its source, Adventure Time makes the complex (at times enigmatic) medieval story both accessible and comedic, while retaining some of the key aspects including the fraught presentation of chivalry and heroism, thereby helping to set the stage for future generations of medievalists.
With the possible exception of certain stories about King Arthur, Beowulf is probably the best-known work of English medieval literature, and it is likely one of the oldest works as well predating early English Arthurian literature, such as Sir Gawain and the Green Knight by around six hundred years and Thomas Mallory’s Le Morte d’Arthur [The Death of Arthur] by around seven hundred years.
Cover image from John Gardner’s Grendel (1989).
Beowulf has deep roots in popular culture as has long been taught in the English curriculum in the United Kingdom, the United States, Australia, New Zealand, and many of the former British colonies and current British Commonwealth. Beowulf has been remade into comics such as DC Comics’ Beowulf (1975), Gareth Hinds’ Beowulf: A Graphic Novel (2007), Stern’s Beowulf: The Graphic Novel (2007), and Santiago Garcia’s Beowulf (2016); novels such as John Gardner’s Grendel (1971), Michael Crichton’s Eaters of the Dead (1976), Susan Signe Morrison’s Grendel’s Mother: The Saga of the Wyrd-Wife (2015), and Maria Dahvana Headley’s The Mere Wife (2018); films such as Robert Zemeckis’ Beowulf (2007), Sturla Gunnarsson’s Beowulf & Grendel (2005), John McTiernan’s The 13th Warrior (1999), and television series such James Dormer’s Beowulf: Return to the Shieldlands (2016) to name just a few of the more recent and successful adaptations of this famous medieval poem.
Cover image from Maria Dahvana Headley’s The Mere Wife: A Novel (2018).
Of course, medievalism is also popular in children’s literature and adult cartoons. Nevertheless, I will admit I was somewhat more surprised to notice the poem’s influence in children’s cartoons. My intersecting identities as a medievalist and a father invite me into the rich world of children’s literature, and as someone who enjoys a good story in any form, there are certain television shows that my daughter likes to watch that I too find entertaining. Little did I expect to encounter Beowulf and more specifically the character of Grendel in two children’s cartoons that mobilize and rework Beowulf into their narratives: Disney’s Amphibia (2019-2022) and Cartoon Network’s Adventure Time (2010-2018).
Disney’s Amphibia (2019-2022).
In Disney’s Amphibia one two-part episode which seems draw directly from Beowulf is season one’s episode fifteen, “A Night at the Inn; Wally and Anne.”
The first part of the episode, “The Night at the Inn” starts with a journey to a “creepy lagoon” right by a “scary forest” in a woodland horror setting—the mood is suspenseful and disconcerting—a dark and stormy night as they travel through lands filled with frightening creatures. Eventually they end up at a spooky yet cozy inn, a cottagey bed and breakfast run by a family of horned bullfrog people. After a haunting night, the story unfolds as an adaptation of the Grimm Brothers’ Hänsel und Gretel “Hansel and Gretel” with the bullfrog folk as the cannibal family. It is Polly, the tadpole, who ultimately thwarts their murderous plans and proves herself to her family.
Cannibal family of horned bullfrogs in S1E15 of Amphibia, “The Night at the Inn” (2019).
Of course, cannibalism and monstrous families feature also in Beowulf, and the second half of the episode “Wally and Anne” mobilizes the characterization of Grendel in the representation of the enigmatic Moss Man.
The second part of the episode “Wally and Anne” also borrows from Sasquatch lore, conflating Bigfoot and Grendel into the mysterious Moss Man. As the show progresses, the Moss Man shifts from being regarded as a cryptid monster to a beautiful and misunderstood creature, in a reparative move in line with other modern adaptations that present sympathetic portraits of the monster.
The Moss Man in S1E15 of Amphibia, “Wally and Anne” (2019).
“Wally and Anne” starts with Anne seeing the shadow of a creature, much like Grendel the sceaugenga “shadow walker” (703) and she follows it into the monster’s murky domain. She then catches a glimpse of the majestic creature, but it hears her and takes off into the woods. Other characters believe the Moss Man is a myth, which frames the remainder of the episode, with the exception of “the town weirdo” Wally, who swears to have also seen this creature “deep in the moors, where it makes its home and feeds on mist.” Wally further describes the monster to Anne, saying “Skin of moss it had. Took my hand clean off it did,” (as happens to Grendel in Beowulf), but as Anne is quick to point out, Wally has both his hands in tact, signaling his role as an unreliable witness and narrator.
Misty Moors in S1E15 of Amphibia, “Wally and Anne” (2019)
The Moss Man, like Grendel, lurks in the mistige moras “misty moors” (162), and this place name is used to describe both the realms of Grendel and the Moss Man. The eerie swamp resembles the monster mere and marshy haunts of the Grendelkin. As Anne and Wally search for the Moss Man together, Wally warns the “journey will be fraught with peril” and sings a song to his accordion playing with the lyrics, “the Misty Moors are dark and grey” an allusion to the Grendel’s haunted fens. The place name “Misty Moors” is repeated throughout the episode to characterize the eerie swamplands where the Moss Man roams.
However, the behavior of the Moss Man tracks closer to Sasquatch, huge and terrifying, but more elusive and mysterious than dangerous, though of course Grendel and his kin are also described as mysterious in the compound helrune (163). In “Wally and Anne” the plot hinges on the misfit team who become unlikely friends in their failed attempt to take a picture of the creature once they find it at last. Although Wally first describes the Moss Man as Grendelish, by the end we learn that the creature is no threat to the local community.
Cartoon Network’s Adventure Time (2010-2018).
The tenth and final season of Adventure Time kicks off with and episode called “The Wild Hunt” which includes a medieval-inspired, Bayeux Tapestry-inspired, image of the protagonists Finn and Huntress Wizard in the center with a monstrous hand on the right and fleeing banana guards on the left. In addition to foreshadowing the plot, this signals the heavy influence of medieval literature that features in the forthcoming episode.
The titlecard for Adventure Time, S10E1 “The Wild Hunt” (2017).
The episode begins in a dark hall with two banana guards, members of Princess Bubblegum’s royal army, just outside their Gryffindor-like “dormitory” where the soldiers agree that they are afraid. This in media res intro creates suspense from the very start of the episode, and the audience’s epistemic limitations invites fears of the unknown thereby mobilizing the psychology of terror. After some debate on how this should be accomplished while also holding their spears, the banana guards decide to hold hands. Just then, a huge, monstrous hand reaches from offscreen and grabs them both.
Banana guards grabbed by the monster in Adventure Time, S10E1 “The Wild Hunt” (2017).
After dispatching the guards, the gigantic and vicious monster then enters the dormitory and attacks the soldiers at night, slaughtering its victims. This scene from “The Wild Hunt” is one of terrifying carnage and comes straight out of Beowulf. The Adventure Time heroes (Finn the human and Jake the magic dog), who have been recruited to slay the banana fudge monster, are there hiding, yet they do not stop the monster from grabbing a sleeping guard just like in Beowulf, when Grendel grabs and devours Hondscio before Beowulf makes any counter move (739-745). In fact, in both Beowulf and Adventure Time, it is not until the monster reaches out to grab the incognito hero (Beowulf and Jake respectively) that an epic battle ensues. Moreover, just as Beowulf famously refuses to use blades against Grendel (426-41), and allows his enemy to escape back to the monster-mere of the Grendelkin, Finn likewise is repeatedly unable to use his sword against the banana fudge monster and therefore it escapes into the wilderness seeking its home. These narratological parallels pay homage to the medieval poem and demonstrate how medievalism is alive and well in popular culture including children’s cartoons.
The Grumbo grabs a sleeping banana guard before Finn & Jake attack in Adventure Time, S10E1 “The Wild Hunt” (2017).
After the opening scene, there is a flash back to earlier that morning when Finn and Princess Bubblegum prepare for a baseball game and stumble upon what Bubblegum calls “a banana fudge massacre.” The surviving banana guards report to their princess and describe the monster’s initial midnight assault on the Candy Kingdom, and they characterize the murders as cannibalism stating “a terrible monster kidnapped squadron 5. It looked like a banana, but it peeled other bananas.”
Like Grendel is described as mara þonne ænig man oðer “greater than any other man” (1353), the banana fudge monster has what Jake calls “crazy devil strength” and carries the corpses away to his home, stealing warriors like plunder. Since Finn is unable to kill the monster, he is forced to hunt down the monster in its lair, like Beowulf does with Grendel. The remainder of the episode involves an epic hunt with Finn’s friend, Huntress Wizard, who calls the monster “an invasive species that’s destroying the local ecosystem with its nasty hot fudge” and names it “The Grumbo.”
The Grumbo in in Adventure Time, S10E1 “The Wild Hunt” (2017).
Indeed, “The Wild Hunt” even explores some of the essential questions and core tensions posed in Beowulf. The psychological drama that preoccupies the rest of the narrative focuses on Finn’s internal struggle as he tries to overcome guilt for killing his monstrous, plant-like doppelganger, Fern. Fern’s untimely death at Finn’s hands forces the hero to reflect on his previous use of excessive violence and to question his retaliatory actions, blurring the distinction between heroism and monstrosity and destabilizing both concepts. As in Beowulf, heroes and monsters are juxtaposed and paralleled in the episode of Adventure Time, highlighting how these categorizations are often a matter of perspective and how heroic deeds and monstrous actions are virtually identical in substance. In attempting to talk himself into attacking the Grumbo, Finn tries to tell himself “I don’t care why you’re doing this or if you’ve had a tragic past. I’m hard like that,” but his tone betrays his hesitation as he sympathizes with the monster.
Nevertheless, with the support of Huntress Wizard, Finn is ultimately able to slay the Grumbo, but like in Beowulf (1605-1611), the sword used to stab the monster melts down to the hilt as a result of the creature’s toxic blood (which in the show is a form of hot fudge).
Finn’s melted sword after slaying the Grumbo in Adventure Time, S10E1 “The Wild Hunt” (2017).
Adventure Time makes their medievalism perhaps even more explicit later in the fifth episode of final season titled “Seventeen” in which a previous character thought to be dead, Fern, returns and surprises Finn on his 17th birthday as the Green Knight. The mysterious Green Knight rides upon a shimmering green horse and offers Finn a green battle axe as a present before challenging him to a beheading game. As “The Wild Hunt” reworks and refashions the plot of Beowulf, “Seventeen” similarly draws directly from the 14th century Middle English alliterative poem, Gawain and the Green Knight. But that’s a discussion for a future post.
Fern as the Green Knight in Adventure Time, S10E5 “Seventeen” (2017).
Richard Fahey, Ph.D University of Notre Dame Medieval Institute
Few people, even Floridians, know about the medieval roots of St. Augustine discussed in my previous blog. In fact, if you’re planning a trip there and you Google “medieval St. Augustine,” you’ll only get results for the city’s Medieval Torture Museum or for the antique Christian philosopher St. Augustine of Hippo.
As readers of this blog know well, though, there is far more to any society, medieval or otherwise, than its methods of policing and punishment. Allow me, then, to take you on a medievalist’s tour of St. Augustine!
Welcome gateway in St. Augustine. Photo by the author.
I recommend beginning at the St. Augustine Visitor Information Center. The parking is plentiful (though not free), the air conditioning glorious, and the informational brochures abundant. The VIC also has terrific museum-quality exhibits, including replicas of Spanish sailing ships and plenty of historical documents, explanatory placards, and artifacts. The plaza also houses a notable fountain, a replica of the Fuentos de los Caños de San Francisco (Fountain of the Spouts, in the Avilés neighborhood of San Francisco). St. Augustine’s sister city, Avilés, Spain, also the birthplace of St. Augustine’s founder Pedro Menéndez, gifted the fountain to St. Augustine in 2005. The original Fuentos de los Caños de San Francisco in Avilés was built in the sixteenth century, in the late medieval/early modern transitional period, and will set the medieval mood quite well for you!
Fuente de los caños en Avilés. Photography by Sitomon, posted to Wikimedia Commons.
The Castillo de San Marcos
From the VIC you can walk east to the Castillo de San Marcos (the Fort of St. Mark, managed by the National Park Service). As you’ll see in your visit, the Castillo blends the functions of medieval stronghold and defensive New World frontier fort.
From the early days of the settlement, this spot held a defensive fort, though the earliest ones—nine in total—were wooden. [1] We know this from a significant map made by Baptisto Boazio, created to accompany a written account of Sir Francis Drake’s 1585 raiding expedition to attempt an upset of Spanish settlements in their new territories.
Close-up view of the Boazio map of St. Augustine, showing a wooden fort at the right, on the site of the present-day Castillo, and the first Spanish settlement at the left, with crop-growing fields at the top and right, and a watchtower, town house, and church to the right of the houses. Image from the Library of Congress.
In September 1585 Drake set out with 29 vessels. He and his crew raided and captured Santiago (Cape Verde), Santo Domingo (modern-day Dominican Republic), Cartagena (modern-day Columbia), and St. Augustine. The illustrations made by Boazio, who either went on the voyage or used information provided by Sir Francis Drake or other sailors, are the first recorded views of each of these locations, and his drawing of St. Augustine is particularly notable as the first recorded view of a European settlement in North America.
His maps were printed to accompany the written account two sailors kept of that voyage. Captain Walter Bigges began the account and kept it until he died in Cartagena; Lieutenant Croftes continued it after Bigges’s death. [2]
Croftes described St. Augustine’s fort as still in progress, only three or four months old, “all built of timber, the walles being none other but whole mastes or bodies of trees set uppe right and close together in manner of a pale, without any ditch as yet made.”[3] Drake and his company burned the unfinished fort, and the town, to the ground.
Though the fled survivors returned and rebuilt, much of the town was destroyed again just a few years later in a hurricane of 1599. Finally in 1672, the settlers began construction of a stone fort. Its first stage was finished in 1695 (the second stage ran from 1738–1756). [4]
Though the structure of the stone fort, made of native coquina, was post-medieval, it served in many ways as a medieval castle, a defense for the town around it and a place for St. Augustinians to shelter when under assault. In 1702, for example, when the British attacked, “about 1,500 soldiers and civilians were packed into the Castillo for 51 days!” [5]
The courtyard had three freshwater wells, the dry moat and the glacis offered protection from invasion, and both the inner and outer fortress had cannons and other types of munitions for fending off attackers.
The southwest corner of the fort, showing the Bastion de San Pedro (each of the four angled corners of the fort contains a bastion, and each is named: NE, San Carlos (also the main watch tower); NW, San Pablo; SW, San Pedro; SE, San Agustín). Photo by the author.
A medieval coat of arms appears above both the ravelin (the v-shaped protective installation at the south end) and the sally port (the entrance into the south wall, reached by the drawbridge and protected by the ravelin). As in the city coat of arms that I discussed in Part One, the lions represent the Kingdom of León and the castles the Kingdom of Castile, the crown atop Spain, and the sheep and enclosing chain the medieval Order of the Golden Fleece.
Image of the (replica) stone crest on the ravelin. Image from the NPS virtual tour of the Castillo.
Want to learn more about the fort from the comfort of your browser? Take the great virtual tour offered by NPS and hosted by the University of South Florida Libraries’ Center for Digital Heritage and Geospatial Information!
The City Gate and Walls
Running out from the western side of the Castillo, and reconstructed and visible today, is one of the city’s defensive walls. Like medieval cities, St. Augustine had not only a fortified stronghold but also a city gate and defensive walls. Most of these walls, or lines as the Spanish termed them, are reconstructions, though you will still feel very much like you’re walking through a medieval city when you see them (imagine, for example, the walls and gates of York, one of the most complete medieval walled cities in England.)
The gate and city walls of St. Augustine were not actually erected at its first settlement but in response to the British invasion of 1702. That experience prompted the city to enclose itself afterwards within medieval-style walls. The builders used native materials and constructed the lines as earthworks strengthened with local crushed coquina, or as walls of palm trunks.
St. Augustinians erected four protective lines: the Cubo Line (1704), the Hornabeque (or Hornwork) Line (1706), the Rosario Line (1718–19), and the Mose Wall (1762). [6] Each line also included redoubts (a term that comes from Classical Latin reducere “to lead back” and medieval Latin reductus “secret place” [7]), somewhat similar in concept to the turrets of the Roman-era Hadrian’s Wall in England.) You can visit a reconstructed redoubt, the Santo Domingo Redoubt, at the corner of Orange and Cordova Streets, near the VIC.
The lines of St. Augustine. Original image from NPS, overlaid by the author with colored lines.
Colonial historian Dr. Susan R. Parker describes the construction of the lines:
“Out from the Castillo’s west side went strong earthworks in the style of medieval European walled cities to protect against siege warfare. This wall surrounded the city’s three landward sides and became the physical limits of the colonial city.
[…] Years later, about 1762, the northernmost wall was added to connect with the village of Fort Mose, the settlement established for enslaved persons who escaped from English colonies to Spanish Florida.
The lines were built of soil with coquina sometimes incorporated for strength. To raise the height of the wall, Spanish bayonets and prickly cactus were planted along its top. The walls required endless repair. The biggest threat to the wall were the hooves of free-ranging cattle that pawed away at the berms.
The reproduction Cubo Line that today crosses the grounds of the Castillo depicts a version of that barrier made of palm logs, built about 1808, a century after the first ‘Line.’ The City Gate was incorporated into this wall. The coquina pillars that stand today were built about the same time as the palm-log wall and replaced earlier entryways made of wood.” [8]
The Cubo line runs out of the west side of the fort, and the nineteenth-century version of palms was reconstructed in 1964 by the National Park Service. You can learn all about the materials and construction of this wall from NPS.
You can see more detail of the architecture of the Cubo line in the drawing below from the National Park Service.
Cubo Line Construction. Drawing by the National Park Service showing the proposed location of the replica town wall.
The city gates are part of the Cubo line and lie a short distance from the western fort wall. The existing gates were reconstructed in 1808.
The reconstructed City Gates, seen from the north. The Cubo line runs on either side of the gate. St. George Street, the entrance into the walled town, runs through these gates. Photo by the author.Side view of the city gates, from the east, showing the defensive earthworks, entrance bridge of St. George Street, dry moat, and palms. Photo by the author.
The city lines were, in fact, what inspired me to write these blogs on the medieval roots of St. Augustine. Wandering around the old city on one visit a few years ago, I came across a part of the city wall, running between buildings on the northwestern edge and not particularly marked or noted in any way. I stood there for a bit, playing my fingers gently over the coquina and mortar, and thinking about the medieval city walls of York (themselves much reconstructed, like St. Augustine’s), and medieval flint church walls I’d just spent a year examining in the eastern U.K.
These sudden medieval encounters in the everyday world are striking, connecting us with the past physically, and showing us links with our natural environment and its long history of inspiring the construction of protective barriers, homes, and places of worship. Builders in the U.K. from the Romans to the Elizabethans relied on flint, a stone arising from the Chalk Escarpment of eastern coastal (and some of inland) Britain. The masons who made York’s medieval stone walls quarried their materials from the Magnesian Limestone formation in that area. The masons of St. Augustine drew on the native coquina, a limestone formed naturally of compressed and partially-dissolved shells of the coquina clam donax variabilis. St. Augustine’s limestone was quarried from nearby Anastasia Island.
Mortared coquina. The signature features of coquina rock—compressed shells of donax variabilis and their partially dissolved limestone—are visible here. Photo by the author.
The Historic City
While only a few reconstructed sections of the lines exist today, you can still enter the historic district of St. Augustine through its city gates, and from there step into a colonial Spanish town. Most of the city’s historic buildings are restored or reconstructed from its colonial era (First Spanish Period, 1565–1763; British Period, 1763–83; Second Spanish Period, 1783–1821) and early American period (after 1821). This lack of surviving older structures has much to do with St. Augustine’s military past: as a key outpost, the city weathered a number of massive attacks on its fort and settlement, such as Drake’s destruction of it in 1585 or the 1702 British attack that left the city burned to the ground again. Both post-Civil War Reconstruction and Henry Flagler’s investment and overhaul of the city in the late-nineteenth century meant the demolishing of many of the older buildings and construction of new ones.
The 1971 Historic St. Augustine Preservation Board’s Guidebook notes of the period of demolishment that “The old and storied inevitably gave way to the then new and modern. Many old houses and the remaining sections of the defense lines were uprooted to make way for new buildings. In those days these changes were hailed as a great improvement. Construction wasn’t the only enemy St. Augustine had, however; fire did its share of damage. In 1887 flames swept the Cathedral and much of the north block of the plaza. In 1914 a disastrous fire wiped out many of the buildings in the older section of the city between the city gates and the plaza.” [9] In the 1930s, though, St. Augustine became the focus of historic restoration, with organizing efforts to protect the historic district and return the city to its first Spanish period appearance. This Guidebook contains fascinating information from its time about the history and reconstruction of many of the buildings you can visit today.
Careful attention to the historical restoration process has resulted in a city that still reflects clearly its Spanish heritage. Albert Manucy in his book Sixteenth-Century St. Augustine writes,
“Although none of the first colonial houses of St. Augustine remain, it is clear from the later survivors that they are related to the folk architecture of northern Spain, the home of Pedro Menéndez, the town’s founder. Today in Oviedo and Santander Provinces one can see masonry houses, often with overhead balconies, front the streets. House lots are fenced to serve as corrals and stables. And in the town of Treceño there are houses with roomy ground-floor loggias, open to the yard through an arcade of two or three arches. These same styles can be seen in St. Augustine, and they have been there a long time.” [10]
This “folk architecture” itself was influenced by the medieval era (unfortunately I don’t have space to delve into this topic here.)
You can still see the city’s beginnings, though, in its layout and street plan, which has changed very little from its first formal layout in 1597. When Menendez and his group landed in the area in 1565, they first settled in cacique Seloy’s Timucuan village (the present-day Fountain of Youth Archaeological Park). After 9 months Menéndez and the settlers moved to Anastasia Island, then in 1572 moved back across the bay to the present site of St. Augustine and laid out their town. This town reflects a key feature of Classical and medieval architecture and a hallmark of Spanish urban planning: a plaza (though nascent) on the northern end of the town. To see what that town looked like, let’s step back Boazio’s 1589 map.
Close-up view of the earliest settlement of “wooden houses” with their “most pleasant gardens,” from the Boazio map of St. Augustine. The church is depicted with the letter “O,” at the northeast corner of the town (current-day corner of King and Aviles Streets). “M” is the “town house” and “N” is the watchtower. Image from the Library of Congress.
The legend for the map describes the fourteen-year-old settlement in this way:
“Opidum S. Augustini ligneis aedibus constructum, amoenissimos habuit hortos, utique solo faecundissimo”
(The town of St. Augustine, built of wooden houses, had most pleasant gardens, of course on a most fertile soil”).
Boazio’s engraving, showing Drake’s attack on the town, shows these houses and gardens, laid out to the south of the sixteenth-century fort.
Croftes describes the scene further, as the troop moved from the coast up the river:
“we might discerne on the other side of the river over against us, a fort [San Juan], which newly had bene built by the Spaniards, and some mile or there about above the fort, was a litle town or village without walls, built of wooden houses, as this Plot [Boazio’s map] here doth plainlie shew.” [11]
Boazio’s map shows a number of buildings, likely with palm- or palmetto-thatched roofs, and well-laid-out gardens. Archeological excavations have also confirmed the presence of a church, Nuestra Senora de Los Remedios (Our Lady of Remedies), since 1572 (St. Augustine, in fact, was America’s first Catholic parish). Records have confirmed the presence of a governor’s house near the water.
The open area surrounded by the church, town hall, and watchtower form a rough sort of early plaza, a plaza that was formalized shortly after by the next governor and that still exists today as the Plaza de la Constitucion, in the middle of the colonial halves of the city.
In their book, Ancient Origins of the Mexican Plaza, Logan Wagner, Hal Box, and Susan Kline Morehead discuss the importance of a central gathering place in city planning the world over, from ancient times to present. They note that “Plazas, or communal open spaces of some kind, have been at the core of every town and city in every culture on every continent.” [12] In the Western European world, the Greeks and Romans engaged in urban planning practices that provided for both sacred space (the Parthenon and Acropolis for Greeks, the Forum and Templum for Romans) and commercial and civic space (the market square).
About the development of urban planning in the Spanish New World, Wagner et al. write,
“The origins of Spanish urban layouts in the New World can perhaps be traced to urban design principles established by the celebrated Roman architect Vitruvius in the first century BCE; or possibly to ideas being discussed by the urban designers of the Italian Renaissance, especially Alberti; or even to the French bastides of the thirteenth century; or to the need to have a town layout that was expedient for military actions. The official policy of the Spanish Crown to design new towns in a grid or ‘checkerboard square’ pattern emanating from a central open space or plaza did not become official until well into the latter quarter of the first century of Spanish colonization, when grid layouts were finally made official in 1573 during the reign of Phillip II. The document in which these instructions were decreed is known as ‘The Laws of the Indies.’”
The authors note that, though the Laws were explicit and highly prescribed, in reality, settlements typically accommodated both existing native settlements and topographic features. [13]
When the Spanish settlers returned after Drake and his company ended their raiding and headed north to Virginia, they had to rebuild, and put up a new wooden fort as well. Carmelite lay brother Andrés de San Miguel described the refounded settlement in 1595 as being a little over a mile long (“one-half league”), with plenty of water to drink and various crops. Of the buildings he writes, “All of the walls of the houses are of wood and the roofs of palm and the more important ones of plank. The fortress [is] made of wood backed by a rampart.” Further, “The Spaniards make the walls of their houses out of this wood of cypress (sauino) because the part of it that is in the ground does not rot.” [14] The town that Fray Andrés saw was that depicted in a map of ca. 1593, the “de Mestas map,” possibly created by Hernando de Mestas, St. Augustine emissary to Spain.
When the new governor of La Florida, Gonzalo Méndez de Canzo, arrived to St. Augustine in 1597, he carried out Phillip II’s new Laws of the Indies and overhauled the layout of the city to that effect, including establishing a marketplace in the plaza. He also moved the governor’s house westward, to the back of the plaza, “probably to have the location of the governor’s office comply with Spanish ordinances that major buildings face the main square (plaza).” [15] The Laws of the Indies blended Classical and medieval urban planning traditions with early modern sensibilities and responded to both the practical requirements of Spanish colonial outposts and the desire for a fresh, new, planned aesthetic for a new age and a New World.
Méndez de Canzo’s layout for St. Augustine was the one that stuck for the city. Though the town was severely damaged in 1599, first by a fire that burned down the Franciscan monastery at the south end of town, and then by a hurricane that swept away most of the houses and killed many inhabitants, and burned down by the British in 1702, St. Augustinians kept rebuilding on the town layout. [16]
A 1711 map shows the new growth of the town, with the settlement and fort still somewhat distant from each other.
Map of St. Augustine, part of a larger map of Florida and the Carolinas, published about 1711 by Edward Crisp. Image from the Library of Congress.
By the time the British took over St. Augustine as part of the 1763 Treaty of Paris, though, the town had expanded northward and reached the area of the castillo. (From 1763-1783 Saint Augustine was a British territory, East Florida, and was its capital. In 1783 Britain gave this territory back to Spain, and in 1819 Spain gave it to the United States. )
This 1855 view from the harbor shows how well-developed the plaza had become since Mendez laid it out in 1597.
“Plan of the Town of St. Augustine, the Capital of East Florida,” by Thomas Jeffrys, published in William Faden, North American Atlas (1777). The map appeared first under a different title in William Stork, Description of East Florida (1769). Image from Boston Rare Maps Sale Catalogue.
Thomas Jeffrys’s 1769 map (above) shows that by the mid-eighteenth century, St. Augustine had grown to join with the fort, fully achieving de Canzo’s sixteenth-century plan. The Lines encompass the town, with the plaza (here formally noted as “The Parade”) at the center. This plaza was bounded by the Guard House at the harbor to the east, the church at the southwest corner, and the Governor’s House at the west end. The houses still had the “pleasant gardens” and orchards of the settlement’s earlier days. The fort appears at the northeast corner, with the Lines and their redoubts marked. The City Gate appears directly to the west of the fort, with present-day St. George Street running through the gates’ entrance into the walled city.
In the overlay I’ve done below, you can see how precisely the modern historic district maps onto Jeffrys’s eighteenth-centrury engraving of the town:
The Jeffrys map, with overlay in red by the author.
Remarkably, between this 1769 map and one of today, only a few of the streets have been swallowed up by development.
Walking through the streets of historic St. Augustine today is a treat for any lover of history. The careful reconstruction, street cobbles, balconies, and low buildings all create an atmosphere that is both medieval, European, and also distinctly Floridian. To see photos of more of the colonial buildings, check out this site.
The city claims to have currently “thirty-six buildings of colonial origin and another forty that are reconstructed models of colonial buildings.” Why not take a break from Disney World and visit something of Florida’s medieval history instead? You won’t regret it.
[1] Albert Manucy, Sixteenth-Century St. Augustine: The People and Their Homes (Gainesville: U P of Florida, 1997), pg. 36.
[2] It was first published in Latin and French in 1588 and then in English in 1589 (in two different editions) as A Summarie and True Discourse of Sir Frances Drakes West Indian Voyage (S.T.C. 3056 and 3057). Side note for lovers of book history: the second English edition of 1589 directs readers where to insert the maps, sold separately, into their copy of the book, and each of the four town maps has additional “textual keys, separately printed on broadside sheets intended to be cut and pasted at the bottoms of the four town maps.”
Mary Frear Keeler notes of the text and maps that “Richard Hakluyt reprinted the Summarie in his Principal Navigations, 3 vols. (London, 1598–1600); 12 vols. (Glasgow, 1903–1905). The engraved maps, printed with texts in three languages to correspond with the editions of the Summarie, are clearly associated with the publication of that narrative, and are referred to on the title page of the Ward edition (1589). A complete set of the Boazio maps is bound with the British Library’s copy of the Summarie (Field edition), numbered G. 6509” (“The Boazio Maps of 1585–86,” Terrae Incognitae 10 (1978): 71–80, at pg. 71).
[3] Croftes, A svmmarie and trve discovrse of Sir Frances Drakes West Indian voyage (London, 1589), p. 32.
[12] Logan Wagner et al., Ancient Origins of the Mexican Plaza: From Primordial Sea to Public Place (Austin: U of Texas P, 2013), pg.41.
[13] Wagner et al, pg.46.
[14] Fray Andrés de San Miguel, An Early Florida Adventure Story, trans. John H. Hann (Gainesville: U P of Florida, 2000), pp.76-7.
[15] Susan Richbourg Parker, “St. Augustine in the Seventeenth-Century: Capital of La Florida,” The Florida Historical Quarterly 92.3 (2014): 554–76, pg.556.
[16] Parker, “St. Augustine in the Seventeenth-Century,” pg.557.
