Elizabeth Barton

[6] The parish priest, Richard Masters, duly referred the matter to Warham, who appointed a commission to ensure that none of her prophecies was at variance with Catholic teaching.

[4] When the commission decided favourably, Warham arranged for Barton to be received in the Benedictine St Sepulchre's Priory, Canterbury, under Bocking’s spiritual direction.

Nothing unorthodox was found in her case; her alleged public healing from the Virgin Mary at Court-at-Street (a hamlet near Lympne, Kent) increased attention and brought fame to her and to the Marian Shrine.

In 1527 Robert Redman published A marueilous woorke of late done at Court of Streete in Kent which discussed all of Barton's "miracles, revelations, and prophecies" and the controversies leading up to the arrests and executions.

[7] Her prophecies warned against heresy and condemned rebellion at a time when Henry was attempting to stamp out Lutheranism and was afraid of possible uprising or even assassination by his enemies.

[1] When the King began the process of obtaining an annulment of his marriage to Catherine of Aragon and seizing control of the Church in England from Rome, Barton opposed him.

Barton was attainted for treason by act of Parliament, on the basis that she had maliciously opposed Henry VIII's divorce from Catherine of Aragon, and had prophesied that the king would lose his kingdom.

Five of her chief supporters were executed alongside her: Barton was buried at Greyfriars Church in Newgate, but her head was put on a spike on London Bridge.

Barton's case is dealt with in the 2009 historical novel Wolf Hall by Hilary Mantel, and in its television adaptation, where she is played by Aimee-Ffion Edwards.

Barton and her prophecies are also mentioned in Philippa Gregory’s 2014 novel The King's Curse; the sixth and final book in The Cousins' War series.

Reposing woman with three men, only one of whom is looking at her.
A posthumous engraving of Elizabeth Barton is probably by Thomas Holloway based on a painting by Henry Tresham , and comes from David Hume 's The History of England (1793–1806). It represents Barton through the lens of the Protestant propaganda levied against her in later life and after her death, rather than offering a realistic depiction. [ 1 ]