Resistance at Lyveden

A Photographic Project by Vicky Thorpe

This project centres on the formidable resistance of Sir Thomas Tresham to converting from Catholicism to the Anglican Church, as demanded by Queen Elizabeth I. Despite enduring substantial fines and repeated imprisonment, Tresham remained steadfast in his faith, a devotion he physically encoded into the design and intricate carvings of his estate, Lyveden New Bield. My outcome explores this unwavering defiance using the alternative photographic process of cyanotype.

Thomas Tresham’s Legacy

Tresham’s resistance is not only documented in history but also expressed architecturally at Lyveden.

  • Hidden Symbolism: Tresham deliberately used numerology, specifically the numbers 3, 5, and 7, in the lodge’s design to reference key elements of the Catholic faith.

    • 3: Signifies the Trinity (Father, Son, Holy Ghost).

    • 5: Symbolises the number of wounds Christ received on the cross.

    • 7: Represents the number of instruments used in the Passion (crucifixion).

  • Carvings: Religious carvings, including the seven emblems of the Passion, are prominently displayed around the first-floor windows of Lyveden. These symbols form the core imagery for my exhibition outcomes.

Cost of Faith: Tresham’s refusal to attend Anglican services cost him approximately £8,000 in fines, equivalent to about £2 million today, contributing to the substantial debt of his estate upon his death.

Cyanotype and Resistance

I chose cyanotype as the medium because the entire process inherently relies on resistance, perfectly mirroring the project's theme.

  • Chemical Resistance: Placing a negative on coated paper or fabric resists UV light, defining the tones of the final image. Rinsing the material washes away the unexposed chemistry, while the light-altered parts remain, creating the image.

  • Medium: Outcomes were created using a mixture of ferric ammonium citrate and potassium ferricyanide on unbleached cotton fabric for the outdoor banners, and CANSON XL Watercolour 300gsm paper for the indoor pieces.

Techniques: I prepared digital negatives by splitting images into CMYK/RGB channels in Photoshop. Experiments were conducted using duo-tone and triple cyanotype, influenced by the tutorials of Dr Melanie King, and I also trialled turmeric anthotype.

Exhibition Outcomes


The project culminated in an exhibition featuring two main outcomes: a physical banner and an indoor print, supported by a self-made booklet.

  • The Banner (Outdoor Concept):

    • Description: An A1-sized cyanotype printed onto cotton fabric, featuring the religious carvings from Lyveden.

    • Intent: The fabric was left unhemmed, and the final exposure was intentionally varied. This approach allows the clear and dark symbols to show their varying resistance to the elements over time, reflecting Tresham’s weathered testament to resistance.

    • Hanging: To give the banners a physical link to Lyveden, they were hung indoors with sticks found on the grounds, which helped prevent them from bunching.

  • The Indoor Prints:

    • Descriptions: A large-format cyanotype printed on paper, using the same negative as the banner and a large image that I had taken of `Lyveden and the cottage.

    • Finish: After exposure, the print was bleached and then toned with stewed tea to achieve a darker colour reminiscent of the stone at Lyveden New Bield.

    • I edited the image in Photoshop and converted it to black and white.

  • Exhibition Booklet:

    • A custom-made booklet with printed photos on high-quality paper and chipboard covers, designed to be a unique and professional showcase of the ideas and processes behind the work.

Shop & Contact

  • Postcards: Due to venue guidelines, postcards were offered free of charge at the Lyveden exhibition to encourage engagement with the work.