The Founding Fathers and The Locked Room

Those luminous persons at Big Finish have announced the contents of The First Doctor box-set out in June, what has some scribbling by me:

"Big Finish are delighted to name the four new stories being released in June in the Doctor Who - The First Doctor Companion Chronicles Box Set:

The Sleeping Blood by Martin Day

When the Doctor falls ill, Susan is forced to leave the safety of the TARDIS behind. Exploring a disused research centre in search of medical supplies, she becomes embroiled in the deadly plans of a terrorist holding an entire world to ransom – and the soldier sent to stop him.

The Unwinding World by Ian Potter

Office life is tough, the commute is a grind, nothing works quite as well as you’d like. Vicki seems to remember things being better once, before the little flat. It’s time she put some excitement back in her life. It’s just a shame the Doctor can’t help.

The Founding Fathers by Simon Guerrier

The TARDIS lands in Leicester Square in the summer of 1762. When the Doctor, Steven and Vicki find themselves locked out of the TARDIS, only one man can possibly help them. But the American, Benjamin Franklin, has problems of his own…

The Locked Room by Simon Guerrier

Steven Taylor left the Doctor and the TARDIS to become king of an alien world. But it’s now many years since he gave up the throne and went to live in a cell in the mountains, out of sight of his people. He’s not escaping his past – quite the opposite, in fact. As his granddaughter, Sida, is about to discover…

Doctor Who - The First Doctor Companion Chronicles Box Set is released in June on CD and Download, and until July 1st is at a pre-order price of £20 on CD and £15 on Download. It’s part of the epic and much-loved Doctor Who - The Companion Chronicles range from Big Finish, which can be Subscribed to for savings across buying the titles separately.

Bar the first four stories, all the Companion Chronicles are available on both CD and Download, and exclusive to the Big Finish site, a CD purchase will provide access to a Download in your account too!"

The Art of Doctor Who

Out this week in shops is the The Art of Doctor Who - the latest sumptuous special edition from Doctor Who Magazine, "celebrating six decades of design and illustration inspired by the series."

It's a beautiful, comprehensive thing, and I'm thrilled to have a couple of pieces in it.

For a short feature on Doctor Who animation, I got to speak to Steve Maher, who was responsible for the look of The Scream of the Shalka and The Infinite Quest, and the two animated episodes of The Invasion.

For a longer (but it could easily have been book length!) feature on Doctor Who comics since 2000, I got to speak to Lee Sullivan, Mike Collins, John Ross, Nick Roche, Pia Guerra, Adrian Salmon, Elena Casagrande and Alice X Zhang, as well as former DWM editor Clayton Hickman and current Titan Comics editor Andrew James. (There's also sage wisdom from Martin Geraghty, but he spoke to my comrades, not me.)

But I think my favourite bit is, without me asking, an episode of AAAGH! making it into the mag, with what I think might be Nervil and Mrs Tinkle's first appearance in DWM. 

Doctor Who and the very Hungry Snake

Out in shops today is Doctor Who Adventures #363, which features another daft comic strip by me - "The Very Hungry Snake".

"The Very Hungry Snake" - Doctor Who Adventures #363
Written by Simon Guerrier, art by John Ross,
colour by Alan Craddock

As ever, I'm delighted by the magnificent artwork by the magnificent John Ross - notching up his 1612th consecutive page of artwork for the comic strip since DWA began in April 2006. What an extraordinary achievement.

"That's a typical piece of fan nonsense..."

In shops now - The Essential Doctor Who: Master. Includes my interviews with Terrance Dicks, Richard Franklin and Katy Manning. I asked Terrance and Katy, on the basis of Missy, if the Master has always fancied the Doctor…

Full details at the official Doctor Who Magazine website.

Irregularity signing, Forbidden Planet this Saturday

JOIN JURASSIC LONDON AT FORBIDDEN PLANET FOR THE BEST IN CONTEMPORARY SCIENCE FICTION AND FANTASY – taking place the London Megastore on Saturday 7th March from 1- 2pm!

During the Age of Reason, the world’s greatest minds named, measured and catalogued the world around them.

They brought order and discipline to the universe. Except where they didn’t. Irregularity collects fourteen original stories from extraordinary literary voices, each featuring someone — or something — that refused to obey the dictates of reason: Darwin’s other voyage, the secret names of spiders, the assassination of Isaac Newton and an utterly impossible book.

• Tiffani Angus • Rose Biggin • Richard Dunn • Simon Guerrier • Nick Harkaway • Roger Luckhurst • Adam Roberts • Claire North • Gary Northfield • Henrietta Rose-Innes • James Smythe • M. Suddain • E.J. Swift • Sophie Waring

Come and meet the authors of this marvellous collection, have a chat, grab yourself a signed and enjoy the company – this won’t be formal event, just a chance to find some fabulous fiction!

• Irregularity signing - event details on Facebook
• Irregularity signing - event details on Forbidden Planet's website

Bananas

The new issue of Doctor Who Adventures features a four-page comic strip written by me. In "Five A Day", the 12th Doctor and Clara battle giant bananas on the alien world Luna Schlosser*. Even by my usual standards, it is silly.

As ever, the art is by John Ross with colour by Alan Craddock, and the editor was Moray Laing. Issue #362 of DWA is in shops now.

* Luna Schlosser is, of course, also the name of Diane Keaton's character in the magnificent Sleeper (1973). It's just possible I was, ahem, inspired by one particular scene.

Four non-fiction books

"The people interested in the history of comic books are not the same as the people interested in the history of the polygraph. (And very few people in either group are also interested in the history of feminism.)"

Jill Lepore, The Secret History of Wonder Woman (2014), pp. 295-6.

The Secret History of Wonder Woman is extraordinary: a compelling, strange secret history of alternative sexuality and modern times. William Moulton Marston - under the pseudonym Charles Moulton - based the superhero he created on his wife and their girlfriend - the latter the niece of Margaret Sanger, the campaigner who popularised the term "birth control". There are reasons why Wonder Woman proclaims "Suffering Sapho!" and that she's so often tied up in chains...

Marston, who invented a "lie detector" based on a test of systolic blood pressure, which later led to the polygraph, was shrouded in falsehoods - about his private life, about who in his household wrote what, about his qualifications as a psychologist. There's lots on how his threesome contrived to build a myth around him, and how for all he extolled the versions of men submitting to dominant women, he rather had it the other way round.

The epilogue is especially interesting, placing the feminist reclamation of Wonder Woman in the early 1970s amid what else what happening in the feminist movement at the time. The examples Lepore cites of "trashing" seem like a modern phenomena.

I also remain haunted weeks after finishing Do No Harm, a memoir by brain surgeon Henry Marsh. Marsh recounts a number of different cases where he has got it right or wrong - the latter always with horrific consequences. Really this is a catalogue of the terrible awfulness that life brings to us, and of human efforts to get through it. Marsh is painfully honest about his own fears and weakness, but what haunts me are his perfect turns of phrase: that all surgeons are carry with them cemeteries of the patients they have wronged; that, when facing the angry parents of a young patient, love is selfish; that doctors forget patients and patients forget doctors if everything goes well, and it's only the tragedies that linger...

Marsh's anger at the management and cut-backs, and the effect he can see them having on people's lives, echoed Nick Davies' Hack Attack, his account of the hacking scandal that he originally broke in the Guardian. At the end, he rants against a system that has removed accountability from our political systems, where even the most terrible personal tragedy has become a commodity. Like Marsh, Davies is forthcoming about his own failings - how he missed connections or said the wrong things or jeopardised his whole case. He's also good in making his account of Leveson so much about human character.

And now I am 35 pages into H is for Hawk, which is currently collecting literary prizes all over town. It turns out to echo much of these other books - how we handle tragedy and injustice and anger, how we're losing the old world in exchange for something as yet unknown. I'm not quite sure what it's about yet - so far a memoir of loss, some personal history and falconry, and the works of TH White (I am also rereading The Once and Future King) - but there's this striking moment on the process of grief, gleaned from too many books.

"I read that after denial comes grief. Or anger. Or guilt. I remember worrying about which stage I was at. I wanted to taxonomise the process, order it, make it sensible. But there was no sense, and I didn't recognise any of these emotions at all."

Helen Macdonald, H is for Hawk (2014), p. 17.

Modern Man at the BFI

Modern Man, the short film I wrote, will play at the BFI on 21 February as part of the 8th BFI Future Film Festival. It's included in the short fiction selection in NFT1 at 1 pm.

The Future Film Festival promises to "provide opportunities to connect with the film industry, kick-start your career and develop new and existing skills with inspirational screenings, masterclasses, Q&As and workshops." So it's a bit gutting that I can't go due to other commitments. Bah.

Modern Man is the third film I've written to get screened at the BFI: Wizard played as part of the LOCO London Comedy Film Festival last year, and The Plotters was shortlisted for the Virgin Media Shorts Award 2012.

Sherlock Holmes and immortality

You can read my piece for the Lancet Psychiatry on the Museum of London's Sherlock Holmes exhibition (running until 12 April), which really explores the nature of Holmes fandom more generally.

I'm also thrilled to see that the BBC website has a clip from the newly discovered 1916 film of Sherlock Holmes starring William Gillette. The clip includes the moment that Holmes meets his nemesis, Professor Moriarty, with them saying "Bonjour" to one another - this version of the film was discovered in France.

Especially thrillingly, while the intertitles narrating the film refer to "Sherlock Holmes" (see, for example, at 01:09 in the clip), Moriarty either speaks with an accent - or a typo:

The Couch on which John Hunter Died

The Hunterian Museum at the Royal College of Surgeons in London is a fascinating place full of dead things in jars. The surgeon John Hunter (1728-93) collected specimens of lizards and other animals, using them to teach the next generation of doctors.

"While most of his contemporaries taught only human anatomy, Hunter's lectures stressed the relationship between structure and function in all kinds of living creatures. Hunter believed that surgeons should understand how the body adapted to and compensated for damage due to injury, disease or environmental changes. He encouraged students such as Edward Jenner and Astley Cooper to carry out experimental research and to apply the knowledge gained to the treatment of patients."
- Hunterian Museum website

It wasn't just medicine that benefited from Hunter's collection. In 1824, Gideon Mantell tried to match a fossilised fragment of jawbone he'd discovered to a comparable modern-day creature. He visited the Hunterian Museum, where assistant-curator Samuel Stutchbury saw a resemblance - in shape if not size - to a specimen of iguana. The following year, Mantell announced to the Royal Geological Society the discovery of Iguanadon - "iguana-tooth". Along with the fossilised remains of two other creatures, Iguanadon would later be used to define a new kind of animal: the dinosaur.

I visit the Hunterian Museum a fair bit, most recently to look up what it has to say on regeneration - the way some animals are able to regrow lost limbs. (I should also declare an interest: my dad volunteers there and gives a good talk every other Friday on the history of syphilis.)

The collection, though, is not just of animals: there are also plenty of human bodies - whole ones as well as partial bits of interest. If this can leave visitors feeling a bit squeamish, the ethos is very clear: by better understanding the body and how it can go wrong, we can better mend injury and cure disease. That said, deciding what specimens count as "better understanding the body" can be open to debate, such as the museum continuing to display the body of Charles Byrne, the "Irish Giant", against his clearly stated views.

I don't have a problem with Byrne's skeleton being displayed, but I was struck by something else I saw this week. By the reception of the Hunter Wing of St George's Hospital in Tooting there's a display devoted to Hunter. The hospital has just done very well in the results of the Research Excellence Framework for 2014 and links its current research to the precedent set by Hunter - who worked at St George's, but back when it was based at Hyde Park Corner (the hospital moved in stages between 1976 and 1980).

I can see why it might not be appropriate to show medical specimens as people go to their medical appointments in the hospital - it would be too blunt a reminder of our inevitable fate. But is the couch on which Hunter died a more tasteful relic for display? It doesn't seem to do much for the better understanding the body. I find myself more bothered by that the bones of Charles Byrne.

Doctor Who Magazine Yearbook 2015

Out now is the Doctor Who Magazine Yearbook 2015, a sumptuous celebration of all this year's Doctor Who. It includes some things I done wrote:

An interview with Albert DePetrillo, senior editorial director at BBC Books who oversees the Doctor Who titles.

A feature on fans who have been inspired by Doctor Who to make the most extraordinary things. I spoke to: Billy Hanshaw who posted a video on YouTube earlier this year that led to him designing the show's opening titles; Ailsa Stern who is the brains (and nimble fingers) behind Dr Puppet; Mette Hedin who creates the most amazing monster costumes for wearing to conventions; and Steven Ricks who hand-tailors exquisitely precise recreations of the various Doctors' clothes.

A piece on all the awards Doctor Who has won in 2014.

Doctors Who and all their friends

I am in love with this magnificent effort by the amazing Red Scharlach:

As Red explains:

I set myself a few ground rules: canon Doctors only (so no Shalka Doctor or Peter Cushing, sorry); not all recurring characters are companions (so no Jackie Tyler or Kate Stewart); and companions must have appeared more than once but not necessarily in the same medium (e.g. Sara Kingdom has been in Big Finish and Grace has been in a comic). But then I broke those rules on occasion (e.g. to include Cinder, the War Doctor’s only companion), so the end result is all a bit wibbly-wobbly timey-wimey fuzzy-brainy won’t-fit-in-the-box-neatly. Rather like Doctor Who itself, in fact.
Anyway, the design is now on sale in my Redbubble shop as a poster or art print (i.e. on heavier paper) and there’s still a little bit of time to order one before Christmas…

But look: Oliver, and Amy/Abby and Zara, and even Decky Flamboon...

The Box of Delights and dreams of Christmas

I've written another piece for the Lancet Psychiatry, this time on The Box of Delights and other stories about dreams.

Having loved the TV adaptation from (whisper it) 30 years ago, writing the feature gave me an excuse to compare it to the original book and marvel at Alan Seymour's adaptation - full of small improvements that never intrude themselves on the source.

The cast are all excellent, too, but special mention must go to Bill Wallis, whose performance as Rat is brilliantly disgusting. What a brilliant actor he was.

I'm also thrilled to learn the top fact that as well as the casting of former Doctor Who Patrick Troughton as the wizard Cole Hawlings, working as an assistant floor manager on the production was Paul Carney - grandson of William Hartnell. Thanks to Guy Lambert for sharing that!

Oliver Cromwell's Fundamentalist Queen

The Fundamentalist Queen, a Radio 3 documentary I've produced, is broadcast tonight at 6.45 pm, and will thereafter be available on the Radio 3 website. Official blurb as follows:

Samira Ahmed explores the extraordinary rise and fall of the Lady Protectress Elizabeth, wife of Oliver Cromwell - a commoner who became "queen" in the 1650s.

Elizabeth lived through an extraordinary time - for women as well as men - as the country was divided by a decade of civil war in the 1640s. In the new regime that followed the execution of Charles I, Elizabeth found herself a consort like no other, an ordinary housewife elevated to Lady Protectress.

But the Protectorate, and its efforts to forge a new kind of state power based on strictly Puritan grounds, lasted only a few years. In 1660, the monarchy was restored, Oliver's allies were executed as traitors and his own dead body was dug up and hanged in chains. The widowed Elizabeth, scorned and taunted, was forced to beg Charles II for mercy.

So why is so little known about her? Helped by leading Cromwell scholars and tantalising historical documents - including a satirical cookbook - Samira goes on the trail of the fundamentalist queen, from the church where she married and her kitchen as the young wife of an MP in Ely, to the extravagant gifts that came to her Puritan court and the secrets that may lie within her anonymous grave. With Louise Jameson as the voice of Elizabeth Cromwell.

Presenter Samira Ahmed. Producers Simon and Thomas Guerrier. A Whistledown Production for BBC Radio 3.

Samira has written her own blog about the documentary, wrote a piece about Elizabeth Cromwell for the BBC's online magazine, and discussed her on the Robert Elms show on Wednesday (1 hour 9 minutes in; and she's followed by an interview with my chum Dick Fiddy from the BFI and the amazing Paddy Kingsland of the Radiophonic Workshop). The documentary is also one of BBC History Magazine's picks of the week's TV and radio.

Samira makes the point, too, that the documentary came about because I researched the life of Oliver Cromwell for a Doctor Who audio - The Settling. Grateful thanks to Gary Russell, the director-producer who commissioned me, on the condition that I'd do the reading. (Researching the prospect of the documentary also led me to look round Ely, which in turn led to the setting of another Doctor Who story - Home Truths.)

It's been a joy to make the documentary, and that's all down to the generosity of the people with whom we made it. Thanks to Samira for her faith in me and brother Tom, and to David Prest and everyone at Whistledown for so patiently shepherding us through the process. Thanks to John Goldsmith, formerly of the Cromwell Museum in Huntingdon, Traci Bosdet and Tracey Harding at Oliver Cromwell's House in Ely, and Diane Corbin at St Giles Cripplegate, and to Jane and John Trevor for letting us look round their home. Thanks to our experts: Professor Laura Gowing at King's College London, Professor Peter Gaunt of the University of Chester and the Cromwell Association, and Dr Patrick Little of the History of Parliament. Thanks to David J Darlington for assistance with bringing the 17th century vividly to life (just as he did with The Settling). And thanks to Louise Jameson for bringing Elizabeth to life.

Briefly, we had a daughter

Early this morning, our eight day-old daughter died, peacefully and calmly, with me and the Dr holding on to her. What follows is mostly for friends in real life, as I've been struggling to manage updates.

The past few months have been exciting, terrifying and surreal, a strange dream from which we've now woken.

Having been shown rather definitively in 2010 that we couldn't have biological kids of our own, we'd moved on, created an identity as a barren couple, and adopted our beloved Lord of Chaos. So the pregnancy came as a complete surprise this spring. We assumed, given our history, that it simply wouldn't work and it was another complete surprise when the hospital rang to ask what we were playing at - as we'd crossed the first important milestones but hadn't booked any appointments or tests.

We were still dubious, and avoided saying anything online, preferring to tell people in person. (Then forgetting who we had and hadn't told, and making a bit of a meal of it. Sorry.)

But as we went to our appointments, all look just fine, and we allowed ourselves to believe it. The Lord of Chaos was relieved to be getting a sister because - he said - he wouldn't have to share so many toys. We bought things for baby and things were bequeathed. I took on loads of freelance jobs so I could afford some time off round the birth. We even worked out how we'd refer to our second child online: as "Minotaur". We looked forward to her arrival.

Then, last week, the Dr was rushed to hospital as - it turned out - her waters had broken eight weeks' early. Friends and grandparents moved at short notice to come to our assistance, looking after the Lord of Chaos and running errands while I dashed to the Dr's side. But the tests showed things were okay with Minotaur. She would just be arriving early - they hoped in 2-3 weeks.

Minotaur had other ideas about that and with very little notice arrived one morning last week. She was swooped on by doctors but everything looking fine. I watched Minotaur being carefully placed in an incubator - like all premature babies - and grinned at her funny monkey face as she blinked dolefully back at me. Much later, exhausted and relieved, I went home to Champagne with my delighted Dad, and began letting people know.

But 12 hours after being born, Minotaur took a sudden turn for the worse. We were told straight away that the prospects were not good. The Dr and Minotaur were rushed by ambulance, all lights blazing, to a specialist unit across town, but we were put under no illusion that things were very grave.

We expected her to die, but Minotaur held on tenaciously over the weekend. There were even small signs of improvement. We let ourselves hope that she would pull through.

But on Tuesday the results of a series of tests proved that Minotaur's condition was every bit as severe as first suggested. There would be no happy ending. And yet, even in that terrible moment there was still some joy: they released Minotaur from her incubator so we could at long last hold her.

I'm grateful to have held her, to have spent time with her away from the tubes and machines, and that at least some family were able to see her, too - and note her eyes and hair being her mother's, and her long skinny feet from me.

Last night, just the three of us had a room to ourselves and we spent the long hours talking, reading stories, clinging on. Minotaur gazed at us dolefully and held the Dr's finger, and knew that we were there. We poured out our hearts to her, and loved her. I think she knew that, too - and that's why she hung on so long. This morning she died.

We are in pieces. But we are grateful to have held her and for so many small moments with her. Friends and family have been incredible - even though there was so little that anyone could do. We're very grateful, too, to the staff at both Croydon University Hospital and St George's Hospital, who so diligently cared for us and our poor Minotaur, making her short life painless, peaceful and something we can cherish.

We will retire now to heal, and try to get back to some kind of normality. A few people I've already been in touch with asked how they could help. At the moment, we need to work this through ourselves. But as our world was tumbling, the charities First Touch and Ronald McDonald House were there to embrace us. You could help them help others like us - and maybe even spare some of that pain - by making a donation.

Three magazines

In shops this week are three magazines what I did some writing for.

'Oliver Cromwell's forgotten queen' says the top of BBC History Magazine. Elizabeth Cromwell (1598-1665) was arguably the most powerful woman in the country in the 1650s, but today we know almost nothing about her.

The three-page article investigates her life, as a foretaste of the documentary brother Tom and I have made with Samira Ahmed to be broadcast on Radio 3 on 7 December. (More of which to come.)

'The space traveller's guide to the Doctor's universe' boasts Doctor Who Magazine's latest The Essential Doctor Who - Alien Worlds. As well as a great feature by Dr Marek Kukula on the scientific basis (or, er, not) of the Doctor's visits to other worlds, I've written entries on the following planets: Demon's Run, Ember, New Earth, Terra Alpha, Thoros Beta, Titan III and Traken. I've also written about the unnamed planets seen in The Stolen Earth, The End of Time part 2 and Death of the Doctor.

In fact, it was fascinating to watch The Twin Dilemma the same week as the broadcast of Deep Breath. Both introduce a brash, grumpy Doctor who the companion isn't sure about - and neither are we. But the script of The Twin Dilemma gives the new Doctor no moments to shine, or be heroic, or woo us. The end of Deep Breath is a plea to give the new guy a chance. The end of The Twin Dilemma is - on the page at least - almost 'Don't like it? Tough.' (And, weirdly, the two worlds we visit in The Twin Dilemma - Titan III and Jaconda - look almost identical.)

Lastly you can read my review of The Imitation Game - the new Alan Turing biopic starring Benedict Cumberbatch - for the Lancet Psychiatry. I've previously blogged about my family connection to the code-breakers at Bletchley Park and I've wrote some Blake's 7 plays that might be of interest: The Dust Run and The Trial star Cumberbatch as a space pilot; The Turing Test is about Avon trying to pass as a human being.

Doctor Who and the space owls

The super new issue of Doctor Who Adventures boasts previews of forthcoming episodes Mummy on the Orient Express and Flatline, reveals all about the Special Weapons Dalek and boasts a new comic strip by me.

"The Court of Birds" sees the Doctor and Clara in the sky of the planet Hoopoe. I'm especially exciting to write for the new incarnation of the Doctor, and thrilled as always by John Ross's extraordinary artwork. The colours are by Alan Craddock and the fine Moray Laing and Craig Donaghy let me get away with such silliness. Doctor Who Adventures #356 is in all proper shops until 21 October or available on the Doctor Who Adventures website.

Modern Man - Best Comedy Short at Isle of Man!

As director Seb Solberg reports, Modern Man (a short film I wrote) won Best Comedy Short at the Isle of Man Film Festival this weekend. Hurrah and indeed hoodoo!

Mark Kermode and Modern Man director Seb Solberg

It's the film's second award so far: earlier this year, Modern Man also won Best Film in the Three Minute Wonders category of the Kino International Film Festival.

Here's me on the writing of Modern Man from last year (including the original cut of the film for you to watch), and another post from Seb on making Modern Man. And here's the full - and amazing - cast and crew.

The sleeper must awaken: inside the mind of Dune

I've written an essay on Dune for the new issue of the Lancet Psychiatry, which you can read in full online.

Further reading:

• Brian Herbert, Dreamer of Dune – The Biography of Frank Herbert (Tor: New York, 2003)
• Frank Herbert, Dune (Orion: London, 2007 (1965)
• Frank Herbert, The Dragon in the Sea (Nel Books: London, 1969 (1955))
• David Lynch (dir.), Dune (Universal Studios Blu-ray: 2010 (1984))
• Ed Naha, The Making of Dune (Target: London, 1984)
• Timothy O'Reilly, Frank Herbert (Frederick Ungar: New York, 1983) - full text online
• Chris Rodley (ed.), Lynch on Lynch (Faber and Faber: London, 1997)
• The David Lynch Foundation for Consciousness-Based Education and World Peace - www.davidlynchfoundation.org/

Mary Queen of Scot's skull watch?

I'm having a lovely time working on Horrible Histories magazine at the moment, writing poo jokes and investigating stupid deaths. Today, I've been on the trail of an unusual gift apparently given by Mary, Queen of Scots, to her maid, Mary Seaton.

Search the web and you'll find plenty of sites referencing Mary Queen of Scot's skull watch. They seem to link back to a post on This Write Life from October 2012, but I'm struck by the three images of the watch in that post, reproduced below:

The first image is clearly not the same watch as the other two.

A bit more searching, and the second image appears to be cropped version of one from the Victoria and Albert Museum - an engraving from 1820-35 by Charles John Smith.

The third image, of the same watch in a distinctive holder with a hole in the top, seems to match one in the collection of the Worshipful Company of Clockmakers. There are three images of this particular skull watch on the Bridgeman images site. But the description for each of these says it is not the watch given by Mary Queen of Scots to her maid; it's an 18th century copy made by "Moysant, Blois".

The This Write Life site - and plenty of others that repeat the same information with the same pictures - claims the skull watch to be the work of "Moyant A. Blois (1570-90)". Surely Moyant A. Blois must be related to Moysant, Blois - but is this clockmaker from the sixteenth or eighteenth centuries? Does the original skull watch still exist? In fact, did Mary Queen of Scots really give such a gift, or is it the invention of a later century?

I shall continue to search… But here's a description from an 1894 book that says it wasn't a "watch" as we understand it anyway, but more of a table decoration:

A MEMENTO-MORI WATCH.

The curious relic, of which we herewith give an engraving, was presented by Mary, Queen of Scots, to her Maid of Honour, Mary Seaton, of the house of Wintoun, one of the four celebrated Maries, who were Maids of Honour to her Majesty.

"Yestreen the Queen had four Maries,
The night she'll hae but three;
There was Marie Seaton, and Marie Beaton,
And Marie Carmichael and me."

[Illustration [++] Memento-Mori Watch.] [SG: I assume this is a version of the Charles John Smith engraving.]

The watch is of silver, in the form of a skull. On the forehead of the skull is the figure of Death, with his scythe and sand-glass; he stands between a palace on the one hand, and a cottage on the other, with his toes applied equally to the door of each, and around this is the legend from Horace "_Pallida mors æquo pulsat pede pauperum tabernas Regumque turres_." On the opposite, or posterior part of the skull, is a representation of Time, devouring all things. He also has a scythe, and near him is the serpent with its tail in its mouth, being an emblem of eternity; this is surrounded by another legend from Horace, "_Tempus edax rerum tuque invidiosa vetustas_." The upper part of the skull is divided into two compartments: on one is represented our first parents in the garden of Eden, attended by some of the animals, with the motto, "_Peccando perditionem miseriam æternam posteris meruere_." The opposite compartment is filled with the subject of the salvation of lost man by the crucifixion of our Saviour, who is represented as suffering between the two thieves, whilst the Mary's are in adoration below; the motto to this is "_Sic justitiæ satisfecit, mortem superavit salutem comparavit_." Running below these compartments on both sides, there is an open work of about an inch in width, to permit the sound to come more freely out when the watch strikes. This is formed of emblems belonging to the crucifixion, scourges of various kinds, swords, the flagon and cup of the Eucharist, the cross, pincers, lantern used in the garden, spears of different kinds, and one with the sponge on its point, thongs, ladder, the coat without seam, and the dice that were thrown for it, the hammer and nails, and the crown of thorns. Under all these is the motto, "_Scala cæli ad gloriam via_."

The watch is opened by reversing the skull, and placing the upper part of it in the hollow of the hand, and then lifting the under jaw which rises on a hinge. Inside, on the plate, which thus may be called the lid, is a representation of the Holy Family in the stable, with the infant Jesus laid in the manger, and angels ministering to him; in the upper part an angel is seen descending with a scroll on which is written, "_Gloria excelsis Deo, et in terra pax hominibus bonæ volu----_" In the distance are the shepherds with their flocks, and one of the men is in the act of performing on a cornemuse. The works of the watch occupy the position of the brains in the skull itself, the dial plate being on a flat where the roof of the mouth and the parts behind it under the base of the brain, are to be found in the real subject. The dial plate is of silver, and it is fixed within a golden circle richly carved in a scroll pattern. The hours are marked in large Roman letters, and within them is the figure of Saturn devouring his children, with this relative legend round the outer rim of the flat, "_Sicut meis sic et omnibus idem_."

Lifting up the body of the works on the hinges by which they are attached, they are found to be wonderfully entire. There is no date, but the maker's name, with the place of manufacture, "Moyse, Blois," are distinctly engraven. Blois was the place where it is believed watches were first made, and this suggests the probability of the opinion that the watch was expressly ordered by Queen Mary at Blois, when she went there with her husband, the Dauphin, previous to his death. The watch appears to have been originally constructed with catgut, instead of the chain which it now has, which must have been a more modern addition. It is now in perfect order, and performs wonderfully well, though it requires to be wound up within twenty-six hours to keep it going with tolerable accuracy. A large silver bell, of very musical sound, fills the entire hollow of the skull, and receives the works within it when the watch is shut; a small hammer set in motion by a separate escapement, strikes the hours on it.

This very curious relic must have been intended to occupy a stationary place on a _prie-dieu_, or small altar in a private oratory, for its weight is much too great to have admitted of its having been carried in any way attached to the person.

Edward Fillingham King, Ten Thousand Wonderful Things (1894).