It is an absolute pleasure to welcome novelist and historian Judith Arnopp to History…the Interesting Bits today. Judith’s new book, How to Dress Like a Tudor, is one I have been excited to get my hands on ever since I heard she was writing it. The Tudors had a special talent for sumptuous gowns and bright, vibrant colours. They knew how to steal the show!
So, here’s Judith to give you a little taster of her research.
The Evolving Tudor Image: fabric as power
We have all become so familiar with royal Tudor images that we no longer really see them. One glance tells us who they are. We think we know them. They exude power, majesty and the iron fist of mastery.
Earlier portraits of the Plantagenet kings, and even the early portraits of Henry VII are very different to that of his son and grandchildren. But it was Henry VII, the first ‘Tudor’ king who began to develop the ‘Tudor’ brand.
The Tudors were the new kids on the block; nobody could foresee what sort of King Henry would make and his popularity depended very much on that of his wife, Elizabeth of York. Yorkist propaganda demeaned his claim to the throne, declaring that his mother’s line was illegitimate; that Lancaster had stolen the crown in 1399.
Henry, realising he needed to reinforce his hold on the country, embellished his family history to create an impressive Tudor dynasty. He stressed the royal connection of his mother, Margaret Beaufort, and her descent from John of Gaunt and, to strengthen his claim further, he legally removed the stigma of bastardy from the family. He reiterated the royal descent of his grandmother, Katherine of Valois and, more surprisingly, claimed descent from the ancient Welsh King Cadwaladr, and King Arthur. To further cement his link to Arthur he named his first-born son in his honour and embellished the round table at Winchester with the Tudor rose.
With the blood of both York and Lancaster flowing in the veins of his two sons and several daughters, the Tudor line looked set to continue but Arthur’s sudden death in 1502 taught Henry that a king can never have too many sons. He lost no time in teaching his remaining son, later to become Henry VIII, the finer points of kingship. He stressed the importance of his role, the unreliability of the fickle populace, and the crucial need for strong male heirs to perpetuate the dynasty. The importance of heirs was a lesson young Henry never forgot, and one he fought hard to achieve for the rest of his life.
The blooming of the Renaissance and the introduction of men like Holbein to the royal court helped to reinforce this new Tudor image and during Henry VIII’s reign new style of royal portraiture began.
I think of them as ‘power portraits’ that were loud declarations of Tudor permanence and dominance.
The one with which we are most familiar was painted by Holbein the younger after 1537, at a time when Henry was at the height of his power. He had freed himself from Anne Boleyn, and the Pope, and Jane Seymour had finally provided the son and heir he’d been craving.
Everything in this portrait is designed to impress and I certainly succeeds; we cannot take our eyes from the breadth of shoulder, the sumptuous quality of his clothes, his immovable stance, the potent codpiece, and the unflinching expression in his eye. The portrait exudes wealth, power and uncompromising control. It is an unspoken challenge.
Edward VI, and Mary I also used art to illustrate their power but it was Elizabeth, arguably the greatest Tudor of them all, who exploited royal portraiture to the full. The queen was very aware of the power of image and iconography. Encouraged by her adviser, John Dee, her portraits became more and more extreme. In every image she is majestic and fabulously dressed, her tiny frame all but
obliterated by satin, velvet, lace and jewels. In looks, Elizabeth resembled her great grandmother, Margaret Beaufort and her grandfather, Henry VII but by nature she was very much like her father.
Elizabeth’s portraits are perfect examples of Renaissance iconography. Every item represents a characteristic, not of the woman within but of the nature of her reign. It is all there; virginity, wisdom, power, world domination, military genius, and the all-seeing eye of queenship.
In The Armada Portrait c.1588 Elizabeth’s femininity is eclipsed by her magnificent clothing. She has so much padding, she appears every bit as broad and powerful as her father.
If Elizabeth’s grandfather and father had coveted England and parts of France, Elizabeth cast her ambitious eye farther – to the New World. Her hand rests on a globe and just in case the viewer should forget who wears it, the crown of England is just above. If you look closely her famously long white fingers are covering the Americas and, behind her are commemorations of the Spanish fleet being driven onto a rocky shore by a storm that became known as the ‘Protestant wind,’ inferring God’s approval in England’s victory over Spain. Elizabeth is proclaiming herself as the saviour of her people; the mother of her expanding empire; a victorious, virgin queen, blessed by God.
These are the things she wanted the world to see and believe. Her private, inner feelings were none of our concern and so they turned their faces into masks – a blank page, devoid of personality yet replete with majesty.
The portraits of the Tudors reveal so much about that far off world. Holbein in particular is invaluable to anyone studying the period. It is solely due to Holbein’s sketches taken at the court that we know exactly what was going on behind the gabled hoods of Catherine of Aragon and Jane Seymour. A particular favourite sketch of mine is of a woman on a settle which shows her sons dressed in replica garments of adult men. His sketches provide a behind the scenes glimpse of life at court, something the formality of the finished portraits don’t convey.
One of the best parts of writing How to dress like a Tudor for Pen and Sword books was the chance to closely examine the court portraits, and the informal sketches of the royal painters and trace the evolving fashions, styles, fabrics of the era. The Tudors were the new icons, monarchs to be worshipped, feared and respected and their portraits a shield, concealing every vestige of human frailty from common view.
How to Dress like a Tudor doesn’t just examine the clothing of royalty but of courtiers, commoners, children, monks and fools.
About the Author:
Judith Arnopp writes historical fiction set during the late medieval and Tudor period. Her usual focus is on the women who lived close to the monarch, women like Margaret Beaufort, Elizabeth of York and Mary Tudor but more recently has been writing from the perspective of Henry VIII himself. Her books are on Kindle, Audible and Paperback. You can find her fiction books here: http://author.to/juditharnoppbooks
She also writes non-fiction, her work featuring in many anthologies and online magazines. Her latest non-fiction, How to Dress like a Tudor published by Pen & Sword Books is available now. http://mybook.to/howtodress
Judith is a founder member of a reenactment group The Fyne Company of Cambria, and began making Tudor costumes for herself, her husband, John, and other members of the group. It was this that inspired How to Dress like a Tudor and she hopes to write more non-fiction Tudor history in the future. You can find Judith on Facebook, Twitter, Linked-in, Goodreads, Bluesky, Instagram, webpage
Illustrations
Eliz I The Armada Portrait Wikimedia commons [[File:Elizabeth I (Armada Portrait).jpg|Elizabeth I (Armada Portrait)]]
Henry VIII After Hans Holbein the Younger, Public domain, via Wikimedia Commons
Edward VI Attributed to William Scrots (active 1537-1553) [1], Public domain, via Wikimedia Commons
*
My Books
Christmas is coming!
Signed, dedicated copies of all my books are available through my online bookshop.
Coming 15 January 2024: Women of the Anarchy
On the one side is Empress Matilda, or Maud. The sole surviving legitimate child of Henry I, she is fighting for her birthright and that of her children. On the other side is her cousin, Queen Matilda, supporting her husband, King Stephen, and fighting to see her own son inherit the English crown. Both women are granddaughters of St Margaret, Queen of Scotland and descendants of Alfred the Great of Wessex. Women of the Anarchy demonstrates how these women, unable to wield a sword, were prime movers in this time of conflict and lawlessness. It show how their strengths, weaknesses, and personal ambitions swung the fortunes of war one way – and then the other.
Available for pre-order from Amberley Publishing and Amazon UK.
Also by Sharon Bennett Connolly:
Out now: King John’s Right-Hand Lady: The Story of Nicholaa de la Haye is the story of a truly remarkable lady. Nicholaa de la Haye was the hereditary constable of Lincoln Castle and the first woman in England to be appointed sheriff in her own right. Her strength and tenacity saved England at one of the lowest points in its history. Nicholaa de la Haye is one woman in English history whose story needs to be told…
King John’s Right-Hand Lady: The Story of Nicholaa de la Haye is now available from Pen & Sword Books, bookshop.org and Amazon.
Defenders of the Norman Crown: The Rise and Fall of the Warenne Earls of Surrey tells the fascinating story of the Warenne dynasty, of the successes and failures of one of the most powerful families in England, from its origins in Normandy, through the Conquest, Magna Carta, the wars and marriages that led to its ultimate demise in the reign of Edward III. Defenders of the Norman Crown: Rise and Fall of the Warenne Earls of Surrey is now available from Pen & Sword Books, Amazon in the UK and US, and Bookshop.org.
Ladies of Magna Carta: Women of Influence in Thirteenth Century England looks into the relationships of the various noble families of the 13th century, and how they were affected by the Barons’ Wars, Magna Carta and its aftermath; the bonds that were formed and those that were broken. It is now available in paperback and hardback from Pen & Sword, Amazon, and Bookshop.org.
Heroines of the Medieval World tells the stories of some of the most remarkable women from Medieval history, from Eleanor of Aquitaine to Julian of Norwich. Available now from Amberley Publishing and Amazon, and Bookshop.org.
Silk and the Sword: The Women of the Norman Conquest traces the fortunes of the women who had a significant role to play in the momentous events of 1066. Available now from Amazon, Amberley Publishing, and Bookshop.org.
Alternate Endings: An anthology of historical fiction short stories including Long Live the King… which is my take what might have happened had King John not died in October 1216. Available in paperback and kindle from Amazon.
Podcast:
Have a listen to the A Slice of Medieval podcast, which I co-host with Historical fiction novelist Derek Birks. Derek and I welcome guests, such as Bernard Cornwell, and discuss a wide range of topics in medieval history, from significant events to the personalities involved.
*
Don’t forget! Signed and dedicated copies of all my books are available through my online bookshop.
For forthcoming online and in-person talks, please check out my Events Page.
You can be the first to read new articles by clicking the ‘Follow’ button, liking our Facebook page or joining me on Twitter and Instagram.
*
©2023 Judith Arnopp and Sharon Bennett Connolly FRHistS
History... the interesting bits! 