This extract is taken from the end of 1529, just before the Reformation parliament meet, illustrating how the marriage was under tension but Catherine was still fighting back.
Catherine was permitted to return for the Christmas season, which was traditionally presided over by the King and Queen together. And Henry was not quite ready to dispense with traditions, either religious or marital; he would need a couple more years for that. Hall related that the season was observed “in great triumph… with great plenty of viands and diverse disguisings and interludes, to the great rejoicing of his people” but it was definitely not a triumph for Catherine. To observers, it seemed that Henry was being pleasant to Catherine, showing his wife “more consideration than was his wont,” and with Anne not making an appearance. However, all was less than harmonious behind the scenes. On Christmas Eve, after her return, Henry had told Catherine that even if the Pope declared their marriage lawful, he still intended to divorce her and he would get his way, as the Church of Canterbury was more important than Rome and he would declare the Pope a heretic. Something must have broken in Catherine to hear this. She had, related Chapuys “lost all hope of bringing him to a sense of right and duty” never could think that her affairs would fall so low as they are at present. She always fancied that the King, after pursuing his course for some time, would turn away, and yielding to his conscience, would change his purpose as he had done at other times, and return to reason.” She had been wrong.
Yet the Queen had also been working behind the scenes. She might have been down but Catherine was nothing if not an indefatigable fighter, so she was not yet out. In the knowledge that Henry was hoping for the French and Italian universities to confirm his view of his marriage, Catherine set out to counter his efforts. She was more than a match for him intellectually and in terms of character, but in her present restricted circumstances, there was little she could do, being excluded from the political process as the Reformation Parliament met for the first time. Appealing to the universities was something positive that she hoped might influence the Council. The same Edward Lee, Henry’s almoner, had informed the king that nobody in Spain apart from the Emperor, “cared a straw” whether or not the marriage was dissolved, so Catherine asked Charles to ask the Spanish Universities to write in her defence, along with her niece, Empress Isabella. She hoped that if the Archbishop of Toledo could gather their responses, “her case might be considerably improved.” She also wrote to Margaret of Savoy with the same request, and “wherever else it may be considered expedient” as it was the only thing now she thought might “stop the King in his course.”
Catherine feared that her husband was “so blind as passionate in these matters, that it is much to be feared that one of these days he will take steps which may perhaps induce his people and the Commons… to consent to the divorce.” She begged Henry for permission to consult her Council of advisers, and was granted permission for them to attend her at Richmond. However, this kindness may have only been conferred “in order to discover whether she had received a recent dispatch from Rome.” In fact, Henry’s new Parliament would not yet discuss Catherine and her marriage in its coming session, instead they were setting about the process of undermining the ties that bound England to Rome.
I would like to congratulate Amy on a fabulous Blog Tour, and thank her for asking History…the Interesting Bits to be a part of it. You can find out more about Amy Licence on her website, and this amazing, definitive, biography of Catherine of Aragon is available from Amazon.
If you’d like to catch up with the previous stops on Amy’s Blog Tour, simply click on the day: Monday; Tuesday; Wednesday; Thursday.
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Catherine of Aragon continues to fascinate readers 500 years after she became Henry VIII’s first queen. Her life was one of passion and determination, of suffering and hope, but ultimately it is a tragic love story, as circumstances conspired against her. Having lost her first husband, Henry’s elder brother Prince Arthur, she endured years of ill health and penury, to make a dazzling second match in Henry VIII. There is no doubt that she was Henry’s true love, compatible with him in every respect and, for years, she presided over a majestic court as the personification of his ideal woman.
However, Catherine’s body failed her in an age when fertility was a prerequisite of political stability. When it became clear that she could no longer bear children, the king’s attention turned elsewhere, and his once chivalric devotion became resentment. Catherine’s final years were spent in lonely isolation but she never gave up her vision: she was devoted to her faith, her husband and to England, to the extent that she was prepared to be martyred for them. Banished and close to death, she wrote a final letter to her ‘most dear lord and husband’. ‘I pardon you everything… mine eyes desire you above all things.’ The fidelity of this remarkable woman never wavered.
Catherine of Aragon, an Intimate Life of Henry VIII’s True Wife by Amy Licence is one of those incredible books that you can’t get away from. Days after you’ve finished it, your mind is still pondering the twists and turns in the incredible story that has unfolded before you. And yet, this is not a gripping novel, it’s a biography … a real-life story of one of England’s most famous queens, told in an expert, accessible fashion by one of today’s most prominent historians of women’s history.
The level of detail in this book is incredible, Amy Licence has looked into every corner of Catherine’s life-story. It paints a wonderful, vivid picture of the life of a Renaissance princess. From even before her earliest years, the author charts Catherine’s life in its entirety, giving us a complete picture of the world that surrounded the young princess from the moment she was born to the moment of her death.
Plans for Catherine’s marriage started early. As far back as the spring of 1489, Ferdinand and Isabella had received a delegation sent by Henry VII of England, seeking her as a bride for his son. That March the royal family were at the castle of Medina del Campo, a blockish red medieval fortress situated on a mound dominating the town, to hear the culmination of a year’s worth of offers and promises, conditions and stipulations, about the futures of two small children. Catherine was then three years old, a small sturdy princess with auburn hair … Her prospective husband was barely out of the cradle. Henry VII’s eldest son Arthur, was the first-born child of a new dynasty, and nine months Catherine’s junior …
Not only does the author retell the events of the life of Catherine of Aragon, chronologically, but she also highlights the influences that affected her decisions and actions throughout that life. From her parents and the reconquest of Spain, through her marriage to Arthur and the lonely years following Arthur’s death, we see the events that influenced and shaped Catherine’s life as Queen of England and wife of Henry VIII.
Catherine of Aragon, an Intimate Life of Henry VIII’s True Wife discusses the personalities and character of those who had a major effect on Catherine’s life, giving us an unprecedented, detailed view of those who surrounded her at various stages in her career as princess and queen. Catherine’s marriage to Prince Arthur is thoroughly examined, giving an insight into the relationship of this young couple, a relationship that would eventually change the course of English history. We see the good and bad of the men who were to decide Catherine’s fate, in her father, Ferdinand, and father-in-law, Henry VII, and learn of Catherine’s struggles to stay positive in the face of the two kings trying to get the best deal for themselves in Catherine’s marriage. And we see an intriguing biography of Henry VIII as he grows from being Catherine’s saviour and a magnificent Renaissance prince, to being her jailer and tormentor.
Amy Licence places Catherine’s life firmly within the Europe of the time, displaying a brilliant understanding of the Reformation, and its progress from central Europe to Henry’s court. Moreover, despite the eventual failure of the marriage, Amy Licence paints a glittering picture of the court of Henry and Catherine at its height, when this young, formidable couple were the superstars of Europe.
The most revealing part of the book is in the character of Catherine herself. The author has researched every aspect of Catherine’s life and personality, providing a portrait of a formidable woman navigating her way through a male-dominated world while trying to hold true to her deeply ingrained Catholic principles. And with this comes the realisation that it must have taken an inordinate amount of personal courage to face down Henry and his demands, and the overriding fear for her own personal safety.
Of course, the latter part of the book focuses on the divorce. I am no great fan of Catherine of Aragon and have often wondered at her stubbornness and why she was so unmovable in the face of Henry’s desperate need for an heir. Amy Licence explains Catherine’s viewpoint with absolute clarity; the reasons she stuck to her guns at the risk of her own safety and that of her daughter. The author’s theories and arguments are well though-out and incisive, giving an unprecedented insight into the mind of this amazing queen and evoking empathy in the least sympathetic of readers, I’m sure.
I have no doubt that Catherine of Aragon, an Intimate Life of Henry VIII’s True Wife will be seen as the definitive biography of Catherine of Aragon. It is an impressive, essential complement to any Tudor library.
Amy Licence has been a teacher for over a decade. She has an MA in Medieval and Tudor Studies and has published several scholarly articles on the Tudors. She is an author and historian of women’s lives in the medieval and Tudor period.
Catherine of Aragon, an Intimate Life of Henry VIII’s True Wife is available on Amazon in the UK from 15th October and in the US from 14th March 2017.
Of the many executions ordered by Henry VIII, surely the most horrifying was that of sixty-seven-year-old Margaret Pole, Countess of Salisbury, hacked to pieces on the scaffold by a blundering headsman.
From the start, Margaret’s life had been marred by tragedy and violence: her father, George, Duke of Clarence, had been executed at the order of his own brother, Edward IV, and her naive young brother, Edward, Earl of Warwick, had spent most of his life in the Tower before being executed on the orders of Henry VII.
Yet Margaret, friend to Katherine of Aragon and the beloved governess of her daughter Mary, had seemed destined for a happier fate until religious upheaval and rebellion caused Margaret and her family to fall from grace. From Margaret’s birth as the daughter of a royal duke to her beatification centuries after her death, Margaret Pole: The Countess in the Tower tells the story of one of the fortress’s most unlikely prisoners.
Margaret Pole: the Countess in the Tower tells the story of an amazing woman who navigated two eras of history. Born into the Medieval world, during the reign of her uncle, Edward IV, she survived the change of dynasty and prospered during the reign of Henry VII; marrying and starting a dynasty of her own. During the reign of Henry VIII, she was accorded the title of Countess of Salisbury in her own right, and given the charge of her cousin’s most prized possession; his only daughter and heir, Mary Tudor.
Susan Higginbotham tells Margaret’s story in great detail. Starting with a childhood marred by her father’s attainder and execution by his own brother – Edward IV – the reader is drawn into Margaret’s life and family. From the highs of being governess to the princess, through the lows of her years of imprisonment in the Tower, and eventual execution at an age – 67 – when she should have been allowed to spend her days in quiet retirement, surrounded by her grandchildren; Susan Higginbotham tells a fascinating story of family tragedy, national politics and religious upheaval.
What Margaret thought of the death of her uncle Richard III we cannot know, but as she rode south on the orders of the new King Henry, she must have done so with some trepidation. Orphaned, with her closest relative a boy younger than herself, she had no powerful male relations to speak up for her, nor could her female ones be of much help. Her paternal grandmother, Cecily Neville, Duchess of York, was the mother of a defeated king; her maternal grandmother, Anne Beauchamp, Countess of Warwick, had been stripped of her lands during Edward IV’s reign….Thus, young Margaret’s future rested largely in the hands of a man neither she nor most other people in England had even met.
Engaging and sympathetically told, Susan Higginbotham’s narrative is a joy to read. It draws you in to Margaret’s life, relating her fears and hopes – and a deep and enduring love for her family.
Susan Higginbotham has undertaken an incredible amount of research for this book, an endeavour which shines through on every page. The author has reconstructed Margaret Pole’s life and death, using every primary source available. Highlighting contradictions and explaining omissions, she takes the countess’s story from her earliest days to her final, dreadful moments… and beyond. Included at the end of the book is an appendix of over 30 pages of written evidence taken in the Exeter Conspiracy; a conspiracy involving at least 2 of her sons, which would see her imprisoned in the Tower for years before she was sent to the executioner’s block. It made for some absorbing reading late into the night.
All the key players in Margaret’s story are discussed, their actions and influence on Margaret’s life analysed and assessed. From Henry VIII to Princess Mary and Margaret’s own children. Susan Higginbotham’s analysis is unrivalled, her words painting vivid portraits of all the main characters who had a part to play Margaret’s life and explaining her relationships in detail.
Moreover, Margaret’s story is firmly placed in the wider context of English and European politics of the time; and in the great upheaval of the Reformation. Where there is contention, the author presents all possible arguments, before giving her own opinion and explaining her reasoning. She makes clear where information is lacking and highlights where she is providing her own theory and opinions.
In my recent interview with her, I asked Susan Higginbotham if she saw Margaret as a victim or a heroine, and she replied:
I would say a heroine, because she had strong beliefs which she maintained in the face of pressure, and she conducted herself with courage and dignity throughout adversity. I don’t think she would like to be remembered as a victim.
This biography of Margaret reinforces Susan Higginbotham’s statement. Margaret is portrayed as a strong, independent woman, who had raised a large family single-handed, following the death of her husband. Margaret had a strong faith and demonstrated great loyalty to the Tudor dynasty. Her courage and strength of purpose shines through on every page – as does her intelligence. Margaret Pole was no meek and feeble woman, she stood up for her beliefs, herself and her family, while always maintaining her loyalty to the crown.
Susan Higginbotham treats Margaret Pole with great compassion and dignity, telling her story – and that of her family – in such an engaging manner that the book is impossible to put down. Knowing how events will eventually play out makes it no less compelling.
It is a fascinating story and – ultimately – a sad one; however, it’s also a story of faith, courage and perseverance. Margaret Pole: the Countess in the Tower is a wonderful read – shining a light on the life of a woman whose story deserves to be told.
Pictures courtesy of Wikipedia
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Today I would like to welcome author and historian Sean Cunningham as part of his amazing blog tour. Celebrating the release of his new biography, Prince Arthur: The Tudor King Who Never Was, Sean has written a wonderful article on the wedding of Arthur and Catherine of Aragon – just for us!
The Wedding of the Century: Prince Arthur, Catherine of Aragon and the Politics of a Teenage Marriage in 1501
The private and public lives of England’s late medieval royal families were no-doubt as fascinating to their subjects as the Windsors are to many citizens today. In a world without social and other media or mass literacy, however, popular discussion of the visibility of the fifteenth century royals is almost completely hidden from modern view. We do know from the propaganda produced by competing sides in the Wars of the Roses that public opinion mattered to the ruling elites. Since rivals for the crown were basically cousins who shared royal blood in more-or-less equal degrees, appeals to popular support were important in the search for political advantage.
Records of royal progresses, visits, formal entries and days of estate stand out in civic records of towns and cities because it was rare for the ruled to see their rulers in close proximity within public spaces. For that reason, we might expect evidence of more ambitious manipulation of London’s concentrated population in spectacular set-piece events like royal marriages. It is not found in the fifteenth century. Lancastrian and Yorkist leaders seem to have shied away from public view when they took their wedding vows.
Joan of Navarre was a thirty-three-year old widow when she married Henry IV at Winchester in 1403; a comforting arrangement, not necessarily to increase numbers of royal children. Henry V’s marriage to Catherine de Valois at Troyes in 1420 was a quiet soldier’s wedding, which very few English people witnessed, despite its massive political implications (or maybe because of them). Henry VI and Margaret of Anjou had a low-key ceremony at Titchfield Abbey in April 1445. Edward IV became Elizabeth Woodville’s second husband in a secret service in 1464. Richard III had married the widowed Anne Neville within Westminster Palace while he was duke of Gloucester in 1472. Henry VII’s own wedding did not occur until January 1486, despite the certainty that many of his supporters had followed him only because of his promise to marry Edward IV’s daughter, Elizabeth. It was not a state occasion, and received far less interest from heralds and chroniclers than King Henry’s first royal progress the following spring.
Political circumstances, cost, and the uncertainty of factional politics and civil war account for some of these understated royal weddings. Henry VII had no such reservations about the match of his son and heir, however. The series of events surrounding the marriage of Prince Arthur and Catherine of Aragon in November 1501 were carefully planned and stage-managed for maximum public impact on an international scale. The marriage reveals a great deal of what the king, his mother and their family thought about themselves and what they wanted their subjects to remember as key messages relating to Tudor power, right, ancestry, and fitness to rule.
In terms of its ambition and complexity, the marriage of Arthur and Catherine was planned as one of the greatest spectacles ever seen in England. Catherine would have a ceremonial journey from her place of landfall to London; pageants of welcome to the city and on the river would explore symbolism and allegory as well as being fantastically entertaining displays by human actors and mechanical devices; the interior of St Paul’s had been reconfigured to present the wedding service as a ceremonial royal performance; the public would enjoy a never-ending wine fountain near the west door of the church; tournaments in the rebuilt tiltyard at Westminster Palace would show off the martial skill of Henry VII’s courtiers; the wedding feast would be served on gold and silver worth as much as the crown’s annual income from taxation; lodgings within the royal palaces and other public spaces had been repaired and refreshed for over two years in preparation for a few days of occupancy; gifts, jewels and paintings were purchased from around Europe to be given away as a demonstration of the king’s magnificence. As the public face of England’s alliance with the Spanish kingdoms of Aragon and Castile the marriage was Henry VII’s single-minded statement of intent about the future of Tudor power.
Henry VII could aspire to build Arthur’s future in this way because 1500-01 was the high-point of his reign. Perkin Warbeck, the pretender to the crown, who had disturbed Henry VII’s sleep for most of the 1490s, was dead. His scaffold confession in November 1499 that he was an impostor (whether forced or genuine), was meant to remove all belief that the sons of Edward IV had survived the reign of their uncle, Richard III. The earl of Warwick – son of Edward IV’s other brother, George, duke of Clarence – was beheaded in the same month as Warbeck. He was the last male Plantagenet of lineal descent from Henry II. These executions made Henry VII’s queen, Elizabeth, the sole direct heir of the House of York. Emphasising that fact strengthened Prince Arthur’s position as inheritor of her ancestry and family loyalties. By 1500, it looked like the Tudor king had finally thrown of the shackles of the Wars of the Roses. Only when England was free from these lingering threats, did the Spanish monarchs agree to start preparations to dispatch Princess Catherine in the summer of 1501.
The nature of Henry VII’s reign meant that things were not stable for long. Indications soon emerged that the king’s dynastic struggles might recur. Henry’s failure to expand the ranks of his allies meant that he soon felt the effects of deaths within his circle of old friends. Two long-standing supporters, John Morton, archbishop of Canterbury and Chancellor, and John, Lord Dynham, Treasurer of England, had helped to shape Henry’s power since 1485. They died in September 1500 and January 1501 respectively. This problem would accelerate after 1502 and was magnified by other factors.
More alarmingly, Edmund de la Pole, earl of Suffolk, one of the queen’s nephews, fled overseas in spring 1501. With the help of Sir James Tyrell, he was contemplating launching a claim for the crown. Tyrell was a rehabilitated loyalist of Richard III. His defection and the seeds of another attempt to start a pro-Yorkist conspiracy can only have filled the Tudor royal family with dread. Suffolk’s departure might have been prompted by the certainty that Arthur and Catherine’s marriage would strengthen Henry VII’s power even further. Evidently he felt it was worth taking a risk to secure foreign help before that happened. Although he was persuaded to return, Suffolk soon fled again to the protection of Maximilian Habsburg, Archduke of Austria and ruler of the Low Countries. He became another pretender intent on deposing the Tudor family. King Henry moved quickly, therefore, to finalise the preparations for the wedding of his son with Princess Catherine while the political situation remained in his favour.
Ferdinand and Isabella were able to exert pressure on Henry to demonstrate that England was a stable place for their daughter’s future because their nation was a rapidly-rising world power. With little prospect of recovering former lands in France, the Tudor regime in England had recognised almost as soon as it came to power that the Spanish should be wooed as a new centre of gravity in European diplomacy. In 1501, it was less than ten years since the Columbus had discovered a new world for the Spanish monarchs. Later voyagers were only just beginning to realise the potential of the Americas, but at that time the Spanish had no rivals (following the Treaty of Tordesillas with Portugal in 1494). The reconquest of Granada at the very start of 1492 also allowed a unified Spain to begin a new focus within Europe. By the end of 1494, King Ferdinand had entered the alliance against France which soon drew many European states into the Italian wars. In the years since 1489, when Henry VII had opened negotiations for a marriage alliance, it was clear that Spanish influence was under transformation. A European superpower was emerging and the English king put himself in exactly the right place at the right time to take full advantage.
Catherine left Corunna on 17 August 1501. Storms and delays meant that she landed in Plymouth and not Southampton, as planned, on 2 October – a month later than expected. She therefore had to endure a far longer land journey towards London; but that did give more people the chance to see her on the road. Henry VII was annoyed by the disruption this caused to his arrangements, but could do little until Catherine got nearer to his base at Richmond Palace. Records suggest that genuine excitement travelled ahead of the princess and down the road to London as she, her massive and exotic entourage, and the English nobles and gentry accompanying her crossed southern England.
At the centre of all of this complex activity were two teenagers. When looking at the lavish and elaborate events that were part of the marriage, it is really important to remember that Arthur and his bride had only just met. Sixteen-year-old-Catherine had been in the country for six weeks by the time of her wedding on 14 November. She had barely paused for more than a few days after a direct journey of almost two hundred miles from Plymouth to London.
This was an arranged marriage, too. Although both young people had been bred and trained for a demanding public life, nerves and perhaps shyness must still have been part of their first meetings. Language was certainly an issue – even conversational Latin was tried. Having seen England’s future queen, Henry oversaw a renewal of the couple’s marriage vows in person at Dogmersfield in Hampshire on 6 November. The king and Arthur then headed for London. Catherine stayed in Lambeth until 12 November when she was met by Prince Henry, the duke of Buckingham and many other lords in St George’s field, south of London Bridge, for the start in earnest of her wedding festivities.
The king and his council had worked with the mayor and aldermen of London for almost two years to devise and to build pageants of welcome. The first was at the south side of London Bridge. It depicted the story of St Catherine and St Ursula. Actresses playing those saints flattered Catherine’s virtue and honour as part of an astrological allegory on the constellations of Ursa Minor and Arcturus. At the other end of the bridge, a second setting contained a castle covered in Tudor badges and imagery – the Castle of Policy. Catherine was presented as the evening star whose noble presence spontaneously opened the castle gates. A third construction on Cornhill was a mechanical zodiac that placed Arthur and Catherine in heavenly proximity to God. Arthur was depicted as an ideal knight in splendour on the heraldic fourth pageant on Cheapside; while the fifth, outside the Standard Inn, was even more celestial. God’s throne and a representation of heaven presented a dazzlingly-armoured Arthur as divine Justice. At the sixth pageant, by the entrance to St Paul’s churchyard, the Seven Virtues guarded empty thrones awaiting Arthur and Catherine next to an actor representing Honour. The clear message was that honour could only be reached by virtuous living.
Much of the level of detail would have had little impact upon the mass of onlookers. It was meant to be visually stunning but not necessarily understood in all of its allegorical complexity. The constant use of badges and beasts like the red rose, portcullis, red dragon, and greyhound made for a quick visual association between the spectacle and the king’s authority. Ramming home the message that Arthur and Catherine were deserving inheritors of this extravagant power was vitally important. This need continued on the wedding day itself.
Arthur and Catherine were meant to be seen together. This marriage was a union of two people and an alliance of two nations. The setting of the church and orchestration of the ceremony reflected that. A raised platform built from thousands of deal planks formed a walkway that stretched along the interior of St Paul’s. Henry and Queen Elizabeth watched from a small closet so that they did not detract from the focus on the married couple. The bride and groom wore white satin. Catherine was escorted towards the altar by Arthur’s brother, Henry. Her Spanish style of verdugeo dress and highly fashionable hood were noticed by the herald’s keen eye. Before the service, a formal exchange of agreements and documents took place. They guaranteed Catherine’s status and income and firmly endorsed Ferdinand and Isabella’s alliance with Tudor England. The most notable moment in the ceremony came when Arthur and Catherine, now married, turned at the door of the choir to look back down the body of the church. It is easy to imagine their dazzling outfits and the faces of hundreds of people, who then spontaneously began to shout in celebration.
Outside another strange pageant was constructed like a mobile mountain, complete with rocks, trees, herbs, fruit and metal ore. A river of wine confirmed this as the allegorical source of all the things that the king’s subjects needed. It was the riche-mont, a pun on Henry’s former title of earl of Richmond. The presence of the Christian Nine Worthies placed Henry VII and Arthur in the same category of ruler as Charlemagne, King Arthur and Godfrey de Bouillon.
The magnificent wedding banquet then followed in the bishop of London’s palace. Spanish and English lords and ladies intermingled as the king’s chefs excelled themselves in inventiveness. It was also remarkable that the feast was served on magnificent silver and gilt plate while another set of dishes and jewelled chalices remained on display within the room. Henry’s proclamation of his wealth was hard to miss. The feasting and drinking lasted for most of the afternoon. In the early evening, chambers were prepared for the wedding night. What happened next (and its implications), is another part of the story and one that requires longer discussion elsewhere.
Here we must leave Arthur and Catherine at the end of their exhausting wedding day. In the full glare of attention and with a weight of expectation around their shoulders, it would be no surprise if a good sleep was all that the couple managed that night. They had time on their side and in the middle of November 1501, the future for Tudor England looked to be strong and dynamic. Henry had spent a fortune in coin and energy in ensuring that the political dimension of his son’s wedding was achieved spectacularly and flawlessly. No-one could have expected that within fifteen months the regime would once again be creaking on the point of collapse as both Prince Arthur and Queen Elizabeth were dead in their tombs. The wheel of fortune had turned once again for Henry VII. How he recovered would depend on a radically different strategy to rescue control over the succession of the crown, then reliant on the survival of his only surviving son, Prince Henry.
Dr Sean Cunningham, has worked at the UK National Archives for over twenty years, where he is currently Head of Medieval Records. He is the author of several works on late medieval and early Tudor history, including Henry VII in the Routledge Historical Biographies series and the newly-released Prince Arthur: The Tudor King Who Never Was, for Amberley. Sean is about to start researching for a major funded project on the private spending accounts of the royal chamber under Henry VII and Henry VIII. He is a Fellow of the Royal Historical Society and co-convenor of the Late Medieval Seminar at London’s Institute of Historical Research.
Prince Arthur: The Tudor King Who Never Was is available from Amberley, Amazon and other online outlets and bookshops.
Pictures of Catherine of Aragon and Old St Paul’s are courtesy of Wikipedia, all other pictures courtesy of Sean Cunningham.
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This book provides a fresh perspective on the lives of Henry VIII’s six wives by embarking on a journey through the manors, castles and palaces in which their lives were played out.
Each location is described in a fascinating narrative that unearths the queens’ lives in documents and artefacts, as well as providing practical visitor information based on the authors’ first-hand knowledge of each site. Accompanied by an extensive range of images including timelines, maps, photographs and sketches, this book brings us closer than ever to the women behind the legends, providing a personal and illuminating journey in the footsteps of the six wives of Henry VIII.
In the Footsteps of the Six Wives of HenryVIII, by Sarah Morris and Natalie Grueninger, is an absolute treasure trove of pictures and information of the many historic locations associated with Henry VIII’s 6 wives. The book is divided into 7 easy-to-follow sections; the 1st covers the principal Royal residences of the period and the 6 subsequent portions are each dedicated to one of the 6 wives, in chronological order.
The book examines each of Henry’s queens in turn, looking at the locations associated with them, not only when they were queen, but also from their childhood and early life. In each section, we are treated to the queen’s story, her triumphs and failures, told through the palaces in which she experienced them.
In the Footsteps of the Six Wives of HenryVIII takes you on a visit of each location, whether it’s a palace or manor house, the authors give vivid tours, telling you what to look out for, what is still extant – and what is lost to history. In one location, they guide you to a housing estate and point out the walls which once made up the exterior of a Henry VIII’s now-lost palace. You are also provided with a practical guide to the locations covered, giving you visitor information, parking suggestions, details on refreshments and facilities.
With Katherine of Aragon, we visit the magnificent palaces of Spain, while Anne Boleyn takes us from Burgundy to the Loire Valley. Jane Seymour allows us to investigate the renowned Wolf Hall and Anne of Cleves gives us a fascinating glimpse into Germany’s wonderful castles. Jane Seymour The tragic story of Katherine Howard allows us to join Henry’s great progress of 1541, through Lincolnshire and Yorkshire, before the tragic last months of imprisonment at Syon House. Which finally brings us to Katherine Parr, investigating the locations associated with her first 2 marriages, her life with Henry and then her final years with Thomas Seymour.To walk the grounds and corridors of Hampton Court Palace is to walk in the footsteps of all the Tudor kings and queens. Within the Tudor palace’s russet-coloured walls, the present fades into the brickwork and the past emerges to greet us. Although mush of the Tudor palace has, over the years, been modified or demolished and replaced with William III’s and Mary II’s baroque palace, the buildings that survive propel us back through the years to a time when Hampton Court was one of Henry VIII’s most beloved palaces, at the centre of court life and politics.
If nothing else, it is worth reading In the Footsteps of the Six Wives of HenryVIII for the research the Sarah Morris and Natalie Grueninger have conducted into the Anne of Cleves panels. These wonderful wood carvings are discussed and investigated in detail; their fascinating story told for the first time in its entirety. It is not hard to imagine the feelings of curiosity and, sometimes, disappointment the authors must have felt as they tried to uncover the provenance of these panels, and their associations with Henry VIII’s 4th wife. Their eventual success and discoveries are a testament to the author’s persistence and tenacity.
This book is amply supported by quotes from primary sources, describing the locations as they were at the time the queens lived. The authors have a wonderful habit of discussing the difficulties involved in locating and identifying some of the less famous sites, making you feel part of their investigations.
An abundance of photographs and illustrations are included in the book. These include colourful photos of the sites as they are now, black and white floor plans from the Tudor period and artwork painted through the ages.
Sarah Morris and Natalie Grueninger have created a wonderful book, which is a combination of history book and travel guide. They have worked so well together it is impossible to see the join; they speak with one voice in this stunning collaboration. The book is produced in a way to make it easy to dip in and out of, making it possible to read only about the locations you are currently touring, or to read from beginning to end in a couple of sittings. But be careful, in just looking up one specific location you may find that you lose an entire hour without noticing.
The only criticism I would have is that there are no footnotes to clarify the source of quotations, which makes it harder to use as a research tool, but not impossible. This fault is partly offset, moreover, by an extensive bibliography of primary and secondary sources, and in no way detracts from the enjoyment of the book as a whole.
Remarkably, the authors give equal empathy to each of Henry’s wives. It is impossible to discern a bias for Katherine of Aragon or Anne Boleyn (a remarkable achievement). Each property is subject to the same attention to detail, whether it was a frequently occupied palace, or a manor house visited for just a few days while on progress.
In the Footsteps of the Six Wives of HenryVIII is beautifully written and thoroughly engaging. You can practically hear, see and smell the Tudors. The book is a detailed, enjoyable and enlightening read, no matter whether you are intending to travel to the palaces, or visiting them through the book, you are in for a real treat. The authors have an incredible ability to invoke the past and recreate the sumptuous, lavish lives of England’s most fascinating queen consorts. It will be a valued addition to anyone’s Tudor library.
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Amy was also kind enough to answer a few questions for me; about her love of writing and history.
What made you become a writer?
I’ve always been a writer, since I could write, since I could formulate a narrative. I wrote my first story when I was three and I decided that was what I wanted to do when I was eight years old – that was after I rejected the possibility of being a ballerina, an actor, an architect and an interior designer. I sent off my first novel at sixteen – it was rejected, of course! Since then I’ve always written, it was just something I had to do, I don’t feel right it I’m not writing: if I’m breathing, I’m writing. Words – their meaning and rhythm – are how I make sense of the world. I kept doing it all through university, and while I was a teacher, having articles, poems and stories published, but it wasn’t until 2011 that I finally signed a contract!
With young children around, how do you discipline yourself to write?
Luckily for me, it’s not a question of having to discipline myself. Writing is my escape and my relaxation; I feel most myself when I’m writing, so it’s essential for me to do it. Finding the time can be difficult though, so I write by stealth, whenever and wherever I can. It’s not too hard because I love it; I always have a book in my hand to research from or a notebook to jot ideas in. My hands will be changing a nappy while my head is in the fifteenth century. I have to be very organised to divide my time between my children and my work so I choose how I spend my time and try not to waste it. I don’t watch a lot of TV, for example. I have to be able to switch in and out of it quickly, as I’ll be writing and then a plaintive voice will ask for a drink, or for a story to be read, so I’m off for ten minutes then back to finish my thought.
How do you organise your writing day?
Usually it fits around the school day, so it’s balanced between getting my eldest son ready and out on time and playing with my younger one. I manage to do my best work in the morning once I get back, between about 9 and 11, often with my younger boy sitting beside me, drawing or playing. We’ll have lunch together and play in the afternoon. The boys will happily play together for about an hour when we get in from the school run so I sometimes manage another hour then. I’ll try and do some more in the evening too, or at least sit with my family if they’re watching TV with a pile of books and do some research. We try and spend as much time together as we can on the weekend but if I have a deadline looming, my husband will take the boys out for a morning.
How many projects do you have going at once, or do you concentrate on one at a time?
It depends upon my deadlines. I usually have four or five ideas for different things running in my head and work on them at different speeds. Typically, I might have one main book to be written, which I’m preparing for a deadline, and a second in the planning and research stage, plus a couple of novels I’m tinkering with and a number of articles and/or reviews. Each has a different speed. I have two reading piles too; one with books for my writing, which I’m dipping in and out of, and another for escapism reading. I like to have four or five books on the go that are totally different to what I’m writing about – the Post-Impressionists, Ted Hughes, D.H Lawrence and Tolstoy at the moment.
How long do you spend researching your subject before you start writing?
This is an odd one because it has been a slow-burning process. I’m not coming to any of my topics new, so although I’m writing about them now, I’ve been reading about them for 25 years. By the time I was 15 I’d read all the books in my local library about the Tudors and I completed my MA in Medieval and Tudor history in 1995. Since then I’ve been reading everything new about them I can get my hands on. So the general research has been on-going. With each book though, I do more specific “honing” research, which is the trawling through primary sources and that can take between 6 and 9 months.
What do you enjoy most about writing as a career?
I actually enjoy the process of writing! It’s lovely when a book comes out and the reviews start to come in; it’s great to see my name on Amazon and it’s a real buzz to give author talks to people who are interested in my work. Best of all though, is just me sitting down at the computer and writing. It takes me to another place.
What is the worst thing about writing as a career?
That it’s not a viable career. I work long hours, very hard, building on years of perseverance and dedication, overcoming rejections and I get paid less than if I was working in a supermarket stacking shelves.
How long does it take to do a project from start to finish?
Again this can vary, given that the ideas have been brewing for a long time, but the period from signing a contract to submitting the book is usually about a year, sometimes more.
Have you ever considered writing a novel? What would it be about?
Novel writing was my first love. I worked for ten years with a top literary agent and submitted about five novels to them; they loved them and said my writing was beautiful but that the market wasn’t quite right for them. I like to write literary fiction; my heroes are Woolf, Dostoevsky, Gorky and Nabokov but the current market isn’t particularly welcoming for new authors in this style. I have written historical fiction too; while I was at university I wrote a novel about the death of Amy Dudley and more recently, one about a teeth stealer on the battlefield of Waterloo, plus I’m half way through one about Edward IV. It’s just finding the time to finish it!
Who are your favourite personalities from history?
Quite honestly, I get interested in most characters I research. I don’t go for particular sides or affiliations, but I am drawn to people who challenged or defied the rules in some way, either breaking the law or transgressing social boundaries. I’m interested in people’s motivation under duress and the people who really carved out their own niches and made their own luck so I am fascinated by the lives of Edward IV and Richard III.
Which is your favourite and why, the Wars of the Roses or the Tudor era?
I like both very much, I like the century straddling the two, from about 1450 to 1550. I think we tend to perpetuate something of an artificial divide between them and I’ve just submitted a book proposal that covers exactly this period, both Wars of the Roses and Tudors and looks at the continuity. If I had to choose between one or the other, I’d probably go for the court of Edward IV, simply because the Tudors have already received so much attention.
Why Edward IV and Elizabeth? What is it about them that fascinates you?
I think there are so many interesting things about this pair, individually and collectively. The more I research Edward, the more of an interesting figure I find him, in terms of his personal rule, charisma and abilities: he was a supremely able man who conquered the country twice and held it together by force of his personality. I really think he has been overlooked by history. His marriage to Elizabeth and their relationship intrigues me too. I also feel that she has had a very raw deal from historians, almost written up as a caricature, typifying the notions of patriarchal history and “cherchez la femme”, and she deserves to be analysed far more objectively. Despite the initial objections to her background, birth, age and marital history, Elizabeth can be seen as conforming to contemporary notions of ideal queenship; beautiful, fertile, submissive. She is a paradox who has divided historians for centuries, but much of that is the repetition of a patriarchal mind-set that has remained unchallenged until recently.
What era that you haven’t yet written about would you like to get your teeth into?
Good question. Definitely the English Civil War and its aftermath; I’d love to do something on the failed experiment of the radical sects in the C17th, or on Charles and Cromwell, or the period slightly before. I’d also quite like to write about Eleanor of Aquitaine and I’m very keen to do another early C20th book, about some of the makers of Modernism. I have plans in the pipeline for that last one.
A lot of your work has been about women in history. What attracted you to their stories?
I wrote my first published book, In Bed with the Tudors, because I’d just had my first child. I was interested to explore the experiences of women during pregnancy and birth in the past, so I suppose it does have a lot to do with the fact that I am a woman. However, I’m also drawn to write about marginal figures whose stories have been overlooked and I’m fascinated by alternative narratives. In my forthcoming “Red Roses” (The History Press, March 2016) I trace an alternative thread to the male metanarrative that has dominated historiography, connecting the women of the Lancastrian dynasty between the 1340s and 1509 and seeking common themes in their lives. The study of women’s history is comparatively new and it’s shocking how often their lives are simply retold in the same ways, without attempts being made to get inside their heads and see things from their perspectives.
Do you every get writer’s block? If so, how do you get round it?
I don’t believe in writer’s block. If you’re a serious writer, you have to be professional about it and just get on with it. There is always something to be done, even if it turns out not to be perfect. If you’re finding one section difficult, write another part, or go back and revise. If writing is tricky that day, research, read, make notes, collect images or jot down some ideas. You can always go back and change them, or reject them entirely, but it’s a process of crafting and clarification, so the next time you attempt that bit, it will be that little bit better. If you produce nothing, you have nothing to work with, you’re still at step one. My mantras are: “the worst thing you write is always better than the best thing you don’t write” and “the only way to do it, is to do it!”
Do you find social media – such as Facebook – a help or a distraction?
Both. It has been invaluable for connecting me with wonderful, like-minded people from all round the world. I thank them profusely for their friendship and kindness, for sharing their thoughts and research; I’ve made some great friends on Facebook who have inspired and influenced me and kept me sane. It is also my shop-front and without question, has helped me reach a far wider audience and update people about my work and appearances. However, it can be a huge time waster. Sometimes, especially with deadlines looming, I have to step back from it, or else I would get nothing done.
What is your next project?
I’ve signed three contracts and am about to sign one more, to keep me busy for the next couple of years. I will keep some of those projects secret for a while, but can tell you I’ve begun writing a huge biography of Catherine of Aragon. Catherine tends to get often in terms of her gynecological record and marriage to Henry but I want to analyse her as a queen in the context of her childhood and parentage. I want to explore the influence of her mother Isabella – who expelled the Jews from Spain and founded the secular branch of the Inquisition, as well as patronising female humanist scholars – and how this shaped the mind-set of a woman who never forgot she was Isabella’s daughter and resisted Henry’s demands because she felt the higher calling of God. I want to see Catherine as a Renaissance woman in her own right. Henry is definitely taking a back seat for this one.