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4. F2014 Henry VIII War and Palaces
- 1. Henry VIII War and Palaces Catherine of Aragon Cardinal Wolsey
- 2. Katherine of Aragon - Regent • 1513 Henry VIII invasion of France • With Council organized response to invasion by James IV • Reported to have personally assembled reserve force – Arms of England and Spain
- 3. Navy Henry VII 1487 Purchase a ship 1488 Regent, Sovereign Great ships of ~600 tons 1488, 1490 Seize two Scottish ships 1497 Two ships built Henry VIII 1511 Mary Rose 1513 Henry Grace a Dieu By 1547: 47 ships built 35 purchased or captured
- 5. Mary Rose
- 6. Henry Grace à Dieu or Great Harry, Anthony Roll, 1545 Photo by Gerry Bye. Original by Anthony Anthony. - Anthony Roll as reproduced in The Anthony Roll of Henry VIII's Navy: Pepys Library 2991 and British Library Additional MS 22047
- 7. Greenwich Palace and the Royal Docks
- 8. Wolsey and Henry VIII Hampton Court
- 9. Thomas Wolsey Capitalized on Henry’s disdain for routine work 1514-15 Archbishop of York; Cardinal 1518 Established lectureships in humanities at Cambridge 1525 Cardinal College, Oxford to combat heresy
- 10. Wolsey • Taxes on wealth affected rich • Courts of the Star Chamber and Chancery revived • Tried to regulate prices and use of enclosures
- 11. Hampton Court (B) Base Court –guests; (D) Clock Court-state apts.; (O) Clock Tower-Wolsey apts.
- 12. Contemporary Views The king’s court Should have the excellence, But Hampton Court Hath the preeminence John Skelton “Had I but served God as diligently as I have served the King, He would not have given me over in my grey hairs” Wolsey
- 13. Hampton Court
- 14. Tiberius Nero Base Tower Reliefs by Giovanni da Maiano "Hampton Court Palace (3037996528)" by Cristian Bortes from Cluj-Napoca, Romania
- 16. Meeting of Henry VIII and Emperor Maximilian, 1513
- 18. Battle of the Spurs, 1513
- 19. Battle of the Spurs, detail, surrender of Chevalier Bayard
- 21. Field of the Cloth of Gold, 1520
- 22. Field of the Cloth of Gold, Henry VIII
- 23. Canvas Palace Constructions Kite?
- 24. Field of the Cloth of Gold, detail, beer and wine fountain
- 25. Whitehall Palace from Thames
- 26. Scotland Yard Whitehall Stairs Privy Stairs Whitehall Palace from 1560s map
- 27. Holbein Gate
Hinweis der Redaktion
- Told Wolsey she was making banners, standards and badges. Ordered troops and ships north. She was accompanied by six trumpeters Ordered golden headpiece with corwn nd two helmets –light sallet helmet and shapewe helmet.
- Measurement related to capacity in tons of wine.
- The village of Snargate is about seven miles inland from the English Channel, a few miles north of the port of Rye. The painting was uncovered in the north aisle of St Dunstan’s church when old whitewash was removed in the 1960s. It is a big image, measuring roughly 1.5 by 2 metres (around 4 x 4¾ feet). The artist used red paint, now faded to a shade of terracotta. Dated 1480-1520. Snargate is 7 miles from Reding The bow of the ship is higher than the stern, one of the defining features of a carrack, the biggest ship-type of the 15th century. The multiple arches shown in the castles are gunports, designed for small swivel guns – man-killers. By counting the gunports its possible to estimate that a ship of this kind would have had around 90 guns in the castles on each side of the ship, 180 in total. One of the unusual things about this late 15th/early 16th century painting is that it shows a huge, heavily-armed, four-masted carrack. Ships of this kind were not common in England, but in the 1480s two royal carracks of this type, the Regent and the Sovereign, were constructed for Henry VII, the first Tudor king. The 600-ton Regent was built at Reding, around four or five miles from Snargate, in the years 1487-88 (
- Under restoration and artist’s impressin MARY ROSE was carvel-built with twenty heavy and sixty light guns comprising a mixture of muzzle-loading cast bronze and breech-loading cast iron guns. With a complement of some 500 men, Dimensions Air Draft To be confirmed Breadth: Beam 25.57 feet (7.80 metres) Length: Overall 110.33 feet (33.65 metres) Depth 15.08 feet (4.60 metres) MARY ROSE took part in Henry’s first (1512-1514) and second French Wars (1522-1525), always as the flagship of the Lord High Admiral - his favourite warship.
- In all she mounted 43 heavy guns and 141 light guns. She was the first English two-decker and when launched she was, at 1500 tons burthen, the largest and most powerful warship in Europe. The tradition maintained by the Royal Navy of "showing the flag" at seaside towns to uphold the morale of the Navy is said to have its origins in a service held at the Bradstowe Chapel (Broadstairs, Kent) in 1514 with the crew of Henry Grace à Dieu in attendance, whilst the largest and latest addition to the King's Fleet was moored nearby.
- The first Royal dockyard was built by Henry VII at Portsmouth. Henry wanted large ships which could carry exported goods like woollen cloth for trade with the continent and further afield. Portsmouth was well placed for crossing the English Channel so the first dockyard was built there in 1496. Why were the dockyards built in Woolwich and Deptford? Henry VIII had argued with the Pope over obtaining a divorce from his first wife, Catherine of Aragon. This meant that there was a threat of war from England's Catholic neighbours, France and Spain. Portsmouth was a long way from the Armouries in the Tower of London, where all ships were equipped with cannon and artillery. To make the building of warships more convenient, Henry decided to build two dockyards on the Thames in 1513. These would be close to London where it was easier to get arms, supplies for building the ships and a ready labour force. Henry chose Woolwich and Deptford as his sites as they were also conveniently near his Palace at Greenwich, which meant that he could watch the shipbuilding in progress. He is known to have enjoyed banquets on board ships before they set sail.
- 1520 unknown artist wide differences in subsequent assessment, variously presenting him as a warmonger, a peacemaker, and a statesman; a religious reformer and a worldling hampered by clerical garb; an impartial judge and a corrupt taker of bribes. Although archival research from the late nineteenth century onwards has brought new material to light which has made it possible to amend or amplify current understanding of the affairs, both national and international, in which Wolsey was involved, little new has been discovered to help resolve either the ambiguities of his aims or the truth about the character of a fundamentally secret man who claimed to be in all things merely the king's servant. If it were possible to be sure of its sincerity, Wolsey's rebuke to the duke of Suffolk, after his secret marriage to the king's sister, that ‘ye have failed to him which hath brought you up of low degree to be of this great honor’ (LP Henry VIII, 2/1, xxvii–viii), could offer an insight into his own beliefs. But all that can be said for certain is that Wolsey was a man who displayed all the outward hallmarks of greatness, with failings in proportion to his aspirations and achievements.
- Giovanni da Maiano II (c. 1486-c. 1542) was an Italian sculptor employed by Henry VIII of England and Cardinal Wolsey to decorate their palaces. Giovanni began to work on a tomb for Wolsey with the Italian sculptor and bronze-founder, Benedetto da Rovezzano, but the project had to be abandoned after the Cardinal fell out of royal favour in 1529.
- Flemish ~1513 In order to pursue his ambitions in France, Henry VIII formed an alliance with the Holy Roman Emperor, Maximilian I. This painting records their meeting and the main events pertaining to Henry’s first campaign against the French in 1513. The composition comprises of a series of horizontal bands. The emperor and the king, both on horseback, meet in the centre foreground. They are shown again in the middle distance, again on horseback, between divisions of infantry and artillery. The emperor’s coat-of-arms is shown on the tent to the left and Henry’s on the tent to the right. Just above the centre the Battle of the Spurs is taking place, while in the background the towns of Thérouanne (left) and Tournai (right) are under siege. Military success and glory was important to Henry VIII and featured highly in his foreign policy. This painting follows the tradition set by Henry’s forebears of recording significant events in a monarch’s reign. It is not sure where it would have originally hung, but one possibility is at Whitehall Palace where it may have been incorporated into the architecture as a frieze together with another painting depicting the Battle of the Spurs (RCIN 406784).
- Creator: Flemish School, 16th century (artist) Creation Date: c. 1513 Materials: Oil on canvas Dimensions: 131.5 x 264.2 cm RCIN 406784 Reference(s): OM 23 Acquirer: *Henry VIII, King of England, family of Provenance: Probably painted for Henry VIII Description: This horizontal format painting commemorates Henry VIII's early military triumph in France. On 16 August 1513 the French troops of Louis XII were defeated outside the town of Therouanne by a combined army of English and imperial troops. The Holy Roman Emperor Maximilian I fought for, as opposed to alongside, the English King. The speed with which the French cavalry retreated gave the event its name: The Battle of the Spurs. In this depiction Henry VIII is depicted on horseback at the centre of the melee. The French Chevalier Bayard kneels before him in surrender. This painting, like RCIN 405800, may have been intended to be set into the walls of Whitehall Palace. This may account for its non-appearance in the 1542 and 1547 inventories. Text adapted from J. Scott, 'The Royal Portrait: Image and Impact', London 2010.
- Creator: British School, 16th century (artist) Creation Date: c. 1520-40 Materials: Oil on canvas Dimensions: 168.9 x 346.7 cm RCIN 405793 Reference(s): OM 24 Acquirer: Henry VIII, King of England (1491-1547) Provenance: Probably painted for Henry VIII Description: This bright painting shows Henry VIII and his fleet setting sail from Dover to Calais on 31 May 1520 on the way to meet Francis I at The Field of Cloth of Gold. Henry VIII is shown standing on one of the vessel with golden sails in the background. The lack of artistic proprtion in depicting the size of the ships may be an intentional device to convey the impressive nature of this journey and the overwhelming magnificence of the English court. Dover castle is depicted in the upper left-hand corner, and two round gun towers in the foreground fire salutes. The painting is not recorded in the 1542 and 1547 inventories, possibly because it was set into the walls of Whitehall Palace. It was probably commissioned by Henry VIII to commemorate the lavish event and may have been created as a companion piece to RCIN 405794.
- Creator: British School, 16th century (artist) Creation Date: c. 1520-40 Materials: Oil on canvas Dimensions: 168.9 x 346.7 cm RCIN 405793 Reference(s): OM 24 Acquirer: Henry VIII, King of England (1491-1547) Provenance: Probably painted for Henry VIII Description: This bright painting shows Henry VIII and his fleet setting sail from Dover to Calais on 31 May 1520 on the way to meet Francis I at The Field of Cloth of Gold. Henry VIII is shown standing on one of the vessel with golden sails in the background. The lack of artistic proprtion in depicting the size of the ships may be an intentional device to convey the impressive nature of this journey and the overwhelming magnificence of the English court. Dover castle is depicted in the upper left-hand corner, and two round gun towers in the foreground fire salutes. The painting is not recorded in the 1542 and 1547 inventories, possibly because it was set into the walls of Whitehall Palace. It was probably commissioned by Henry VIII to commemorate the lavish event and may have been created as a companion piece to RCIN 405794.
- Lo! flying in great loops, a splendid and hollow monster stretched out in the sky, over the earth, a dreadful monster, of immoderate size, thanks to the cunning art of English constructed on the inside from hoops and on the outside woven from cloth. This shapeless monster is a dragon. From the skies of Ardres it flies to Guines, this artificial dragon fashioned by the great skill of the English Its eyes blaze. and with quivering tongue it licks its mouth. which opens wide; the dragon hisses through its gaping jowls It makes a sound as it advances over the earth with rustling wings while with its grey body it cleaves a path through the air Whether by means of the wind stirring in the hollow recess of its belly, wind which the dragon draws in through its gaping mouth. or by means of a wagon pulling from afar a thin cable, it already occupies the space next to Guines. Dubois
- Whitehall Palace In 1530, King Henry VIII acquired York Palace from Cardinal Thomas Wolsey. Wolsey was a powerful minister who had lost the King's favour by failing to obtain a divorce from Henry's wife, Catherine of Aragon. Henry renamed the palace, the Palace of Whitehall, and redesigned and extended it. The Palace replaced Westminster Palace as Henry's main London residence. Henry spent the huge sum of £30,000 on revamping the Palace, which was twice as much as the whole construction of Bridewell Palace. The new palace had a tiltyard for jousting and was one of his favourite residences. Henry was intimately involved in the design together with Anne Boleyn. In 1533, Henry married Anne secretly at the palace, and in 1536 married Jane Seymour. He died at the palace in January 1547. By 1691, the palace had become the largest and most complex in Europe. Much of the Tudor portion of the building was destroyed by fire in 1691. Now the site of 70 Whitehall, the only Tudor parts of the site include a tower, parts of the covered tennis courts, and an undercroft from Wolsey’s Great Chamber, known as Henry VIII’s Wine Cellar.
- The land may originally have been given by the Saxon King Edgar to King Kenneth III of Scotland for accommodation for his annual journey "to do homage for his kingdom of Scotland" and then later used by the Scottish kings when they came to do homage, as barons of the realm, for the counties of Cumberland, Huntingdon and other English lands held by them. The Palace of Scotland was allowed to fall into decay by Henry VIII. It is believed by some that the last person to have lived at the palace was Margaret Queen of Scots, sister of Henry VIII, who resided there after the death of her husband, James IV at the battle of Flodden Field.
- The Holbein Gate was a monumental gateway across Whitehall in Westminster, constructed in 1531-2 in the English Gothic style. The Holbein Gate and a second less ornate gate, Westminster Gate, were constructed by Henry VIII to connect parts of the Tudor Palace of Whitehall to the east and west of the road. It was one of two substantial parts of the Palace of Whitehall to survive a catastrophic fire in January 1698, the other being Inigo Jones's classical Banqueting House. The Holbein Gate was described by Thomas Pennant as "the most beautiful gate at Whitehall". It was demolished in 1759. The name of Holbein Gate reflects a tradition that it was designed by Hans Holbein, although any connection with Holbein seems unlikely. It was also known as the King's Gate or the Cockpit Gate, being close to the Royal Cockpit. The Westminster Gate or Kings Street Gate further south was built in a simpler more classical style with circular corner towers and domed turrets, and was demolished in 1723. The Holbein Gate is shown in drawings and engravings, including an engraving made by George Vertue in 1725 and published in 1747 in Vol. I of Vetusta Monumenta. The gate was a rectangular building of three floors, with the principal rooms on the upper two floors. Projecting square bases on each corner supporting octagonal towers and turrets. A passageway between the towers approximately 12 feet (3.7 m) wide allowed traffic to pass beneath a flat archway, with one footway to the east and possibly a second footway to the west through the towers (although the west footway may have been blocked and then cleared). Above the arch was an oriel window with two row of six lights (one to either side and four in the centre) on the first floor, and a window of four lights in a double row on the first floor. The top of the tower was surmounted by a parapet with battlements. Each face of the octagonal towers had two-light windows in double rows. Both sides of the gate were faced with chequerboard patterns of flint and stone, and also decorative carved panels, including a royal coat of arms above the arch, gryphons holding shields, and other royal emblems, such as the portcullis, fleur-de-lys and Tudor rose. Roundels to either side of the large central windows held with busts, possibly by Giovanni da Maiano. (Three terracotta busts by Pietro Torrigiano owned by the Wright family in Hatfield Peverel until the 1920s were thought to come from the Gate, but later scholarship doubts any connection.) The arch was arch later filled in down to the springing, flattening its profile. A gallery to the west overlooked the Royal Tiltyard (now Horse Guards Parade) leading eventually to St James's park. Another gallery led to the Cockpit.