Lurking? Well, apart from me, of course, and my camera (which I managed to mess up rather, so apologies for the quality of the two portrait-photos, which were taken on 9th June 2018.
Richard and Elizabeth of York were among the many portraits. Of course, there having been so many Fitzalans and Howards at Arundel over the centuries, there weren’t many from the medieval period. If Henry VII sneaked in, I didn’t spot him. I couldn’t get in front of the portraits, or even all that close, so these were the best I could manage. Again, sorry they’re such poor quality.
The picture I took of John Howard’s (1st Duke of Norfolk) portrait was blurred, and so I have found it online. His portrait was large, and had pride of place, so I imagine they are proud of him. And rightly so, of course.
Since first writing this article, I have learned (courtesy of Susan Troxell) more about the portrait of Richard III. She made enquiries at Arundel Castle, and received the following from Dr John Martin Robinson, Librarian to the Duke of Norfolk:-
“Thankyou for your email. It is likely that the portrait of Richard III belonged to Lord Lumley in the 16th century, and was acquired from him with other family portraits by his nephew Thomas, the ‘Collector’ Earl of Arundel in the early 17th century. And then by descent in the Howard family.”
Thank you for your help, Susan.
All in all, Arundel Castle was an excellent experience, except for all the nineteenth-century Gothic. If you want to get up into the keep, beware. There are 131 steps, and dire warnings of the fact. My ill-tempered knees had the habdabs at the mere prospect, so I didn’t call their bluff!!!
And here we have…Harry Hotspur. The picture is from here, an interesting site about the Percy family. This is said to be a very good likeness of Hotspur, although how anyone can really know that I’m not sure. Clearly he conforms to a Percy “type”.
The section dealing with the Percys under Richard III is under construction, so it’s a case of watching this space.
“Prior to defeating Richard III in battle, Henry VII had the most anemic claim to the British monarchy since William the Conqueror in 1066.” Anemic/anaemic is a great adjective for the Tudor’s actual situation. He should never have won at Bosworth!
The above quote from here is to do with another book about our period, a biography (I think!) of Henry VII. It does not give me much information about Mark Horowitz’s attitude to Richard. I’m a “once bitten, twice shy” sort of gal, so do not hold out much hope that Richard will be dealt with even-handedly. I trust I’m wrong. Over to you, Mr. Horowitz….
I must have read about this before, but it feels new somehow. Supposedly, the man in blue (see below) is Richard of Gloucester/Richard III. The illustration is part of the Coventry Tapestry, which is housed in St Mary’s Guild Hall, and which is still in the place for which it was created. I wasn’t sure if the kneeling king on the bottom left was EIV or HVII (the latter didn’t seem likely, as the figure is alive, and Richard certainly wasn’t when Henry became king).
Then it was pointed out to me that the king was most probably HVI. This prompted me to look into it a little more, and I came upon the following from the Coventry Telegraph
“Coventry Tapestry reveals car park king
“A figure depicted in the magnificent 500 year old tapestry at St. Mary’s Guildhall could well be one of the earliest depictions of King Richard III, whose remains, discovered in 2012 beneath a Leicester car park, were recently confirmed as those of the controversial English monarch.
“The tapestry’s highly detailed design includes seventy five individual characters, including angels, saints, apostles, and noble members of a royal court, arranged around a central image of the Virgin Mary. Whilst no contemporary records exist as to the exact identity of many of the characters, certain clues have been observed that strongly suggest that Richard is amongst them.
[See illustrations below for the footnotes in the text.]
“Firstly, the figure is shown carrying a coin ¹ in his right hand, used elsewhere in art of the time to represent a ‘Judas’ character with a history of treachery for personal gain, whilst in his left hand the figure was originally depicted holding a snake ² – another emblem of evil and deviousness – which at a later date was removed leaving a distinctive outline.
“By way of further evidence, the figure bears a striking resemblance to two of the earliest, and most trusted, portraits of King Richard III in the collection of the Royal Society of Antiquaries, from eye colour and hair curls, right down to slightly deformed hands and misshapen shoulders ³. Intriguingly, it has been proposed that one of these portraits was painted by Sir Thomas More, who may have been familiar with the tapestry as he came to Coventry on several occasions to visit his sister who lived in the city.
“Whilst Richard III had died a few years before the dating of the tapestry, it is thought that the tapestry depicts an earlier period, that of King Henry VI – who is also shown on the tapestry – when Richard was Richard of Gloucester. Henry VI was revered for many years after his death, with miracles even recorded in his name, and he was fondly remembered in Coventry where he chose to base himself and his royal court for a period during the Wars of the Roses. Under the new Tudor monarchy of Henry VII it was politically wise to maintain, and even encourage, adoration of the much-loved Henry VI. Moreover, showing such respect for the old Lancastrian King Henry, gave the Tudor monarch a chance to boost his image, tarnished by his weak claim to the throne and the manner in which he seized it from the Yorkist Richard III in battle.
“There were suspicions that Richard was linked to the death of King Henry VI in 1471, and placing Richard in the tapestry with symbols of dastardly deeds may have been a subtle piece of propaganda, with those behind the tapestry not only remembering their favourite king, but also pleasing the new Tudor monarchy by presenting Richard as the baddie in this wonderful woven story.”
This article provides an interesting interpretation of magnificent windows that are to be found in various churches, including King’s College, Cambridge. Henry VI, Edward IV, Richard III, Henry VII and Henry VIII had a royal hand in these masterpieces.
Henry VII, of course, went overboard with all his heraldic symbols, and at King’s College (see illustration above) he had all the usual Tudor badges on display, to which he added the hawthorn tree in which Richard III’s crown was supposedly found. Looking at the illustration, I suppose the greenery on the left depicts said hawthorn tree. Unless the hawthorn is in the part of the window that is not shown.
The link below concerns an exhibition entitled ‘Costuming the Leading Ladies of Shakespeare: From Stratford to Orange County’ at UC Irvine’s Langson Library, West Peltason and Pereira drives, Irvine; www.lib.uci.edu/langson. The exhibition is there through to the end of September.
Several amusing anecdotes are described in the article, including one about Lady Anne’s apparent effect upon an on-stage corpse of her father-in-law, Henry VI!
Thomas Wolsey was born in Ipswich, apparently in March 1473, to Joan Daundy and Robert Wolsey, who seems to have been a butcher and may possibly have been killed at Bosworth. Opposite his birthplace, in St. Nicholas’ Street, is this seated statue (below). His local achievements include Wolsey’s Gate and, after about 475 years, the University it was designed to be part of.
After a long career as Bishop of Bath and Wells, Lincoln, Winchester, Durham and finally Cardinal Archbishop of York, Wolsey was summoned to answer charges of treason, having failed to secure an annulment for Henry VIII and Catherine of Aragon. He died of a heart attack at Leicester Abbey on the penultimate day of November 1530, telling Abbot Richard Pescall: “Father abbott, I ame come hether to leave my bones among you”.
Just like Greyfriars a mile or so away, Leicester Abbey was dissolved about a decade later. Abbey Park stands on the site now and the generally designated site lies to the north, near the confluence of the Soar and the Grand Union Canal. There has been some Leicester University archaeology on the site and the Abbey plan has been marked out, including this grave marker (right).
So is it time to identify the remains of this Cardinal, just twenty years younger than Richard, to rebury them in a similar way in the same city? The church of St. Margaret is nearby.
Stony Stratford is a small place today but in the medieval era it was along one of the main routes towards London and frequently visited by passing notables. Historically, it is primarily remembered for being the spot where Richard of Gloucester and the Duke of Buckingham finally met up with Edward V…beginning the dramatic chain of events that occurred in 1483.
However, several hundred years earlier, Stony Stratford was the temporary resting place for the body of Eleanor of Castile, the wife of Edward I, who had died at Harby in Nottinghamshire. An ‘Eleanor Cross’ was set up at each place along the route taken by her funeral cortege, at Lincoln, Grantham, Stamford, Geddington, Hardingstone near Northampton, Stony Stratford, Woburn, Dunstable, St Albans, Waltham, Westcheap and Charing. Only three are extant in modern times–the crosses at Geddington, Northampton, and Lincoln, although a few fragments from several other Eleanor crosses remain in various museums across the country. Most of the monuments were destroyed during the Civil War.
Edward I was a harsh King but he did seem to love his wife, with whom he had 16 children. Eleanor herself was not a popular Queen in her lifetime but was a rich heiress in her own right and an astute businesswoman. Her reputation has improved since the 17th century. It is good to see this rather forgotten queen commemorated by this new painting in the town where one of the crosses to her memory once stood.
Northampton’s Eleanor Cross–in need of TLC
Stony Stratford’s New Mural