One of our members visited Winchester in September, with his family. Here is a selection of photos, relating to Alfred, the C12 Civil War, the Cathedral and the site of Jane Austen’s death:
Not a Hicksosaurus in sight …
You will have seen him if you have been to Richard III’s final resting place. There are eight small statues on the main entrance (the Vaughan Porch, left) of St. Martin’s Cathedral but only one of them is wearing a doublet and hose, showing him to have lived a century later than the others. This is Lord Henry Hastings, as he was during his education alongside Edward VI and participation, with Northumberland’s daughter Lady Catherine Dudley in the triple marriage of May 1553. He was still Lord Henry as he served in the household of his great-uncle Reginald Cardinal Pole, travelling to Calais and Flanders and escorting Phillip II to England for his marriage to Mary I, whose succession had been aided by Lord Henry’s father, Francis, despite the family’s overt Protestant beliefs
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In 1562, two years after succeeding to the Earldom of Huntingdon, he was considered by some for the throne had Elizabeth I not recovered from a bout of smallpox. By 1576, on the death of his mother Catherine (nee’ Pole) he was the senior post-Plantagenet, barred from the succession maternally only by the Clarence attainder but he had a junior claim through his grandmother Anne Stafford, w
hose father and brother both had their attainders posthumously reversed.
From 1572 to his death in 1595, Huntingdon was Lord President of the Council of the North, a position previously held by Richard as Duke of Gloucester and then by the Earl of Lincoln, in which he ruled the part of England north of the Trent from the King’s Manor (above), formerly home to the Abbot of York. During this tenure, he re-established royal authority in the region after the Northern Earls’ Rebellion failed, attended Mary Stuart’s trial, ensured good relations with James VI and his regents, the Earl of Morton in particular, also helping to prepare defences against the Armada. For his long service for more than half the reign of the last “Tudor”, Huntingdon deserves to be remembered alongside Lord Burleigh and his brother-in-law the Earl of Leicester, although his Calvinist beliefs set him apart from them and their Queen. During his time, in 1586, the recusant Margaret Clitherow was pressed to death at York.
As Claire Cross points out in her iconic biography The Puritan Earl, Huntingdon took his role as head of the family seriously. We can read how his assets shrank during his lifetime and how his 42 year marriage was childless, such that his brother Sir George succeeded him as Earl, with senior descendants still alive in Australia, as Jones has shown. He died eleven days before Christmas 1595 and was connected to all four later “Tudor” monarchs but his strongest connection was to Elizabeth I. Just like her, he had been imprisoned at the outset of Mary I’s reign, probably because he was Northumberland’s son-in-law, although his father’s loyalty soon extricated him from this.
(Photograph from https://henrytudorsociety.com/2016/01/16/henry-tudor-statue-campaign-marquette-unveiled/)
The statue that was eventually decided on for Henry VII at Pembroke was hardly flattering, but then silk purses cannot be fashioned from sows’ ears. Making him sweet and appealing was clearly a task too far. So I have decided to redress the balance, and show you that Henry was sweet and appealing! Well, everything below his neck can be thus described. I fear there was absolutely no way of doing anything about that face!!!!
(NB. The “gnome” photograph is not mine. I claim only the tweaking with the head. I do not know the identity of the photographer.)
Here, we showed how the hansom cab was patented in 1834 by a Hinckley man. Just seven 
years later, a Market Harborough resident was transporting Temperance Society colleagues the short distance from Leicester (Campbell Street) to Loughborough.
Campbell Street station no longer remains but Thomas Cook (left) now stands at the entrance of London Road station, where people arrive in the city to view Richard’s tomb about a mile away. His eponymous company, as a partnership, dates from 1872.
Tucked away off the north ambulatory of Westminster Abbey, so small it doesn’t seem possible it’s anything more than an entrance to the adjacent Chapel of St John the Baptist (which is also known as the Chapel of St Erasmus) is the Chapel of Our Lady of the Pew. The original entrance to the St John the Baptist chapel was closed in 1524 to accommodate the tomb of Bishop Ruthall, and a way was knocked through from the tiny Chapel of Our Lady of the Pew instead.
It is situated opposite the Shrine of St Edward the Confessor, and is only 5’ square, so strictly standing room only. But there was once an important royal worshipper who went there alone. King Richard II knelt in prayer there, in front of the beautiful Wilton Diptych, which was kept on a ledge in front of a statue of the Virgin Mary. [Not the statue that is there now—the first image of the Virgin Mary was presented by Mary, Countess of Pembroke, who died 1377. The hooks and outline of this image still remain.]
It is said that as a boy, Richard prayed here before riding out to face the Peasants’ Revolt at Mile End. As a man, he knelt to pray for the soul of his dearly missed wife, Queen Anne of Bohemia. And he would have been there countless times afterward.
The chapel has been described thus: “The vaulting has red stars on a white ground with a roof boss depicting the Assumption of the Virgin, who is dressed in red. The ribs have barber pole bands and rosettes and the walls are diapered over with pine-shaped designs, on each of which is a fleur de lys. This was a popular design in the late 14th century. The antlers and head of a white hart, a badge of Richard II, can still be made out.”
The name Our Lady of the Pew might have been taken from the French Notre-Dame-du-Puy, or, alternatively, from the original meaning of “pew”, a small enclosure. At the beginning of the reign of Richard II the chapel was even smaller than now! Little more than 4’ 9”.
There was at one time no access from the Chapel of Our Lady of the Pew into the Baptist’s chapel, but the two were probably joined by an aperture through the party wall to afford Richard II a view of the services held in the Baptist’s chapel. It must have been almost claustrophobic for him, but also how very private. He used it for his own personal devotions, and although it has been altered since his day, it somehow retains a sense of him.
Chapel of St John the Baptist, Westminster Abbey, showing in the centre the narrow doorway knocked through from the Chapel of Our Lady of the Pew
Looking into the Chapel of Our Lady of the Pew from the Baptist’s chapel, showing how very small it is. To the left, beyond the niche in the wall, is the way out into the ambulatory.
You will find a great deal more about this little chapel in Fourteenth Century England, Volume 3 by Chris Given-Wilson.
One thing puzzles me, however. If you stand outside the chapel, with your back to the shrine of the Confessor, you will see two “angels” on either side of the arched entrance. They are label- or head-stops, depicting what appear to be two young men with shields.
The one on the left seems very like Richard II, and his shield is definitely royal, with leopards and fleur-de-lis. His eyes seem like those of Richard as depicted in his tomb effigy. The one on the right has much curlier hair, but similar eyes, and I cannot place the shield he holds. I recognize it, but cannot for the life of me identify it. Can anyone help?
The exterior of Bradford City Hall is adorned with sculptural interpretations of the kings of England. There are forty of them, from William I to Queen Victoria. The website indicated below gives a brief description of each one.
So, let us examine the likeness and description of the four kings of concern to us, Henry VI, Edward IV, Richard III and Henry VII. Please note, there was no Edward V, but then, I suppose he was never crowned, so never officially became king.
We’ll begin with Henry VI, who appears to be beloved of Bradford pigeons.
“King Henry VI (1422-1461, 1470-1471). The statue shows an austere figure in tight-fitting clothes under a dressing-gown like outer robe, one hand holding a sceptre, the other hand on his hip. His crown looks more like a mitre. The focus of the piece seems mainly on his long right leg.”
To be sure, those knee breeches look more late 18th/early 19th century than 15th. The barely-tied dressing robe and awkward leg rather complete the likeness of Lord Byron. Austere? No. Possessed of that purposeful chin? Not according to his portraits. And the pose is more vigorous than poor Henry was in his entire unhappy life!
Next we have a fine figure of Edward IV.
“King Edward IV (1461-1470, 1471-1483). The king is shown in plate armour, but has none of the muscularity of the statue of Henry V. One hand rests on the pommel of his sword, the other holds perhaps a scroll. The face is round and not youthful, and he wears no helm, suggesting he is posed in armour rather than likely to fight in it. He does not wear his crown either; it is on a tasselled cushion on a pedestal half behind him; the decoration of the pedestal with a carved olive branch indicates his peaceful rather than warlike intent.”
He is in armour, but has Beethoven’s head., and looks far too old to be Edward when he was able to squeeze glamorously into any armour. Because, as a young king, he was glamorous. As for being peaceful and unlikely to fight in armour, Edward may have gone to seed latterly, but had been one heck of a warrior. So we can dispense with the olive branch!
Now we come to Richard III and his description.
“King Richard III (1483-1485). Another statue which stands out in quality. He is shown looking downward, wearing a short tunic above and hose on his legs, and a short robe with fur edging. His left hand is almost clenched, and with his right one he is about to draw his sword, which hangs behind him. There is an emphasis on the muscles of his legs and breadth of his raised forearm to indicate his powerful physique, and coupled with the frowning expression, indicates a forceful king.”
Well, those Tudor bloomers don’t look right at all! The sculptor had the Bard’s Richard in mind, methinks. Nor does the San Andreas Fault forehead look right. If he screwed up his face like that all the time, I imagine he’d have a permanent headache. And I’m sorry, but he’s holding the sword in his left hand, while his right hand is in something resembling a fist. As for the powerful physique, well, we all know Richard was a slender man. Yes, he probably had powerful legs, but not as if he’d been on steroids. His legs had to be strong because when wearing armour in battles or jousts, he had to be able to clench his legs to stay on his horse while wielding a sword, lance or battle-axe. Puny legs wouldn’t have been much use. Was he a forceful man? No, he was far too lenient and trusting, and it cost him his life.
Now for Henry VII, who (heh, heh, heh) is covered in green mould!
“Henry Tudor (King Henry VII, 1485-1509). The sculptor has chosen to depict the king as a man of peace and religion, wearing long tunic and robe, holding sceptre and orb, the latter with a prominent cross on top. His expression is bleak, more so than his painted portraits would suggest, his face leathery, and on his head is a soft cap rather than a crown, though a heavy chain with medallion hangs prominently on his breast. Henry Tudor was particularly beloved by the Welsh, and there is a statue of him in Cardiff City Hall by Ernest Gillick. That statue is in full plate armour, and depicts a purposeful man striding to meet, or make, his own fate.”
Yes, the bleak and leathery face might do, especially toward the end of his life. A man of peace? Maybe…but only after he’d gone to war by invading England with a French army, killed Richard III through vile treachery and then plonked his scrawny Welsh posterior on the usurped throne. I’m glad to say that, thanks to the remaining Yorkists, it was a long time before his posterior could unclench! A very long time.
If you’d like to see the other thirty-six monarchs, please go to http://www.speel.me.uk/sculptplaces/bradfordcityhall.htm Or visit Bradford City Hall, of course.
The sword was a vital weapon in the medieval period (as can be seen in the hand-to-hand combat in the illustration of Bosworth above) and there would not have been a knight, lord, magnate or king who did not possess a minimum of one. Most would have had a number. We will never know how many swords Richard III possessed, but as far as I am concerned, there are five swords I associate with him…and one of these may have been made for his son. These swords are not all real weapons, some are from art. Only the first actual sword in the following list could have belonged to Richard himself, and of this, only part may remain of the original, as he presented it to the City of Gloucester in 1483.
Mourning Sword of Gloucester
This was on display at the recent Richard III Exhibition in Gloucester. Tradition says that it is Richard III’s own personal sword, given to the Mayor of Gloucester during Richard’s 1483 visit. The silver decoration is in the Elizabethan style, and says ‘Francisco me fecit’. A bladesmith of that name was working in Toledo in the 1570s, which means that these elements of the sword post-date Richard’s period. But if you look closely at the handle you will see there is an iron core beneath the silverwork. This may be what remains of the sword given by Richard. I am not sure why it is called the Mourning Sword, which we also described here.
Ceremonial Sword of State for the Prince of Wales
“Though the blade of the above sword was made in Germany, its pommel and hilt are English. Its ornamentation indicates it was meant for the Prince of Wales: its engraved hilt shows the Royal arms of England being held aloft by two angels above the arms of Wales and Cornwall; the opposite has the arms of the Earldoms of March and Chester. This double edged sword was thus not meant for battle, but would have been carried before the Prince during ceremonial processions, such as when he was invested with his title.” Two Princes also held the title of Earl of Chester in the late 15th century. Edward IV’s oldest son, also named Edward…and Richard III’s son Edward… The above photograph is from the British Museum and you can see some very detailed photographs of this ceremonial sword here.
Broken Sword Portrait
Not my favourite Richard portrait by any means, and certainly not my favourite sword because, being broken, it bestows an entirely false impression of the man himself – “…A broken sword can be interpreted as symbolic of failure; in a regal portrait, as symbolic of prematurely ended reign by violence, battle, deposition and usurpation…” The only reason Richard “failed” was because he was betrayed, not because of any shortcomings on his part. Just think, a few more yards and he’d have extinguished Henry Tudor! If only he had! As for usurpation, well we all know who did that, and it wasn’t Richard!
Sword held by Richard’s Statue in Leicester
From the Leicester Mercury. A council spokesman said: “We became aware of the damage to the Richard III statue early last week and are liaising with specialist companies to investigate the best way of repairing it. “The joint at the hilt of the sword has been bent. We do not yet know the extent or cause of the damage. A detailed survey will be carried out later this week, but it is likely that the damage will cost several thousand pounds to put right. “In the meantime, the statue will be fenced off as a safety precaution.” There will always be morons around who think such criminal damage is funny.
From Rous
My fifth and final sword is from Rous. As you see, the illustration depicts Richard in full armour, holding a sword that seems to be half his height in length. He may have been a slightly built man, but he was master of the sword (and every other weapon a knight needed to use). This little picture rather brings the fighting Richard to life for me.
Well, that’s five swords. Would anyone add more?
In life, Henry VII was renowned for fighting his battles from a deckchair, behind a pike wall with a telescope. Even some of his statues are behaving similarly now.
The best example is, or was, in Exeter. It commemorated the two sieges of the city in 1497 when the two Cornish Rebellions were kept out but proceeded towards London, the First with more success than the Second. Henry held court here for a month that autumn. The first statue stood near Eastgate until 1784 and then moved to High Street until it was destroyed during the Blitz. The 1950s fibreglass replacement, designed by Sonia Newton, was displayed at Princesshay until 2005, when a new shopping centre took priority and he is in hiding somewhere in Belle Isle.
The people of Pembroke are proud of Henry VII, and are raising money for an 8′ (rather unflattering) statue of him – it’s about as complimentary as poor old Richard’s armless statue at Middleham. But, unlike Richard, it is highly suitable for a Halloween shock!
http://www.bbc.co.uk/news/uk-wales-south-west-wales-37695578
Anyway, this 8′ giant prompted me to ponder how big a Halloween statue the downtrodden people of England would have contributed—of their own volition—to a similar acknowledgement of the first Tudor king. If Henry had put the screws on, it would be 20′ tall at least, looming over London like an evil spirit, casting its spooky shadow over everyone’s threadbare purse.
However, it we’re talking voluntary donations… Hmm. It has been suggested that perhaps a 2″ statue would result. My Yorkist imagination ran riot, of course, as witness the truly terrifying illustration below. Can you imagine anything more chilling….?
(the original gnome picture is from Bakker.com)
It seems a new statue of Richard is being considered. I hope they decide to go ahead, and that it’s a splendid likeness. The above illustration comes from the link below, so I do not think it has any bearing on the likely appearance of the statue.
http://www.yorkpress.co.uk/news/14767611.New_Richard_III_sculpture_suggested/
PS: I do wish the eyebrows of the above likeness were under control. As they are, they look like great hairy caterpillars that are about to hurl themselves across his nose to headbutt each other!
