Today we have a guest post by Emily Pooley, creator of Anne Boleyn’s beautiful wax work that is currently on display at Hever Castle. Emily kindly agreed to write an article about her interest in Anne Boleyn and how this wonderful wax figure was made. Enjoy!

Le temps viendra.

– by Emily Pooley, technical and special effects artist for television, film and live events.

At this moment, I am sipping a cup of tea looking out of my parent’s office window to the bottom of garden where I would sit for hours with my best friend Holly, patiently carving sticks into stakes -ready for our first encounter with vampires on our next trip to the woods down the road. Buffy the Vampire Slayer was an idol of ours you see – 6:30pm, BBC2, telly on full volume for the intro music. We would train for hours, using the swing as an assault course, passing levels that we would invent.. preparing ourselves. When we created a sufficiently sharp point.. off we went. Deep into the woods.

What, I hear you cry, has this got to do with Anne Boleyn? Buffy was my first encounter with a strong and independent female role model. We were inspired and empowered enough to come face-to-face with a pointy-toothed demon and fight to the death. Of course, there was never any real threat and I have since been dragged kicking and screaming into the serious world of adulthood.. and I found myself looking to a real lady for inspiration, with an incredibly powerful story.

When our GCSE exams were over (finding that miraculously my method of cramming in as much research into the night before actually worked) it was time to plan ahead – what on earth was I going to do!? Like a large number of girls my age, my first port of call was: Vet. But after spending a long week of work experience at a veterinary clinic, clearing up ‘presents’ from the animals as they called it, the reality of work really set in. Don’t worry, Anne is near – ‘le temps viendra’ people!

I sat at home flicking through prospectuses for colleges deflated and racking my brains. This was interrupted by my weekly unmissable dose of Doctor Who. Again, full volume for the intro. Next came Doctor Who confidential on BBC Three courtesy of our brand new digibox, where Neill Gorton talked through the creation of one of his prosthetic monster make-ups. It suddenly dawned on me that people actually made a living out of making these things! This would be the programme that would set me on a path to a career in special effects in television and film.

So off I trotted to Art College and then on to Wimbledon University of Art for my degree in Technical Arts and Special effects.

In cometh Anne Boleyn.

It was shortly after I had completed my second year that Anne Boleyn and I became good friends. We had been acquaintances for a number of years as Hever was my place of choice to visit when my parents were looking for a way to entertain my brother and I without covering the house with PVA glue and tissue paper – as was the norm. We had also met briefly through the pages of the Horrible History books (the new CBBC series is a hilarious watch may I add!) History has also fascinated me, the clothing, the rituals, the drama. Third year rolled around and we were finally permitted to create a project of our own choice. Without a doubt, there was only one person who would be joining me.

I looked for yet more inspiration with another great historical female figure. Marie Tussaud had a mix of rich history with breathtakingly detailed technical and special effects – just the thing I was after. My ambitious aim, albeit it made naively when considering the technicalities, was now to create my own life sized waxwork of my beloved Anne Boleyn.

As with any model, before you can touch any clay you must know and more importantly understand your subject. Especially when a well-known personality or historical figure is concerned. This meant living with my old friend Anne Boleyn for the summer, making her a new outfit to keep her on side. I read as many books as I could but having always struggled with reading (I can read a page without taking any of it in) I only focused on Anne’s coronation with most books.. not due to lack of interest, but rather a complete fascination with the beginning of her story. This is what I knew I wanted to portray with my model. I watched every movie and television adaptation or documentary on Anne that I could find – Degree’s can be such hard work – and used this research to begin my 5000 word dissertation describing the positive and negative portrayals of her throughout the decades.

Next, I had to decide my own take on her. Although I have always been an avid Boleynian I wanted to stay quite neutral in my representation of her, and instead use my figure to tell her story through symbols and props a technique that old Tudor portrait artists had mastered. Once a design and maquette was created, I was to look for a life model to work from. My friend Laura worked next to me at university and bared an uncanny resemblance to my absolute favourite depiction of Anne’s image – Holbien’s sketch. Once I had cornered her and badgered her into sitting for me, I began recording her details.

This process involves drawing a large number dots on the face at keys points like the tip of the nose and tragus (the little sticky out bit above your earlobe.) Photographs are taken of the model from 360 degrees and the points on the face are measured and recorded using calipers. These are all extremely useful reference materials when sculpting and ensure that you can get an accurate a likeness as possible, especially when you don’t have the model to work from.

When sculpting, you need a strong and sturdy armature frame to support your clay. This meant welding – my nemesis. Once the armature is bent into position, finally, the sculpting can begin. This is the process I love the most. Since a kid, I have always had the desire to shape clay into objects and creatures. Luckily enough, I came across a natural clay pit whilst out staking vampires. This meant an endless supply of creatures, props and pots turned up in the house of my poor unsuspecting parents. Much to their delight of course.

Over a number of weeks, the body is built up – constantly referring to the reference material and measurements. Measuring has always been my weakness, so at one point – I had to operate on Anne and give her a leg extension, cutting them off and hoisting the armature up. The ruler changes length every time I swear! The body and head are roughly built up together, until the stage where the head needs to be refined.

This meant the amusing task of removing Anne’s head – a process that caused a number of opportunistic comical photos with myself and my classmates. I apologized to Anne, and lopped through her neck with a cheese cutter (clay wire to the pro’s.) I shuddered, thinking of the actual day of Anne’s execution, and that night watched a docudrama by the BBC called ‘The Execution of Anne Boleyn’. The horror of her final days struck right through me as I remembered my reasoning for the creation of my model: to tell her incredible story and to somehow do her justice by bringing her back to life. I became a lot more serious about her after this day. I worked on her head at home, spending whole days locked in my room, often forgetting to eat. As payback for making fun of her – she made my life very difficult. At this point I was juggling my dissertation with a few days until the deadline, with the impending day of finishing and moulding her head. She also decided to fall over a week after I got her body out of the mould – splitting the resin cast along the seams and causing a number of repairs. We didn’t talk for days.

But alas, the sculpt had been finished and moulding was complete – the hands were the only section of the model that I had life cast, a technique that Madame Tussaud’s also follow. A plaster waste mould was used for the body and a fiberglass resin cast was pulled out. For the head, I used a flexible silicone jacket mould, which meant pulling a delicate wax cast out would be a lot easier.

I decided to give Anne her infamous 6th finger.. not to make fun or to create a monster (I didn’t want to fall out with her again) but to describe the attacks on her image shortly after her death. Of course, the extra finger most likely did not exist, but I wanted to stir up a bit of debate amongst people who saw her – get people talking about her story again. It was great to hear a conversation at my show on this exact subject: ‘Look she has an extra finger!’ ‘Yes, but she didn’t actually have an extra finger.. it was made up by the Catholics’… ‘But I heard it was a friend that gave a description of it?’… bingo. Of course, Hever had me remove it – much to my pleasure.

Finally, Anne and I had made it to the final hurdle. Once the eyes had been burned into the wax, and the eyebrow hair punched in – I repositioned her head. She looked at me approvingly. All had been forgiven.

Painting her was more of a relaxation process than anything… all of the hard work was completed, now it was time to make her pretty and get her ready for her first party. Finally, I popped her new shift and corset on that I had won her over with the previous summer and fitted her wig. I left her hair down, as she did – a fashionable one was our Anne!

Success! After a year long friendship, with ups and downs and a hell of a lot of hard graft, patience and may I add £1000 in material – I finally stood next to the infamous Anne Boleyn. I had placed her in front of a mirror so that her reflection mimicked many of her alleged portraits – Holbein’s sketch included. I stood beside her and read the words surrounding the frame: ‘Le Temps Viendra’ – the time will come. The infamous words written by Anne in her copy of the Book of Hours that I had read on tip-toes through a pain of glass at Hever as a girl. These words had stuck with me constantly throughout the project. The time will come when all my hard work would pay off and I could relax and show her off to industry professionals and my long suffering friends and family at the show…. The time would come also when I had to say goodbye, and let her go home.

I had been so wrapped up in her story and so concerned with actually finishing her for the show, that I hadn’t given a second thought to what I would do with her once she was here! She spent many weeks in my bed at my family home.. she always won when I came to visit – I got the couch. I began contacting castles to see if she could come and live with them, not once thinking that Hever would be remotely interested. Chance would have it though, that my mum had a close friend who worked at Hever and passed on my details. Next thing I knew it, I was walking with Anne’s head tucked neatly in a box under my arm, walking through the back corridors of the offices at Hever. I whispered to her so that the Lady I was following didn’t here.. ‘welcome home.’

It feels very strange to talk about her again after so long. So much has happened since I parted with her last year. I have been very lucky to land a full time job doing what I love, two days after I took my degree show down and recently worked on the Churchill dog for the insurance commercials. I have a lot to owe her.

I would like to thank the people who have taken the time out of their busy lives to contact me about my waxwork and indeed to read my mad babblings – congratulations if you made it this far! It is such a joy to talk to people about the stuff you love, and for an artist it is the best feeling in the world to know that someone else enjoys your work. It is also great to keep tabs on how Anne is getting on on her own. We were reunited when the exhibition opened – it was such a strange feeling to stand in front of her, wearing an absolutely stunning outfit that someone has made for her (feeling slightly jealous of their relationship). But it is great to see her living her own life.

I feel so privileged to have had the time with her and be able to bring Anne Boleyn home. Please say hello from me if you get a chance to meet her!

]]> http://www.anne-boleyn.com/eng/le-temps-viendra-by-emily-pooley-the-creator-of-anne-boleyns-waxwork/feed/ 1 http://www.anne-boleyn.com/eng/anne-boleyn-and-witchcraft/ http://www.anne-boleyn.com/eng/anne-boleyn-and-witchcraft/#comments Tue, 10 Apr 2012 11:30:07 +0000 Sylwia http://www.anne-boleyn.com/eng/?p=175

Helena Bonham Carter as Anne Boleyn

The anniversary of Anne Boleyn’s death is approaching so I’ve decided to take a closer look on events that occurred before Anne’s death. One of the most popular myths about Henry VIII’s second wife is her alleged involvement with witchcraft.

It all started with Imperial ambassador’s report. Eustace Chapuys, always ready to report anything that about Anne Boleyn, wrote that Henry VIII told one of his courtiers that he;

‘made this marriage seduced and constrained by sortileges and for this reason he held the said marriage void and that God had demonstrated this in not allowing them to have male heirs and that he considered that he could take another.’

How Chapuys did come to such knowledge? Henry VIII’s  first cousin,  Marquis of Exeter who was in touch with ambassador, reported that the king confided this information in one of his courtiers. What was the meaning of the king’s words? It is all dependant if we are reading it in original language in which Chapuys reported them. Eric Ives wonders;

“Thus, did Henry use the term ‘sortilege’, or was the word provided en route? Even if Henry did use the noun, since its primary English meaning was ‘divination’ and since Henry spoke in the same breath of male heirs, the simple construction is that he was referring to the premarital predictions that union with Anne would produce sons”. (p. 298)

Professor Ives also adds that the word ‘sortilege’ could meant also occult practices, but ;

“in usual parlance ‘bewitched’ meant no more than ‘deceived’ – as in Tyndale’s 1526 New Testament: ‘Oh foolish Galatians, who has bewitched you?” (p. 298)

But did the word ‘bewitched’ indicate that Anne Boleyn dabbled into witchcraft? The word ‘bewitched’ could offer two possible meanings; ‘fascinated’ or ‘enchanted’ in a supernatural way. Back in Anne Boleyn’s days, Eustace Chapuys used the word ‘enchanted’ to reflect how huge influence Anne had over Henry;

‘This accursed lady has so enchanted and bewitched him that he will not dare to do anything against her will.’

It is highly unlikely that Chapuys meant that Anne ‘bewitched’ Henry VIII in a supernatural way. He believed that she used her womanly charms to influence the king.

During Anne’s trial no accusations about her dabbling in witchcraft had been made. 50 years after her death, Nicolas Sander in his book “The Rise and Growth of Anglican Schism” wrote about Anne’s abnormalities like sixth finger, moles, huge wen under her chin and projecting tooth. But he wrote also that back in January 1536 Anne miscarried a deformed foetus.

Of course those are words of a recusant Catholic who blamed Anne Boleyn for the spread of reformation in England, but it were Sander’s untrue remarks that later spread across the world forming ‘the black legend of Anne Boleyn’ as I call it. Even today many people believe that Anne Boleyn really had six fingers, or that the child she lost in January 1536 was deformed. And people link those myths with witchcraft.  Abnormalities and deformed children were associated with God’s displeasure over certain person, or – that this person was dabbling into black arts. Witches were associated with deformities of their bodies, unnatural lustful behaviour, abominable sexual practices, or hurting other people by using evil ‘spells’. They could cause death, weather change or even impotence in males. But there is no evidence that Anne Boleyn was deformed in any way, or that she gave birth to a deformed baby. No such thing was mentioned during her trial or the trial of 5 men that were accused along her.

So, Anne Boleyn was never accused of witchcraft. When Henry VIII made a remark that he ‘made this marriage seduced and constrained by sortileges’ he probably exaggerated or merely meant that Anne promised him male heir and failed at this task. Whatever the king said or meant – Anne Boleyn certainly was no witch and witchcraft was not used against her during her trial.

]]> http://www.anne-boleyn.com/eng/anne-boleyn-and-witchcraft/feed/ 3 http://www.anne-boleyn.com/eng/why-was-anne-boleyn-buried-in-an-arrow-chest/ http://www.anne-boleyn.com/eng/why-was-anne-boleyn-buried-in-an-arrow-chest/#comments Tue, 13 Mar 2012 15:18:48 +0000 Sylwia http://www.anne-boleyn.com/eng/?p=165

Anne Boleyn's resting place

Anne Boleyn was executed on 19 May 1536. Although the executioner from Calais was ordered even before she was tried and found guilty, no one took care of a proper burial for Anne Boleyn. After she was decapitated with a French sword, her distressed ladies wrapped the late queen’s head and body into a cloth and buried her in an arrow chest within the walls of St. Peter Ad Vincula chapel.

But why was Anne Boleyn buried in an arrow chest?

During her time as Henry VIII fiancée, Anne Boleyn was showered with magnificent gifts. As Retha M. Warnicke wrote in her book:

“Throughout 1530 Henry continued to purchase gifts for her, often for her amusement, as, for example, a shaft, bows, arrows and a shooting glove in May. Archery was a sport she seems to have especially enjoyed, since additional bows were obtained for her. “(p. 96)

Henry VIII loved hunting and Anne Boleyn shared his passion. But Henry loved hunting also in a symbolic meaning – he loved to chase the ladies of the court. And he chased Anne Boleyn for almost a year before she finally surrendered, and agreed to become his wife. For the whole year the king was “stricken with the dart of love”.

Henry’s love for Anne Boleyn caused him many frustrations.  He was consumed with passion that was fuelled with Anne’s refusal.  He wanted her and no other woman. But she was playing him to her own advantage, or perhaps she hoped that the king will soon forget about her and find a new mistress. In any case, even when Anne withdrew herself from the court life, the king was eager to have her. In one of his letters he wrote:

“(…) and, that you may the oftener remember me, I send you by this bearer, a buck killed late last night by my hand, hoping, when you eat of it, you will think on the hunter (…)”

The symbolic meaning of hunt played a huge part in Henry’s courtship. When Anne’s ardent admirer, love-struck poet Thomas Wyatt had to back off when he realized that his rival was Henry VIII himself, he wrote a poem comparing his beloved Anne Boleyn to a hunted deer.

Henry VIII was a hunter literally and symbolically. Did he want to play one last cruel joke on his once beloved Anne Boleyn? It is really sad that such a remarkable woman ended buried in unmarked grave, inside the arrow chest that once contained bow-staves for Ireland.

Author of the book “The Arrow Chest”, Robert Parry made a great point about Henry VIII and his association with archer-god Apollo. In his novel, Robert Parry relates to Anne Boleyn’s tragic death – but he moves the story from Tudor to Victorian England. The description from Amazon says:

“London, 1876. The painter Amos Roselli is in love with his life-long friend and model, the beautiful Daphne – and she with him – until one day she is discovered by another man, a powerful and wealthy industrialist. What will happen when Daphne realises she has sacrificed her happiness to a loveless marriage? What will happen when the artist realises he has lost his most cherished source of inspiration? And how will they negotiate the ever-increasing frequency of strange and bizarre events that seem to be driving them inexorably towards self-destruction. Here, amid the extravagant Neo-Gothic culture of Victorian England, the iconic poem ‘The Lady of Shalott’ blends with mysterious and ghostly glimpses of Tudor history. Romantic, atmospheric and deeply dark.”

This book seems like a very interesting read and perhaps it offers a further explanation of the meaning of arrow chest. I have not yet had the pleasure of reading it, but I certainly will do it in the near future. If you have read “The Arrow Chest”  please let me know what do you think.

 Sources: 

Retha M. Warnicke, The Rise and Fall of Anne Boleyn

Peeking Between the Pages: Guest post by Robert Parry

]]> http://www.anne-boleyn.com/eng/why-was-anne-boleyn-buried-in-an-arrow-chest/feed/ 8 http://www.anne-boleyn.com/eng/january-1535-banquet-with-french-admiral/ http://www.anne-boleyn.com/eng/january-1535-banquet-with-french-admiral/#comments Mon, 05 Mar 2012 13:07:37 +0000 Sylwia http://www.anne-boleyn.com/eng/?p=138 While researching the events of 1535, I found a very interesting account. If you watched “The Tudors” you probably remember the scene from season 2 episode 6 when Anne Boleyn laughed hysterically as she saw how Henry pays attention to one of the court’s ladies. This incident really happened. Anne’s behavior almost caused a scandal when:

“The Admiral frowned, and said, “What, madam, do you laugh at me?” On which she excused herself by saying it was because the King had told her he was going to ask for the Admiral’s secretary to amuse her, and that the King had met on the way a lady who made him forget the matter. I don’t know if the excuse was accepted as satisfactory. The King, on the other hand, and the Lady were much disappointed that the Admiral showed no pleasure at any attention that was shown to him, even at the Tower of London and the Ordnance.”

In his book “The Life and Death of Anne Boleyn” Eric Ives dates this incident as early as 1 December 1533 (p. 196). In primary sources provided for this chapter, Professor Ives gave Cal. S. P. Span., 1534-35, p. 338 (LP, vii. 1507; ibid. p. 376 (LP, viii. 48).

I checked the primary sources and found the description the memorable banquet in Eustace Chapuys’ in despatch to Charles V from 14 January 1535. So professor Ives was not right when he gave the banquet’s date as 1 December 1533.

Furthermore, Elizabeth Norton in her book “Jane Seymour: Henry VIII’s True Love” stated that the lady who distracted Henry could have been Jane Seymour, although there is no evidence to back up this theory.

I feel sorry for Anne Boleyn – she knew how important it was to retain Henry VIII’s love and she was helpless when it came to king’s extramarital affairs.

Sources:

“The Life And Death of Anne Boleyn”, Eric Ives

“Jane Seymour: Henry VIII’s True Love”, Elizabeth Norton

Letters and Papers, Foreign and Domestic, Henry VIII, Volume 8: January-July 1535:

http://www.british-history.ac.uk/report.aspx?compid=75521

“She was unrivalled in the gracefulness of her attire, and the fertility of her invention in devising new patterns, which were imitated by all the court belles, by whom she was regarded as the glass of fashion”

Although Nicolas Sander is the author of many myths about Anne Boleyn, he certainly was right when he described Anne Boleyn’s immaculate taste for fashion. Anne Boleyn  had olive skin and ‘black eyes’ – features not so popular in 16^th century England where pale skin, blonde hair and blue eyes were the most desirable traits in a woman.

Nicolas Sander, who was no contemporary witness of Anne’s life at court, wrote that she had many deformations like projecting tooth, six fingers on right hand and a large wen under her chin. But the next sentences are describing Anne as;

“(…) handsome to look at, with a pretty mouth, amusing in her ways, playing well on the lute, and was a good dancer. She was the model and the mirror of those who were at court, for she was always -well dressed, and every day made some change in the fashion of her garments.” (Nicolas Sander “The Rise and Growth of Anglican Schism” p. 25).

Although for centuries historians are echoing the statement of Agnes Strickland that:

“In Anne, the more powerful charms of genius, wit, and fascination triumphed over every defect which prevented her from being considered a perfect beauty, and rendered her the leading star of the English court” (“The Lives of the Queens of England”, p. 578)

I believe that Anne was a beautiful and charismatic young woman but her unconventional beauty did not make her the perfect courtly beauty. However she attracted attention with her intelligence, temper and something that today we call “sex appeal”.

French influence

There is no exaggeration in Sander’s words that ‘every day Anne made change in the fashion of her garments’. Agnes Strickland described Anne’s dress:

“While at the French court her costume was a cap of velvet, trimmed in points, a little gold bell hanging from each point; a vest of the same material with silver stars, a jacket of watered silk with large hanging sleeves that almost concealed her hands, and a skirt to match. Her feet were encased in blue velvet slippers, with a strap across the instep, fastened with a diamond star. Her hair fell in ringlets about her shoulders.” (p. 381)

Josephine Wilkinson in “Anne Boleyn: a young Queen to be” states that such a gown was probably designed for a special occasion, perhaps a pageant but it is also possible that Anne liked to experiment with her fashion.

Anne Boleyn was sent to France in 1515 and there she was observing how the fashion developed. When she returned from France in 1521/1522 she was considered to be more like a Frenchwoman than an Englishwoman. Anne was fond of French fashion and she manifested it almost all the time – she favoured French hoods rather than heavy and unflattering English gable hoods.

Before she became Queen

Before Anne Boleyn became Queen of England, she was Henry VIII’s fiancée and he often showered her with magnificent gifts. Henry’s Privy Purse accounts have survived for the years 1529-32 and they reveal what Henry was buying for Anne. Professor Eric Ives writes that “much of the expenditure went on clothes” (p. 156).

Those are only some of the expenses from king’s Privy Purse:

Holbein's 'Unknown Lady' with inscription 'Anna Bollein Queen'

December 1530 : ‘Itm the same day paid to Adington the skynner for furres & furrying of my Lady Anne’s gownes’

May 1531 : ‘Crymsin clothe of golde for my Lady Anne Rocheford’

June 1532 : ‘twelve yards of black satin for a night gowne for my Lady Anne’

Anne Boleyn and Henry enjoyed hunting and this activity required a special costume and accessories. Henry presented Anne with hunting gloves, dress and her own set of arrows.

In September 1532 Anne Boleyn was made Marquis of Pembroke in her own right. This was a magnificent ceremony and an occasion for Anne to shine:

“There, her hair about her shoulders and her ermine-trimmed crimson velvet hardly visible under the jewels” (Eric Ives, “The Life and Death of Anne Boleyn”, p. 158)

In 1532 Henry VIII purchased a beautiful black satin nightgown for Anne. Back then nightgowns had the role of modern day dressing gown and it was a common practice to receive guests in one’s nightgown. What is very interesting, one of Holbein’s drawings inscribed as “Anna Bollein Queen” shows a sitter in a nightgown, undercap and chemise. Although many historians dismissed the possibility that the sitter is indeed Anne Boleyn, there is still a little room for speculation.

Anne the Queen

Merle Oberon as Anne Boleyn

On her coronation day in June 1533 Anne Boleyn looked very beautiful:

“going under a rich canopy of cloth of gold, dressed in a kirtle of crimson velvet decorated with ermine, and a robe of purple velvet decorated with ermine over that, and a rich coronet with a cap of pearls and stones on her head; and the old duchess of Norfolk carrying her train in a robe of scarlet with a coronet of gold on her cap, and Lord Burgh, the queen’s Chamberlain, supporting the train in the middle.”

Although many documents from Anne’s time as Queen were destroyed, luckily there is an account of Anne Boleyn’s expenditure for clothes in period from January to April 1536. Professor Ives describes:

“This tells of Anne buying gowns in tawny velvet with black lambs’ fur, in velvet without fur, in damask, and in satin furred with miniver; a russet gown in caffa (heavy silk), two in black velvet, one in black damask, one in white satin and a second with crimson sleeves; a gown in purple cloth of gold lined with silver, and new carnation satin from Bruges to insert into the sleeves of a gown of tissue. There were eight nightgowns, two embroidered and another in russet trimmed with miniver; and three cloaks – of black Bruges satin, of embroidered tawny satin and of black cloth lined with black sarcenet – while Arnold the shoemaker had eight lots of black velvet to make shoes and slippers. Thirteen kirtles included white satin and white damask, black velvet embroidered and crimson satin ‘printed’, with matching sleeves.” (p. 252)

In Henry VIII’s inventory there were at least two pairs of sleeves for women (very important part of the gown) identified as belonging to Anne:

‘one of white satin embroidered over with purled gold acorns and honeysuckles tied with ten pairs of aiguilettes of gold’ and the other ‘of cloth of gold embroidered with a great trail of purled gold with honeysuckles tied with ten pairs of aiguilettes of gold’. (p. 253)

Anne’s gowns very often adorned with jewels:

“such as the nineteen diamonds set in trueloves of gold which Hayes supplied in January 1532, along with twenty-one rubies and twenty-one diamonds set in gold roses and hearts. Anne’s liking for French hoods was costly too, at £9 for the jewelled billament.” (p. 253)

Can you imagine Anne Boleyn in such sophisticated dresses?

Anne cared not only for her own fashionable look, but she also supplied her almost three year daughter Elizabeth with elaborate gowns. Professor Ives described how in three months period Anne supplied her daughter with:

“a gown of orange velvet, kirtles of russet velvet, of yellow satin, of white damask and of green satin, embroidered purple satin sleeves, a black muffler, white ribbon, Venice ribbon, a russet damask bedspread, a taffeta cap covered with a caul of gold. Anne, apparently, was especially fussy about her daughter’s caps: one made of purple satin required at least three journeys to Greenwich to get it right.” (p. 253)

Upon her death Elizabeth had a wardrobe of 2.000 gowns and she certainly shared her mother’s taste for fashion. Some sources claim that Elizabeth felt the need to buy herself new dresses because after her mother’s death, Elizabeth had to wear her old clothes – often the ones that she already grown up from.

Arrest, trial and execution: the meaning of Anne Boleyn’s attire

Anne's execution in "The Other Boleyn Girl"

Anne Boleyn certainly knew the rule ‘dress to impress’. Fashion was a part of demonstration of power and wealth. Anne knew that perfectly well. When on 2 May 1536 three men came to tell Anne that she was accused of adultery, she was allowed to return to her chambers for lunch. But the first thing she did after returning to her rooms was to get changed into a new dress. She was probably aware that she will be arrested and she wanted to look every inch a Queen. She chose a splendid gown of crimson velvet with a cloth of gold kirtle. 

On her trial Anne Boleyn wore “a gown of black velvet over a petticoat of scarlet damask and a small cap sporting a black-and-white feather” (Alison Weir, “The Lady in the Tower”, p. 270)

Even on the day of her execution Anne Boleyn looked immaculate in her black damask gown lined with fur, mantle trimmed with ermine and English gable hood. She wore also a crimson kirtle.

Every part of Anne’s gown had its meaning:

-          Although through her life Anne favoured French hoods, on 19^th of May she wore English gable hood; although many described her a “Frenchwoman rather than an Englishwoman” and she was famous for her pro-French views, on the last day of her earthly life she wanted to accent that after all she was wholly English, and the Queen till the end;

-          Ermine fur was reserved for the Royal family: Anne emphasized the fact that she was dying every inch a Queen;

-          Crimson kirtle probably had a meaning as well – crimson was associated with Christian martyrs and thus Anne used it to emphasize her innocence. Years later Mary Queen of Scots will do exactly the same thing by wearing a scarlet bodice and petticoat on the day of her execution.

We can certainly say that Anne Boleyn was ‘the glass of fashion’ and that she made a great impact on the whole English court.

"The Tudors"

On this day in history 13 February 1542 Jane Boleyn, Lady Rochford, widow of George Boleyn and former sister-in-law of ill-fated Queen Anne Boleyn, was executed along fifth wife of Henry VIII, teenage Catherine Howard.

Lady Rochford remains a mysterious and controversial historic figure. Through centuries she was perceived as a wicked wife who provided a false testimony against her husband and his sister. I must admit – Jane Boleyn is one of those historic characters that I feel especially drawn to. In today’s article I will take a closer look at Jane and her involvement in the Boleyn’s downfall.

My article is also a guest post on the blog On the Tudor Trail

 Who Jane Boleyn was?

She was born as Jane Parker, daughter of Henry Parker, 10th Baron Morley and Alice St John. Jane was related to King Henry VIII and therefore her family was politically active, respected and well-connected at the court. Jane’s date of birth remains unknown although the most probable date seems to be c. 1505.

Although no portrait of Jane survived, she was probably considered attractive in her times – she was chosen to play in prestigious “Château Vert” masque at Court in 1522, where also her future sisters-in-law (Anne and Mary Boleyn) played their parts. Jane played the role of Constancy, Anne Boleyn was Perseverance, Mary Boleyn was Kindness, and the King’s sister Mary Rose Tudor was Beauty.

Jane & the Boleyn family

The date of marriage between Jane Parker and George Boleyn is not recorded; according to Alison Weir they married ‘late in 1524’. They were both about the same age, young and attractive, members of prominent English families.

The tradition goes on to say that the marriage was an unhappy one, particularly because of George Boleyn’s homosexuality and Jane’s jealousy about his relationship with his sister Anne Boleyn.

Historian Retha Warnicke believes that George Boleyn was homosexual. Her theory led many people to believe in unhappy union between George and Jane.  Retha M. Warnicke based her opinion on three pieces of evidence;

1)  George Cavendish’s ‘Metrical Visions’: Cavendish described George Boleyn’s ‘unlawful lechery’ which suggests that young Boleyn committed some kind of sins; but was homosexuality one of them? The answer is no. It is highly possible that George Boleyn was unfaithful to his wife and that he had had affairs, but there is no mention that he was homosexual. In 16th century every sin was considered as great offence against God, and perhaps George Boleyn committed some sins (adultery for example) but there is no mention about homosexuality. What is very interesting, Cavendish describes George Boleyn as a womanizer and not homosexual:

“I forced widows, maidens I did deflower. All was one to me, I spared none at all, My appetite was all women to devour, My study was both day and hour.”

2)   George Boleyn’s scaffold speech: Retha M. Warnicke argues that in his last words, George confessed that he was a homosexual. But George’s last speech is no different than any other scaffold speeches of that time; he simply admitted that he is a sinner, like all people, and that he deserved to die. Perhaps he meant that he did not lead a chaste life, but it does not imply that he was a homosexual.

3)   Retha M. Warnicke stated that George Boleyn had a homosexual affair with Mark Smeaton, the court musician because at some stage they both had access to the same book.

Personally I do not believe that George Boleyn was a homosexual – I actually think that he was a wealthy and powerful young courtier, a rising star who was handsome and learned. Perhaps his beauty and quick wit could have been the reason of gossip about his unhappy marriage. But we also have to consider this – George Cavendish was Cardinal Wolsey’s secretary and therefore he held the Boleyns responsible for his master’s fall. So it is obvious that he did not respect them, and it is possible that he exaggerated or even lied about certain matters.

Perhaps the only thing that caused tension between George and Jane was religion.  In his book “The Boleyns: The Rise and fall of a Tudor Family” David Loades states that:

“There is no sign that Jane was anything other than strictly orthodox in her faith, and she had no patronage of any significance to indicate otherwise, while George was clearly in the evangelical camp”. (David Loades, “The Boleyns: The Rise and fall of a Tudor Dynasty”, p.141)

George, as well as his royal sister Anne, developed a strong interest in religious reforms. Jane Parker from the other hand came from a Catholic family. Her father, Lord Morley spent few years in Margaret Beaufort’s household (mother of Henry VII, grandmother of Henry VIII) where he came to know John Fisher, who was executed in 1535 as he refused to accept Henry VIII as the Supreme Head of the Church.  Perhaps Jane’s family, as most people in England, blamed Anne Boleyn for the executions of both John Fisher and Sir Thomas More.

When Jane Parker married George Boleyn she probably did not suspect that her sister-in-law, beautiful and glamorous Anne, would become Queen of England. Anne paved her way to the top and Henry VIII married her against all odds. Jane became one of Anne’s ladies-in-waiting and found herself a member of a royal family. Although we do not know what the relationship between the two women was, we can easily assume that they knew each other well before Jane married George.

In 1534 Jane Boleyn conspired with Anne Boleyn against king’s new mistress, but when Henry VIII found out about it, he banished Jane from court. Although we do not know when and in which circumstances Jane came back, we can assume that this incident strained the relationship between Jane and Anne.

Jane’s presence at court is recorded again in 1535:

“When [Princess] Mary had left Greenwich to go to Eltham, a great many women, in spite of their husbands, had flocked to see her pass, and had cheered her, calling out, that notwithstanding all laws to the contrary, she was still their princess. Several of them, being of higher rank than the rest, had been sent to the Tower. On the margin of that report … we find (written by Dinteville himself): ‘Note, my Lord Rochford …’ The ambassador clearly meant that Lady Rochford … was among those who had cheered Mary.” (Paul Friedman, “Anne Boleyn: A Chapter of English History 1527-1536”, p. 128)

Although Jane was Anne’s sister-in-law, she probably found herself thorn between loyalty to her husband’s family and loyalty towards her own family and beliefs. It is possible that Jane was shocked at the bloody executions of Bishop Fisher and Sir Thomas More – people whom she as a Catholic admired and respected. It is obvious that there was some kind of tension between Jane and Anne Boleyn. Perhaps Jane blamed Anne for her banishment in 1534 and it changed her attitude towards Anne?

The black legend of ‘infamous Lady Rochford’

 The legend about Jane Boleyn says that she – eaten up with jealousy for George’s close relationship with Anne, provided false testimony that send them both to the scaffold.  Through the course of history Jane was described as:

“Wicked wife, accuser of her own husband, even to the seeking of his own blood” (George Wyatt)

“The infamous lady Rochford… justly deserved her fate for the concern which she had in bringing Anne Boleyn, as well as her own husband, to the block.” ( C.Coote)

The question is why Lady Rochford has such a bad reputation? Did she really testify against her own husband and his sister?

First, let’s forget for a while about accounts of Jane Boleyn’s jealousy and spiteful character, described years after her death. Let’s take a look on contemporary evidence about Jane’s involvement in her husband’s fall. In reports and despatches there are such descriptions;

-          ”That person who, more out of envy and jealousy than out of love towards the King, did betray this accursed secret, and together with it the names of those who had joined in the evil doings of the unchaste Queen” /anonymous Portuguese account, 10 June 1536/; No mention about Jane Boleyn; only ‘that person’ is held responsible for Queen Anne Boleyn’s downfall.

-          On George Boleyn’s trial he reportedly said ”On the evidence of only one woman, you are prepared to believe this great evil of me!”/Lancelot de Carles/: again, no mention about Jane, only about mysterious ‘one woman’ who testified against George.

-          Bishop Burnet who probably had access to contemporary sources lost to us, stated that Jane ‘carried many stories to the king or some about him’. (Eric Ives, “The Life and Death of Anne Boleyn”, p. 331).

There is no contemporary evidence that names Jane Boleyn as her husband’s accuser. She is not mentioned by name as the woman who was responsible for accusations of incest between George and Anne Boleyn. It was years after Jane’s death that she was labelled as ‘evil’, ‘wicked’, ‘jealous’ and ‘spiteful’.

Why then, long after Jane’s death, she was so much slandered? Julia Fox, author of only modern biography “Jane Boleyn: The True Story of the Infamous Lady Rochford” has her own opinion about that;

”Once Anne Boleyn’s daughter, Elizabeth I, was queen, an explanation was needed for why Henry VIII had sent Anne to her death for treason and incest. Just as Elizabeth’s mother, herself a Protestant icon by then, must have been innocent of the charges, the queen’s father, it was thought, would not have ordered Anne’s execution unless he had believed her guilty. Conveniently ignoring Henry’s passion for Jane Seymour, it was easy to suggest that the king had been told lies. And the person who had told the lies, it was alleged, was Jane. Executed for alleged treason, and with no one to speak for her, she was the perfect scapegoat. Yet I found that if you looked at it with a fresh and unprejudiced eye, the evidence didn’t stack up against Jane. You could even track how the myths developed. Once I knew that, I wanted to tell her story and stick up for her—it was about time that someone did”. (http://www.juliafox.co.uk/A-talk-with-Julia-Fox.pdf)

In her book Julia Fox argues that Jane Boleyn had no reason to give a false testimony against her husband; moreover, after George’s execution she found herself in a difficult financial position. By the end of May 1536 Jane was writing a letter to Cromwell asking him to intercede with the King on her behalf;

“Jane, widow of Lord Rochford, to [Cromwell].

Beseeching him to obtain from the King for her the stuff and plate of her husband. The King and her father paid 2,000 marks for her jointure to the earl of Wyltchere, and she is only assured of 100 marks during the Earl’s life, “which is very hard for me to shift the world withal.” Prays him to inform the King of this. Signed.” (Letters and Papers, Foreign and Domestic, Henry VIII, Volume 10: January-June 1536).

Jane’s letter was answered and she soon came back at court as Lady of the Bedchamber to king’s third wife Jane Seymour. Jane Boleyn managed to secure herself a position of lady-in-waiting to king’s subsequent wives, until her own execution in 1542.

Again the tradition goes on to say that before Jane laid her head at the executioner’s block, she admitted that she gave a false testimony against Anne and George Boleyn.  However this is not true. An eye-witness to Jane’s execution, Otwell Johnson did not mention any such confession. Julia Fox writes that Jane confessed that she:

“committed many sins against God from my youth upwards and have offended the king’s royal Majesty very dangerously, so my punishment is just and deserved. I am justly condemned by the laws of this realm and by Parliament. All of you who watch me die should learn from my example and change your own lives. You must gladly obey the king in all things, for he us a just and godly prince. I pray for his preservation and beseech you all to do the same. I now entrust my soul to God and pray for his mercy.” (Julia Fox, “Jane Boleyn: The Infamous Lady Rochford”)

Otwell Johnson was apparently impressed with Catherine and Jane’s dignity that he later wrote:

“Their souls must be with God, for they made the most godly and Christian end.”

Conclusion

There is no evidence that names Jane Boleyn as her husband’s accuser. Therefore I do not believe that she played a major role during Anne and George Boleyn’s downfall. Even if Jane testified, she might break under the investigation – perhaps she said nothing hurtful, and Anne and George’s downfall was a foregone conclusion?

Although I do not believe that Jane gave a false testimony against her husband and sister-in-law I have to say that I am not entirely convinced by Julia Fox’s sympathetic portrayal of Jane. I have to agree with Alison Weir that Jane “had a talent for intrigue”. She did conspire with Anne Boleyn in order to get rid of king’s new mistress in 1534, she did show her support for the Lady Mary in 1535 when it was clearly a very risky thing (she was briefly taken to the Tower on that account), and she did help teenage queen Catherine Howard to meet her beloved Thomas Culpepper.

I believe that it was Jane’s nosy nature that brought her own downfall. She was found guilty of high treason and taken to the Tower, where she suffered a nervous breakdown. Perhaps Jane though that this last act of desperation will save her from the traitor’s death, but she was wrong. Henry VIII was eager to put her to death and he implemented a law which allowed the execution of the insane.

Any signs of a nervous breakdown that Jane suffered during her imprisonment in the Tower were now gone. She faced her death with courage and dignity.

Sources:

Alison Weir, “The Lady in the Tower”

David Loades, “The Boleyns: The Rise and Fall of a Tudor Family”

Eric Ives, “The Life and Death of Anne Boleyn”

Julia Fox, “Jane Boleyn: The Infamous Lady Rochford”

Letters and Papers, Foreign and Domestic, Henry VIII, Volume 10: January-June 1536

Original Letters, ed. Ellis, 1st series II, pp. 128-9 (LP XVII, 106.)

Paul Friedman, “Anne Boleyn: A Chapter of English History 1527-1536”

http://www.juliafox.co.uk/A-talk-with-Julia-Fox.pdf

Retha M. Warnicke “The Rise and Fall of Anne Boleyn: Family Politics at the Court of Henry VIII”

“I have a question about the letter that Anne is supposed to have written in the tower! Why can we not be sure if she really wrote it..? Can’t we recognise her style of writing?”

This letter was found among Thomas Cromwell’s papers and endorsed with the words:

“To the King from the Lady in the Tower”

“To the King from the Lady in the Tower”

The letter is not in Anne Boleyn’s handwriting, it was suggested that it is a copy of a lost original, or it was dictated by Anne. The letter was allegedly written on 6 May 1536.

Why this letter is considered by many as a forgery?

1. Anne Boleyn would never have written such a letter. She was blaming Henry VIII and his bad council as well as Jane Seymour for her imprisonment.  Elizabeth Norton states that ;

“On 6 May Anne still entertained some hopes that she would be allowed to retire to a nunnery and she would not have wished to jeopardise this”. (Elizabeth Norton, “Anne Boleyn in her own words &words of those who knew her”, p. 255)

 Would Anne Boleyn have risked the king’s wrath by writing a letter is such a reproving tone? She still had to consider her family’s wellbeing.

 2. Why would Cromwell keep this letter rather than destroying it? Everything considering Anne Boleyn’s trial was consistently destroyed, and the letter would probably be destroyed as well.

3.       Signature : “Anne Bullen”. Anne was always signing her letter as “Anne the Queene”

4.       The letter was not in Anne’s handwriting.

 Why this letter could be really Anne’s last letter to Henry VIII?

While there are many reasons to believe that this letter is a forgery, there are some hints that may suggest that Anne really was the author:

1. Anne could have dictated the content of the letter.
2. The letter was first published in 1649 by Lord Herbert, and then again in 1679 by Bishop Burnet. According to Burnet, he found this letter among papers that belonged to Thomas Cromwell together with letters from William Kingston (a constable of the Tower who was reporting what was going on with Anne while she was in the Tower).
3. Elizabeth Norton wrote that:

             “The early historian John Strype mentioned a possible second letter written by Anne to Henry from the Tower, written in response to a message from the King urging her to confess” (p. 256).

Perhaps Anne Boleyn was determined to inform the king that she was truly innocent and wanted to make sure that he knows what she thinks about her unjust imprisonment.

 I don’t know what to think about this letter – Anne Boleyn was outspoken and she often expressed her opinions, even if they angered the king. Perhaps, knowing that she will be executed, she wrote this letter to inform the king what she really thought. I wish to believe that she really did.

The content of the letter:

“Sir,

Your Grace’s displeasure and my imprisonment are things so strange unto me, that what to write, or what to excuse, I am altogether ignorant. Whereas you send unto me (willing me to confess a truth and so obtain your favour), by such a one, whom you know to be mine ancient professed enemy, I no sooner received this message by him, than I rightly conceived your meaning; and if, as you say, confessing a truth indeed may procure my safety, I shall with all willingness and duty, perform your duty. But let not Your Grace ever imagine that your poor wife will be brought to acknowledge a fault, where not so much as a thought ever proceeded. And to speak a truth, never a prince had wife more loyal in all duty, and in all true affection, than you have ever found in Anne Bulen – with which name and place I could willingly have contented myself, if God and your grace’s pleasure had been so pleased. Neither did I at any time so far forget myself in my exaltation or received queenship, but that I always looked for such alteration as I now find; for the ground of my preferment being on no surer foundation than your Grace’s fancy, the least alteration was fit and sufficient (I knew) to draw that fancy to some other subject.

You have chosen me from low estate to be your queen and companion, far beyond my desert or desire; if, then, you found me worthy of such honour, good your Grace, let not any light fancy or bad counsel of my enemies withdraw your princely favour from me; neither let that stain – that unworthy stain – of a disloyal heart towards your good grace ever cast so foul a blot on me, and on the infant princess your daughter.

Try me, good King, but let me have a lawful trial, and let not my sworn enemies sit as my accusers and as my judges; yea, let me receive an open trial, for my truth shall fear no open shame. Then you shall see either my innocency cleared, your suspicions and conscience satisfied, the ignominy and slander of the world stopped, or my guilt openly declared. So that, whatever God and you may determine of, your Grace may be freed from an open censure; and my offense being so lawfully proved, your Grace may be at liberty, both before God and man, not only to execute worthy punishment on me as an unfaithful wife but to follow your affection already settled on that party for whose sake I am now as I am, whose name I could some while since have pointed unto – your Grace being not ignorant of my suspicions therein.

But if you have already determined of me, and that not only my death, but an infamous slander must bring your the joying of your desired happiness, then I desire of God that He will pardon your great sin herein, and likewise my enemies, the instruments thereof; and that He will not call you to a strait account for your unprincely and cruel usage of me at His general judgment seat, where both you and myself must shortly appear; and in whose just judgment, I doubt not (whatsoever the world may think of me), mine innocency shall be openly known and sufficiently cleared.

My last and only request shall be, that myself only bear the burden of your Grace’s displeasure, and that it may not touch the innocent souls of those poor gentlemen, whom, as I understand, are likewise in strait imprisonment for my sake. If ever I have found favour in your sight – if ever the name of Anne Bulen have been pleasing in your ears – then let me obtain this request; and so I will leave to trouble your grace any further, with mine earnest prayer to the Trinity to have your grace in his good keeping, and to direct you in all your actions.

From my doleful prison in the Tower, the 6th May.

Your most loyal and ever-faithful wife,

Anne Bulen”

Anne Boleyn and Henry VIII on hunting, scene from The Tudors

Anne had favourite dog named Purkoy. She received him as a gift from Lady Honor Lisle,wife of the Governor of Calais  and became very fond af the animal. Unfortunately little Purkoy had an accident – he fell out of the window.  One of Anne’s ladies-in-waiting (presumably aslo her friend) Margery Horsman wrote to Lady Lisle :

”The queen’s grace setteth much store by a pretty dog, and her grace delighted so much in little Purkoy that after he was dead of a fall there durst nobody tell her grace of it, till it pleased theking’s highness to tell her grace of it.” / The Life and Death of Anne Boleyn, Eric Ives, p. 213/

 Anne was so attached to her favourite dog that no one dared to tell her about the accident, but the king. In her book ‘Anne Boleyn: A New Life of England’s Tragic Queen’ Joanna Denny writes that little Purkoy’s death might not have been an accident ;

”It may be that this was no accident but warning to the Queen, as shown by Chapuys’ sinister description of the King and the Queen’s shock being ‘like dogs falling out of a window’. Such an incident could easily have brought on a miscarriage , which was perhaps the intention” / p. 232/

After little Purkoy’s death some suggestions were made that he should be replaced with another dog, but Anne didn’t want any. There was also a proposal of a monkey but Anne ;

”loveth no such beasts nor can scant abide the sight of them” /‘Anne Boleyn: A New Life of England’s Tragic Queen’  p. 226/

It is worth to accent that Katherine of Aragon liked monkeys (and is even portrayed with one of them), because they were a memory of her homeland.

Greyhounds

Anne Boleyn had also another dog, greyhound called Urian.  She received him as a gift from William Brereton. Urian was called after Brereton’s brother, Urian Brereton who was a groom of the Privy Chamber. Profesor Ives wrotes how ;

”On one autumn hunt, one of her (Anne’s)  greyhounds got out of control and with another, belonging to Urian Brereton of the privy chamber (William’s brother), savaged a wretched cow.” /p. 145/

Both Norah Lofts and Alison Weir claims that ‘Urian’ was ‘one of the more obscure names of Satan’. / Weir, p. 31/ I remember once I came across an information that Urian was beheaded along Anne, but I guess it is just a part of many legends surrounding Anne.

Anne Boleyn liked also birds and often listened to their ‘pleasant song’ /226,denny/, but she disliked two types of birds : peacocks and pelicans. They were borught for Henry VIII from ‘the New Found Land’  and held at the gardens in Greenwich Palace. Profesor Ives writes ;

”Anne had complained bitterly to Henry that the birds must be got out of the garden because she ‘could not take her rest in mornings for the noise of the same”. /p. 249/

Animals were used also as symbols and emblems. To find out more about Anne Boleyn’s badges click here.

Catherine of Aragon in 1530s, artist unknown

On 7  January 1536 Katherine of Aragon – first wife of Henry VIII and former queen of England – died on Kimbolton Castle. Some historians claim that Katherine’s death was the beggining of the end of Anne Boleyn – since she became one and only Queen of England and couldn’t bear male heir. But professor Eric Ives states that ;

”She had (Katherine) suddenly and somewhat unexpectedly gone downhill at the end of December, and her death was greeted at court by an outburst of relief and enthusiasm for the Boleyn marriage, which gives the lie to later historians who suggest that Anne was already living on borrowed time.” / p. 295 /

As long as Katherine of Aragon lived, Henry and Anne couldn’t enjoy their marriage in a proper way. There was still a reminder of the fact, that Henry had to sacrifice his kingdom for Anne Boleyn. With Katherine death new hopes arrived and both Henry and Anne were aware of it.

So how did Anne Boleyn react on her rival’s death? She received the news at Greenwich and she gave the messenger a ‘handsome present’. And what about Henry VIII? He said :

‘God be praised that we are free from all suspicion of war!’

He called Katherine ‘a cause of our enmity’ (in his relations with Katherine’s nephew, Charles V) and was relieved that she died. If Henry had any feelings left for his late ex-wife he did not showed them in public.

The next  day Henry and Anne ”appeared in joyful yellow from top to toe, and Elizabeth was triumphantly paraded to church. After dinner Henry went down into the Great Hall, where the ladies of the court were dancing, with his sixteen-month-old daughter in his arms, showing her off to one and another”.  /p. 295/

Scene from 'The Tudors' ; only Anne appeared in 'joyfull yellow' , Henry appeared in black - the official color of mourning

The ‘joyfull yellow’ was for many years a subject of speculations – some historians claimed that yellow was a Spanish mourning colour. Thus Henry and Anne appeared in Spanish mouring colour to show respect for Katherine. However this is not the case – yellow was not the mouring colour in Spain. It is rather a colour that indicates Henry and Anne’s real feelings towards Katherine’s death – they were actually overjoyed! In her book ‘The Lady in the Tower’ Alison Weir states that :

‘It is a misconception that yellow was the colour of Spanish Royal mourning: Anne’s choice of garb was no less than a calculated insult to the memory of the woman she had supplanted.’ / p. 18/

David Starkey described ‘the carnival-like celebration of Catherine’s death’ / p. 549/ pointing out on Henry’s flamboyant dress. So was 8 of January 1536 really a celebration of Catherine’s death? It appears to look so, yes. We should not forget that at the time of Catherine’s death Anne Boleyn was pregnant and thus she hopefully looked what future holds for her. Henry was overjoyed because of the political aspect of this death – now he could built a better relationship with Charles V.

And how did Eustace Chapuys react on Catherine of Aragon’s death? He was the Imperial Ambassador (1525-1549) and staunch supporter of Catherine of Aragon and her daughter Lady Mary Tudor. His reports states (please note – Chapuys reffers to Catherine of Aragon as ‘Queen’, Anne Boleyn is a ‘Concubine’ and Elizabeth ‘a Little Bastard’) ;

”You could not conceive the joy that the King and those who favor this concubinage have shown at the death of the good Queen, especially the earl of Wiltshire and his son, who said it was a pity the Princess did not keep company with her. The King, on the Saturday he heard the news, exclaimed “God be praised that we are free from all suspicion of war”; and that the time had come that he would manage the French better than he had done hitherto, because they would do now whatever he wanted from a fear lest he should ally himself again with your Majesty, seeing that the cause which disturbed your friendship was gone. On the following day, Sunday, the King was clad all over in yellow, from top to toe, except the white feather he had in his bonnet, and the Little Bastard was conducted to mass with trumpets and other great triumphs. After dinner the King entered the room in which the ladies danced, and there did several things like one transported with joy. At last he sent for his Little Bastard, and carrying her in his arms he showed her first to one and then to another. He has done the like on other days since, and has run some courses (couru quelques lances) at Greenwich. ”

In his later dispatch Chapuys wrote also that Anne Boleyn wept and feared that Henry would have no scruples to dispose of her as he did with Catherine of Aragon. Chapuys is definitely a source of many informations about life at court and Anne Boleyn herself however we must remember that he was Catherine of Aragon’s staunch supporter and thus he was hostile to Anne Boleyn.  There must be some truth in Chapuys’ dispatches but many of them could be exagerated or even come from courtly gossips.

And what about other sources? Chronicler Edward Hall, a contemporary to Anne Boleyn wrote that ;

“And the viii. day of January folowyng dyed the princes dowager at Kymbalton and was buried at Peterborough. Quene Anne ware yelowe for the mournyng.”

Hall mentiones Anne wearing ‘yellow for mourning’ and does not mention about Henry VIII’s dress. Perhaps Hall did not wanted to comment on the subject so he diplomatically wrote about Anne’s yellow dress. Retha M. Warnicke states that ;

‘This intriguing statement may have been a reference to her pregnancy, for the chamber at Eltham, which had been prepared for her confinement in 1534, had been redecorated in yellow ochre.’ (p. 294)

Another source is Nicolas Sander (author of rumours that Anne Boleyn had 6 fingers, many moles and projecting tooth, etc.) wrote that ;

‘‘The King could not refrain from tears when he read the letter; but Anne Boleyn instead of putting on mourning on the day of Catherine’s funeral put on a yellow dress; and on being congratulated on the removal of her rival, replied, “No, I am sorry, not indeed because she is dead, but because her death has been so honourable.” (131)

The phrase ‘being congratulated on removal of her rival’ may indicate that Sander wanted his readers to believe that Anne had something to do with Catherine’s death.

Sander wanted also to portray Henry stricken by grief after death of his ex-wife and Anne appeared (again) as a villain. Whatever Henry felt for Catherine – in the public eye he appeared as overjoyed king standing on the edge of the new world.

Sources :

Eric Ives, The Life and Death of Anne Boleyn

David Starkey, 6 wives of Henry VIII

Alison Weir ‘The Lady in the Tower’

Nicolas Sander ‘The Rise and Growth of Anglican Schism’

Letters and Papers

“The kyng, after his returne [from Calais] maried priuily[privily] the lady Anne Bulleyn on sainet Erkenwaldes daie, whiche mariage was kept so secrete, that very fewe knewe it, til she was greate with child, at Easter after”

Considering that Elizabeth was born in September 1533, she must have been conceived around December 1532 and it is not enitirely impossible that the couple decided to marry after succesful meeting with king Francis I in Calais.

Wedding scene from 'The Tudors'

Henry VIII was not yet free to marry Anne, because his marriage to Catherine of Aragon was still officially valid. The second marriage ceremony that took place in January 1533 is more reliable date, but perhaps, on 14th of November 1532 Henry VIII vowed his loyalty to Anne Boleyn, in order to ease her conscience, because evidence indicates that they consummated their relationship on their return from Calais in 1532.

Another wedding ceremony took place on 14th of November, but few years earlier – young Catherine of Aragon married Arthur Tudor, an heir to the English throne. It was a huge and glittery ceremony, but as we know – only six moths later joy changed into grief when young prince died and Catherine became a widow.