Tag: Hans Holbein the Younger

Guest Post: “Gilded Power – The Jewelry Legacy of the Tudors” by Sam Mee

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I am pleased to welcome Sam Mee, founder of the Antique Ring Boutique, to my blog today to share an article about Tudor jewelry.

Jewelry was predominantly religious in the austere Middle Ages, focusing on relics, devotional rings, and crosses. But the Tudor rulers developed it as a way to project their own royal power and authority. Clothing fashions of the time emphasized structure, and monarchs like Henry VIII and Elizabeth I integrated jewelry to proclaim their status and divine favor. 

This was the age of portraiture, when the elite commissioned likenesses as propaganda. Hans Holbein the Younger depicted Henry VIII in a way that showed off his jewels and chains of office as much as his formidable bulk (and codpiece). Holbein’s most famous image of Henry is a 1537 mural that, while destroyed by fire in 1698, is still known through copies. It shows the King with a powerful stance and wearing multiple chains and rings to further emphasized his authority and wealth.

Holbein portrait, public domain image: https://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/After_Hans_Holbein_the_Younger_-_Portrait_of_Henry_VIII_-_Google_Art_Project.jpg/1024px-After_Hans_Holbein_the_Younger_-_Portrait_of_Henry_VIII_-_Google_Art_Project.jpg

Three similar Armada portraits of Elizabeth I were painted after England defeated the Spanish Armada. They take allegory even further. The Queen is almost encased in pearls. Her gown is embroidered with them, they sit on her hair, and pearl ropes hang from her neck, all to symbolize chastity and divine protection. More explicitly, her hand rests on the globe as a symbol of empire. Her powerful warships are visible in the background behind her gem-encrusted crown, signifying divine authority. 

Armada portrait, public domain image: https://upload.wikimedia.org/wikipedia/commons/7/7b/Elizabeth_I_%28Armada_Portrait%29.jpg

In fact, Elizabeth I was rarely painted without pearls – other examples include the Darnley Portrait (c1575) and Rainbow Portrait (c1600). The pearls repeatedly symbolized the Virgin Queen’s chastity and wealth in bodily form.

The sumptuary laws

If gems and clothing signified power, then rulers needed to control who wore what. Medieval 15th-century sumptuary laws started to codify this across Europe. A 1463 English statute restricted who could wear “royal purple”, while a 1483 act restricted velvet to knights and lords and satin for gentry with a yearly income of £40.

Tudor England was an intensely hierarchical society, and so the laws were tightened further. Elizabeth’s 1574 Act of Apparel spelled out in detail who could wear what – her rules set which fabrics hats could be made of and dictated the length of swords, depending on the wearer’s standing. Check out the list here: https://midtudormanor.wordpress.com/sumptuary-laws/

Jewelry was also regulated with gold chains, heavy pearls, and precious stones reserved exclusively for the nobility. 

Enforcement was patchy but real, with surviving court records showing individuals tried for breaches and fined. These laws were somewhat symbolic, though. They were a way to make hierarchy visible rather than consistently enforced. Ambitious merchants and courtiers often flaunted jewels beyond their rank, with monarchs turning a blind eye.

Fashion at court

Jewelry was inseparable from clothing at court. Goldsmiths worked hand in hand with tailors, and jewels were sewn directly into doublets and headdresses.

We know Henry VIII wore vast gold chains and pendants and even occasionally jeweled codpieces. Courtiers followed suit with jeweled hat badges, enameled rings, and ornate girdle books (these were tiny, jeweled prayer books that hung from belts). They also wore gold pearl earrings. Women sported pearls, rubies, and diamonds on top of layered dresses made from richly embroidered fabrics. 

Anne Boleyn’s necklace – a large gold “B” with three drop-pearls dangling from it – is one of the period’s most famous jewels. It’s a very personal bit of jewelry that symbolized her individuality and status. (It survives only in portraits – its whereabouts after her 1536 beheading is not known).

Anne Boleyn’s B necklace, public domain image: https://upload.wikimedia.org/wikipedia/commons/f/f2/Anne_boleyn.jpg

Global trends and treasures

The rise in the prominence of jewelry was part of a wider trend of expanding horizons – culturally, societally, geographically, and economically. Spain’s influx of New World gold and silver boosted Europe’s wealth, with England claiming its own share through figures like Sir Walter Raleigh and Sir Francis Drake.

There’s extraordinary archaeological evidence of this, not just from the images of the time but from the Cheapside Hoard, discovered in 1912 beneath a London cellar. It’s a collection of more than 400 pieces. There are emerald rings, diamond pendants, and enameled chains with gems sourced from Colombia, India, Burma, and Brazil. The treasure shows that London goldsmiths had access to a global supply of jewels long before the height of the empire. 

Together with portraits, the Hoard is the richest record we have of Tudor jewelry, showing how jewels were actually made. You can read more about it here: https://www.londonmuseum.org.uk/collections/london-stories/jewels-cheapside-hoard/

Evolution of Tudor Jewelry

New fashions, new materials, and new freedoms (for some). Tudor jewelers developed new techniques to match these wider changes in society, combining medieval traditions with Renaissance artistry. Enameling reached new heights, and these techniques were carried forward into Georgian mourning jewelry and even into Victorian revival pieces.

Foil-backing was widely used in Tudor times to enhance jewels. Thin sheets of colored foil were placed behind gems like diamonds, rubies, or rock crystal to enhance their brilliance. This technique remained common until the 18th century, when more advanced diamond cutting began to produce inherent sparkle.

Gem cutting itself advanced in the Tudor period. Gemstones are rarely cut in bespoke shapes but tend to use standardized cuts designed to maximize brilliance or colour. This has been true since the Renaissance. Earlier medieval gems were typically worn as cabochons (smooth, polished domes), which enhanced colour but not brilliance. Then, from the late 15th century, jewelry began to experiment with faceting, where flat surfaces were cut at angles to reflect light, and Tudor lapidary work played a key role in the development and take-up of new techniques:

  • Cabochon: The oldest approach. A smooth, rounded dome without facets. Used in the medieval period for sapphires, garnets, and emeralds.
  • Point cut: This simple cut shaped a diamond into a pyramid with four sides. Mostly common in the 15th century.
  • Table cut: Developed in the late 15th century, this removed the top of the pyramid to create a flat “table” facet. It meant increased brilliance and became standard in Tudor jewelry.
  • Rose cut: Emerged in the 16th century as diamond saws and polishing technology improved. This had a flat base and a domed top covered in triangular facets to resemble a rosebud. The rose cut was popular until the 19th century.
  • Old mine cut: An 18th-century development. It’s a squarish cut combined with a high crown, deep pavilion, and large culet. It was the forerunner of the modern brilliant cut.

You can read more about the evolution from medieval jewelry techniques here. (https://historicalbritainblog.com/the-debt-antique-jewellery-owes-to-the-middle-ages-guest-post-by-samuel-mee/)

Settings in Tudor times typically enclosed the stone with gold, but Tudor jewelers began experimenting with more open settings to admit light. It was the Stuart era that really saw the development of the claw setting for diamonds, where the gem was held with tiny metal arms to allow much more light to pass through, dramatically increasing sparkle.

Tudor trends can be seen in subsequent centuries: 

  • Georgian jewelers turned enamel and foil into sentimental jewelry such as portrait miniatures (also common in Tudor times) and mourning rings.
  • Victorian designers enjoyed historical revival, and they often deliberately echoed Tudor styles, such as heavy Holbein-like gold chains and memento mori skulls.
  • Edwardian jewelers drove a revival of Elizabethan-style pears and combined them with lace-like platinum settings.
  • Art Deco designs were modernist in geometry but had a strong revivalist theme from Egyptian motifs to statement designs that matched 16th-century theatricality.

Surviving themes

Tudor jeweler was many things: regulated, global, technical, and symbolic. It was constrained by law, used as propaganda, and yet pushed at boundaries. It was part of the evolution of techniques and materials that developed over several hundred years as jeweler changed to become ever more personal. And even specific gem traditions persisted. The Tudor love of pearls was echoed in the Edwardian era. Tudor foiling foreshadowed Georgian brilliance. Tudor enameling was revived multiple times in the centuries that followed. Let’s just hope the codpiece doesn’t return. 

About the Author

Sam Mee is the founder of the Antique Ring Boutique (https://www.antiqueringboutique.com/), which sells rings from the Georgian, Victorian, Edwardian, and Art Deco eras. He has several guides on his website for buying rings from different historical periods. EG, you can learn more about ring cuts and foiling in the guide to Georgian rings: https://www.antiqueringboutique.com/en-us/pages/georgian. He is a member of both Lapada (https://lapada.org/dealers/antique-ring-boutique/) and BADA (https://www.bada.org/dealer/antique-ring-boutique). 

Book Review: “Holbein: The Ambassadors” by Tracy Borman

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Do you have a favorite painting? One that grabs your attention whenever you look at it and discover something new. Most paintings are from da Vinci, van Gogh, Rembrandt, Picasso, or Michelangelo, just to name a few. However, there is one artist that I feel doesn’t get a whole lot of attention unless you study the 16th century: Hans Holbein the Younger. While Holbein is known for his single portraits, his double portrait, known as The Ambassadors, is stunning to look at and is filled with symbolism. Tracy Borman, in collaboration with the National Gallery, has written a short book about this remarkable painting entitled “Holbein: The Ambassadors.”

Since this is a small book (less than a hundred pages), I will keep this review brief. The Ambassadors is a painting most likely commissioned in 1533 by Hans Holbein the Younger. For years, the identity of the sitters has been debated, but they were finally identified as Jean de Dinteville, the French ambassador to England, and Georges de Selve, ambassador to Emperor Charles V. At the time of the painting of this double portrait, England was in the midst of the Great Matter, the divorce of Henry VIII and Katherine of Aragon, so a few elements are alluding to the changes happening in Europe during this time, which Borman explores in depth. She also explores the life of “the King’s Painter” Hans Holbein the Younger and how you can see his distinct style in this piece. Finally, Borman also explores how the painting was kept for centuries, as well as the research that was conducted on it, and the preservation processes that the National Gallery

This was a fun and informative little book about one of my favorite paintings. It gave me a new appreciation for Holbein and this stunning painting. If you want a book about a piece of art from the 16th century, you should check out “Holbein: The Ambassadors” by Tracy Borman.

Book Review: “Pursuing a Masterpiece: A Novel” by Sandra Vasoli

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63226327._SY475_What if you found information about a mysterious portrait that would radically change how we view history forever? Who would you tell? When Zara Rossi entered the Ancient Manuscripts Room at the Papal Archives in Rome, she never imagined how a single letter would change her life and the Tudor community. Each piece of the puzzle unlocks a new story from the past and allows Zara to explore the remarkable tale of this masterpiece. Follow the clues with Zara Rossi to solve this mystery from the past in Sandra Vasoli’s latest book, “Pursuing a Masterpiece: A Novel.”

Thank you, Sandra Vasoli and GreyLondon Press, for sending me a copy of this novel. I am always looking for a new way to incorporate Tudor history into a story, so when I heard the description of this particular book, I was captivated.

Zara Rossi begins her adventure into the past by going to the Ancient Manuscripts Room and the Papal Archives, which is an immense honor as you have to be invited even to have a chance to go into the Archives. She is looking for personal letters of Pope Clement VII to find his reaction to Henry VIII’s split from Rome. Instead, she found a letter from the Grand Master of the Order of St. John, Villiers de L’lsle-Adam, about a double portrait of King Henry VIII and Anne Boleyn.

As Zara uncovers the tale with each clue in the modern age, Vasoli introduces her audience to a colorful cast of characters that span centuries. Starting in the 16th century, we are introduced to Henry VIII, Anne Boleyn, his advisors, Hans Holbein the Younger, and the Court Astronomer Nikolaus Kratzer. We also become acquainted with the Order of St. John and rebellious Catholics horrified by this painting. But, we do not stay in the 16th century for long as Vasoli transports her readers to the middle of an 18th-century swashbuckling pirate adventure in the Caribbean that ends up in France with a murder, a trip on the Titanic with a fashion designer for the rich and famous, and an encounter with scoundrels from World War II at Hever Castle.

Vasoli created a complex yet spectacular story of pursuing the truth that will rock the academic world with vibrant characters and compelling cases. Zara is a main character that I could personally relate to, and while I was reading, I was hoping she would find her way to not only the truth about the painting but for her to be happy with her family and friends. Her desire to uncover the truth, no matter the cost, is genuinely admirable. I wanted to know if Zara would ever find the truth, but at the same time, I did not want the story to end.

Vasoli created a masterpiece by not only creating a thought-provoking fictitious double portrait of Henry VIII and Anne Boleyn but a novel that is unlike anything I have read. It’s a love letter to the past and those who pursue the truth behind even the smallest fragment left by our ancestors. If you want a thrilling Tudor-based historical fiction novel, “Pursuing a Masterpiece: A Novel” by Sandra Vasoli is a must-read.

Book Review: “The King’s Painter: The Life of Hans Holbein” by Franny Moyle

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C1629377When we think of famous artists in the 15th and 16th centuries, we focus on the great European masters. Michelangelo, Leonardo da Vinci, and Albrecht Durer tend to come immediately to mind. However, one man from Augsburg, Germany, revolutionized how we viewed the Tudor dynasty through portraiture: Hans Holbein the Younger. Many are familiar with his famous works of art and how they influenced how the Tudors have been perceived for centuries, but the man behind the masterpieces has been overlooked. His story and how art was understood in the 16th century is told in Franny Moyle’s latest biography, “The King’s Painter: The Life of Hans Holbein.”

Before I read this book, I did not know much about Hans Holbein, the man behind the art. I knew about his masterpieces like his portraits of Anne of Cleves, Henry VIII, and The Ambassadors, which I love to marvel at, but the man himself was a complete mystery. When this book was announced, I knew I wanted to read it to learn more about the master Hans Holbein.

Hans Holbein the Younger was from a family of artists; his father was Hans Holbein the Elder, and his older brother Ambrosius were also artisans, but they never reached the level of prestige as the youngest member of the family. Holbein the Younger was willing to break the mold and create art his way. Before finishing his apprenticeship, he signed his artwork and ensured that he was not in debt like Holbein the Elder. Holbein the Younger decided to move to Basel, Switzerland, to make his name. Here, Holbein was introduced to men like Erasmus and the ideas of humanism and Protestantism. It was in Basel where Holbein married Elsbeth Schmidt and started his family.

Holbein did not stay in Basel as he was destined to travel to England to be the painter for King Henry VIII. Holbein’s paintings for Henry VIII and his court are some of the most stunning images in 16th century England. The way Holbein was able to paint his subjects in such a life-like style is astonishing. However, when you pair it with Moyle’s information about Holbein’s circle of friends like More, Cromwell, Erasmus, and Cranmer, it adds depth to his work. The amount of allusions and symbolism in these works of art is astounding, and you can spend hours just analyzing one piece at a time.

It is a spectacular biography that any Tudor or art fan will adore. Franny Moyle has created a vivid image of Holbein’s world that could stand side by side with one of his masterpieces. I purposely took my time to read this book slowly to absorb every minuscule detail that Moyle included about Holbein and his world. I know it is a book that I will personally reread in the future. If you want a definitive and delightful biography about the man behind the canvas, I highly recommend “ The King’s Painter: The Life of Hans Holbein” by Franny Moyle.

Book Review: “King and Collector: Henry VIII and the Art of Kingship” by Linda Collins and Siobhan Clarke

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57135832When we think of the legacy of King Henry VIII, a few descriptions come to mind—married six times, father of three children who would be the king and queens of England one day. We often see him as a man conflicted with religious changes and someone who could be tyrannical when dispatching his enemies and those closest to him. We don’t usually associate Henry VIII with a collector and patron of fine art, but his collection would help bring the Royal Collection to life. The artwork that Henry VIII commissioned and collected tells how he wanted to be viewed by the world. In “King and Collector: Henry VIII and the Art of Kingship,” Linda Collins and Siobhan Clarke peel back the layers of Tudor propaganda to show the truth about King Henry VIII and the artists who made his ideal image.

I first heard about this book from a social media post from Alison Weir, and the way she described it was so intriguing to me. I have not read many books about art history, which I do love, so I wanted to see if Linda Collins and Siobhan Clarke could add any new information into the world of Tudor art.

Collins and Clarke take their readers on a journey through the life of the titular king, explaining crucial moments during his long reign and how he used different types of art to express his worldview. For even the most casual Tudor fan, one would think of the first name when Tudor art is Hans Holbein the Younger. However, there are so many other brilliant artists that Collins and Clarke highlight in this book. There were sculptors like Guido Mazzoni, who created the terracotta sculpture of a young boy who is believed to be Henry VIII as a boy, and Pietro Torrigiano, who made the tomb of Henry VII and Elizabeth of York.

The Tudor age saw the emergence of portraits, miniatures, and paintings as art, which is reflected in Henry VIII’s collection. Some artists are unknown and are still referred to as either the English or Flemish schools, but we know about miniaturists’ contributions like Lucas Horenbout and Holbein. I loved this book because Collins and Clarke took the time to explain how these pieces were created to give us a better appreciation for the crafts. From sculptures and paintings to tapestries, stained glass, and etchings, each piece of artwork highlighted in this book tells a unique tale of the Tudor king and how these pieces would become the Royal Collection that we know today.

If you are a lover of art and Tudor history, you will find “King and Collector: Henry VIII and the Art of Kingship” by Linda Collins and Siobhan Clarke enthralling. This small book is exquisitely written, and it provides its audience with a plethora of fascinating art facts—a must-read for any Tudor history fan.

Book Review: “A Wider World” by Karen Heenan

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56860771._SY475_The year is 1558, and Queen Mary I is dying. England is engaged in a war between the Reformation and Catholicism. Caught in the middle is an older man named Robin Lewis, who is being taken to London to face his death as a heretic. Fearful that his story may never be told, Robin Lewis tells his captor his tale through the reigns of three Tudor rulers, Henry VIII, Edward VI, and Mary I. Can his story save his life from certain destruction, or is Robin doomed for all eternity? This is the premise of Karen Heenan’s second book in The Tudor Court series, “A Wider World.”

I want to thank Karen Heenan for sending me a copy of this book. I really enjoyed her first novel, “Songbird,” so I was looking forward to seeing where Heenan would take the series.

We have met Robin Lewis in “Songbird” as the rival of Bess and the stuck-up kid in Music. We don’t see much of his story in the first novel. Heenan has decided to take this side character that is a bit polarizing and write a novel about his life, which I love.

It is a bold choice to start a novel with the protagonist being sentenced to death for being a heretic, but the way Heenan structures this story is brilliant. Heenan begins her novel with Robin’s arrest and his captor, William Hawkins, taking him from the countryside to London to be locked in the Tower. Robin acts like a Tudor Scheherazade to delay the inevitable, telling his story through flashbacks to Hawkins.

What makes this story so unique are those flashbacks that are so vivid and filled with men and women that shaped Robin into the man that he became. Robin is a bookworm who prefers the company of texts to other people, so to see him interact with others is just a delight. They include brothers of a monastery, a servant named Seb, and a beautiful Italian woman named Bianca, who shared Robin’s love of learning. Of course, it wouldn’t be a Tudor novel without famous figures such as Wolsey, Cromwell, and Holbein. Heenan uses these figures as secondary characters to enhance Robin’s story.

At the heart of this novel is the dissolution of the monasteries and Robin’s travels abroad, especially his stops in Italy. Although Cromwell forces Robin to help dissolve the monasteries, his past with monks makes him question the assignment he has been given. Robin’s faith and his relationships with the church in England and Italy are very distinct and shape how he views the charges brought against him at the beginning of this novel.

Heenan has once again made a delightful tale of struggles inside the Tudor court by someone on the sidelines. The blending of English history with elements from other cultures was inspiring. Weave current events with a character’s past is extremely difficult, yet Heenan does it seamlessly. This enchanting novel is the perfect sequel to “Songbird.” If you are a fan of Tudor historical fiction, “A Wider World” is a must-read.

Book Review: “The Survival of the Princes in the Tower: Murder, Mystery and Myth” by Matthew Lewis

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35888548One of the greatest mysteries of all time is what happened to the young princes, the sons of Edward IV, who were held in the Tower of London. Many people believed that they were killed. There are some who believe that Richard III had them murdered and there are some who say that Henry VII ordered the deed to be done. But what if they were never killed? What if they survived? That is the premise of Matthew Lewis’s book “The Survival of the Princes in the Tower: Murder, Mystery and Myth”.

I have always been one of those people who believed that the princes were indeed murdered and that the one who ordered their murders was Richard III. I have read the “sources” and I came to my own conclusions. A few months ago, I attended the Tudor Summit (for those of you who do not know what this, look it up it is a fantastic two- day summit with fellow Tudor nerds) and one of the speakers was Matthew Lewis. Normally I don’t pay attention to the Ricardian side of this debate, but his talk made me interested, so I decided to read his book.

I am really glad I decided to read this book. It gave me something new to think about when it comes to this mystery and it did it in such a constructive way that made sense. Lewis starts his book by exploring the facts and the different sources that made the case that the princes were murdered, and then he looks at why these sources have been misinterpreted and don’t tell the whole story. For example, the fact that More said that Edward IV died in his fifties when in fact he died when he was in his forties, which is a big age gap.  Lewis asks rather obvious questions about the anti- Ricardian argument like why did Elizabeth Woodville turn over to her sons if she believed that Richard III was truly evil. It was by going through these sources and these obvious questions that started to create a lot of doubt in my mind whether or not the side I was on in this debate was accurate.

Lewis then dives into the lives of those we call the “pretenders”, Lambert Simnel and image015Perkin Warbeck. These were the most famous pretenders and the ones who challenged Henry VII’s right to the throne. If they were really the princes in the tower, why were they defeated? Why were they considered pretenders? Lewis explores other people who could possibly be the princes, including a theory by amateur art historian Jack Leslau on “The Family of Sir Thomas More” by Hans Holbein the Younger.

The theory that Matthew Lewis presents in this book is very unique. In order to understand what he is trying to do, you have to be open to a different perspective on this quagmire of a topic: the princes in the tower. There are certain books that come along and totally shake what you believe in, but you should not be afraid to read these kinds of books. I did not know what to expect when I started this book, but Lewis presented an argument that made sense and made me question everything I thought I knew about this mystery. Now I want to reread the sources and try to understand them better. I would recommend this book for anyone who thinks Richard III is innocent, guilty, or you are unsure of your position in this debate. “The Survival of the Princes in the Tower: Murder, Mystery and Myth” by Matthew Lewis breathes new life into this debate and begs the question: what if the princes in the tower lived?