#tudor history

[fashion-from-the-past]

Annika Caswell a student from the Wimbledon School of Art wardrobe department, dressed as Catherine Parr, next to her portrait attributed to Master John, c. 1545 in the National Portrait Gallery, London. * The students are recreating portraits dating from the Tudor period to the 19th century which have been inspiration for their lavish costumes . (Photo by Rebecca Naden - PA Images/PA Images via Getty Images)

[highladyofterrasen7]

And catholic for short (time)

[ilreleonewikiart]

Westeros fashion studies: Stormlands

"The stormlands, historically the Kingdom of the Storm, are one of the constituent regions of the Seven Kingdoms on the continent of Westeros. The Kingdom of the Storm was a sovereign nation until Aegon's Conquest, in which the last Storm King was slain. The region is so-named for the savage and frequent autumn storms that batter the coast after beginning in the Summer Sea. The stormlands are ruled from the castle of Storm's End by House Baratheon. Notable bannermen of the region include Buckler, Caron, Connington, Dondarrion, Errol, Estermont, Penrose, Selmy, Staedmon, Swann, Tarth, and Wylde. Noble bastards raised in the stormlands are given the surname Storm."

[elephantlovemedleys]

junia rees as princess elizabeth in firebrand (2024) / cate blanchett as elizabeth i in elizabeth (1998)

[jaehaeryshater]

England’s Pearl and Their Beloved Queen

Mary I and Katherine of Aragon by @francy-sketches

Guys. I have not been so excited for a commission in my life. I know it’s not ASOIAF so definitely not as anticipated among my friends, but it’s just so well done. I adore Katherine and Mary and this turned out so beautifully. I cannot sing Francy’s praises high enough; after the initial reference pictures I sent her, I did not need to correct anything at all, she completely got the vision.

As anyone who has ever encountered me before will have known, I am incredibly particular about commissions and therefore very involved. I usually like to give pieces I pay for extra thought and historical authenticity. For this piece, I went and looked for available quotes and contemporary accounts of Katherine’s fashion choices. I wanted to make sure from the base of the dress (the farthingale underneath) to the jewelry were all as accurate as was reasonably possible. I did even learn a thing or two, despite my initial intention of just checking to make sure everything I had previously believed was true. For example, I learned that Katherine sometimes wore a flemish hood, which I wouldn’t have thought that would align with her fashion sense; I was proven wrong. I have seen practically all the artworks available to the public that have been confirmed to be Katherine, so I had already guessed black was her favorite color to wear. But I did learn that her other favorites were purple and red. I decided to keep it simple with the black. It’s elegant and regal, black was an expensive color but still is not obnoxiously ostentatious. The jewels around her neckline as taken directly from portraits of her. The pearls seem a mainstay for her, but I did learn that her dresses had many other colored jewels tied into them. I just thought black looked the best. Her dresses were fur-lined, although I would definitely say we took some liberties on what the fur looked. The fur she wore was pretty much exclusively ermine. The sleeves also have true gold, which Spanish royalty traditionally loved (for hundreds of years, by this point, at least). Katherine’s Spanish outfits, of which she had many, definitely collected dust in favor of more traditional English outfits. There’s no indication that she was forced into this, as she did sometimes dress in the Spanish style when it struck her fancy, but it was important for her to present herself as English with English loyalties and priorities in mind. That being said, something as innocuous as gold embroidery, which was not completely foreign to the English court, was definitely something she could implement from back home without seeming like a foreigner. I have pomegranate embroidery on her sleeves, which is more of symbolism rather than something accurate. There’s no proof she ever wore pomegranate embroidery on her sleeve, but her official symbol was of a pomegranate, so I figure that was something important to her.

Katherine’s necklace is obviously a direct copy of the necklace she wears in several of the contemporary artworks depicting. This is pure speculation, but I personally believe that this necklace could have come from old English jewels that had been melted down and repurposed for her. Generally, people weren’t as sentimental in the same way we are today, nor worried about these aspects of preservation, so jewels were melted down and used for other purposes all the time. She also usually wore many strings of pearls, but it just would have looked like too much and would take away from the piece overall, so we decided just to do the necklace. Her gabled hood is also directly taken from her contemporary portraits, the gold and black with the red jewels was what she usually wore. She has a girdle belt with a long string of pearls. Sometimes she would wear a cross at the end or some black jewels that matched her necklace. What’s depicted in this is actually a pomander that turns into a rudimentary clock when it is opened. Katherine is recorded as having one of these; I thought that was very cool. I also asked for her to have some rings. She did have a wedding ring, but I found no description of it, so the artist just did basic gold. She’s wearing two which I think is pretty funny considering she was married twice, of course she wouldn’t have worn two wedding rings, but imagine if she did have the audacity to. Katherine had so much jewelry, more than any of Henry VIII’s wives. She had the royal collection available to her, pieces from Spain, and gifts from Henry specifically made for her. She usually decked herself out as expensively as possible.

Unfortunately, there is basically no information on how Mary dressed as a child. We know her mother dressed her and was having the clothes ordered herself, but beyond that, there’s really nothing available that I could find. I felt that Mary would be dressed similarly to her mother, but I wanted to give her a purple dress because purple fabric was generally the most expensive thing you could buy. I wanted to illustrate how loved and well taken care of she was. She has matching rings with her mother, but no girdle belt or necklace because I’m envisioning her as being 6-9 in this, so I wanted to give her something she could play in. She’s wearing a French hood. Katherine ordered her one in 1520, when she was four. My references on how hers should look is from portraits of her aunts Mary and Juana. I felt that Katherine would probably want to buy a style she was familiar with. Mary’s embroidery is of the Tudor rose. It turned out so beautifully. Similarly to Katherine, there’s no evidence that she actually wore that embroidery, but I wanted some symbolism in there.

My intention with this piece was to show the closeness between Katherine and Mary. Katherine loved Mary with all her heart and showed no outward indication of disappointment that Mary was a girl. She spent more time with Mary than any other highborn individual in this time period that I know of. I wanted to show that Katherine is someone that Mary deeply and completely trusted, even when court could be over the top and crowded, frightening for a child. I feel as if people other themselves from people in the past. People often feel as if people 500 years ago did not care as deeply about their children or weren’t attached to them. I believe this is true in some instances, but generally we are more like the people of the past than we like the believe. As far as any research I’ve done has shown, Katherine loved Mary as much as any mother of our time loves her children.

I believe Francy did a beautiful job, so all compliments go to her, I hope everyone checks out her page to see her amazing work. The caliber of this is unlike the commissions I’ve done in the past. I cannot thank her enough.

I hope this ended up being relatively historically accurate, I’m sure someone will let me know if it’s not haha.

[cosmic-walkers]

The category is: misunderstood/morally ambigious and extremely hated women who were used by their fathers for power and ended up becoming doomed queens and both them and their daughters suffered terribly for it.

Also both turn to religion in times of trauma

[elizabethan-memes]

I think in the modern period, post sexual revolution, we underestimate the sizzling power of words like 'whore' and 'concubine.'

In Tudor England, the worst thing you can call a woman is a whore. In the modern day it's very rude, but in the Tudor period, people sued over these insults. Call a woman a whore and you may well find yourself in court for slander- especially as it insults her whole family. Call a woman a whore in front of her man or male relatives and you may lose an eye or even end up dead.

Anne's anger about being insulted in this way is not sensitivity or excessive pride on her part. Any woman in her position would have felt equal outrage.

[ltwilliammowett]

When Tower of London ghost meets raven. The raven Poppy was getting rather curious about one of the Tower ghosts…

Alice Wolf was a Tudor pirate and the first and only female to escape the Tower! She was captured and sentenced to a pirate’s death.

Source

You can read more about her here - source

[cloudflycat]

...So we dance within the fire

Elizabeth I & Anne Boleyn

commission art

(not drawn by me)

[threesonsofyorks]

Margaret Beaufort and Henry Tudor (Henry VII) in The White Queen (2013) Episode five "War at First Hand"

[sovereignoftruth]

This is Barnaby internally when returning from a campaign, and after washing up he’d probably spend an hour or two with his family before he retired to bed in which he’d probably cuddle with his wife as he fell asleep.

Albert Camus, from a letter to María Casares featured in Correspondance, 1944-1959

[austin-friars]

The "Lucky" One

[elephantlovemedleys]

FIREBRAND (2024) dir. Karim Aïnouz

[catherine-of-aragorn]

tired: referring to Catherine of Aragon as "Henry VIII's first wife"

wired: referring to Henry VIII as "Catherine of Aragon's second husband"