Good morrow, costume fiends! Welcome to your insight into Henrican politics for the week!
Wolsey, Wolsey, Wolsey!++++
The King asks Charles to escort his sister, Margaret, to her betrothed and promotes him to Duke of Suffolk. The envoys from the Holy Roman-Emperor meet with Cardinal Wolsey and determine how to cement the treaty between the two nations. Anne catches the King’s notice in a play. The Emperor is invited to the King’s court. It is learned that the King of France knows of the treaty talks- and the Cardinal is quick to find a scapegoat. We learn more of why Anne’s father and uncle want her to seduce the King.
As usual, the pace is really rattling on. Each episode covers a truly huge amount of events and many different plotlines. To be honest, it does work. It makes the Tudor court seem very vibrant, busy, and a potboiler of intrigue. It just means I have a lot of history to cover!
Begot by Butchers, But By Bishops Bred
Wolsey, you see, is evil.
After the French cardinals screwed him over, Wolsey has now entered into a secret treaty with the Holy Roman Empire. Wolsey, in real life. mediated between the Holy Roman Empire and France in 1519, but this treaty is clearly the Treaty of Bruges from 1521. This started to be debated during the Field of Cloth of Gold, and it’s often seen as Wolsey’s finest work in international politics. It joined Henry and Charles in a mutual treaty if France would not sign a peace treaty. Wolsey had ambitions of a peaceful Europe, with England acting as an arbitrator, and it was a masterstroke of international diplomacy.
However, in the show it’s evidence that Wolsey is EEEEEEVILLLLLLL.
He’s taking money from the Emperor! He’s evil!
He has an innocent man sent to death! He accuses this man of spying for the French but it’s actually…. Wolsey!
Wolsey has a secret mistress! He’s EEEEEEVVVVILLLL. Evil! That’s his whole motivation!
Okay, I see your game, show. The show needs a Big Bad. It’s a easy system of protagonist-to-antagonist narrative brought in by the highly developed and arc system of story telling brought in by Buffy. Unfortunately, it does not work here. Creating a narrative out of Tudor history is a necessity of making a fictional television show about these events, but having Wolsey as an arch manipulator and secretly evil minister is based on some incredibly old historiography that has been mostly revised and dismissed by modern historians. Obviously, I’m a little biased as my adviser during university was a scholar and defender of Cardinal Wolsey, but the idea of Wolsey as manipulator and Henry VIII as puppet is incredibly old-fashioned and not really in-keeping with modern Tudor academia.
I’ll talk more about it as the seasons progress. But, needless to say, Wolsey as being this evil minister is old fashioned, lazy, and a waste of Sam Neil’s talents.
This treaty with Charles V, Holy Roman Emperor, brings in one of my favourite figures of the period.
Eustace Chapuys. This guy. This guy is one of my favourite people of the sixteenth century. He worked as Imperial Ambassador to the English Court from 1529 to 1545, and he’s notable for his wonderful legacy – incredibly detailed correspondence. He had a head for gossip and reported everything that he heard, and it’s such a goldmine of intrigue and whisperings and I love reading them and I love him.
We’ll ignore that he’s nine years early.
To commemorate and sign the treaty, Charles V actually arrives in England to sign it himself, not through a proxy. It was pretty unusual for foreign royalty to visit England for things like this – being that England is pretty out of the way in Europe – but he actually visited England a number of times.
This is contemporary artwork of Charles V visiting England in 1520. The events the show is depicting took place in 1522, however. Vague timelines of vagueness strike again, but I appreciate that the show made efforts to depict the Hapsburg jaw.
This is Charles V in 1519. As you can see, he has a deformation of the jaw. The Hapsburg jaw is a pretty famous example of the effects of inbreeding on a family, and this is not even the worst example of it.
As part of the treaty, Charles V is engaged to the Princess Mary. This also happened in real life; in 1522, the six year old Mary was engaged to the twenty two year old Charles. The two, while they never married, remained close for their entire lives.
Katherine is pleased with England aligning their interests with the Empire. Considering that she is fearful that Henry will divorce her, having her powerful nephew on side can only help her. And, in another element that is true, Katherine and Charles were very close and kept in constant contact.
She swears to being a virgin whilst married to Arthur, the elder brother of Henry VIII who died in his teens (and whose death ensured that Henry would be king) and to her unwavering love and devotion to her husband and king. Maria Doyle Kennedy is pure class as Katherine. Her performance is excellent, sincerity and fire balanced with such a nuanced sadness. She acts Henners out of the water, every time.
A Historic Meeting
She’s right to be worried about her marriage as one particularly famous lady is ready to make her court debut.
This is something else that both pleases and frustrates me. The masquerade of Chateau Vert was really where Anne Boleyn made her debut at the English court. It was really conducted to entertain the Imperial delegation for celebrating the Treaty of Bruges in 1522. However, it was not where Henry became interested in Anne. His romantic and sexual interest would not start for about another four years.
But it does make a suitably dramatic set-piece.
There are also guns. I don’t know why. This guy just starts shooting a gun at the rehearsal, for reasons I can’t begin to fathom.
Couldn’t say it better myself, Mister Master of the Revels. Who is wearing a ruff. In 1522.
The theme of the masquerade is that noble virtues are held captive and must be rescued by brave gentlemen. The female participants actually did wear white satin dresses. However, I highly doubt that they really wore wispy things that exposed their nip nips and had stupid little ruffs that do not match the period at all. Those dresses are very inappropriate. Sure, they’re ‘sexy’ and ‘risque’ I guess, but they look awful.
The men have Henry disguised amongst them. In real life, it’d be pretty easy to see which one was Henry. After all, he was red haired and, oh yeah, about a foot taller than everyone else. Here, Henners is actually one of the shorter men in the cast. And I think those tights are some really cheap costuming. I doubt polyester tights were available in the 1520s.
That’s some accurate Tudor body glitter these ladies are wearing.
And Henry and Anne lock eyes for the very first time. Very dramatic and breathtaking, but all I can think is that winged eyeliner is really not right. This moment is ruined by Anne’s incredibly fashion forward makeup choices.
So Anne is flirty and sexy and keeps putting herself in the way of Henry throughout the episode. I find her use of face glitter perplexing, but I guess it’s the key to a early modern king’s heart.
Henry has a dream sequence with Anne that is sort of French sixties dreamscape cinematography, but that I hate because in any form of fiction I really dislike OVERLY! SIGNIFICANT! AND MEANINGFUL! DREAM! SEQUENCES! I find them a really lazy means to continue and express plot points. I take it as a sign that the writer couldn’t think of a better way to get from point A to point B.
My sheets are wet? But how…
A Sexy Plot
Only Anne’s interactions with Henry aren’t natural. Her uncle, the Duke of Norfolk, and her father are contriving Anne’s relationship with Henry. Why? For land? Jewels? The Earldom of Ormonde that Thomas Boleyn really, really wanted? Uh, no. It’s all to get red of Thomas Wolsey. Because he’s common and too powerful and clearly Anne can badger Henry into getting rid of Wolsey.
Yeah, no. Even if you buy into the ludicrous theory that the Boleyn affair was manipulated into happening by a family who wanted political power, the idea that Anne Boleyn could ‘trick’ Henry into getting rid of Thomas Wolsey doesn’t work. That’s not how one talked or worked with a sixteenth century monarch. They are not a modern politician to be manipulated and petitioned and debate with. A sixteenth century monarch is literally a figure of God – a person who is divinely ordained to be a ruler. You don’t manipulate or try to badger a person you literally believe was chosen by God to be in charge.
These Are Strange Castles
The show also has a weird problem with research of estates and homes.
This is not Framlingham Castle.
This is Framlingham.
This is not Hever Castle.
This is Hever Castle.
I appreciate that it was probably impossible and far too expensive to film at the actual locations. I get that and I’m not cross that they’re not filming a two minute scene at the actual location. But why go to the expense of creating CGI and then not actually CGI the correct building? Google, man. Google is your friend.
You Simply Must Meet Thomas
Thomas More has been quietly simmering away as a character, but now he’s getting a bit more prominence and it’s clear why; he’s the Thomas that isn’t EEEEEVVVVILLLLLLLL.
He helps Henry edit Defence of the Seven Sacraments!
Wolsey cuts him out of the negotiations with the Imperial court and look how hurt Thomas More is! Booooo Wolsey!
Henry makes Thomas More gather up copies of Martin Luther’s works and burn them and it makes Thomas sad!
Yeah, let’s ignore how happy and willing Thomas More was to round up reformers and have them tortured and burned alive.
FYI, I do not like Thomas More. I’ll admit my bias straight out. I think he was a sanctimonious hypocrite and I’ve never liked him. I can appreciate how important he was as a statesman and architect of the English renaissance but I don’t like how he’s played as being Mister Goody-Goody.
There’s Something About Margaret
The last element of this week’s episode is Henry’s ongoing drama surrounding his sister, Margaret. You see, she’s due to be married to the old and ailing King of Portugal and she’s not happy about this.
There are a lot of problems with this.
For a start, this plotline is based on Henry’s sister Mary. His sister Margaret was married off at the age of twelve to the King of Scotland many years previously, but she apparently does not exist for the purposes of the show. Mary was married in 1514 to the King of France, Louis XII, a man thirty years her senior, at the age of eighteen.
So, wrong sister, wrong king, wrong year, and I’m sorry to say, wrong choice of actress. The actress does a fine job, but she’s not an eighteen year old getting married for the first time.
She is to be sent to Portugal escorted by Charles Brandon, Henry’s friend. Margaret is very rude to him (despite Charles Brandon being a companion to the royal nursery since childhood) and Henry makes him Duke of Suffolk to make Brandon seem suitably grand. In actuality, he was made Duke of Suffolk around 1514 as part of a scheme to marry him to Margaret of Savoy.
I have read that the show writers decided to mix up Henry’s sisters because they felt that there were too many Marys and viewers may confuse the elder Princess Mary for Henry’s daughter, Mary. Generally, when I see a forty year old woman I don’t confuse her for a six year old. But I can’t speak for everyone.
It’s All About The Sleeves, Bout The Sleeves, They’re Not Right
The fashion of The Tudors this week seems to be focused on sleeves.
The show seems to be obsessed with really weird sleeve fashions. Why are her sleeves just hanging there like that? Why are they so thin? Why are they like long cuffs for her arms?
Anne is really deep into her scene phase RN. And that dress… it’s not only hideous, it’s just so wrong. The sleeves, the bodice, the shoulder thing, the weird puffed bits, the lack of petticoat – there is nothing right about this garment. Not a single thing.
Margaret is continuing the weird off the shoulder puffed roll thing. I don’t like it. Ont the other hand, I like the slashes of purple on Charles’s doublet. Nice little nod to his imperial power.
And, again, what’s with the off-the-shoulder with ties arm cuff thing? It’s ugly and a really weird design choice. The brown gown worn by the extra in the far left corner is actually one of the most accurate dresses I’ve seen on the show so far.
For reasons beyond me, Thomas Boleyn continues to be the only guy who appears period accurate. It really stands out amongst the guys, as they’re all dressed in weird 1580s/1590s clothes.
When this came up, I actually shouted at my screen. That hat, that doublet, is so from the 1590s. He’s ready to start committing a plot to have Elizabeth I swapped for James of Scotland. The thinness of the doublet, the lack of slashing, the short cloaks, the tall hat – none of it is right for 1522.
Did you wrap a bolster cushion around your head?
It’s Katherine and her Elizabethan back-up dancers.
This is a painting from 1600. You see her hair? The style of her dress? The way it falls around the waist, the largeness of her sleeves, the way the pearls fall around the bodice?
Yeah, those dresses for the extras would be great – for an Elizabethan costume drama! Those dresses are eighty years too fashion forward!
They keep insisting on putting really weird shit on the front of Katherine of Aragon’s dresses, and I don’t get it.
Does Mary Wotten, Lady Guildenford have a weird applique on the front of her dress? No. Because the colour and decoration comes from her sleeves and her petticoat. Katherine’s dresses are so ugly and I have no idea why.
This is Katherine depicted in the BBC’s Wolf Hall. This is a beautiful costume, well-researched and accurate to the period. It’s elegant and beautiful, while also showing Katherine as an older woman as compared to, say, her daughter (who is stood next to her).
In The Tudors, Katherine basically wears a variety of sacks with weird headbands. I don’t get it.
On the runway, your couture high was more of a bargain basin low. I’m sorry my dear, you are up for elimination.
And that concludes ‘Wolsey, Wolsey, Wolsey’. See you next week, nerds.