One question that I have been asked about the BBC version of Wolf Hall is whether the headdresses worn by Anne and her ladies are accurate. In particular, whether they would really have been made of such light, gauzy fabric with very narrow hoods?
It has taken me a while to get round to looking into this and I have to say that, given how well most of this production was researched, I am not entirely sure where they have got this idea from. They are not the only ones to go with this interpretation. The stage production of Wolf Hall also seems to use a lightweight fabric in headdresses, although it is more substantial. It is possible that they have been inspired by contemporary portraits where the French hoods (with their distinctive horseshoe shape set far back on the head) appear less bulky than the gable hoods favoured by Catherine of Aragon and the English hoods worn by Jane Seymour.
However, accounts and inventories relating to Princess Mary, Catherine Parr and Jane Seymour all refer to velvet French hoods, which would likely have been more substantial than those seen in the images above. Furthermore, whilst costume makers seem to like producing colour coordinated headdresses, the veils would invariably have been black – this can be seen in portraits. The final problem I have with the BBC version of the hoods is that the hair is visible through it and, when Anne is executed, they take her hood off to replace it with a white cap. In reality, a linen cap would have been worn under the headdress to protect it from the oils in the wearer’s hair – portraits sometimes show the edge of this cap peeking out. Whilst, the stage production shows this white edging, they make the error (also popular with the makers of the The Tudors) of showing Anne with her hair loose and visible over her shoulders.
Period dramas are often known for their stunning costumes but in this case their take on the French hoods slightly miss the mark.
“Divorced, beheaded, died. Divorced, behind, survived.” It is a familiar rhyme, used to help remember the fates of the six women who married Henry VIII. So, why am I saying that he only had three wives? After all, he had six marriage ceremonies. The answer lies in the definition of an annulment which declared a marriage null and void, as if it had never happened, as opposed to a divorce which dissolves a valid marriage. Which of the women would Henry have considered to be his wife? Continue reading “The Three Wives of Henry VIII”
History’s in the past, so we must know everything that has happened, right? There is nothing new to find? Well, maybe not… One of the things, I love about history is that there is still so much to discover. On the one hand, this can mean looking at events and sources from a new perspective but it can also mean finding new sources – whether that is archaeological find, books or manuscripts.
People, and then governments, have been recording buildings, collecting books and preserving manuscripts so it seems crazy that there are still finds to be made but the truth is that the sheer volume of material means that things get forgotten or pass unnoticed. The National Archives in England have boxes of medieval documents that have never been fully catalogued and a recent find in a National Trust property shows that the same is true of private libraries. Continue reading “New Discoveries and New Potential!”
In my post on Anne Boleyn’s family, I commented that I was interested to see how they were going to depict Jane, Lady Rochford’s involvement in Anne’s fall. In the end, they showed her talking to Cromwell after flirtatious chatter between Anne, Mark Smeaton, Francis Weston, Henry Norris and William Brereton gets out of hand. She then goes on to claim that her husband has committed adultery with his sister. Cromwell makes reference to Anne’s other ladies having talked after her arrest but we don’t see them. This is a departure from the book where Cromwell is shown talking to Elizabeth, countess of Worcester and Margaret Shelton before he talks to Jane Rochford.