After receiving a generally positive response to episode 1, Becoming Elizabeth unleashed a whole load of online controversy with episode 2 (and prompted a direct response from a cast member to one review). Read on to find out more…
Inspired by a Twitter conversation about this Guardian article, I recently visited “The Tudors: Passion, Power, and Politics” exhibition at the Holburne Museum in Bath. The article is headlined: ‘Beginning of modern Britain’ and the text talks about a compelling period of “British history”, and relations between “Britain” and European countries. Whilst it makes for a compelling headline (especially in the context of Brexit), it was immediately obvious that the portraits mentioned were all English, and the article made no reference to the fact that Scotland was a separate kingdom in the 16th-century with its own politics and international relationships.
Contrary to the impression given by the article, the exhibition does not erase the Scottish experience of the 16th-century by equating it with “Britain”. However, if you are looking for an exhibition that explores the experiences of the different nations that make of the British Isles, you will not find it here. As the title says, this is an exhibition about the Tudor dynasty. The only non-English figures to feature are Mary, Queen of Scots (in the context of Queenship and conflict with England); Katherine of Aragon (in the context of her marriage into England); Gerlack Flicke (who worked largely in England); and (arguably) half-Welsh Henry VII, though little reference is made to his Welsh roots.
Having established what the exhibition is not, what was my experience of it?
Last Friday, I took the opportunity of being in the vicinity of Richmond to visit the Hampton Court Palace and, in particular, the Gold and Glory exhibition (running until 5 September 2021). Originally due to take place in 2020 to mark the 500th anniversary of the Field of Cloth of Gold, it was postponed to this year due to Covid.
The exhibition is divided across six rooms – those used by Cardinal Wolsey when he stayed at the palace – and takes the visitor from c. 1513 through the Treaty of Universal Peace, to the preparations for the meeting between Henry VIII and France I, and on to the Field of Cloth of Gold. In the first room are portraits of the key figures – Henry VIII and Francis I – alongside paintings of the Battle of the Spurs, and the meeting of Henry VIII and Maximilian I; and a small display about Mary Tudor and Charles Brandon. I felt that this was the least successful of the rooms. Setting the international scene for the Field of Cloth of Gold in a concise and accessible fashion is always going to be difficult but the small number of items on display seemed to serve as interesting vignettes rather than hanging together to tell a coherent story of the 1510s. The second room was devoted to the display of a copy of the Treaty of Universal Peace (some of the most beautiful handwriting I have seen!) and a number of items relating to Cardinal Wolsey, including his hat and the early-15th century Book of Hours gifted to him by Cardinal Campeggio.
Above (L-R): Sign marking the Gold and Glory exhibition; portraits of Henry VIII and Francis I on display in the first room; interpretation banners