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500 years after he was crowned King of England, | 0:00:12 | 0:00:15 | |
Henry VIII remains the most recognisable of all our monarchs. | 0:00:15 | 0:00:20 | |
When that iconic portrait - magnificent, omnipotent - | 0:00:25 | 0:00:28 | |
was painted, Henry had already changed the course | 0:00:28 | 0:00:31 | |
of English history, | 0:00:31 | 0:00:32 | |
with the fallout from a string of failed marriages, | 0:00:32 | 0:00:35 | |
and a religious revolution. | 0:00:35 | 0:00:37 | |
But long before that, | 0:00:37 | 0:00:38 | |
he'd already learnt the lessons of imagery and reputation. | 0:00:38 | 0:00:41 | |
Crowned in 1509, Henry carried the golden promise of youth. | 0:00:45 | 0:00:49 | |
He was athletic and charismatic. | 0:00:49 | 0:00:51 | |
His court filled with colour and revelry. | 0:00:51 | 0:00:54 | |
He hired the finest craftsmen and players from Renaissance Europe. | 0:00:56 | 0:00:59 | |
Outwardly, a true king in all his glory. | 0:00:59 | 0:01:04 | |
But two decades on, Henry was anxious about the future | 0:01:06 | 0:01:10 | |
of the house of Tudor. | 0:01:10 | 0:01:12 | |
He still had no son to succeed him. | 0:01:13 | 0:01:15 | |
In his desperation for a new wife and a future heir, | 0:01:19 | 0:01:23 | |
Henry had ditched his key advisors, | 0:01:23 | 0:01:26 | |
broken away from Rome, | 0:01:26 | 0:01:28 | |
divorced his Queen, Catherine of Aragon, and married Anne Boleyn. | 0:01:28 | 0:01:32 | |
Henry was at a crossroads. He needed a new identity, | 0:01:38 | 0:01:42 | |
one which underpinned his divine right to rule England, | 0:01:42 | 0:01:45 | |
and show him as a powerful and controlling monarch | 0:01:45 | 0:01:48 | |
and the guarantor of a successful dynasty. | 0:01:48 | 0:01:50 | |
Henry would commission images... | 0:01:52 | 0:01:54 | |
..tapestries... | 0:01:56 | 0:01:57 | |
and build palaces to reflect his new role. | 0:01:57 | 0:02:01 | |
But he would also destroy the English monasteries | 0:02:01 | 0:02:04 | |
and plunder their treasures. | 0:02:04 | 0:02:06 | |
If Henry was to find his way through this crisis | 0:02:08 | 0:02:11 | |
and make his mark in history as a great king, | 0:02:11 | 0:02:13 | |
a reforming monarch, a strong ruler, | 0:02:13 | 0:02:16 | |
he didn't have long to seal his reputation. | 0:02:16 | 0:02:19 | |
This new image of Henry would have to be forged quickly - | 0:02:19 | 0:02:21 | |
his future depended on it. | 0:02:21 | 0:02:23 | |
When Henry knelt to make his wedding vows to Anne Boleyn in January 1533, | 0:02:43 | 0:02:48 | |
he knew he was headed for trouble. | 0:02:48 | 0:02:49 | |
In his pursuit of his marriage to Anne | 0:02:49 | 0:02:52 | |
he'd incurred the wrath of the Pope, and the European Catholic nations. | 0:02:52 | 0:02:56 | |
And he'd also incurred the displeasure of his own subjects - | 0:02:56 | 0:02:59 | |
the English people. | 0:02:59 | 0:03:00 | |
Rome had refused to sanction Henry's divorce of Catherine. | 0:03:02 | 0:03:06 | |
Henry now rejected Rome. | 0:03:06 | 0:03:08 | |
He would not merely be King, but supreme head of the English Church. | 0:03:08 | 0:03:14 | |
It was a drastic move. One which threatened invasion from abroad | 0:03:14 | 0:03:18 | |
and revolution at home. | 0:03:18 | 0:03:20 | |
Henry was now vulnerable and it was time for action. | 0:03:20 | 0:03:23 | |
Henry would build sea forts and create the basis of the Royal Navy. | 0:03:23 | 0:03:27 | |
But that wasn't all. | 0:03:27 | 0:03:29 | |
He also had an army of builders, craftsmen, sculptors, painters, | 0:03:29 | 0:03:34 | |
to reflect the King's growing authoritarian rule | 0:03:34 | 0:03:38 | |
in the most splendid palaces and propagandistic paintings. | 0:03:38 | 0:03:41 | |
I'm an architectural historian. | 0:03:43 | 0:03:45 | |
For eight years, I looked after the best surviving of Henry's palaces | 0:03:45 | 0:03:49 | |
at Hampton Court. | 0:03:49 | 0:03:50 | |
And I'm fascinated by the way Henry used art. | 0:03:50 | 0:03:53 | |
Art's not really a concept he'd have recognised. | 0:03:53 | 0:03:56 | |
He never valued works of art according to who made them, | 0:03:56 | 0:03:59 | |
or their material value, | 0:03:59 | 0:04:01 | |
or their power of ornamentation. | 0:04:01 | 0:04:04 | |
It was storytelling he was interested in. | 0:04:04 | 0:04:07 | |
Every piece he ever commissioned told one aspect of a central story - | 0:04:07 | 0:04:11 | |
self-glorification. | 0:04:11 | 0:04:13 | |
The Tudor audience was exceptionally good at reading these signs. | 0:04:15 | 0:04:19 | |
When you looked at a picture, you expected to learn something | 0:04:19 | 0:04:22 | |
about the owner - who they were, how they wanted to be seen. | 0:04:22 | 0:04:25 | |
I believe that by looking at Henry's palaces, tapestries, | 0:04:28 | 0:04:32 | |
sculpture and paintings, | 0:04:32 | 0:04:33 | |
it's possible to get a glimpse of what was going on inside his head, | 0:04:33 | 0:04:37 | |
as he faced his darkest days on the throne. | 0:04:37 | 0:04:39 | |
One of Henry's key recruits would become | 0:04:45 | 0:04:47 | |
one of the most famous artists of his reign - | 0:04:47 | 0:04:50 | |
the German painter, Hans Holbein. | 0:04:50 | 0:04:52 | |
Holbein had been first lured to London in 1526. | 0:04:52 | 0:04:56 | |
He was a true Renaissance man - skilled in designing jewellery, | 0:04:56 | 0:04:59 | |
book illustrations, woodcuts, architecture and painting. | 0:04:59 | 0:05:04 | |
His realistic style of portraiture was admired by Henry's new Queen, | 0:05:04 | 0:05:08 | |
Anne Boleyn and her circle. | 0:05:08 | 0:05:10 | |
His masterpiece of 1533 was entitled The Ambassadors. | 0:05:12 | 0:05:16 | |
It had turned heads and now he found himself engaged to paint | 0:05:16 | 0:05:20 | |
the King himself. | 0:05:20 | 0:05:21 | |
His first known image of Henry would tackle the break with Rome. | 0:05:23 | 0:05:27 | |
By declaring himself supreme head of the Church in England, | 0:05:28 | 0:05:32 | |
Henry ended a millennium-long tradition | 0:05:32 | 0:05:34 | |
of Anglo-Roman Catholicism. | 0:05:34 | 0:05:36 | |
In arguing his own case for his divorce against Catherine, | 0:05:36 | 0:05:40 | |
he claimed he'd come across ancient texts | 0:05:40 | 0:05:42 | |
which showed that English kings had their own direct line to God. | 0:05:42 | 0:05:46 | |
No longer would Henry need the Pope or even the saints he'd ratified, | 0:05:46 | 0:05:51 | |
less still the Cardinals who represented him. | 0:05:51 | 0:05:54 | |
From now on, Henry decided on doctrine. | 0:05:54 | 0:05:57 | |
His was the word of God. | 0:05:57 | 0:05:59 | |
Henry remained a Catholic, but in Europe, Protestant reformers | 0:06:04 | 0:06:08 | |
were calling for a much more radical change to the old order. | 0:06:08 | 0:06:11 | |
They believed the word of God could be found in the Bible alone. | 0:06:11 | 0:06:15 | |
They decried the practice of paying the Church for a promise of forgiveness. | 0:06:15 | 0:06:19 | |
And they denied the authority of the Pope. | 0:06:19 | 0:06:21 | |
These ideas were starting to find favour in England. | 0:06:21 | 0:06:25 | |
Even in Henry's court. | 0:06:25 | 0:06:27 | |
But for the moment, Henry was driven | 0:06:27 | 0:06:29 | |
more by the fallout of his divorce than by pure theology. | 0:06:29 | 0:06:33 | |
It was precisely at this moment that Holbein was asked | 0:06:34 | 0:06:37 | |
to make his first image of Henry. | 0:06:37 | 0:06:40 | |
What Holbein painted gives us a vital clue | 0:06:44 | 0:06:47 | |
to how Henry wanted to be seen. | 0:06:47 | 0:06:50 | |
Holbein created an allegorical tableau in which Henry appears | 0:06:50 | 0:06:54 | |
as the biblical hero, King Solomon, | 0:06:54 | 0:06:57 | |
who is known for his wisdom, justice, wealth and power. | 0:06:57 | 0:07:00 | |
The picture is very small. Just about 23cm x 18cm, | 0:07:00 | 0:07:06 | |
painted on vellum. | 0:07:06 | 0:07:08 | |
But I think it's fascinating. | 0:07:08 | 0:07:10 | |
It's drawn in ink, coloured with watercolour, silver and gold. | 0:07:11 | 0:07:15 | |
Henry, recognisable as Solomon, is receiving the Queen of Sheba. | 0:07:16 | 0:07:22 | |
The queen represents the Church. | 0:07:22 | 0:07:23 | |
In other words, the Church submits to Henry. | 0:07:23 | 0:07:28 | |
And this is underlined by the biblical text over Solomon's head, | 0:07:32 | 0:07:35 | |
which reads, "Blessed be the Lord thy God, | 0:07:35 | 0:07:39 | |
"who delighteth in thee to set thee on his throne. | 0:07:39 | 0:07:41 | |
"To be king by the Lord thy God." | 0:07:41 | 0:07:44 | |
And look how Henry stares straight out at the viewer. | 0:07:47 | 0:07:50 | |
This is a picture of Henry's confident authority over his realm. | 0:07:50 | 0:07:54 | |
The message couldn't be much clearer. | 0:07:58 | 0:08:00 | |
The King rules, as decreed by God himself. | 0:08:00 | 0:08:02 | |
Forget the Pope and Rome. | 0:08:02 | 0:08:04 | |
But this painting was just the beginning. | 0:08:06 | 0:08:09 | |
Although there's no evidence of a formal campaign strategy, | 0:08:17 | 0:08:20 | |
there's no doubt that a new image was being created for the King. | 0:08:20 | 0:08:24 | |
Henry gathered around him a new group of advisors. | 0:08:24 | 0:08:28 | |
His two most constant counsellors from the early years of his reign, | 0:08:28 | 0:08:32 | |
Thomas More and Cardinal Wolsey, had fallen from favour | 0:08:32 | 0:08:35 | |
over Henry's marriage to Anne Boleyn. | 0:08:35 | 0:08:38 | |
But their places were soon taken by another. | 0:08:38 | 0:08:41 | |
In the early 1530s, the man on the ascendant was this guy, | 0:08:43 | 0:08:47 | |
Thomas Cromwell. | 0:08:47 | 0:08:48 | |
Cromwell was the son of a Putney blacksmith who was well-educated | 0:08:48 | 0:08:52 | |
and had travelled to Italy before he became Wolsey's solicitor. | 0:08:52 | 0:08:56 | |
As one of the Cardinal's confidantes, he must have been aware | 0:08:56 | 0:08:59 | |
that you could rise through the ranks of Henry's court rapidly. | 0:08:59 | 0:09:03 | |
But your fall could be even quicker. | 0:09:03 | 0:09:05 | |
Cromwell, who had encouraged Henry to declare himself | 0:09:08 | 0:09:11 | |
supreme head of the Church, was a supporter of the ideals | 0:09:11 | 0:09:15 | |
of the Reformation. | 0:09:15 | 0:09:16 | |
And his first target was an area where he thought Henry would be sympathetic. | 0:09:16 | 0:09:20 | |
The publication of a Bible in English. | 0:09:20 | 0:09:23 | |
Until now, the Bible had been written in Latin. | 0:09:25 | 0:09:28 | |
It was not meant to be read by the ordinary man. | 0:09:28 | 0:09:31 | |
It was the priest's job to communicate the message. | 0:09:31 | 0:09:34 | |
That began to change with the Protestant reformers, | 0:09:36 | 0:09:38 | |
who argued that people should be able to read the word of God | 0:09:38 | 0:09:41 | |
for themselves, in their own language. | 0:09:41 | 0:09:44 | |
Some English-language Bibles had begun to appear. | 0:09:44 | 0:09:46 | |
But in 1535, the first complete English Bible was published | 0:09:46 | 0:09:50 | |
under the King's auspices. | 0:09:50 | 0:09:52 | |
The translation was edited by one of Cromwell's associates, | 0:09:55 | 0:09:58 | |
Myles Coverdale. | 0:09:58 | 0:09:59 | |
The King didn't commission the Bible | 0:09:59 | 0:10:01 | |
but his blessing to publish must have been expected, | 0:10:01 | 0:10:04 | |
because he appears on the front page with the Royal coat of arms. | 0:10:04 | 0:10:08 | |
And the designer of this incredible title page | 0:10:08 | 0:10:11 | |
was once again Hans Holbein. | 0:10:11 | 0:10:13 | |
Tania String has written extensively on the iconography of Henry VIII | 0:10:16 | 0:10:20 | |
and how he used images as propaganda. | 0:10:20 | 0:10:22 | |
This is a fascinating document, because what we've got here | 0:10:22 | 0:10:26 | |
is the first demonstration of the new Royal supremacy | 0:10:26 | 0:10:30 | |
of Henry as supreme head of both Church and state. | 0:10:30 | 0:10:34 | |
We're looking at a demonstration of the ways the English Reformation | 0:10:34 | 0:10:40 | |
is being presented, | 0:10:40 | 0:10:41 | |
really for the first time, | 0:10:41 | 0:10:42 | |
to the English people. | 0:10:42 | 0:10:44 | |
So is this like a billboard? As soon as you open the Bible, | 0:10:44 | 0:10:46 | |
it's supposed to give you all the messages the King intends. | 0:10:46 | 0:10:49 | |
Only for sophisticated viewers. | 0:10:49 | 0:10:51 | |
This is still very much an elite project, | 0:10:51 | 0:10:54 | |
intended for those who would be in the know and sympathetic | 0:10:54 | 0:10:58 | |
to the cause of the Reformation. | 0:10:58 | 0:11:00 | |
And for those aristocrats who are, kind of, team players | 0:11:00 | 0:11:04 | |
and can be convinced quite easily of Henry's new role. | 0:11:04 | 0:11:07 | |
This is very much a collaborative project, between Thomas Cromwell, | 0:11:07 | 0:11:11 | |
Myles Coverdale - the translator | 0:11:11 | 0:11:14 | |
and the driving force between producing an English language Bible - | 0:11:14 | 0:11:18 | |
and Hans Holbein the younger, who is finding his way | 0:11:18 | 0:11:21 | |
into the Henritian court. | 0:11:21 | 0:11:23 | |
In some ways, the whole Bible project | 0:11:23 | 0:11:27 | |
was intended to reflect some of those Protestant concerns | 0:11:27 | 0:11:31 | |
and have a vernacular Bible, which had happened in Germany in the 1520s. | 0:11:31 | 0:11:37 | |
So what we've got is a revolutionary project here. | 0:11:37 | 0:11:40 | |
And Holbein has been called in as a specialist woodcut designer | 0:11:40 | 0:11:45 | |
to show us, in fact, how Henry, at the bottom of the page, | 0:11:45 | 0:11:49 | |
is now disseminating the word of God to both his bishops and his laymen - | 0:11:49 | 0:11:55 | |
the aristocrats. | 0:11:55 | 0:11:57 | |
The main message is really very much about translation. | 0:11:57 | 0:11:59 | |
This is what Myles Coverdale is contributing. | 0:11:59 | 0:12:02 | |
He chooses the passages. | 0:12:02 | 0:12:04 | |
"Pray for us that the word of God may have free passage and be glorified." | 0:12:04 | 0:12:09 | |
Cromwell and Coverdale were very much trying to get Henry | 0:12:09 | 0:12:14 | |
to sanction the production of English-language Bibles | 0:12:14 | 0:12:18 | |
and their dissemination out into the English public. | 0:12:18 | 0:12:21 | |
Here is Cromwell, using Holbein, | 0:12:21 | 0:12:23 | |
who we think of as the King's painter, | 0:12:23 | 0:12:25 | |
to actually give an image to the King about himself. | 0:12:25 | 0:12:29 | |
So is this Henry actually manipulating art? | 0:12:29 | 0:12:33 | |
Or is it art manipulating Henry? | 0:12:33 | 0:12:35 | |
In some way, flattering the King, persuading the King, | 0:12:35 | 0:12:39 | |
hoping that this will be seen as something that is | 0:12:39 | 0:12:44 | |
so elegantly performed that he can see himself in that role. | 0:12:44 | 0:12:49 | |
It's a heady mix. You've got the intellect of Coverdale, | 0:12:49 | 0:12:52 | |
-as the translator... -Yes. -..and linguist, | 0:12:52 | 0:12:55 | |
-you've got the political nous of Cromwell... -Yes. | 0:12:55 | 0:12:57 | |
..and the artistic skill of Holbein. | 0:12:57 | 0:13:00 | |
That must have created quite a persuasive package. | 0:13:00 | 0:13:03 | |
What was Henry's response? | 0:13:03 | 0:13:05 | |
Henry's response was that, immediately after this, | 0:13:05 | 0:13:08 | |
the idea of an English language Bible was accepted. | 0:13:08 | 0:13:11 | |
So what we've got is almost a self-fulfilling prophecy. | 0:13:11 | 0:13:14 | |
Within four years, Henry officially commissioned the first English Bible | 0:13:17 | 0:13:21 | |
under Royal Licence - The Great Bible. A copy was placed in each | 0:13:21 | 0:13:25 | |
parish church, chained to the pulpit. In many cases, a reader | 0:13:25 | 0:13:30 | |
was even provided. Now every man could read, or hear, | 0:13:30 | 0:13:33 | |
the word of God in his own native language. | 0:13:33 | 0:13:36 | |
Henry was astute enough to know you didn't have to be in a pulpit | 0:13:37 | 0:13:41 | |
to make a point. | 0:13:41 | 0:13:42 | |
The court was the centre of his life, filled with the noblemen | 0:13:47 | 0:13:51 | |
and ambassadors who could best convey his chosen message. | 0:13:51 | 0:13:54 | |
Here, alongside the daily diet of politics and prayer, there was entertainment too. | 0:13:54 | 0:13:59 | |
Henry's advisors and spin merchants used one art form | 0:13:59 | 0:14:03 | |
to deliver vivid political messages | 0:14:03 | 0:14:05 | |
to captive audiences. | 0:14:05 | 0:14:06 | |
That was drama. | 0:14:06 | 0:14:07 | |
In Henry's early reign, the medieval tradition of moral plays, | 0:14:10 | 0:14:14 | |
religious plays, folk plays and revels were standard entertainment. | 0:14:14 | 0:14:18 | |
But as his reign progressed, drama became more politicised. | 0:14:18 | 0:14:22 | |
And just as with visual art, | 0:14:22 | 0:14:24 | |
Henry was always at the centre, always the hero. | 0:14:24 | 0:14:28 | |
Didst thou never know the manner of our senses? | 0:14:29 | 0:14:33 | |
I was never with them acquainted by St Denis... | 0:14:33 | 0:14:36 | |
Any nobleman or courtier of influence had his own acting troupe | 0:14:36 | 0:14:41 | |
or sponsored one. It says volumes that a man like Cromwell, | 0:14:41 | 0:14:44 | |
who essentially ran the country, | 0:14:44 | 0:14:46 | |
had time to cultivate drama. | 0:14:46 | 0:14:48 | |
It wasn't just entertainment. It was an aspect of government. | 0:14:48 | 0:14:51 | |
But by what name? Tell me, I heartily pray thee. | 0:14:54 | 0:14:57 | |
To win the people, I appoint each man his place... | 0:14:57 | 0:15:02 | |
John Heywood was a Catholic playwright | 0:15:02 | 0:15:05 | |
employed at Henry's court. | 0:15:05 | 0:15:07 | |
His challenge was to produce plays which would both entertain and make clear political points. | 0:15:07 | 0:15:13 | |
Here at Hampton Court, rehearsals of Heywood's The Play Of The Weather are under way. | 0:15:13 | 0:15:19 | |
..by them engendered, the full of their powers for term everlasting. | 0:15:19 | 0:15:25 | |
In this play, Henry is represented by no historical character | 0:15:25 | 0:15:29 | |
but by a celestial body - Jupiter, the planet of jollity, benevolence and moderation. | 0:15:29 | 0:15:35 | |
Each of Jupiter's subjects approaches him to ask what kind of weather they need to live, | 0:15:35 | 0:15:40 | |
and Jupiter then decides how to allocate it - | 0:15:40 | 0:15:43 | |
what a picture of omnipotence. The opening lines have a lot to say | 0:15:43 | 0:15:47 | |
about the split from Rome. | 0:15:47 | 0:15:49 | |
..With one voice agreeable, we have clearly finished our foresaid parliament. | 0:15:49 | 0:15:54 | |
To your great wealth which shall be firm and stable, | 0:15:54 | 0:15:58 | |
and to our honour, far inestimable, | 0:15:58 | 0:16:02 | |
for since their powers as ours added to our own, | 0:16:02 | 0:16:07 | |
who can we say know us as we should be known? | 0:16:07 | 0:16:14 | |
Now, what was that passage all about? | 0:16:16 | 0:16:18 | |
Jupiter is a representation of Henry. | 0:16:18 | 0:16:21 | |
Jupiter is saying in that speech, | 0:16:21 | 0:16:23 | |
"Thank you for all these extra powers. | 0:16:23 | 0:16:26 | |
"I don't need them, I'll take them because you want me to take them, | 0:16:26 | 0:16:30 | |
"but I'm only taking them because you want me to. It's nothing to do with what I need - | 0:16:30 | 0:16:35 | |
"I have all the power I need already." | 0:16:35 | 0:16:37 | |
Would Henry want to be Jupiter? What are the attributes of Jupiter, | 0:16:37 | 0:16:41 | |
that make it appropriate for a king? | 0:16:41 | 0:16:44 | |
It allows him to be represented as a god, | 0:16:44 | 0:16:47 | |
but obviously not in any kind of sacrilegious way. | 0:16:47 | 0:16:49 | |
Also, for Heywood, it allows him to reflect on Henry's power, | 0:16:49 | 0:16:55 | |
Henry's kingship, in a way which is safe, a kind of comic space. | 0:16:55 | 0:17:00 | |
By my faith, his Lordship is right busy with a piece of work that needs must be done. | 0:17:01 | 0:17:06 | |
Even now, is he making of a new moon... | 0:17:06 | 0:17:11 | |
'He creates a Jupiter who, at times, is very funny, | 0:17:11 | 0:17:14 | |
'at times is slightly bawdy, but is always in complete control.' | 0:17:14 | 0:17:18 | |
..Shall make a thing spring... | 0:17:18 | 0:17:19 | |
'How would Heywood have got away with this?' | 0:17:19 | 0:17:24 | |
He had licence. He had a very close relationship with Henry in some ways. | 0:17:24 | 0:17:28 | |
Part of being a Renaissance monarch is being able to laugh at yourself. | 0:17:28 | 0:17:32 | |
It's that old thing of Heywood having to walk the line. | 0:17:32 | 0:17:36 | |
I think him wise enough for he looketh oldly... | 0:17:36 | 0:17:38 | |
He doesn't want to produce boring art. | 0:17:38 | 0:17:40 | |
Henry doesn't want to be known as a king who only has boring plays, boring art. | 0:17:40 | 0:17:45 | |
He wants to be known as the King who allows licence, allows comedy, within limits. | 0:17:45 | 0:17:50 | |
The comedy provided welcome relief from the merry monarch's darker concerns. | 0:17:56 | 0:18:01 | |
Not everyone was buying into Henry's vision of a new England. | 0:18:01 | 0:18:04 | |
Rebellion was fermenting in the north of his kingdom. | 0:18:04 | 0:18:08 | |
And France and Spain were preparing to attack England | 0:18:11 | 0:18:14 | |
in retaliation for the break with Rome. | 0:18:14 | 0:18:16 | |
Henry was going to need a substantial war chest, | 0:18:16 | 0:18:19 | |
and Cromwell was warning the King the royal coffers were running out fast. | 0:18:19 | 0:18:25 | |
Where could Henry get money quickly? | 0:18:25 | 0:18:28 | |
The answer was the monasteries, which had amassed vast wealth | 0:18:28 | 0:18:32 | |
and were potential hotbeds of support for Rome. | 0:18:32 | 0:18:35 | |
Early in 1535, Henry commissioned Thomas Cromwell to find out exactly how much the monasteries were worth. | 0:18:38 | 0:18:45 | |
Cromwell reported back in this document - the Valor Ecclesiasticus. | 0:18:45 | 0:18:51 | |
Written in Latin, it was lavishly illustrated by the Flemish artist Lucas Horenbout. | 0:18:51 | 0:18:57 | |
The title page shows Henry in a position of absolute authority. | 0:18:57 | 0:19:02 | |
He's the central focus of the picture, sitting with his limbs outstretched. | 0:19:02 | 0:19:07 | |
His courtiers appear timid in the background. | 0:19:07 | 0:19:10 | |
Inside, Cromwell's text detailed the monasteries' monetary value. | 0:19:10 | 0:19:15 | |
It equalled or surpassed the Crown's own wealth. | 0:19:15 | 0:19:19 | |
A separate inventory listed the religious houses supposed corruptions - | 0:19:21 | 0:19:25 | |
popery, buggery and fornication. | 0:19:25 | 0:19:30 | |
The abbeys were accused of being awash with sin. | 0:19:30 | 0:19:33 | |
Their power was about to come crashing down | 0:19:33 | 0:19:38 | |
and, with it, the most wonderful architectural legacy. | 0:19:38 | 0:19:42 | |
When Henry came to the throne, he inherited a medieval England | 0:19:48 | 0:19:51 | |
whose land was shaped by the monastic houses, over 200 of them. | 0:19:51 | 0:19:54 | |
Benedictines, Franciscans, Dominicans and many others | 0:19:54 | 0:19:58 | |
were all here farming and tending the land, | 0:19:58 | 0:20:00 | |
maintaining beautiful buildings, | 0:20:00 | 0:20:03 | |
providing comfort for the poor and a place of spiritual seclusion. | 0:20:03 | 0:20:08 | |
In 1536, he changed all that. | 0:20:10 | 0:20:12 | |
Henry wants money and glory. | 0:20:17 | 0:20:19 | |
Had the monks of England been prepared to go full steam ahead, | 0:20:19 | 0:20:22 | |
support his reformation, then we'd probably | 0:20:22 | 0:20:24 | |
still have monasteries in some form today. | 0:20:24 | 0:20:27 | |
But a lot of them are upset about it, | 0:20:27 | 0:20:29 | |
a lot are connected to foreign orders abroad, | 0:20:29 | 0:20:32 | |
so not too sure whom they serve. | 0:20:32 | 0:20:33 | |
So Henry's wobbly about monks and Thomas Cromwell, | 0:20:33 | 0:20:36 | |
his main advisor and hit man, really doesn't like them very much - | 0:20:36 | 0:20:40 | |
he's a reformer. | 0:20:40 | 0:20:42 | |
He's also going to gain the King's goodwill by delivering him | 0:20:42 | 0:20:45 | |
a fantastic quantity of cash and loot. | 0:20:45 | 0:20:49 | |
In many ways, this is in response to an emergency. | 0:20:49 | 0:20:52 | |
The rulers of Spain and France have made peace, sensationally, | 0:20:52 | 0:20:56 | |
for about the first time in generations, | 0:20:56 | 0:20:58 | |
in order to destroy England as a heretic, non-Catholic country. | 0:20:58 | 0:21:03 | |
Lots of cash is needed for ships and for fortresses to protect us, | 0:21:03 | 0:21:07 | |
so there's a good argument now that the monasteries should come down | 0:21:07 | 0:21:10 | |
to release wealth in a hurry to defend the nation. | 0:21:10 | 0:21:14 | |
Now, where did art stand in all of this? | 0:21:14 | 0:21:17 | |
The monasteries are houses of God | 0:21:17 | 0:21:19 | |
and the art here is to direct people's attention to God. | 0:21:19 | 0:21:22 | |
Now, this is contentious because Protestants would say | 0:21:22 | 0:21:26 | |
that they are traps set by the devil | 0:21:26 | 0:21:28 | |
to take your mind away from the real God that's in the Bible | 0:21:28 | 0:21:31 | |
to the fake God who's in material things. | 0:21:31 | 0:21:33 | |
Catholics would say these material things are vested with holiness, | 0:21:33 | 0:21:37 | |
God is present in them. | 0:21:37 | 0:21:39 | |
And Henry, being Henry, wobbles between the two positions. | 0:21:39 | 0:21:42 | |
Henry's reformation is not Protestant. | 0:21:42 | 0:21:44 | |
It's officially for a new, better, slicker kind of Catholicism. | 0:21:44 | 0:21:48 | |
So you're not actually getting rid of images under Henry, | 0:21:48 | 0:21:51 | |
you're getting rid of the few images which have been worshiped as idols, | 0:21:51 | 0:21:55 | |
and the Bible definitely comes down hard on that, | 0:21:55 | 0:21:57 | |
and you keep the other images, not as sacred things themselves, | 0:21:57 | 0:22:02 | |
but as means of turning your mind to heaven and the saints. | 0:22:02 | 0:22:05 | |
How many monasteries around Britain were affected? | 0:22:09 | 0:22:12 | |
We lose them all which means several hundred, | 0:22:12 | 0:22:15 | |
and so it's a wholesale demolition, there are no survivors. | 0:22:15 | 0:22:18 | |
This was Henry at his most ruthless. | 0:22:21 | 0:22:24 | |
The monasteries of England and all their treasures | 0:22:24 | 0:22:27 | |
were looted, plundered and abandoned. | 0:22:27 | 0:22:30 | |
Cromwell reportedly promised Henry | 0:22:31 | 0:22:34 | |
he would make him the richest man in Christendom. | 0:22:34 | 0:22:37 | |
The lands, buildings and glorious religious treasures | 0:22:37 | 0:22:40 | |
of the monasteries became the property of Henry. | 0:22:40 | 0:22:43 | |
A few books and tapestries were added to the King's own collections, | 0:22:43 | 0:22:48 | |
but most of the contents were simply melted down, | 0:22:48 | 0:22:50 | |
burned, sold on or given to others to buy their loyalty. | 0:22:50 | 0:22:55 | |
What I'm drawing is Jervaulx Abbey's east end, | 0:23:09 | 0:23:12 | |
the altar platform would have been just behind these windows | 0:23:12 | 0:23:16 | |
which are straight ahead of me. | 0:23:16 | 0:23:18 | |
And then, amongst those ruins, is the Chapter House, | 0:23:18 | 0:23:22 | |
still with beautiful little columns and florid cut capitals, | 0:23:22 | 0:23:26 | |
and it shows the quality of the architecture which was here. | 0:23:26 | 0:23:29 | |
Jervaulx was founded in 1146 and so, for almost 400 years, | 0:23:29 | 0:23:35 | |
this place had been here, serving a community, | 0:23:35 | 0:23:38 | |
a place of burial where people thought they would rest forever. | 0:23:38 | 0:23:41 | |
It's a very fine piece of architecture indeed. | 0:23:41 | 0:23:44 | |
But Henry, the Royal patron of painters and playwrights, | 0:23:48 | 0:23:51 | |
pulled it down. | 0:23:51 | 0:23:52 | |
We lost a little image of heaven. | 0:23:58 | 0:24:01 | |
Remember that people in the Middle Ages | 0:24:01 | 0:24:03 | |
live in a world of generally drab colours and filth | 0:24:03 | 0:24:05 | |
and vermin and foul smells. | 0:24:05 | 0:24:07 | |
They come into a church like this in its glory days | 0:24:07 | 0:24:10 | |
and virtually every inch of stonework is painted in vivid colours. | 0:24:10 | 0:24:13 | |
You have more colour splashing down from the stained glass windows, | 0:24:13 | 0:24:18 | |
the air is thick with incense, | 0:24:18 | 0:24:20 | |
the voices of the monks are sounding every couple of hours, | 0:24:20 | 0:24:23 | |
it's a view of paradise upon Earth. | 0:24:23 | 0:24:26 | |
And what we have here is battered stonework | 0:24:26 | 0:24:29 | |
with rooks and crows cawing over it. | 0:24:29 | 0:24:31 | |
Anne Boleyn, though sympathetic to the reformers, | 0:24:37 | 0:24:40 | |
was horrified at the destruction of the monasteries. | 0:24:40 | 0:24:43 | |
Within a few months of their demise, she faced her own. | 0:24:43 | 0:24:47 | |
January, 1536, was the blackest month. | 0:24:50 | 0:24:53 | |
Henry was badly injured in a jousting accident. | 0:24:53 | 0:24:56 | |
Almost overnight, the athlete became the invalid. | 0:24:58 | 0:25:02 | |
And five days later, worse was to come. | 0:25:04 | 0:25:08 | |
Anne miscarried. | 0:25:08 | 0:25:09 | |
The child would have been a boy. | 0:25:09 | 0:25:11 | |
That was disastrous for Anne. | 0:25:11 | 0:25:13 | |
The whole point of marrying this young woman was to deliver a son. | 0:25:13 | 0:25:18 | |
She'd given birth to Elizabeth, | 0:25:18 | 0:25:19 | |
but now the storm clouds were gathering against her. | 0:25:19 | 0:25:22 | |
Amongst the evidence, | 0:25:22 | 0:25:23 | |
was the fact that she dropped a handkerchief at Greenwich, | 0:25:23 | 0:25:26 | |
a sure fire symbol of infidelity. | 0:25:26 | 0:25:28 | |
On the 19th of May 1536, | 0:25:32 | 0:25:35 | |
Anne was sent to the executioner's block | 0:25:35 | 0:25:37 | |
accused of multiple acts of treason including adultery, | 0:25:37 | 0:25:41 | |
incest with her brother Lord Rochford, | 0:25:41 | 0:25:43 | |
and plotting to overthrow Henry. | 0:25:43 | 0:25:46 | |
The passion of his life had fatally fallen from grace. | 0:25:46 | 0:25:50 | |
The very next day, he was betrothed to Jane Seymour. | 0:25:57 | 0:26:01 | |
Jane was the daughter of a Wiltshire nobleman | 0:26:02 | 0:26:05 | |
and had been a lady-in-waiting to Catherine of Aragon and Anne Boleyn. | 0:26:05 | 0:26:09 | |
As Jane replaced Anne, the Seymour family swept the Boleyns from court. | 0:26:09 | 0:26:14 | |
England was now sober, sombre, riddled with religious divide. | 0:26:17 | 0:26:21 | |
And the destruction continued. | 0:26:22 | 0:26:24 | |
A lone candle in Canterbury Cathedral | 0:26:31 | 0:26:34 | |
marks the spot where Thomas Becket's shrine had stood for 300 years. | 0:26:34 | 0:26:38 | |
Thousands of pilgrims from across Europe made their way here | 0:26:39 | 0:26:43 | |
to pay homage to the saint. | 0:26:43 | 0:26:44 | |
Henry would have his shrine dismantled, | 0:26:44 | 0:26:48 | |
he even turned a huge ruby which had adorned it | 0:26:48 | 0:26:52 | |
into a thumb ring for himself. | 0:26:52 | 0:26:54 | |
Many of his people didn't care for Henry's brave new England. | 0:26:58 | 0:27:03 | |
In small parish churches, local people saved treasures | 0:27:03 | 0:27:06 | |
from their monasteries rather than watch their destruction. | 0:27:06 | 0:27:09 | |
This rood screen was rescued from Jervaulx Abbey. | 0:27:09 | 0:27:12 | |
Revolution was in the air. | 0:27:13 | 0:27:16 | |
As 1536 wore on, | 0:27:19 | 0:27:21 | |
Henry and his henchman, Cromwell, became increasingly unpopular. | 0:27:21 | 0:27:25 | |
They pulled down perfectly beautiful and useful buildings, | 0:27:25 | 0:27:28 | |
burned the furniture inside them | 0:27:28 | 0:27:30 | |
which had sustained those communities, | 0:27:30 | 0:27:32 | |
and the painted and graven image which supported their beliefs. | 0:27:32 | 0:27:36 | |
This was enough to cause an uprising led by one Robert Aske, | 0:27:36 | 0:27:40 | |
a London barrister, who, with 9,000 men, stormed York. | 0:27:40 | 0:27:43 | |
Henry sent representatives to negotiate an amnesty | 0:27:43 | 0:27:47 | |
if they would disband, but he didn't keep to his word. | 0:27:47 | 0:27:50 | |
By July, 1537, many had been executed | 0:27:50 | 0:27:53 | |
and the Abbot of Jervaulx himself ended up in the Tower. | 0:27:53 | 0:27:56 | |
The uprising in York was known as The Pilgrimage of Grace. | 0:27:59 | 0:28:03 | |
Across the north of England, noblemen and servants joined forces | 0:28:03 | 0:28:06 | |
to demand the restoration of the monasteries | 0:28:06 | 0:28:09 | |
and the return of the old Church. | 0:28:09 | 0:28:11 | |
At their height, these pilgrims numbered 40,000 men. | 0:28:11 | 0:28:15 | |
This was the greatest civil challenge to Henry's rule. | 0:28:15 | 0:28:19 | |
The money from the monasteries would be spent on coastal defences. | 0:28:23 | 0:28:27 | |
France and Spain were a constant threat. | 0:28:27 | 0:28:30 | |
The Pope, infuriated by Henry's independence, | 0:28:30 | 0:28:34 | |
was pushing for invasion. | 0:28:34 | 0:28:36 | |
Henry planned an enormous programme of fortifications which would run | 0:28:38 | 0:28:42 | |
from Milford Haven to the Humber. And he began to build a great navy, | 0:28:42 | 0:28:46 | |
his warships weighed down with powerful cannons. | 0:28:46 | 0:28:49 | |
And Henry still had no heir, no future for the Tudor dynasty. | 0:28:52 | 0:28:56 | |
It was crucial he reasserted his power and regained stability. | 0:28:56 | 0:29:00 | |
Once again, Holbein, by now officially the King's painter | 0:29:00 | 0:29:04 | |
and on a handsome salary, reveals the state of Henry's mind. | 0:29:04 | 0:29:09 | |
He was about to create the most shocking, most effective, | 0:29:09 | 0:29:13 | |
and most memorable portrait of Henry to date. | 0:29:13 | 0:29:17 | |
This painting was called the Whitehall Mural. | 0:29:22 | 0:29:25 | |
It was destroyed in a fire which swept the palace in 1698, | 0:29:25 | 0:29:29 | |
but a copy remains in the Royal Collection. | 0:29:29 | 0:29:32 | |
Kate, this watercolour copy of the Whitehall Mural is what, | 0:29:33 | 0:29:36 | |
a foot and a half square? | 0:29:36 | 0:29:38 | |
How closely does it resemble the original? | 0:29:38 | 0:29:41 | |
Well, it's a huge difference in size, | 0:29:41 | 0:29:43 | |
the original was about three metres high, we think, | 0:29:43 | 0:29:46 | |
so this is a small, pocket-sized version of the original. | 0:29:46 | 0:29:49 | |
And how was this first seen by Henry's intended audience? | 0:29:49 | 0:29:53 | |
The original audience of the mural | 0:29:53 | 0:29:55 | |
would have been quite a small group of people | 0:29:55 | 0:29:58 | |
because it was placed in the Privy Chamber at Whitehall Palace | 0:29:58 | 0:30:01 | |
and only a select group of people were allowed to go in. | 0:30:01 | 0:30:04 | |
They will have seen Henry VIII standing at their own height, | 0:30:04 | 0:30:09 | |
standing before them almost, | 0:30:09 | 0:30:10 | |
they came into the presence of the King in that way. | 0:30:10 | 0:30:13 | |
Certainly one commentator says that people were | 0:30:13 | 0:30:15 | |
"stricken with fear" as they looked at it. | 0:30:15 | 0:30:17 | |
So what does it tell us? | 0:30:17 | 0:30:19 | |
Well, it tells us that Henry VIII is a powerful and important king | 0:30:19 | 0:30:23 | |
because it has this inscription in the centre | 0:30:23 | 0:30:26 | |
which defines the message of the painting very clearly. | 0:30:26 | 0:30:30 | |
It says Henry VII was the King who brought peace to England | 0:30:30 | 0:30:34 | |
and who established the dynasty of the Tudors | 0:30:34 | 0:30:37 | |
and his son Henry is even greater | 0:30:37 | 0:30:39 | |
because he showed his rule over the Church, | 0:30:39 | 0:30:42 | |
he established England as separate from the Pope. | 0:30:42 | 0:30:45 | |
So it gives us a very clear message of Henry's own power as a king. | 0:30:45 | 0:30:50 | |
So Henry's really saying, "I'm better than my dad." | 0:30:50 | 0:30:53 | |
"Dad was great, but I'm even better." | 0:30:53 | 0:30:56 | |
Now what about those fabulous clothes and grand architecture, | 0:30:56 | 0:30:59 | |
what do they tell us? | 0:30:59 | 0:31:00 | |
Well, they absolutely proclaim Henry's wealth and status | 0:31:00 | 0:31:03 | |
because they're the most fashionable things you can have in England or indeed Europe. | 0:31:03 | 0:31:07 | |
Not only the latest fashion, but the most expensive - | 0:31:07 | 0:31:10 | |
the cloth of gold, the carpet that he's standing on. | 0:31:10 | 0:31:13 | |
But it again, it proclaims power. | 0:31:13 | 0:31:16 | |
When the mural was painted in 1537, | 0:31:16 | 0:31:18 | |
what were Henry's circumstances and what did he really want to say? | 0:31:18 | 0:31:23 | |
Well, Henry's had a bad time in 1536. | 0:31:23 | 0:31:26 | |
He's lost his two previous wives - | 0:31:26 | 0:31:29 | |
Catherine of Aragon has died, Anne Boleyn has been executed. | 0:31:29 | 0:31:32 | |
He has married Jane Seymour in May, | 0:31:32 | 0:31:34 | |
but in October, a big rebellion breaks out | 0:31:34 | 0:31:36 | |
as a reaction to his church reforms and he is very much under threat | 0:31:36 | 0:31:39 | |
from the rebellion known as The Pilgrimage of Grace. | 0:31:39 | 0:31:42 | |
So in 1537, you can see Henry trying to re-establish his position, | 0:31:42 | 0:31:47 | |
to re-assert Henry as the big, important monarch who is in charge. | 0:31:47 | 0:31:51 | |
Without this son and heir in place, | 0:31:51 | 0:31:54 | |
is claiming he's better than his own dad the best he can do? | 0:31:54 | 0:31:58 | |
Absolutely, he's giving a sense of promise and hope, | 0:31:58 | 0:32:01 | |
but he has got nothing to show for it | 0:32:01 | 0:32:03 | |
as he has nobody to pass the throne on to, | 0:32:03 | 0:32:06 | |
so, yes, saying, "Look how fabulous I am," | 0:32:06 | 0:32:08 | |
takes the emphasis off, "Where are we going next?" | 0:32:08 | 0:32:12 | |
How far do you think that a mural would have helped him? | 0:32:12 | 0:32:15 | |
Well, we have the answer to that in the immediate copies are made. | 0:32:15 | 0:32:20 | |
This view of Henry, we've been talking about how | 0:32:20 | 0:32:22 | |
it would have only been seen by a closed group, | 0:32:22 | 0:32:25 | |
but it's how we see Henry VIII today, | 0:32:25 | 0:32:27 | |
it's our immediate image of Henry | 0:32:27 | 0:32:29 | |
and that's done by almost immediate copies | 0:32:29 | 0:32:31 | |
of the figure which are circulated | 0:32:31 | 0:32:34 | |
and it becomes the iconic image of the King. | 0:32:34 | 0:32:38 | |
So while the mural was only seen by a few people, | 0:32:38 | 0:32:40 | |
those people were very influential, | 0:32:40 | 0:32:42 | |
they were ambassadors who were going back to kings of other countries, | 0:32:42 | 0:32:45 | |
they were the most important men in government - so very important. | 0:32:45 | 0:32:50 | |
And is that by design? | 0:32:50 | 0:32:52 | |
Is that by the King wanting to circulate the images of himself? | 0:32:52 | 0:32:56 | |
We don't have any evidence that Henry tried to control his image | 0:32:56 | 0:33:00 | |
in the way Elizabeth I did. | 0:33:00 | 0:33:02 | |
Holbein is one of the leading artists, | 0:33:02 | 0:33:05 | |
if not THE leading artist of the period, | 0:33:05 | 0:33:08 | |
and many of the early copies seem to originate | 0:33:08 | 0:33:11 | |
with artists around Holbein. | 0:33:11 | 0:33:12 | |
But at the same time, Henry is King | 0:33:12 | 0:33:15 | |
and he's the man you're going to want a picture of. | 0:33:15 | 0:33:18 | |
So that's probably why they circulate. | 0:33:18 | 0:33:20 | |
There's no simple answer, is there, with this picture? | 0:33:20 | 0:33:23 | |
It's so complex because it was in a private space | 0:33:23 | 0:33:26 | |
and yet it became incredibly familiar. | 0:33:26 | 0:33:28 | |
There's Henry looking every inch the confident King, | 0:33:28 | 0:33:31 | |
but it's made to cover his vulnerability. | 0:33:31 | 0:33:33 | |
Absolute myriad of contradictions - so typical of Henry. | 0:33:33 | 0:33:38 | |
But this picture hides two big secrets, | 0:33:41 | 0:33:44 | |
and in both cases it's what the viewer DOESN'T see that matters. | 0:33:44 | 0:33:47 | |
Holbein would not have simply painted the family group | 0:33:50 | 0:33:53 | |
straight onto the wall of the palace. | 0:33:53 | 0:33:54 | |
The composition would have been carefully prepared | 0:33:54 | 0:33:58 | |
in sections like this, before it was transferred | 0:33:58 | 0:34:00 | |
to its permanent location. | 0:34:00 | 0:34:02 | |
This sort of original sketch is known as the cartoon. | 0:34:07 | 0:34:11 | |
I've drawn Henry exactly as he appears | 0:34:15 | 0:34:17 | |
in the Whitehall Mural, head on. | 0:34:17 | 0:34:19 | |
And you'd expect that's what Holbein did too, | 0:34:19 | 0:34:23 | |
but the cartoon reveals an extraordinary difference. | 0:34:23 | 0:34:26 | |
In Holbein's original sketch, Henry's head is turned to the side. | 0:34:26 | 0:34:30 | |
It's a much softer, less confrontational look. | 0:34:30 | 0:34:33 | |
In the final painting, he's staring boldly ahead, | 0:34:37 | 0:34:41 | |
transforming Henry into the imposing figure we still recognise today. | 0:34:41 | 0:34:45 | |
Whose idea was it? Holbein's or Henry's himself? | 0:34:45 | 0:34:49 | |
We'll never know, but it was a master stroke. | 0:34:49 | 0:34:52 | |
During the 15th century, portraits tended to be head and shoulders. | 0:34:56 | 0:35:00 | |
You could choose which way you looked to get your best side. | 0:35:00 | 0:35:03 | |
They're quite intimate. | 0:35:03 | 0:35:04 | |
It's a much harder game to paint someone full height, square on. | 0:35:04 | 0:35:08 | |
It's in your face, it has to be done with confidence | 0:35:08 | 0:35:11 | |
and Holbein's portraits of Henry standing like that | 0:35:11 | 0:35:14 | |
are amongst the greatest depictions of confidence ever painted. | 0:35:14 | 0:35:17 | |
And now the second surprise. | 0:35:21 | 0:35:23 | |
Perhaps there's another reason | 0:35:23 | 0:35:25 | |
why Henry looked so confident in this picture. | 0:35:25 | 0:35:28 | |
Confident of something which would give him renewed hope. | 0:35:28 | 0:35:31 | |
There's no hint of it in the painting, | 0:35:31 | 0:35:33 | |
but this mural of 1537 was almost certainly painted | 0:35:33 | 0:35:37 | |
during Jane Seymour's pregnancy. | 0:35:37 | 0:35:40 | |
After almost three decades of bleakness | 0:35:45 | 0:35:48 | |
in which Henry was longing for a son and heir, | 0:35:48 | 0:35:50 | |
eventually, in October 1537, Jane Seymour gave him a son. | 0:35:50 | 0:35:53 | |
It was Prince Edward, the future King Edward VI. | 0:35:53 | 0:35:56 | |
Henry was overjoyed. And amongst the artistic responses | 0:35:56 | 0:35:59 | |
was a painting of the young prince, aged two, made by Holbein | 0:35:59 | 0:36:03 | |
to be given to the King on New Year's Day, 1540. | 0:36:03 | 0:36:06 | |
Here's the little fella, decked out in cloth of gold | 0:36:06 | 0:36:10 | |
with a feather in his cap. | 0:36:10 | 0:36:11 | |
The cap, now a brown-ish colour, | 0:36:11 | 0:36:14 | |
would once have been a dazzling scarlet, | 0:36:14 | 0:36:17 | |
a red glaze painted over silver leaf. | 0:36:17 | 0:36:19 | |
Such precious materials state that this was a very important infant. | 0:36:19 | 0:36:23 | |
The background, now a grey-ish brown, | 0:36:23 | 0:36:26 | |
would have been a striking blue. | 0:36:26 | 0:36:28 | |
This painting would have glistened in its day. | 0:36:28 | 0:36:31 | |
It's also notable that there are | 0:36:31 | 0:36:33 | |
no traditional religious images in the portrait | 0:36:33 | 0:36:35 | |
and yet it IS a religious painting. | 0:36:35 | 0:36:37 | |
Edward is the religious symbol, | 0:36:37 | 0:36:40 | |
the future supreme head of the Church in England. | 0:36:40 | 0:36:43 | |
His rattle is effectively a sceptre. | 0:36:43 | 0:36:46 | |
We see the head looking forward, once more. | 0:36:47 | 0:36:50 | |
It's very bold, if completely unrealistic, | 0:36:50 | 0:36:53 | |
for a child to hold such an upright stance, | 0:36:53 | 0:36:55 | |
but it's stressing Edward is a baby groomed to be King. | 0:36:55 | 0:36:59 | |
He will be head of both Church and state. | 0:36:59 | 0:37:03 | |
Given Henry's notorious track record for mistreating family members, | 0:37:05 | 0:37:09 | |
you always have to wonder what lies behind the image. | 0:37:09 | 0:37:13 | |
Well, the Latin text underneath young Edward tells us that | 0:37:13 | 0:37:16 | |
although this prince is destined for great things, | 0:37:16 | 0:37:18 | |
he can never surpass his father. | 0:37:18 | 0:37:20 | |
Surprise, surprise(!) | 0:37:20 | 0:37:21 | |
The arrival of a son and heir changed everything for Henry. | 0:37:28 | 0:37:31 | |
The house of Tudor now had a future. | 0:37:33 | 0:37:36 | |
Although Henry still had enemies, they could be overcome. | 0:37:40 | 0:37:44 | |
The important thing was that the bloodline | 0:37:44 | 0:37:46 | |
with the properties and the policies could all be handed down. | 0:37:46 | 0:37:50 | |
Henry's response to his new fatherhood | 0:37:53 | 0:37:55 | |
is captured in an extraordinary commission. | 0:37:55 | 0:37:58 | |
A magnificent work of art | 0:37:58 | 0:38:00 | |
which is, today, priceless. | 0:38:00 | 0:38:02 | |
The Great Hall at Hampton Court is home to the Abraham tapestries. | 0:38:05 | 0:38:08 | |
Ten scenes depicting the biblical story of Abraham. | 0:38:08 | 0:38:12 | |
The palace furnishings played a key role in emphasising | 0:38:12 | 0:38:16 | |
the King's majesty and other personal attributes | 0:38:16 | 0:38:19 | |
and these enormous images were an awe inspiring way to do it. | 0:38:19 | 0:38:24 | |
At a total length of 88 yards, and a height of 15 feet, | 0:38:24 | 0:38:29 | |
they're extraordinarily rich, | 0:38:29 | 0:38:31 | |
woven with a high percentage of silk and gold metallic thread. | 0:38:31 | 0:38:34 | |
They took around three years to produce. | 0:38:34 | 0:38:37 | |
It was one of the most lavish sets ever made in Brussels | 0:38:37 | 0:38:40 | |
and, without doubt, Henry's most expensive tapestry acquisition. | 0:38:40 | 0:38:44 | |
Henry would not have chosen the story of Abraham by chance. | 0:38:51 | 0:38:54 | |
Biblical characters had played an important part in his imagery | 0:38:54 | 0:38:58 | |
for many years, but now Henry identified himself with Abraham, | 0:38:58 | 0:39:02 | |
first of the great patriarchs. | 0:39:02 | 0:39:03 | |
The symbolism is unmistakable, especially in this tapestry, | 0:39:03 | 0:39:07 | |
The Circumcision Of Isaac. | 0:39:07 | 0:39:10 | |
You can see the parallels between Abraham and Henry. | 0:39:17 | 0:39:19 | |
Abraham, the founder of the Hebrew nation and a biblical hero, | 0:39:19 | 0:39:23 | |
is the parallel to Henry, the leader of England | 0:39:23 | 0:39:25 | |
and the founder of the new English Church. | 0:39:25 | 0:39:28 | |
He sees himself as a bit of a religious hero, | 0:39:28 | 0:39:30 | |
despite having just pulled down most of the medieval monasteries. | 0:39:30 | 0:39:33 | |
But at this time, when he commissions these, | 0:39:33 | 0:39:36 | |
Henry is a new father, as Abraham was father to Isaac. | 0:39:36 | 0:39:39 | |
The young Prince Edward is a parallel to Isaac then. | 0:39:39 | 0:39:43 | |
These tapestries were intended to dazzle everyone who saw them, | 0:39:45 | 0:39:50 | |
and leave them in no doubt about Henry's new biblical authority. | 0:39:50 | 0:39:53 | |
Imagine arriving at a state occasion in the great hall of Hampton Court | 0:39:53 | 0:39:57 | |
and being surrounded by these tapestries, | 0:39:57 | 0:40:00 | |
under a great roof which shone with the same brilliant colours. | 0:40:00 | 0:40:04 | |
I'm not talking about any brilliant colours - not just vivid greens and blue and red, | 0:40:04 | 0:40:09 | |
but in each of these tapestries is gold thread - real gold. | 0:40:09 | 0:40:13 | |
It's woven right the way through. | 0:40:13 | 0:40:15 | |
These things are incredibly expensive. | 0:40:15 | 0:40:18 | |
Given they're about 500 years old, | 0:40:21 | 0:40:22 | |
the tapestries are in pretty good condition, but their original | 0:40:22 | 0:40:26 | |
natural colours have now faded to shades of brown. | 0:40:26 | 0:40:29 | |
Upstairs, there's an experiment to try and bring them back to their former glory. | 0:40:29 | 0:40:33 | |
Henry's tapestries enhanced the King's reputation through glorious, sumptuous colour. | 0:40:35 | 0:40:40 | |
Kathryn Hallett of Historic Royal Palaces wants visitors | 0:40:40 | 0:40:44 | |
to experience the richness of the Abraham tapestries as they were seen in the 1540s. | 0:40:44 | 0:40:49 | |
As a conservator, I have the privilege of looking and studying the back of the tapestries, | 0:40:51 | 0:40:57 | |
and we wanted to find a way to show the incredible bright colours on the reverse to our visitors. | 0:40:57 | 0:41:02 | |
So they've been protected from sunlight and degradation | 0:41:02 | 0:41:05 | |
and kept their original...? | 0:41:05 | 0:41:07 | |
Absolutely right, yes. | 0:41:07 | 0:41:09 | |
They've been protected from light for 500 years, so they're still | 0:41:09 | 0:41:12 | |
-splendidly bright on the reverse. -What will you do? Re-weave this? | 0:41:12 | 0:41:15 | |
No, in fact, we're using the latest digital technology to measure, digitally, | 0:41:15 | 0:41:20 | |
the colour on the back of the tapestry and then to project that missing colour, | 0:41:20 | 0:41:24 | |
-the faded colour, back onto the front of the tapestry. -All right, let's have a look then. | 0:41:24 | 0:41:30 | |
Oh, my Lord! | 0:41:30 | 0:41:32 | |
It gives you an idea of just how bright the colours on the reverse really are, | 0:41:39 | 0:41:44 | |
and also of the original intention of the tapestries | 0:41:44 | 0:41:47 | |
to inspire awe and wonder to the visitors to the palace, | 0:41:47 | 0:41:51 | |
and certainly we know that that worked. | 0:41:51 | 0:41:54 | |
What else have you got in your box of tricks? | 0:41:58 | 0:42:01 | |
What we can do is mask off individual features within the tapestry | 0:42:01 | 0:42:05 | |
to show visitors the story behind the incredible scene you see here. | 0:42:05 | 0:42:09 | |
So for example, we can show visitors the figure of Abraham | 0:42:09 | 0:42:13 | |
here on the left, the star of the story and perhaps the character with which Henry most closely identified. | 0:42:13 | 0:42:20 | |
Here you can see Eliezer, Abraham's faithful servant. | 0:42:21 | 0:42:25 | |
He is being charged by Abraham to go and find a wife for Abraham's son, Isaac. | 0:42:25 | 0:42:31 | |
Now, that I like as an interpretive device, | 0:42:31 | 0:42:34 | |
cos you can pick out the figures, tell the story, and bring the message alive for people. | 0:42:34 | 0:42:39 | |
Absolutely. These are not just wall hangings - | 0:42:39 | 0:42:42 | |
they're Tudor propaganda. They really tell a story that was resonant to Henry. | 0:42:42 | 0:42:46 | |
But Henry's happy family life was tragically short-lived. | 0:42:51 | 0:42:55 | |
Edward was baptised in the Royal Chapel at Hampton Court just three days after his birth. | 0:42:55 | 0:43:01 | |
His delighted mother Jane Seymour received 300 guests. | 0:43:01 | 0:43:05 | |
But 48 hours later, septicaemia raged through her body, | 0:43:05 | 0:43:09 | |
she became delirious and the last rites were performed. | 0:43:09 | 0:43:14 | |
She died when her baby son was only 12 days old. | 0:43:14 | 0:43:19 | |
The King wrote that divine providence had mingled his joy with the bitterness of her death. | 0:43:21 | 0:43:28 | |
The fragility of life could never have been so obvious to Henry. | 0:43:28 | 0:43:33 | |
He must have known that Edward could be snatched away just as abruptly. | 0:43:33 | 0:43:37 | |
To secure his dynasty, the King needed an insurance policy. | 0:43:43 | 0:43:47 | |
He began an urgent search to find a new wife who could deliver a second son. | 0:43:47 | 0:43:52 | |
Henry needed an heir and a spare. Once again he called on the services | 0:43:52 | 0:43:57 | |
of his trusted painter Holbein. | 0:43:57 | 0:43:59 | |
Henry VIII could hardly travel around Europe in search of a bride, | 0:44:03 | 0:44:07 | |
so he wanted the next best thing - a beauty parade in Calais so he could pick for himself. | 0:44:07 | 0:44:13 | |
It didn't go down well. The Constable of France | 0:44:13 | 0:44:15 | |
wrote to the French Ambassador in England, Castillon, and said, "It's not the custom of France | 0:44:15 | 0:44:21 | |
"to send damsels to be passed in review as if they were hackneys for sale." | 0:44:21 | 0:44:24 | |
But Henry pushed the matter further. Castillon, shocked that Henry seemed | 0:44:26 | 0:44:31 | |
to be searching for a new wife as he would a new horse, retorted, | 0:44:31 | 0:44:36 | |
"Maybe Your Grace would like to mount them one after the other, | 0:44:36 | 0:44:39 | |
"and keep the one you find to be best broken in." | 0:44:39 | 0:44:43 | |
So what was Henry's reaction to that? He blushed a little | 0:44:45 | 0:44:48 | |
and laughed, he liked Castillon's bonhomie, but beyond the laddish jokes | 0:44:48 | 0:44:53 | |
there had to be a solution. If Henry couldn't see the girls for himself, | 0:44:53 | 0:44:57 | |
someone had to show him what they looked like and there was one man he could trust - Holbein. | 0:44:57 | 0:45:02 | |
From 1538 to '39, Holbein spent months travelling across Europe, | 0:45:07 | 0:45:12 | |
painting the women who had been identified as potential queens. | 0:45:12 | 0:45:16 | |
Their pictures were brought back to Henry just so he could pick his favourite. | 0:45:16 | 0:45:22 | |
Holbein would get a few hours to make preliminary sketches, | 0:45:23 | 0:45:28 | |
then he had to do the actual painting from notes and memory. | 0:45:28 | 0:45:33 | |
One of the paintings from Henry's virtual beauty parade | 0:45:36 | 0:45:40 | |
hangs in the National Gallery in London. | 0:45:40 | 0:45:43 | |
Here she is - Christina of Denmark. | 0:45:48 | 0:45:52 | |
This portrait shows one of Holbein's special talents - | 0:45:55 | 0:45:58 | |
creating dazzling effects with black paint. | 0:45:58 | 0:46:01 | |
It was one of his trademark techniques. | 0:46:01 | 0:46:04 | |
The strength of this composition is based on the different textures of Christina's clothing, | 0:46:04 | 0:46:09 | |
convincing black velvet and satin, | 0:46:09 | 0:46:12 | |
and just the tiniest amount of bare pale flesh. | 0:46:12 | 0:46:15 | |
At 16, Christina was already a widow, | 0:46:21 | 0:46:23 | |
but it's no normal mourning dress that she wears for her dead husband, the Duke of Milan. | 0:46:23 | 0:46:29 | |
Look at the silky sheen on the furs. She is a woman of wealth. | 0:46:29 | 0:46:32 | |
Other than that, the painting doesn't tell you what kind of room she is in or even what country. | 0:46:32 | 0:46:37 | |
What matters is that plain background projects her youthful clear skin. | 0:46:37 | 0:46:40 | |
She is a good-looking girl who brings with her wealth. | 0:46:40 | 0:46:43 | |
That's all Henry VIII needs to know. | 0:46:43 | 0:46:45 | |
So what could Christina have made of Henry VIII's advances? | 0:46:49 | 0:46:53 | |
Well, beyond the initial flattery, the facts were that Henry was 30 years her senior, | 0:46:53 | 0:46:57 | |
pretty portly and had been responsible for tossing aside her great aunt, Catherine of Aragon | 0:46:57 | 0:47:02 | |
before executing a second wife and recently losing a third. | 0:47:02 | 0:47:06 | |
For anyone with more than a passing interest in self-preservation, the prospects didn't look good. | 0:47:06 | 0:47:12 | |
In the end, Henry didn't marry Christina, | 0:47:13 | 0:47:16 | |
but he did keep the painting. | 0:47:16 | 0:47:18 | |
The woman who Henry went on to marry was Anne of Cleves. | 0:47:22 | 0:47:25 | |
Persuaded by this portrait by Holbein, | 0:47:26 | 0:47:29 | |
as well as pressure and encouragement from his adviser Cromwell | 0:47:29 | 0:47:32 | |
who liked Anne's German/Lutheran connections. | 0:47:32 | 0:47:35 | |
Her expression is demure, | 0:47:35 | 0:47:37 | |
but there's more than a hint of beauty. | 0:47:37 | 0:47:40 | |
In fact, Holbein made two very similar paintings of Anne, | 0:47:46 | 0:47:50 | |
one full-sized and one miniature, which was executed with exceptional care | 0:47:50 | 0:47:54 | |
using precious pigments to paint details like the tassel of jewels | 0:47:54 | 0:47:59 | |
in Anne's headdress. | 0:47:59 | 0:48:01 | |
In its tiny ivory case, | 0:48:01 | 0:48:04 | |
it was small enough that the King could have it with him | 0:48:04 | 0:48:06 | |
until Anne arrived to be by his side. | 0:48:06 | 0:48:09 | |
Holbein's portrait of Anne of Cleves may have been too flattering | 0:48:17 | 0:48:20 | |
or possibly it was accurate, but didn't give Henry the whole picture | 0:48:20 | 0:48:24 | |
because there was something about her, maybe her looks, her personality, or even bodily hygiene | 0:48:24 | 0:48:30 | |
that meant he couldn't consummate the marriage and it was annulled. | 0:48:30 | 0:48:33 | |
Cromwell, the main champion of the marriage, | 0:48:38 | 0:48:41 | |
lost his head over the affair and was executed in 1540. | 0:48:41 | 0:48:45 | |
Holbein kept his head. | 0:48:45 | 0:48:47 | |
Only these paintings of the match-making expedition survive - | 0:48:49 | 0:48:52 | |
a fantastic artistic legacy, | 0:48:52 | 0:48:54 | |
even if they were created for a highly practical purpose. | 0:48:54 | 0:48:58 | |
Henry wasn't slow to move on. | 0:48:59 | 0:49:01 | |
One of Anne of Cleves' maids of honour had caught the King's eye. | 0:49:01 | 0:49:04 | |
The young, flighty Catherine Howard, Anne Boleyn's cousin, | 0:49:04 | 0:49:07 | |
had had a colourful past involving her music teacher and a family friend. | 0:49:07 | 0:49:12 | |
Such a history was unknown to the King who was besotted by her. | 0:49:12 | 0:49:16 | |
After a brief courtship, they married at Oatlands Palace in Surrey | 0:49:16 | 0:49:20 | |
on the day of Cromwell's execution, but it wasn't long before Catherine's past was made public. | 0:49:20 | 0:49:25 | |
This alone would have been enough to condemn her, | 0:49:25 | 0:49:29 | |
but she was also romantically linked to another man, Thomas Culpeper, | 0:49:29 | 0:49:32 | |
during her marriage to Henry. | 0:49:32 | 0:49:34 | |
Queen Catherine was doomed | 0:49:35 | 0:49:38 | |
and beheaded in February 1542. | 0:49:38 | 0:49:41 | |
At times like this, Henry could undermine his image as a magnificent, charismatic king. | 0:49:45 | 0:49:50 | |
He publicly blubbered over Catherine Howard's infidelity for two weeks. | 0:49:50 | 0:49:54 | |
Henry was devastated, a broken man. | 0:49:57 | 0:50:00 | |
This engraving portrays Henry toward the end of his life. | 0:50:00 | 0:50:04 | |
It was made by Cornelis Metsys, a Dutch engraver | 0:50:04 | 0:50:08 | |
who chose to show Henry in the trappings of luxury, | 0:50:08 | 0:50:10 | |
but mealy-mouthed, corpulent, beady-eyed. | 0:50:10 | 0:50:14 | |
Each of his marriages had ended disastrously | 0:50:15 | 0:50:18 | |
and still no second son was forthcoming. | 0:50:18 | 0:50:21 | |
He'd never recovered from his jousting accident in 1536. | 0:50:21 | 0:50:25 | |
He was overweight, suffering from gout with grotesque ulcerated legs. | 0:50:25 | 0:50:30 | |
The Royal coffers which had funded | 0:50:31 | 0:50:33 | |
so many lavish symbols of power and majesty were all but bare. | 0:50:33 | 0:50:37 | |
The days of the heroic young knight were far behind him. | 0:50:37 | 0:50:41 | |
Outwardly, Henry continued to project an image of strength and courage, | 0:50:44 | 0:50:48 | |
but, in truth, the King was now so ill, he could barely walk. | 0:50:48 | 0:50:51 | |
He suffered from continual headaches. | 0:50:51 | 0:50:54 | |
His ulcers produced dangerous fevers and pain which turned his face black with agony. | 0:50:54 | 0:50:58 | |
But through that pain Henry pressed on with building his most ambitious palace yet. | 0:51:00 | 0:51:04 | |
A fantasy hunting lodge for the King who had never forgotten his passion for horses and sport. | 0:51:04 | 0:51:10 | |
A private retreat, a place where the troubles of the world could be left behind. | 0:51:10 | 0:51:15 | |
A palace to outshine all others. | 0:51:15 | 0:51:19 | |
Nonsuch. | 0:51:21 | 0:51:22 | |
A home of such boyish indulgence, it has always fascinated me. | 0:51:22 | 0:51:27 | |
Amongst all of the arts, Henry probably invested in architecture more that any other. | 0:51:32 | 0:51:37 | |
When he came to the throne, he had 13 properties, | 0:51:37 | 0:51:40 | |
but by his death he had over 60! | 0:51:40 | 0:51:42 | |
And it certainly cemented his reputation as a great builder. | 0:51:42 | 0:51:45 | |
For several hundred years during the Middle Ages, | 0:51:49 | 0:51:52 | |
the villagers of Cuddington had interred the remains of their relatives beneath the parish church | 0:51:52 | 0:51:57 | |
which stood on that site until April 1538 | 0:51:57 | 0:52:01 | |
when Henry VIII's workmen turned up, levelled the church | 0:52:01 | 0:52:05 | |
to make way for a pleasure pavilion on a massive scale. | 0:52:05 | 0:52:09 | |
Henry wanted a palace of international renown | 0:52:12 | 0:52:15 | |
perhaps responding to the reputation of the great country palace of Chambord, | 0:52:15 | 0:52:19 | |
the jewel in the crown of his constant tormentor, Francis I of France. | 0:52:19 | 0:52:24 | |
It would be his last great flourish. | 0:52:24 | 0:52:27 | |
This was to be a private building. | 0:52:27 | 0:52:29 | |
There was no great hall for receiving important guests, | 0:52:29 | 0:52:34 | |
only Henry's closest friends and family would be invited here. | 0:52:34 | 0:52:37 | |
And yet in this quiet parkland, Henry created a palace of such incomparable splendour | 0:52:37 | 0:52:42 | |
it was called Nonsuch - because nobody had ever seen anything like it before. | 0:52:42 | 0:52:48 | |
It was described as "the very pearl of the realm". | 0:52:48 | 0:52:52 | |
All that remains today are the markers showing where the building started and finished, | 0:52:53 | 0:52:58 | |
and some scraps of the stucco work are held in local museums. | 0:52:58 | 0:53:02 | |
We have to imagine what this fantastical palace would have looked like, | 0:53:02 | 0:53:06 | |
so I'm recreating it on paper. | 0:53:06 | 0:53:09 | |
Any visitor to Nonsuch in Henry's day would have been startled by the use of materials. | 0:53:11 | 0:53:15 | |
Never in England before do we know of gilded slate hanging. | 0:53:15 | 0:53:19 | |
Nicholas Bellin of Modena, a northern Italian artist | 0:53:19 | 0:53:23 | |
was entrusted with carving and finishing those. | 0:53:23 | 0:53:26 | |
But the most astonishing thing was the white work or stucco which covered the outer courtyard. | 0:53:26 | 0:53:32 | |
I would have been about 20 feet from it here, and it glittered as the sun followed its course. | 0:53:32 | 0:53:37 | |
That stucco was in high relief, mouldings of classical emperors and gods | 0:53:37 | 0:53:42 | |
and I am sure Henry would have liked to have joined their rank. | 0:53:42 | 0:53:45 | |
There's something very poignant about the ambition of Nonsuch. | 0:53:50 | 0:53:54 | |
It was begun at Edward's birth | 0:53:54 | 0:53:56 | |
as a vision of optimism and exuberance unmatched in Henry's reign. | 0:53:56 | 0:54:00 | |
But in the end, it was simply a glorious retreat, | 0:54:00 | 0:54:05 | |
perhaps even a folly. | 0:54:05 | 0:54:07 | |
In 1543, Henry married again. This time, it was not primarily for lust. | 0:54:19 | 0:54:24 | |
He chose the placid and faithful Catherine Parr who nursed him | 0:54:24 | 0:54:27 | |
and brought him comfort for the last four years of his life. | 0:54:27 | 0:54:31 | |
Nonsuch was so ambitious it took nearly ten years to build. | 0:54:37 | 0:54:42 | |
Its completion coincided with Henry's demise. | 0:54:42 | 0:54:47 | |
Well, there you are, there's Nonsuch - | 0:54:54 | 0:54:56 | |
one of the buildings in the world that I most wished I had seen. | 0:54:56 | 0:55:01 | |
After a tumultuous and controversial reign of 38 years - | 0:55:07 | 0:55:11 | |
a reign that changed the face of England and sent shockwaves across Europe - | 0:55:11 | 0:55:16 | |
Henry died on 28th January 1547. | 0:55:16 | 0:55:19 | |
He was buried here in the working chapel of St George at Windsor Castle. | 0:55:19 | 0:55:26 | |
Next to him is the woman who bore him a son and heir - Jane Seymour. | 0:55:26 | 0:55:32 | |
Henry is a much more complex figure than I suspected. | 0:55:52 | 0:55:57 | |
He sometimes uses art or people use it for him, but that contradiction | 0:55:57 | 0:56:01 | |
is part of the allure that makes him endlessly fascinating. | 0:56:01 | 0:56:06 | |
It's clear that Henry's use of art wasn't art for art's sake. | 0:56:13 | 0:56:19 | |
Henry used forms of art to show himself in the best light, to push his agenda at particular times! | 0:56:19 | 0:56:25 | |
Perhaps the greatest irony is that Henry, who loved pomp and opulence, | 0:56:34 | 0:56:38 | |
the art of magnificence, has, for his resting place, | 0:56:38 | 0:56:41 | |
nothing more complex than this simple 19th century slab. | 0:56:41 | 0:56:46 | |
Henry lay in an unmarked grave until this flagstone was laid in 1837. | 0:56:50 | 0:56:55 | |
He'd commissioned a fine Italianate tomb but, when he died, | 0:56:55 | 0:56:59 | |
there were neither the funds nor will to complete it. | 0:56:59 | 0:57:03 | |
As he rests in peace here in Windsor, I wonder what he'd make of | 0:57:08 | 0:57:12 | |
the fact that his image is one of the most famous faces in the world. | 0:57:12 | 0:57:16 | |
Millions of people have emblazoned on their minds that corpulent, bearded, bejewelled monarch. | 0:57:16 | 0:57:22 | |
Whether by accident or design, art ultimately worked for Henry VIII. | 0:57:22 | 0:57:29 | |
Subtitles by Red Bee Media Ltd | 0:57:39 | 0:57:42 | |
E-mail [email protected] | 0:57:42 | 0:57:45 |