Welcome to another exciting
episode where we dive deep into the mysteries of the past.
Picture this: a 16th-century prayer book, safely ensconced
within the prestigious University of Cambridge, catches
the discerning eye of a seasoned curator and her team.
But this isn't just any old book.
It bears an uncanny resemblance to a beautifully bejewelled volume
showcased in one of the most celebrated portraits of the Tudor era.
I'm talking about none other than Hans Holbein's masterful portrayal
of the statesman Thomas Cromwell.
The meticulous investigator is Alison Palmer, curator
at Hever Castle, the beloved childhood home of Anne Boleyn.
From the moment she first set eyes on this unique publication,
she could not ignore its striking similarities
to the book Holbein so carefully depicted on Cromwell's table.
Recognizing the potential significance of her discovery, Palmer
rallied a team of her colleagues Owen Emmerson and Kate McCaffrey
who previously discovered in her own MA thesis incredible findings
regarding the Book of Hours of Anne Boleyn, all to delve deeper
into this intriguing connection.
Today, we’re embarking on an enthralling journey
together, following in the footsteps of this team of historians, unravelling
the secrets behind the mystifying link between the 16th-century
prayer book and the iconic portrait of Thomas Cromwell.
So sit tight,
get ready, and let's venture together into the captivating world of the Tudor era!
And quite possibly one of the most amazing finds of the 21st century.
Thomas Cromwell's Book of Hours.
Born to a humble blacksmith in the lowly town of Putney,
I, Thomas Cromwell, rose to wield considerable power,
first under the influential patronage of Cardinal Wolsey, and later,
in the heart of the King's court.
The early days were not without suspicion and distrust, but soon,
I found myself deep in King Henry VIII’s confidence, serving as his vicegerent,
Lord Chancellor, and the Lord High Chamberlain, amongst others.
With a keen understanding of propaganda’s powerful role,
I sought the skills of Holbein, commissioning him to craft images
that would portray me as a reformist and loyalist to the crown.
Anti-clerical woodcuts and the title page for Myles Coverdale’s
English translation of the Bible were amongst his works commissioned.
This was a sign of my progressive vision
and perfectly aligned with King Henry's grand design of artistic patronage.
In pursuit of his aspiration to glorify his position as the Supreme
Head of the Church,
the monarch initiated the construction of the magnificent Nonsuch Palace in 1538.
My political
machinations led to the King's divorce from Catherine of Aragon,
marking the beginning of his turbulent marital history.
While I was initially a staunch supporter of Anne Boleyn,
I also played a crucial part in her eventual downfall.
My influence was undeniably strong within the Tudor court
until I misjudged the political terrain, recommending a union between Henry
and Anne of Cleves in a bid to forge a Protestant alliance with Germany.
This ill advised move was much reviled,
offering my adversaries the opportunity to levy charges of treason against me.
Thus, I was arrested and ultimately met my end on the executioner's block.
This dramatic turn of events left Holbein in a precarious position.
Despite his cunning that had seen him weather the downfalls of More and the Queen,
my own unexpected demise dealt a severe blow to his standing.
Though he clung onto his post as the King's painter, his reputation
was irreparably tarnished.
It was during Holbein's second visit to England when I, acting as King Henry's right hand,
commissioned him to paint images of favoured courtiers.
At that time, my reputation soared high, I was the ‘Protestant counterweight
to Thomas More in the Privy council’, I had also sealed Ann Boleyn's fate
and had become one of the most influential men in England.
A patron of the arts, I actively nurtured Holbein's career.
Despite these ties, Holbein's personal thoughts on the portrait are unknown.
The portrait, respectful yet sombre, shows me gripping a paper, my eyes narrow.
While my image suffered till the 1960s, today
I am recognised as a reformer, a skilled political operator.
The portrait was perceived as unflattering, even mockingly
so, a sentiment rooted
in the complex and fatal relationship between More and myself.
In this miniature
derivative of the 1532 portrait, I appear wearied and older.
But it's not regarded as an original Holbein.
Unlike his other Tudor portraits, I seem diminished,
placed low in the frame, setting me apart from the viewer.
My depiction is cold and grim, albeit softened.
Historian, R B Merriman called me a “short, stoutly built man,
with a large face...
a small and cruel mouth, and a pair of grey eyes.”
When in all actuality, I was a handsome chap.
I'm shown sitting before a table, clutching a legal document,
a patterned gold ring adorned with a large green gemstone on my left hand.
Dressed in sober attire, a black fur-lined overcoat,
a black hat, exhibiting a severe expression.
They do say
never trust an artistic interpretation, or at least that's what Henry said.
The table, draped in green, bears my effects, a quill,
a devotional book, scissors, and a leather bag.
That devotional book, my Book of Hours,
was an intimate part of my spirituality and complex religious beliefs.
Symbolic of Henry's first intent to divorce in 1527, copies of this edition
were also gifted to Catherine of Aragon and, Ann Boleyn.
My copy found in Trinity College Cambridge’s Wren Library
drew new research interest 2022, a discovery hailed by historian Tracy Borman
as “The most exciting Cromwell discovery in a generation — if not more.”
I hope they will return my book to me now, as I've been looking for it
for almost 500 years, and you really can't imagine the late return fines
I've collated from Henry's library over that period of time.
From Cromwell's London residence, an intriguing mystery unfolds.
An undated inventory
penned by an anonymous scribe mentions “2 tables of my master”.
The fate of the original, however, remains shrouded in the mists of time.
Swiftly following Cromwell's chilling arrival at Traitors'
Gate on 1 June 1540, soldiers descended upon his home.
Their mission was to strip it of his belongings,
transferring them to the treasury, an all-too-familiar scene
that had befallen Thomas More some five years prior.
Like a phantom, Holbein's portrait likely vanished
in the aftermath of Cromwell's downfall, destroyed or sold.
No trace of it is to be found in any subsequent royal inventory.
Yet the narrative takes a twist in 1866,
when the first echoes of copies emerged in the records of the Countess of Caledon.
She lent it to the National Portrait Exhibition,
a version that now resides in the esteemed Frick collection.
The plot thickens as art scholar Roy Strong suggests
that all three extant portraits may, in fact, be replicas.
Time has not been kind to them, with the Frick iteration being the best preserved.
The drama heightens
as historian John Rowlands, utilising X-ray photography to reveal pentimenti, an
Italian term for alterations, postulates that the Frick piece
shows Holbein's deft hand, asserting it as the original.
This intriguing theory is supported by art historian Stephanie Buck,
although it has sparked heated debates.
Strong parries with a reminder of the grim reality faced by traitors in those days,
theorising that Cromwell's personal effects
would have been promptly destroyed following his execution.
Yet the mystery remains, a captivating puzzle woven
through the fabric of time.
The shroud of enigma surrounding the ownership
of a historically significant prayer book
has finally been lifted, thanks to the diligent work of experts.
The mystery, dating back to the Tudor era, has led them to connect the book
with the esteemed figure, Thomas Cromwell, painted in a renowned portrait.
The object in question is the 1527 Book of Hours,
a priceless artifact that historians believe to be the sole survivor
of any item depicted in a Tudor portrait.
This precious publication came to life under the skilled brush of Hans Holbein,
the court painter of King Henry VIII, in his iconic rendering of Cromwell,
a pivotal statesman and royal advisor of the era.
Remarkably, this book is one of three identical copies.
The other two were in the possession of King Henry VIII’s wives,
Catherine of Aragon and Anne Boleyn.
This intriguing connection was discovered in 2021 by Kate
McCaffrey, the assistant curator at Hever Castle in Kent.
McCaffrey then uncovered the third replica of the 1527
Book of Hours, hidden away in the Wren Library at Trinity College, Cambridge,
which had been gifted in the distant August of 1660.
Following this revelation, a team of scholars, including historian
Tracy Borman, embarked on a meticulous examination of the evidence.
Their painstaking work led them to the stunning conclusion
that the book in the Holbein painting and the one at Trinity College
were one and the same and belonged to Cromwell himself.
This extraordinary discovery marks the first instance of historians linking
the three prayer books, whose silver gilt bindings are adorned with jewels.
It has created ripples in the world of history and heritage.
Alison Palmer, the curator of Hever Castle, expressed her excitement,
saying, “It is thrilling to be a part of the solving of this 400-year-old mystery.”
Adding a tangible touch to this tale of intrigue and discovery,
Cromwell's prayer book will be displayed
at Hever Castle until November, giving visitors an opportunity
to witness a piece of Tudor history that has stood the test of time.
So there you have it, ladies and gentlemen,
the unravelling of a 400-year-old mystery that threads together the 1527
Book of Hours and the esteemed Tudor statesman, Thomas Cromwell.
What an incredible journey of discovery this has been, navigating
through centuries of history and finally connecting the dots
that bring us face-to-face with this extraordinary artefact!
But our exploration doesn't end here.
Are you eager to delve deeper into the heart of this groundbreaking revelation?
Do you yearn to know more about Thomas Cromwell's Book of Hours,
its historical significance, and the unprecedented moment
it has sparked in our understanding of the Tudor era?
If so, I have a perfect recommendation for you.
Dr. Estelle Paranque, a renowned historian and expert in Tudor history,
has graciously shared her unique insights on this subject.
By clicking on the link at the end of this video,
you can explore her fascinating perspective on this once-in-a-lifetime discovery.
Remember, history isn't just about the past.
It's about understanding how those past events
have shaped the world we live in today.
So, don't miss out on this exceptional opportunity
to deepen your appreciation of our shared heritage.
Thank you for joining me on this journey, and as always, stay curious and keep exploring.