A Queen in Shadow - a look back through time to Anne Boleyn and her daughter, Elizabeth

The Hever Portrait

The subject to Anne Boleyn’s true physical appearance has been discussed time and time again in books, blogs and journals, yet it is a subject that remains endlessly fascinating, the varied opinions and theories almost as intriguing as the woman herself.

Almost instantly recognisable, Anne Boleyn’s portrait graces thousands of book covers, mugs, tea towels, key rings…her face is everywhere. But is it really her face that we are seeing? Do the portraits show us what was Anne really like?

I don’t intend to hold a full debate on the portraits here but none we have are contemporary and the closest  are copies made of likenesses painted in her life time.

 

National Portrait Gallery

After her execution it wasn’t wise to have representations of a fallen queen gracing one’s walls so during the remainder of Henry’s reign and the years of Edward and Mary’s rule, her face and many artefacts belonging to her, slipped away. It wasn’t until her daughter, Elizabeth, ascended the throne that Anne became acceptable again and the demand for her image increased. As a consequence most extant images were worked long after her death – some as late as the 17th century.

The likenesses attributed to be her range from softly pretty to plum ugly as do the textual descriptions. Opinions of Anne Boleyn depended enormously upon the political stance and agenda of the author and as a consequence the documentary evidence is as varied and unreliable as the pictorial.

Due to her efforts for religious reform and the displacement of Catherine of Aragon, Anne was never a favourite of Spain or the Catholic faction and this is clear from some of the descriptions of her. Roman Catholic Nicholas Sander saw her as: ‘…rather tall of stature, with black hair and an oval face of sallow complexion, as if troubled with jaundice. She had a projecting tooth under the upper lip, and on her right hand, six fingers. There was a large wen under her chin, and therefore to hide its ugliness, she wore a high dress covering her throat. In this she was followed by the ladies of the court, who also wore high dresses, having before been in the habit of leaving their necks and the upper portion of their persons uncovered. She was handsome to look at, with a pretty mouth.’

Very nice of him to go to the trouble of saying so. And the Venetian ambassador was scarcely more flattering in his account.

‘Madame Anne is not one of the handsomest women in the world. She is of middling stature, swarthy complexion, long neck, wide mouth, bosom not much raised, and in fact has nothing but the King's great appetite, and her eyes, which are black and beautiful - and take great effect on those who served the Queen when she was on the throne. She lives like a queen, and the King accompanies her to Mass - and everywhere.’

 

The Nidd Hall Portrait

It is quite clear that she was not a ravishing beauty although of course, what is considered beautiful today is vastly different to that favoured in the 16th century. If you look at the line-up of Henry’s wives, the ‘Flanders Mare’ of Henry’s stable, Anne of Cleves, was by today’s standards, rather pretty.  

In a society that favoured delicately complexioned blondes, Anne’s dark hair and olive skin were far from fashionable and neither did her slim, small breasted (‘not much raised’) figure fit the current vogue for voluptuous women.

But most descriptions, even the most unfavourable, agree that Anne possessed expressive eyes and a vivacious wit and it must have been those attributes that captivated the king. Which, for once I think, speaks  rather well of Henry in that he was able to see past contemporary ideals to what lay beneath. Shame it didn’t last.

The only truly contemporary image we have of Anne is a badly damaged portrait medal that nevertheless bears some resemblance to the Anne we see depicted in later portraits.  From this we can deduce that we can come quite close to discovering a likeness to the real woman.

 

Princess Elizabeth (later Queen)

The medal was struck in 1534 with Anne’s motto, ‘The Most Happi’ and the initials ‘A.R’ – Anna Regina, so we can be quite sure that it is her. These medals were usually struck to commemorate a great event, often a coronation but since the date does not tie in with this, Eric Ives believes that it was more likely to have been intended to mark birth of Anne’s second child in the autumn of 1534 that she miscarried. This theory also explains why few copies survive.

 

The Anne Boleyn Medal

Other portraits include the familiar Hever portrait and the one at the National Portrait Gallery as well as some sketches by Holbein which receive varying degrees of certainty from the experts. The Nidd Hall portrait shows an aging Anne which is closer to some of the less favourable documented descriptions discussed previously. Another rather touching artefact is the Chequers Ring, a jewel removed from the finger of Elizabeth I on her death bed and found to contain the image of herself and her mother, Anne.

 

The Drew Portrait of Elizabeth I

Of course, we can never know the extent of Elizabeth’s attachment to her mother but some documented incidents point to a curiosity about her. Although Elizabeth was just two years old when Anne was executed and is not likely to have had strong memories of her, there were those around her who had known Anne and would have been able to keep her memory alive. If Elizabeth was satisfied that the image bore a likeness to her mother then I think we can be fairly confident too.

The recent (and not so recent) discussions of Anne’s appearance have led to the assumption that she and her daughter bore a close resemblance. Apart from Elizabeth’s colouring which was auburn and Tudor in origin, there are likenesses to Anne, especially in the earlier portraits before Royal iconography began to overshadow Elizabeth’s personality. The dark eyes are particularly similar.

 

NPG Margaret Beaufort - Grandmother to Elizabeth I

I spend a lot of time looking at paintings of historical figures and it has always struck me that in later life Elizabeth closely resembled her great grandmother. I suppose it should come as no surprise that there is also a look of Henry VII, Elizabeth’s grandfather.  Perhaps there is more Tudor in Elizabeth than we thought.

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The Portraits of Lady Margaret Beaufort

Judith Arnopp

Fig one

Most of us are familiar with the portraits of Margaret Beaufort. Invariably she is depicted toward the end of her life, elderly, austere, and pious. It is difficult to imagine this staid, nun-like woman as a gurgling baby or a naughty child; even less as a vigorous, ambitious young woman. But people, even Countesses, are not born pious. Her face must once have been unlined, she may have been frivolous, perhaps even reckless. She was certainly determined. Her crusade to secure her son Henry VII on the English throne involved considerable risk to herself as she intrigued against a reigning monarch. 

Against all odds, she financed her son’s campaign and in doing so ended her son's exile and changed her life forever by forging the new Tudor dynasty. With Henry’s accession to the throne she became the most powerful woman in the realm, and she did not waste her new-found success but became one of the king's chief advisers. Her charitable work included the founding of hospitals and universities, and championing the arts. She was educated, intelligent and indomitable. A woman to be celebrated, you might think, yet she is invariably depicted in both history and fiction, as ... well, a bit of a harridan.

This, I think, is largely due to our difficulty of viewing her in a softer, more human, light. Her portraits are not endearing to the modern eye. She is not pretty, she is not fabulously attired but that was the intention. The paintings we see today form part of the propaganda supporting the Tudor rule, presenting Margaret as the founding mother of the new dynasty; a figure of unblemished character. Without exception, the portraits depict her in her later years, clothed in a peaked white headdress, usually with a book, and always in the act of religious contemplation. She has an aura of chastity and charity.

Fig two

Of course, portraits are not always about the subject’s appearance but, instead depict a person’s character rather than how long the sitter’s nose may have been. Once she had achieved her exulted position as the king's mother the perils of Margaret's youth became immaterial. What mattered to the newly-formed Tudor dynasty was the projection of an authoritative, reverent persona - a spotless nun-like figure. There is no hint of the young woman who was wed as a child to Henry VI's brother, bore her son when she was just thirteen years old. The fears and uncertainties, the passions and the flaws that she experienced were in the past, and the vital role she had once played was now unimportant to the Tudors. 

There are no extant portraits of Margaret from her lifetime, the ones we see today were made during the reigns of Henry VIII and Elizabeth I. Undoubtedly, they are copies of a lost original so, particularly if we compare them to the effigy on her tomb at Westminster, we can be fairly sure of her appearance during the later years of her life. Her resemblance to her son is clear.

fig three

The portrait above (fig two) of Margaret is believed to have been part of a set of corridor portraits including Henry VII, Henry VIII, commissioned during the reign of her great granddaughter, Elizabeth I. Again, Margaret is in a religious pose, her clothing and book of hours illustrating her religious devotion. It is the best preserved portrait we have of Margaret, the detail of the golden arch beneath which she sits, and the ornamented cloth of state is still brightly defined.

Fig four

My personal favourite portrait of Lady Margaret (fig four) hangs in St John’s College in Cambridge. It was painted by Rowland Lockey in the 16^th century. Margaret is shown at prayer in a lavish apartment, presumably her private chamber. She kneels at a desk with a heavy embroidered cloth and before her is a prayer book, a sign of piety and learning, and beneath it the ‘chemise’ cover she kept it wrapped in. Above her head, a tester bears the Tudor rose. The chamber itself is sumptuous, testament to her love of comfort, the stained glass windows bears the badge of the Beaufort family and (just out of shot) the arms of England.

This portrait tells us more about her lifestyle than the others. We can see that, despite her sombre attitude, she lived luxuriously, as one would expect. Her dark clothes, although quite dour to our modern eyes, were of the best quality, black being among the most expensive and difficult hues to produce. Margaret, it seems, had a great love of clothes.

After her death ‘seven gowns of black velvet were found, trimmed with ermine, and a mantle of tawny.’ And, most interesting of all, was ‘a scarlet gown with a long train, ornamented with the badges of the Garter and evidently to be worn on St George’s day. In another inventory we find a crimson gown to be worn with her ‘circuit’, not a diadem but a surcoat, such as she had worn at Christmas 1487.’[1]

Fig five

So, a new Margaret begins to peek from behind her ageing portraits, a younger woman who favoured scarlet and ermine, whose ‘chariot men wore scarlet. The very buttons of the horse harness were of gold of Venice.[2]’ This speaks less of piety and very much of majesty, perhaps even a little vanity.

The National Portrait Gallery has a portrait (fig five) previously thought to be Margaret but now largely dismissed. It features a younger woman in a pose now expected of Margaret. Her hands are clasped in pious prayer, her head is covered with a veil. The painting is dark but the gown appears to be dark red or burgundy, the veil itself is lavishly embroidered. The nose is long and heavy, the eyes heavily lidded, as Margaret is shown in other portraits, and the face is pensive. At first glance, her expression seems gentle, yet on closer inspection it becomes more determined. and the viewer begins to debate whether the sitter is lost in religious adoration, or distracted by plots of rebellion. It is difficult to judge. 

As I stated earlier, the portrait is no longer believed to represent Margaret but it is intriguing none the less, and in the absence of representations of the younger woman, I used it during my research for The Beaufort Chronicles to help me picture the young woman who, widowed three times, separated from her only son, and exiled from the Yorkist court, had no notion of the triumphs her future held.

Margaret Beaufort, countess of Richmond and Derby (1443-1509) oil on panel 43 x 35.5 cm c.16th century  by Maynard Waynwyk

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[1] Jones and Underwood, The King’s Mother p188

[2] Ibid p189

Portraits from Wikimediacommons

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