Not Just the Tudors – The Secrets Hidden in Tudor Art

Episode Date: December 29, 2025
Host: Professor Suzannah Lipscomb
Guest: Dr. Christina Faraday (Historian of Art & Ideas, University of Cambridge)

Episode Overview

This episode delves into the hidden meanings, stories, and social dynamics revealed by Tudor art, drawing on Dr. Christina Faraday’s comprehensive new book, The Story of Tudor Art. The discussion pushes beyond the famed portraiture of the era to explore tapestries, household objects, church art, and the vital relationship between power, symbolism, and artistic craftsmanship. Suzannah and Christina examine how Tudor art was interwoven with politics, religion, identity, and aspiration—not only among monarchs but the wider society.

Key Discussion Points & Insights

What Counts as “Art” in the Tudor World?

• Redefining Art’s Boundaries:
  Dr. Faraday asserts that in the Tudor period, art went far beyond today’s focus on painting and sculpture: “It's not just the fine arts…but also what we would now call the decorative arts…tapestries, embroideries, but also household objects…candle snuffers and beer jugs…The point is to think about how images, design, craft and artistry suffuse the Tudor environment.” (D, 04:36)
• Distinctiveness of Tudor Art:
  The patrons’ expectations shaped art’s function: “There isn't a sense of art for art's sake. Artworks are expected to communicate, to actually say something on behalf of the person…so there's a kind of communicative element, even in everyday objects.” (D, 05:29)

Early Tudor Artistic Patronage & Symbolism

• Lady Margaret Beaufort’s Inventory:
  Examining her possessions reveals “objects with Tudor royal symbolism and Beaufort symbolism all over them…on bed frames, bed covers, chairs, even trinket boxes and plate…” showing her transformation from a precarious youth to “the most important woman in the country.” (D, 06:47)
• Realistic Portraiture Emerges:
  Art historian Andrew Chen’s archival discovery identifies Maynard Wirwick as creator of strikingly lifelike early Tudor portraits: “Now a whole cascade of attributions based on this one painting have completely changed our picture of that early period. I mean, literally, we can see these people and know who they are and know that we're looking at lifelike or lifetime portraiture, which is quite something, isn't it?” (D, 09:41)

Henry VII & VIII: Art as Propaganda and Branding

• Strategic Self-Presentation:
  Henry VII leveraged art and architecture to reinforce his legitimacy: “He has to reinforce his right to rule with any means possible…he knows how an image of himself can be used to kind of frame his reign in a…branding way.” (D, 10:25)
• Art and “Personal Branding”:
  Linking modern language to Tudor practice:

  “He's marketing the Tudors…just to his, you know, 2,000 followers or whatever.”
  (A, 12:41)

• Power & Portraiture:
  Henry VII was the first monarch to put his own facial likeness on coinage, emphasizing the potent symbolism of recognized images. (D, 09:49)

Tapestry as the Supreme Art Form

• Status & Storytelling:
  Tapestries, rich with gold and silver, were the “most precious form of art at this time…They tell a story on a grand scale. By choosing narratives carefully, you can make points about your rule.” (D, 13:03)
• Biblical and Classical References:
  Henry VII compared himself to Vespasian (for bringing peace), while Henry VIII identified with King David, using visual parallels to assert his authority:

  “He loves images of David, particularly in tapestry form…as a sort of strong steer on how people should interpret his actions.”
  (D, 13:03)

• Selective Self-Image:
  In Henry’s illustrated Psalter, “he underlines the parts that say, God will punish my enemies…It’s a key moment for a bit of self-examination…but he’s not interested. It’s all about David as this faithful and favoured king.” (D, 14:59)

Church Art, Iconoclasm, and the Reformation

• Parish Churches as Art Hubs:
  Before the Reformation, churches were “probably the key place where people saw beautiful imagery…It was part of the Catholic culture to donate money for the repair or adornment of sculptures or for lights to be…lit in front of them.” (D, 18:07)
• Violence Against Images:
  The destruction (“iconoclasm”) of church art reflected societal tension:

  “People punished the images…images being hanged or put on trial and then burnt…by showing they weren’t afraid, they actually were…”
  (D, 19:27)

• Visible Reminders:
  Decapitated statues often left in place—sometimes as deliberate warnings, sometimes as resistance in regions less enthusiastic about the Reformation. (D, 21:44)

The Rise of Portrait Miniatures and New Forms

• The Horenbout Family:
  Introduction of portrait miniatures, springing from manuscript illumination, often intimate and “jewel-like”. Lucas and Susannah Horenbout contributed notably, with Susannah singled out as a rare female artist in the royal circle. (D, 23:04)
• Holbein’s Lasting Impact:
  Other artists “recognised just how special” Holbein’s works were. Even international contemporaries saw him as among the greatest. (D, 24:52)

Portrayal of Tudor Monarchs and the “Middling Sort”

• Edward VI: The Most-Portrayed Child Monarch:
  From Holbein’s sketch of a toddler to the strong “power pose” of an inheritor, Edward’s many portraits chart his ascent and the shaping of his kingship. (D, 26:19)
• Innovations in Portraiture:
  William Scrots’s anamorphic portrait of Edward VI gave a secret view only visible from a specific angle—mirroring Holbein’s “The Ambassadors” and hinting at philosophical ideas about perspective and perception (D, 29:38)
• Portraits of the Middling Sort:
  As society changed, merchants and local gentry adopted portraiture to “reinforce status” and present themselves as reliable:

  “They don’t have heraldry, they don’t have bloodlines…so they have to make their own justification…through individual virtues and professional success.”
  (D, 38:38)

The Elizabethan Moment: Identity and Power

• The Challenge of Representing an Unmarried Queen:
  Elizabeth’s portraits evolved from androgynous, ambiguous early depictions to more iconic images that fused masculine and feminine iconography, often referencing the Tudor rose, fertility, and political strength. (D, 42:08)
• Allegorical Portraits and Succession:
  The “Tudor Succession” allegory pictures Henry VIII with his children—Mary, Edward, and Elizabeth—using classical and religious iconography to convey the legitimacy and virtues of Elizabeth’s Protestant reign:

  “Elizabeth is holding hands with a figure who holds a cornucopia…and behind…a garden and a Gothic church...It seems this was a gift from Elizabeth to Francis Walsingham after the Treaty of Blois.”
  (D, 45:36)

Courtiers’ Art and Political Messaging

• Sieve Portraits and Elizabeth’s Marriage Negotiations:
  Sir Christopher Hatton commissioned one of the most famous—Elizabeth holding a sieve (symbol of virginity and discernment), hinting she should remain unmarried and focus on empire-building:

  “She is standing in front of a Jasper column…studded with images of the doomed love affair between Dido and Aeneas…but Elizabeth is being compared to Aeneas: don’t waste your time getting married…”
  (D, 47:49)

England and the Wider World

• Global Influences:
  Despite being cut off from Catholic Europe post-Armada, England sought connections elsewhere:
  • Looking “east” to the Ottoman Empire for trade and alliance
  • Islamic pottery and “Turkish” carpets became fashionable at Henry VIII’s and Elizabeth’s courts
  • Expeditions to the New World brought back objects and ethnographic drawings (notably John White’s illustrations of the Americas)—demonstrating both curiosity and colonial ambitions (D, 52:35)

Notable Quotes & Memorable Moments

• On the scope of Tudor art:
  “Candlesnuffers and beer jugs made it into the book. Really, the point is to think about how images, design, craft and artistry suffuse the Tudor environment.”
  — Dr. Christina Faraday (04:36)

• On Henry VII’s self-branding:
  “He’s marketing the Tudors, marketing himself—but just to his, you know, 2,000 followers or whatever.”
  — Prof. Suzannah Lipscomb (12:41)

• On iconoclasm:
  “By showing they weren’t afraid of images, they actually showed they were afraid of images. It’s quite a strange paradox.”
  — Dr. Christina Faraday (19:27)

• On painting for aspiration:
  “These people don’t have heraldry…they have to make their own justification. And it depends much more on individual virtues and professional success. And that’s what we see in the pictures.”
  — Dr. Christina Faraday (39:03)

• On Elizabeth I’s image:
  “At first I think they’re really stumped. The early images of Elizabeth are very strange…she looks quite masculine. In Elizabeth’s own self fashioning, she often draws on male exemplars…There’s a certain ambiguity, there’s a certain amount of uncertainty about how they go about promoting this actually rather small young woman and making her look like Henry VIII.”
  — Dr. Christina Faraday (42:08)

• On the courtier’s portrait as political argument:
  “Hatton is saying, don’t waste your time getting married, you know, don’t think about that now. You’ve got to create an English empire, look overseas, think about expanding your reign—don’t get distracted by matters of love.”
  — Dr. Christina Faraday (50:37)

Timestamps for Pivotal Segments

• [04:36] – Defining “art” in Tudor context
• [06:47] – Lady Margaret Beaufort’s symbolic possessions
• [09:41] – Breakthrough on early portraiture: Maynard Wirwick
• [10:25] – Henry VII uses art for power and legitimacy
• [13:03] – Tapestries as royal propaganda and storytelling
• [18:07] – Role of parish churches and Reformation iconoclasm
• [23:04] – Horenbout miniatures and the roots of portrait miniaturization
• [24:52] – Holbein’s international renown and influence
• [26:19] – The visual construction of Edward VI's authority
• [29:38] – Anamorphic portraiture and philosophical meaning
• [32:17] – Protestantism and classical architecture
• [36:29] – The symbolism of Mary I’s jewels
• [38:38] – The rise of portraiture among the “middling sort”
• [42:08] – The evolution of Elizabeth I’s public image
• [45:36] – Allegorical art: the Tudor succession
• [47:49] – Courtiers’ proxy battles through art: The Sieve Portrait
• [52:35] – England’s engagement with global art and objects

Conclusion

This episode offers a vivid panorama of Tudor art as a thoroughly social, political, and multifaceted phenomenon—where power, identity, aspiration, and anxiety find tangible expression in everything from royal tapestries to parish church walls, exotic carpets to miniature lockets. With Dr. Christina Faraday’s lively insights, we see both the extraordinary inventiveness of prominent artists and how art operated at every level of society—always communicating, always negotiating.

“Thank you so much, Dr. Christina Faraday, for this walk through the story of Tudor art. It has been utterly fascinating and full of revelation.”
— Prof. Suzannah Lipscomb ([54:59])

For anyone seeking to understand the Tudors and their world, this episode paints a picture as rich, layered, and meaningful as the art itself.