| European influence on Tudor palaces cannot be | | | | Renaissance styles derived from France and Italy. It is |
| measured easily, almost five hundred years of | | | | commonly accepted that Nonsuch Palace was Henry |
| architectural history has made the evidence hard to | | | | VIII's attempt to emulate, and even "out do" Francis I's |
| examine in detail and much evidence has been paved | | | | hunting lodge at Chambord, which had been in |
| over or laid to waste. In order to examine the subject | | | | progress for twelve years when Nonsuch began |
| in any depth the research of scholars must be | | | | (Summerson, J. 1993). Chambord would have been a |
| examined and their interpretations of the remaining | | | | magnificent building for the sixteenth century and |
| structures and artifacts assessed. | | | | Henry VIII probably wanted to make Nonsuch even |
| King Henry VIII himself would have had an | | | | more imposing - hence it's name. |
| overwhelming influence over building works of the time. | | | | Both Hampton Court and Nonsuch Palace had lavishly |
| He was learned, the first King of England to write, | | | | decorated interiors; we know this from surviving |
| publish and print a book and he read compulsively | | | | artefacts and records. In terms of architecture, the |
| (Steane, J. 1998, p. 207). He desired power, and | | | | decorations used in Nonsuch and Hampton Court |
| perhaps wished to be more powerful than the King of | | | | Palace, had a distinctly European influence. For the |
| France (Gosman, M. 2005, p. 138). This ambition | | | | decorative finishing there is no doubt that Henry VIII |
| coupled with his academic knowledge may have been | | | | used foreigners (Summerson, J. 1993). According to |
| used to build palaces designed to surpass their | | | | Evelyn, Nonsuch was filled with plaster statues and |
| European counterparts. | | | | bass relievos (Summerson, J. 1993). The timbers were |
| Two different examples will be used to examine | | | | covered with slates, which were arranged in different |
| European influence on Tudor palaces: Hampton Court | | | | patterns. This use of slate was unusual and probably |
| Palace and Nonsuch Palace. The impact of European | | | | directly influenced by Francis I use of slate at |
| influence will be evaluated alongside the proposition | | | | Fontainebleau (Platt, C. 1995). |
| that the growth and power of the Henry VIII and his | | | | (Watkin, D. 1997) explains that the elaborate stucco |
| court was a greater shaping force on their | | | | decoration at Nonsuch was inspired by the palaces of |
| architecture. European influences will be considered in | | | | Francis I at Chambord and Fontainebleau, where the |
| relation to the following themes: external appearance | | | | Italian mannerists, Rosso and Primaticcio, had been at |
| including building materials, internal layout and the | | | | work since about 1530. Stucco is one of the materials |
| aesthetic interior. For these themes each palace will be | | | | used by plasterers and the term is used to describe |
| considered in turn. Before launching into the themes, it | | | | the decorative plasterwork executed in stucco |
| is useful to give a brief history. | | | | (Gapper, C. 1999). |
| The period of the Reformation saw Henry VIII break | | | | Timber was used to build the inner court at Nonsuch, in |
| from Rome and form his own church (Gosman, M. et | | | | order to hold the long sequence of stucco panels that |
| al 2005). This period can be viewed as both disastrous | | | | were to be its fame (Biddle, M. 1984). |
| and bountiful for architecture in England. It saw | | | | The Nonsuch stuccoes appear to have been carried |
| widespread destruction of ancient abbeys and priories | | | | out by an English artificer, (?William) Kendall, and then |
| that had stood for five centuries (Summerson, J. 1993), | | | | by a foreigner called Giles Geringe (Biddle, M. 1984). |
| but it also saw Royal building work to an extent that | | | | Biddle proposes that Nicholas Bellin of Moderna, who |
| had never been known before. By the end of his reign | | | | had previously worked at Fontainebleau, drew |
| Henry VIII owned over fifty houses (Summerson, J. | | | | cartoons for the stuccoes. He describes them as |
| 1993). These architectural works were built on the | | | | being in the mannerist style of Fontainebleau and |
| basis of a break from Rome, and as such, it could be | | | | proposes that Bellin was able to keep up to date by |
| said that this was a factor against European influence. | | | | receiving descriptions and illustrations from his friends |
| Hampton Court Palace is an accretive building that | | | | at Fontainebleau. |
| began in 1514 as the largest house in England (Watkin, | | | | This would be entirely in keeping with the fashion, |
| D. 1997); it was owned by Cardinal Thomas Wolsey | | | | where ideas and designs came across the channel in |
| (c.1471-1530) and given to Henry VIII in 1529. Half of the | | | | pattern books, and English craftsmen would re-create |
| Tudor palace is still visible next to the newer part of | | | | the work of their European counterparts using the |
| the palace built by Christopher Wren (1632-1723) from | | | | books. Although there is little evidence of pattern |
| 1689-1694 (Tinniswood, A. 2001). Nonsuch Palace was | | | | books from the building of Nonsuch and Hampton |
| begun in 1538; it was built from scratch as an elaborate | | | | Court Palace, there are surviving pattern books from |
| "hunting lodge" and was not completed by the time of | | | | the medieval period. Together with the knowledge that |
| the King's death in 1547 (British Archaeology, 2009). | | | | Bellin received descriptions and illustrations from across |
| Unfortunately, whilst in the hands of Barbara Villiers, | | | | the channel to aid his craft, it could be proposed that |
| Countess of Castlemaine in 1682, the house was | | | | pattern books existed in some form at this time. |
| demolished and its parts and land sold (London | | | | Students of Tudor architecture have the paintings of |
| Borough of Sutton, 2009). It is necessary to examine | | | | Joris Hoefnagel (1542-1601) to thank for the lasting |
| the remaining artefacts, including pictures and | | | | images of Nonsuch and its intricate stuccoes. |
| descriptions to form an accurate picture of Nonsuch | | | | A visit to Nonsuch by John Evelyn (1620-1706) in 1666 |
| Palace. | | | | led him to write that the plasterwork must have been |
| There is some debate over when Henry VIII's | | | | the work of "some celebrated Italian"(Summerson, J. |
| improvements started and Cardinal Wolseys finished, | | | | 1993) and there is further evidence for this. Henry VIII |
| (Thurley, S. 1988 and Curnow, P. 1984). When Henry VIII | | | | must have employed European craftsman because |
| took over the palace from Wolsey it had not been | | | | French writing has been found on the underside of |
| designed as a traditional Royal residence. | | | | decorations, indicating where to position them (Museum |
| Hampton Court's external appearance heralded a new | | | | of London, 2009). |
| era for Royal residences; it is constructed of distinctive | | | | Tapestries were an integral part of both palaces, |
| red brick. The tradition of brick usage in Europe | | | | bringing decoration and warmth to the large spaces |
| probably came from Rome (Edson Armi, C. 2004), but | | | | devoted to monarchy and court. (Steane, J. 1998) |
| the use of red-fired brick was a Burgundian concept. | | | | described tapestried walls in the presence chamber at |
| The Burgundian Court used brick even when there | | | | Nonsuch and there is a much-documented evidence |
| was an abundant supply of stone, as can be seen | | | | about the tapestries at Hampton Court Palace. Henry |
| from the Palais de Savoy in Michelen, Belgium, built | | | | VIII is believed to have owned over 2500 tapestries in |
| from 1507-1527 (Markschies, A. 2003). Brick, and its | | | | total. |
| different bonds - including Flemish for laying walls and | | | | An inventory of his belongings in 1547 included a set of |
| other structures - had a huge impact on buildings from | | | | Acts of the Apostles tapestries, dated before 1528 |
| the early sixteenth century and Hampton Court Palace | | | | and undoubtedly made in Brussels (perhaps in Pieter |
| is a prime example of this. In 1532 special brick kilns | | | | van Aelst's workshop). Only a small fraction of Henry |
| were built near Hampton Court Palace to supply the | | | | VIII's tapestry collection survive and it is difficult to |
| enormous number of bricks needed (Thurley, S. 1988). | | | | know which pieces were at Nonsuch and Hampton |
| One of the surviving images of Nonsuch is a print by | | | | Court. However, we know that these tapestries would |
| George Hoefnagle (1545-1600). From this image we | | | | probably have originated from the Flemish regions of |
| can see the huge octagonal turrets that stand guard | | | | Europe (Campbell, T. 1996). |
| on the outside of the building, these may have been an | | | | This essay does not give enough scope to discuss all |
| emulation of the Chateau de Chambord or they may | | | | the decorative architectural features of the chosen |
| merely have been an expansion on normal Tudor | | | | palaces, but the painting and frescoes at Hampton |
| theme - a mass flanked by octagons, as seen at | | | | Court Palace should be noted. According to Thurley, |
| Richmond Palace (Summerson, J. 1993). Of more | | | | the ceilings of the privy gallery were decorated with |
| impact in this image is what we cannot see: the village | | | | the standard Tudor "all over" decoration of divided |
| of Cuddington that was swept away; the stone from | | | | sections with gold batons (Thurley, S. 1988). He says |
| the monasteries with which it was built. All of these | | | | that Henry Blankston and the painter Maynard, both |
| were symbolic of Henry VIII's ambition and ruthlessness | | | | English men, were responsible for this type of interior |
| (British Archaeology, 2009). | | | | decoration. However, when it comes to Henry's study, |
| At this point Henry VIII's love of chivalry and tradition | | | | which must have been of great importance to him, he |
| should be mentioned. Inspired to build Nonsuch by the | | | | seems to have designed the room himself. Hung with |
| birth of his long awaited son (London Borough of | | | | paintings by the Italian painter Toto del Nuziata |
| Sutton, 2009), the palace was intended as a triumphal | | | | (1498-1554), it is probable that he also painted the |
| celebration of his power and grandeur. It could be | | | | fresco around the upper parts of the wall (Thurley, S. |
| argued that Nonsuch was inspired by Henry VIII's love | | | | 1988). Toto del Nuziata held the office of sergeant |
| of chivalry, tradition and English antiquity. Henry VIII | | | | painter for the last ten years of his life. |
| would have kept close contact with scholars of his | | | | It can be seen that, from their outward appearance |
| age, including John Leland (1502-1552), who received a | | | | through to their planning and interior design, Europe |
| Royal Scholarship in 1526. Leland journeyed widely and | | | | quite significantly influenced the style and construction |
| gathered much information (Williams, C. 1996), some | | | | of each of these two palaces. Henry VIII was a |
| pertaining to the "legend" of Camelot. In which case, | | | | powerful Tudor ruler, he was extremely proactive and |
| perhaps Camelot and not Chambord would have been | | | | prolific in his building works, and was well read and well |
| Henry's inspiration. | | | | educated. The period in which these two palaces |
| When talking about external appearances and Tudor | | | | were built was extraordinary, the Reformation forced |
| palaces, it is important to note that looks can be | | | | the closure and destruction of the monasteries and |
| deceptive. Henry VIII liked to keep up appearances and | | | | abbeys and freed up much land for the Crown and |
| we can see this from the Field of the Cloth of Gold, | | | | nobility. All these things would have influenced the |
| when Henry VIII met with Francis I of France. He | | | | building of Tudor palaces and it is difficult to say which |
| erected a magnificent palace. Built on brick foundations, | | | | is most important. However, we know that Henry VIII's |
| the palace walls and roof were made of canvas, | | | | ambition was instrumental. In Hampton Court he |
| painted to create the illusion of solid materials. The | | | | desired to have the biggest lodgings in England and in |
| timber framework for this was imported from the | | | | Nonsuch his ambition was to "out do" all of Europe. |
| Netherlands and was floated to Calais (Lloyd, C. & | | | | This combination of European influence and Henrican |
| Thurley, S. 1990). The overwhelming presence of | | | | desire was the driving factor in the building of these |
| timber products in the Netherlands at this time made it | | | | two palaces. |
| the obvious source for this structure (Te Brake, W. | | | | If you want to find out more about humanities / |
| Klooster, W. (eds). 2006)). | | | | architecture check out |
| The internal layout of Hampton Court was very | | | | Bibliography |
| different from the Royal castles that had gone before | | | | Biddle, M. 1984, The Stuccoes of Nonsuch, The |
| because it had no Keep. Earlier castles had been | | | | Burlington Magazine, Vol. 126, No. 976, pp. 411-417. |
| designed with fortification in mind. Another difference | | | | British Archaeology, Great Sites: Nonsuch Palace, 8th |
| was that the hall was not the only imposing interior | | | | March 2009 |
| (figure 1). Henry VIII added to the state apartments and | | | | British Library, Learning Medieval Realms, 15th March |
| designed them for an increasingly leisured and luxurious | | | | 2009 |
| way of living (Summerson, J. 1993). He also added a | | | | Campbell, T. 1996, School of Raphael Tapestries in the |
| long gallery and whether this was influenced by the | | | | Collection of Henry VIII, The Burlington Magazine, Vol. |
| French King Francis I's Grande Galerie at the Chateau | | | | 138, No. 1115, pp. 69-78. |
| of Fontainebleau is not clear - building work began at | | | | Cannon-Willard, C. 1967, The Concept of True Nobillity |
| Fontainebleau in 1528 (Markschies, A. 2003). The | | | | at the Burgundian Court, Studies in the Rennaissance, |
| addition of the gallery may merely be an English | | | | Vol. 14, pp. 33-48. |
| tradition brought from Herstmonceux Castle (Coope, R. | | | | Cooper, R. 1986, The 'Long Gallery': Its Origins, |
| 1986). | | | | Development, Use and Decoration, Architectural |
| Up until Henry VIII's reign, the English monarchy had | | | | History, Vol. 29. pp. 43-84. |
| been lagging behind the French in terms of power and | | | | Curnow, P. 1984, The East Window of the Chapel at |
| influence. Henry VIII probably tried to equal the French | | | | Hampton Court Palace, Architectural History, Vol. 27, |
| King in every thing he did, especially building structures | | | | pp.1-14. |
| that demonstrated his grandeur and power (Gosman, | | | | Edson Armi, C. 2004, Design and Construction in |
| M. 2005). | | | | Romanesque Architecture, Cambridge University |
| Henry VIII paid great attention to the building of a library | | | | Press, Cambridge. |
| and here we see a strong Flemish influence. Almost all | | | | Fidler, J. 1983, The Manufacture of Architectural |
| of Henry VIII's houses had libraries. The King's librarian | | | | Terracotta and Faience in the United Kingdom, Bulletin |
| at the time was Giles Dawes, a Fleming by birth, who | | | | of the Association for Preservation Technology, Vol. |
| had been Henry VIII's childhood tutor (Thurley, S. 1988). | | | | 15, No. 2, pp. 27-32. |
| It can safely be assumed that Dawes enthused Henry | | | | Gapper, C. 1999, What is 'Stucco'? English |
| VIII with his passion for reading and therefore, libraries. | | | | Interpretations of an Italian Term, Architectural History, |
| The monarch's attitude towards courtly life had also | | | | Vol. 42, pp. 333-343. |
| changed. The building of tennis courts, bowling alley, | | | | Gosman, M. (ed), 2005, Princes and Princely Culture |
| leisure gardens and jousting yard were a signal for a | | | | 1450-1650, Vol. 2, Brill, Boekhandel en Drukkerij. |
| more leisured way of life, although the tennis court | | | | Jacques, D. 1999, The Compartiment System in Tudor |
| may have been Wolseys work c. 1529 (Thurley, S. | | | | England, Garden History, Vol. 27. No.1, pp. 32-53. |
| 1988). This leisured way of life is almost certainly | | | | Lloyd, C. & Thurley, S. 1990, Henry VIII: Images of a |
| influenced by the Burgundian Court where jousting and | | | | Tudor King, Phaidon Press, Oxford. |
| other recreational activities are documented long | | | | London Borough of Sutton, Nonsuch Palace, 8th March |
| before Henry VIII set about his extensions | | | | 2009 |
| (Cannon-Willard, C.1967). In the 1930's the Privy Garden | | | | Markschies, A. 2003, Icons of Renaissance |
| was compartmented, this was a system that | | | | Architecture, Prestel, London. |
| dominated sixteenth century gardens across Europe | | | | Museum of London, Nonsuch Palace:from a Print by |
| and was hesitantly adopted in England (Jacques, D. | | | | George Hoefnagle, 11th March 2009 |
| 1999). | | | | Platt, C. 1995, Medieval England: A Social History and |
| In terms of layout, Nonsuch Palace is easier to | | | | Archaeology from the Conquest to 1600 AD, |
| understand because it was built from scratch, (figure | | | | Routledge, Oxford. |
| 2). (Steane, J. 1998) says that a "fully-fledged ordered | | | | Steane, J. 1998, Archaeology of the Medieval English |
| planning of a Royal palace is reached with Nonsuch." | | | | Monarchy, p. 93, Routledge. London. |
| This may be because Henry VIII built it in the last nine | | | | Summerson, J. 1993, Architecture in Britain 1530 - 1830, |
| years of his reign, with a great deal of architectural | | | | Yale University Press, London. |
| experience behind him. | | | | Thurley, S. 1988, Henry VIII and the Building of Hampton |
| Nonsuch was built around two courts. The basic plan | | | | Court: A Reconstruction of the Tudor Palace, |
| of the palace is straightforward and mostly | | | | Architectural History, Vol. 31, pp. 1-57. |
| symmetrical - although the functions of the individual | | | | Te Brake, W. & Klooster, W. (eds), 2006, Power |
| rooms are much more debatable given that the palace | | | | and the City in the Netherlandic World, Brill Academic |
| was demolished over 300 years ago. With the "king's | | | | Publishers, Leiden. |
| side" on the west and the "queen's side" on the east, | | | | Tinniswood, A. 2001, His Invention So Fertile: A Life of |
| they were connected through a privy gallery in the | | | | Christopher Wren, Oxford University Press |
| southern wing. The ground floor was taken up with | | | | Incorporated, Oxford. |
| rooms housing the queen's servants and, on the "king's | | | | Watkin, D. 1997, English Architecture, Thames and |
| side" a grand staircase led from the guard chamber to | | | | Hudson, London. |
| a waiting room adjoining the presence chamber | | | | Williams, C. (ed), 1996, English Historical Documents, |
| (Steane, J. 1998). | | | | 1485-1558, Routledge, New York. |
| Steane also describes Nonsuch as a fusion of | | | | |