Title: The Most strange and admirable discoverie of the three witches of Warboys, arraigned, conducted and executed at the last Assises at Huntingdon, for the...
The Mary Rose Trust supports a wide range of research initiatives to further our understanding of the Mary Rose and her treasures.
In this resource, we turn our attention to Mary I, a monarch whose reign was marked by significant religious and political upheaval. The Fact File on Mary I offers a concise yet comprehensive exploration of her life, reign, and enduring legacy. Step into the tumultuous world of Tudor England as we examine the challenges faced by this determined queen. Discover Mary I's devout Catholic faith and her efforts to restore Catholicism as the official religion of England. Explore the religious persecutions and executions that characterized her reign, earning her the nickname "Bloody Mary" in history books. Despite facing opposition and controversy during her reign, Mary I left a lasting impact on English history and the trajectory of the Protestant Reformation.
Owen Tudor was born c. 1400. His father was Maredudd ap Tudur ap Goronwy and his mother was Margaret, daughter of Dafydd Fychan. Through his father, Owen was a descendant of Ednyfed Fychan who was …
Heron is conspicuously pregnant in this drawing, with a well-loosened bodice.
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Thomas Becker: Photos of Elizabeth I:
This portrait shows the very human face of Elizabeth I; stripped bare of the 'Virgin Queen' persona, we meet the woman behind the monarch.
This webquest uses a great website created by the BBC that allows students to get a better understanding of daily life and the risks people faced living in Tudor-era England. The webquest is very easy to follow for students in grades 5-12. Click on the link below to visit the website: Click here to view the website. All you need to do is print off/e-mail the worksheet to students (NOTE: PLEASE READ OUR TERMS OF USE INCLUDED IN THE ZIP FOLDER). The address to the website is included as a website link and as a QR code. The webquest guides students through the page from there. This webquest includes 25 questions and has an answer sheet for the teacher. Feel free to modify this assignment as needed for your classes. I would like to thank Christine O'Brien Creative for the wonderful clip art! You may also be interested in: Middles Ages Lesson Plan Collections Complete Middle Ages Webquests and Worksheets Collection Dark Ages Lesson Plan Collection Vikings Lesson Plan Collection Middle Ages 1066 to 1300 Lesson Plan Collection Crusades Lesson Plan Collection Black Death Lesson Plan Collection Hundred Years’ War Lesson Plan Collection Renaissance Sampler Renaissance Short Video Worksheet Collection Renaissance Lesson Plan Collection Reformation Lesson Plan Collection Tudors Lesson Plan Collection English Civil War and 1600s England Lesson Plan Collection Individual Tudor and English Civil War Lesson Plans: Tudor Webquests Tudor Dynasty Timeline Webquest Life in Tudor England Webquest King Henry VIII Tudor Webquest (Student Friendly Website) The Wives of Henry VII Webquest The Tudors and the Mary Rose Webquest Thomas Cromwell Biographical Timeline Webquest Queen Elizabeth I Tudors Webquest: (Student Friendly Website) Queen Elizabeth I Biographical Timeline Webquest Mary Queen of Scots Webquest: Tudors (Student Friendly Website) Spanish Armada Webquest Spanish Armada Video Webquest Worksheet Shakespeare Webquest Tudor Worksheets Tudors: Queen Mary 1557 Primary Source Worksheet Tudors: The Execution of Mary, Queen of Scots Primary Source Worksheet Tudors: An Audience with Queen Elizabeth I Primary Source Worksheet Tudors: Crime and Punishment in Elizabethan England Primary Source Worksheet Tudors: Torture in the Tower of London Primary Source Worksheet Tudors: King Henry VIII in Five Minutes Video Worksheet Tudors: Queen Elizabeth I in Four Minutes Video Worksheet English Civil War and 1600s Webquests English Civil War Webquest Oliver Cromwell Webquest Guy Fawkes and the Gunpowder Plot Webquest William Shakespeare Biographical Timeline Webquest Isaac Newton Webquest (Enlightenment) English Civil War and 1600s Worksheets Thomas Hobbes in 7 Minutes Video Worksheet John Locke in 9 Minutes Video Worksheet The English Civil War and the Execution of King Charles I Primary Source Worksheet Great Fire of London Worksheet Please check out the following collections that have some or all of my Middle Ages Lesson Plans: American and World History Primary Sources Worksheet Collection World History Webquest Super Pack World History and World Geography Collection (History Wizard) American History, World History, and Geography Collection (History Wizard) Visit my Facebook Page and "like me" to receive updates and free lesson plans. Thanks, The History Wizard
'The Tudors' was a popular TV show between 2007 and 2010. It depicted the life of Henry VIII's court and his six wives. However, despite the name, it ended after Henry's death. Why didn't it continue?
The painting to the right is a very interesting artifact of the Tudor era. According to the Latin inscription in the upper right corner, it's a portrait of Cornelia Burch, age two months. It was painted in 1581 by an unknown artist. We don't know who Cornelia was. It's been theorized that she was the daughter of Thomas, Lord Burgh, who was the English ambassador to Scotland, but there's no proof of it. The painting is interesting for several reasons. Relatively few Tudor era infant portraits survive. Only about half of Tudor children survived to adulthood; a quarter of children did not reach their first birthday. And so commissioning an artist to paint an infant, especially an oil portrait such exceptional quality, was rare. Did little Cornelia survive to adulthood? There's no way for us to know. Cornelia's family was obviously wealthy. The little cap on her head is frilled with fine, goffered linen. She holds in her hand a gold rattle with a polished tooth at the end. Her cradle is elaborately carved and she rests against a fine pillow. Her sleeves are of velvet, piped with gold. Her swaddling bands are silk, bound with gold cord. But here's another interesting aspect: Cornelia is only half-swaddled. Her arms are free. Whether this was done simply for the portrait or whether it was her parents' choice to leave her arms unswaddled is unknown. Parents swaddled their infants as their incomes would allow, but wealthy infants usually would have each limb individually wrapped in linen or silk, passing over the top of the head to keep it immobile, and then wider bands of cloth wrapped horizontally around their body. The child was unwrapped a few times a day to change their diaper, but otherwise handled as little as possible. It was thought too much attention would spoil them. The portrait to the left is of the newborn Federigo di Urbino by Fiori Barocci, 1605. The baby's silk swaddling bands are embroidered with cloth of gold, and they wrap him from toe to shoulder like a little mummy. His head rests on a pillow decorated with pearls. The two children to the right date to 1671, and are of a bit more modest means. They are bound up from head to toe in their swaddling bands, dressed over that in chemises with lace-edged collars, and then wrapped in white linen cloth, tucked neatly around their forms. Research into the family history of the infants suggests that they were twins, and unfortunately did not survive their first year. The last portrait of swaddled infants I want to share with you is a very unusual image called The Cholmondeley Ladies, 1600-1610. The image shows two ladies reclining in a bed, fully dressed in embroidered stomachers, sleeves with rosettes and pearls, elaborate ruffs, and jeweled necklaces. Both ladies hold a swaddled baby wrapped in a red christening gown. An inscription in gold lettering in the bottom left says the two women were sisters, born on the same day, married on the same day, and gave birth on the same day. An event worthy of being immortalized in oil paint, that's for sure! Babies from wealthy families were usually given over to wet nurses to feed soon after the christening. Sexual relations were forbidden while a woman was nursing, and nursing naturally reduces a woman's fertility. Women of the day wanted to become pregnant again as soon as possible. There's an apocryphal story that Anne Boleyn wanted to breastfeed Elizabeth I, but her request was denied by Henry VIII. It's unlikely she would have asked. The character of the wet nurse was very important, because negative character traits were thought to be transmitted in the milk. Nurses whose own children had been boys were favored. The milk of a woman who'd had a boy was thought to be more wholesome. She was to be given a rich diet foods, though with little spices, and red wine - thought to be strengthening. Sometimes, a wardrobe or other material goods were supplied to her. Elizabeth I's astrologer, John Dee, sent candles and soap to his child's wet nurse. The image to the right is of Gabrielle d'Estrées, mistress of King Henry IV of France. A nurse is behind her, feeding Gabrielle's swaddled infant son César, born in 1594. Children were generally nursed until the age of two, though I've seen mentions of children being nursed as late as five years old in the Tudor era. They wore the long robes (christening gown length) until they were able to walk, when the child was officially "short coated." Both boys and girls wore gowns similar to adult women's clothing, and so it can sometimes be difficult to determine a child's gender in a portrait. As soon as the child was old enough to walk and talk, they were old enough to begin the next stage of life, their education.
Discover the hidden story of the unfinished Tudor portrait of Jane Seymour, recently acquired and restored by the National Portrait Gallery
The painting to the right is a very interesting artifact of the Tudor era. According to the Latin inscription in the upper right corner, it's a portrait of Cornelia Burch, age two months. It was painted in 1581 by an unknown artist. We don't know who Cornelia was. It's been theorized that she was the daughter of Thomas, Lord Burgh, who was the English ambassador to Scotland, but there's no proof of it. The painting is interesting for several reasons. Relatively few Tudor era infant portraits survive. Only about half of Tudor children survived to adulthood; a quarter of children did not reach their first birthday. And so commissioning an artist to paint an infant, especially an oil portrait such exceptional quality, was rare. Did little Cornelia survive to adulthood? There's no way for us to know. Cornelia's family was obviously wealthy. The little cap on her head is frilled with fine, goffered linen. She holds in her hand a gold rattle with a polished tooth at the end. Her cradle is elaborately carved and she rests against a fine pillow. Her sleeves are of velvet, piped with gold. Her swaddling bands are silk, bound with gold cord. But here's another interesting aspect: Cornelia is only half-swaddled. Her arms are free. Whether this was done simply for the portrait or whether it was her parents' choice to leave her arms unswaddled is unknown. Parents swaddled their infants as their incomes would allow, but wealthy infants usually would have each limb individually wrapped in linen or silk, passing over the top of the head to keep it immobile, and then wider bands of cloth wrapped horizontally around their body. The child was unwrapped a few times a day to change their diaper, but otherwise handled as little as possible. It was thought too much attention would spoil them. The portrait to the left is of the newborn Federigo di Urbino by Fiori Barocci, 1605. The baby's silk swaddling bands are embroidered with cloth of gold, and they wrap him from toe to shoulder like a little mummy. His head rests on a pillow decorated with pearls. The two children to the right date to 1671, and are of a bit more modest means. They are bound up from head to toe in their swaddling bands, dressed over that in chemises with lace-edged collars, and then wrapped in white linen cloth, tucked neatly around their forms. Research into the family history of the infants suggests that they were twins, and unfortunately did not survive their first year. The last portrait of swaddled infants I want to share with you is a very unusual image called The Cholmondeley Ladies, 1600-1610. The image shows two ladies reclining in a bed, fully dressed in embroidered stomachers, sleeves with rosettes and pearls, elaborate ruffs, and jeweled necklaces. Both ladies hold a swaddled baby wrapped in a red christening gown. An inscription in gold lettering in the bottom left says the two women were sisters, born on the same day, married on the same day, and gave birth on the same day. An event worthy of being immortalized in oil paint, that's for sure! Babies from wealthy families were usually given over to wet nurses to feed soon after the christening. Sexual relations were forbidden while a woman was nursing, and nursing naturally reduces a woman's fertility. Women of the day wanted to become pregnant again as soon as possible. There's an apocryphal story that Anne Boleyn wanted to breastfeed Elizabeth I, but her request was denied by Henry VIII. It's unlikely she would have asked. The character of the wet nurse was very important, because negative character traits were thought to be transmitted in the milk. Nurses whose own children had been boys were favored. The milk of a woman who'd had a boy was thought to be more wholesome. She was to be given a rich diet foods, though with little spices, and red wine - thought to be strengthening. Sometimes, a wardrobe or other material goods were supplied to her. Elizabeth I's astrologer, John Dee, sent candles and soap to his child's wet nurse. The image to the right is of Gabrielle d'Estrées, mistress of King Henry IV of France. A nurse is behind her, feeding Gabrielle's swaddled infant son César, born in 1594. Children were generally nursed until the age of two, though I've seen mentions of children being nursed as late as five years old in the Tudor era. They wore the long robes (christening gown length) until they were able to walk, when the child was officially "short coated." Both boys and girls wore gowns similar to adult women's clothing, and so it can sometimes be difficult to determine a child's gender in a portrait. As soon as the child was old enough to walk and talk, they were old enough to begin the next stage of life, their education.
hello! this is my Elizabeth I, queen of England! you will find 4 versions 400 dpi JPEG, in the download: -black -light grey -sepia -line art face version
Hans Holbein drawing of Lady Audley, c.1538. Coloured chalks, metalpoint, pen and ink on pink printed paper; 29.2 x 20.7cm. The Royal Collection. The identity of this sitter has been disputed. There were two families at the English court called Audley. The sitter is sometimes said to be Elizabeth Audley, the daughter of Brian Tuke, the Treasurer of the Chamber. She married George Touchet, 9th Lord Audley. However by the time this drawing was created, Elizabeth was not referred to as ‘Lady Audley’ owing to the fact that her husband did not succeed to the title until 1557. To make matters complicated, there was another Elizabeth, who is probably the sitter. This was Elizabeth, daughter of the 2nd Marquis of Dorset (incidentally she was the sister of Henry Grey and so was Lady Jane Grey’s aunt). This Elizabeth married Thomas, Lord Audley of Walden in 1538. The inscription on the drawing was added years after it was made, but if it is correct in its assertion that it is ‘Lady Audley’ it is referring to Elizabeth wife of Thomas, Lord Audley and not the Elizabeth who married George Touchet. Elizabeth, wife of Thomas, Lord Audley had two daughters by Thomas – Mary and Margaret. Mary appears to have never married and died young (in 1546) and Margaret first married Henry Dudley, then Thomas Howard, fourth duke of Norfolk. Thomas, Lord Audley died in 1544 and in 1549 Elizabeth married Sir George Norton. She died sometime in 1564.
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Much later copy of the copy of the Whitehall mural.
Richard III Treasures (last Plantagenet King of England) in the Richard III experience, York Richard III, the last Plantagenet King of England, ruled for two years from 1483 to 1485. His short reign was marked by controversy, rebellion and challenges to his throne which led to his death at the Battle of Bosworth aged 33 years of age.
The only known contemporary portrait of the queen is estimated to sell for up to £800,000.
Thank you so much to historical novelist Richard Masefield for sharing his research and views with us today.
Thomas Vaux, 2nd Baron Vaux of Harrowdon (1510 - October, 1556), English poet, was the eldest son of Nicholas Vaux, 1st Baron Vaux. In 1527 he accompanied Cardinal Wolsey on his embassy to France; he attended Henry VIII to Calais and Boulogne in 1532; in 1531 he took his seat in the House of Lords, and was made Knight of the Bath at the coronation of Anne Boleyn. He was Captain of Jersey until 1536. He married Elizabeth Cheney, daughter and heir of Sir Thomas Cheney, of Irtlingburgh, in Northamptonshire. They had three children.[1] * William (born 1535) * Nicholas * Anne, married Reginald Bray of Stene, nephew of Edmund Braye, 1st Baron Braye Thomas Vaux died in October 1556. Sketches of Vaux and his wife by Holbein are at Windsor, and a finished portrait of Lady Vaux is at Hampton Court.
A portrait drawing of Edward, Prince of Wales (1537-1553), later Edward VI, the son of Henry VIII and Jane Seymour. A portrait of a child's head and shoulders facing to the front. He wears a cap. Inscribed in an eighteenth-century hand at upper left: Edward Prince of Wales. The drawing is much rubbed.
