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… to our splendid summer issue.
The palace gardens at Hampton Court, Kensington, Kew and Hillsborough are not only looking gorgeous at this time of year; they smell, feel and sound mesmerising too. Come to your summer senses (page 12) suggests delightful ways to immerse yourself fully in our beautiful gardens, using all your senses – even taste. Plus, use your sense of humour and enjoy family fun, as the Disney Winnie The Pooh Hunny Hunt opens at Hillsborough Castle and Gardens (page 44).
What better time of year to be out on the river in a fabulous luxury cruiser, enjoying a guided tour of historic sights?
Crème de la Thames unveils this new treat, moored alongside the Tower of London. We’ve got five pairs of tickets to give away, too (page 18).
Left 2025 marks the 400th anniversary of the death of King James I (pictured) and the accession of his son King Charles I. Read more about these two men and their legacies on page 32 and discover how we’re transforming James I’s Banqueting House on page 26.
Published by Historic Royal Palaces, Hampton Court Palace, Surrey, KT8 9AU.
In-house editor: Clare Murphy
External editor: Sarah Kilby
© Historic Royal Palaces 2025. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage or retrieval system, without permission in writing from the publisher.
An important part of our charitable strategy is to ensure that our audiences – and staff – represent the population of this country. We’ve revitalised our apprenticeship scheme to widen the variety of roles available, and changed entry criteria to encourage a more diverse group of young people to enter the heritage industry. Meet the latest intake of our talented apprentices in You’re Hired! (page 36).
We’re nearly ready to open the doors of Banqueting House after the massive project to refurbish the interior. Banqueting House Transformed (page 26) previews the wonderful changes and intriguing discoveries made during the work. Too good to be true (page 48) reveals the surprising truth behind some popular ‘histories’, including the claim Elizabeth I was really a man!
Have a great summer!
Angie Faires Head of Marketing and Membership
Unless otherwise stated, all images are © Historic Royal Palaces.
Historic Royal Palaces is a registered charity (No 1068852)
Contact us: insidestory@hrp.org.uk
As a member, you can enjoy free, unlimited entry to some of the UK’s most iconic palaces: Tower of London, Hampton Court Palace, Kensington Palace, and Hillsborough Castle and Gardens, as many times as you like.
You only need to pre-book on select event days; at all other times, simply show your membership card. Visit hrp.org.uk and search What’s On or see your member email newsletters for opening hours and booking requirements.
We’re introducing a new way to book tickets. See page 10 for details.
THANK
The Banqueting House remains closed but will reopen later this year. We are grateful to the Garfield Weston Foundation and the Wolfson Foundation for supporting this project. And thank you to you, our members, for contributing to these vital works. Read about the building’s transformation on page 26.
Explore our four sites at Kew Gardens – Kew Palace, the Royal Kitchens, Queen Charlotte’s Cottage and the Great Pagoda; seasonal opening until 28 September 2025. Use code HRP10 for 10% off Kew Gardens tickets at kew.org or show your membership card at the ticket desk. Members go free, including daily tours and Great Pagoda climbs (separate ticket required).
Bring your membership card on every visit to enjoy 10% off in our shops and cafés, plus enjoy 10% off in our online shop with code MEMBER25*.
*Exclusions may apply
DISCOVER MORE
As a member, you benefit from free or discounted entry to a wide range of events including special exhibitions, festivals and fayres. Plus, enjoy an exclusive programme of members-only events including tours, talks, behind-the-scenes peeks and much more throughout the year.
Visit hrp.org.uk/whatson-all-the-palaces to find out if you should pre-book your tickets.
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Put us ‘On the spot’! In the next issue, we put Nivek Amichund, Chief Warden and Chief Exhibitor of the Jewel House in the hot seat. Send in your questions and see his answers in print, by emailing insidestory@ hrp.org.uk before 31 July.
Here for the summer, don’t miss the Disney Winnie the Pooh Hunny Hunt, a brand-new adventure through Hillsborough’s own 100-acre garden. Can you help find Pooh’s missing hunny? Along the way, discover Rabbit’s Garden, Christopher Robin’s Thinking Spot, Eeyore’s Quiet Cabin and Piglet’s Cosy Burrow, inspired by Winnie the Pooh. Plus, complete the trail and collect your sticker at the end.
‘Royal Style in the Making’ is open in the Stable Yard Gallery. This special exhibition reveals the unique bond between fashion designer and royal client. A must-see for fashion lovers.
Running Festival
27 July
Disney Winnie the Pooh
Hunny Hunt
Until 31 August
The Scarecrow Parade 04 October –09 November
Halloween 25 October –02 November
‘Royal Style in the Making’ Until 04 January 2026
Until 11 November, see ‘The Tower Remembers’, a very special display of nearly 30,000 of the 2014 ceramic poppies, returning to mark the 80th anniversary of the end of the Second World War. Read more on page 9.
Be part of an ancient tradition by attending one of our members-only opportunities to witness the Ceremony of the Keys, held nightly for over 700 years. Separate ticket (pre-booking required)
Join a Yeoman Warder tour to hear tales of intrigue, imprisonment, execution, and more.
Pre-booking via your member login is required for select events; look out for the ticket icon. Many events are included in palace admission; some require separate event tickets. See hrp.org.uk and check What’s On for details.
Witness a spectacle of epic proportions at Henry VIII’s Joust, returning for two weekends this summer, 12-13 and 19-20 July. Alongside the joust, see breathtaking falconry displays.
Pre-booking required.
NEW this summer, hop, skip and jump into The Peter Rabbit™ Adventure, 25 July – 07 September. Follow Peter through the beautiful gardens, solving puzzles, discovering beloved Beatrix Potter characters and uncovering the wonders of nature.
Benefit from discounted tickets to Strawberry Hill House in Twickenham. Book online at strawberry hillhouse.org.uk, selecting the ‘HRP Member’ ticket type to receive 10% off, and simply present your Historic Royal Palaces membership card when you visit.
Savour street food, discover pop-up bars, and listen to live music at the Food Festival, 23-25 August. Children can enjoy fête games, face painting and circus skills. Pre-booking required.
Don’t miss Concours of Elegance, returning to the palace 05-07 September. Presented by A Lange Söhne, this popular event brings together a collection of the rarest cars ever created. Get 50% discount on admission using code HRP25.
Don’t miss ‘Dress Codes’ at Kensington Palace until 30 November. Explore the making – and breaking – of royal style codes in this fascinating exhibition and discover never-
Live performances at the Tower of London Until 31 August
Henry VIII’s Joust at Hampton Court Palace 12-13 and 19-20 July
The Golden Circle –Live performances at Kensington Palace 19 July – 31 August
Members-only bring your own picnic evening
Hampton Court Palace 25 July and 08 August
Unheard Voices –Live performances at Hampton Court Palace 26 July – 30 August (excluding 23-25 August)
Hampton Court Palace Food Festival 23-25 August
The Peter RabbitTM Adventure at Hampton Court Palace 25 July – 07 September
Members-only gardens early access morning Hampton Court Palace 11 October
Halloween at Hampton Court Palace 25 October –02 November
The Stolen Crown members’ book talk with Tracy Borman 10 November
‘The Tower Remembers’ Until 11 November ‘Dress Codes’ at Kensington Palace Until 30 November
Every issue, we bring you the latest developments from across the palaces
We are delighted to welcome Eleri Lynn as our new Chief Curator following the departure of Lucy Worsley, who stepped down from the role at the end of 2024 after 21 years. Eleri, a fashion history and textiles expert, and awardwinning author, will lead our team of curators in researching and presenting the palaces and collections, ensuring their stories continue to inspire audiences worldwide.
She will also spearhead innovative exhibitions and curatorial projects that
celebrate the rich and complex histories of our sites.
This appointment marks Eleri’s return to Historic Royal Palaces, where she previously served as Curator of Collections from 2013 to 2021. Prior to that, she spent a decade at the Victoria and Albert Museum and most recently led the exhibitions and international touring strategy for Museums Wales, overseeing programming across seven national sites.
Eleri told Inside Story ‘I’m so thrilled to be returning to Historic Royal Palaces, not only to the magnificent histories,
collections and buildings, but to the wonderful community of staff, volunteers and members that make it such a special place to work.’
Originally from South Wales, Eleri is a fluent Welsh speaker and a champion of accessibility in the heritage sector. She is a Fellow of the Society of Antiquaries and a Trustee of the Royal School of Needlework. Eleri will be sharing an office with Tracy Borman, who remains with Historic Royal Palaces in her new capacity as Chief Historian.
Look out for more from Eleri in the next issue.
Thanks to a generous gift from one of our members, Ann Priston, this beautiful 1912 court dress is now part of the Royal Ceremonial Dress Collection.
The dress was worn by Ann’s grandmother-in-law Rosetta Browne-Priston when she accompanied her husband Engineer Rear Admiral Robert Browne-Priston to Buckingham Palace in 1912. According to Robert’s diary, Rosetta helped design the
Until 11 November 2025, the Tower of London will mark the 80th anniversary of the end of the Second World War with a new display of ceramic poppies installed at the heart of the historic fortress.
Nearly 30,000 poppies from the original installation, ‘Blood Swept Lands and Seas of Red’ have been brought back to the Tower, on loan from Imperial War Museums’ collection to form a new display. To accompany this installation, a poem by Poet
dress herself rather than choosing an expensive couture gown; she bought the fabric, and worked on the dress along with her dressmaker who visited her at home to do fittings and helped her get ready on the big day. He notes that the dress caused quite a sensation when they stopped off at the Waldorf Hotel on their way by motor car to Buckingham Palace, lavishing praise on his wife for achieving such a spectacular gown without great expense.
Ann was thrilled to have the dress in the collection as she explained to Inside Story, ‘Seeing the dress mounted
was a lovely surprise. I didn’t realise how small it was and how lovely it must have looked on that special occasion at the palace. It’s so reassuring to know that it will be looked after properly and be available for others to see and enjoy.’ A short film of Ann visiting Hampton Court Palace to see the dress mounted can be found on our Instagram @historicroyalpalaces.
Don’t miss our latest exhibition of treasures from the Royal Ceremonial Dress Collection in ‘Dress Codes’ at Kensington Palace until 30 November. Members go free; no pre-booking required
Laureate, Simon Armitage, has been commissioned to reflect on the sacrifice and loss of war and the long-lasting impact of conflict felt by the entire nation.
The Tower suffered aerial bombardment during the Blitz, alongside the rest of the East End of London, and several of its historic buildings were damaged. At the end of the war, the fortress was
floodlit, as a beacon of hope for a new beginning, but the shadow of loss hung over its VE Day festivities.
‘The Tower Remembers’ will run until 11 November, culminating in a moment of remembrance for Armistice Day. When the display closes, the poppies will return to Imperial War Museums. Members go free; no pre-booking required
We’re introducing a new and improved way to manage your membership and book member tickets online.
With your new Historic Royal Palaces account, you can log in more easily and securely using your email address and a password.
Once logged in, you will be able to check your current membership status, renew or upgrade membership online, and book member tickets (where required). You can also view your ticket history, renewal dates and payment details - all in one place.
If you became a member before our website update, your account will be automatically created using your membership email address. This ensures uninterrupted access to your member benefits. When you first log in, all you will need to do is reset your password.
For step-by-step guidance, see our dedicated FAQs via the ‘Member login’ button at the top of hrp.org.uk Need help? Contact us at members@hrp.org.uk or call 0333 320 6000.
Historic Royal Palaces is working with Turquoise Mountain to create a carpet in the traditional Persian medallion form, which will transform the Throne Room at Hillsborough Castle.
Turquoise Mountain is a charity founded in 2006 by King Charles III to revive historic crafts and provide jobs and skills, driving economic development and preserving cultural traditions.
Our carpet is being made at a weaving centre in northern Afghanistan. A special loom has been built to accommodate its size, and it will take a year to make. Ten weavers will be working on it at any one time, weaving approximately 4cm a day. Over the course of the year, 38 weavers will work on the carpet, earning vital income to support their families. The production of the carpet also provides income to many
other craftspeople in the area, from wool spinners to dyers and washers, and finishers.
The design of the carpet isn’t simply decorative, it tells a story – in fact multiple stories. While traditional in style, many of the motifs subtly reference the gardens of Hillsborough and include camellias, azaleas, roses and rhododendrons. There are even tiny Irish black bees and silkworms hiding in the design and we hope our school visitors will enjoy searching for them when we unroll the carpet in the summer of 2026!
We are grateful to The Drapers’ Company for supporting the creation of the carpet and for their ongoing support of the schools’ programme at Hillsborough Castle and Gardens – and to you, our members, whose support helps us care for this special place for future generations.
In collaboration with Google Arts & Culture and made possible thanks to a generous legacy from the late Michael Stennett, Historic Royal Palaces is bringing highlights of the Royal Ceremonial Dress Collection to a global audience and offering an unprecedented look at five centuries of royal style.
Nearly 200 specially selected garments, accessories and design sketches are available to explore online. Uncover the hidden details and unique histories of these extraordinary outfits, through expert insights and behind-the-scenes videos.
Dive into the intricate details of these remarkable garments through ultra-high-resolution photography and 3D models. These advanced techniques allow every stitch, bead and embellishment to be examined in astonishing clarity, offering insights into the craftsmanship, history and conservation of these delicate treasures.
Goo.gle/royalwardrobe
The Tower of London’s Medieval Palace has now reopened after an exciting transformation.
The luxurious lodgings built by Henry III and Edward I in the 1200s, reopen with immersive storytelling and innovative displays, bringing the medieval world to life. Visitors will meet queens Eleanor of Provence and Eleanor of Castile and discover how they challenged English conventions on everything from interior decoration to politics.
Displays will explore London’s diverse medieval community and the hundreds of people who made the royal household work.
We would like to thank Graham and Joanna Barker and Herbert and Ellen Kozlov for their support of the Medieval Palace reopening, and The Fishmongers’ Company for their support of the fish trap.
New objects on display include this stunning pyx (which held the ‘host’ –bread that had been blessed for Holy Communion) and a late medieval wicker fish trap excavated from the Tower Moat (complete with fish bones!). Members go free; no pre-booking required
The colourful displays of plants and trees in our palace gardens are a visual treat –but when was the last time you energised ALL your five senses to enjoy nature?
When you visit one of our palaces’ gardens this summer, take a moment to slow down and explore your surroundings using all five of your senses. We usually prioritise sight when wandering through nature, and at this time of year our gardens are a riot of colour and light that distracts and delights. However, energising our other senses can heighten awareness and create a greater feeling of inner peace.
The origins of the five senses go back centuries to ancient Greek philosophy, especially to Aristotle, who ordered them into a hierarchy. Sight and hearing, designated as useful to the soul and mind of man, sat at the top while those associated with bodily preservation, namely taste and touch, were located at the bottom. Smell could belong to either part of the hierarchy, depending on the context. This summer, we encourage you to give equal importance to all five and we guarantee you will enjoy the palaces’ gardens even more. Inside Story also asked members of Historic Royal Palaces’ staff how they enjoy the palace gardens using different senses.. →
Becoming more aware of your surroundings in nature can help you tap into the principles of mindfulness to increase wellbeing, reduce stress and distract your mind from its constant ‘tumble drier’ of thoughts.
So, find a lovely quiet spot and sit down, drop your shoulders and relax your jaw, unclench your hands, take a few deep breaths to ease any tension.
Then try taking a ‘journey’ using one sense only…
If you find sight is easier to start with, or you’d rather just keep your eyes open, chose just one object nearby – a tree, a water feature, a rock – and simply observe it closely for a few minutes without looking away. Notice colours, shape, texture and any movement.
The Great Fountain Garden at Hampton Court is a visual treat in the summer.
Far below, I catch the clicking of grasshoppers and bees and wasps buzzing.
I love the famous mushroom-shaped yews, each with its own unique character. As a contrast to the dark green of these iconic trees, I love to feast my eyes on the intense colours of the historic bedding schemes. This year, there will be a wide range of plants, including vibrant blue salvias, trusty red pelargoniums and orange lantanas. Find yourself a bench to relax on near the fountain, where you can take in the palace and gardens as a unified work of art.
Relax at a members-only picnic evening in the serene setting of the Wilderness and East Front Gardens at Hampton Court Palace. Bring a picnic, settle in, and enjoy the majestic surroundings after hours. 25 July and 08 August. £5 per adult member; free for children on the membership Pre-booking required
Next, try just using your ears. If you close your eyes and listen, what sounds can you identify – water, the breeze rustling plants, insects buzzing, feet nearby crunching on gravel, birdsong? Try to notice how the sounds change depending on the time of day. The quietness of a summer morning is very different to the lush, drowsy late afternoon.
Eleanor Evetts, Park Ranger, Hampton Court Palace
When I’m out in Home Park at Hampton Court, I enjoy listening to grasses and leaves rustling in the wind, skylarks in territorial song flights over the open spaces, deer calling to each other as they’re feeding. I can hear young birds calling out to their parents for food! Buzzards ‘mewing’ to each other as they ride the thermals. Far below, I catch the clicking of grasshoppers and bees and wasps buzzing.
Then, if you like, take off your shoes and explore sensations with your bare feet – what can you feel? A soft lawn, cool stone slabs, prickly grasses? Is the sun on your face, or your shoulders – that delightful feeling of warmth on your skin? What does rough bark feel like under your fingers, compared to the smooth wood of a bench?
Kim Klug, Community Partnerships Manager
On a busy day at Kensington Palace, there is nowhere better to escape than the East Front Gardens. They are surprisingly quiet, given their location in central London, alongside the busy Broad Walk. On those hot afternoons, members of my team enjoy escaping for a cheeky ice cream, sitting in the curve of the big hedge, which is on the left when you face the palace. The hedge buffers even the loudest sirens coming from High Street Kensington. It is easy to feel somewhere else entirely, with the soft grass beneath your legs, the warm sun on your face, or feeling the clouds cast their shadows from above. When I need some quiet time myself, I follow the path through the wildflower meadow brushing the flowers with my hands as I walk to the bench in the middle of the field. I love sitting there, taking a few deep breaths and listening to the buzz of the bugs in the meadow. .→
The sense of smell is a powerful trigger for memories and can evoke wonderful sensations, as many famous writers, Marcel Proust among them, have described. Why not indulge this sense yourself for a few minutes as you close your eyes and take in the aromas floating around you. If you’re sitting in the Rose Garden at Hampton Court Palace the scent is just delicious. But you can also enjoy noticing and inhaling fragrant herbs in the kitchen gardens at Hampton Court, Hillsborough or Kew.
Claire Woods, Head Gardener, Hillsborough Castle and Gardens
The Pinetum is the perfect place for a little forest bathing. Lie down on new mown grass and the first thing you notice is the soft feel of the grass, then that heavenly fresh-cut grass smell. As you close your eyes you become aware of the call of the ravens and the rooks high in the canopy above you. Then open your eyes and follow the clouds as they scud across the sky. The Granville Garden is the perfect place for a five-minute scented stroll, as you brush past the billowing herbaceous perennials they give off their wonderful aroma, the stems swish in the breeze and the whole garden is filled with the scent of the David Austin roses on the obelisks.
Left The Pinetum at Hillsborough Castle, the perfect place for indulging your senses.
As we rush through our busy days, it’s easy to find we’re snacking or hurriedly, grabbing a sandwich or a bland supermarket salad, using food as fuel to keep us going. So, as a change, why not make up a summer picnic with all your favourite foods, full of different tastes and textures, sweet, salty, soft and crunchy. Bring it into a palace garden, unfurl your picnic blanket and enjoy, savouring every mouthful eaten in the fresh air.
Emma Dearing, Deputy Operations Manager, Kew Palace
Make the most of our gardens this summer and visit time and time again as a member. Simply show your membership card for free general admission.
Our Kew sites include a little-known but delightful kitchen garden, which is adjacent to the Royal Kitchens. This garden is run with the help of a team of dedicated volunteers. Here we grow a variety of delicious crops for display and eating. This year, we have varieties of tasty chard, beetroot, spinach, heritage runner beans, pumpkins and squashes, which you can buy (for a modest donation). My favourite days are when I get to go home with freshly picked beetroot and asparagus, cooked simply and eaten on the day that fresh flavour can’t be beaten!
After exercising all your five senses, treat your taste buds to a delicious Hackney Gelato ice cream. Mouth-watering flavours are on sale in tubs or cornets in the Tiltyard Café and garden kiosk at Hampton Court Palace, and the café at Kensington. Members enjoy a 10% discount.
Lee Prosser, Curator –
One of the few surviving features of the 17th-century interior décor of Kew Palace is the plaster ceiling of the Queen’s Boudoir on the first floor. Among the geometric ribs are medallions, which depict the five senses. Each is represented by a female figure with animals, fruits and flowers as allegorical symbols of each sense. Sight holds a mirror and sits on a bird, indicative of acute vision (and some would say also vanity).
ear. It’s unusual for the sense of hearing to be given such prominence; usually sight dominates and leads us to think that this was originally perhaps a room for music.
The sense of touch is represented by a tortoise with its hard shell, and a soft, feathered bird. Smell of course has a huge pot of flowers, while a nearby dog is distracted by a scent in the ground and snuffles away in pursuit. The sense of taste tucks into a cornucopia of fruits. At the centre is the sense of hearing. Here the figure strums on a stringed instrument, while a stag beside her is an allegory of a sensitive
SAVE MORE Enjoy 10% off admission to Kew Gardens with code HRP10 online at kew.org or show your membership card at Kew’s ticket desks. Above
Depictions of the five senses became very fashionable in the late 16th and early 17th century, when abstract qualities such as vices and virtues helped people to understand the world and be guided to a better, more moral life. Artists such as Rembrandt painted them, but most images were spread through prints made by printmakers such as Abraham Bosse in the Low Countries. Kew’s senses were probably inspired by prints, but we have yet to find the exact source. They represent the joy that the five senses bring to life, and where better than an idyllic country villa, set far from the noise of London?
Here, the builder of Kew, Samuel Fortrey and his family would have been surrounded by sensory pleasures in the garden, with its flowers and fruits, and the sounds of animals and birds.
See the sights in style this summer aboard the fabulous new Tower of London River Tour.
The latest ‘raven’ to arrive at the Tower of London is not shiny black, but gleaming white, made of ultra-light, shimmering aluminium. She’s battery powered, and you’ll see her gliding up and down the river daily, from the end of August.
The Silver Raven sightseeing tour boat is the first of its kind in the UK, commissioned and designed by the Woods family, who have designed, built and crewed sightseeing vessels on the Thames for over a hundred years. Until now, they have been best known for their ‘Silver’ fleet of river yachts, which offer private charter events for an exclusive clientele. Now, they have put their energy and expertise into creating a vessel, which, as Woods’ CEO Chris Kangis describes, represents the ‘future of river tourism’. And Historic Royal Palaces is playing a role in that future! The charity is partnering with Woods Tours to offer ten circular daily river tours, from Tower Bridge Quay.
The Tower of London River Tour offers a wholly different experience to existing river cruises, not only because of the exceptional comfort and style of the new 39-metre boat, but also because the stories you will hear on board have been researched by Historic Royal Palaces’ curators and crafted into a compelling, entertaining tour experience by actor and writer Martha Howe-Douglas (Ghosts, Horrible Histories). These historically authentic tales of famous London landmarks along the banks will be delivered live by trained guides on each of the 40-minute tours.
‘We are delighted to be partnering with Woods Tours on the first official Tower of London River Tour’, says Tower of London Governor, Andrew Jackson CBE. ‘For centuries, some of our most famous kings and queens approached the Tower by boat. Now, even more visitors will be able to experience a unique view of the Tower from the Thames, discovering more about the history of this remarkable place throughout their journey.’
The Silver Raven has been built in Falmouth by superyacht specialists Pendennis Shipyards. The boat’s design reflects the centuries long experience of the Woods family on London’s waterway, creating Thames river yacht events for brands such as
Dom Perignon, Burberry and Queen Elizabeth II’s Diamond Jubilee Royal Row Barge ‘Gloriana’. All 250 passengers will enjoy panoramic views, whether you choose to perch inside on the wonderfully comfortable leather seating, opt for a booth in the stunning saloon bar area with a glass of fizz or enjoy the river breeze under the awningshaded deck. There’s an uncovered area too. The vessel provides full disabled access and will run, rain or shine, 364 days a year.
We’re giving five lucky members the chance to win a pair of adult tickets for the Tower of London River Tour. To enter, email inside.story@hrp.org.uk by 31 July 2025, with the answer to this question: What is the name of the boat used for the Tower of London River Tour? Winners will be selected at random and notified by email by 08 August 2025. Eligible for tour dates from 30 August to 31 December 2025. Tickets are subject to availability. Pre-booking required. For full terms and conditions, visit hrp.org.uk/membership/ rivertour/competition
Tickets are bookable in advance for dates from 30 August 2025 onwards. A 40-minute tour costs £23.50 per adult, £18.00 child (under twos and carers go free) with off peak fares of £18.50 per adult and £14.00 child. Visit hrp.org.uk/ tower-river-tour to find out more and book.
Anthony Musson reveals how the Thames once served as a majestic motorway, with kings and queens travelling in regal style.
The River Thames, the lifeblood of the city of London, has long facilitated royal travel. Medieval monarchs established palaces along its banks at Westminster, the Tower of London, Richmond and Greenwich and in Tudor times the Thames’ tidal nature offered swift connections from the capital to Henry VIII’s portfolio of waterfront residences stretching upriver from Chelsea to Hampton Court and downriver from Greenwich as far as the Thames Estuary at Dartford. In order not to miss the most favourable tides, Henry commissioned for Hampton Court an astronomical clock indicating the time of high tide at London Bridge. Harsh winters in 1517 and 1536 saw the Thames freeze, preventing normal travel. Frequent flooding necessitated improvements at the Palace of
Westminster where a new landing stage enabled the King to alight safely when attending Parliament. Henry created a new docking area for Whitehall in 1532 where royal bargemen kept a brazier burning, allowing sweet-smelling herbs to diffuse into the atmosphere, masking any unpleasant smells from the river.
Many royal deliveries were made by river, too. Henry VIII’s love of reading is demonstrated by frequent packages of books to Hampton Court and Whitehall by his bargeman, John Carter. The Thames was presumably the safest way of transporting the large sums of money for the King’s use, ferried from the Tower to Greenwich at regular intervals. It was to Greenwich that the bargemen carried staging for one of court musician and dramatist John Heywood’s court masques and on another occasion ‘the stuff of the masque of King Arthur’s knights’ from the Revels and Wardrobe stores at the Tower and Blackfriars. More unusually, royal watermen were waiting with the great boat ‘when the fish [a whale?] was hunted at Greenwich’ and even had to carry live pheasants by water from Hampton Court to Whitehall in 1534.
When Henry wished to project monarchical splendour, he used the royal barge, named The Lion, a handsome craft with a green and white canvas covering. Crewed by 16 oarsmen when at full capacity, all dressed in royal livery, it must have been a splendid sight, and a new larger boat requiring 28 oarsmen, constructed in 1536, even more impressive.
Opportunities to show off power and opulence were not lost on Henry’s daughter either. Elizabeth I’s royal barge boasted ‘two splendid cabins, beautifully ornamented with glass windows, painting and gilding’. As it passed by, audiences on the riverbanks were offered a spectacle of magnificence, as were those watching from small craft on the water, or from vantage points at the Tower or London Bridge. Elizabeth’s grandfather also
enjoyed attention while travelling in the royal barge. On Henry VII’s return from his first summer progress in 1486, the journey from Sheen (Richmond) was interrupted at Putney by the Mayor of London and members of the livery companies, who rowed out to greet the royal party and accompanied them to Westminster in a water-borne ceremonial procession.
When on joint progress with the Holy Roman Emperor, Charles V in 1522, Henry VIII and the royal party received an extraordinary salute as they sailed between Gravesend and Greenwich from ships ‘well garnished with streamers and banners, guns and ordnance’. In 1537, Henry, Queen Jane Seymour and ambassadorial guests took a 40-gun salute fired from the Tower, its walls bedecked with streamers and banners. Attested ‘a goodly sight to behold’, the royal barge then passed through London Bridge to the sound of trumpets with other minstrels (also in barges) ‘blowing before him’. Henry clearly did not mind whom he disturbed on his pleasure jaunts. At Eastertide 1539 he spent an hour rowing up and down the Thames with his drums and fifes blaring out over the water.
Elizabeth I’s royal barge boasted ‘two splendid cabins, beautifully ornamented with glass windows, painting and gilding’.
Tudor fondness for musical water pageants is evocative of the grand river journey enjoyed by George I in the summer of 1717 when he was rowed from Whitehall to Chelsea to the accompaniment of around 50 musicians playing the aptly named Water Music, concocted for the occasion by court composer, Handel. As a publicityboosting spectacle, it certainly worked. People flocked to watch and there was ‘so great a Number of Boats, that the whole River in a manner was cover’d’. The King enjoyed himself so much that he persistently requested the suite of dances to be repeated, without a thought for the by now exhausted musicians on board!
Fancy a river journey in royal style? See previous page to win a trip past the Tower of London on a brand-new luxury tour boat and discover tales of some of London’s most famous riverside landmarks, scripted by actor and writer Martha Howe-Douglas
JULY 1540
On 12 July 1540, Henry VIII’s marriage to Anne of Cleves was annulled by Parliament. It was his fourth and shortest marriage: the couple had wed at Greenwich in January that year. It had been a political match, aimed at strengthening England’s position in Europe. But the King had insisted on seeing what his prospective bride looked like before signing on the dotted line.
Her first meeting with the King was a disaster.
He had therefore sent his trusty court painter, Hans Holbein the Younger, to Düren in Cleves to paint both Anne and her younger sister Amalia, sisters of Wilhelm, the new Duke of Cleves. It was largely on the strength of Holbein’s striking portrait of Anne that Henry chose her. His ambassador in Cleves swore that the painting was a good likeness, so the contract was agreed, and Anne duly made her way to England in late 1539. But her first meeting with the King was a disaster. ‘I like her not!’ he shouted at the beleaguered Thomas Cromwell, who had championed the match.
Unlike Cromwell, Holbein suffered no reprisals from the disastrous episode. He enjoyed dazzling success throughout his years at the Tudor court. In 1536, he had been appointed the ‘King’s Painter’, the same year that Henry ordered Anne Boleyn’s execution and married Jane Seymour, who gave birth to the longed-for male heir, Edward, at Hampton Court the following year and died there shortly afterwards. Holbein later painted a portrait of the infant prince as a New Year’s gift for the King.
One of the largest and most famous of Holbein’s numerous commissions during his time at the Tudor court was The Ambassadors, which now hangs in the National Gallery in London. Painted in 1533, the year that Henry set aside Catherine of Aragon, married Anne Boleyn and sparked a revolution in England’s religious life, it is laden with hidden symbols, clues and mysteries about this turbulent moment in English history.
Royal Regiment of Fusiliers on parade in the moat, during the Tower Pageant in June 1935. Notice all the stage sets built up against the outer wall of the fortress and the huge arrangement of seating.
In May 1935, George V’s Silver Jubilee was celebrated at the Tower of London with a spectacular pageant, performed nightly from 25 May to 8 June in the moat. This fund-raising event for the Council for the Improvement of Tower Hill was put on by a cast of two thousand amateur performers and watched by thousands more.
The event took full advantage of the ancient backdrop, and several temporary ‘historic’ buildings were constructed against the wall of the moat along with a three-tier stage.
You can find out more about The Ambassadors in Tracy Borman’s new book. Tracy has also recorded an episode about it for the Historic Royal Palaces Podcast and will be giving a talk to members later in the year.
In addition to the promise of ‘10,000 soft seats’, attendees were treated to a whole range of musical entertainments and military and historical spectacles including re-enactments of the Return of Henry V from Agincourt, Colonel Blood’s attempt to steal the Crown Jewels, May Day revels and Archbishop Laud’s execution. The event concluded with a display by the Royal Fusiliers who were celebrating their 250th anniversary, covering the history of the regiment since their formation at the Tower in 1685..→
Samuel Pepys’s celebrated diaries record his long association with the Tower of London; his dinners there in the King’s House with the Lieutenant; his attendance at services in the Chapel of St Peter ad Vincula; and, most remarkably, his frantic search for treasure rumoured to be buried within its walls.
What Pepys did not record in his diary – largely because he had stopped keeping a regular journal a decade before – was his brief, but painful, association with the Tower in 1679.
On 20 May 1679, Samuel Pepys, then the Admiralty Secretary, was charged, alongside the shipwright Sir Anthony Deane, with leaking naval secrets to the French. Deane was further accused of piracy whilst Pepys, who was open about his interest in Catholic art and music, was alleged to have popish sympathies. Two days later, having resigned from the Admiralty, Pepys and Deane were committed to the Tower as prisoners.
We can wonder what Pepys thought about on 22 May as he was transported to the Tower. Did he dwell on the rebel ringleader he had seen there in July 1666 ‘clapped up in the Hole’, and wonder whether he too might be placed in the Tower’s infamous solitary confinement cell? Or did he perhaps recall his visit to Sir William Coventry who, in March 1669, was imprisoned in the more comfortable surroundings of the Brick Tower, and hope for similar lodgings?
No record survives of the location of Pepys’s prison cell, but his status and the nature of the charge against him give reason to assume that he avoided the Hole.
In the end, their imprisonment was not long. Bail was granted on 9 July 1679 and both men walked free. Nearly a year later the case, seemingly cooked-up by their political enemies, was finally dropped.
No record survives of the location of Pepys’s prison cell.
A 19th-century illustration depicting Oliver Cromwell during his last interview with his daughter, in which Elizabeth chastises her father from her sickbed. Getty Images (Kean Collection)
6 AUGUST 1658
The summer of 1658 was solemn at Hampton Court. No longer home to kings or queens, the palace was the favourite country retreat of Oliver Cromwell – Lord Protector and one of 59 men to sign the death warrant of Charles I.
The Cromwell family made Hampton Court their own – they hunted in Home Park, played music in the Great Hall and enjoyed art saved from the Royal Collection. But in August 1658, the palace sat in sombre vigil as Elizabeth Claypole, allegedly Cromwell’s ‘favourite’ daughter, lingered at death’s door.
Born the second daughter of an obscure country gentleman, Elizabeth ‘Bettie’ Claypole came of age during the English Civil Wars. When Cromwell was appointed Lord Protector in 1653, she and her sisters became almost like princesses – a part Elizabeth played ‘very naturally’.
at Hampton Court, probably from cancer, aged just 29. Heartbroken, her father died at Whitehall Palace less than one month later.
Interestingly, rumours soon spread that Bettie criticized Cromwell in her final days. Some say she blamed him for the execution of a royalist prisoner she’d tried to save, while others claimed she ‘presented [Cromwell’s] worst actions for his consideration’. While Bettie was known to intercede for royalist prisoners, these stories are shrouded in speculation – often repeated by those eager to criticize her father.
Elizabeth was buried in Westminster Abbey. However, unlike Cromwell and other burials from the Interregnum, her coffin was not removed after the restoration. Later investigations found her undisturbed, and she remains at rest in the abbey to this day.
Since it closed in May 2024, the calm exterior of the Banqueting House has masked the frenetic activity within, as it undergoes its biggest transformation in over 50 years. Curator of Historic Buildings Alden Gregory and Zoe Roberts, Senior Project Manager describe the exciting changes, soon to be revealed to visitors.
Banqueting House reopens later this year. Look forward to exclusive access on membersonly days. Keep an eye out for updates in your member e-newsletters and on our website.
If you’ve walked along Whitehall recently, you would be forgiven for thinking that the Banqueting House is a haven of calm. Its classical façade, originally the creation of the influential architect
Inigo Jones, though later altered by another influential architect, Sir John Soane, stands serenely above passersby largely as it has since it was completed in 1619-22 for James I. Inside, however, it’s been a different story. Since last May, the Banqueting House has been filled with conservators, craftspeople and specialist building trades who have been helping transform the building. Now, we’re nearly ready to open our doors again and share this special place once more.
The Banqueting House – the last complete surviving part of Whitehall Palace – is our hidden gem. It’s possible that many passersby overlook it, since it blends into the parade of neo-Classical buildings that line the street. If you’d taken the same walk in 1622, however, you couldn’t fail to miss it, for it was not only unlike anything in London, it was unlike anything in the country.
Inigo Jones took inspiration from the builders of ancient Rome, the fashionable Palladian architecture of contemporary Italy, and from the future ambitions of the Stuart monarchy. In doing so, he brought purity to Classical architecture that was to be transformative. Those later buildings along Whitehall might not have existed had it not been for the influence the Banqueting House had on British architecture.
It’s in this spirit that today’s transformation of the Banqueting House is being undertaken. Yet again we are looking to the past, the present and the future as we undertake our work.
This is a complex project, but it can be divided into parts. Firstly, we are upgrading the heating, cooling and electrical systems to provide a better environment for the important ceiling paintings by Peter Paul Rubens. We’re doing this in a way that also makes the building greener and kinder to the environment. Secondly, we are installing a lift and improving our accessible toilet, so that the Banqueting House is welcoming to all visitors.
Thirdly, we’re undertaking conservation of some historic decorative features so that when we reopen the Banqueting House will look its best. And finally, we’re laying a brand-new floor in the main hall to improve the appearance of this important room.
Heating and cooling
Not only is the Banqueting House one of this country’s most important buildings, it is also home to one of its most important works of art; Rubens’s painted ceiling canvases known collectively as The Glorification of King James I. Like any painting on canvas, Rubens’s ceiling panels are fragile and susceptible to changes in humidity. Preventing fluctuations that might damage the paintings wasn’t possible with the old heating system, the majority of which hadn’t been replaced since the 1960s.
Now we have a system that we can control and that, through a network of sensors, can automatically adjust to changes in temperature and humidity, meaning that the Rubens’s ceiling is better looked-after than ever.
We also have a system that is greener and contributes to Historic Royal Palaces’ efforts to address our climate impact. Heating will continue to come from the Whitehall District Heating System, a network of boilers that serves 26 buildings in Whitehall and that is gradually being decarbonised by the Government. This is backed up by new air source heat pumps on our roof, which will also allow us to cool the building when it’s too hot. Both systems will help Historic Royal Palaces to become carbon neutral by 2050..→
Justine Locker, Head of Palaces, Kensington, Kew and Banqueting House on what the restoration means for visitors and future events.
I’m really excited about welcoming all visitors back very soon into this iconic building. As you can see from the main feature, in addition to restoring the sheer awe-inspiring elegance of the interior, the Banqueting House has undergone significant upgrades to accessibility and sustainability. The reopening is eagerly anticipated by us all as we plan to welcome a diverse audience. When the project is complete, the space will deliver public opening, dedicated members’ days, programming for schools, offer community groups a hub to enjoy and a variety of other activity to surprise and delight the broadest range of audiences throughout each year. We will work hard to create every opportunity for as many people as possible to marvel at the Rubens ceiling, learn about the execution of Charles I, and immerse themselves in the rich history of the Palace of Whitehall through fun, exciting and innovative programmes.
We’re also extremely excited to have the Banqueting House once again able to host a variety of private functions and events. From elegant dinners and receptions to conferences and award ceremonies, the venue’s grandeur and majestic ambiance make it an ideal and memorable setting for special occasions while generating valuable income for the charity.
Not only is the Banqueting House one of this country’s most important buildings, it is also home to one of its most important works of art.
The reopening of the Banqueting House marks a new chapter in its history. With modern enhancements that respect its historical significance, this beautiful building is poised to continue inspiring and captivating visitors from all walks of life.
It is also our ambition to become a charity for everyone, and this includes making our palaces as accessible as possible. For that reason, we’re installing a new lift in the Banqueting House that will take visitors from the ground floor to the main hall, allowing all our guests to see Rubens’s magnificent ceiling.
Fitting a lift into a historic building is challenging, but we’ve found a space in the north annexe, which was added by the architect James Wyatt in 1808-09. In Wyatt’s original scheme, the spaces connected by our new lift were a staircase. This was removed in the 1890s, so by building a lift here we’re re-establishing an old route through the building in a very modern way.
A hidden surprise
The lift rises into the Wolseley Room. Named for Field Marshal Viscount Garnett Wolseley, a former head of the British Army (and grace-and-favour resident at Hampton Court), in the early 20th century, the room served as a small memorial museum to his military achievements. In 1919, the room was decorated with a wall painting scheme by artist Charles Powell.
To prepare for the lift, and to make the room look its best, we employed specialists to conserve Powell’s scheme. In the course of their work, however, we made a surprising discovery. Much of Powell’s painting had been over-painted in the 1960s and the conservators found that the original was more extensive than thought. This is an exciting discovery, but it also presents a challenge.
We hadn’t budgeted for it or planned for uncovering a large painting – a process that would add weeks to our programme and tens of thousands of pounds to our costs – so, for now, we’ll leave most of it covered and show it as a work-in-progress when we reopen.
Perhaps the greatest change we’re making, in a project full of big change, is to the floor of the main hall. The old floor was laid in 1964, and was tired, worn and not of a quality that matched the importance of the building. Parts had to be lifted to install new heating pipes anyway, so we’ve taken the opportunity to remove it all and to lay a beautiful new one.
Removing the floor provided the opportunity to see below the boards for the first time since the 1960s, revealing 17th-century brickwork and ‘rubbish’ left by the floor-layers. Finds included lunch-bags, sardine tins, an airline ticket, newspapers and even a pair of shoes. These wonderful finds give a snapshot of life in the middle of the last century.
Our new floor will transform the space. We’re laying it in English oak felled in sustainably managed woodlands on Exmoor, and for each tree felled new trees have been planted to maintain the woodland. The beautiful oak boards will be selected and laid in a way that reflects the history and character of the Banqueting House, and that maximises the timber we use from each tree to reduce wastage.
Our new floor will last many generations, but when the floor is eventually lifted, perhaps our ancestors will find a surprise or two – and maybe even a pair of shoes – that give a snapshot of life today.
After all this hard work, the Banqueting House will reopen later this year, so please do pay a visit and see the results for yourselves!
This extensive project has been made possible by generous grants from The Garfield Weston Foundation and The Wolfson Foundation. It’s thanks to donors like these, and the continued support of members like you, that our charity can deliver transformative change.
Left
Some of the items discovered beneath the floor in the main hall including an old sardine tin and newspapers from 1964.
Lee Prosser, Curator –
Historic
Buildings
describes the fascinating origins of the Banqueting House roof.
We always give credit to the great architect Inigo Jones for the Banqueting House, but in fact much of what we see today is the product of his 19th-century successor Sir John Soane, who refurbished and refaced the building with Portland Stone in the late 1820s, when large chunks began to fall off and the roof timbers were found to be decayed and sagging. One area that visitors never see is the new roof Soane created in 1830.
Above the Rubens paintings, the great trusses fill an impressive space. Soane had to span the 55-foot width of the building, as well as support the hollow coffering with their priceless paintings with a strong new structure. Research has revealed not only how novel and innovative the new roof design was, but also a fascinating story of the long journey made by the timber itself from the forests of Eastern Europe. Most of the roof is built with imported pine or spruce, with a few oak beams reserved for the giant uprights known as queen posts. Close inspection of this timber reveals several mysterious marks and symbols made with a scribe or gouge. Many years of study have begun to decipher these marks, which often appear in later 18th and early 19th century buildings.
We can now tell, for example, that much of the timber was shipped via the port of Gdansk in modern Poland (in the 1820s, known as Danzig and part of the kingdom of Prussia). The timber itself began life in forests deep in central Europe, where it would be felled by specialised Jewish labour, squared off into baulks and then lashed together into giant rafts, which would then float lazily down the river Vistula, perhaps for two years with the timber-workers actually living on the rafts before arriving at the port for sale and despatch to England.
One intriguing mark found in an obscure corner on a rafter can actually be read as ‘Georgina’ and probably records the name of the ship that brought at least some of the timber to London, where it was unloaded at Scotland Yard, just a short walk from the Banqueting House. Good documents survive for the construction of the roof, but archaeological analysis helps fill in the gaps and tells an equally interesting story of materials brought from far away.
It’s 4oo years since the death of James I in 1625, and the accession of his son Charles I. Curator Brett Dolman looks back at the legacies of these complex and contradictory monarchs, both badly represented by popular histories.
Back in 1930, authors WC Sellar and RJ Yeatman published a hilarious parody of school history textbooks, called 1066 and All That: A Memorable History of England, Comprising All the Parts You Can Remember, Including 103 Good Things, 5 Bad Kings and 2 Genuine Dates.
The truth that hides behind the humour is that we have a tendency to remember only the headlines of the past and write off our kings and queens as ‘good’ or ‘bad’ depending on their most memorable victories or failures. Yet we all know that life is not just a list of key dates and that people are complex, and we should apply the same awareness when we look at the past.
Above James I by Paul van Somer, c1620. The King is depicted standing at a window in Whitehall Palace with the Banqueting House behind him. ©
Royal Collection Enterprises Limited 2025 | Royal Collection Trust
Opposite CharlesIin ThreePositions by Anthony van Dyck, 1635-6. © Royal Collection Enterprises Limited 2025 | Royal Collection Trust
James I was championed as an author, poet and theologian.
In 1066 and All That, we hear that James I, for example, ‘slobbered at the mouth and had favourites; he was thus a Bad King’. This description originates from a scurrilous biographical assassination written after the King’s death by somebody that clearly didn’t like him. Somehow – perhaps because of its colourful language – it became an almost ubiquitous shorthand for describing James in later centuries.
Yet, during his reign, James I was championed as an author, poet and theologian, a patron of Shakespeare, a man who presided over the Hampton Court Conference of 1604 that helped create a religious settlement for a divided country, and who wrote his own book about the art of being a king.
At the same time, his court was criticised for its decadence and corruption, and James himself pilloried for being vulgar, pampering his favourites with money and titles, and drinking too much. Knowing what he was meant to do in theory didn’t always mean he was able to carry it off in practice. This paradox of the ‘learned and the fool’ confused many. →
Rubens’s painting is shot through with messages about the purpose and effect of monarchy.
James’s son, Charles I, is of course mostly remembered for being the only King of England to be publicly executed and for our nation’s subsequent brief flirtation with a ‘Commonwealth’ instead of a monarchy. It is often Charles’s personality, specifically his arrogance, that is cited as one of the causes of the English Civil War and ultimately his death.
Certainly, if you look at Anthony van Dyck’s portraiture of Charles I, particularly his Charles I in Three Positions created to help the Italian sculptor Gian Lorenzo Bernini carve a portrait bust of the King, then you might perceive single-mindedness, aloofness and over-confidence. Yet Charles himself probably saw elegance, intelligence and dignity. It is true that the one thing father and son did share was an entrenched belief in the authority of monarchy. As James I himself put it, ‘God gives not Kings the style of Gods in vain, For on his throne his Sceptre do they sway.’ This assertion of the ‘Divine Right of Kings’ is what ultimately led Charles to believe that he could rule without Parliament in the 1630s.
In the ruthless world of the Stuart court, royal favour was everything. Visit hrp.org. uk/blog to explore the lives of royal favourites George Villiers, 1st Duke of Buckingham and Robert Carr, Earl of Somerset.
Above Detail of Rubens’s Banqueting House ceiling showing TheApotheosis ofJamesI.
It is also writ large over Peter Paul Rubens’s glorious ceiling paintings in the Whitehall Banqueting House. The building itself, designed by Inigo Jones, had been completed for James I in 1621, but it was his son who commissioned the Flemish artist to paint this homage to his father, completed in 1636.
The painting, immersed in the classical mythology beloved of baroque artists, shows James I receiving his authority to rule directly from the gods and goddesses of the ancient world, unifying the crowns of England and Scotland, and finally being carried away on the wings of a huge eagle to the heavens, to take his place amongst the divine.
But even here there is nuance and complexity. Rubens’s painting is also shot through with messages about the purpose and effect of monarchy: peace-making and the embodiment of virtue, of temperance and reason, of faith, hope and charity, all of which was meant to create a land of plenty and success for all.
This is also the message of another huge painting at Hampton Court.
Charles I and the Liberal Arts, painted by the Dutch artist Gerrit van Honthorst, is a celebration of the cultural largesse of the English monarchy. The royal favourite, George Villiers, the Duke of Buckingham, disguised as Mercury, is shown leading female figures representing the arts and sciences out of the gloomy darkness of a cave into the radiant light of royal patronage, with Charles I masquerading as Apollo, descending from a cloud.
And it was Charles I’s informed interests and cheque book that transformed a modest royal art collection into one of the finest the world has ever seen, while his father had earlier established the Mortlake tapestry works to create artworks to rival continental monarchies.
So, looking from 2025, the legacies of these two Stuart monarchs are ambiguous and evasive. Their public personalities and political beliefs certainly helped foment opposition in a century of religious conflict and new ideas about government. And yet, their cultural impact led not only to the creation of an art collection and an artistic industry of international importance, but also to the publication of Shakespeare and the ‘Authorised Version’ of the Bible. And these two expressions of the English language in art and religion helped establish the assumed cultural and moral authority of ‘Great Britain’ – a term that James I himself applied to the combined states of England and Scotland.
If we look at Charles I and the Liberal Arts more closely, there is another hidden story to unpack. In the bottom right-hand corner, there is an image of a young Black boy. He accompanies a female figure representing the science of Astronomy, and perhaps represents the Night Sky. But his prominent position in the painting reveals the little-known history of Black Africans at the early Stuart court. We do not know if this is a portrait of a real person – though there is evidence for both free and enslaved Black people living in England from at least the early 1500s. But this young boy holds both his time and our perceptions of history to account, reminding us of Britain’s involvement in the barbaric transatlantic trade.
In 2025, we are throwing more light on this painting, both literally and figuratively: a new lighting solution, and some fresh interpretation to help visitors view and understand this important and eloquent work of art.
Early Careers
Manager Dave Jones explains the aims and ambition of our recently launched scheme, while overleaf we catch up with the inspiring progress of the first cohort of apprentices.
Historic Royal Palaces’ mission is to help everyone to find themselves in the spaces and stories we share. As part of our plans, we want to remove barriers and invest in young people. Dave Jones was recruited in April 2024 to set up a new apprenticeship scheme. ‘We’ve had apprentices at Historic Royal Palaces previously, of course, in gardening and Front of House roles, but until recently the professions in heritage were a closed shop’, says Dave. He has instigated some inspiring changes to a recruitment process that has previously excluded many young people. His dynamic approach – based on 20 years’ experience in apprenticeships – feels more like a bracing gale than a breath of fresh air.
‘We took the regular recruitment pack and gave it a makeover’, says Dave. ‘You don’t need a degree to apply for any of our apprenticeship roles – in fact you can’t have a degree. For some roles, applicants need an A-level, but for the majority we ask for just a pass in GCSE English and Maths. Beyond that, we look for aptitude and potential.’
Jane Crowther, Director of Corporate Services, explains what inspired her to launch a new apprenticeship scheme at Historic Royal Palaces
‘Many young people struggle to access careers in the heritage sector due to a whole range of barriers, particularly as a lot of roles expect degrees or other academic qualifications. We wanted to create new entry routes to ensure that these young people aren’t excluded from these opportunities. I felt that Historic Royal Palaces had the potential to create something really exciting and life changing, as we have the most amazing range of jobs! The enthusiasm for the scheme from across the organisation has been incredible and the apprentices that we’ve hired this year are truly inspiring.
I’m so excited for the future of this scheme and for the life changing opportunities it could create.’
In February, Historic Royal Palaces was shortlisted in two categories by the Apprenticeship Guide Awards: Best Apprentice in Hospitality and Tourism, and Best Employer (medium size). Over 80 different organisations were nominated so being shortlisted in these awards is an amazing achievement, especially so early in our programme’s journey.
Dave points out that it was also essential to open up a variety of roles throughout the organisation to create a wider breadth of opportunities at all levels.
‘In addition to horticulture and Front of House staff roles, we also now have a trainee solicitor apprenticeship; quantity and building surveyor training; roles in public engagement; a conservator and an audiovisual apprenticeship, among others.’
He has revitalised the interview procedure too, looking at every application himself. For the first intake there were over 800 applicants for 11 apprenticeships, which he whittled down to 52. ‘I am on every interview with the managers. I’m there to push for diversity and spot potential, while the manager knows what the specific job role demands. Every single applicant, from a gardener up to a quantity surveyor, is asked the same set of questions. The first one is role specific, and then the rest are designed to show potential. If they’ve got real passion, that jumps out at the interview.’
Apprentices’ training usually lasts between two and four years. They are required to spend one day a week in formal training with one of a roster of government-approved recognised training providers. This external training is paid for by the Apprentices Levy, introduced in 2017, to which all organisations with an annual wage bill of over £3m must contribute 0.5% of their annual payroll to fund external training.
Despite all the positivity, Dave admits that sometimes apprenticeships get a bad press. ‘I can understand why it happens, but it annoys me when schools see apprenticeships only for those who “can’t get into university”. We’re now working with teachers to challenge that view. We are holding “teacher encounter days” at Kensington and Hampton Court Palace, working with London Skills Hubs who target schools with high numbers of free school meals. Their teachers come on site and meet the apprentices themselves, who really are our best ambassadors.’
‘We’ve been incredibly lucky with our first cohort – they’re amazing! I’ve now got managers asking me if they can host an apprentice this year. We’re really running with this – the second round of job adverts have just gone live – for 16 roles, and we are hoping to increase that to 25 next year!’
Historic Royal Palaces would like to thank The Gosling Foundation for their support of The Sir Donald Gosling Apprenticeship and the National Lottery Heritage Fund for their support of our Chartered Quantity Surveyor Apprentice.
Apprentice roles over a variety of departments are advertised on the Historic Royal Palaces’ website at hrp.org.uk/ about-us/ work-for-us
In December 2024, the whole group of apprentices attended a residential course at an outdoor learning centre in East Sussex. ‘It was a real bonding experience’ says Dave. ‘Through long, cold wet days we did rock climbing, night orienteering, a blind fold obstacle course … one of the apprentices described it as “unity through trauma”! They met as strangers; by the end they were all friends.’
After several months immersed in their roles, our trainees reveal what they’ve been up to
RUTVI SHAH
Solicitor apprentice
I’ve worked on a wide range of contracts, from drafting studentship agreements for PhD and Master’s students to amending filming agreements for upcoming productions. I also manage and update the contracts database, collect signatures and assist with policy reviews; currently focusing on our Supplier Code of Conduct and the Modern Slavery Act Statement. It’s been incredibly rewarding to collaborate with many different departments, gaining insight into how contracts support their work in unique ways.
The Sir Donald Gosling ApprenticeshipSurveying Technician
So far, I have gained experience in heritage conservation, maintenance and project coordination. Working on projects like the external repairs and redecoration of the Tiltyard Café at Hampton Court Palace has deepened my understanding of preserving historic buildings and strengthened my skills in collaboration with contractors and heritage professionals.
JEREMIAH
TWUMASI-MENSAH
Project Support Apprentice
Project Support Manager Sharon Kerrigan says, ‘Jeremiah attends all the monthly team meetings and site visits we have with Surveyor of the Fabric and Major Projects. He is working on troubleshooting and investigation processes in Procore, our construction management tool. He is also practising business writing skills, such as preparing a project brief, risk register and an initial business case.’
Preventive Conservation Apprentice, Hampton Court Palace
I’m enjoying all the chances I have to learn and try new things, whether that’s cleaning from a scaffold, learning about pests (even spiders!), supervising filming or events, or meeting people from all over the organisation and getting to hear about what they do, especially the other apprentices.
It’s been incredibly rewarding to collaborate with many different departments.
ISOBEL DAWSON
Horticultural Apprentice, Hampton Court Palace
Recently, I’ve been planting holly trees, deadheading dahlias (some of my favourite flowers!), trimming box hedges, planting carex to make the Tiltyard Café border really inviting and planting tulip bulbs on the East Front.
I’m enjoying all the chances I have to learn and try new things.
Horticulture Apprentice, Hillsborough Castle and Gardens
Recently, I worked on the renovation of the long borders below the south terrace. We dug up and stored the herbaceous perennials so we could remove all the bindweed roots. Then we returned the perennials in large groups to give more impact and hopefully yearround colour and interest.
Audiovisual Apprentice, Hampton Court Palace
I attended my first event within days of joining and since then, I haven’t had a quiet week! I have learnt how to plan for, use and remove audio visual equipment for a variety of functions, including weddings, dinners, conferences and award ceremonies. I have been taught how to use a wide range of equipment, from small pin spotlights to entire mixing and lighting desks, to help create memorable experiences.
Cultural Learning Participation Officer
Apprentice, Tower of London and Kensington Palace
So far, I have assisted with several different events and projects. My favourite is the community Christmas event we hosted at Kensington, where children had the opportunity to visit the palace and meet Santa. Currently, I am helping the team prepare an exhibition opening in 2026.
Horticulture Apprentice, Hampton Court Palace
Head Gardener Graham Dillamore says, ‘Jack’s work has included planting bulbs and winter bedding in the Pond Garden in preparation for the spring’s display, digging trenches and parting yews as part of the new Chapel Court design.’
Chartered Quantity Surveyor Apprentice, Hampton Court Palace
My favourite is the community Christmas event we hosted at Kensington, where children had the opportunity to visit the palace and meet Santa.
I have been taught how to use a wide range of equipment, from small pin spotlights to entire mixing and lighting desks.
AMY REEVES
Public Engagement
Assistant Site Coordinator (Events Apprentice), Kensington Palace
I am working on hosting an upcoming Apprentice Network event at Kensington Palace. I also recently welcomed my first school groups solo and am working on SEND (special educational needs and disabilities) access for the upcoming Tudor festival for schools at Hampton Court.
My manager has given me the opportunity to be the designated Quantity Surveyor for the Hampton Court Small Pond project. I am pleasantly surprised to be given my own (supervised) project as I feel that, as an apprentice, I am respected and trusted by my colleagues. This project has also shown me how far I have come since September; from asking ‘what is a cost estimate?’ to now conducting and creating my own.
THANK YOU
Your membership is helping create career pathways for the next generation of heritage professionals. Thank you for making this work possible.
Henry VIII’s moat bridge lay buried for centuries until rediscovered by
discoveries from recent conservation work.
Hampton Court’s moat bridge is one of the first things you see as you approach the palace. Once upon a time, crossed only by the monarch, their entourage and important nobles and courtiers travelling by land, it is now the main entrance for all our visitors.
Wolsey’s moat
The existing moat on the palace’s West Front was excavated for Cardinal Thomas Wolsey between 1515 and 1529, replacing a much earlier moat on the site. It may have been water filled, at least in the 1520s and early 1530s, since a culvert beneath the Tudor Kitchens connects to the moat.
The brick arches through which waste and water flowed out are still evident in the north end of the moat today, so see if you can spot this clue in the brickwork when you’re next crossing the bridge. Though there are no records of a bridge from this period, excavations in 1988 uncovered a brick structure partially lying beneath the present bridge. It is possible this represents a remaining section of an earlier bridge, some of which was incorporated into the present structure.
Henry VIII’s moat bridge
Henry’s bridge was hastily constructed between 1535 and 1536, with labourers recorded baling out the foundations of the stone bridge in the horribly cold, wet weather of autumn 1535. By November, the Thames had started freezing over, but there was no respite for the workmen; Henry’s demands were relentless.
The structure of the bridge was nearly complete by the end of 1535 and by February 1536, the bridge was laid with pebbles sourced from Medmenham, in Buckinghamshire. In July 1536, work had moved on to the crenulated parapet; Oxford masons John Roper and Thomas Whetherall supplied coping stones from the quarry in Headington. Twelve heraldic beasts decorated the parapet, made by carvers Harry Corant of Kingston and Rychard Rydge of London, and were set up on the bridge in autumn 1536.
A sad end
The bridge was meticulously maintained and in continuous use for over 150 years until June 1689 when William III and Mary II’s
Excavation of the Tudor moat bridge in 1909 (Source: Historic England Archive) and a fragment of a stone shield bearing the arms of Jane Seymour discovered during the works.
major rebuilding project meant that a substantial portion of the Tudor palace was destroyed. Large quantities of unrecyclable building rubble and rubbish from the demolished palace were dumped in the moat, burying Henry VIII’s bridge. Whilst the 16th century buildings on the West Front of the palace survived the onslaught of demolition, the bridge did not.
By 1691, masons were taking down the parapets and using the stonework for the foundations of the new baroque palace. The carved stone beasts were dumped unceremoniously in the moat.
By 1692, the Tudor moat and bridge were gone and would lie forgotten for two centuries. →
Part of the Tudor bridge was rediscovered during drainage works in 1872, but it was initially kept quiet until June 1908, when a proposal was made to reinvestigate the moat and bridge by the Office of Works Surveyor, Edwin Chart, and Inspector of Ancient Monuments, Mr Fitzgerald. Excavation work began in February 1909, and by 18 March all four vaults of the old bridge had been uncovered. Consent was granted from Buckingham Palace to continue the excavations with the aim of presenting the front of the palace with the moat and bridge reinstated.
To find out what archaeology can tell us about Hampton Court’s early Tudor history read ‘Hampton Court before Henry VIII’ at hrp.org.uk/ blog
The discoveries attracted much attention and excitement in the press. However, grace-and-favour resident and palace historian Ernest Law, who wrote and authorised several articles, was accused of taking all the glory.
‘Any reader would suppose that the entire credit is due to Ernest Law’, complained one reader, ‘whereas it is due to the late Fitzgerald, who used to say that Ernest Law was coming to believe that he had built Hampton Court himself’.
Law continued to ruffle feathers, writing articles for The Times, to the point that even King Edward VII became involved in the dispute.
The King took a keen interest in the excavations, and on Chestnut Sunday in May 1909, made a surprise visit to the palace to inspect the works personally. He continued to follow progress closely until his death in May 1910, after which George V took his own interest in the project.
As excavations continued, many significant archaeological objects were uncovered, some of which can be found in our collection today. They include a fragment of Reigate stone shield bearing the arms of Jane Seymour. The shield was once held by one of the King’s beasts, perhaps flanking Henry’s bridge and was later replicated on the restored bridge.
The reinstatement of the beasts and parapet was carried out in line with Ernest Law’s research and was based on fragments of the coping stones and beasts found during the excavations.
The discoveries attracted much attention and excitement in the press.
The arrangement of the beasts was also discussed, and whilst only ten pillar bases were discovered during the excavations, they agreed that the Henrician accounts recorded a total of 12 (alterations to the Great Gatehouse in the 19th century meant 12 wouldn’t fit when the beasts were reinstated).
New beasts
The newly restored bridge barely lasted 40 years before falling into disrepair. In October 1947, FL Rothwell, Senior Architect of Historic Buildings, reported that nine of the ten beasts were disintegrating, having been carved in soft Portland stone, with one beast having fallen off its pedestal. The beasts were beyond repair, so new ones were carved in compact Whitbred Portland stone. The new beasts were installed on the bridge in spring 1950.
Work goes on …
The beasts and the bridge continue to need regular maintenance and repair. The most recent works took place in winter 2023/spring 2024. A structural survey in 2023 identified areas of extensive decay to the stone shafts and decorative forms, which required immediate attention, and the plinth supporting the Jane Seymour panther had become unstable. Consequently, the beast had to be removed in order to replace a section of the supporting column.
After the removal of the panther, coins were found inserted into the mortar joints bonding the stonework together. One coin located beneath the panther was identified as a George VI sixpence. We think the coins were left behind by craftsmen in 1949 or 1950 as a tiny time capsule for later generations to find.
The photographs recording the restoration works in 1909 and 1910 as well as the repairs of 1948-50 are wonderful to see. Whilst many things have changed since then, the general processes of restoration, conservation and maintenance have not.
To work at Hampton Court Palace is special for many reasons, but for me nothing is more special than working in the footsteps of past craftspeople, surveyors and archaeologists.
We put Alexandra ‘On the spot’ in this issue. See page 52.
THANK YOU
Your support helps us preserve our palaces for future generations. To learn more about the current conservation work on the Great Gatehouse and to plan your next visit, see hrp.org.uk/ hampton-courtpalace/work
Take a trip to the Disney Winnie the Pooh hunny trail for a playful adventure inspired by Winnie the Pooh and Friends.
This special feature, just for members, is packed with fun quizzes, games and activities to get you and your little ones ready for our new family trail at Hillsborough Castle and Gardens this summer (set in our very own 100-acre garden).
Oh, bother! Pooh’s cupboard is quite empty, he’s lost his hunny pot. Can you help him find it? Draw a line through the maze to the hunny pot.
Can you guess which character said what?
‘Bouncing is what I do best!’
‘T-T-Today is a good day for being brave’
‘Oh, bother’
‘It’s not much of a tail, but I’m sort of attached to it’
Winnie the Pooh
Can you do the same?
Read the riddle carefully and see if you can figure out the answer.
I’m golden and sticky, a snack that’s so sweet
Pooh loves to eat me—he thinks I’m a treat! What am I?
Winnie the Pooh may be known as a silly old bear, but did you know that he is full of wisdom? Fill in the blanks below to complete some of the most inspirational and well-known quotes from Winnie the Pooh and Friends.
‘Doing nothing often leads to
Choose from: nothing or something
‘You’re braver than you believe, and stronger than you seem, and _________________ than you think.’
Choose from: faster, smaller, smarter, stickier
Grab your pencils and enjoy colouring in Winnie the Pooh and Friends.
Come along to Hillsborough Castle and Gardens between 28 June and 31 August for a hunny-ful adventure. Members go
Summer has arrived, and the palaces are buzzing with excitement! From historic performances to magical garden trails, there’s plenty to explore.
Gather the family and make this season one to remember with unforgettable days out at the palaces. Check hrp.org.uk for more details, members go free (unless otherwise stated).
Until 31 August
Summer live performances
Daily live performances at the Tower of London*
12-13 and 19-20 July
Henry VIII’s Joust
Watch in awe as fearless knights on horseback clash in a thrilling test of skill and courage. Keep an eye out for the ‘Heralds of the King’s Favour’ – winners of our young members’ competition.
Until 31 August
New! Disney Winnie the Pooh Hunny Hunt
Winnie the Pooh’s cupboards are quite empty, and he needs clever, kind adventurers (that’s you!) to help find his missing hunny pots. Join the trail around Hillsborough’s own 100-acre garden.
Hillsborough Castle and Gardens
Tower of London
Hampton Court Palace
Kensington Palace
25 July – 07 September
New! The Peter Rabbit™ Adventure
Hop, skip and jump into a magical garden trail where Peter Rabbit™ and friends are waiting to be found! Solve puzzles, discover beloved characters and uncover the wonders of nature.
Open
The Magic Garden School’s out for summer! Head to the Magic Garden to face mysterious mythical beasts and storm the battlements in this magical children’s playground.
26 July – 30 August
Unheard Voices
Meet fascinating people from the Tudors to the Georgians and uncover their remarkable, unheard stories. Daily live performances*
19 July – 31 August
The Golden Circle
Many ambitious and talented people flocked to Kensington Palace in search of power and prestige. Discover what it took to enter the golden circle of trusted favourites of the King and Queen. Daily live performances*
23-25 August
Food Festival
Tuck into tasty street food, get creative with arts and crafts, take on classic fête games, or show off your circus skills –there’s something for everyone!
The Crown Jewels
Tower treasure hunters, be dazzled by this world-famous collection of 23,578 gemstones.
The Imaginary Menagerie Embark on an animal-inspired adventure with our interactive garden trail, celebrating the wildlife that calls Hillsborough home!
*Visit hrp.org.uk for excluded dates.
25 October – 02 November
Halloween at Hampton Court Palace
Explore Henry VIII’s notoriously haunted palace this October half term, the spookiest time of the year at the palace.
25 October – 02 November
Halloween at Hillsborough Castle and Gardens
Get closer to nature this Halloween; join a family workshop, navigate the twisty maze and go on a storytelling walk.
Find our full programme of events.
04 October – 09 November Scarecrow Parade
See the Walled Garden vividly brought to life with spectacular scarecrows.
Visit your members’ digital hub – TheVault – to find fun printable colouring sheets for The Peter Rabbit™ Adventure and marvellous minibeasts to enjoy at home!
Pre-booking via your member login is required for select events; look out for the ticket icon. Many events are included in palace admission; some require separate event tickets. See hrp.org.uk and check What’s On for details.
Your favourite royal myths – busted by our spoilsport historians! But often the truth can be stranger and more fascinating than the fiction …
ELIZABETH I WAS REALLY A MAN
Tracy Borman, Chief Historian
Elizabeth I’s influential minister Robert Cecil once reflected that the Queen was ‘more than a man, and, in truth, sometimes less than a woman’.
Contemporaries were at a loss as to how she, ‘a weak and feeble woman’, could wield power so effectively. They also speculated wildly as to why she chose never to marry – something that still sparks debate today.
One outlandish theory is that she was really a man! The story goes that in 1542, the 9-year-old Elizabeth was sent by her father Henry VIII to Overcourt House in the Cotswold village of Bisley because plague was rife in London. Whilst there, she caught a fever and died. →
Knowing that the King was on his way to visit, one of her attendants searched the village for a girl who closely resembled Elizabeth. But the only contender was a boy, so in desperation they dressed him in the Princess’s clothes.
The theory was first spouted by Thomas Keble, vicar of Bisley in the 1800s, who recorded that during renovations at Overcourt, he had found an old stone coffin containing the skeleton of a girl aged about 9, dressed in Tudor clothing. It became part of local folklore but gained more widespread renown in 1910 when written up by Bram Stoker, creator of Dracula, in his book, Famous Imposters. Conspiracy theorists seized upon it, but is it really plausible?
During the first 20 years of Elizabeth’s reign, when she was considered as a potential bride her body was closely scrutinised. She underwent an intimate examination by a physician to prove that she was capable of bearing children, and foreign ambassadors bribed court laundresses to report on her periods. And Henry VIII might just have noticed if his daughter had been swapped for a male imposter! I think the theory owes more to the prejudice against female rulers, rather than any sound factual basis.
Don’t miss ‘Elizabeth I –The Women who shaped a Queen’ – a podcast with Tracy Borman exploring the life of the last Tudor monarch through the women who made her.
Opposite Queen Elizabeth I by an unknown English artist, c1600. Was the young Elizabeth swapped for a male imposter?
© National Portrait Gallery, London
Below Princess Victoria in 1822-3 with a toy rabbit. Perhaps this was the figure on which she based the White Rabbit!
Gabrielle Fields, Curatorial PhD student
The Alice books (Alice in Wonderland and Alice through the Looking Glass) are commonly classed as ‘Nonsense Literature’. Even more nonsensical than these stories, however, is the suggestion that their true author was none other than Queen Victoria. This theory was circulated through a thorough comparison of the books against the timeline of Victoria’s life in the 1980s, and it was concluded that the Alice books were a secret autobiography.
In this reinterpretation, many dubious parallels are drawn between Victoria’s life and Alice’s fictional escapades, supposing for example that Alice’s caution about swallowing the ‘Drink Me’ potion represents the rumour that Victoria’s uncle the Duke of Cumberland was plotting to poison her in order to take the throne. Another alleged similarity is that many of the creatures in the Alice books range from 3 to 9 inches in height, just as Victoria’s childhood dolls did. Furthermore, the fastidious mythmaker determined that the word ‘very’ appears in both the Alice books and in Victoria’s childhood journals as italicised 34.5% of the time. Equally, the other mostitalicised words in both were ‘not’, ‘all’, ‘quite’ and ‘little’. Or could it simply be a coincidence that these are all commonly emphasised words?
Personally, I’m not convinced. Queen Victoria didn’t need to write a secret autobiography. In reality, she was the only British monarch to publish a memoir – two memoirs, in fact – during her lifetime. These bestsellers, Leaves from the Journal of Our Life in the Highlands and More Leaves from the Journal of Our Life in the Highlands, were publications of her journal entries, documenting her time in her own Wonderland – Scotland! →
Jemima Hubberstey, Research Officer
On 10 June 1688, Mary of Modena, second wife of James II, gave birth to a son, James Francis Edward. The birth was a momentous occasion – after 15 years of marriage, the royal couple had finally produced a healthy heir. Yet celebrations were soon dampened as rumours began to circulate that the newborn Prince was an imposter, smuggled into the Queen’s bedchamber in a warming pan (a pan filled with hot coals to warm the bed).
This is, of course, a myth. But the question is not so much whether this rumour was true, but rather, why was it created in the first place?
It was ultimately down to religion. England had been a Protestant country for over a century and, as Catholics, James II and his wife had always been treated with suspicion. In the absence of an heir, it was assumed that the succession would fall to James’s eldest daughter, the Protestant Mary, who was married to William of Orange of the United Provinces. However, the unexpected birth of a prince threatened to cement their Catholic rule. The King’s enemies, therefore, used rumours to sow seeds of doubt about the heir’s legitimacy.
James tried to dispel the rumours, but the damage had been done. A number of nobles and clergymen invited James’s son-in-law, the Protestant William of Orange, to come and protect England from alleged Catholic tyranny. William landed in England on 5 November 1688, and as he advanced towards the capital, James fled to France with his wife and son. The Convention Parliament ruled that this escape counted as abdication, and James and his family remained in exile – setting in motion political conflicts for the next 70 years as James’s descendants would try, in vain, to reclaim the throne.
Above
The ‘warming pan bed’ in the Queen’s Bedchamber at Kensington Palace.
Explore items from Queen Victoria’s wardrobe and other treasures from the Royal Ceremonial Dress Collection in stunning detail online at goo.gle/ royalwardrobe
Claudia Acott-Williams, Curator (Collections)
Those of the ‘we are not amused’ school of thought, have often mistaken Queen Victoria’s abstention from colour in later life as proof that she wasn’t interested in fashion. Did the adoption of a royal uniform of sorts betray a sartorial laziness?
The garments themselves would suggest not. Victoria’s lifelong adoption of mourning dress following the tragically early death of her husband, Prince Albert, in 1861 was itself a bold sartorial statement. Two years was the traditional
duration for a widow to mourn. Victoria wore her grief for almost four decades and, in so doing, ensured a constant visual reminder of her love for her husband and her successful perpetuation of the royal line.
Many of these garments now live in the Royal Ceremonial Dress Collection’s stores at Hampton Court Palace. On close inspection, even her mourning garments are rich in embellishment and variety. The matt bombazine and crêpe of her early mourning clothes eventually relent to the sparkle of jet, sequins and even the occasional concession to white lace.
Even in her advancing years, the cut of her clothing evolves in gentle acknowledgement to changing fashions, revealing her adoption of the bustle and the distinctive ‘S’-shaped silhouette fashionable in the 1870s and 1880s. Perhaps surprisingly, her sombre garb made her something of a fashion influencer. Widows across Britain modelled themselves in her image, shrouded in black for far longer than ever before and encouraging a roaring trade in the production of mourning dress!
Far from a lack of interest in clothing, the Queen appears to have revelled in its potential for communication, frequently ignoring the traditional rules of royal dress in her expression of love, grief, power and approachability. Instead, she crafted an image which was uniquely her own and ensured she was globally recognisable.
As part of our podcast series ‘A Space I Love’, join Curator Alfred Hawkins inside the Chapel of St Peter ad Vincula to explore its role as both royal burial site and living place of worship.
Alfred Hawkins, Buildings Curator
Of all the Tower’s myths relating to Anne Boleyn, the most emotive is that she was buried beneath the eastern end of the Chapel of St Peter ad Vincula, a story that stems from 1876 when the interior of the Chapel was excavated. On 9 November that year:
Below Queen Victoria mourning dress (detail), c1889. During the Queen’s reign, it became a social requisite to wear black from anywhere between three months to two and a half years while grieving a loved one.
bones … were found ... examined by Dr Moat, who at once pronounced them to be of a female between 25 and 35 … of a delicate frame … who had certainly been of slender and perfect proportions … the vertebrae were particularly small … and they bore witness to the Queen’s ‘lyttel neck’. These remains were re-interred in the same space and covered by a marble memorial pavement definitively identifying them as the executed Queen. However, the excavation accounts mention no dating evidence, and in 1876 human remains were assessed by what we now recognise as a completely unreliable method called ‘phrenology’, which compared human bones to an ‘ideal’ standard indicating intelligence or beauty. Most significantly, there was no description of what would have been devastating damage to the vertebrae caused by the executioner’s sword.
Only one aspect of this story makes sense: the bones were excavated from the chancel (the holiest part of the Chapel), and this would be a fitting burial place for a queen of England.
However, for the next 300 years after Anne’s death the Chapel was used as a burial place, so it is highly unlikely that these are her remains, although they may lie elsewhere in the crypt. Despite the myth, the Chapel remains a sacred space in which to engage with the story of the tragic Tudor queen, regardless of the ‘truth’ of the exact location of her body.
In each issue of Inside Story we put your questions to a member of Historic Royal Palaces’ staff.
Alexandra joined Historic Royal Palaces in 2016. She undertakes research and investigations at all the London palaces, often working with contractors on site to ensure any potential archaeology is protected and recorded. She is also the curatorial lead for the Archaeological Collection, which comprises over 172,000 items.
Why did you choose this career?
Surprisingly, archaeology was not my first love, although I studied it at university, combined with French Studies and Ancient History. I knew I wanted something more adventurous than a desk job, I wasn’t sure what! After university I tried various temporary jobs, including working at a hospice and handing out speeding fines for Thames Valley Police, before returning to work in the Archaeology Department of my old university. I gained valuable experience, then moved to France for the next ten years,
supervising and working alongside teams at sites excavating remains from all eras of history.
How do you spend your time? No day is the same. I love working with all the different teams and contractors at the palaces. I spend a lot of time being called out to everyday maintenance and conservation projects, to make decisions or undertake archaeological monitoring. I know the sites well enough now to understand where the most sensitive areas are, so how much time I spend hovering over contractors is dependent on where the work is! In advance of a planned major project, say to re-lay a large stretch of electrical cables, contractors or I will excavate trial pits to determine the extent of any archaeology along the route. Either a full-scale archaeological excavation will happen during the project, or the work will be monitored. What sort of things do you uncover?
We try to disturb the ground as little as possible but when we do, we find all sorts of things from old letters below floorboards to dumps of animal bone, pottery and clay pipes – but we need permission to
excavate deeper than 30-40cm, and have to work according to strict guidelines. Sometimes our investigations reveal parts of long-lost buildings, which have lain unseen, and sometimes unknown, for centuries. These are carefully photographed, recorded and protected before being covered up again.
What’s been your most exciting discovery so far?
For me, the most memorable is the totally unexpected. In 2017, we were digging a trench around the south-west corner of Hampton Court Palace, when Tudor brickwork began to appear. We didn’t know these buildings existed, as we had not seen them in any documents – but research suggests that they could be the surveyors’ lodgings from early in Henry VIII’s reign, or possibly Cardinal Wolsey’s time.
Do you have a ‘Holy Grail’?
We already know something of the buildings that once stood on the West Front at Hampton Court Palace, including the scalding house, bakehouses, woodyard and bridges from the wharf, but I would love to fully excavate here, and under the circular tarmac sweep we see today. I know from many accounts that before Henry VIII tidied this area in around 1535-6 it was a bustling jumble of temporary workshops, yards and buildings where people worked in a variety of noisy, messy jobs to support palace life. I’m fascinated by these lost buildings and what they might reveal about unknown, ordinary Tudor lives.
In the next issue, what would you like to ask Nivek Amichund Chief Warden and Chief Exhibitor of the Jewel House. Send us your questions at insidestory@ hrp.org.uk by 31 July 2025.
See our new online exhibition ‘Henry VIII’s Lost Tudor Gardens at Hampton Court’, which through archaeology explores the many buildings that once surrounded the palace.
‘I feel at peace with nature when exploring the gardens. I always look forward to my next visit.’
Historic Royal Palaces member