1585, London: Queen Elizabeth is gravely ill and her spymaster, Francis Walsingham, has received intelligence that there is a plot to assassinate her. He sends his protégé Kit Scarlett and Scottish agent Iomhar Blackwood to gather information. To their horror, they discover there is a plot to blow up Hampton Court Palace.
Symbols and Secrets of Hampton Court Palace
A book called ‘A Spy at Hampton Court’ could not possibly be written without a very lengthy trip to the palace itself, followed by an album full of photographs taken that day, and copious research on books written by the various palace curators. What Tudor fan wouldn’t enjoy having such an excuse to immerse themselves so completely in the Tudor palace? The key challenge for me when writing this book, was making the reader feel as if they were walking the palace corridors in the 16th century, especially when half of the palace was altered in the 17th century.
Among the grand tales of the monarchs that called this palace home, what truly makes these stories come to life? There may be modern panels retelling these stories, but they do not have the power to transport one back in time. When writing, any writer will agree it’s the details that have the ability to send the reader back hundreds of years that are as valuable to you in research as the great tales. These were the details I went in search of on my visit to Hampton Court last year.
Most Tudor fans love to glimpse the world of Henry VIII and his wives, and so it’s no surprise when walking the Tudor parts of this palace that their identities are the ones that we glimpse time and time again, more so than any of his children: Mary I, Elizabeth I and Edward VI. It’s clear that on many occasions, Henry VIII introduced elements into the architecture of the house that celebrated changes. Yet, he was a man who also sought to erase those changes from history, attempting to eradicate all signs of his former queens in the palace, bar one. Fortunately for us, some of these symbols still survive today.
There are hundreds of symbols in the palace. Among the tapestries detailing biblical tales, there are carvings in the architecture and embossed friezes full of the Tudor Rose, with red and white petals for the Houses of York and Lancaster, plus the portcullis heraldic badge, form Margaret Beaufort, Henry VIII’s grandmother. Yet between the repetitions we see time and time again, here are a few secret symbols you can find if you look hard enough.
Secret gems of Henry VIII’s Wives
Catherine of Aragon’s Pomegranates
A common symbol for Catherine of Aragon was the pomegranate, an ancient symbol for fertility and also regeneration. The pomegranate was part of her coat of arms and became part of the English heraldry upon her marriage to Henry VIII in 1509. Barely any of Catherine of Aragon’s symbols survive at the palace, for Henry ordered them to be taken down after he ended his marriage with Catherine, but there are two examples that can still be found.
In a set of stairs to the left of the great hall, there is stonework over a doorway bearing Tudor roses on the right-hand side to symbolise Henry VIII, and Spanish pomegranates on the left.
In the Chapel Royal, there are a series of panels, on one of which is a heraldic badge of a Spanish pomegranate and a Tudor rose.
Anne Boleyn’s Badge and Initial
Just as Anne Boleyn was ousted in the most dramatic way from the palace and royal life, evidence of her being queen was also removed from the palace, yet a couple of examples did survive the work of the masons.
The first survives in Anne Boleyn’s Gateway, within the stone ceiling under the archway. Beside the central Tudor Rose, there is a small circle, embossed with the letters ‘H’ and ‘A’, linked with a lover’s knot. In another of these circles is the Boleyn Falcon, associated with Anne Boleyn’s badge, bearing a crown. One could argue this was overlooked by the masons, as it was so high over their heads.
Further survivals of Anne Boleyn’s symbol exist in the Great Hall. The first is carved within the wood panelling of the hall, found on the left-hand side of the entrance. The room is littered with her symbols, for there are 43 falcons on the roof of the hall, embossed over the windows and on the hammer beams. Perhaps the masons found this task of reaching the tall roof rather too difficult. One such falcon badge was recently discovered by antiques expert Paul Fitzsimmons, who purchased it from another dealer.
The stonework was in disrepair and covered in grime and wax, but with careful restoration work, he was able to prove alongside the curators of the palace that it was one of Anne Boleyn’s heraldic badges: a crowned falcon sitting atop a tree stump that flowers with Tudor roses. By removing a layer of black paint, and with conservation, they revealed the original paint of white, red and gold. Tracy Borman, Joint Chief Curator at Historic Royal Palaces, was able to assist the work. Together along with conservators, they proved the badge was authentic to the time. It is currently on display in the great hall.
Jane Seymour’s Phoenix
Jane Seymour is the one queen who Henry VIII did not try so hard to remove all sign of from the palace, for he still had paintings of her, long after her death, and even had another commissioned in 1545, long after she had passed. He celebrated her as the one wife he loved, though of course, you could argue she was the one wife who gave him a son, or even the wife who escaped the chance for his opinion to change of her, for she died of natural causes. One of the most interesting survivors of her symbols is an embossed phoenix that rises from a tower engulfed in flames, on the ceiling of the Great Watching Chamber.
In the chapel, part of Jane Seymour secretly hides there. Beneath the altar, they say Jane Seymour’s heart rests, separated from her body at Henry VIII’s orders. Her body rests alongside Henry VIII in St George’s Chapel in Windsor.
One of the most striking paintings now sitting in what is known as the Haunted Gallery, is ‘The Family of Henry VIII’ (c1545).
The portrait illustrates King Henry VIII sat at the very centre, flanked by Jane Seymour and his son, later to be Edward VI. Within the canopies of the painting are Henry’s other children, Mary I and Elizabeth I. There are also two depictions of palace staff, now believed to be court jesters. What is unusual about this painting is that it is an imaginary scene, for Jane Seymour is shown to be alive, with their son grown, when she died shortly after his birth, around eight years before the painting was created. In this painting, we see more of what matters to Henry.
For instance, we only see Queen Jane, though at this time he was married to Catherine Parr, someone who is now considered imperative in the restoration of Mary I and Elizabeth I into the line of succession. Her absence from the painting when the daughters are present is noticeable and emphasizes once more how Henry wished to commemorate Jane more than any other queen. It could be interpreted as a state of mind. Perhaps a vivid symbol of how Henry saw his family, shortly before his death.
Within this painting, we also have a glimpse of another key set of symbols in the palace. Through one of the arches in the paintings we see the heraldic King’s Beasts, with gilt horns, carved in wood, and aloft columns. By including these beasts in the painting, it perhaps alludes to the belief Henry had in that his ancestry, and his blood, gave him the right to rule.
Animal symbols among the King’s Beasts
In 2009, 8 beasts were recreated that symbolised Henry VIII’s and the Tudor heraldry, to commemorate 500 years since his accession. Originally, Henry VIII’s version of the palace garden was home to 90 royal beasts, atop poles adorned in green and white stripes, each one designed to emphasize his ancestry and qualities as a king. These days there are just 8 in Chapel Court.
1. Golden Lion of England
The lion has been part of royal heraldry since William I and his accession to the throne in 1066. The three lions is thought likely to date to the 12th century and Richard I’s reign. The recreation lion at the palace holds a vane that bears the reverse of the traditional Tudor rose, with white petals on the inside and red petals on the outer side. The lion is thought to symbolise strength and courage.
2. Falcon of the Plantagenets
Used first by Edward III and carried on by the House of York and the Tudors, the falcon is traditionally seen perched on a pillar with one of its claws raised. When Henry VII married Elizabeth of York, he adopted the symbol into his heraldry, as part of the union of the families. The falcon is thought to represent resolve, determination and the high status of the monarchy.
3. Silver Yale of Beaufort
Introduced by the Beaufort family, and used by Henry VII and Henry VIII, the silver yale is a mythical creature. It bears the body of an antelope, a lion’s tale, horns, and the tusks of a boar. Margaret Beaufort had the yale as part of her family symbol, which was then passed onto her son and grandson. The yale represents defence and prowess in battle.
4. Seymour Panther
The panther was used both by Jane Seymour, and the Beaufort family. The Seymour Panther is no normal cat, for it has the tale of a lion and the claws of an eagle. Unusually, it’s often presented as being enraged, with flames spurting out of its ears and mouth. Henry VIII added the original beast to the privy garden of the palace in 1536 when Anne Boleyn was executed, and Jane became queen. The panther is thought to be a symbol of Christ.
5. White greyhound of Richmond
Used by the House of Lancaster and Edmund Tudor. A white greyhound, sitting on its back paws, chained and collared. It holds a vane bearing the emblem of the fleur-de-lis, another heraldic symbol, representing France. It represents loyalty and honour.
6. Red Dragon of Wales
Used by the Tudor dynasty to symbolise monarchy over Wales. The red dragon holds a vane with the flag of St George. First adopted by Owen Tudor, to emphasise his Welsh heritage, it represents valour and bravery.
7. Black Bull of Clarence
Used by the House of York and Henry VIII, the black bull is embellished with golden hooves and horns. Originally a badge for Lionel of Antwerp, 1st Duke of Clarence, the second son of Edward III, he was the ancestor of the House of York. It became a royal badge later, used by Edward IV and then Henry VIII.
8. White Hart of York
Used by Richard II, the House of York and the Tudor Dynasty. The white hart or stage stands upright, with a golden chain and collar, bearing a vane with a Tudor rose. The hart was originally adopted as a Yorkist badge and used in Edward V’s coat of arms. It’s believed it’s derived from Richard II’s mother’s coat of arms, Joan of Kent. Legend has it, it was chosen as a pun associated with his name – Rich – hart. The white hart is said to represent purity, piety and spirituality.
There are few other interesting things to see in the palace if you know where to look…
- Eavesdroppers in the great hall. These are small effigies of faces, peering over the hall as people ate, reminding all that Henry VIII hears all that goes on in his court!
- Contemporary Graffiti on the King’s staircase, mostly people’s names, but there is a Tudor-style shoe engraved into the stone.
- There are a couple of hints which offer a glimpse of the original builder of Hampton Court Palace. Firstly, the Coat of Arms of Wolsey in Clock Court, situated on the rear of the Boleyn Gatehouse. Secondly, the figure of Cardinal Wolsey in a stained-glass window of the Great Watching Chamber, surrounded by heraldic symbols, installed in 1845. Finally, Thomas Wolsey’s tapestries in the Great Watching Chamber survive to this day, which recount biblical and moral tales.
- In the chapel, the royal motto ‘Dieu et mon droit,’/“God and My Right” appears 32 times, along with 60 gilded winged angels.
These are some of the fascinating symbols and secrets that can be found in Hampton Court Palace today. When writing the third instalment for the Kit Scarlett Mystery series, these were the details that brought the palace to life for me again and again. Some details found their way into the book, and others didn’t, but it’s the brief glimpse we have of these symbols as Kit Scarlett is running through her adventure that can transport the reader back to the palace corridors in Elizabethan England and remind us just what the ruling powers concerned themselves with displaying for their courtiers to see.
Adele Jordan
Sources:
Hampton Court Palace
Hampton Court Beasts | Hampton Court Palace | Historic Royal Palaces (hrp.org.uk)
Anne Boleyn In Hampton Court Palace - How To Find Secret Symbols, Initials & Her Falcon! (thirdeyetraveller.com)
Hampton Court: Behind Closed Doors | Hampton Court Palace | Historic Royal Palaces (hrp.org.uk)
Hampton Court Palace I Historic Royal Palaces (hrp.ork.uk)
Architecture – The Chapel Royal (chapelroyalhamptoncourt.org.uk)
Mainly Museums - Hampton Court – the Tudor Palace
British School, 16th century - The Family of Henry VIII (rct.uk)
Queen Anne Boleyn’s falcon badge on show - Marhamchurch Antiques
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About the Author
Adele is a writer with a fascination for history. Her focus is fiction in the Tudor era, telling the stories of women and adventure. Whether it’s inspired by true events or created purely from imagination, she desires to write stories from this captivating era that haven’t been written before of those on the edges of society, the paupers, the spies, the workers and those who have not had a voice. Adele studied English at the University of Exeter before moving into an eclectic career of publishing and marketing. Having worked with the National Trust’s photography department for two years, Adele travelled the country to visit the landscapes and historical places that have carved England and Wales’s heritage. When Covid struck, the job disappeared overnight, and Adele committed her time to ghost writing and authoring her own stories. Since then, she has had over fifty successful books published in pseudonyms and hopes to turn that success into stories now written in her own name. Find out more at Adele's
website and follow her on Twitter
@ALJordan_writer
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