Tudor Royal Progresses

Last updated

Tudor Royal Progresses were an important way to for the Tudor monarchs to consolidate their rule throughout England. [1] Following his victory at the Battle of Bosworth in August 1485, the first Tudor monarch, Henry VII, ensured his coronation (November 1485), called a parliament (November 1485), married Elizabeth of York (January 1486) – all in London before embarking on his first Royal Progress in March 1486. [2] The last Tudor Royal Progress took place in summer 1602, [3] as Elizabeth I, the last Tudor monarch died in March 1603. [4]

Contents

Henry VII: 1485–1509

Prince Arthur

Henry VIII

Edward VI

1552: Edward VI embarked on a short progress to Guilford, but this was soon abandoned. [8]

Mary I

As a Princess, Mary Tudor accompanied her father on royal progresses.

As Queen, Mary was less ardent about making royal progresses. The unpopularity of her husband and her own ill health led her to remain in her royal residencies near London.

Elizabeth I

The Elizabethan Royal Progresses played an important role in enabling Elizabeth I to exercise and maintain her royal authority. During each year of her 44 years reign she insisted her court accompanied her on a progress in the spring and summer months. [8]

Related Research Articles

<span class="mw-page-title-main">Elizabeth of York</span> Queen of England from 1486 to 1503

Elizabeth of York was the Queen of England from her marriage to King Henry VII on 18 January 1486 until her death in 1503. She was the daughter of King Edward IV, and her marriage to Henry VII followed his victory at the Battle of Bosworth Field, which marked the end of the Wars of the Roses. Together, Elizabeth and Henry had seven children.

<span class="mw-page-title-main">Masque</span> Courtly entertainment with music and dance

The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe, though it was developed earlier in Italy, in forms including the intermedio. A masque involved music, dancing, singing and acting, within an elaborate stage design, in which the architectural framing and costumes might be designed by a renowned architect, to present a deferential allegory flattering to the patron. Professional actors and musicians were hired for the speaking and singing parts. Masquers who did not speak or sing were often courtiers: the English queen Anne of Denmark frequently danced with her ladies in masques between 1603 and 1611, and Henry VIII and Charles I of England performed in the masques at their courts. In the tradition of masque, Louis XIV of France danced in ballets at Versailles with music by Jean-Baptiste Lully.

<span class="mw-page-title-main">Mary Fitton</span> 16th/17th-century English gentlewoman and maid of honour to Elizabeth I of England

Mary Fitton was an Elizabethan gentlewoman who became a maid of honour to Queen Elizabeth. She is noted for her scandalous affairs with William Herbert, 3rd Earl of Pembroke, Vice-Admiral Sir Richard Leveson, and others. She is considered by some to be the "Dark Lady" of Shakespeare's sonnets.

<span class="mw-page-title-main">Theobalds House</span> Stately Home/ Royal Palace

Theobalds House in the parish of Cheshunt in the English county of Hertfordshire, north of London, was a significant stately home and (later) royal palace of the 16th and early 17th centuries.

John Manningham was an English lawyer and diarist, a contemporary source for Elizabethan era and Jacobean era life and the London dramatic world, including William Shakespeare.

James Calfhill (1530?–1570) was an Anglican priest, academic and controversialist, who died as Archdeacon of Colchester and Bishop-designate of Worcester.

Palamon and Arcite (1566) is a play by Richard Edwardes, which was performed before Elizabeth I at Oxford. It is based on Chaucer's The Knight's Tale. Though the text of the play is lost, there is a detailed record of its structure and plot.

Ralph or Ranulph Cholmley, of London, was an English politician.

<span class="mw-page-title-main">Partlet</span>

A partlet was a 16th-century fashion accessory. The partlet was a sleeveless garment worn over the neck and shoulders, either worn over a dress or worn to fill in a low neckline.

Lady Audrey Walsingham was an English courtier. She served as Lady of the Bedchamber to queen Elizabeth I of England, and then as Mistress of the Robes to Anne of Denmark from 1603 until 1619.

<span class="mw-page-title-main">Coronation of Elizabeth I</span> Initiation rite performed to Elizabeth I of England on 1559

The coronation of Elizabeth I as Queen of England and Ireland took place at Westminster Abbey, London, on 15 January 1559. Elizabeth I had ascended the throne at the age of 25 upon the death of her half-sister, Mary I, on 17 November 1558. Mary had reversed the Protestant Reformation which had been started by her two predecessors, so this was the last coronation in Great Britain to be conducted under the authority of the Catholic Church. Historians view Elizabeth's coronation as a statement of her intention to restore England to Protestantism, but to allow the continuation of some Catholic customs, a compromise known as the Elizabethan Settlement.

<span class="mw-page-title-main">The Princely Pleasures, at the Court at Kenilworth</span>

The Princely Pleasures, at the Court at Kenilworth (1576) by George Gascoigne, is an account of courtly entertainments held by Robert Dudley, the first Earl of Leicester upon Queen Elizabeth I’s three weeks visit to his Kenilworth Castle, Warwickshire in 1575. Based on European festival book models, Gascoigne's pamphlet is an idealized version of the courtly revels occasioned to entertain the Queen during her stay at the castle from 9 July to 27 July.

Dorothy Hastings was a courtier to Elizabeth I of England and Anne of Denmark

Mary Radcliffe or Ratcliffe (1550-1617) was a courtier of Queen Elizabeth I of England.

The Harefield Entertainment included hospitality and performances for Elizabeth I of England in August 1602. Several copies of the performance script survive, probably written by John Davies, along with the original manuscript accounts of the Queen's host which seems to have been manipulated by literary forgery in the 19th-century to enhance their interest.

The Hermit's Welcome at Theobalds was an entertainment for Elizabeth I performed in May 1591, based around a Hermit.

Philadelphia, Lady Scrope was an English aristocrat and courtier.

<span class="mw-page-title-main">Affabel Partridge</span>

Affabel Partridge was a London goldsmith who served Elizabeth I. He is thought to have marked his work with a hallmark of a bird.

The Entertainment of the Two Kings of Great Britain and Denmark or The Hours was written by Ben Jonson and performed at Theobalds House on 24 July 1606. John Harington of Kelston described another masque of Solomon and Sheba, performed one day at Theobalds after dinner. There is some doubt over Harington's account. In May 1607 another masque An Entertainment of the King James and Queen Anne at Theobalds was performed when the keys of the house were given to Anne of Denmark.

A chamberer was a female attendant of an English queen regnant, queen consort, or princess. There were similar positions in aristocratic households.

References

  1. "Royal progresses and their importance - Tudor Tuesdays". Hever Castle. Hever Castle Ltd. 11 May 2021. Retrieved 14 June 2022.
  2. Wheeler, Helen (30 July 2017). "King Henry VII 1485 - 1486 Chronology - Tudor Nation". www.tudornation.com. Tudor Nation. Retrieved 14 June 2022.
  3. Pearce, Ken. "History Show - Queen Elizabeth I comes to Harefield". You Tube. Uxbridge FM. Retrieved 14 June 2022.
  4. "Elizabeth I slept here - a look at the Queen's summer progresses". British Heritage. British Heritage Travel. Retrieved 14 June 2022.
  5. C. E. McGee, 'Mysteries, Musters, and Masques', Jayne Elisabeth Archer, Elizabeth Goldring, Sarah Knight, Progresses, Pageants, and Entertainments of Queen Elizabeth (Oxford, 2007), p. 108.
  6. C. E. McGee, 'Mysteries, Musters, and Masques', Jayne Elisabeth Archer, Elizabeth Goldring, Sarah Knight, Progresses, Pageants, and Entertainments of Queen Elizabeth (Oxford, 2007), p. 109.
  7. Historical Manuscripts Commission, 12th Report, Appendix 9: Gloucester (London, 1891), p. 444.
  8. 1 2 Cole, Mary Hill (1999). The portable queen: Elizabeth I and the politics of ceremony (PDF). Amherst: University of Massachusetts press. ISBN   1-55849-214-3.
  9. Historical Manuscripts Commission, 12th Report, Appendix 9: Gloucester (London, 1891), pp. 442–3.
  10. Melita Thomas, The King's Pearl: Henry VIII and his daughter Mary (Amberley, 2017), pp. 80-83.
  11. C. E. McGee, 'Mysteries, Musters, and Masques', Jayne Elisabeth Archer, Elizabeth Goldring, Sarah Knight, Progresses, Pageants, and Entertainments of Queen Elizabeth (Oxford, 2007), p. 109: David Loades, Mary Tudor (Oxford: Basil Blackwell, 1989), p. 45.
  12. Siobhan Keenan, 'Spectator and Spectacle: Royal Entertainments at the Universities in the 1560s', Jayne Elisabeth Archer, Elizabeth Goldring, Sarah Knight, Progresses, Pageants, and Entertainments of Queen Elizabeth (Oxford, 2007), p. 87.
  13. Siobhan Keenan, 'Spectator and Spectacle: Royal Entertainments at the Universities in the 1560s', Jayne Elisabeth Archer, Elizabeth Goldring, Sarah Knight, Progresses, Pageants, and Entertainments of Queen Elizabeth (Oxford, 2007), p. 95.
  14. C. E. McGee, 'Mysteries, Musters, and Masques', Jayne Elisabeth Archer, Elizabeth Goldring, Sarah Knight, Progresses, Pageants, and Entertainments of Queen Elizabeth (Oxford, 2007), p. 105.
  15. C. E. McGee, 'Mysteries, Musters, and Masques', Jayne Elisabeth Archer, Elizabeth Goldring, Sarah Knight, Progresses, Pageants, and Entertainments of Queen Elizabeth (Oxford, 2007), p. 115.
  16. Zillah Dovey, An Elizabethan Progress: The Queen's Journey into East Anglia (Stroud: Alan Sutton, 1996).
  17. Peter Davidson & Jane Stevenson, 'Elizabeth's Reception at Bisham', Jayne Elisabeth Archer, Elizabeth Goldring, & Sarah Knight, The Progresses, Pageants, & Entertainments of Queen Elizabeth (Oxford, 2007), p. 207.
  18. Gabriel Heaton, Writing and Reading Royal Entertainments: From George Gascoigne to Ben Jonson (Oxford, 2010), pp. 102-116.