{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='The cultural legacy of Englands King Henry VIII' data-url='/boclips/videos/5c54bd06d8eafeecae131057' data-video-url='/boclips/videos/5c54bd06d8eafeecae131057' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nThe cultural legacy of Englands King Henry VIII\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eHampton Court Palace, 14 April 20091.Wide of Hampton Court Palace2. Pan left to right of Clock Court 3. Close of clock at Clock Court 4. Medium of Palace's window5. Medium of terracotta roundel depicting Roman Emperor...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eHampton Court Palace, 14 April 2009\u003cbr/\u003e1.Wide of Hampton Court Palace\u003cbr/\u003e2. Pan left to right of Clock Court \u003cbr/\u003e3. Close of clock at Clock Court \u003cbr/\u003e4. Medium of Palace's window\u003cbr/\u003e5. Medium of terracotta roundel depicting Roman Emperor Traianus\u003cbr/\u003e6.SOUNDBITE: (English): Kent Rowlinson, Building Curator at Hampton Court Palace:\u003cbr/\u003e\"What absolutely defines the Tudor style in architecture in England is this amazing use of brick, so you start seeing brick buildings on a huge scale for the first time in the country. And also it's just the lavishly decorated fa�ade and the lavishly decorated interiors, with pattern absolutely everywhere.\"\u003cbr/\u003e7. Close of bas-relief outside of Palace\u003cbr/\u003e8. Various of chimneys\u003cbr/\u003e9.  Close of terracotta roundel depicting Roman Emperor\u003cbr/\u003e10. Tilt-down from ceiling to hall at Henry VIII State Apartments \u003cbr/\u003e11. Medium of stained glass window depicting Henry VIII\u003cbr/\u003e12. Close of stained glass window  depicting Henry VIII\u003cbr/\u003e13. Tilt-up from hall at Henry VIII's State Apartments to ceiling\u003cbr/\u003e14. Bas-relief on ceiling of fleur-de-lis or French lily \u003cbr/\u003e15. Bas-relief on ceiling of Tudor rose\u003cbr/\u003e16. SOUNDBITE: (English): Kent Rowlinson, Building Curator at Hampton Court Palace:\u003cbr/\u003e\"The room we're standing in here has this amazing ceiling that's partly influenced by Italian sort of ideas of architecture and pattern, but it's also influenced by this Medieval history, so every dome, every sort of boss (an ornamental projection), in this ceiling has a royal badge on it.\"\u003cbr/\u003eChiddingstone, 15 April 2009\u003cbr/\u003e17. Pan left to right of countryside\u003cbr/\u003e18. Wide of Chiddingstone Tudor village\u003cbr/\u003e19. Medium of timber-frame and plaster house exterior\u003cbr/\u003e20. Tilt-up group of houses\u003cbr/\u003e21. Close of window on house\u003cbr/\u003e22. Close of chimney\u003cbr/\u003eHampton Court Palace, 14 April 2009\u003cbr/\u003e23. Pan left to right of Hampton Court exterior\u003cbr/\u003e24. Tilt-down of Palace's kitchen\u003cbr/\u003e25. Pan left to right of fake meat on kitchen table\u003cbr/\u003e26. Close of fake meat on table\u003cbr/\u003e27. Close of pot containing thyme\u003cbr/\u003e28. Walking shot of Marc Meltonville, Food Historian at Hampton Court Palace\u003cbr/\u003e29. SOUNDBITE (English): Marc Meltonville, Food Historian at Hampton Court Palace\u003cbr/\u003e\"I keep calling this a kitchen, but it isn't. It's a food factory. Hampton Court is a massive, opulent hotel. And the kitchen occupied one third of the ground floor. Fifty-five or more rooms, with 200 staff in them. And they had to feed 600 people twice a day.\"\u003cbr/\u003e30. Medium of soup pots\u003cbr/\u003e31. Tilt-up of soup pot\u003cbr/\u003e32. Tilt-up of oven\u003cbr/\u003e33. Medium of king and queen's table seats at Henry VIII State Apartments \u003cbr/\u003e34. Pan right to left of gardens outside Hampton Court estate\u003cbr/\u003e35. Walking shot of costumed actress playing part of Catherine Parr, Henry VIII's sixth wife, at Palace's garden\u003cbr/\u003e36. Tilt-up from bejewelled fingers to face of costumed actress playing part of Catherine Parr, Henry VIII's sixth wife \u003cbr/\u003eLondon, 8 April 2009\u003cbr/\u003e37. Tilt-up portrait of Catherine Parr. Painting attributed to Master John. Courtesy: National Portrait Gallery of London\u003cbr/\u003e38. Close of big sleeves on portrait of Catherine Parr. Painting attributed to Master John. Courtesy: National Portrait Gallery of London\u003cbr/\u003e39. SOUNDBITE (English): Maria Hayward, Reader in History, University of Southampton\u003cbr/\u003e\"In order to get this profile to the skirt, this conical profile, she is wearing a farthingale. This is the Spanish farthingale, so it would be essentially a petticoat that would be held out with, again, strips of hosier or willow to give it that 3-D (three-dimensional) conical shape. And it's seen as been a very distinctive style for the early Tudor court.\"\u003cbr/\u003e40. Tilt-down engraving of \" Elizabeth of York; Jane Seymour\", by George Vertue, after Remigius van Leemput, after Hans Holbein the Younger. Courtesy: National Portrait Gallery, London \u003cbr/\u003e41. Tilt-down portrait of Anne Boleyn by Unknown artist. Courtesy: National Portrait Gallery of London\u003cbr/\u003e42. Close on jewels featured in portrait of Anne Boleyn by Unknown artist. Courtesy: National Portrait Gallery of London\u003cbr/\u003e43. Tilt-up portrait of Catherine of Aragon by Unknown artist. Courtesy: National Portrait Gallery of London\u003cbr/\u003e44. Tilt-down engraving showing \"Henry VIII Presenting a Charter to the Barber Surgeons Company\" by Bernard Baron, after Hans Holbein the Younger. Courtesy: National Portrait Gallery of London\u003cbr/\u003e45. SOUNDBITE (English): Maria Hayward, Reader in History, University of Southampton\u003cbr/\u003e\"The main principle garment that he has on, he has his doublet with long skirts which come down to the knee, and this would have been worn with hose; and because the doublet has such long skirts, the only part of the hose that we can see are the lower stocks, which are very similar to stockings now, and the codpieces, which was used to conceal the front closure of the hose. But it also served a double function in that sense, so it has a very practical role, but of course it also is a very potent symbol of masculinity.\"\u003cbr/\u003eHampton Court Palace, 14 April 2009\u003cbr/\u003e46. Tilt-down from clock at Clock Court to costumed actors playing Henry VIII and Catherine Parr\u003cbr/\u003e47. Close on clothes and embedded jewels worn by Henry VIII costumed actor \u003cbr/\u003e48. Close on Henry VIII costumed actor's face and hat \u003cbr/\u003e48. Medium of costumed actors playing Henry VIII and Catherine Parr talking\u003cbr/\u003eKing Henry VIII of England ascended to the throne exactly 500 years ago, on 21 April 1509. \u003cbr/\u003eThe Tudor king has achieved a near mythical status with history lovers thanks to his break from the Church of Rome and his six controversial marriages. \u003cbr/\u003eAnd during his 38 year reign, Henry left a stylistic mark as strong as his political one. \u003cbr/\u003eHenry VIII was England's first Renaissance King. \u003cbr/\u003eBoasting a solid, classical education, the King spoke several languages and was guided by the teachings of Roman historian. \u003cbr/\u003eHe also enjoyed a correspondence, which began in his boyhood, with Erasmus, one of the greatest humanist scholars of all times.\u003cbr/\u003eHenry ruled between 1509 and 1547, a time when cultural life at royal and princely courts everywhere in Europe was thriving under the sweeping humanistic, philosophical and artistic changes brought by the Renaissance. \u003cbr/\u003eNow it was a field in which the English king could compete, in spite of being at the helm of a relatively small nation\u003cbr/\u003eHampton Court Palace, built on the outskirts of London, is the king's favourite home. \u003cbr/\u003eThe building is the best surviving example of the architectural and cultural style of Henry's court. \u003cbr/\u003eKent Rowlinson is a Building Curator at Hampton Court Palace. \u003cbr/\u003eHe is also part of the team that spent over two years redecorating Henry's State Apartments to mark the king's 500th anniversary.\u003cbr/\u003eRowlinson says Hampton Court is a classic XVI century Tudor residence, built of bright, red brick, which was becoming popular at the time. \u003cbr/\u003eWhat defines the Tudor architectural style, Rowlinson says, is the lavishly decorated fa�ade and interiors, dominated by pattern. \u003cbr/\u003eThe opulence continues inside into Henry's State Apartments' with stained glass windows, expensive tapestries and patterned ceilings. \u003cbr/\u003eThe ceiling decoration, in particular, says Rowlinson, is influenced by Italian design, as well as by Medieval history. \u003cbr/\u003eIt contains several royal references: to the French the fleur-de-lis, or lily flower, for example, symbolising Henry's quest for the French territories, and to the Tudor rose, symbol of the English royal household. \u003cbr/\u003eThe palace's opulence demonstrates that Henry had the money to bring talent from continental Europe to his court: like the Bavarian astronomer who devised the elaborate clock at the Palace's so-called 'Clock Court'. \u003cbr/\u003eHampton Court was initially owned by Henry's chief adviser, Cardinal Wolsey, but when he fell out of favour in 1528, the Palace passed into the king's hands.\u003cbr/\u003eOver the course of ten years, Henry spent the equivalent of 18 million pounds today (26 million US dollars) to enlarge this royal residence. \u003cbr/\u003eAt the end of his life he had 60 houses, but none was as important to him as Hampton Court. \u003cbr/\u003eChanges in building style were also happening elsewhere in the country. \u003cbr/\u003eIn the XVI century, explains Rowlinson, many residences were rebuilt and featured for the first time window glazing and several chimneys, both a sign of wealth. \u003cbr/\u003eHouses were for the first time divided in different rooms, with passages and fireplaces, in a departure from the one-roomed medieval residences. \u003cbr/\u003eChiddingstone village, located in Kent, southern England, is a typical Tudor village featuring characteristic black timber-framing and white plaster buildings. \u003cbr/\u003eBack at Hampton Court, the king would show off his wealth by cooking and entertaining on a lavish scale, with feasts for 600 to up to a thousand guests. \u003cbr/\u003eMarc Meltonville, Food Historian at Hampton court, has been studying Tudor cooking in an effort to recreate the meals served on Henry's table. \u003cbr/\u003eHampton Court's kitchen is the largest surviving Renaissance kitchen anywhere in Europe. \u003cbr/\u003eMeltonville calls it a 'food factory' and compares it to a modern-day opulent hotel: in Henry's time, 200 people were employed here, preparing food for hundreds of guests, twice a day. \u003cbr/\u003eFresh food was the key, says Meltonville, showing that the royals could afford buying ingredients every day from the most exotic places: rice from Italy, oranges and lemons from the Mediterranean and, most importantly, meat. \u003cbr/\u003eMeat, says Meltonville, would make up about 80 per cent of a typical Tudor meal, roasted in the most expensive ways and mixed with spices from North Africa and India. \u003cbr/\u003eThere was nothing subdued about eating at Henry's court and dozens of dishes were served to guests at dinner.\u003cbr/\u003eFood abundance was yet another way for Henry to show off, says Meltonville, to tell the world England was not a tiny island on the corner of Europe, but a powerful nation instead.\u003cbr/\u003eFashion at the Tudor court was no less impressive. \u003cbr/\u003eMaria Hayward is an expert in Tudor dresses and wrote a book about clothes at the court of Henry VIII.\u003cbr/\u003eHayward says the key features of the Tudor female style is the gown, with its fitted bodies, and then coming down, a farthingale, which is essentially a petticoat, giving gowns a three-dimensional shape, and held out together by strips of hosier or willow. \u003cbr/\u003eThe farthingale, explains Hayward, was worn underneath women's dresses and was a distinctive feature of the early Tudor court. \u003cbr/\u003eOne of the most distinctive features of this period was the hood worn by women on their heads. \u003cbr/\u003eThe English gable hood, was worn by Elizabeth of York, Henry's mother, and Jane Seymour, the king's third wife. \u003cbr/\u003eA more elegant version of this head cover was the so-called 'French hood' worn by Anne Boleyn, the king's second and most famous wife. \u003cbr/\u003eAnne Boleyn was French educated and stood out at court for her refined taste. \u003cbr/\u003eBig sleeves were another feature of royal dresses, a sign the woman wearing the clothes had a lot of leisure time and money to buy meters and meters of expensive fabrics. \u003cbr/\u003eJewels were embedded in women dresses and royals sported several rings in their hands. \u003cbr/\u003eEach of Henry's wives had the right to the royal jewel store, containing precious necklaces, bracelets, brooches and rings. \u003cbr/\u003eBut that right would be taken away by the king whenever the queen would fall out of favour. \u003cbr/\u003eFashion was as elaborate for men as it was for the ladies: the doublet, or buttoned jacket, was the man's main principle garment and was worn with long skirts coming down to the knees. \u003cbr/\u003eMen wore stockings on their legs and hoses which, at the front closure, had the so-called codpiece, an extra piece of fabric to conceal the hose and private parts, and a potent symbol of masculinity. \u003cbr/\u003eHenry was a large, tall man and the emphasis of his clothes was on his shoulders. To give the sense of a bulky figure, he would wear lots of layers of shirts and jerkins. \u003cbr/\u003eIn a rather ostentatious way, says Hayward, his fingers were bejewelled with large rings and jewels embedded in the most visible parts of his clothes. \u003cbr/\u003eToday we can get a glimpse of what the real Henry looked like, with costumed actors playing the king and his last wife, Catherine Parr, dressed in Tudor clothes at Hampton Court, as part of the Palace's celebrations for his 500th anniversary.\u003cbr/\u003e\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='action-container flex justify-between'\u003e\n\u003cbutton aria-expanded='false' aria-label='Read more description' class='rp-full-description' type='button'\u003e\n\u003ci class='fai fa-solid fa-align-left'\u003e\u003c/i\u003e\n\u003cspan id='read_more'\u003eRead More\u003c/span\u003e\n\u003c/button\u003e\n\u003cdiv class='rp-report'\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv 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