Best Books of 2025: "Generalissima"--Queen Henrietta Maria and the English Civil War!

This is the second volume in a trilogy of historical novels about Queen Henrietta Maria, the wife of King Charles I; mother of Kings Charles II and James II and therefore grandmother of the Old Pretender and great-grandmother of the Young Pretender and the Cardinal Pretender. 

In this book the author traces the lives of the Queen and her family from 1640 to 1644, from the Royal palaces of Saint James, Wimbledon, Whitehall, Hampton Court, to The Hague in the Netherlands, the battlefields of the English Civil War, through betrayals--especially by Lucy Fairfax, one of her ladies-in-waiting--and attacks on Henriette (as she is called throughout the book) because she is a Catholic; storms and battles at sea, the death of her mother, pregnancies, separations, her efforts and love for her husband and her disappointments that he has not always fulfilled the promises of their marriage contract, times in York, Oxford, Cornwall, and France!

Throughout all these conflicts, dangers, and adventures, Vidal's narration, use of dialogue, and description are vivid, personal, and often poignant.

The publisher's blurb:

As the Three Kingdoms totter on the brink of anarchy, Henriette-Marie, queen of Charles I, strives to bring up their lively, growing family. In addition to her own health problems, she worries about the welfare of her mother the Dowager Queen of France, who sought refuge in London only to find herself under attack. As Henriette faces choices which may separate herself from her beloved husband and children, she seeks help from the Pope and the Irish Catholics. Meanwhile, Henriette's spy, Wat Montagu, informs her that there is a traitor within the royal household. Determined to save the throne, Henriette eventually decides to sell her jewels in order to raise an army. In spite of storms and near shipwreck as well as the attempts of her enemies to kill her, Henriette is able to return to her husband's side with an army, earning for herself the moniker of "Generalissima."

And my blurb for the book, written after reading the book in manuscript:

“From the first words of the Prologue, you're there with the Royal Family in the picture Gallery. Limned by a great historical novelist, each episode in this second volume of Vidal's ‘Henrietta of France Trilogy’ develops the characters and explores the challenges they face with vivid description and riveting action. Vidal depicts Queen Henrietta Maria's love and loyalty to her husband King Charles I and her family in the throes of the English Civil War sympathetically and realistically. Volume Three can't appear soon enough! —Stephanie A. Mann, blogger and author of Supremacy and Survival: How Catholics Endured the English Reformation

I appreciated Vidal's focus on James, the Duke of York in a couple of scenes; the author assured me that he will certainly be featured in the third volume of this work. I think a novel about his life would be wonderful from the pen of this author!

Please note again, that I was asked to blurb the book, and that I received a copy of the book. The author and I have been acquainted since my book was published, and we met at the Catholic Writers Guild Live Conference in 2010. I appreciate her craft and historical acumen.

Preview: 120th Anniversary of R.H. Benson's "The King's Achievement"

The King's Achievement, Monsignor Robert Hugh Benson's historical novel about the Dissolution of the Monasteries, was published in 1905, 120 years ago. It was one of those books I read years before I started studying the English Reformation in depth before writing my book, so I've selected it for our next Son Rise Morning Show 2025 anniversary on Monday, October 13, Columbus Day! I'll be on the air at my usual time, 7:50 a.m. Eastern/6:50 a.m. Central to discuss this anniversary and its importance. Please listen live here or catch the podcast later here.

Like its sequel, By What Authority?, which was published in 1904, The King's Achievement is a family drama, as Benson shows the divisions caused in two families by the English Reformation during the reigns of Henry VIII and Elizabeth I. One link between the two novels, for example, is the former nun, Margaret Torridon, taken from her convent by her own brother in The King's Achievement, living years later in the Catholic household of her brother-in-law and sister Mary in By What Authority?

Monsignor Robert Hugh Benson was a convert to Catholicism, the youngest son of Edward White Benson, the Archbishop of Canterbury from 1883 to 1896, and his wife, Mary. Robert's older brothers, E.F. (Edward Frederick) and A.C. (Arthur Christopher) were also authors: E.F. wrote the "Mapp and Lucia" novels and A.C. contributed to Elgar's Coronation Ode written for Edward VII in 1902 and "Land of Hope and Glory"; he was also Master of Magdalene College, Cambridge. Their sister Margaret was an Egyptologist.

After his conversion to Catholicism in 1903, Robert Hugh Benson was ordained a priest the next year. 

He wrote several novels, historical and contemporary, and consulted with Don Bede Camm, another Catholic convert, who studied the English Reformation martyrs, on his historical novels. He acknowledges Dom Bede Camm's assistance in both By What Authority? and The King's Achievement. 

Dom Bede Camm was inspired by the stories of the English Catholic martyrs beatified by Pope Leo XIII and published a two-volume book about them in 1904, Lives of the English Martyrs. He also helped the Benedictine Adorers of the Sacred Heart of Montmartre who had established a convent near the former site of Tyburn Tree, where many martyrs suffered.

So Camm was a good resource for Benson, but the characters and the dramas Benson created are fictional--although Thomas More, Thomas Cromwell, and other historical people appear in The King's Achievement. 

Ralph, the elder son of the Torridon family, works for Thomas Cromwell and he goes to visit More at his Chelsea home in Chapter V, "Master More":

It was a wonderfully pleasant house, Ralph thought, as his wherry came up to the foot of the garden stairs that led down from the lawn to the river. It stood well back in its own grounds, divided from the river by a wall with a wicket gate in it. There was a little grove of trees on either side of it ; a flock of pigeons were wheeling about the bell-turret 'that rose into the clear blue sky, and from which came a stroke or two, announcing the approach of dinner-time as he went up the steps.

There was a figure lying on its face in the shadow by the house, as Ralph came up the path, and a small dog, that seemed to be trying to dig the head out from the hands in which it was buried, ceased his excavations and set up a shrill barking. The figure rolled over, and sat up ; the pleasant brown face was all creased with laughter ; small pieces of grass were clinging to the long hair, and Ralph, to his amazement, recognised the ex- Lord Chancellor of England.

In the plot of The King's Achievement, the crucial issue is Ralph's corruption and cruelty as he does Cromwell's will, closing the monasteries and nunneries, leaving the practice of his family's Catholic faith, and even preparing to betray even his master Cromwell when his fall comes, after having betrayed Thomas More by pretending to help him. Beatrice, a young lady from More's household, loves Ralph and trusts him until he demonstrates his cruelty to More and his own family. 

It's an old fashioned novel, but Benson demonstrates great insight into Ralph's character, as he continues to serve Cromwell as he believes he is serving Henry VIII, betraying his own father, his brother Chris a monk at Lewes, and his sisters. There are some dramatic scenes of family conflict and estrangement, especially in the chapters "Father and Son" and "A Nun's Defiance", when Ralph "visits" his sister Margaret's convent to cast her out because she is underage. Benson depicts the corruption of Cromwell's visitors of the monasteries and the convents, and even as Ralph sees it himself, he accepts it as part of his duty to his master and his king. 

The twist of the novel is that the great concern of Beatrice and Chris is the redemption of the souls of Ralph and his mother, who also become cold and skeptical toward both family and Church. Beatrice and Chris work together to reconcile both of them in spite of all the suffering they've endured.

The significance of this book is that, while Dom Bede Camm was studying the English martyrs and writing individual stories about their sufferings, and at the same time helping the Benedictine Adorers of the Sacred Heart of Montmartre establish their monastery shrine near Tyburn, Monsignor Benson was offering this historical novel. 

Thus he could show what these divisions, disruptions, and sufferings meant to families, to the relationships between husband and wife, father and son, sister and brother, brother and brother, and even a man and a woman who were beginning to love each other perhaps toward being married. As dramatic as the martyrdoms of Thomas More, the three Carthusians, and Bishop John Fisher were--and Benson does not neglect them--readers can sympathize and even empathize with what the families suffered.

That's what fiction or drama can do. And Benson does it very well.

Preview: Two by Ward for the Son Rise Morning Show

For your late summer reading plan, we're going to discuss two of Josephine Ward's novels on the Son Rise Morning Show Monday, July 15, after Matt Swaim and Anna Mitchell (and perhaps Paul Lachmann, the Sound Engineer and the first voice I hear when I connect with Sacred Heart Radio on Monday mornings) come back from their summer break. 

I recommend both of these books: One Poor Scruple and Tudor Sunset. 

One Poor Scruple is a contemporary novel of manners/morals at the turn of the 19th and 20th centuries; Tudor Sunset is a historical fiction set in the last years of Elizabeth I's reign at the beginning of the 17th century (1600-1603).

I reviewed One Poor Scruple here and Tudor Sunset here.

I'll be on the Son Rise Morning Show at my usual time, about 6:50 a.m. Central/7:50 a.m. Eastern. Please listen live here or listen to the podcast later. 

Since I talked to Anna Mitchell about Josephine Ward's life and significance, I went to Eighth Day Books and bought the book that inspired her to ask me to talk about Ward in the first place: Women of the Catholic Imagination: Twelve Inspired Novelists You Should Know. I agree with Eleanor Bourge Nicholson's comments about these two novels in her essay "Josephine Ward: Transforming a Heritage of Exile". She writes of One Poor Scruple that is an "unequivocally Catholic as well as a masterfully executed novel that well deserves the positive reception" it received upon its publication "by Catholic and non-Catholic readers alike". (p. 15) It might even be a more Catholic novel today since the issue at the heart of Marge's moral dilemma is Catholic moral teaching forbidding divorce and remarriage. She wants to be accepted in British society and does not know how to resist the temptation to a prestigious marriage. Crucially, Marge is not receiving the Sacraments!

Of Tudor Sunset, Nicholson comments "that it brings together the themes that had absorbed Ward throughout her life, especially Catholic identity and its relationship to patriotism and her conviction of the operation of grace." (p. 19) When Elizabeth I is dying, Meg Scrope, who has suffered imprisonment and the threat of Richard Topcliffe's cruel attentions in Newgate Prison because of the Queen's religious policy, prays for her salvation through the grace of God, whispering the Ave Maria at her beside on the eve of the Feast of the Annunciation.

The Josephine Ward novel I hope to see published soon is Out of Due Time, since it deals with the Modernist Crisis as described in yesterday's post on Elizabeth Huddleston's project, “‘A Story of Well-Defined Purpose’: Josephine Hope-Scott Ward’s Social Criticism of Modernism.”

Book Review: "Tudor Sunset" by Mrs. Wilfrid (Josephine) Ward

This book begins and ends with death: the future Saint John Rigby is hanged, drawn, and quartered at St. Thomas Waterings (on the way to Canterbury) on June 21, 1600 and Queen Elizabeth I dies in her bed on March 24, 1603. With a title like Tudor Sunset, I don't think I'm spoiling the plot by telling you that: the sun sets on the Tudor dynasty when she dies.

It's what Josephine Ward does between these two deaths that make a novel a tense and suspenseful historical tale, as the fictional couple at the center of tale, Margaret (Meg) Scrope and Captain Richard Whitlock do their best to survive the last two years and three months of Elizabeth's reign. Especially since Meg is a recusant Catholic lady-in-waiting and friend of Anne (Dacre) Howard, Lady Arundell, the widow of martyred-in-chains Saint Philip Howard, and she and Whitlock frequent the bookstore of future Blessed James Duckett (also a martyr).

Each book and each chapter--numbered, not titled--brings another brush with danger, near escape, temptation or trap, and the reader becomes even more watchful than the characters.

Following a classic historical fiction method, Ward brings real historical characters into the story: not just Queen Elizabeth I, but Richard Topcliffe, William Byrd, Father John Gerard, SJ, Lady Arundell, the two martyrs already mentioned, etc., and one lady in particular, Luisa de Carvajal.

In the appendix with notes on her sources, Ward admits that she has brought Luisa de Carvajal to England earlier than records indicate she actually came. She needs her there for a crucial plot development and resolution. 

This may be a deal breaker for some readers and I'm not completely happy with her decision either. One result of this change in time line is that Ward depicts the "last supper" of Saint John Roberts, OSB and Blessed Thomas Somers the night before their executions at Tyburn arranged by Luisa de Carvajal on December 9, 1610 in Newgate Prison as being arranged instead for Blesseds Francis Page, SJ, Robert Watkinson, and Venerable Thomas Tichborne the night before their executions on April 20, 1602!

I looked at a couple of historical fiction writing guides and they commented that the author may use the excuse of a gap in the historical record to deviate from the timeline. For example Jane Friedman comments:

Rather than worrying about never, ever deviating from history, I advise establishing your own set of rules for when to bend history or not. That way, you’ll be able to make fair and consistent decisions and achieve the kind of balance most readers are looking for. Here are some tips that might help:

• There is a difference between altering verifiable facts and filling in the gaps. History is full of mysteries, unanswered questions, and gaps in the record. If what really happened can’t be verified, you have much more freedom to play around with history. . . .

• If a historical figure isn’t well known and not a lot has been written about them, you have more room for maneuver than you do if their life has been exhaustively documented. But, if you’re going to make something up, make sure it’s consistent with what you otherwise know about the character, including how they behaved, their interests, and what their values were.

So I'll just leave that there for your consideration; the scenes depicting the interactions between the priests and the laywomen, including the tragic figure of Anne Bellamy, who betrayed Saint Robert Southwell after horrible abuse and manipulation by Topcliffe (see the third paragraph on this page for details) are filled with wonderful detail and verisimilitude (?). Ward adds details to their conversations like the stories of Jane Wiseman, a recusant sentenced to the same fate as Saint Margaret Clitherow, of being pressed (literally) for information--which fits the timeline of the novel--and the executions of Blesseds John Thules and Richard Wrenno (Wrenno the Weaver)--which do not! (they were executed in Lancaster in 1616)--so while it's a beautiful scene and fulfills Ward's purposes of using the occasion to present vivid historical detail about how Catholics suffered in different ways in that era, it still troubles me a bit . . .

After a detour through Newgate and a sojourn at the Recusant Sawston Hall in Cambridgeshire with Lady Huddleston and William Byrd (his Mass for Three Voices is sung there), the scene returns to Court after the execution of the Earl of Essex on February 25, 1601. 

There's a different tension in the last part of the book as the two fictional characters wait out the last months of Elizabeth I's life. Meg and Lady Southwell--I presume this is the Lady Elizabeth (Howard) Southwell who went on to serve James I's Queen Anne of Denmark--serve the queen through her last decline: on the floor, standing up for hours, finally in bed, pressed to prepare for death by Archbishop Whitgift and the succession by Lord Cecil . . . 

The last words of the book are: 

It is appointed unto men once to die, but after this the judgment.

Finally, I must comment on Josephine Ward's extensive preparation for this book, documented in her "Rough Notes on some of the Books Consulted" in the Appendix. The notes are not rough at all as she evaluates the literature available to her at the time and displays her critical judgment of the authors' intentions and methods. She read these works not just for the details about the sufferings of Catholics during Elizabeth I's reign but to help her prepare for the really great challenge of the novel: How to depict Queen Elizabeth I in the waning years of her reign. 

In the note Ward wrote "To Alfred Noyes" at the beginning of the book, she offers some insights into how she framed this depiction:

Does not tyranny provoke falsehood? Was ever a father so tyrannous as Henry VIII? Has it every been understood how his tyranny affected Elizabeth? Mary has been more pitied [?], and perhaps rightly, but the fact that the vices of the triumphant Elizabeth can be traced to her childhood is in itself a tragedy.

If the heart of Mary's mother was broken, the mother of Elizabeth was beheaded. The alternations of their fate were extreme, for first one and the other daughter was proclaimed illegitimate; first one and then the other and then both had the prospect of wearing the crown. The story of their childhood shows how they were conscious that they were utterly helpless and without defense against their father. On Elizabeth the effect was formative and repulsive. It seems to me that she admired the monster as heathens have admired inhuman gods. . . . Was ever child more demoralised by a bad father? (p. xi)

For all my qualms about the Luisa de Carvajal timeline manipulations, this was a marvelous reading experience and I recommend the novel highly.

Ward placed the "Epilogue at the Presentation before Queen Elizabeth of Ben Jonson's "Every Man Out of His Humor" (1599) as the frontispiece of the book (I have the Reprinted edition of December 1932 from Longmans, Green and Co.):

O heaven, that She, whose presence hath effected
This change in me, may suffer most late change
In her admired and happy government:
May still this Island be call'd Fortunate,
And rugged Treason tremble at the sound,
When Fame shall speak it with an emphasis.
Let foreign polity be dull as lead,
And pale Invasion come with half a heart,
When he but looks upon her blessed soil.
The throat of War be stopt within her land,
And turtle-footed Peace dance fairy rings
About her court; where never may there come
Suspect or danger, but all trust and safety.
Let Flattery be dumb, and Envy blind
In her dread presence; Death himself admire her;
And may her virtues make him to forget
The use of his inevitable hand.
Fly from her, Age; sleep, Time, before her throne;
Our strongest wall falls down, when she is gone.

Image Credit (Public Domain): Elizabeth I, painted around 1610, during the first revival of interest in her reign. Time sleeps on her right and Death looks over her left shoulder; two putti hold the crown above her head.

Image Credit (Public Domain): Portrait thought to Elizabeth Southwell as a widow in 1600

Preview: Introducing Mrs. Wilfrid (Josephine) Ward on the Son Rise Morning Show

Anna Mitchell asked me if I'd like to comment on the life and career of Mrs. Wilfrid Ward (nee Josephine Mary Hope-Scott) during my usual Son Rise Morning Show spot on Monday, July 1. She had read a chapter about her in a book from Word on Fire, Women of the Catholic Imagination: Twelve Inspired Novelists You Should Know, edited by Haley Stewart, which I have not read. 

But I have read about Josephine Ward from other sources and have read two of her novels, so I said yes, I'd be happy to. So, Anna will bring what she knows about Josephine and I'll bring what I know about Josephine to our discussion.

The SRMS team will take the week of July 8 through 12 off (although Anna Mitchell has prepared many interviews to air during that week).

We will talk about the two novels by Josephine Ward I have read (One Poor Scruple and Tudor Sunset) during my resumed Monday segment on July 15!

BTW: for those of you few (!) who haven't followed this blog from the beginning, I started appearing on the Son Rise Morning Show in 2010, soon after Supremacy and Survival: How Catholics Endured the English Reformation was published. I even visited Sacred Heart Radio's former location during a business trip with my late husband Mark in 2012, driving from Columbus to Cincinnati, and meeting Anna and Matt Swaim.

I'll be on the Son Rise Morning Show at my usual time, about 6:50 a.m. Central/7:50 a.m. Eastern. Please listen live here or listen to the podcast later.

Josephine Ward (May 18, 1864 – November 20, 1932) was the daughter of one of Saint John Henry Newman's good friends, James Hope-Scott (please note the "-Scott") and his second wife Lady Victoria Alexandrina Fitzalan-Howard, a daughter of the 14th Duke of Norfolk, Henry Granville Fitzalan-Howard, the leading Catholic peer and Earl Marshall of England. By his first wife, Charlotte Harriet Jane Lockhart, Sir Walter Scott's granddaughter, James Hope inherited Abbotsford House in 1853 and added the "-Scott' to his name.

After her parents' deaths, she and her brother James went to live with her maternal grandmother, Augusta Minna Howard, the dowager Duchess of Norfolk at Arundel Castle in West Sussex.

I drop all these names and titles because they demonstrate the rich Catholic background Josephine Mary had--both "Old" Catholic and "New" Catholic, with ties to the recently Emancipated Recusants and the Oxford Movement/Tractarian converts. 

She lived in two historically storied homes: Abbotsford, where she describes how she used play "as a child amidst [her great-grandfathers's] coats of mail in Hall . . . and [pass] between them shivering with terror on my lonely way to bed" in her note to Alfred Noyes in her last novel, Tudor Sunset. Reflecting on her ancestor's writing career, she says as child she didn't really think about attempting "to write an historical novel!", and yet in 1932, she published one about the last years of Queen Elizabeth I.

Then she lived in Arundel Castle, associated with two Catholic martyrs, Saint Philip Howard--where his then-Venerable/Beatified remains were entombed in the Fitzalan Chapel--and Blessed William Howard. So she had those deep ties to the past and the nine pages of books consulted at the end of Tudor Sunset demonstrates how she had studied her family's Catholic heritage.

In 1887, she married Wilfrid Philip Ward, the son of another important Oxford Movement convert, William George Ward. Wilfrid wrote biographies of his father (two separate titles), of Cardinal Nicholas Wiseman, and of Cardinal Newman (two volumes). She wrote novels, One Poor Scruple, Out of Due Time and The Job Secretary, for example. Wilfrid and Josephine knew all the great Catholics of that era, from Newman to Manning and Noyes to Belloc, not to mention other literary figures like Chesterton and Tennyson! Can you imagine a dinner party at their home?

To appreciate how close she and Wilfrid were to Cardinal Newman, see the letters she wrote and he wrote to Newman, announcing their engagement to be married in 1887!

Furthermore, Josephine and Wilfrid's daughter Maisie Ward married Frank Sheed in 1926, and they founded Sheed & Ward publishers, which republished some of Josephine's novels in 1933, including One Poor Scruple. Josephine assisted Maisie and Frank financially to found the company. Maisie went on to write many great books too, including biographies of her parents, Chesterton, Caryll Houselander, and Cardinal Newman--and one of my favorites, Saints Who Made History: The First Five Centuries!

Wilfrid died in 1916, Josephine in 1932; she was buried on the Isle of Wight.

The editors of the Catholic Women Writers series, Julia Meszaros and Bonnie Lander Johnson have included One Poor Scruple among the first works published in the series by the Catholic University of America Press, which I reviewed here.

In an article published in the Newman Review, they wrote of Josephine:

One of the Revival’s greatest literary treasures is Josephine Ward, who lived between 1864–1932. . . . In their writing, Josephine and Wilfrid were both concerned with the question of how to realize the fullness of human character in prose: What is a person? How is character formed? Josephine wrote in the Dublin Review that “the greatest drama is the unfolding of the action of the will as it adheres to or thwarts the Divine purpose.” But as a life-long friend of Newman’s, she was also steeped in his ideas about conscience and the formation of moral character, as well as about the importance of doctrine for both. Another central concern of Josephine’s—as topical today as it was then—was how to enable her children to participate in the best of public, intellectual, and cultural life, without exposing them over-much to the influence of institutions that remained fundamentally opposed to Catholic belief and practice.

I'm excited about this discussion on Monday and am grateful to Anna Mitchell for suggesting it.

Image Source (Public Domain): Portrait by Thomas Lawrence, c. 1820s

Queen Henrietta Maria Dies in France, 1669

I checked in earlier this week with Elena Maria Vidal, author of several historical novels and a biography of Marie Antoinette. She is working on the second volume in her "Henrietta of France" trilogy. (I participated in the blog tour last year.) I made contact with her since this is the anniversary of the death of Henrietta Maria, widowed Dowager Queen of Charles I. This website provides a narration of her last days and death:

10 September 1669 [According to the Gregorian Calendar in effect in France] - The Death of Henrietta Maria of France, Queen of England, Scotland & Ireland:

Gradually Henrietta was preparing for death… She had already made a general confession of all her sins, “with great application and very firm designs to apply herself to the care of her salvation.” Now she often said “that she saw clearly that is was necessary to think of leaving.” … She was fed up with doctors and medicines, she said: she would think of them no more, “but only of her salvation.” But still, at [her daughter] Henrietta Anne’s insistence, France’s leading physicians descended on Colombes… Their examination, on Saturday, August 28, was promising. All the Queen’s symptoms - the fainting fits, insomnia, recurring fevers, and chest infections - were “painful, but without danger of death,” pronounced Antoine Vallot, first physician to Louis XIV. He prescribed a regime of opiates and purges… Henrietta was reluctant, she knew from experience that laudanum “disagreed with her”: “the famous English physician, Monsieur de Mayerne, had warned her never to take any.” But Vallot persisted… So unwillingly, Henrietta agreed. All the next day, Henrietta was occupied with religious observances, it being Lady Day… That night she took her “usual remedy,” and on Monday morning she was purged “with a certain opiate designed for that purpose.” That day was also tiring, as the queen received “several visits” from friends and spent hours in “long spiritual conversations” with her confessor, preparing to receive Communion the next day. . . .When she retired to bed, she was rather feverish, so her physician, Antone d’Aquin, decided not to give her the laudanum after all. On Henrietta’s orders, the curtains were drawn around her bed and her courtiers departed. But Henrietta could not sleep, so around 11 p.m. she summoned d’Aquin and demanded the dose. Reluctantly, he gave it to her, mixed into a raw egg yolk. At once the queen fell asleep. But d’Aquin, sitting by her bedside and observing her shallow, sighing breaths and irregular pulse,realized that she was sleeping “too profoundly.” Desperately, he “endeavored by all means he could to walk her,” but “all the several remedies used in such cases” had no effect. Her valets de chambre were sent rushing to summon more doctors and Henrietta’s priests, who begged her to confess her sins or at least “to give some sign that she understood.” But they met only “a mortal silence…” “Seeing that there was no abatement of her malady,” Father Gamache gave orders for the queen to receive Extreme Unction. Through the dark night, the village curé of Colombes “came in haste” bearing holy oil, with which he anointed the queen’s eyes, ears, nostrils, lips, hands, and feet. Between three and four in the morning of Tuesday, August 31 [O.S.], “without violence, without the slightest convulsion, with great serenity, and a sweet expression of countenance,” the fifty-nine-year-old queen slipped away into death. (source: A Royal Passion: The Turbulent Marriage of King Charles I of England and Henrietta Maria of France, by Katie Whitaker)

Henrietta Maria was interred in the great royal necropolis and basilica, St. Denis. Therefore, her remains were desecrated during the French Revolution in 1793 and now are mixed in with the other royals in the mass graves in the crypt.

There's a special poignancy to remembering the death of this Queen (consort) of England as the death of Queen Elizabeth II was announced on Thursday (September 8, the feast of the Nativity of the Blessed Virgin Mary). 

Eternal rest grant unto them, O Lord, and the may the souls of the Faithful Departed rest in peace.

Blog Tour for "My Queen, My Love" by Elena Maria Vidal

My friend Elena Maria Vidal asked me to "blurb" her latest historical novel, the first in a trilogy on the life of Henrietta Maria, King Charles I's Catholic consort. And she asked me to join the blog tour organized to promote her novel! Here is my blurb:

"Dreams of princesses, fairy tale palaces, and living happily ever after collide with the realities of favorites, mistresses, courtiers, and intrigues in the lives of Marie de Medici and her daughter Henrietta Maria in this first volume of Elena Maria Vidal's Henrietta of France trilogy. Vidal depicts the religious conflicts of the seventeenth century vividly in this historical novel, as the marriage of King Charles I of England and Queen Henrietta Maria overcomes many obstacles of language, faith, and even different calendars. Even knowing how their story ends, the reader looks forward to Vidal's delicate and dramatic retelling."—Stephanie A. Mann, author of Supremacy and Survival: How Catholics Endured the English Reformation

This is the copy provided by the organizer of the blog tour:

Welcome to the mini tour for My Queen, My Love by Elena Maria Vidal. Read on for details and a chance to win a paperback copy of the book!

My Queen, My Love: A Novel of Henrietta Maria (The Henrietta of France Trilogy Book 1)

Publication Date: November 25th, 2021

Genre: Historical Fiction/ Henrietta Maria

Publisher: Mayapple Books

The youngest daughter of Henri IV, the first Bourbon King of France, Henriette-Marie always knew she would have to marry a prince. When the Prince of Wales, Charles Stuart, travels through Paris he sees her dancing at the Louvre and within two years a marriage is arranged. However, Henriette is Catholic and Catholicism is banned in England. In preparing to become Queen of England, Scotland and Ireland, Henriette has no idea of the obstacles that must be overcome before she can find happiness with Charles. The main hindrance, she soon realizes, is not the difference in religion but Charles’ best friend, George Villiers, the handsome Duke of Buckingham, who is determined to subdue Henriette to his will. Buckingham forgets that Henriette is also half Medici and underestimates her determination to succeed as well as the depth of her love for Charles. My Queen, My Love is the first novel in the Henrietta of France Trilogy by acclaimed author Elena Maria Vidal. It describes the early years of the tumultuous marriage of Charles I and Henrietta Maria which preceded the English Civil Wars of the Seventeenth Century.

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Excerpt

11 May, 1625 dawned dark and dreary, as the heavens opened and drenched Paris in a driving rain. Henriette had a quiet morning at the Louvre, with Madame Garnier and Mamangat insisting that she eat. Then she bathed, and around two o’clock in the afternoon was enveloped in a wrapper to be driven in a coach with an armed escort through the torrential downpour to the Archbishop’s palace. The streets of Paris were crowded in spite of the deluge, and she was cheered through the streets, which in the showers were like streams. When they reached the Archbishop’s palace next to Notre Dame she was bundled up to the room where her gown and jewels were awaiting her. Several of the highest ranking ladies in the kingdom were there to dress her. Her gown had been brushed and cleaned, having been spotted with wax from dripping candles and a few stains of red wine. It now sparkled more gloriously than ever. And this time, she was wearing a crown! Her mother Queen Marie supervised the adjusting of the diamond crown with a single large pearl in the front on Henriette’s curls, which the dampness of the air had made more tight and abundant. Around her shoulders was placed an ermine-lined blue velvet mantle, embroidered with gold fleur de lys. The Princesse de Condé, the Princesse de Conti and the Comtesse de Soissons, mother of Henriette’s rejected suitor, were to carry the mantle and the cloth of gold train but found them too heavy. It was feared that Henriette would be pulled backwards so it was decided that an officer would walk under it, supporting the mantle and train with his head and hands.

    At five o’clock in the evening, she was finally ready, and her brothers Louis and Gaston arrived to escort her to the Cathedral. Louis XIII was crowned and arrayed in a tunic of scarlet velvet, covered with cloth of gold. He was to walk on her right and her brother Gaston on her left. Gaston was debonair in a suit of silver lamé. Anne had come with Louis; she was also crowned and completely resplendent in a gown and mantle of cloth of gold and silver. Maman wore black silk embroidered in gold with a pearl and ruby coronet.

    In the hall of the Archbishop’s palace the procession was arranged. Henriette could see the doors open as they set forth. Remarkably, the rain had ceased and the sun was shining! Leading the way was an officer known as the Captain of the Gate, behind whom walked a hundred of the King's Swiss Guard, drums beating and banners flying. They were followed by a band of musicians, then the heralds with trumpets, whose blaring made Henriette’s heart leap with exultation. After them marched the Marshals of France, then the peers of the realm. They were followed by the proxy bridegroom the Duc de Chevreuse and the English ambassadors, the Earls of Carlisle and Holland, all three of whom were in cloth of gold like King Louis. Behind those three gentlemen, Henriette walked with her two brothers, trailed by the ladies and gentleman carrying the train. Finally there came Queen Marie and Queen Anne.

    A long wooden gallery lined in colorful carpets and tapestries led from the Archbishop’s palace to the west portals of the Cathedral, where a platform under a canopy of cloth of gold had been erected. The vows would be exchanged at the doors of the church, according to the ancient tradition. Within and without the Cathedral wooden stands had been built for people to sit and see what they could see. Citizens were also gathered on roofs of houses, on balconies, and leaning out of windows. On the platform, under a canopy of cloth of gold, Cardinal de Rochefoucault awaited the bridal party. As Henriette and her brothers appeared, the crowds cheered deliriously. The entire bridal party ascended the platform. Henriette wished she had been able to practice climbing the steps in all her regalia; mercifully the steps had been carpeted or else she would surely have slipped off. Henriette and the Duc de Chevreuse knelt on prie-dieus before the Cardinal, who received their marital vows. After being married, Henriette arose and turned; she saw the English ambassadors kneeling before her.

    “Your Majesty,” said the Earl of Carlisle in English, kissing the hem of her skirt.

    “God save the Queen!” The Earl of Holland proclaimed, using English as well.

    “I am Queen of England,” she thought, wishing Charles was with her. And she descended the platform and entered the great cathedral with her brothers, as the organ and chanting of the choir lifted her heart to heaven.

Available on Amazon 

About the Author

Elena Maria Vidal grew up in the countryside outside of Frederick, Maryland, “fair as the garden of the Lord” as the poet Whittier said of it. As a child she read so many books that her mother had to put restrictions on her hours of reading. During her teenage years, she spent a great deal of her free time writing stories and short novels.

Elena graduated in 1984 from Hood College in Frederick with a BA in Psychology, and in 1985 from the State University of New York at Albany with an MA in Modern European History. In 1986, she joined the Secular Order of Our Lady of Mt. Carmel. Elena taught at the Frederick Visitation Academy and worked as a private tutor as well as teaching children’s etiquette classes. During a trip to Austria in 1995 she visited the tomb of Empress Maria Theresa in the Capuchin crypt in Vienna. Afterwards she decided to finish a novel about Marie-Antoinette she had started writing ten years before but had put aside. In 1997 her first historical novel TRIANON was published by St. Michaels Press. In 2000, the sequel MADAME ROYALE was published, as well as the second edition of TRIANON, by The Neumann Press. Both books quickly found an international following which continues to this day. In 2010, the third edition of TRIANON and the second edition of MADAME ROYALE were released.

In November 2009, THE NIGHT’S DARK SHADE: A NOVEL OF THE CATHARS was published by Mayapple Books. The new historical novel deals with the controversial Albigensian Crusade in thirteenth century France. She is a member of the Eastern Shore Writers Association. She currently lives in Maryland with her family. Her fourth novel, THE PARADISE TREE, about her Irish ancestors, was published in Fall 2014. Her first biography, MARIE-ANTOINETTE, DAUGHTER OF THE CAESARS, was published in Spring 2016.

In November 2021, My Queen, My Love: A Novel of Henrietta Maria, was published as the first installment of the Henrietta of France Trilogy.

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Book Review: Eamon Duffy's "A People's Tragedy: Studies in Reformation"

Note the subtitle: not studies in the English Reformation, but just "Reformation"--Duffy explores the reformation of how historians (and even novelists) have written about the English Reformation in these studies, exploring the revisions to commonly accepted tenets of the Whig version of English history. The Whig version proposes that Henry VIII's break from the Catholic Church and the establishment of Protestantism in England was necessary for progress and liberation. Therefore, any losses, material, spiritual, or personal, may have been regrettably cruel and destructive, but were absolutely necessary for liberty to flourish (even as the State imposed its religion on it subjects, restricting their liberty). 

As I expected, these studies are adapted from lectures and previously published works, for which Duffy provides details in the extensive notes for each essay.

The book is also very well illustrated, with captions referring to points Duffy makes in the essays. The contents of the book:

Introduction

Part One: Studies in Reformation

1. Cathedral Pilgrimages: The Late Middle Ages
2. The Dissolution of Ely Priory
3. 1569: A People's Tragedy?
4. Douai, Rheims and the Counter-Reformation
4. The King James Bible
6. Richard Baxter, Reminiscent

Part Two: Writing the Reformation

7. Luther through Catholic Eyes
8. James Anthony Froude and the Reign of Queen Mary
9. A.G. Dickens and the Medieval Church
10. Walsingham: Reformation and Reconstruction
11. Writing the Reformation: Fiction and Faction

Starting from last chapter, Duffy demonstrates how both Protestants and Catholics used historical fiction to further their interpretations of the English Reformation, highlighting several Catholic revisionist works. He includes several of the novels of Monsignor Robert Hugh Benson (By What Authority; The King's Achievement; Come Rack, Come Rope). He highlights Ford Madox Ford's The Fifth Queen which presents Catherine Howard as a Catholic trying to bring Henry VIII back to the Church. Duffy particularly praises and analyses the achievement of the Anglo-Catholic H.F.M. Prescott in The Man on a Donkey--too bad he did not mention the Anglo-Catholic Catholic convert Sheila Kaye-Smith's Superstition Corner (it is a similarly complex historical novel on a smaller scale)--then he moves on to Hilary Mantel's historical fiction in her Cromwell trilogy. 

He deprecates the influence her novels have had on the historically valid reputation of Saint Thomas More--at one point making an awkward joke about historical errors in a draft of Pope John Paul II's 2000 Apostolic Letter proclaiming Saint Thomas More the patron of statesmen and politicians as proof the Pope couldn't have written it, because he's supposed to be infallible (ha, ha)--but even more deprecates the fact that some historians have accepted Mantel's unproven depiction of More as a torturer while ignoring the documented fact that Cromwell did torture Catholics and other dissenters. 

Trying to set this record straight, Duffy cites the historical record that Cromwell, under Henry VIII's orders, sent more heretics (25 Anabaptists) to be burnt alive at the stake than More (also under Henry VIII's orders), and that he "managed the process" of the Carthusians left to die of dehydration in Newgate prison without trial or sentence. Mantel's secular saint is not as tolerant as she wants him to be, so she ignores these cruelties, and passes off Cromwell's thoughts about the torture he supervises of Pilgrimage of Grace survivors as failures of persuasion--and "chains and heated irons" are his means to "pinch a man with pains". In other words, Cromwell tortures but really hates to do it.

But the dramatic presentation of Mantel's view of the contest between Cromwell and More in the novels, the miniseries, and the stage play probably mean that Duffy's efforts will have just as much impact as those of Richard Rex and others. Those who will read historical articles and appraise the record honestly will be persuaded--but how many of us are there? and how many more captivated by Mantel's manipulative words and images?

Duffy performs similarly revisionist analyses of A.G. Dickens's historical interpretation of the Medieval Catholic Church and of James Anthony Froude's view of the reign of Queen Mary in chapters 8 and 9. What he discloses is that Dickens and Froude's negative views of Catholicism tainted their historical evaluations of the past: when Dickens says that anything in Medieval Catholic culture is "charming" he means that it's deceitful and false; while Froude regrets injustices during the reign of Henry VIII, he thinks they were necessary for progress and freedom, but he condemns injustices during the reign of Mary I as horrific examples of Catholic repression and cruelty.

He surveys Catholic historic and theological views of Martin Luther in chapter 7, culminating with Richard Rex's The Making of Martin Luther. I think it would have been interesting if he had also addressed Brad S. Gregory's Rebel in the Ranks.

To now jump back to the beginning: In chapters 1, 2, and 3 in the first part of the book Duffy explores aspects of the destruction of the religious culture of pre-Reformation England, its monasteries, shrines, traditions, worship, and prayer. He notes that previous historians downplayed these losses and indeed ignored their effect on "the English imagination": the destruction of shrines to historic and holy great men and women, the loss of devotion, the end of community. In the chapter on the 1569 Northern Rebellion he recounts how former Catholic clergy at Durham Cathedral were reconciled to the Church while the Rebellion's leaders held the city, but then reverted to the safety of the Elizabethan Church as the Queen enacted her justice. The only priest-martyr of the Northern Rebellion was Blessed Thomas Plumtree, a chaplain to the Earls of Westmoreland and Northumberland. 

The chapter on Douai and Rheims highlights William Allen's efforts to prepare priests for the mission to England with a specific curriculum focused on knowledge of the Holy Bible and of apologetic arguments--familiar material from Chapter 5 "Founding Father, William, Cardinal Allen" of  Reformation Divided: Catholics, Protestants, and the Conversion of England and his contribution to Memory, Martyrs, and Mission. Duffy has made excellent use of that material, adapted to different purposes and audiences.

The chapter on the King James Bible is as fascinating whirlwind of praise and reappraisal of its influence and achievement. He notes that the prose and style of that English translation is often appreciated most by those who ignore its content and teaching! 

And finally, the chapter on Richard Baxter, of whom I know little. Duffy surveys the Reliquiae Baxterianae, a memoir posthumously collected from his works, demonstrating that the Puritan pastor of Kidderminster provides another great first-person view of the seventeenth century, not as popular as Pepys or Aubrey, but significant for its vivid detail and story-telling skill.

As I noted before, Duffy's insights into the history and the historiography of the English Reformation era are always enlightening and informative. Highly recommended--Eighth Day Books will be getting a copy for the shelf in soon, I think.

Book Review: Simon Tolkien's "No Man's Land"

I went to Eighth Day Books (no longer a "bookeasy" with secret knocks at the back door or curbside service) on Thursday this week to browse. I stopped inside the front door to glance at the growing collection of books by and about Flannery O'Connor. Just to the right of them I saw two copies of the paperback edition of Simon Tolkien's World War I/Mining novel, No Man's Land, one of which I purchased (along with an edition of Pope Leo XIII's encyclical introduced by Etienne Gilson, an Image paperback (The Church Speaks to the Modern World: The Social Encyclicals of Pope Leo XIII). I have been wanting to own and read both of these books for quite some time. Eighth Day Books had just received them recently so my timing was good.

My late husband Mark had in fact discovered the Tolkien novel among the new/future releases advertised by our local public library on his Kindle. He'd reserved the Ebook and the paperback in 2017 but it had never come through. He wanted me to read it out loud to him: we enjoyed sharing books that way.

So I started reading it immediately when I arrived home before going to Mass for Ascension Thursday (Extraordinary Form), continued it when I came home after Mass, and finished it yesterday morning. It was hard to put down. According to the publisher, Penguin Random House:

London, 1910: young Adam Raine’s impoverished childhood becomes even darker when his mother is killed in a workers’ protest march. His grieving father, Daniel, seeks a second chance for them in a coal mining town, where he begins working for the miners’ union. But tensions escalate between the miners and their employer, Sir John Scarsdale, and finally explode with tragic consequences.

In the aftermath, Adam is brought into the opulent Scarsdale family home where Sir John’s son subjects Adam to a succession of petty cruelties for daring to step above his station. When, despite everything, Adam finds love with the beautiful parson’s daughter and wins a scholarship to Oxford, he starts to feel that his life is finally coming together—until the outbreak of war threatens to tear everything apart. Inspired by the real-life war experiences of the author’s grandfather J.R.R. Tolkien, No Man’s Land delivers a Dickensian, page-turning novel of Edwardian England and World War I.

As I read the novel, however, I thought less of Dickens and more of A.J. Cronin. I see the Dickensian aspects of the story in the descriptions of poverty and horrific living conditions in London and in the labor issues in the mining community of Scarsdale, but the spirit is more like A.J. Cronin's novels of young men fighting against the odds, encountering great loss and suffering, and finding their way to happiness and success, personally, not socially defined. I've read several of A.J. Cronin's novels: The Citadel, The Keys of the Kingdom, The Green Years, Shannon's Way, The Stars Look Down, and his autobiography, Adventures in Two Worlds (he was a doctor before he became a very successful novelist). Several of his books were made into movies or television mini-series.

Adam Raine is a Cronin-style protagonist: orphaned, always feeling separate from the people he lives with whether in London, Scarsdale, Oxford, or No Man's Land, encountering and overcoming many dangers--especially from conniving and morally-blunted people--absorbing loss and grief, and by the end of the novel he wants to be a writer because he wants the dead soldiers of World War I to speak beyond the grave. He wants the people of England to know what it was like to fight in the trenches. The novel ends with Adam on the way to the publisher with his manuscript!

Tolkien's omniscient narrator describes Adam's thoughts and recounts the events of his life vividly. Perhaps the best twist in the novel is that the term No Man's Land applies not only to aspects of his wartime experience at the Somme and even on leave during the war but also to his antagonist's situation, as Brice Scarsdale, the son of his mentor Sir John Scarsdale who is described above as "subject[ing] Adam to a succession of petty cruelties for daring to step above his station" has both succeeded in obtaining everything he wanted but also has failed to enjoy or benefit from it because of one horrific action, or rather his actions after that action (not giving away much the plot, I hope!).

Simon Tolkien dedicated this novel to J.R.R. Tolkien: "This book honours the memory of my grandfather, J.R.R. Tolkien, who fought on the Somme between July and October 1916." The novel certainly does honour Tolkien, and I highly recommend it. I think that Mark would have liked the book, and it's so appropriate that I read it before the Memorial Day weekend. If you want a copy, there's still one on the shelf at Eighth Day Books!

The only thing that I wished for was for Adam to find faith in Jesus Christ, which the elder Tolkien so devoutly lived.

In the aftermath, Adam is brought into the opulent Scarsdale family home where Sir John’s son subjects Adam to a succession of petty cruelties for daring to step above his station. When, despite everything, Adam finds love with the beautiful parson’s daughter and wins a scholarship to Oxford, he starts to feel that his life is finally coming together—until the outbreak of war threatens to tear everything apart. Inspired by the real-life war experiences of the author’s grandfather J.R.R. Tolkien, No Man’s Land delivers a Dickensian, page-turning novel of Edwardian England and World War I.

London, 1910: young Adam Raine’s impoverished childhood becomes even darker when his mother is killed in a workers’ protest march. His grieving father, Daniel, seeks a second chance for them in a coal mining town, where he begins working for the miners’ union. But tensions escalate between the miners and their employer, Sir John Scarsdale, and finally explode with tragic consequences.

In the aftermath, Adam is brought into the opulent Scarsdale family home where Sir John’s son subjects Adam to a succession of petty cruelties for daring to step above his station. When, despite everything, Adam finds love with the beautiful parson’s daughter and wins a scholarship to Oxford, he starts to feel that his life is finally coming together—until the outbreak of war threatens to tear everything apart. Inspired by the real-life war experiences of the author’s grandfather J.R.R. Tolkien, No Man’s Land delivers a Dickensian, page-turning novel of Edwardian England and World War I.

"Thomas More changed the course of the narrative"

In a presentation on June 25, 2019, Richard Rex spoke in Dublin -- in the Church Blessed John Henry Newman built for the Catholic University of Ireland, which is under the stewardship of the University of Notre Dame as the Notre Dame-Newman Centre for Faith and Reason -- on what Hilary Mantel has done to the reputation of St. Thomas More for the sake of elevating the reputation of Thomas Cromwell. The Iona Institute website offers this introduction:

Professor Richard Rex of Queen’s College, Cambridge, addressed a packed University Church in Dublin last week on the topic: The Two Thomases, namely Thomas More and Thomas Cromwell. In particular, he examined the portrayal of both in Hilary Mantel’s best-selling and widely-praised novels, Wolf Hall and Bring Up the Bodies. Professor Rex, who lectures in Reformation and Tudor history, offers a wry, learned and ultimately devastating analysis of how Mantel essentially reversed the personalities and characters of both men.

As Professor Rex . . . says: “They are two of the emblematic figures of English history: More, the defender of the Catholic Church in England against the tyrannical pretensions of Henry VIII to be the Supreme Head on Earth of the Church of England; and Cromwell, the pliant instrument of tyranny. Robert Bolt’s A Man for All Seasons cast More as a liberal hero of freedom of conscience and Cromwell as the ruthless agent of State pragmatism. Hilary Mantel’s Wolf Hall has reversed those polarities for a new age, with Cromwell now the apostle of humanist tolerance and More the hate-filled prophet of religious fanaticism. My aims this evening are to investigate and document this reversal, to show how it was achieved, and to speculate on why it has enjoyed so much success. The key to this final aim is the idea that Thomas More and Thomas Cromwell have, in one little cultural niche, served to embody or represent the changing position of the Catholic Church in modern – or postmodern – western culture. But before we come to that we must unpack and unpick the role reversal and comment on its rationality and plausibility.”

Or as Professor Rex says elsewhere in his address: “To destroy More, the symbol of Catholicism, More must be diminished to the scale of an ant, that Cromwell may trample upon him. Mantel’s fiction shows us a nasty man getting his Tudor come-uppance. History shows us something rather different.”

You may watch video of the presentation here. The Iona Institute website also provides a link to the text of the presentation (which contains some additional material). One of the more interesting insights to me was Professor Rex's analysis of how "Thomas More changed the course of the narrative" that is, changed what Hilary Mantel planned to write:

According to the author, Wolf Hall was originally conceived as a single novel, retelling the rise and fall of its hero. However, as she got to grips with the events of 1534-35, in which Thomas More was targeted and ultimately destroyed by the regime for his refusal to go along with Henry’s assumption of the title of Supreme Head, under Christ, of the Church of England, she found the duel between More and Cromwell irresistibly dramatic. One sees her point. This duel became the dominant theme of the narrative, with a natural end in More’s execution. Thus the original novel was therefore recast as a trilogy, each closed by a beheading: Thomas More in 1535, Anne Boleyn in 1536, and, presumably, in the final volume, which has now been promised for next year, Cromwell himself in 1540. What you should note is that Thomas More changed the course of the narrative. In a sense, I would argue, he took over the story, despite his allotted role as a merely secondary presence within it. More’s impact on the story itself serves to undermine the author’s intentions and assumptions and assertions. Crucially, it was the portrayal of More, not that of Cromwell, which accounts for Wolf Hall’s early vogue.

The bold emphasis is in the text as downloaded. He later comments:

As one review of Wolf Hall put it, ‘you cannot back Cromwell without spitting on More’. If you can’t back Cromwell without spitting on More, can you back More without spitting on Cromwell? You certainly can’t back both horses. But you can esteem and praise More, even making room for appropriate criticism, without really having to take Cromwell into account at all. Bolt and Mantel once again offer a useful contrast. In A Man for All Seasons, Cromwell is definitely down among the ‘minor characters’ in the credits. But in Wolf Hall, Thomas More is central to the action. This imbalance reflects reality, despite the author. Thomas More has never been forgotten. People fell over themselves to write his biography, even in the Tudor era. The biographies by William Roper, Nicholas Harpsfield, and Thomas Stapleton all survive. The one written by William Rastell is preserved only in a few stray fragments. There have been more editions just of Roper’s Life of More than there have been biographies of Cromwell. Not a century has gone by without its share of biographies of More. No one rushed to write the life of Cromwell. . . .

And Rex concludes with Mantel's own comments about Holbein's portrait of Cromwell at the Frick:

And in the case of Cromwell and More, the pictures are there for us to see. They can be seen in the Frick Collection in New York, where More and Cromwell gaze at each other across a fireplace, captured by the hand of the sixteenth century’s greatest portraitist, Holbein. The author of Wolf Hall herself describes his Cromwell as an ‘incredibly dead picture’. The art critic Waldemar Januszczak more memorably labels Cromwell ‘the least attractive sitter in the whole of Holbein’s art’. The picture is the evidence. A great painter, they say, paints not just the face but the soul. And Holbein’s More is famously and sublimely living. This is the evidence: Cromwell – dead, dull; More – alive, alert. Holbein got it. Seeing is believing. But there’s none so blind as them that will not see.

A full quote of Waldemar Januszczak on the contrast between the portraits: 

That is why I recommend a visit to the Living Hall at the Frick Collection, and a good gawp at Holbein’s portraits of More and Cromwell. Holbein was there. He knew them both. So what does he make of them?

Of More, he makes one of the most noble presences in the whole of British portraiture. Determined. Handsome. Resolute. With his velvet sleeves and his gold chain, More is a man of rank, but there’s something kindly about his face, too. And in the exact capturing of his five-o’clock shadow, Holbein has produced one of his finest records of the true textures of humanity.

On the other side of the fireplace, the new hero of Wolf Hall, Cromwell, has none of those qualities. Indeed, with his piggy eyes and his veal-like complexion, he is one of Holbein’s least appealing sitters. He’s shown at a desk, writing. A death warrant, perhaps. Or further instructions for the destruction of a monastery. As soon as I saw him, that famous observation by Hannah Arendt about the “banality of evil” flashed into my thoughts.

So, who to trust? Holbein, who was there? Or Hilary Mantel, who is a great writer, and a worthy winner of the Booker prize? Over to you.

"Over to you" is a weak conclusion!

Rex, in contrast, presents a devastating critique of Mantel's vaunted historical accuracy and how people have fallen for her anachronistically "nice" Thomas Cromwell.

The Gypsy Priest and the English Civil War

I just finished reading Elizabeth Goudge's The White Witch, a historical novel set during the English Civil War. The publisher, Hendrickson, comments on the author:

Elizabeth Goudge was a British novelist (1900–1984) born into the home of an Anglican priest and theologian. She wrote children’s books as well as novels—her Green Dolphin Street was made into an Academy-Award winning film. In style and themes she parallels English writers such as the creator of the Miss Read series as well mirroring the spiritual depth found in George MacDonald’s Victorian novels. She won the Carnegie Award in 1947 for The Little White Horse, which is J. K. Rowling’s favorite children’s book.

In this book she tells the story of a family in Oxfordshire and how the English Civil War affects their lives. Starting with the Haslewood family and the group of gypsies who sometimes live near Squire Robert Hasleswood's lands, Goudge gathers a cast of fictional and historical characters to deal with issues of life and death, good versus evil, and religious conflict.

Goudge's Anglican background is clear as she depicts Robert Haslewood's Puritan conversion as a disaster for the family, the community, and especially the local Church of England minister, when Robert accidentally--although in a self-righteous rage--burns the little hovel Parson Hawthyn occupies. Robert is a sad figure: each time he comes home he wants to win his children, Jenny and Will, over to him, yet each time he does something that creates more distance between them. He wants their little dog, Maria (named for Henrietta Maria, King Charles I's wife in happier days) destroyed just because she irritates him and then he violently destroys the celebration of Christmas and burns down the Parson's home because it's all too Popish for his newly inspired Puritanism.

Goudge creates triangles of relationships: Robert loved Froniga, the White Witch of the title, but married Margaret. Poor Margaret has the ultra-capable Froniga living next door and helping and healing everyone in the village. 

In addition to the admiration of Robert, Froniga has the gypsy tinker Yoben, who has a secret: Goudge drops some hints (he prays in Latin from a book; he defends the Blessed Virgin Mary; he has been "cut off from the sacraments of religion"). Through Yoben, she becomes acquainted with the Royalist spy cum itinerant portrait painter, Francis Leyland, aka John Loggin.

In addition to admiring and visiting Froniga, Yoben cares for Madona, an elderly gypsy woman who has three gypsy children to care for (Cinderella, Dinki, and Meriful).

Since there is a White Witch, there must also be a Black Witch, the evil and malevolent Mother Skipton. These two pagan spiritual influences are well-matched by Parson Hawthyn, who frees Skipton from her darkness and reminds Froniga of the source of her lightness. He offers the example of love in the service of Jesus Christ and His Church that no one else in the novel even approaches.

Beyond this Oxfordshire idyll, Goudge depicts the events of the English Civil War, including King Charles, his sons and his daughter Elizabeth, Prince Rupert, Jeremy Taylor, Oliver Cromwell, John Hampden, and others. She recounts the battle of Edgehill, the exile Royal Court at Oxford, and other battles. King Charles I, who touches Will Haslewood's scrofula and cures him, is mysterious and almost mystical; Oliver Cromwell, whose adamantine righteousness converts Robert Haslewood to extreme enthusiasm, is easily fooled: a Royalist soldier enters his headquarters and charms him out of the Royal Standard, returning it to King Charles.  

Goudge's descriptions of nature and animals are delicate and sure: she explains the human motivations of her characters very sympathetically. The plotting and the pace pick up appreciably after the first few chapters, while Goudge is introducing her characters. I'm glad that Hendrickson is publishing her works in quality paperback editions; I was insulted by the publisher's politically correct comments on Goudge's unfortunate depictions of the Romani people. I thought she depicted them as free people who loved nature. Hendrickson's suggestion that they could have censored her novel was despicable.