2 THE A TO B OF STYLE
Anne Boleyn used jewellery to cultivate the image of a fiercely independent woman at the cutting edge of fashion
This image of Anne Boleyn has etched its way into popular memory. Five centuries after it was painted, it remains a source of fascination – and that fascination is largely the product of her jewels, most specifically the gold “B” pendant hanging from her neck.
Anne acquired a reputation for great style and sophistication among her contemporaries, so it’s tempting to imagine that the trend for wearing jewels bearing initials originated with her. This was, however, a fashion that had begun long before, spreading through Europe during the late 14th century.
Margaret of Austria, regent of the Netherlands, was extremely fond of initial jewels. Given that Anne had spent a small amount of time at Margaret’s cosmopolitan court in Mechelen in her youth, it is feasible that she was influenced by the trend there.
Anne was fascinated by fashion, so it is unsurprising that she set and expressed the latest trends through her choice of jewellery. She was certainly enthusiastic about initial pieces, for in addition to her “B” pendant she owned an “AB” and an “A”, which her daughter, Elizabeth, can be seen wearing in a portrait. Anne also had a ring which displayed her motto: “The most happy.”
Such jewels provided a neat way of showcasing Anne’s pride in her Boleyn roots and her individuality, and at least two of her successors, Catherine Howard and Katherine Parr, owned similar items.
Initial jewellery is a style that has retained its popularity, and Anne’s image is immediately conjured when considering its history. The trend may not have begun or ended with her, but she has doubtless contributed to the fascination and is certainly worthy of the title of fashionista.
The imperial ambassador Eustace Chapuys described her as “no great beauty”. But what Jane Seymour may have lacked in looks she certainly made up for in jewels. In her portrait by the great master Hans Holbein, Jane is adorned in some of the most splendid pieces from the queen’s jewel collection. It is possible that some were inherited from her predecessors, and certainly, many of Jane’s items later came into the possession of Catherine Howard and Katherine Parr.
Painted in exquisite detail, the rich pearls and diamonds studded in gold that adorn Jane’s headdress – known as a habillement – form a matching set with those around her neck, waist and the border of her dress, known as a square.
Jane’s inventory lists numerous jewelled buttons, so it is unsurprising that the sleeves of her gown show some of the practical jewels that pinned them together. She also owned more than 50 pairs of beads, and several descriptions match those that hang from her waist that were elaborately decorated, probably with enamel.
Jane’s most impressive jewel, however, is the spectacular ouche – a pendant set with jewels – that is suspended from her necklace. Catherine Howard also wore this while sitting for her portrait (on page 34), revealing not just a link between the two queens but also that this was a high value piece that made a statement of splendour. Jane’s portrait reveals a queen consort who clearly wanted to impress with her magnificence.
When Henry married Catherine in the summer of 1540 at Oatlands Palace, he was infatuated with his new, young bride. So enamoured was Henry that he showered Catherine with gifts of jewels in tangible signs of his love and affection.
A number of these were given “at the time of the solemnisation of their marriage”, but there were many more to follow. At new year 1541, Henry gave his wife eight pieces of jewellery. In a gesture of kindness, Catherine then presented a ring (which Henry had given her) to her predecessor, Anne of Cleves.
Catherine’s opulent jewels are reflected in Holbein’s miniature, which is widely thought to depict Henry’s fifth wife. One of the strongest clues of the sitter’s identity comes from her jewels; an inventory compiled at the time of Catherine’s fall and execution (1541–42) lists 175 items, many of which had probably been owned by Henry’s previous queens. It includes the same diamond and ruby ouche that was worn by Jane Seymour.
Similar rings to those worn in the miniature also appear in the inventory, and the same is true of the jewels attached to Catherine’s rich hood. These pieces were so valuable that it is easy to understand why a contemporary chronicler believed that “the king had no wife who made him spend so much money in dresses and jewels as she did”.