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Tudor Textiles
A detailed study of Tudor textiles, highlighting their extravagant beauty and their impact on the royal court, fashion, and taste
At the Tudor Court, textiles were ubiquitous in decor and ceremony. Tapestries, embroideries, carpets, and hangings were more highly esteemed than paintings and other forms of decorative art. Indeed, in 16th-century Europe, fine textiles were so costly that they were out of reach for average citizens, and even for many nobles.
This spectacularly illustrated book tells the story of textiles during the long Tudor century, from the ascendance of Henry VII in 1485 to the death of his granddaughter Elizabeth I in 1603. It places elaborate tapestries, imported carpets, lavish embroidery, and more within the context of religious and political upheavals of the Tudor court, as well as the expanding world of global trade, including previously unstudied encounters between the New World and the Elizabethan court. Special attention is paid to the Field of the Cloth of Gold, a magnificent two-week festival—and unsurpassed display of golden textiles—held in 1520. Even half a millennium later, such extraordinary works remain Tudor society’s strongest projection of wealth, taste, and ultimately power.
At the Tudor Court, textiles were ubiquitous in decor and ceremony. Tapestries, embroideries, carpets, and hangings were more highly esteemed than paintings and other forms of decorative art. Indeed, in 16th-century Europe, fine textiles were so costly that they were out of reach for average citizens, and even for many nobles.
This spectacularly illustrated book tells the story of textiles during the long Tudor century, from the ascendance of Henry VII in 1485 to the death of his granddaughter Elizabeth I in 1603. It places elaborate tapestries, imported carpets, lavish embroidery, and more within the context of religious and political upheavals of the Tudor court, as well as the expanding world of global trade, including previously unstudied encounters between the New World and the Elizabethan court. Special attention is paid to the Field of the Cloth of Gold, a magnificent two-week festival—and unsurpassed display of golden textiles—held in 1520. Even half a millennium later, such extraordinary works remain Tudor society’s strongest projection of wealth, taste, and ultimately power.
208 pages, Hardcover
First published April 21, 2020
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Displaying 1 - 4 of 4 reviews
November 1, 2022
Although history is most credibly told through affirmed primary textual resources; the narrative is also visualized through objects and art – it is why we have museums, after all. Textiles – tapestries, rugs, arras, linens, naperies, bed wear, fabrics, embroideries, etc – served a multi-layered purpose with mere decoration being just the simplest context. Textiles displayed wealth and socio-economic class/rank, could contain secret ciphers/messages, emphasized personal beliefs or constructs, had political purposes and the list goes on and on. Eleri Lynn, the former curator of the Royal Ceremonial Dress Collection at Historic Royal Palaces, examines these textiles and the roles they played during the Tudor dynasty in, “Tudor Textiles”.
“Tudor Textiles” is a medium-sized, soft cover, glossy-paged art history coffee table book surveying the general history and specific manifestations of textiles during the Tudor reigns from that of King Henry VII through Queen Elizabeth I. Without argument, “Tudor Textiles” is a glorious visual romp with stunningly-detailed photos and illustrations which transports readers to the museums and historic landmarks of England. “Tudor Textiles” would pair well as a complementary supplement to an art exhibit.
Lynn compartmentalizes “Tudor Textiles” by subject beginning with a brief overview of textiles/textile industries and then diving into a specific topical study concerning the actual textile pieces at Tudor courts: their purposes, construction and an art analysis. This is followed by a more in-depth look at the creative process and assembly of these pieces. Lynn weaves (no pun intended) an accessible narrative that is easy-to-read and not overflowing with technical jargon but not so simplified that it would render the text without merit. This results in “Tudor Textiles” being of interest to both general audiences and those more knowledgeable on the topic.
That said, Lynn has a habit of highlighting obscure, intriguing topics and failing to entice excitement during the execution and “Tudor Textiles” is no exception. Lynn’s pace is devastatingly slow within “Tudor Textiles” to the extent that it is a detriment to the topic on hand and is brutally insulting (note: it took me forever to finish “Tudor Textiles” which is a direct reflection of this: it is simply NOT a page-turner). Lynn doesn’t meet her supposed purpose of the text and is often too vague, general and repetitive. Instead of revealing various compelling tidbits; Lynn instead mentions textiles owned by the Tudors briefly explaining them and then moves onto the next. The material lacks any zest, profound information or memorable flair and is both choppy and disjointed in presentation. Readers don’t pull much from the pages of “Tudor Textiles” (aside from the illustrations). It is truly quite shameful.
Lynn counteracts this downfall, slightly, with obvious breadth of research, credible sources and personal knowledge of the subject making “Tudor Textiles” strong on the history functionality front. Despite its generalized content and snail-paced speed; there are occasional bursts of interesting, energized facts.
“Tudor Textiles” is paired well with each illustration visually demonstrating to readers the examples cited within the text. This academic crossover prevents any misunderstandings or inabilities to envision the textiles discussed. Each illustration features a detailed caption listing the origin/artist of the piece, location, year, relevance/artistic style and the current geographic home of the piece. “Tudor Textiles” is graphically ‘on-point’ and is a delight to the eyes.
Lynn concludes “Tudor Textiles” with a more intimate look at the textiles industries during the Tudor monarchical period from the fibers used, dying process, to the trade routes and everything in between. This section is noticeably faster-paced than the former chapters of “Tudor Textiles” and thus leaves readers on a semi-strong note.
“Tudor Textiles” is fortified with a glossary of terms, notes (not annotated) and a bibliography encouraging further research concerning textiles and Tudor England.
Lynn’s “Tudor Textiles” is sadly not the riveting, earth-shattering exposé or deep dive that readers would expect from the topic; but those familiar with Lynn’s work will be used to this disappointment. “Tudor Textiles” is recommended for readers eager to read all things Tudor history; but otherwise it can be skipped or at the very least: put off. Much of the content is discussed in other Tudor history books and therefore doesn’t illuminate new facts. “Tudor Textiles” isn’t absolutely awful; but sadly does devalue an amazing topic.
“Tudor Textiles” is a medium-sized, soft cover, glossy-paged art history coffee table book surveying the general history and specific manifestations of textiles during the Tudor reigns from that of King Henry VII through Queen Elizabeth I. Without argument, “Tudor Textiles” is a glorious visual romp with stunningly-detailed photos and illustrations which transports readers to the museums and historic landmarks of England. “Tudor Textiles” would pair well as a complementary supplement to an art exhibit.
Lynn compartmentalizes “Tudor Textiles” by subject beginning with a brief overview of textiles/textile industries and then diving into a specific topical study concerning the actual textile pieces at Tudor courts: their purposes, construction and an art analysis. This is followed by a more in-depth look at the creative process and assembly of these pieces. Lynn weaves (no pun intended) an accessible narrative that is easy-to-read and not overflowing with technical jargon but not so simplified that it would render the text without merit. This results in “Tudor Textiles” being of interest to both general audiences and those more knowledgeable on the topic.
That said, Lynn has a habit of highlighting obscure, intriguing topics and failing to entice excitement during the execution and “Tudor Textiles” is no exception. Lynn’s pace is devastatingly slow within “Tudor Textiles” to the extent that it is a detriment to the topic on hand and is brutally insulting (note: it took me forever to finish “Tudor Textiles” which is a direct reflection of this: it is simply NOT a page-turner). Lynn doesn’t meet her supposed purpose of the text and is often too vague, general and repetitive. Instead of revealing various compelling tidbits; Lynn instead mentions textiles owned by the Tudors briefly explaining them and then moves onto the next. The material lacks any zest, profound information or memorable flair and is both choppy and disjointed in presentation. Readers don’t pull much from the pages of “Tudor Textiles” (aside from the illustrations). It is truly quite shameful.
Lynn counteracts this downfall, slightly, with obvious breadth of research, credible sources and personal knowledge of the subject making “Tudor Textiles” strong on the history functionality front. Despite its generalized content and snail-paced speed; there are occasional bursts of interesting, energized facts.
“Tudor Textiles” is paired well with each illustration visually demonstrating to readers the examples cited within the text. This academic crossover prevents any misunderstandings or inabilities to envision the textiles discussed. Each illustration features a detailed caption listing the origin/artist of the piece, location, year, relevance/artistic style and the current geographic home of the piece. “Tudor Textiles” is graphically ‘on-point’ and is a delight to the eyes.
Lynn concludes “Tudor Textiles” with a more intimate look at the textiles industries during the Tudor monarchical period from the fibers used, dying process, to the trade routes and everything in between. This section is noticeably faster-paced than the former chapters of “Tudor Textiles” and thus leaves readers on a semi-strong note.
“Tudor Textiles” is fortified with a glossary of terms, notes (not annotated) and a bibliography encouraging further research concerning textiles and Tudor England.
Lynn’s “Tudor Textiles” is sadly not the riveting, earth-shattering exposé or deep dive that readers would expect from the topic; but those familiar with Lynn’s work will be used to this disappointment. “Tudor Textiles” is recommended for readers eager to read all things Tudor history; but otherwise it can be skipped or at the very least: put off. Much of the content is discussed in other Tudor history books and therefore doesn’t illuminate new facts. “Tudor Textiles” isn’t absolutely awful; but sadly does devalue an amazing topic.
May 17, 2020
Another well researched book from Eleri. I found it interesting, and it brought up some delicious facts that I had not known previously. As usual the illustrations were top notch, and the book flowed nicely, being easy to follow. The book structurally follows in the same way as her previous book - if it works why change it?
Things I didn’t quite like were the fact that sometimes some of the facts through were/had been repeated. And I’m not talking from chapter to chapter, I’m meaning from her Tudor Fashion book to this one. I appreciate there will always be an overlap though.
All in all it was worth the money and will sit proudly on my bookcase next to her ‘Tudor Fashion’ book. Well done to the author.
Things I didn’t quite like were the fact that sometimes some of the facts through were/had been repeated. And I’m not talking from chapter to chapter, I’m meaning from her Tudor Fashion book to this one. I appreciate there will always be an overlap though.
All in all it was worth the money and will sit proudly on my bookcase next to her ‘Tudor Fashion’ book. Well done to the author.
September 9, 2020
An interesting read. It was academic without being “academic”. Lots of good info and references for tudor textiles and embroidery
Did Not Finish
May 31, 2026It seemed a good piece of nonfiction, but I just didn’t have the time to read it. Interesting though it may be other books were calling me.
Displaying 1 - 4 of 4 reviews