Henry VIII and his Garter Knights

The Black Book (Liber Niger) named because of its black velvet binding, is the earliest surviving register of the Order of the Garter. It was commissioned by Henry VIII who took a strong personal interest in the Order. It was begun in 1534 by Robert Aldrydge, Canon of Windsor and Register of the Order but incorporates material from the first known register, the Registrum ordinis Chartaceum, and continues until 1551.

Written in Latin, it contains the statutes, an account of the foundation of the Order and details of Garter elections and ceremonies. It is richly illuminated, with representations, in decorated initials, of the Founder Edward III and successive sovereigns up to Henry VIII and, as its climax, a central double-page depicting the ceremonies of the Order for the year 1534. These illuminations have been identified as the work of Lucas Hornbolte.

Although it is rare for the Black Book to be publicly displayed outside the Chapter Archives and Library, it was one of the outstanding items at the exhibition in Greenwich 1991 to celebrate the quincentenary of the birth of Henry VIII and will form a central part of the display at ‘Henry VIII: A 500th Anniversary Exhibition’ to be held at Windsor Castle for twelve months from April 2009.

Enid (Assistant Archivist)

Arms of Thomas Hollard, 1st Earl of Kent

Thomas Holland, afterwards 1st Earl of Kent, was one of the founder knights of the Most Noble Order of the Garter.

Born around 1314, he fought many times in France during the Hundred Years War, including at the Battle of Sluys and the Siege of Tournai, and was in chief command of the vanguard at the battle of Crécy under the Black Prince. His military achievements meant that he was given important commands including the Captaincy of Calais Castle, guardianship of the Duke of Brittany during his minority, and in September 1360 his most important post yet, that of Edward III’s Captain and Lieutenant in Normandy and France.

In 1340 he had secretly married Edward III’s cousin Joan, the “Fair Maid of Kent”. While he was away fighting, she was forced by her family to marry the better connected William Montagu, Earl of Salisbury. On Thomas’ return, the first marriage was revealed, and the Pope ordered Joan to return to Thomas. This she did, and they had four children together. In 1361, after Thomas’ death, Joan married the Black Prince, and gave birth to a son who would become Richard II.

This image comes from a notebook by Henry Emlyn, architect and supervisor of George III’s restoration of the Chapel [SGC M.172]. Dating from around 1785, this page shows the arms of the Holland family, azure powdered with fleur-de-lis and a lion rampant argent. The crest of the hart lodged, or lying down, and ducally gorged comes from the arms of Joan of Kent.

Eleanor (Assistant Archivist)

The FitzGerald Ape on the monument to the Countess of Lincoln

On the monument in the Lincoln Chapel, at the south-east end of St George’s, at the feet of Elizabeth, Countess of Lincoln, appears an ape, standing on all fours.

Elizabeth FitzGerald was the third wife of Edward Clinton, 1st Earl of Lincoln, whom he married on 1 October 1552. She was the daughter of Gerald FitzGerald, 9th Earl of Kildare, and the ape has appeared on the Kildare arms for centuries. But why should this be so?

According to legend, in the 13th century the infant son of Maurice FitzGerald was snatched from his cradle by a tame ape. Carried to the top of the battlements of the castle, he was eventually returned by the simian to his cradle. Another version of the tale states that in the mid-13th century, fire broke out in the house and the infant first Earl of Kildare was forgotten in the panic to evacuate. He was said to have been rescued by the family’s pet monkey, and in recognition of the debt, a monkey was added to the family crest.

The ape is traditionally a symbol of sin, malice, craftiness and lust. It is thought to have indicated a moral obligation on the part of the bearer to conquer all sins, and been a reminder of one’s morals, ethics and religion. Other representations of monkeys appear in the grotesques, misericords and choir stalls in St George’s Chapel.

Eleanor (Assistant Archivist)