‘Matilda: Empress, Queen, Warrior’ Interview with Catherine Hanley


Catherine Hanley is the author of ‘Matilda: Empress, Queen, Warrior’ which was published by Yale University Press last month.

Catherine is also the author of ‘Louis: The French Prince Who Invaded England’ and a five part historical fiction medieval mystery series written under the name C.B. Hanley (The Sins of the Father, The Bloody City, Whited Sepulchres, Brother’s Blood and Give Up The Dead).


Buy ‘Matilda: Empress, Queen, Warrior’:

Amazon.co.uk

Yale Books



(c) Jenni Nott Photography



Follow Catherine on Social Media:

Catherine’s website: Catherine Hanley – Historian and Author
Twitter: @CathHanley


Many thanks to Catherine for answering my questions.


(c) Yale University Press


Why did you choose this subject for your book?

A combination of reasons, really. My academic background is in twelfth- and thirteenth-century warfare, but I was increasingly aware that I was mainly writing about men, and that it might be nice to write something about a woman for a change! With Matilda I could do this while still having a good dollop of war and combat included, so the subject fitted quite well. And on top of that, I’ve always felt that Matilda’s extraordinary life and actions have never been properly recognised or appreciated, so there was an element of being able to bring forward this great story to a new audience.


What does your book add to existing works about Matilda?

Obviously there have been some fantastic academic studies of Matilda in the past – I could never hope to surpass Marjorie Chibnall’s The Empress Matilda for depth – but I was hoping to achieve two things. Firstly, to take advantage of the great strides that have been made in medieval gender and queenship studies over the last two decades, to present a new viewpoint on Matilda; and secondly, to write about her in (what I hope is) a more user-friendly way so that readers don’t feel that they need to have a whole lot of background knowledge already before they can pick the book up.


What surprised you most researching this book?

Just how much responsibility Matilda had at such a young age. Some of it makes quite horrendous reading these days: sent abroad for a betrothal, away from her family (she never saw her mother or her brother again) and to a foreign-speaking land, when she was just eight years old; married before she was twelve. But she turned this adversity to her advantage, and by the time she was sixteen she was ruling Italy as her husband’s regent.


If Matilda had been in London when Henry I died, do you think she would have become Queen or were attitudes towards female rule too impossible to overcome?

Good question. One of the reasons Stephen was able to take the throne is that he was in possession of the all-important information much sooner than Matilda was: he had crossed the Channel, secured the treasury and had himself crowned before Matilda even knew Henry was dead. And once he had been crowned, that was it – a fait accompli. If Matilda had been in London it is probable that Stephen would not have been able to carry out this unexpected lightning manoeuvre. There would have been time for more discussion, more reflection involving more nobles, about who should succeed Henry. In short, I certainly think that it might have delayed matters, and made Matilda’s candidacy more of a subject for discussion, but I’m not sure if the result would have been any more favourable. Stephen might not have been chosen as king, but it doesn’t necessarily follow that Matilda would have been, either.


Why was Matilda condemned for behaving like a King while Queen Matilda (wife of Stephen) was praised for being ‘a woman…of a man’s resolution?’ (p.155)

At this time, women were routinely expected to bear great responsibility: administering and defending great estates, entering into negotiations, and so on. But the crucial point was that any authority they had was strictly confined within male power structures: all of these actions were acceptable only if a woman was acting on behalf of her husband, her son, etc. What disturbed contemporaries so much was that Matilda was seeking to rule on her own, in her own right: she had a husband and a son but they were not mentioned in her claim – she sought the crown for herself, and this was considered unacceptable. Queen Matilda, on the other hand, raised an army and took action specifically on behalf of her husband when he was imprisoned, so this was seen in a very different light. And, of course, once Stephen was free, his wife did the appropriate womanly thing and stepped back into the background. Thus she could be praised and Matilda condemned, even though their actions were very similar.


What was Stephen’s greatest mistake as King?

Basically, seizing the crown in the first place. It proved relatively easy to obtain and very difficult to keep – and there was a lot more to kingship than just having the crown put on your head, as he soon discovered once it was too late to back out. He made one snap decision and then spent the rest of his life trying to live up to it, barely knowing a day’s peace. By the time he died he had lost his wife and his eldest son, and the trust of many of his friends, and I wonder whether he thought it was all worth it.


What was Matilda’s greatest triumph?

Seeing her son inherit the throne. By the time Stephen had been king for a decade, it was clear that the war over who would succeed Henry I was over. It might have been easy for Matilda to give up, but there was still a war to be fought over who would succeed Stephen, and she was utterly determined that it would be her son rather than his.


What do you think had changed between Matilda’s challenge for the throne and the successful challenge of Mary I?

Sixteenth-century England was still a deeply patriarchal society, and one might argue that little had changed. However, Mary did have one tremendous advantage over Matilda, in that all the other candidates for the throne after Edward VI’s death were also female – her struggle was not one of gender per se, but rather of religion and hereditary preference (caveat: I am by no means a Tudor expert and there is no doubt a lot more to it than that!). Having said that, once Mary did accede, she – and her sister Elizabeth after her – were able to turn the tables and use gender stereotypes to their advantage in a way that the more direct Matilda either never considered or never allowed herself to do.




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New book added to Books 2019



15th October – Philippa of Hainault: Mother of the English Nation by Kathryn Warner


(c) Amberley Publishing


‘Philippa of Hainault: Mother of the English Nation is the first full-length biography of the queen who stood in the middle of the some of the most dramatic events in English history.

Philippa’s marriage was arranged in order to provide ships and mercenaries for her mother-in-law to invade her father-in-law’s kingdom in 1326, yet it became one of the most successful royal marriages in English history and endured for more than four decades. The chronicler Jean Froissart described her as ‘The most gentle Queen, most liberal, and most courteous that ever was Queen in her days.’

Philippa stood by her husband’s side as he began a war against her uncle, Philip VI of France, and claimed his throne. She frequently accompanied him to Scotland, France and Flanders. She also acted as regent in 1346 when Edward was away from his kingdom at the time of a Scottish invasion, and appeared on horseback to rally the English army to victory.

Philippa became popular with the people due to her kindness and compassion, demonstrated when she sought pity for the Burghers of Calais and persuaded King Edward to spare their lives. This popularity helped maintain peace in England throughout Edward’s reign. Her son, later known as the Black Prince, became one of the greatest warriors of the Middle Ages.’

From – Amazon.co.uk

Further details – Kathryn Warner

Further details – Amazon.co.uk




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A look at the ‘Tudors to Windsors’ exhibition at the Bendigo Art Gallery, Australia.


(c) Courtesy of the Bendigo Art Gallery


‘Tudors to Windsors: British Royal Portraits’ opened at the Bendigo Art Gallery, Australia on 16th March and runs until 14th July.


Lady Jane Dudley (née Grey)
(c) National Portrait Gallery


The exhibition includes the portrait of Lady Jane that was discovered in a house in Streatham in January 2006 and was purchased later that year by the National Portrait Gallery.


(c) Courtesy of the Bendigo Art Gallery


(c) Courtesy of the Bendigo Art Gallery


‘Tudors to Windsors traces the history of the British monarchy through the outstanding collection of the National Portrait Gallery, London. This exhibition highlights major events in British (and world) history from the sixteenth century to the present, examining the ways in which royal portraits were impacted by both the personalities of individual monarchs and wider historical change. Presenting some of the most significant royal portraits, the exhibition will explore five royal dynasties: the Tudors, the Stuarts, the Georgians, the Victorians and the Windsors shedding light on key figures and important historical moments. This exhibition also offers insight into the development of British art including works by the most important artists to have worked in Britain, from Sir Peter Lely and Sir Godfrey Kneller to Cecil Beaton and Annie Leibovitz.

To bring these royal figures to life, Bendigo Art Gallery has secured key loans of historic fashion, armour and personal effects which will be featured alongside these magnificent and imposing portraits.’

From Bendigo Art Gallery


The Tudors


(c) Courtesy of the Bendigo Art Gallery


(c) Courtesy of the Bendigo Art Gallery


(c) Courtesy of the Bendigo Art Gallery


The Stuarts


(c) Courtesy of the Bendigo Art Gallery


(c) Courtesy of the Bendigo Art Gallery


(c) Courtesy of the Bendigo Art Gallery


The Georgians

(c) Courtesy of the Bendigo Art Gallery


(c) Bendigo Art Gallery


The Victorians

(c) Courtesy of the Bendigo Art Gallery


(c) Courtesy of the Bendigo Art Gallery


The Windsors


(c) Courtesy of the Bendigo Art Gallery


(c) Courtesy of the Bendigo Art Gallery


Learn more about the exhibition in this Bendigo Art Gallery film.


For more information about the exhibition and to buy tickets: Tudors to Windsors: Bendigo Art Gallery


(c) Courtesy of the Bendigo Art Gallery


Thank you to the Bendigo Art Gallery for letting me use their photos.




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Books 2019 – on sale today – Daughters of Chivalry: The Forgotten Children of Edward I by Kelcey Wilson-Lee


(c) Picador


‘Virginal, chaste, humble, patiently waiting for rescue by brave knights and handsome princes: this idealized – and largely mythical – notion of the medieval noblewoman still lingers. Yet the reality was very different, as Kelcey Wilson-Lee shows in this vibrant account of the five daughters of the great English king, Edward I.

The lives of these sisters – Eleanora, Joanna, Margaret, Mary and Elizabeth – ran the full gamut of experiences open to royal women in the Middle Ages. Living as they did in a courtly culture founded on romantic longing and brilliant pageantry, they knew that a princess was to be chaste yet a mother to many children, preferably sons, meek yet able to influence a recalcitrant husband or even command a host of men-at-arms. Edward’s daughters were of course expected to cement alliances and secure lands and territory by making great dynastic marriages, or endow religious houses with royal favour. But they also skilfully managed enormous households, navigated choppy diplomatic waters and promoted their family’s cause throughout Europe – and had the courage to defy their royal father. They might never wear the crown in their own right, but they were utterly confident of their crucial role in the spectacle of medieval kingship.

Drawing on a wide range of contemporary sources, Daughters of Chivalry offers a rich portrait of these spirited Plantagenet women. With their libraries of beautifully illustrated psalters and tales of romance, their rich silks and gleaming jewels, we follow these formidable women throughout their lives and see them – at long last – shine from out of the shadows, revealing what it was to be a princess in the Age of Chivalry.’

From Amazon.co.uk

Further details – Pan Macmillan.com

Further details – Amazon.co.uk



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Exhibition featuring painting of Lady Jane opens in Australia


‘Tudors to Windsors: British Royal Portraits’ exhibition at the ‘Bendigo Art Gallery’, Australia, opened on Saturday and runs until 14th July.


Lady Jane Dudley (née Grey)
(c) National Portrait Gallery


‘Tudors to Windsors traces the history of the British monarchy through the outstanding collection of the National Portrait Gallery, London. This exhibition highlights major events in British (and world) history from the sixteenth century to the present, examining the ways in which royal portraits were impacted by both the personalities of individual monarchs and wider historical change. Presenting some of the most significant royal portraits, the exhibition will explore five royal dynasties: the Tudors, the Stuarts, the Georgians, the Victorians and the Windsors shedding light on key figures and important historical moments. This exhibition also offers insight into the development of British art including works by the most important artists to have worked in Britain, from Sir Peter Lely and Sir Godfrey Kneller to Cecil Beaton and Annie Leibovitz.

To bring these royal figures to life, Bendigo Art Gallery has secured key loans of historic fashion, armour and personal effects which will be featured alongside these magnificent and imposing portraits.’

From Bendigo Art Gallery


The exhibition includes the portrait of Lady Jane that was discovered in a house in Streatham in January 2006 and was purchased later that year by the National Portrait Gallery.


(c) NPG
Montacute House


The portrait was first on display in Room 3 of the Tudor Galleries from spring 2007 to April 2009 and then at the entrance to the ‘Lady Jane Grey’ display from December 2009 until 15th August 2010.

Between March 2013 and May 2014 it was on display at Montacute House in Somerset. It was back in Room 3 at the National Portrait Gallery as part of ‘The Real Tudors: Kings & Queens Rediscovered’ exhibition from 12 September 2014 until 1st March 2015. The portrait returned to Room 2 of Montacute House in the late spring of 2015.

From October 7th 2018 to 27th January 2019, the painting was on display at the Museum of Fine Arts, Houston as part of the ‘Tudors to Windsors: British Royal Portraits from Holbein to Warhol’ exhibition.



For more information about the exhibition and to buy tickets: Tudors to Windsors: Bendigo Art Gallery

To see which portraits are on display from the National Portrait Gallery: National Portrait Gallery – Bendigo Art Gallery, Australia



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