Orsolya's Reviews > Tudor Textiles

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.