May. 1517. London is rocked by a riot directed towards the foreigners living within its walls, an orgy of violence forever known as the ‘Evil May Day’. But just how bad were these riots? Were they as savage as the authorities made them out to be… or is the memory of them influenced by the response of a capricious and vengeful king?

The Story of London examines the background and events of this event to try and work out why the city found itself plunged into a sea of violence that summer, most of it done by men in uniform. This chapter we explore the context- the background of events in Europe, England and London that fed into the riots themselves…

Cover contains detail of ‘The Taking of Christ’ by Caravaggio, 1602

Henry VIII began his new reign with a desire to earn glory in war- and plunged the nation headlong into an unexpected and large scale war with France, all seemingly driven by his fiery passion to show his prowess in battle. But around him, much was happening. To the north, the rules of naval conflict were changing forever, to the south, his Father-In-Law was showing how untrustworthy he was; across Europe the fortunes of nations rose and fell dependant upon politics, and here in London? We see a city continuing old traditions of faith, leading protests against the war, and witnessing a fire that was to change the Palace of Westminster forever.

Cover shows a detail of portrait of Henry VIII as a young man, c. 1515-1520; Anglesey Abbey, Cambridgeshire.

Continuing the fascinating tale of the early lives of two of London’s most infamous residents of the time- Thomas More and Thomas Cromwell. Picking up with More a trainee barrister in Lincolns Inn, with a growing academic reputation, and Cromwell being a soldier in a French army invading Italy, we follow the two men as they ride the waves of passion of the age, and complete their journeys to bring them to the centre of their story… the city of London.

Cover features ‘Portrait of a man in a red cap’ by Titian (c.1510)

We take a pause in our narrative to go back a few years to look at the childhoods, and backgrounds of two men from London- both called Thomas, both growing up in and around London (even if their experiences were very different) and both would go onto have huge impacts into the story of the city and the politics of Henry VIII.

This then is the story of Thomas More, and Thomas Cromwell, whose stories were to illuminate life in the city; its passions, its shadows, the smallness of it all, and also how experiencing it could shape a young mans life. This then is the tale of the two Toms…

Cover shows ‘A laughing boy’, by Guido Mazzoni, c.1498.

The opening years of the reign of Henry VIII were quite paradoxical; for a king who would become known as a radical, a man who changed the nation so completely as he did, the first years of his reign represented something else- a return to more traditional ways of doing things. This week we examine why London would have felt that especially so, while also covering the first major policy decision of the young kings long reign- why he suddenly decided to marry Catherine of Aragon, when by all accounts he was under no obligation to do so.

Cover includes detail from ‘Portrait of Lady Margaret Beaufort’

Henry VII was dying… but as the first Tudor monarch slowly drifted towards death, in London the city was stilled gripped by the terrible regime of his loyal lapdog, Edmund Dudley. As the kings health began to decline, the arrests continued, the terror remained, but around him, various figures, from the desperate Catherine of Aragon, to the kings elderly but wise mother, began to sense the growing anger towards the regime, and made careful moves to make sure the correct scapegoats were prepared.

This week we follow the incredible transformation of young prince Henry, the intricate politics of the court, London surviving oppression and epidemic, and the final retribution inflicted upon those chosen to take the fall for the late King’s folly’s.

Cover shows the terracotta portrait bust of Henry VII by Pietro Torrigiano.

In the second part of ‘The Spanish Gambit’ we start to draw together the diverse threads of this story- Henry VII’s changing foreign policy ambitions, the ambitions of the Hapsburgs, the desperation of Catherine of Aragon, the Pope’s fury at the Alum smuggling network, the power of the Italians in the capital and above all… Edmund Dudley’s onslaught against London itself. With elections being nullified, innocent men and women being locked up for no good reason, with a cohort of some of the seediest criminals now seemingly dominating everyone from the mayor down, the city was plunged into an era of darkness it had not seen for hundreds of years. The Spanish Gambit had dark implications for London…

Cover art includes detail from “Portrait of Maximilian I, Holy Roman Emperor”

Towards the end of his reign, Henry VII really came into his own; he stood as a giant on the European stage, a player in THE most dynamic and profound change in European politics in decades, poised to strike down his enemies and ensure his dynasty was cemented into the high seat of European politics… but how did he do it?

What follows is the opening part of a story involving corrupt popes, holy cartels, dodgy Italians living in London, dubious Spaniards, an eager but devout heir to the throne, and one of the most lucrative smuggling operations of the era, all of which has Henry VII right in the heart of it. Welcome to the first part… of The Spanish Gambit.

Cover features portrait of Pope Julius II by Raphael.