The Story returns with the second and final part of the aftermath of the death of Henry VIII- the grand ceremonies of death and rebirth carry on within London, as the new child king is welcomed, before London gets back to its usual type of issues- Aldermen who don’t want the job, ex-monks smuggling body parts out of the country, worried academic types recanting their beliefs at Paul’s Cross.

But over in Westminster, the new regime of the King’s Uncle began to build up their courage to unleash a series of dramatic evangelical reforms upon the land, reforms which would see the churches of our city forever changed, and the fate of one such sacred space was to have a profound impact upon the country which we see to this very day…

Cover art includes detail from ‘Portrait of a Gentleman, Said to be Sir Edward Seymour’ by unknown artist.

We are back with a two part examination of the immediate aftermath of the death of King Henry VIII- and look at the impact of his death upon his family (especially his children), the government of England and upon how London reacted to it all.

A nine year old boy was now on the throne of England… this changed everything. Lets find out how…

Cover features a detail from “An Allegory of the Tudor Succession” c.1590, Unknown painter

We return after a short break, and tell the story of London during the final two years of the reign of Henry VIII- a chapter that not only documents the declining health and mental state of the aging king, but also shows how right up to the end, his regime was as deadly and as vicious as ever.

This is London witnessing the trial of a noble whose cause became one London supported… even if he was the kind of man to wander the streets firing crossbows at passersby. Welcome to a city which reflected the paradoxical nature of the regime itself.

Cover shows detail of a sketch of Henry Howard, Earl of Surrey, credited to Hans Holbein the Younger.

1546- a year which saw the full tyranny of Henry VIII bloom across London; when the city was not being forced to buy tonnes of surplus wheat from the King; when it was not celebrating the end of the War with France; and when it was not almost burning the wives of cattle barons… it was dealing with a great many things.

One of these was the closure of its legal red light district over on Bankside, an event which actually caused the spread of illegal sex trade; but it also witnessed a wild year wherein the 6th wife of Henry VIII came within an inch of being arrested for heresy, and an amazing, and bold woman called Anne Askew found herself suffering a horrendous death upon Smithfield. Welcome to the last full year of the life of Henry VIII- it alls it gory detail.

Cover features Portrait of Anne Askew by Hans Eworth (1560)

The Story finds itself in the last years of the reign of Henry VIII- and we find our metropolis a place where innocent simple teenagers are burned alive, where security clampdowns see curfews and house searches, where ships explode on the Thames, where thousands of men leave the streets to march out to war, where the economy contracts, where no one is safe, and where all of this is caused by an obese, diseased, angry, foul tempered man, playing games with people and dragging all down into insanity.

Cover includes portrait of Henry VIII by Cornelis Metsys.

An episode where we look under the surface to see what the cities merchants were doing- and run into some surprising truths; this was London at the birth of modern capitalism, and this chapter takes you though the sophisticated financial operations taking place in the city, the newly emergent international trade in credit, why Antwerp was showing the way London had to follow, and introduce a family who would dominate trade in the city over a few generations; the Gresham dynasty.

Welcome to the ground floor in the revolution that will change London forever…

Cover includes altered picture of the Mercer’s Maid, symbol of the Mercer Livery Company, Dryden Street, London

Henry VIII was a tyrant. He was a brutal, wilful, petulant king, whose desire to do whatever the hell he felt like and deal with the consequences later, had driven his country into uncharted and dangerous waters. And this is his reign made manifest upon the streets of London- a city filled with massive mock battles on the river, accidental shootings of washerwomen, new churches to prevent bodies being dragged through Whitehall Palace, confusing mass executions of both Protestants and Catholics on the same day, parades of soldiers never destined to fight, and the king going through wives faster than some residents went though a decent jacket.

And in all of this- that highest ranked of all London residents, Thomas Cromwell was to fall from power and be put to death. The sheer madness of the king made manifest in a city just trying to cope with his whims…

Cover includes altered version of the portrait of Henry VIII, done by Hans Eworth based on the original by Hans Holbein the Younger (1540-1547)

This weeks chapter examines four busy years in the story of our city- culminating in the first death by shooting in its history; along the way we explore a country descending into resentment, resignation and eventually rebellion as Henry VIII descends into tyranny. We examine the seeming madness of his actions, from the speed and ferocity with which he turned on Ann Boleyn, to the dramatic sudden marriage to Lady Jane Seymour, to suddenly being married to a German princess…

Along the way we look as the city copes with massive rebellions in the north, violent turmoil in Calais, and crucially, explore why the city itself remained peaceful- discovering that while the king increasingly gave way to his own dark passions, perhaps driven there by a near fatal accident, London’s mercers and others began to look to each other for continuity.

Cover includes detail from the portrait of Queen Jane Seymour by Hans Holbein the Younger.

We take a pause from the narrative, to examine, in detail, what the dissolution of the monasteries of London meant for the city- literally, who gained the land and the buildings, what did they do with them, and how much money was made from this?

What we see is series of deals that will influence London for the next few decades, as a plethora of new landlords and new homes erupted, and how a small bunch of people were able to make a fortune out of this.

Cover includes photograph of the blue plaque denoting the site of Grey Friars Monastery, the City of London

We return with the story as we examine the circumstances that saw a drastic change in fortunes for the cities two most powerful residents- for Thomas Cromwell? His rise in power and status, and his leaving of a physical mark upon the very fabric of the city.

For Thomas More? The opposite. The driven man, rushing headlong towards his own death, the circumstances of his life making it impossible to avoid.

And around this, a city on the edge of panic, the politics of the new Queen, and much more, as the Story of London reaches the end of the saga of ‘The Boy from Milk Street’.

Cover features the Portrait of Thomas Cromwell, attributed to Hans Holbein the Younger, c.1533, Frick copy of original.