An oil painting of a crowded court scene. Queen Katherine of Aragon, wearing a crown and a dark green velvet gown with ermine-lined sleeves, stands just right of centre and points an accusatory finger at a seated man in a cardinal's red robes and broad-brimmed hat. Another cardinal hovers behind the queen, with one palm raised in apparent disagreement. In the centre of the foreground, two children are attempting to move a heavy red velvet bag or cushion. Behind them, a table spread with a gold cloth bears several books and papers and a gold sceptre. Thomas Cromwell is seated behind the table, in a black coat, white collar, and fur-lined robe, holding a quill pen. Behind him, King Henry VIII sits on an elevated throne; his cheek is propped on one hand, and he wears an elaborate doublet and hat with several chains of office. On both sides, more figures crowd into the background to watch the trial; some of them are dressed as bishops and holding crosiers. There is a  curtained canopy over the king's seat and red velvet curtains on both sides; a glimpse of a vaulted ceiling can be seen through a gap in the curtains.
Image: An oil painting of a crowded court scene. Queen Katherine of Aragon, wearing a crown and a dark green velvet gown with ermine-lined sleeves, stands just right of centre and points an accusatory finger at a seated man in a cardinal's red robes and broad-brimmed hat. Another cardinal hovers behind the queen, with one palm raised in apparent disagreement. In the centre of the foreground, two children are attempting to move a heavy red velvet bag or cushion. Behind them, a table spread with a gold cloth bears several books and papers and a gold sceptre. Thomas Cromwell is seated behind the table, in a black coat, white collar, and fur-lined robe, holding a quill pen. Behind him, King Henry VIII sits on an elevated throne; his cheek is propped on one hand, and he wears an elaborate doublet and hat with several chains of office. On both sides, more figures crowd into the background to watch the trial; some of them are dressed as bishops and holding crosiers. There is a curtained canopy over the king's seat and red velvet curtains on both sides; a glimpse of a vaulted ceiling can be seen through a gap in the curtains.

The great tragic actress Sarah Siddons made Queen Katherine's address to Cardinal Wolsey one of her most famous setpieces.

George Henry Harlow captures the moment she points at the hated Cardinal -'to YOU I speak'. Contemporaries commented on how Siddons seemed immediately to 'reassum[e] the fulness of majesty, glowing with scorn, contempt, anger and the terrific pride of innocence’.

This painting was 'Picture of the Year' at the Royal Academy in 1817. It became one of the most popular theatrical images of the nineteenth century, and a point of reference for future productions of Henry VIII.

It combines family portraiture with theatrical history: Sarah Siddons's Wolsey is played by her brother, John Philip Kemble. Stephen and Charles Kemble are, respectively, Henry VIII and Thomas Cromwell.


Listen to the Trial of Queen Katherine performed by the RSC below.

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