Lady Jane Grey Or Queen Kateryn Parr? Author(S): Susan E

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Lady Jane Grey or Queen Kateryn Parr? Author(s): Susan E. James Reviewed work(s): Source: The Burlington Magazine, Vol. 138, No. 1114 (Jan., 1996), pp. 20-24 Published by: The Burlington Magazine Publications Ltd. Stable URL: http://www.jstor.org/stable/886777 . Accessed: 27/09/2012 14:00

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LadyJane Greyor Queen Katetyn Parr?*

BY SUSAN E.JAMES

I N 1965 the National Portrait Gallery in London acquired a sixteenth-century portrait on panel of a woman (Fig.25; NPG 4451). It had come originally from Glendon, the former home of the Lane family in Northamptonshire, where it was assumed to be a portrait of Henry VIII's sixth wife, Kateryn Parr. That same year Roy Strong reidentified the sitter as LadyJane Grey, on the grounds of the portrait's relationship to an engraving in Henry Holland's Her- wologiaAnglica of 1620 ('an even closer one when the face beneath the present one is seen in the x-ray') and to a portrait belonging to Lord Hastings at Seaton Delaval, which 'has the same jewel, has always been known as LadyJane and came from her father's castle ofAstley'.' There is strong evidence, however, to suggest that NPG 4451 and the related images are in fact portraits of Kateryn Parr. The earliest account and reproduction of NPG 4451 is in a manuscript containing drawings of houses and monuments in Northamptonshire, dated 3rd August 1719, where the sketch of our portrait is described as a 'copy of Queen Catherine Parr's picture from the original in the gallery of Mr Lane's house at Glendon'.2 This provenance is significant as Glendon is listed in the marriage settlement signed on 10th December 1517 between Ralph Lane, the son and heir of William Lane of Orlingbury, and Maud Parr, the eldest daughter and 'heyre apparente' of Sir William Parr of Horton.3 Maud Parr, later Lady Lane, was Kateryn's first cousin. They were raised together at Rye House in Hertfordshire, in the household of Kateryn's mother, Lady Parr;4 the widowed Lady Lane later served her cousin as lady-in-waiting at court and was almost certainly with Kateryn when she died at Sudeley Castle in Gloucestershire on 7th September 1548.5 Maud Lane was one of Kateryn's three closest intimates as queen, the others being Kateryn's sister, Anne Herbert, and her cousin, Elizabeth Tyr- whit.6 Given Maud Lane's relationship and lifelong friendship with the queen, it would not be surprising to find a portrait of her royal cousin and mistress at Glendon, and it is significant that the Lane family, who owned the house in an unbroken line throughout the sixteenth and seventeenth centuries, identified the sitter as Kateryn Parr in 1719. Between 12th July 1543, when Kateryn Parr married Henry VIII, and January 1548, when her chamber accounts end some seven months before her death, the records show that she was painted by John Bettes, Hans Eworth, Lucas Hornebolte, and probably William Scrots and Lavina Terlinc as well.7 Two portraits 25. KateynParr, attri ibuted to MasterJohn. Panel, 180.3 by 94 cm. (National of her are generally accepted, although the sitters' features are not PortraitGallery, Lo ndon).

*I would like to acknowledge the help and advice of: Timothy Moreton of the WestmorlandAntiquarian and ArchaeologicalSociety, 2nd series, LXXXVIII [1980], pp. National Portrait Gallery, Karen Heam of the Tate Gallery,Janet Arnold and 108-19; Lettersand Papers,Foreign and Domesticof theReign of Heny VIII, ed J. SANDERS Diana Scarisbrickfor suggestionson the jewellery evidence, and Avril Hart, Linda and R.w. BRODIE (hereafter cited as Letters and Papers), London [1896], XXI, i, Woolley and Richard Edgecumbe of the Victoria and Albert Museum for insights no. 1348. on fabricand costume. "SeeLondon, PublicRecords Office (hereaftercited as PRO), El101/423/12, fol.3b 'Letterfrom Roy Strong dated 24th August 1965, in the file on NPG 4451, Nation- for LadyLane listedin the queen'saccounts; and Lettersand Papers, XVIII, i, 981 (88), al PortraitGallery, London. The paintingis publishedas ofJane Grey with further for a grant to Lady Lane; see also s.E. JAMES:Queen Katheyn Parr, forthcoming, ch.6 argumentsin R. STRONG:Tudor and Jacobean Portraits, London [1969], I, p.78; II, pl. 'The Queen's Household'. 142. The later copy at Seaton Delaval is reproducedin ibid.,pl. 147, as is the now ''According to JOHNFOXE (Acts and Monuments,ed. S.R. CATTLEY,London [1843-49], destroyedversion formerlybelonging to the Earl ofJersey, pl.148 V, p.557), these three were 'great with [the queen] and of her blood; [and] the 'London, BritishLibrary (hereafter cited as BL), MS Add. 32, 467, fol. 121; see the chiefestwhereof, as most of estimationand privy to all her doings, were these'. letter from Sir Giles Isham of 28th May 1970, in the NPG files. 7PRO, E315/340, fol.30a (Eworth);PRO, E315/340, fol.23b (Hornebolte).See also 3This document, in the Northamptonshire Records Office, Delapre Abbey, PRO, E315/340/22, file 27, fol.18; PRO, SP10/l/fol.41, and Oxford, Bodleian Northamptonshire,was uncataloguedwhen I consultedit. Library,Rawlinson MS D. 1070.4, for other mentionsof paintersand paintingcon- 4S.E.JAMES: 'Queen Kateryn Parr (1512-1548)', Transactionsof the Cumberlandand cerning Kateryn Parrduring her time as queen. 20 SHORTER NOTICES

26. KzterynParr, by an unknownartist. Miniature, 1544. (SudeleyCastle).

27. aiterynParr, by an unknownartist. 63.5 by 50.8 cm. (NationalPortrait Gallery, London). strikingly alike: a miniature at Sudeley Castle, painted when in a cofer having written upon it, "the Quene's Juelles"'.1' The Kateryn was 32, i.e. in 1544 (Fig.26), and a half-length portrait third, undated, inventory seems at first glance to be an incomplete (Fig.27; NPG 4618), by an unknown artist, once attributed to copy of the second, but internal evidence suggests that it probably William Scrots.8 Seventy-two years after Kateryn Parr's death predates it." It may have been made in 1548 when jewels were the in September 1548, the bookseller Henry Holland published a subject of an acrimonious dispute between the queen-dowager, volume of plates purporting to be portraits of famous people, enti- Kateryn Parr, and her brother-in-law, the Duke of Somerset. (In tled HenwologiaAnglica. Holland asserts in the preface that he had Spring 1548, only months after Henry VIII's death, Kateryn Parr taken great pains to establish the identities of those in the portraits. secretly married as her fourth husband, Sir Thomas Seymour of One of the plates shows a woman called 'ana Graya' (Fig.28), Sudeley, brother both toJane Seymour and to the Duke of Somer- wearing the same crown-headed brooch as the sitter in our por- set, the Lord Protector.) Jewellery which had been given to the trait; a note on the plate indicates that the engraving was copied queen by her late husband, Henry VIII, and clearly intended by the 'from MrJames Harrison's Holbein'. It was on the basis of the sim- terms of his will as gifts to her, was at the time of his death locked ilarity of the two brooches that Strong re-identified the panel por- up in the jewel house at the Tower for safekeeping. Somerset uni- trait as Jane Grey. However, Holland's information in 1620 may laterally decided that these jewels belonged to the Crown and had well have been incorrect, and nothing is known of Mr Harrison or only been lent to the queen, and so refused to turn them over to her. his 'Holbein' (which, on the evidence of the engraving would The dispute was continued after Kateryn's death by her last hus- appear to have been a variant of NPG 4451, quite close to the one band and the Lord Protector's brother, Sir Thomas Seymour of at Seaton Delaval). And the evidence of the jewellery indicates that Sudeley. Seymour, who was executed for treason and outlived the crown-headed brooch did belong to Kateryn Parr and is most Kateryn by only six months, never succeeded in getting possession unlikely to have passed through the hands ofJane Grey. of the jewels. The addition to the end of this third jewellery list of Three Tudor jewel lists may be used to trace this and other an inventory of Kateryn Parr's possessions entitled 'Inventory of pieces ofjewellery found in the portraits. The first is an inventory jewels - parcel of the Queen's jewels and other stuff which came compiled in 1542 of the jewels belonging to Katherine Howard from the late Admiral's [i.e. Thomas Seymour's] house of Sude- which, after her arrest for treason, she gave into the hands of Anne ley','3 strongly suggests that both the third and the 1550 lists are of Herbert, her lady-in-waiting and Kateryn Parr's sister.1"The sec- Kateryn Parr's jewels. ond was drawn up in 1550 as part of a comprehensive inventory of This conclusion is supported by a closer comparison of the 1542 the 'goods of Henry VIII' ordered by the Lord Protector, Edward and 1550 lists. The queen who owned the coffer in the Tower Seymour, Duke of Somerset, and is entitled 'The Quene's Jewells marked 'The Quene's Juelles' is unlikely to have been Katherine

~STRONG,op.cit. at note 1 above, I, pl.690. at note 11 above, fol. 168a) as 'lackingii small diamonds' and in the undated list 'n. HOLLANID:Herwologia Anglica, London [1620]. The copy in the Cambridge Uni- (fol.178b) as 'lackinga smalldiamond'. Unless one supposesthat the compilerof the versityLibrary, Keynes D.5.19, has annotationsby George Vertue. undatedlist simplyfailed to spot a second missingdiamond, or made a carelesscopy, '"BL,MS Stowe 559, fols.55-68. this suggeststhat the undatedlist is earlier. 'BL, MS Add. 46,348, fols.167b-72. "Societyof AntiquariesMS 129, pt A, fols.216a-20a. That a list of Kateryn'sjewels "London, Society of Antiquaries,MS 129 pt. A, fols.178a-85b. The 'Great Ship had indeed been made is confirmedby an entry in this inventory(fol.220a): 'a book Jewel', which appearsin all three inventories,is describedin the 1550 list (MS cited containingjewels of the late Queen in the King'sJewel House in the Tower'. 21 SHORTER NOTICES

IANA GPAYA

K X L S SUSS f L S Cl 1 tS kA Af o SSS g z inS j j -1 sm o1Xx Z11 v ote:;v1t11121? 1 ;;e, :w m

28. XclneGrey, by Willem and Magdalenavan de Passe. From: H. HOLLAND: 29. Detail of Fig.25. Her7XXologiaSnglica,London [1620].

Howard, because, although many of the jewels which appear on dant'.l6We may infer that Kateryn Parr had a new hache made Katherine Howard's list also appear on the list of l 550, a signifi- incorporatingher own initial,and had the resultingcipher set with cant number of others, including,as we shall see, the crown-head- the same emeraldand pearl as were found on KatherineHoward's. ed broochworn by the sitterin NPC 4451, do not. A second brooch There is also a jewelled gold tablet inscribedwith the letters'h' and found in the 1550 list and not in that of 1542 is described as 'a 'k', as well as descriptionsof other pieces, whose gem combinations brooch containingthe image of the king with the queen, having a and settings and rare religiousreferences make it certain that the crown of diamonds over him and a rose of diamonds under him collection in the queen's coffer postdates Katherine Howard and and on each side a man of diamonds'. '4Jewelspresent in 154S, such belonged to a queen whose firstinitial was 'k'.As the inventorywas as the 'pillarof gold garnishedwith small pearls and small stones compiled in 1550>this limits the possibilitiesto one. with also Our Lord and Lady and St John the Baptist', which Further evidence of a negative kind is provided by the list of Katherine Howard wore hanging from a cameo girdle (to be jewels sent byJohn Dudley, Duke of Northumberland,toJane Grey discussedbelow), have disappearedfrom the later inventories. in the Tower, during her nine-day reign in 1553.l7None of the Anotherindication of the owner of the jewels in the 1550 list can pieces worn by the sitterin NPC 4451, which are discussedbelow, be found in the jewelled initials of the type that court ladies wore appearshere. Indeed, none of the jewels sent toJane Grey can be around the neck in the 1530s and 1540s. On the 1542 list are identifiedin the lists discussedabove. They appear to be a miscel- describedtwo 'haches' or cipherjewels in the shape of the letter laneous collectionof pieces meant for both men and women some 'H', for Henry VIII. One is of gold, enamelledblack, 'having a very of'little worth', some counterfeit,some broken. fair emerald and a very fair pearl hanging at the same', and the The most significantpiece ofjewellery worn by the sitterin NPG other is describedas having Csixfair diamonds whereoffour be table 445 1 for the purposesof this discussionis the crown-headedbrooch diamondsand two be pointed and a fairemerald in the midstthere- (Fig.30),which also appears in Henry Holland's 1620 engraving of with also three fair pearls hanging at same'.'5On the 1550 list and in the Seaton Delaval portrait.This brooch may be identified there are also two haches, but they are not the ones that belonged with one describedin the 1550 jewel list as 'one ouche or flower to KatherineHoward. One is describedas Cone"h" with seven dia- with a crown containingtwo diamonds,one ruby,one emerald;the monds and three pearls pendant', and the second is described as crown being garnished with diamonds, [andl three pearls pen- 'one "h" and "k"with a large emerald and one large pearl pendant'l8(an 'ouche' or 'flower' was a brooch worn pinned to the

'IMS cited at note 11 above, fol.168b. 17H. NICOS, ed.: Memoirsand LileraryRemains of Ladyffane Grey,London [1832], t-MScited at note 10 above, fol.59a. pp. cxxx-cxli. '6MScited at note 11 above, fol. 168b. 't;MScited at note 1 l above, fol. l 68a.

22 togetherinventorybodice).ingMajesties'rynumber,queens.Howardland ., of copyon the thethe with Thegave keptGold other ofbrooch direction,broochthe byto in1606slde] rest weight'.2" the theas of enamelled, canasit jewel Princessthe presentlyfor'aJewell Thus. ,be royal thehouse',the tracedset jewellery entiretappearsmakingwithMary, being reddescribessixty-six-yearthrough .in 'oneintoofstonesa the GoldCrownett the pomanderlikepainting the theg possession plate; histo- rubies, fatejewel 111ofhas. > ofthe ! ofgold of beenX-5r0V;00gt--V0;0 listsgoldthe@<:< stones 0: garnished brooch.2 / where- ;0ffitof| ;d by_ ::three 07S_11|w j 1_ _S_j

SHORTER NOTICES muchoverpainted, and both the rubyand the emeraldare now _^ _ g _ |

' ' 2 ' h _ are-cut rmcr.ld Set

It can be shownthat this distinctivebrooch, perhaps made for z Illiii KaterynParr by herfavourite goldsmith Peter Richardson, passed tit; 000:4!:! - _

ElizabethI: it appearson her 1587jewel list as 'a flowerwith a tt i<;t> bW W _ Crown,garnished with xv smalldiamonds and in the midstof the + 2 l ; _ floweris a rubywith two diamonds and one Emerald,and the three ; 1: _ pearlspcndant'.'9 At Elizabeth'sdeath, the brooch passed toJarnes _ I's queen,Anne of Denmark,and is describedin her jewellery C _ withsmall Diamonds upon a Circle,having had one emerald,one ; : 0: _ rockRuby and two othertriangle stones nowe wanting in Collets, 0 9;0 withthree Pearles pendant, of ancientmaking, in weight20z 1dsvt > ef 4 _ 6grs'.An annotation on themanuscript, characterised as 'thework- - H a _

BynossT missillg its tuTo triangular-cut diamonds, it was'delivered to _ Mr. NicasiusRussell, Jeweler, the 8th of September1609 by her ; ! _

Even more prominentin the portraitis the girdleof antique 0$2''t%T ''";''<-; ' 0;0 '0 ' 0 '' 0 00">' cameos(Fig.31)wornbythe sitter. Thisisalmostcertainlyidentifi- u:$a90@wt;00000 tV, 0 >f ;;i f0000;;CEt able with one which belongedto KatherineHoward, which is l ;i: ff 000:;;:f8E: l; 0: :>0;0;000 S describedon the 1542jewel list as 'beadsof whiteantique heads ::: n -::00000:;j ( t 0000X:0 -6820000 fx E garnishedwith gold containing twenty and two of goldsmithsvork : ffi -:

23Ibidn fol 58b 111l _ 24Anearly sixteenth-century example of thisstyle of settingcan be foundon thefin- R I _1 - gerof thereliquary of St Lambertin LiegeCathedral. 31. Detailof the girdleof antiquecameos in Fig.25. 23 SHORTER NOTICES jewels in the queen's coffer.25In the half-lengthportrait of Kateryn Parr(Fig.27), the ruby and diamond pendant has been attachedto a necklaceof diamondsand rubies 'set in buttons of gold linkedby pearlsand set by couples',very similarto those describedas belonging to the queen on the second and thirdjewellery lists.26The half- length portraitalso shows the sitterwearing a cap identifiablewith 'a cap of blackvelvet garnishedwith a brooch of gold having there- on a table diamond, and 21 pairs of aglettes and 14 small buttons of gold', which, togetherwith 'one, a white ostrichfeather', appear in the chest of the late queen's belongings seized inJanuary 1549 when her husbandSir Thomas Seymourwas arrestedfor treason.27 The jewel lists also help reinforcethe identificationof the miniature at Sudeley Castle as a portraitof KaterynParr. In the Sudeley miniature (Fig.26), the sitter is shown wearing a tau cross that belonged both toJane Seymour (as shown by the miniatureof her, also at Sudeley)and to KatherineHoward.28 This displayof KatherineHowardrs (andJane Seymour's)jewels around the neck of Kateryn Parr indicatesthat Henry's sixth wife had access to her predecessors)possessions. During Henry VIII's reign, the bestowingof the previousqueen's royaljewellery on the present holder of the title was fairly common. Then too, Kateryn Parr'ssister, Anne Herbert,was custodianof Katherine Howard's jewel chest until the end of February 1542, and may well have familiarisedher sisterwith the inventoryof the late queen'sjewels. The costume and iconographyof NPG 4451 are entirelyconsis- tent with the imageryof a Tudor queen. The crown-headedbrooch proclaimsthe statusof the subjectand the richnessof the costume confirmsit.Janet Arnold has describedthe gown as being 'of ivory silkwith looped pile of silver metal thread. The sleeves are turned back to show the linings of lynx. The whole skirtis probablylined with fur. A line of white hairs may be seen under each side of the front opening, lying over the deep red forepartwhich is decorated with interlacedlines of gold cord, braid and pearls, matching the undersleeves'.29In the springof 1544 Kateryn Parris describedby 32. X-radiographof the sitter'shead in Fig.25. the ImperialAmbassador Chapuys as wearing similarlymagnifi- cent attire: household servantsand her commode. In the winter of 1543-44 She wore an underskirtshowing in front, of cloth of gold and a she ordered from the Italian merchant Dominico Drozo 'sixteen sleevedoverdress of brocadelined with crimsonsatinj the sleeves yards of cloth of silvelrplain for a French gown' and 'a kirtlewith themselves being lined with crimson velvet, and the train was Venetian sleeves for the queen's grace of fine cloth of silver two yardslong. She wore hangingfrom the neck two crossesand branched [i.e. patterned]'.32The lattermust have been very similar a jewel of very magnificentdiamonds, and she wore a greatnum- to the patternedcloth of silver in NPG 4451. The queen's sfurred ber of splendid diamonds in her headdress. Her girdle was of gowns' are a matter of record and were stored at Baynard'scastle. gold with very large pendants.30 In October and November 1544 orders were given to fetch her The kind of dress Chapuys describedwas called a French gown, furredgowns to court againstthe chill of an early winter. and could be worn with or without a train. In its round or trainless As this portraitis very similar in style and handling, dress and form, it would have resembledthe farthingaleunderskirt which the jewellery)to the half-lengthportrait of PrincessMary (NPG 528)? sitterwears in NPG 4451, althoughthis is of red velvet. The knots generally accepted as the one painted by 'one John' in autumn of pearls on the underskirtin the portrait appear to represent 1544,33it is possiblethat NPG 4451 was painted by the same artist stylisedlovers' knots,31and this interpretationis reinforcedby the in the winter of that year.34It could just as easily, however) have lover's pink the sitter holds. The carpet on which she stands is a been painted in the previouswinter (1543-44), orllya few months Middle Eastern keyhold rug with a ragged palmette border. after Kateryn's marriage to the king. The crown-headedbrooch Kateryn Parr'sfondness for the fabricsworn by the subjectof the (perhapsa wedding gift from Henry?), the lover's knots and the portraitis attestedto in her chamberaccounts. Crimson velvet was pink would thus all have been painted as symbols of Kateryn's her favouritematerial, covering her books, her looking glass, her suddenlyelevated position as Henry VIII's new wife and queen.

25MScited at note 12 above, fol. 170a. x}I am gratefulto Richard Edgcumbefor confirmingthis. 26Ibid.,fol. l 70a, and MS cited at note above, fol. l8 1a. 32PROE101/423/12, fols 7a and 8a. 27lbid.n fol.219a- 33Privypurse expenses of PrinsessMaCy, ed. F. MADDEN, London [1831], p. l 68. For the 28MScited at note 10 above, fol.58b. The tau crosscan also be seen aroundthe neck paintingsee STRONG>, op.cit.at note above, I, pp.208-09, K. HEARN, in I2yrzasties:Painting of Mary I in Hans Eworth's 1554 portraitof her in the National PortraitGallery in 7SudorandXacobean England 1530-1650, exh.cat., Tate Gallery, IJondon [1995g, (NPG 6481). In 1587 it appearson ElizabethI's jewel list (MS cited at note 19 above, pp.47-48, no. 11. It is reproducedon the cover of this issue. fol.63. 34STRoNG, op.cit.at note 1 above, p.78, accepts the attributionto 'MasterJohn',but 29J. ARNOLD: QueenElizabeth's Wardrobe Unlock'd, London [1988]S p. 125. dates the portrait 1547-48, when its presumedsitter, LadyJane Grey, would have 30BL,MS Add. 8219, fol. 1 14. been aged 10-11 .