St Mary’s Church – Bury St Edmunds


St Mary’s Church in Bury St Edmunds is the final resting place of Mary Tudor, Queen of France and Duchess of Suffolk. Youngest sister of Henry VIII, Mary was grandmother to Lady Jane Grey.


St Mary's Church

St Mary’s Church


Mary died on 25th June 1533. After lying in state at Westhorpe for three weeks, she was buried in Bury Abbey.

According to the St Mary’s Church guide book, ‘at the dissolution of Bury Abbey in 1539 her tomb and body were transferred to the north side of the sanctuary of St. Mary’s. In September 1784 the tomb was dismantled, her lead coffin opened and her embalmed body revealed. Locks of her long golden hair were cut off, one of which can still be seen in the borough Museum. She was re-buried in the sanctuary and the original tomb top, a pre-reformation altar stone with five consecration crosses, placed over the grave. (1) *


Queen Mary's grave and the accompanying display

Queen Mary’s grave and the accompanying display


Close up of portrait of Mary Tudor

Close up of portrait of Mary Tudor


Mary Tudor and Charles Brandon

Mary Tudor and Charles Brandon


Maria Perry describes Mary’s funeral procession to Bury St Edmunds.

‘…led by the young Marchioness of Dorset, who was chief mourner, with her brother, the eleven-year-old Earl of Lincoln, the family assembled for the solemn funeral. Lady Eleanor came after her brother and sister, accompanied by Lady Catherine Willoughby, Suffolk’s ward. Mary’s stepdaughters, Lady Powis and Lady Mounteagle, came next.

…The procession formed up in the courtyard. Six gentlemen lifted the coffin from the chapel, placing it on a carriage draped with black velvet and drawn by six horses trapped in black. A pall of black cloth of gold was placed over the coffin, upon which rested a beautiful funeral effigy of the late Queen in her robes of state, a golden crown on her head and a sceptre brought specially from France in her hand. In front of the coffin 100 poor men in black carried wax tapers. Immediately behind the young Marchioness, escorted by her husband, rode a palfrey accoutred in black velvet. Lord Clifford, who was to marry Lady Eleanor, rode beside them, while ten noblewomen who had served Mary at various times rode single file behind them. Next came two carriages with the Queen’s gentlewomen and lastly the yeomen and servants.

…It was two o’clock before the procession reached Bury St Edmund’s, where the abbot and monks received the mourners and the Bishop of London waited in full pontificals. A hearse had been prepared for the coffin, all hung with black drapes, fringed and embroidered in gold with Mary’s arms and her gentle motto, ‘La volonte de Dieu me suffit.’ Banners embroidered with the symbols of Lancaster and York, the Tudor portcullis and the fleur-de-lis, adorned the church from the gate of the monastery right up to the high altar. The monks began to chant the solemn dirge and the French herald cried out at proper intervals, ‘Pray for the soul of the right high and excellent Princess and right Christian Queen Mary, late French Queen, and for all Christian souls.’” (2)


Mary's tomb

Mary’s tomb


Dr Erin Sadlack writes that ‘William Fellows, who was Marleon de Aye Herald to Brandon, records Mary’s original epitaph:

“Here lyete the Ryght noble and excellent prynces Mary frenche qwyne Suster to the moste myghtty prynce kyng Harry the viii of that name and wyff to Lews kyng of france whyche all hyr lyff tyme contynuynge pesyble qwyne dowager of france and in high favor and estymacion of bothe Reaulmes was afterward maryed to Charles duc of Suffolk.” (3)


Inscription above Mary's grave

Inscription above Mary’s grave


Mary's coat of arms

Mary’s coat of arms


In the South Chapel is the Mary Tudor Window. According to the guide book, the window ‘is by Clayton and Bell and dates from 1881. It was presented by Queen Victoria in memory of Princess Mary Tudor, Queen of France and Duchess of Suffolk.’ (4)


Mary Tudor Window

Mary Tudor Window


‘In the upper tracery are depicted Mary Tudor, Henry VIII, Prince of Castile, Henry XII of France, and Charles Brandon Duke of Suffolk. The glass shows the main events in Mary’s life (1) marriage with Louis XII in October 1514, she aged 18, he aged 52; (2) the entry of Mary into Paris, in November 1514; (3) Mary as the ‘White Queen’ in her widowhood in January 1515, talking to Henry’s ambassador Charles Brandon; (4) her marriage to Charles Brandon in March 1515; (5) their reconciliation with Henry VIII in England in May 1515; (6) Mary’s funeral at Bury Abbey in 1533.’ (5)


Close up of window showing (4) her marriage to Charles Brandon in March 1515; (5) their reconciliation with Henry VIII in England in May 1515; (6) Mary’s funeral at Bury Abbey in 1533

Close up of window showing (4) her marriage to Charles Brandon in March 1515; (5) their reconciliation with Henry VIII in England in May 1515; (6) Mary’s funeral at Bury Abbey in 1533


* The local borough museum is Moyse’s Hall Museum.


Sources

1.Paine, C.R. (2000) St Mary’s Bury St. Edmunds, Honey Hill Publishing, p.9

2. Perry, M. (1998) Sisters to the King – The Tumultuous Lives of Henry VIII’s sisters – Margaret of Scotland and Mary of France, Andre Deutsch Ltd, p.212

3.Sadlack, E. (2011) The French Queen’s Letters: Mary Tudor Brandon and the Politics of Marriage in 16th Century Europe, Palgrave Macmillan, p.156

4. Paine, C.R. (2000) St Mary’s Bury St. Edmunds, Honey Hill Publishing, p.9

5. ibid.


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The Real Tudors: Kings & Queens Rediscovered – National Portrait Gallery


‘The Real Tudors: Kings & Queens Rediscovered’ opened at the National Portrait Gallery on 12th September 2014 and runs until 1st March 2015.

This free display is in the usual Tudor Galleries on the third floor of the NPG. Each Tudor monarch has their own section, starting with Henry VII and Henry VIII in Room 1, Edward VI, Mary I and Elizabeth I in Room 2 and Lady Jane Grey in Room 3.

Apart from seeing the Lady Jane ‘Streatham’ portrait back on display, the most fascinating objects in the exhibition for me, were the items that belonged to each Tudor monarch. It was great to see the Elizabeth locket ring again, to see Mary I’s Prayer book and to stand face to face with Henry VII.

As the gallery was quite crowded, I will have to wait for my next visit to read all the analysis of the paintings.

All italics are © NPG.




The crowne which it pleased God to give us.’

Will of Henry VII


The Henry VII section consists of:

1 portrait
Book of Hours belonging to Henry VII
Funeral effigy of Henry VII


Book of Hours belonging to Henry VII
c.1500
Ink and pigment on vellum

‘This book was given by Henry VII to his daughter Margaret before she left England in order to marry King James IV of Scotland. He inscribed it to her with the note, ‘Remember your king and loving Father in your prayers, Henry, King.’


Funeral effigy of Henry VII
Attributed to Pietro Torrigiano
Painted plaster and wood 1509

The head from the funeral effigy of Henry VII, was ‘modelled in plaster from the dead king’s face.’




The Rose both white and Rede/in one rose now dothe grow.’

John Skelton’s poem at Henry VIII’s coronation


The Henry VIII section consists of:

6 portraits
Henry VIII’s rosary


The portraits of Henry include ‘one of the earliest surviving portraits of Henry VIII.’


Henry VIII Unknown Artist Oil on panel, c.1520 (c) National Portrait Gallery

Henry VIII
Unknown Artist
Oil on panel, c.1520
(c) National Portrait Gallery


Henry VIII’s rosary
Carved boxwood 1509-27

‘This delicately carved rosary (a string of prayer beads) bears the Royal Arms of England and the letters ‘he8’ and ‘KA’ on the largest bead.’




What a King should England have had if God had given his his father’s age.’

Sir Richard Morison at Edward VI’s death


The Edward VI section consists of:

6 portraits
A page from Edward VI’s Chronicle


‘On this page Edward describes the moment at which he learnt of Henry VIII’s death and his own accession to the throne.’




A queen, and by the same title a king also.’

Bishop John White at Mary I’s funeral


The Mary I section consists of:


3 portraits + 1 miniature
1 miniature of Philip II
The Queen Mary Book of Prayers


The portraits include the Hans Eworth portrait of Mary.


Mary I Hans Eworth Oil on panel, 1554 (c) Society of Antiquaries of London

Mary I
Hans Eworth
Oil on panel, 1554
(c) Society of Antiquaries of London


The Queen Mary Book of Prayers
Illuminated manuscript on vellum c.1554
Unknown artist

These pages are from a manuscript containing instructions for two ceremonies that were usually performed by the monarch on Good Friday.’




Time stands still with gazing on her face.’

Verse praising Elizabth I set to music by John Dowland


The Elizabeth I section consists of:

7 portraits
3 miniatures
Locket ring


The miniatures include a coronation miniature of ‘Elizabeth I by an unknown English artist. Gouache on vellum laid on card, late sixteenth century.


(c) Chequer’s Estate

(c) Chequer’s Estate


Locket ring
Mother of pearl hoop, rubies, diamonds and enamel
c.1575

‘This exquisite ring opens to reveal two portraits beneath the diamond E: one of Elizabeth in profile, and the other of a woman in a French hood, who is probably Anne Boleyn.’




God and posterity will show me favour.’

Lady Jane Grey


The Lady Jane Grey section consists of:

1 portrait
1 engraving


(c) NPG 6804; Lady Jane Dudley (nee Grey) by Unknown artist

(c) NPG 6804; Lady Jane Dudley (nee Grey)


The portrait of Lady Jane is labeled as:

Lady Jane Grey
By an unknown artist
Oil on panel, late sixteenth century


‘Lady Jane Grey was named as heir to the throne by her cousin Edward VI: however, she was imprisoned after only nine days’ rule when Mary successfully asserted her right to the crown. Highly educated and devoutly Protestant, it was only during Elizabeth’s reign that she became more widely known. This fuelled an interest in her portraiture and portraits such as this example were created to mark her place for an Elizabethan audience. However, no lifetime portraits of Jane appear to survive and it is possible that none were ever painted.

By 1620, one image had gained credence as a lifetime portrait and was used as the basis for an engraving. However, the sitter in this image wears a jewel that is very similar to one that belonged to Katherine Parr, and may be Henry VIII’s sixth queen.’


(c) NPG

(c) NPG


Magdalena and Willem de Passe’s engraving of Lady Jane Grey from Henry Holland’s Heroologia Anglica


Read more about the exhibition at National Portrait Gallery – The Real Tudors: Kings and Queens Rediscovered .


The other Tudor portrait usually on display in the Tudor Galleries

Portraits of Anne Boleyn, Richard III and Catherine Parr have been moved to Room 4. As the light in Room 4 is much better than in the Tudor galleries, you can really appreciate the colours on the Catherine Parr ‘Master John’ portrait.


You can buy the exhibition catalogue from the National Portrait Gallery shop.

The Real Tudors: Kings and Queens Rediscovered by Tarnya Cooper and Charlotte Bolland.


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Books 2014 – On sale today – The Real Tudors


12 September – The Real Tudors: Kings and Queens Rediscovered (Paperback) by Tarnya Cooper and Charlotte Bolland

(c) NPG

(c) NPG


‘Who were the Tudor kings and queens and what did they really look like? Mention Henry VIII and the familiar image of the rotund, bearded fellow of Hans Holbein the Youngers portraits immediately springs to mind reinforced, perhaps, by memories of a monochromatic Charles Laughton wielding a chicken leg in a fanciful biopic. With Elizabeth I its frilly ruffs, white make-up and pink lips in fact, just as she appears in a number of very well-known portraits held in the Collection of the National Portrait Gallery in London. But the familiarity of these representations has overshadowed the other images of the Tudor monarchs that were produced throughout their reigns. During the sixteenth century the market for portraits grew and so the monarchs images multiplied as countless versions and copies of their likeness were produced to satisfy demand. Taken together, these images chart both the changing iconography of the ruler and the development of portrait painting in England. In considering the context in which these portraits were made, the motivations of the sitters and the artists who made them, the purposes to which they were put, and the physical transformations and interventions they have undergone in the intervening five centuries, the authors present a compelling and illuminating investigation into the portraiture of the Tudor monarchs.’

From Amazon.co.uk

Further Details – National Portrait Gallery

Further details – Amazon.co.uk


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Salisbury Cathedral


Salisbury Cathedral in Wiltshire is the final resting place of Lady Katherine Grey, younger sister of Lady Jane.

Salisbury Cathedral

Salisbury Cathedral


The foundation stones for Salisbury were laid in 1220 and ‘the church was consecrated in 1258.’ (1) According to the guidebook, ‘with its soaring pointed arches and slender columns, Salisbury is unique in being built almost entirely in one architectural style – Early English Gothic.’ (2)


Hertford Tomb

Hertford Tomb


Katherine Grey died in 1568 and was buried in Suffolk. Her husband, the Earl of Hertford, Edward Seymour died in 1621 and Leanda de Lisle writes that;

‘William, as his only surviving male heir, inherited the title and promptly had his grandmother, Katherine Grey, disinterred from her grave in Yoxford, Suffolk, and brought to Salisbury Cathedral to be buried with her husband. Their magnificent tomb still stands in the easterly corner of the south choir aisle. The long-legged and refined figure of Hertford lies on his sarcophagus with Katherine above him, as a mark of her royal status. The inscription, in Latin, celebrates the lovers, reunited at last:

Incomparable Consorts
Who, experienced in the vicissitudes of changing fortune
At length, in the concord which marked their lives,
Here rest together.’ (3)

Tomb Inscription

Tomb Inscription

The guide book says the following about the tomb:

‘The very large decorative marble tomb is the Hertford tomb. You will notice that unusually Lady Catherine Grey is positioned higher than her husband, Edward Seymour, because of her family status. Lady Catherine’s sister, Lady Jane Grey, was proclaimed Queen of England for nine days before being executed in 1554, aged 17.’ (4)


Katherine and Edward

Katherine and Edward


Detail of the tomb

Detail of the tomb


Salisbury Cathedral is also the burial place of Elizabeth I’s lady in waiting, Helena Snachenberg and her husband.


Tomb of Helena Snachenberg

Tomb of Helena Snachenberg


017


Sources

Ives, E. (2009) Lady Jane Grey: A Tudor Mystery, Wiley-Blackwell, p.183

1.Salisbury Cathedral: A Pocket Tour, Reef Publishing, p.1

2.ibid.

3. De Lisle, L. (2010) The Sisters Who Would Be Queen: The Tragedy of Mary, Katherine and Lady Jane Grey, HarperPress, p.302

4. Salisbury Cathedral: A Pocket Tour, Reef Publishing, p.9


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September Update – The Children of Henry VIII by John Guy


‘The Children of Henry VIII’ by John Guy added to the Other Biographies section of the bibliography.

Entries added to the following:

Paintings – Teerlinc, Letters – Letter to Mary and Primary Accounts – Captivity .


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