Born on 18 February 1516, Mary was the only surviving daughter of Henry VIII and Katherine of Aragon. Hers was one of the most dramatic stories of the Tudor age: having fallen from favour during her parents’ divorce and declared illegitimate, she later inherited the throne on the death of her half-brother Edward VI and re-introduced the Catholic religion to England. Her marriage to Philip II of Spain invoked fury, and her persecution of Protestants contributed to her legacy as ‘Bloody Mary’. The real story of Mary I is, however, far more nuanced.
Join us at Tudor Extra as we delve into Mary’s turbulent life through an exploration of five iconic portraits painted during her lifetime.
1) Portrait of a Princess
ca. 1525
watercolour on vellum
NPG 6453
Attributed to Lucas Horenbout, this miniature portrait is the earliest known portrait of Mary and is the earliest surviving English portrait miniature. Depicting Mary as a princess, the inscription painted on her bodice — ‘The Emperor’ — is a nod to Mary’s betrothal to Emperor Charles V between 1521-25.
During Mary’s early life, various attempts were made to betroth her to her European princes, including her own cousin, 22-year-old Charles, when Mary was only 6. Charles would later repudiate his alliance with England and instead marry Isabella of Portugal, though Mary retained her close relationship with him throughout her lifetime.
2) The Lady Mary
ca. 1544
oil on panel
NPG 428
Mary is seen here in 1544 at the age of 28. This particular portrait is recorded in Lady Mary’s Privy Purse expenses in November 1544: ‘Item, pd to one John that [drew] her grace in a table’. The presumed artist is Master John, an English painter active between 1544 and 1545, who was frequently commissioned to paint portraits of the royal family after the death of Hans Holbein. He has never been formally identified.
This portrait may have commemorated The Act of Succession (1544) which reinstated Mary to the line of succession. She is depicted as a quintessential Tudor princess, with alabaster skin and light-coloured hair. A symbol of her restored favour, the jewel she is wearing around her neck may have been a gift from Henry VIII in 1542: ‘a flower [with] five great diamonds, ij. Rubies, on Emerald, and a great ple pendant’.
3) Queen Mary I
ca. 1554
oil on panel
NPG 4861
This portrait is attributed to Hans Eworth and was painted during the first year of Mary’s reign. It was most probably based on a sitting which took place in 1554. Eworth was one of the most celebrated portrait artists in Europe, whose paintings were able to depict Mary as both a Habsburg consort and English monarch. Recent technical analysis of the portrait has revealed a subtle inscription, HE, painted onto the top left corner.
Mary can be seen wearing the pendant pearl given to her in celebration of her union with Philip of Spain. This pendant, often mistakenly labelled as the ‘La Pellegrina’ pearl, was originally suspended from a rounded golden brooch. It does not appear in Mary’s will, however, and is now considered lost.
4) Portrait of a Marriage
ca. 1555
oil on panel
NPG 4174/4175
This portrait of 39-year-old Queen Mary I was originally part of a pair featuring Mary and Philip, most likely produced to commemorate their marriage. It is likely that these portraits were widely replicated and presented as gifts both in England and across the European courts. Mary’s likeness was based on an original by Anthonis Mor. The complementary portrait of Philip was most likely based on an original painting by Titian, sent to Mary in 1553.
At the time of the portrait’s production, Philip and Mary’s marriage was under significant strain. In September 1544, Mary had stopped menstruating. It was hoped that the Queen was pregnant with the heir to the throne. She would continue to exhibit outward signs of pregnancy until July 1555, when the swelling in her abdomen receded and Mary was forced to accept that she was not due to give birth. Philip left England soon after.
5) Portrait Medal
ca. 1554/5
bronze
6.7 cm; wt. 69.11 g.
In 1555, the renowned Italian medalist, Jacopo da Trezzo, entered in the service of Philip II of Spain and cast medals of Philip and his wife, Mary, at Philip’s request. This spectacular medal was inspired b Anthonis Mor’s portrait of Mary and includes the pearl pendant given to her by Philip. The obverse of Queen Mary’s medal depicts Mary as both dignified and regal. The inscription hails her as “Fidei Defensatrix”, a title first conferred upon her father, Henry VIII, for his protection of Catholicism in England.
The allegorical obverse illustrates a peaceful realm and England’s reconciliation with Rome. Mary is symbolised as peace itself, draped and wearing a crown. Her right hand holds olive branches, while her left wields a flaming torch, igniting a pile of arms.
The medal’s creation coincided with the death of the first Protestant martyr in England, John Rogers. Rogers would be the first of nearly 300 Protestant heretics burned at the stake during Mary’s reign, earning Mary the sobriquet ‘Bloody Mary’ among subsequent generations. Today, Mary’s reputation is largely defined by her religious persecutions, although this is partly the result of later Elizabethan propaganda and the coalescence of anti-Catholic sentiment in England.
