Mary Tudor - Anna Whitelock [67]
If the King and his sister, to whom the whole kingdom was attached as heiress to the crown in the event of the King’s death, were to differ in matters of religion, dissension would certainly spring up. Such was the character of the nation … he [Somerset] hoped the Lady Mary would use her wisdom and conform with the King to avoid such an emergency and keep peace within the realm.21
Keen to preserve his good relationship with the emperor, Somerset was conciliatory. Though he could not act against statute and would not grant a formal dispensation for Mary to be immune from the laws, he made it clear that he had no intention of inquiring into the worship of her household until the king came of age.22 Many on the Privy Council, however, disagreed, and they demanded that Mary submit to the law.
Henry VIII by unknown artist
c. 1520: THE YOUNG HENRY IN THE
EARLY YEARS OF HIS REIGN. (photo credit 1.1)
Portrait of Katherine of Aragon: MARY’S MOTHER PICTURED C. 1525 WHEN HENRY’S AFFECTION WAS BEGINNING TO WANE AND SHE WAS CONSIDERED TO BE PAST THE AGE OF CHILDBEARING. (photo credit 1.2)
The Family of Henry VIII by Horenbolt: THE PAINTING COMMEMORATES THE RESTORATION OF MARY AND ELIZABETH TO THE LINE OF SUCCESSION. MARY IS ON THE RIGHT, ELIZABETH ON THE LEFT, WHILE EDWARD AND JANE SEYMOUR STAND NEXT TO HENRY. KATHERINE PARR, HENRY’S WIFE AT THE TIME WHO WAS CHILDLESS, IS NOT PICTURED. (photo credit 1.3)
Lord Cromwell, Wearing the Order of St. George, by Hans Holbein: THE KING’S CHIEF MINISTER, WHO BROKERED MARY’S RECONCILIATION WITH HER FATHER IN 1536. (photo credit 1.4)
Princess Mary: THIS PORTRAIT MINIATURE WAS PAINTED AT THE TIME WHEN MARY WAS BETROTHED TO THE EMPEROR CHARLES V. THE LETTERS OF HER BROOCH SPELL OUT “THE EMPEROUR.” THE PORTRAIT WAS ALMOST CERTAINLY INTENDED AS A GIFT FOR CHARLES. (photo credit 1.5)
The Emperor Charles V on Horseback in Muhlberg by Titian: MARY’S COUSIN, UPON WHOM SHE RELIED THROUGHOUT HER LIFE AS HER “SECOND FATHER.” (photo credit 1.6)
Michaelmas Plea Roll (1553):
MARY AS A TRIUMPHANT QUEEN HAVING WON THE THRONE IN JULY 1553. SHE IS PICTURED IN THE FULL PANOPLY OF A QUEEN REGNANT. (photo credit 1.7)
Mary Tudor curing the King’s Evil:
MARY IS PICTURED HERE PERFORMING THE ROYAL TOUCH TO HEAL THOSE SUFFERING FROM THE “KING’S EVIL” (SCROFULA) AND DEMONSTRATING THAT SHE WAS INVESTED WITH THE TRADITIONAL QUASI-PRIESTLY POWER OF MALE MONARCHS. (photo credit 1.8)
King Philip II by
Titian c. 1550. (photo credit 1.9)
Queen Mary I of England by Antonio Moro: MARY PAINTED AS A HABSBURG CONSORT. THE FLOWER IS ASSOCIATED WITH BETROTHAL AND MARRIAGE. SHE IS WEARING A JEWELED PENDANT THAT SHE HAD RECEIVED FROM PHILIP ON THE EVE OF THEIR MARRIAGE. (photo credit 1.10)
Michaelmas Plea Roll (1556): THE KING AND QUEEN PICTURED TWO YEARS AFTER THEIR WEDDING. PHILIP ASSUMES THE DOMINANT POSITION ON MARY’S RIGHT WHILST A CROWN FLOATS BETWEEN THE TWO, SUGGESTING SHARED ROYAL POWER. (photo credit 1.11)
Philip II and Mary I by
Hans Eworth c. 1558. (photo credit 1.12)
Simon Renard by Giacomo Antonio Moro c. 1553: THE IMPERIAL AMBASSADOR UPON WHOM MARY DEPENDED AS HER CHIEF CONFIDANT DURING THE FIRST YEAR OF HER REIGN. (photo credit 1.13)
Cardinal Reginald Pole, Archbishop of Canterbury: MARY’S COUSIN AND THE SON OF HER FORMER GOVERNESS, REGINALD POLE ABSOLVED ENGLAND FROM ITS SCHISM WITH ROME. MARY RELIED HEAVILY ON HIM IN PHILIP’S ABSENCE DURING THE LATTER PART OF HER REIGN. (photo credit 1.14)
“A Lamentable Spectacle of three women, with a sely infant brasting out of the Mothers Wombe, being first taken out of the fire, and cast in agayne, and so burned together in the Isle of Garnesey,” from Foxe’s Book of Martyrs (1563). (photo credit 1.15)
The Burning of Thomas Cranmer, Archbishop of Canterbury, from Foxe’s Book of Martyrs (1563): IT HAD BEEN MORE THAN TWENTY YEARS SINCE CRANMER HAD PRONOUNCED THE MARRIAGE OF MARY’S PARENTS TO BE INVALID AND HAD MARRIED HENRY TO ANNE BOLEYN. MARY NEVER FORGAVE HIM. (photo