She was the ‘Nine Days Queen’, the tragic royal who fleetingly reigned before being put to death.
But now, nearly 500 years on from her death, researchers believe a defaced painting could be the only known work depicting Lady Jane Grey in her lifetime.
New scientific analysis carried out on the mysterious portrait – which bears scratches over the eyes, mouth and ears – provides ‘compelling’ evidence that the depiction is that of Lady Jane.
Experts from English Heritage and the Courtauld Institute and a leading scientist have found that several changes were made to the portrait after it was completed, including to the sitter’s clothing and the direction of her eyes.
The alterations could have been made to depict Lady Jane – who was beheaded on the orders of her cousin Queen Mary aged just 17 in 1554 – as a Protestant martyr.
The portrait, on loan from a private collection, is on display from today at Wrest Park in Bedfordshire.
Its features bear similarity to a confirmed depiction of Lady Jane that hangs in the National Portrait Gallery.
Lady Jane is regarded by many scholars as an innocent victim of the ruthless ambition that defined the Tudor court.
She was famously depicted by Paul Delaroche in his portrait The Execution of Lady Jane Grey as blindfolded and helpless in front of the block.
But this work and the few others portraying her were all painted after her death.
The mystery painting going on display at Wrest Park was analysed by expert Ian Tyers, a specialist who specialises in dendrochronology – the science of tree ring dating.
He found that the work was painted on a panel made up of two Baltic oak boards from two different trees. It suggests a usage date from between 1539 and 1571.
The back of the panel displays a merchant or cargo mark, identical to a mark used on a royal portrait of King Edward VI.
Another technique used was infrared reflectography (IRR), where infrared light is used to ‘see through’ paint layers.
This found that the portrait was significantly changed after completion.
The sitter’s sleeves have been altered, and it is likely the white scarf on the shoulders is a later addition.
The coif (a linen cap worn over the hair) has also been altered significantly.
In scanning, a different shaped coif and potentially a hood (a more decorative head piece worn over the coif) with delicately depicted stitching can be seen framing the face.
There may also have been a veil that is now very indistinct.
A striking change is visible in the eyes. Although they now look to the sitter’s left, the eyes were previously looking right past the viewer.
And the deliberate scratching out of the eyes, mouth and ears was likely an iconoclastic attack – where images are destroyed for religious or political reasons.
The portrait of Lady Jane in the National Portrait Gallery bears the same marks.
The newly-researched painting is one of seven that are now on display at the Bedfordshire mansion that was once the home of peeress Jemima Marchioness Grey.
Peter Moore, English Heritage’s curator at Wrest Park, said: ‘For many years this painting was part of the historic collection at Wrest Park, having been acquired by Anthony Grey, 11th Earl of Kent, in 1701, as an image of Lady Jane Grey.
‘It remained the defining image of the “Nine Days Queen” for over 300 years, until its attribution was thrown into doubt and its identity rejected.
‘On loan from a private collection, it is thrilling to have this painting back at Wrest and the new research provides tantalising evidence which brings us much closer to the assertion that this could be Lady Jane Grey.
‘Alongside this painting, the public can also view six other paintings now on display, including significant portraits of past owners of Wrest Park.’
Rachel Turnbull, English Heritage’s senior collections conservator, said: ‘Working alongside the Courtauld Institute of Art, and Dendrochronologist Ian Tyers, English Heritage has undertaken remarkable research in an effort to determine the identity of this portrait.
‘While we can’t confirm that this is definitely Lady Jane Grey, our results certainly make a compelling argument!
‘From the newly discovered evidence of a once perhaps more elaborate costume and the dating of the wooden panel from within her lifetime, to the deliberate scratching of her eyes, it is possible that we are looking at the shadows of a once more royal portrait of Lady Jane Grey, toned down into subdued, Protestant martyrdom after her death.
‘Regardless of her identity, the results of our research have been fascinating.’
Historian and historical novelist Dr Philippa Gregory said: ‘I was so excited to see this portrait when it was in the English Heritage conservation studio, especially as they have a tentative identification of Jane Grey.
‘Certainly, the features are similar to those of her portrait at the National Portrait Gallery.
‘This is such an interesting picture posing so many questions, and if this is Jane Grey, a valuable addition to the portraiture of this young heroine, as a woman of character – a powerful challenge to the traditional representation of her as a blindfolded victim.’
Lady Jane was left the English throne by King Edward VI, the sickly son of Henry VIII.
Jane briefly ruled after Edward’s death in 1553, but Mary then seized the throne.
She and her husband then spent six months as prisoners before Mary decided they were too much of a risk to her reign.
The man who oversaw Lady Jane’s beheading was Sir John Brydges, the lieutenant of the Tower of London who was also depicted in Delaroche’s painting.
He was so moved by the former queen’s composure that he begged her for something to remember her by.
She gave him her prayer book and inscribed a message in which she described herself as Brydges’ ‘friend’.
Often described as one of the most tragic figures in Tudor history, Lady Jane Grey was a grandniece of Henry VIII and first cousin once removed of Edward VI, Mary I and Elizabeth I.
She was the eldest daughter of Henry Grey and his wife, Lady Frances Brandon.
Through her mother, she was also the great-granddaughter of Henry VII.
Lady Jane had two younger sisters, Lady Catherine and Lady Mary.
When the 15-year-old king Edward lay dying he nominated Jane as successor to the Crown in his will, ahead of his half-sister Mary.
But Lady Jane had the shortest reign in England’s history, from July 10 until July 19, 1553, when the Privy Council then proclaimed Mary as Queen.
Jane was then imprisoned in the Tower of London. She and her husband Lord Guildford Dudley were both charged with high treason, found guilty and sentenced to death, though their lives were initially spared.
She was still a teenager at the time of her death on February 12, 1554, and was posthumously viewed as a protestant martyr.
Her father, the Duke of Suffolk – the son and heir of Thomas Grey, 2nd Marquess of Dorset – was also found guilty of treason and executed days after his daughter was beheaded.