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The Execution of Lady Jane Grey at Tower Green
George Cruikshank
1840
Steel-engraving
13.3 cm high by 10.2 cm wide framed
Frontispiece for William Harrison Ainsworth's The Tower of London. A Historical Romance
[Click on image to enlarge it.]
Scanned image and text by Philip V. Allingham.
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She then arose, and giving the prayer-book to Angela, said, — "When all is over, deliver this to the lieutenant. These," she added, taking off her gloves and collar, "I give to you."
"And to me," cried Mauger, advancing and prostrating himself before her according to custom, "you give grace."
"And also my head," replied Jane. "I forgive thee heartily, fellow. Thou art my best friend."
"What ails you, madam?" remarked the lieutenant, observing Jane suddenly start and tremble.
"Not much," she replied, "but I thought I saw my husband pale and bleeding."
"Where?" demanded the lieutenant, recalling Dudley's speech.
"There, near the block," replied Jane. "I see the figure still. But it must be mere fantasy."
Whatever his thoughts were, the lieutenant made no reply; and Jane turned to Angela, who now began, with trembling hands, to remove her attire, and was trying to take off her velvet robe, when Mauger offered to assist her, but was instantly repulsed.
He then withdrew, and stationing himself by the block, assumed his hideous black mask, and shouldered his axe.
Partially disrobed, Jane bowed her head, while Angela tied a kerchief over her eyes, and turned her long tresses over her head to be out of the way. Unable to control herself, she then turned aside, and wept aloud. Jane moved forward in search of the block, but fearful of making a false step, felt for it with her hands, and cried — "What shall I do? — Where is it? — Where is it?"
Sir Thomas Brydges took her hand and guided her to it. At this awful moment, there was a slight movement in the crowd, some of whom pressed nearer the scaffold, and amongst others Sorrocold and Wolfytt. The latter caught hold of the boards to obtain a better view. Angela placed her hands before her eyes, and would have suspended her being, if she could; and even Feckenham veiled his countenance with his robe. Sir Thomas Brydges gazed firmly on.
By this time, Jane had placed her head on the block, and her last words were, "Lord, into thy hands I commend my spirit!" [Book — "Mary the Queen," Chapter 42, "The Execution of Lady Jane Grey," pp. 422-23]
Although present-day readers might be surprised that Cruikshank chose two incidents from the final chapter of the second book for the opening illustrations (the frontispiece and title-page vignette), thereby telegraphing the outcome of the story for both Lady Jane Grey and Lord Guildford Dudley, her husband. However, an appreciation of the part-publication strategy that Ainsworth employed explains Cruikshank's choice of subjects. Although volume readers in December 1840 would likely have learned from friends reading the serial how the historical novel ends tragically for the couple, those serial readers would just have arrived at the events which the opening illustrations describe. Indeed, the frontispiece and title-page would have been among the illustrations included in the final double number (Parts 12 and 13), which would have included chapters 34 through 42. The tactic of making the last instalment a double number and of including extra illustrations (the frontispiece and vignetted title-page) Ainsworth borrowed from such contemporary writers as Charles Dickens, whose Nicholas Nickleby in its final (October 1839) instalment contained monthly parts 19 and 20.
Thus, these exciting and graphic illustrations would not have been part of the opening monthly part (January 1840), and would not therefore have anticipated events much later in the novel. Rather, serial readers would have encountered this pair of climactic plates at the very beginning of the final monthly part. Although the volume reader might construe the young nobleman facing death on the scaffold in the title-page vignette as one of a number of historical prisoners of the Tower, the serial reader would certainly have identified the youth correctly, and would have awaited reading the textual complement of both executions with eager anticipation.
The date at which the book ends and on which the illustration is set is 12 February 1554, when Lady Jane Grey, The Nine Days' Queen, followed her husband to the scaffold at the Tower of London. Queen Mary Tudor, accepting the Privy Council's advice, had condemned Jane Grey and Dudley to death for high treason in November 1553, but then delayed their executions. However, after Jane's father, Henry Grey, the Duke of Suffolk, joined Sir Thomas Wyatt's rebellion in January 1554 over Queen Mary's decision to marry King Philip of Spain, Mary and the Privy Council realised that Protestants might rally around Jane. Thus, Mary Tudor reluctantly agreed to their execution.
In The Execution of Jane, the black-clad axesman, Mauger, a continuing character through the romance, raises his weapon for the fatal blow as Lady Jane's waiting-gentlewoman turnsaway in distress, In contrast, the twenty-seven other onlookers are generally emotionally detached. Exceptions are Feckenham, who is overcome with grief despite the role he has played, and the deeply concerned courtier who has just removed his cap, Sir Thomas Brydges. Lady Jane stoically awaits the fatal blow, her elegant neck in Cruikshank's drawing being somewhat elongated. The architectural backdrop of the chapel provides an ironic comment on the unChristian act of judicial murder. Cruikshank and Ainsworth's researches undoubtedly uncovered the fact that the scaffold was heaped with straw which would sop up the considerable volume of royal blood about to be shed.
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Last modified 23 September 2017
