| Lady Jane Grey From the Painting by Lucas de Heere at Althorp. (Photograph by Hanfstaengl) |
Frontispiece |
| FACING PAGE | |
| Henry Grey, Duke of Suffolk From the Painting by Joannes Corvus, in the National Portrait Gallery |
12 |
| Queen Katherine Parr After the Painting formerly in the possession of Horace Walpole |
30 |
| Henry viii in 1547 From an old Engraving |
48 |
| Roger Ascham’s Visit to Lady Jane Grey at Bradgate After the Painting by J. C. Horsley, R.A. |
172 |
| John Dudley, Duke of Northumberland From an Engraving by G. Vertue |
192 |
| Edward Seymour, Duke of Somerset From an Engraving after the Painting by Holbein |
208 |
| Supposed Portrait of Lady Jane Grey Formerly in the Collection of Col. Elliott of Nottingham, and now at Oxford University. From an Engraving after the Painting by Holbein |
224 |
| Edward vi From an Engraving by G. Vertue |
246 |
| Lady Jane Grey by Wyngaerde The earliest engraved Portrait of her, from a Picture said to be by Holbein, now lost |
270 |
| Queen Mary at the Period of her Marriage From the Painting by Antonio Mor, in the Prado Museum. (Photograph by R. Anderson) |
322 |
| Portrait of the Lady Frances Brandon, Duchess of Suffolk, and her Second Husband, Adrian Stokes, Esq. Probably by Corvinus, property of Col. Wynn Finch |
352 |
About This Book
The narrative reconstructs the upbringing and education of a studious young noblewoman, sketching her family background and the intellectual influences that shaped her. It then maps the tangled sequence of aristocratic conspiracies and factional rivalries that raised her to a contested throne for a brief interval. The account follows the proclamation, the rapid reversal of fortune, the subsequent trial and fate, and the outcomes for the principal conspirators. The author emphasizes personal documents and testimony to show how ambition, religious partisanship, and political maneuvering combined in a compact succession crisis.