Kitabı oku: «The Fallen Queen», sayfa 2

I have only two portraits of my sister Kate, my sunshine girl, along with the letters she wrote to me, tied up in bunches with silk ribbons the colour of ripe raspberries, and a jewelled and enamelled hand mirror shaped like a mermaid, a memento from her first marriage.

Sometimes I imagine I can see her laughing, happy face reflected in the oval of Venetian glass framed by the sea nymph’s flowing golden tresses. How strange it is, it always strikes me when I contemplate these pictures, that in both of them Kate, who loved bright colours so, is dressed in black and white. Where are her favourite fire opals and flashing green emeralds? Neither portrait does justice to her great beauty of face and heart. Both are miniatures, round with azure grounds, the paint made from pulverized lapis lazuli, painted by Lavinia Teerlinc, a dainty, flaxen-haired Flemish woman. The first shows Kate at thirteen, her hair more golden than copper then beneath a gold-bordered white satin hood. It was painted when she was still new-married to her first husband, Lord Herbert, and trying to look grown up in a high-necked gown of black velvet edged with white rabbit fur and gold aglets all down the front and trimming the slashed sleeves, her chin sinking deep into the soft cushion of a gold-frilled ruff. Beneath these stark and severe matronly black-and-white trappings, her bubbly vivacity and charm are smothered so that if only this picture survives down through the ages none will ever know what she was really like. And that saddens me; I want everyone to know and love Kate as I did, before she became the tragic heroine, with “all for love” as her creed, living and dying for love.

In the second portrait she looks sad and sickly, or “heart-sore” as the poets might say, blessed with that peculiar kind of beauty that sorrow in some miraculous way enhances; for Kate, though her fame is far eclipsed by Jane’s, is Love’s martyr, not Faith’s. This picture shows an older and sadder Kate at twenty-three, clad yet again in black velvet and white fur, a loose, flowing, sleeveless black surcoat through which her thin arms clad in tight-fitting white sleeves latticed with gold embroidery protrude like sticks, the bones and veins in the backs of her hands distressingly bold. In this likeness, Kate’s bright hair is subdued and hidden beneath a plain white linen coif devoid of ornamentation, not a stitch of embroidery, not even a jewelled or gilt braid border or even a dainty frill of lace. And, though it doesn’t show in this picture, her waist is thickening and her belly growing round again beneath the loose folds of black velvet with her second son, Thomas. Ned, the husband who held her heart in his hand, is with her in the form of a miniature worn on a black ribbon around her neck, and in the child they made together, the rosy-cheeked baby boy, named Edward after his sire. Kate holds her son up proudly, grandly garbed, like a little prince, in a black velvet gown I made for him, striped down the front with silver braid, and cloth-of-gold sleeves with white frills at his neck and wrists, his little black velvet cap twinkling with diamonds and trimmed with jaunty tawny and white plumes. He clutches a half-ripe apple, its flesh both rosy red and gold blurring into green, and one can almost imagine it represents the orb that is put in the sovereign’s hand on their coronation day. Kate holds her son in such a way that the ring Ned put upon her finger on their wedding day is on display for all to see, the famous puzzle ring of five interlinked golden bands, as well as the pointed sky blue diamond betrothal ring, both declaring that this baby in her arms is not some baseborn bastard, an infant conceived in hot lust and shame, but a legitimately born heir with royal blood from both the Tudor and Plantagenet lines coursing through his veins like a scarlet snake that could someday rear up and strike down the Queen if those who oppose this petticoat rule of Elizabeth’s ever dare to raise his banner and fight to take the throne in his name.

This picture looks like a warning in paint. If I were Elizabeth, or one of her counsellors, that is certainly how I would see it. But I know my sister better than any. Kate never coveted a crown for her children or herself. She was there and saw what happened to Jane. Kate steadfastly refused to follow in Jane’s footsteps, despite the urgings of others. Instead, she turned her back on the road of power and ambition and the golden throne that shone so bright it blinded the beholder to the scaffold lurking ominously in the shadows. The only ambition Kate ever harboured for herself, or her children, was to love and be loved. This is in truth a portrait of love, showing Kate with the three people she loved most—her husband, their firstborn son, and the one growing in the safe and loving warmth of her womb—and yet another example of my beautiful sister thinking with her heart instead of with her head.

And tucked inside my father’s battered old comfit box, its sky blue and rosy pink enamel chipped and worn, flaking off in places, nestled inside a bag of warm burgundy velvet, is a cameo carved with the profile of the most beautiful boy I ever saw—Jane’s husband, the vainglorious Guildford Dudley, when he was only sixteen and thought the world was an oyster poised to give up its precious pearl to him. That exquisitely carved profile is pure white, so I have only my memory to remind me of the gleaming brightness of his golden curls and the gooseberry green of his eyes. There was a grandiose portrait of Guildford clad head to toe in vibrant yellow and gold, but I don’t know what ever became of it. ’Tis a pity; I would like to have it here with me, to once again behold Guildford, who now lives only in my memory. Guildford, the golden boy whose whole life truly was a masquerade; a boy who died tragically young, before he could throw the mask away and become the person he always meant to be, or at least try to be, though that would have probably ended in tragedy and bitter disappointment too. Also inside that dear, dented box is another treasure—an intricately woven rose I fashioned from three long hanks of coiled and plaited hair—chestnut hiding ruddy embers, the richest coppery gold, and sleek sable sheened with scarlet—there we three sisters are, entwined in a loving embrace forever—Jane, Kate, and Mary.

Hanging upon my parlour walls are three wedding portraits, each showing a husband and his wife shortly after their nuptials.

The first shows the grandparents I never knew. The beautiful and spirited “Tudor Rose,” Mary Tudor, the youngest sister of Henry VIII. With her porcelain and roses complexion, blue eyes, and red-gold hair she reminds me of my sister Kate. She too dared all for love. When we were growing up how Kate used to beg to hear the story, told over and over again, of how our grandmother, who was as clever as she was beautiful, did not despair when she was forced to do her royal duty as every princess must and marry the ailing and decrepit King Louis XII of France, who had fifty-three years to her seventeen. Instead, she coaxed and wheedled and extracted a promise from her royal brother, Henry, who, like everyone else, adored her, that her second husband would be one solely of her own choosing. Oh what a merry dance she led gouty old Louis, bouncing out of bed at dawn and dancing until far past midnight! She wore him out within six months, and when he died, dwindled to a gaunt-faced shadow, exhausted from trying to keep up with his teenage bride, she married the man she had loved all along, her brother’s best friend, Charles Brandon, the Duke of Suffolk. And they were gloriously happy until the day she died in 1533.

The portrait shows them in their wedding clothes, Mary, “The French Queen” as she would ever afterward be called, in chic black velvet embroidered with a fortune in pearls, some formed into exquisite rosettes, and rich golden roses set with sapphires to match her necklace. Her handsome, rusty-bearded bridegroom stands beside her, holding her hand, in sable-trimmed black velvet covered with silver piping with a row of silver-braided lovers’ knots marching down his chest. In her other hand, the newly wed duchess holds an artichoke, a pun on the orb she would have carried as queen, to show that she had disdained another royal marriage for one of true love, and also as an emblem of ardent love and fertility. I like to think that perhaps she already knew her firstborn child, my lady-mother, was already growing in her womb, like the leaves of an artichoke unfurling as it ripens.

The second portrait shows my parents dressed for the hunt. Hunting and gambling being the two passions that endured throughout their marriage, it seems somehow most appropriate that they chose to don these clothes for their wedding portrait. And it is how I best remember them. My lady-mother never seemed to be without her riding crop, and if satin slippers ever peeked from beneath her hems instead of gold or silver spurred leather riding boots, I do not remember. My lady-mother, Frances, the Duchess of Suffolk, stands in a grand gold-embellished russet velvet riding habit gripping her horse’s bridle in one leather-gloved hand and her riding crop in the other, a proud, fierce, willful, determined, voluptuous beauty, flesh already at war with the restraining influence of her corset, threatening to break out in open rebellion. She holds her head high, showing off her Tudor red hair, snared in a net of gold beneath her round feathered cap, and stares unwaveringly straight ahead with her shrewd ice-grey eyes, avaricious and calculating as a bird of prey eyeing a gentle, innocent sparrow with a wounded wing. There is something in the way she holds herself, her chin, firm and unyielding as chiselled granite, and the way she grips her riding crop that defines the words dominance and control. My father, Henry Grey, Hal to his wife and friends, stands beside her, auburn-bearded and handsome in a weak-chinned way in his white linen, brown velvet, and hunting leathers, with a hooded falcon on his wrist; he is a man awestruck, with the tentative smile and quizzical eyes of one who can’t quite believe his good fortune.

The third, and most unfortunate, wedding portrait shows my fat and florid piggy-eyed, sausage-fingered mother with her second husband, our Master of the Horse, Adrian Stokes, the boy of not quite twenty-one she married a scant two weeks after Father lost his head on Tower Hill. Her eyes remain the same, flinty, cold, and hard, but the hair has darkened, and the strong chin is softened by the pads of pink flesh that swaddle the bones, pushed higher still by a tall, most unflattering chin ruff with a fortune in pearls edging its undulating frills. And beneath the rich pearl-embroidered black velvet of her gown it is obvious that flesh has won a great, bursting victory over restraint, her defeated corset remains only as a nominal presence, because no proper lady would ever be seen in public without one; it has become an obsolete ornamental necessity that serves no actual purpose except to add one more expensive, luxurious embroidered layer to my lady-mother’s opulent person. She looks like she could devour the pale and slender black-haired boy standing beside her clutching his gloves as if they could save his life, and trying to look older than his twenty years, while showing off his grand gold and silver ermine-edged garments. Supported by a gold-laced ruff, his gaunt face always makes me think of the head of John the Baptist being offered to a most corpulent Salome, one who should keep her seven veils on instead of wantonly discarding them. Poor Master Stokes’s dark eyes seem to say his is a life of hard bargains, and also to question whether it’s really worth it—he’s risen in the world by marrying a duchess, the niece of Henry VIII, and mother of the best-forgotten nine days’ queen, but he doesn’t relish what will come afterward when they are alone together behind the bedcurtains and everything but our lady-mother’s riding boots comes off.

There is one more portrait in my parlour. A frosty, formal portrait of the cousin I was named for, the Tudor princess, and later queen, Mary, born of Henry VIII and his first wife, the proud and devout Spaniard, Catherine of Aragon. A plain and pious spinster, this Mary stands sunken-cheeked and stern-faced, severely gowned in high-necked black satin and velvet with a bloodred satin hood, petticoat, and full, padded under-sleeves; even the glimmer of the gold at her throat, breast, and wrists seems subdued and the jewels dulled amidst so much bloodred and black. Though it was painted years before people put “Bloody” before her name, at times I think it a prophecy in paint, a sign of things to come. Her hands are pure white and lovely, but I cannot look at them without seeing blood staining them.

Why do I keep it? Well … there was a time, many years ago, when my royal cousin and I shared a special kinship, something only the sad, hurt, lonely, passed over, and forgotten can truly understand. We both knew what it was like to live every day knowing that love, no matter how much we longed and dreamed of it, and needed it, was likely to pass us by and shower its blessings upon those pretty and fair. For us, even the royal blood in our veins might not be enough to tempt a husband. Cousin Mary had already dared to hope and been disappointed many times. With no husband or babies to give her time and love to, she would often come visit me, always bringing with her a basket filled with pretty scraps of material and bits of lace and gilt and gaudy trim she had been saving just for me, to fashion gowns for my doll, just as she had done for my other cousin, her half sister, the precocious, flame-haired Elizabeth, before Elizabeth, who was always old beyond her years, lost interest in dolls and turned her back on Mary and her sumptuous offerings, declaring them “a pastime fit only for babies.”

We would sit and sew for hours. She was the very soul of kindness and patience, and taught me so much of stitches and styles, patterns and cuts, the dressmaker’s craft and art. “Mayhap I flatter myself,” she would often say, “but if I had to make my way in the world, I fancy I could make a comfortable life for myself as a dressmaker.” It was true of Mary Tudor and equally true of me; my skill with the needle supplements my income and my embroidery is avidly sought after to this day. “There is magic in these fingers, little cousin,” she would say, taking my hands and kissing my stubby little fingers when I showed her my latest creation.

When a rainbow of silken threads and materials pass through her hands, a dressmaker soon learns that there are many shades of grey between black and white, and of these two stark colours that stand like sentries at the ends of the spectrum there are variations as well—charcoal, ink, raven, shimmering jet hiding a dark rainbow, rusty black with its bloody undertones, and midnight blue black, and the white of eggshells, ivory, milk, snow, and the silvery white glimmer of a fish’s belly, and the cream of custard and old lace. I cannot forgive Cousin Mary for taking Jane’s life, yet I cannot forget the love and kindness she lavished on me, a lonely, ugly, deformed child best kept hidden away, consigned to the shadows of shame, and I cannot take back or kill the love I gave her either. Master Stokes’s eyes speak truly, and his is not the only life filled with compromises and hard bargains.

And though I like not to look upon it, and keep it hanging, shrouded in shadows, in a dark corner downstairs in my humble dining room, there is my own portrait, the only one I have; there was once a miniature painted by Lavinia Teerlinc, long ago when I was just a child, but I don’t know where it is now, like so many other things, it has been lost. My Thomas wanted this portrait, so I sat for it to honour and please the one I loved most. Mercifully, it shows me only to my waist, so that those unaware of my stunted condition can gaze upon it without guessing that they are looking at a freak of nature. In a deep charcoal grey and black velvet gown discreetly embellished with silver embroidery and marching rows of shining bright buttons, with puffs of rose-kissed white satin protruding through my short, slashed over-sleeves, and a profusion of beautiful blackwork Spanish embroidery and gold wrist and neck frills decorating the delicate lawn of my under-sleeves and partlet, and ropes of blushing pearls layered at my throat, I stare warily out at the world, proudly displaying the gold ring set with the “mystic ruby” my husband put on my finger on our wedding day. He kissed my hand and said it would protect me always, even when he could not, and safeguard me from all poisons and plagues, explaining that this bloodred cabochon, so rich a hue that its light shines even through fine linen, was forged from the crystallized blood of a very old and wise unicorn that congealed when its horn was severed. And upon my little black velvet cap is a pink gillyflower, to tell all those who look upon my portrait that here is painted a loyal and loving wife. And arranged behind it, prophetically posed just above the pink gillyflower, is a silver pin from which teardrop pearls drip like a shower of tears. Yes, I still weep for my husband.

A scorching whiff suddenly reminds me of the cakes I have left baking in the ashes, thankfully before they burn. My rusty knees creak and pop in protest as I kneel to retrieve them—three warm, round, golden honey cakes, each decorated with red currants to spell out one dear initial—J for Jane, K for Kate, and T for Thomas—the three people I loved most. The red currants look like scabs of newly dried blood, and I shudder at the sight of them, thinking of the beloved blood that was spilled in vain. And as the wind howls outside my window, I think I can almost hear them calling my name as my mind journeys back to the long ago February day when our lives changed forever, when we three sisters found ourselves standing at a crossroads and realized that the moment had come when we must all take different paths. Solemn, sullen Jane, “the brilliant one,” took the road to the scaffold and a martyr’s fame, and saucy, carefree Kate, “the beautiful one,” skipped along light and airy as a butterfly with jewel-coloured stained glass wings, following her heart wherever it might lead, living, and dying, all for love, and I, “the beastly little one,” thought I was destined to always walk alone, shrinking fearfully into the shadows to hide from those who passed me by lest they wound me with their words, laughter, blows, or even worse, the pity in their eyes. I thought for certain that Love, though he would surely stop for Kate and might even pause for Jane, if she let him, would pass me by.

1

Only a fool believes in Forever. Yet I was a fool, though I was only five years old at the time—take that as an excuse or not as you like—when my eldest sister, Jane, came home to Bradgate after the death of the much beloved Dowager Queen Catherine Parr, the sixth and final wife of our magnificent, fierce uncle, King Henry VIII. Jane had been the sixth queen’s beloved ward and lived with Catherine and her new husband, the Lord Admiral Thomas Seymour, quietly pursuing her studies, until death and heartbreak brought her home to us. That was in September 1548, and Jane was a month shy of eleven, though her intelligence and quiet, solemn ways always made her seem much older than her actual years.

We would be constantly together in the years to come, we three sisters—Jane, Kate, and I, “the brilliant one, the beautiful one, and the beastly little one!” as we used to laughingly call ourselves as we stood together before the looking glass, poking fun at the way everyone saw us, like characters in a fairy tale. Rather than rage, pout, or weep, we had adopted it as our own and laughed about it instead. I didn’t think then of marriage, of husbands, households, and babies, the responsibilities that would inevitably tear us apart, take us away from our home at dear rosy-bricked Bradgate in Leicestershire, and each other, and divide us from a trio of sisters into three separate lives. I thought we would go on forever, always together.

Jane was so sad when she came home that long ago September. Never before had I seen her so listless and full of sorrow. When she stepped down from the coach, she moved like one in weighted shoes, stunned by a heavy blow to the head, as though she were walking in her sleep, her swollen, red-rimmed eyes open but oblivious, even to Kate and me as we ran out with open arms and joyful, eager smiles to welcome her. But Jane didn’t notice us. Even when Kate hurled herself at her, like a cannonball covered with bouncing copper curls, Jane absorbed the impact with barely a flicker. When I saw this, my smile and steps faltered and I hung back, feeling as though I were trespassing on my sister’s sorrow, even though all I wanted to do was banish it.

She was still wearing the black velvet gown she had worn to the Dowager Queen’s funeral, where she had acted as chief mourner, with her long, wavy chestnut hair still pinned tight and confined beneath a plain white coif, and her thin shoulders shivering under the little white silk capelet, both of which, coupled with the black gown, signified that the deceased had lost her own life bringing a new life into the world. With two black-gowned, white-coiffed, and caped maids bearing her long black train, Jane, carrying a lighted white taper clasped tight between her trembling hands, hoping her tears would not drip down and douse the flame, had led the grim and solemn procession into the chapel at Sudeley Castle.

Our always elegant lady-mother disembarked from the coach with a wave of rose perfume strong enough to knock any weak-stomached man or maid down, her leather stays creaking in violent complaint beneath the grandeur of her gold-embroidered green velvet gown and her favourite leopard skin cloak. Our father had given it to her when she, as a young bride, triumphantly announced that she was carrying a child that they were both confident would be a son, though it was in fact Jane in her womb as time would reveal. But our lady-mother kept and prized her leopard skin cloak just the same, even long after she had given up all hope of a son. “I deserve it,” I often heard her proclaim as she preened before her mirror with it draped about her broad shoulders. “After all that I have endured—I deserve it!” Though I never dared question her, I knew she meant us—Father’s weak will and his body grown cushiony soft through unrestrained indulgence of his love for sweets; Jane’s recalcitrant and willful ways that ran so contrary to our world’s most cherished ideas of feminine beauty and charm; Kate’s thinking with her heart instead of her head; my stunted, deformed body—a dwarf daughter is a daughter wasted, she can do no good for her family or herself; and the tiny baby boys born blue and dead with limp little phalluses that waggled mockingly, reminding our parents of the son, the star of the Grey family, the hope of the future, they would never watch grow to strong and lusty manhood and carry on our proud and noble lineage.

Jane blindly followed our lady-mother toward the house, meek and docile in her grief, her long train trailing forgotten over the dusty flagstones behind her. Her mind shrouded in black velvet sorrow, Jane didn’t feel its weight or hear the rustling whisper that tried to remind her, like a little voice urgently hissing, Pick me up! Pick me up! Sudden as a serpent striking, our lady-mother swung around and dealt Jane’s face a sharp leather-gloved slap that almost knocked her down. “Pick up that train!” she snapped, though we all knew it was a gown Jane would never wear again, for every stitch of that hastily sewn frock was full of sorrow.

Jane staggered and stumbled backward, a livid pinkness marring the milky, cinnamon-freckled pallor of her cheek and a drop of blood falling like a ruby tear from her nose to stain her white silk capelet. Seeing it, our lady-mother snorted like a horse, blowing hot fury, before she shook her head in a way that seemed to say to Jane, You’re hopeless! and spun on her leather-booted heel and flounced into the house, the feathers on her hat bobbing with every step as she nimbly plucked the gloves from her fingertips, tossed them to a maid, and untied her cloak strings, as she called for wine and demanded the whereabouts of her husband. As soon as the door closed behind her, Kate ran to gather up Jane’s train, bunching up the dusty velvet, wadding it against her chest as best she could, being quite daintily built and only eight. And I took Jane’s hand and gave a gentle tug to get her moving and led her inside and upstairs to her chamber.

Jane never said a word as her nurse, Mrs. Ellen, ordered her to sit, and then, with an efficiency born of familiarity, silently bathed Jane’s face and pressed a cold cloth to her nose to staunch the bleeding while Kate and I knelt beside her chair and held and rubbed our sister’s hands. As soon as a servant appeared bearing Jane’s trunk, she sprang up and ran to open it. From inside she took a portrait, which she had wrapped in petticoats to protect it on the journey. She unswaddled it tenderly as a mother would her child, as Catherine Parr would never have the chance to do for her own infant daughter, then propped it on a chair and sat back on her heels before it.

It was a portrait of the late Dowager Queen, gowned in sumptuous claret satin, her bodice and sleeves elegantly embellished with gold-embroidered black bands. Her auburn head was covered by a round, flat black velvet cap adorned with fanciful gold and pearl buttons and brooches. With its jaunty, curling white plume, the hat looked far more cheerful than the pensive pearl-pale face unsmilingly framed by the pearl-bordered white coif she wore beneath it. In the hollow of her pale throat I noticed was a pendant I had seen on portraits of our uncle’s previous queens, all now deceased, their lives bled out in childbed or on the scaffold, a great cabochon ruby resting in a nest of gold acanthus leaves with a smaller emerald set above it and an enormous milky teardrop of a pearl dangling beneath.

I had never met Queen Catherine, but Jane had told me so much about her I felt I knew her: the book she had written, The Lamentation of a Sinner, a labour of love boldly espousing woman’s equality to man, emphasizing femininity’s Christlike virtues, such as meekness and humility; the finely arched brows she plucked with silver tweezers; the discreet henna rinses she applied to her hair when her husband was absent; and the quick pinches she gave her cheeks, to give them colour, before she came into his presence; the milk baths she soaked in to keep her skin soft and fair; the vigorous scrubbings with lemons to fade and discourage freckles; the rose perfume she distilled herself from her own mother’s recipe; the cinnamon lozenges her cook prepared in plentiful batches to keep her breath sweet; and the red, gold, and silver dresses her dressmaker made to show off the still slender figure of an ageing woman who kept her waist trim by exerting steely self-discipline at the dining table, shunning the rich, decadent fare laid before her on gold and silver plates, and, to her great sorrow, by never having borne a child. All to keep a man who wasn’t worth keeping, an ambitious scoundrel who lusted after a crown and was hell-bent on seducing her own stepdaughter—the flaming, vital, young Princess Elizabeth who stood just two steps down from the throne her brother sat upon. Only her sister, the Catholic spinster Mary, stood above her in the line of succession, and she had already rebuffed the Lord Admiral’s passionate overtures.

Kate and Mrs. Ellen each bent and took Jane by the arm and raised her. As we undressed her, Jane never said a word or took her eyes off Catherine Parr’s face.

Later, when the house was still, and the yawning, sleepy-eyed servants had climbed the stairs to their attic cots, and our own nurses lay snoring on the trundle beds, Kate and I crept on bare toes back to Jane’s bedchamber, hugging our velvet-faced damask dressing gowns tight over our lawn night shifts lest their rustling betray us. Jane lay white-faced and still behind the moss green and gold brocade bedcurtains with the covers drawn up to her chin. The cups of mulled wine Mrs. Ellen had given her had eased her, warmed her inside, and loosened her usually cautious tongue. We roused her and, to our delight, found she was no longer a walking wraith and once again our dear, difficult, but much beloved sister. And as we huddled beneath the bedcovers, close as three peas in a pod, Kate still in her green velvet dressing gown and I in my plum one, Jane shared with us the strawberries, pears, apples, and walnuts sympathetic common folk, who also mourned the Dowager Queen’s passing, had given her whenever the carriage stopped so that the horses could be changed or watered. “They were all so kind,” Jane said in an awed little whisper as though human kindness was something strange and marvellous she was unaccustomed to behold.

It was then, as we munched our treats and sipped the now tepid wine Mrs. Ellen had left behind, that our sister confided all. And what tales she had to tell! Had it been anyone other than our plainspoken Jane I would have suspected some fanciful embroidering. She told us all about the lewd, wanton romps that had astonished and titillated all of England when they heard how the Lord Admiral had made it his custom to creep into Princess Elizabeth’s bedchamber early each morning to rouse her with tickling and kisses, handling her person in a most familiar and intimate fashion, and how the two had been surprised in an embrace by his wife, with the guilty fellow’s hand roving beneath the princess’ petticoats, which had resulted in Elizabeth being sent away, and had spoiled Catherine’s joy in at long last finding herself with child. In the delirium of the fever that followed the birth of her daughter, Catherine’s tongue had scourged her husband and stepdaughter like a metal-barbed whip; she accused the Lord Admiral of wanting her dead so he would be free to marry Elizabeth, his little wanton strumpet of a stepping stone leading straight to the throne. And Jane had with her own eyes seen him pour a white powder into a goblet of wine and press it to Catherine’s lips, forcing her to drink, tightening his grip and pressing the golden rim harder against her lips when she shook her head and tried to pull away, and afterward holding his hand over her mouth to make her swallow when he thought she might attempt to spit it out. She died with small, round, livid purple-red bruises from his fingertips marring her cheeks and jaw. When the time came to bathe and clothe her corpse, her favourite lady-in-waiting, a stepdaughter from Catherine Parr’s first marriage, Lady Tyrwhit, had painted over them with a paste of white lead and powdered alabaster to restore her complexion to pearly consistency.