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Memorial portrait commissioned by Elizabeth Curle
It is to Elizabeth Curle that we owe the last painted portrait of Mary Stuart, which can be accepted as an authentic likeness.
In addition to her regular private secretary, Claude Nau, Mary Stuart employed the services of Gilbert Curle, who acted as her secretary for more than twenty years. At the time of the discovery of Babington’s plot, when Mary Stuart’s property was ransacked and searched at Chartley, all papers belonging to both Nau and Curle were seized , and the two secretaries arrested and taken to London. There they were submitted to severe examination by Sir Francis Walsingham and compelled to certify to the truth of sertain documents incrimintating their mistress. Elizabeth Curle was sister to Gilbert, and like her brother, evidently in the close confidence of the Queen, for she had been for eight years in attendance on the Queen in captivity. Among the other ladies-in-waiting on the Queen was a young lady of good birth, Barbara Mowbray, daughter of John, Lord Mowbray, who subsequently became the wife of Gilbert Curle.
After the death of their mistress the Curles left England and settled at Antwerp. Barbara Curle died on July 31, 1616, aged 57, leaving two sons, James and Hippolytus, who both became Jesuit priests. Elizabeth Curle died on May 29, 1620, aged 60, after living a pious life of celibacy. Both were buried in the church of St Andrew at Antwerp, in which Hippolytus Curle erected a monument to the memory of his mother and aunt.
At some time or another Elizabeth Curle, in conjunction perhaps with Jane Kennedy, who had also assisted at the tragedy at Fortheringhay, caused to be painted a memorial portrait of their late mistress. This portrait was bequeathed by Elizabeth Curle to the Scottish College at Douai. Elizabeth Curles will was dated April 24 1620, and written in Spanish; and according to a transalation made by the Rev. John Farquharson, President of the Scots College in 1793, at the time of the Revolution, the will contained the entry, “Je laisse audit Semenaire (Douai) un joiau d’or qui renferme une petit portrait de la Reine Marie d’Ecosse, ma maitresse, chose que j’estime grandement, parce qu’elle me fut donne par sa Majeste la matinee meme qu’elle fur martyrisee; de plus je laisse aussi un grand portait de sa Majestee vetu comme Elle etoit a son martyre”.
The little portrait in the gold case cannot now be identified, but the large portrait has fortunately been preserved.
In this portrait Mary Stuart is seen standing erect, turned slightly to the left and holding a crucifix in her right hand; in the background under her right hand is a scene of the execution, and on the left in the background are the figures of her two ladies-in–waiting, Jane Kennedy and Elizabeth Curle. She is robed in black with a pelisse, faced with fur in two long borders, hanging down the front of the figure. The sleeves are close fitting, with plain white cuffs at the wrists.
"8th February 1586, The maner of y Q. of Scotts deth at fidryghay wr. by Ro. wy."
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Navigate for more: A History of Balmerino Abbey - preface The trial of Mary Stuart at Fotheringhay Castle