Chambers Street, Edinburgh

In August 1561 Mary, Queen of Scots returned to Edinburgh from France as a Catholic queen in a newly reformed Protestant Scotland. Initially greeted with crowds curious to catch a glimpse of their new queen, Mary Stewart was regarded with suspicion and faced a volatile political situation from the fervent Protestant ascendancy.

450 years on, Mary has made a triumphant return to the Scottish capital in the form of an exclusive major exhibition currently on show at the National Museum of Scotland. Entitled Mary, Queen of Scots, the exhibition chronicles one of the most well-known and captivating royals of all time. It brings together jewels, furniture, tapestry, portraits and documents, providing an insightful view of a fascinating woman and the tumultuous era in which she lived.

Last week I attended a talk highlighting the exhibition’s star pieces by George Dalgliesh – Keeper of Scottish History and Archaeology at the National Museum for over 20 years. He explained that the 200+ items on display aim to present a slightly different view of Mary’s life, focusing on her personal rule in Scotland. He added that Mary still excites controversy to this day, with debates ensuing as to whether the Scottish queen was a Catholic martyr or a scheming adulteress.

Blairs Memorial Portrait of Mary

On entrance to the exhibition the giant Blairs Memorial portrait of Mary towers over you, providing a commanding view of Mary on her way to the executioners block. Commissioned by Elizabeth Curle, a companion to Mary in the final years of her life, the portrait was painted 10-15 years after Mary’s death and was used as a piece of Catholic propaganda to promote Mary’s martyrdom. The portrait also includes visual vignettes of Mary’s grieving ladies in waiting and a scene from the execution.

The exhibition is set out chronologically, with the pinnacle point her reign as Queen of Scotland. Amongst the 16th century artifacts, which include a handwritten letter from Mary to her mother Mary of Guise, an innovative 21st century video shows a 3D image of what Mary would have looked like during her reign. Costume sketches and models by Jasper Conran for a recent production of Donizetti’s tragic opera Maria Stuarda show her renowned regal fashion sense and striking figure that continues to inspire artists today. Even John Knox, the leading light of protestant reformation is said to have described her features as “pleasing”.

Among the most fascinating of the items on display are the documents in the concluding section of the exhibition which include a set of cipher codes, the death warrant issued by Mary’s second cousin Elizabeth I, and a letter from Mary’s son James VI pleading Elizabeth for mercy. The original death warrant disappeared during the legal accusations following the execution, however the surviving copy on display was made for court records and includes the signature of Elizabeth I. The warrant instructs Elizabeth’s commissioners to:

“…repaire to our Castle of Fotheringhaye where the said Queene of Scottes is in custodie of our right trustie servant and Counsellor Sir Amyas Poulet Knight, and then taking her into your charge to cause by your commandment execution to be done upon her person.”

 

 

The Penicuik Jewels

Today very little survives that belonged to Mary for a number of reasons. Following her death her belongings were burned to try and stop the creation of a cult of relics around a martyred Queen. Mary’s half-brother, James Stewart Earl of Moray, is also said to have sold his sister’s jewels following her abdication to pay for troops. A surviving relic on display are the Penicuik Jewels. Originally from a rosary, the jewels are now strung as a necklace and include a locket set with Scottish river pearls. Dalgleish thinks the jewels were probably commissioned by Mary to be given away, as they are not regal enough to be fit for a queen. Giving jewels as gifts was a common practice during the 16th Century as a way of binding a person to your cause.

To this day Mary continues to hold a place in Edinburgh’s heart, as buses make their way through the city’s streets with her face displayed on their sides. The exhibition provides a wondrous insight into the life of a controversial Queen whose legacy still lives on, almost 450 years after her death.

‘Mary, Queen of Scots’ runs until Sunday 17th November 2013. You can read more about the exhibition by clicking here.

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3D Facial Reconstruction of Mary, Queen of Scots

A renowned team of experts at the University of Dundee have revealed a 3D virtual image of Mary, Queen of Scots as she would have looked at the time of her reign. The image was released to coincide with a major new exhibition on the life of the iconic figure that opened at the National Museum of Scotland in Edinburgh last Friday.

Professor Caroline Wilkinson, from the Forensic and Medical Art Research Group, worked from existing portraits and from what is known of Mary’s biography to reconstruct her face as it would have been following during her reign in Scotland from the ages of 19 to 26, a period when there is no portrait record of her.

Professor Wilkinson created a head-and-neck model using the portraits of Mary as templates. The model was created using 3D modelling software and craniofacial templates before digital artist Janice Aitken sculpted clothing and hair then added textures and lighting to create the finished image. The team have previously worked on major projects to reconstruct the faces of Bach, Cleopatra’s sister, Simon of Sudbury and Richard III among others.

“There were no portraits painted during Mary’s time in Scotland, but there were both before and after this period,” explained Professor Wilkinson. “Normally we would begin the process of craniofacial reconstruction by examining skeletal remains, but of course we didn’t have a skull to work from in this case so had to work from portraits earlier and later than the depiction we were asked to create.

“This meant it was a very different challenge for me and the model is more of an artistic representation rather than the scientific interpretation we would normally produce from skeletal remains. We had to get the facial proportions and size of her features from portraits which, luckily, were from slightly different angles so we could look at her face from more than one viewpoint.

“What we wanted to do was depict how she would have looked at the time she lived in Scotland. This was a difficult time for her marked with illness, grief, miscarriage, and imprisonment so we wanted to show the stresses and strains of life on her face because later portraits make her look significantly older than her years.

“She is not what you would describe as a classic beauty. Mary had quite a big nose and a strong chin so when you describe her verbally she doesn’t sound attractive, but the paleness of her skin, red hair, and strong features meant she had a very striking appearance.”

Janice Aitken then put textures on the model and coloured the skin, hair and eyes to ensure it looked as realistic as possible. She created a short movie of the face being shown from several different angles to give the viewer a more complete impression of Mary during the time of her reign in Scotland.

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