Jane Boleyn: The True Story of the Infamous Lady Rochford

by Julia Fox

  EPILOGUE

  The first references to the eighteenth-century works are from Stone (1766, p. 247), Carte (1752, III, p. 163), Granville (undated, I, p. 104), Coote (1791, V, p. 79), and Birch (1747, p. 26). It is true that Marillac wrote to Francis that “all her life” Jane “had the name to esteem her honor little,” but it is quite improbable that Henry would have allowed such a woman unrestricted access into his wives’ privy chambers had Marillac been correct. Since Marillac also said in this dispatch that Jane was now “in her old age,” whereas she was actually less than forty, his information is suspect: LP, XVI, no. 1366. My investigation of John Foxe’s Actes and Monuments involved examining the following editions: Foxe (1563) (STC, no. 11222), Foxe (1576) (STC, no. 11224, II, p. 1181), and Foxe (1583) (STC, no. 11225, II, p. 1210). The account by Chapuys of the trials is from CSPSp, V.ii, no. 55. Spelman’s reference in his notebook to Lady Wingfield is from Spelman (1976–77, I, p. 71). The references to Cromwell and Husee are from LP, X, nos. 873, 953; see also the notes to chap. 21 in this volume. Discussion of Wyatt’s Memoir of Anne Boleyn is from the text printed as an appendix to Cavendish (1825, II, pp. 182, 207, 212). Constantine’s “Memorial” is from Amyot (1831, pp. 50–78). The crucial reference to a letter is on p. 66. For details on John Payne Collier, see ODNB. Ales’s letter to Elizabeth is from NA, SP 1/70, fols. 1–10 (stamped fols. 3–13), and CSPF, Elizabeth, I, 1558–1559, no. 1303. John Day’s career and links to Cecil are from Evenden (2004a), Evenden (2004b, pp. 383–94), and Evenden and Freeman (2004, pp. 1288–1307). Day as Cecil’s “tame printer” is from Guy (2004, pp. 467–68). Lord Herbert of Cherbury’s denunciation of Jane is from p. 36 of the 1649 edition (Wing H-1504), and from p. 583 of the 1672 edition (Wing H-1701). For Heylin’s references to Jane, see Heylin (1660, pp. 91, 93). Burnet’s opinions are from Burnet (1820, I.i, pp. 306, 484–85). His later comment stating that all that could be brought against Anne was Smeaton’s confession is from Burnet (1820, III.i, p. 174). Stow lists his sources in Stow (1592), table of authors after “Preface to the Reader” STC, no. 23334. His accounts of the deaths of Anne and of Catherine appear on pp. 966–67, 982–83. Neither accuses Jane of being the key informant who brought down the Boleyns. Camden’s account of Anne’s fall, which again makes no mention of Jane, is from Camden (1635, introduction, sigs.d2v.–d3v.; STC, no. 4501). To eliminate Anthony Anthony as a source of Jane’s traducement, it is essential to consult Turner’s notes on Anthony’s lost “Chronicle,” bound into his mispaginated copy of the 1649 edition of Herbert’s Life and Raigne of King Henry the Eighth: Bodleian Folio Delta 624 [sic], pp. 381–85 (pages out of sequence; new numbering beginning after p. 404), and (on Catherine Howard and Culpepper), pp. 473–74. For Turner’s unique system of annotation, see especially the interpolations facing pp. 384, 385, 392, 394, 462, 473–74, 565. Ives (2004, p. 331) cites Anthony’s lost journal as referring to Jane, stating that the words he used probably included the “particular instrument” phrase. In fact, as I have shown, this is Turner, not Anthony at all, and Turner’s reference to “postea 474” is to the printed text of Herbert. Quotations deploring the alleged “iniquities” of Jane in the eighteenth century are from Smollett (1759, VI, p. 35), The Book of Martyrs (1765, p. 117), Cavendish (1825, II, p. 74), Helme (1798, I, p. 63), and Hume (1796, III, p. 64).

  APPENDIX

  For general details on Holbein’s life and work, see Foister (1981, 2004, 2006). The drawing of Lady Parker is from Parker (1983, no. 73). Discussion of her identity relies on p. 56. The identification of the woman as Grace Parker is not disputed by Susan Foister (Parker, 1983, p. 158). G. S. Davies is the one dissenting voice, maintaining that Lady Parker is indeed Jane Rochford, a woman for whom he has no sympathy whatsoever. See Davies (1903, p. 182). He also states that the drawing is on white, not pink-primed, paper, but in this also he is alone in his view. For information on Holbein identifications in general, and Cheke’s role in particular, see Foister (2004, pp. 24–29). Of the many references to Holbein’s use of white and pink-primed paper, see Parker (1983, pp. 24–28) and Foister (2004, pp. 51–52). While it is true that Holbein produced no definitely authenticated likenesses of Anne Boleyn, two of his drawings have been alleged to depict her. For an interesting analysis, see Rowlands and Starkey (1983, pp. 88, 90–92). A discussion of the costume drawing appears in Foister (2004, p. 56; 2006, p. 110). For further information on the table fountain designed for Anne as a present for Henry, see Foister (2006, p. 86, no. 93).

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