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- In this episode of True Crime Reporter,
I open up my case files of historical crimes
that are gone but not forgotten.
In our journey through the corridors of crime
and punishment passed
and present, I'm going to take you back to the execution
of an innocent teenager in 16th century Tudor England.
It's a tragic story about a 16-year-old noble woman
ensnared in a web of political entry.
She is remembered as the nine Days queen her life.
A fleeting moment in the anals of English royalty
Lady Jane Gray's story is a poignant reminder
of the grim intersection of power injustice
from the grandeur of royal courts
to the somber shadows of the Tower of London.
Her story is a testament to the enduring question
of fairness, justice,
and the human condition under the rule of law.
In this episode, history whispers
reach the modern ear reminding us of the past
that is never too far from the present.
You've likely heard the story of London's jack the ripper,
and the fictional exploits of Sherlock Holmes,
but I will tell you a story about a wrongful execution
depicted in oil on canvas that you can't forget.
After seeing it once
I walked out of the tile tunnel
of the Westminster Tube station,
a subway we call it here in the States,
big Ben clock tower stood before me.
I cinched up my reporter's trench coat against a brisk cold
wind that whipped my face from the Thames River.
Big men told the hour from high above the gothic SPIs
of parliament, but it's time to move on to my objective
London's national Gallery.
I set my sights on one painting there
during every reporting assignment or family vacation.
The execution of Lady Jane Gray painted in 1833
by the Frenchman Paul Delaroche more on her life.
Later I walked up Whitehall toward the
Majestic National Gallery.
I passed the Centile graph
or empty tomb in Greek
standing tall in the middle of the street.
The Portland Stone memorial
of creamy white limestone was unveiled in 1920.
It's a tribute to all
who lost their lives in Britain's conflicts since 1914.
Marking the staggering loss of life
by Great Britain in World War I, it was calculated
that marching four abreast down Whitehall would take the
dead three and a half days to pass before the cent graft.
Walking up the cobblestone street,
I emerged from the stately Edwardian architecture
into the open expanse of Trafalgar Square.
At the heart Soars Nelson's column
honoring the legendary admiral Lord Horatio Nelson, the hero
of an epic confrontation with a French and Spanish armada.
In 1805,
Admiral Nelson commanding aboard his flagship HMS victory
faced a numerically superior enemy.
He signaled a legendary command to his royal fleet.
England expects that every man will do his duty
and duty, called many to the watery graves,
that faithful marine amidst cannon roar
and bellowing gun smoke.
As brave souls perished,
he had none more famous than Nelson himself.
Boldly pacing victor's blood slick
and deck splendid in full dress uniform glittering
with metals, heedless of snipers marking an officer
so conspicuous, a lone bullet found its target
as the admiral paste piercing Nelson's shoulder
before lodging fatally in his spine,
My destination.
The National Gallery commands a position
above Trafalgar Square.
The construction site chosen
by Parliament at 1831 was considered
to be at the very center of London.
The gallery houses one of the greatest collections
of Western European painting in the world
with works ranging in date from his earliest 1250 to 1900.
Among its most popular paintings is the execution
of Lady Jane Gray, painted by Paul Delaroche.
In 1833, 16-year-old lady Jane Gray was the queen
of England for just nine days.
The shortest reign of any English monarch before or since.
Her fate was intertwined with a power struggle
to keep England firmly.
Protestant, Henry VIII had broken ties
with the Catholic church so he could divorce his first queen
for Ed Belin, who he later beheaded his successor.
Edward the Six made a deathbed change to the line
of royal succession.
He skipped over Mary a Catholic in favor of Lady Jane,
a Protestant fifth in line to the throne.
Mary won support
and sent Lady Jane Gray to the Tower of London.
She was beheaded on February 12th, 1554.
Going down in history is the nine days queen.
I'll be back with the rest of the story after this message.
Lady Jane Gray's story inspired Paul Delaroche,
the French painter, was part of the 19th century
romantic movement, and his work often reflected the romantic
interest in emotion, drama
and the human experience with historical events.
He painted the execution of a lady Jane Gray two centuries
after she was beheaded.
The nine by eight foot painting makes a striking impression.
Dola Roach captures the poignant final moments
of a blindfolded lady, Jane Gray.
As she pleads, what shall I do? Where is the block?
Gently, she's being led towards her grim destiny
by Sir John Bridges, the deputy lieutenant of the Tower.
Her garments have been removed now resting in the lap
of her lady and waiting who overwhelmed
by the scene has collapsed to the floor.
The dramatic lighting of the scene accentuates Lady Jane's
alabaster colored skin, her thin red lips
that her fair beauty, her long auburn hair bound
by a white blindfold streams down the
front of her left shoulder.
The blindfold itself is stark white wrapping around her head
and covering her eyes, which denotes her blindness
to her surroundings and symbolizes her innocence.
She is dressed in a simple, elegant undergarment that drapes
and pools around her.
It is of a luminous, pale color reminiscent
of classical statues, which further enhances her portrayal
as a tragic innocent figure, the fabric appears
to be satin silk with a subtle sheen
that catches the light adding
to the ethereal quality of her appearance.
Her dress is cinched at the waist
and has a squared neckline
that modestly frames her shoulders and neck.
Jane's physical posture is one of vulnerability
and resignation.
She is kneeling on a turquoise silk cushion,
trimmed and gold trim.
Her body slightly turned
with her right hand tentatively reaching out to the wooden
executioner's block
before her, A gesture that is both searching and hesitant.
The wooden block sits on a bed of straw,
placed a soak up the copious amounts of blood
that will shortly be spilled
During the actual execution.
Where there head on the block,
lady Jane Grace spoke the last words of Jesus as recounted
by Luke Lord into thy hands.
I commend by spirit.
The execution actually took place outdoors on Tower Green
and not on the stage set depicted in the painting,
a dark floor cloth has been pulled back
to reveal a wooden stage like platform, providing the artist
with a place to carve his signature.
In the paintings date of 1833, the painting suggests
that Lady Jane Gray is in a state of calm resignation.
Although she cannot see, there is a composed,
almost serene expression that belies the horror
of her situation.
Her head's tilt and her postures openness suggest a mental
state of acceptance, perhaps fortified by her faith
or resignation to her faith.
There's a tragic grace to her demeanor.
She does not appear to be struggling or in distress,
but facing her end with quiet dignity.
Her left arm is supported by the elderly tower officer,
sir John Bridges, who helps guide her.
This is a critical moment
as he assists the blindfolded chain who is unable
to see her surroundings.
His gesture is delicate, indicating an attempt
to offer some level of comfort or reassurance.
In her moment of vulnerability, his head is bowed to her.
His facial expression, while not fully visible, seems
to convey a sense of solemn responsibility
and perhaps regret.
The executioner stands on their left.
He is dressed in a manner
that suggests his official role in the proceedings.
Yet with an unusual touch of individuality
that sets him apart from the typical portrayal
of executioners
and art, he wears a doublet, which is fitted to his torso,
a common piece of attire in the 16th century
colored in dark tones that correspond to his so duty.
Over this, he dons a red garment, perhaps pose
or britches, which are striking their vibrancy against the
otherwise muted colors of the scene.
The choice of color could be seen as a symbolic reference
to the bloodshed inherent in his duty.
A leather belt cinch his waist from which a sheath.
Dagger hangs further signifying his role as executioner.
His left hand is resting on the handle of a wide bladed axe,
which is the tool of his trade
and the instrument of execution.
De la Roach's executioner does not have the stern impassive
demeanor often associated with his profession.
Instead, there is the hint
of reluctance in his stance and expression.
His head is turned slightly away from Jane
and his eyes do not focus on her
or the block suggesting an aversion
to the grim task he is about to perform.
Della Roche has humanized this typically vilified figure,
inviting viewers to consider the complex emotions
that might have accompanied the executioners
official responsibilities.
Jane's lady in waiting sits
to her right looking away in profound distress, unable
to bear witness to the swing
of the executioner's blade in our lap.
She holds what appears to be Lady Jane's outer garments.
These clothes which have been removed
before the execution are likely to be a fine quality
as befits Jane's Noble status.
The presence of these clothes in her lap serve
as a poignant reminder of the gravity of the situation
and symbolizes the stripping away
of Lady Jane's earthly titles and honors.
As she faces her faith behind her standing in a dark shadow,
another attendant presses her face into a stone wall
with her arms raised over her bowed head.
It's as though she cannot bear
to watch the grim scene unfold
that has physically distanced herself from it seeking solace
in the cold stone wall before her.
The woman's posture and actions contribute
to the painting's overall atmosphere of tragedy
and sorrow, reinforcing the theme of loss
and helplessness that pervades the work.
Her turn back and upraised arms can also be interpreted
as a dramatic expression
of mourning common in artistic depictions.
To convey intense emotion, the artist draws our attention
to the nexts of the two women
emphasizing the terrible fate of their mistress.
The overall portrait of Lady Jane Gray is deeply evocative,
capturing the tragic beauty of her youth and status,
and the somber reality of her imminent death.
No one in the scene looks out at us.
Each of them is completely absorbed in the moment.
De la Roach's completed artwork was presented at the Paris
Salon and garnered a place in the 1834 exhibition
where it swiftly captured the public's attention.
Its intense reaction might be partly attributed
to the echoes of the French Revolution of 1789.
A series of events still fresh in the collective memory.
This period was marked by the violent overthrow
of the French monarchy, including the infamous execution
of Maria Antoinette in 1793.
Through his depiction of Tudor history,
Della Roach drew a striking parallel to France's own recent
turbulent history, crafting an image that was both poignant
and powerful in its residence.
The execution of Lady Jane Gray remains a most potent image,
the very embodiment of John Fox's words in the 1563 Book
of Martyrs, in which he says, let this worthy lady pass
for a saint and let all great ladies, which bear her name,
imitate her virtues.
In 1833, an art critic wrote, beauty
and Terror are blended in this picture so closely
that I defy the true artists to distinguish between them.
Never did a painting produce a more poignant impression.
One almost expects to hear the head roll and fall.
Whenever I'm in London, I always make it a point to go
to the National Gallery to see the execution
of Lady Jane Gray, because it is a profound
and emotionally charged work
that transcends the mere depiction of a historical event
to deliver a powerful narrative about innocence, power,
and the human condition.
It's a reminder of the personal stories
behind historical events, the real lives that are affected
by the rise and fall of powers
and the enduring strength of the human spirit
in the face of adversity.
I hope that if you ever get the London,
you'll take in the full glory of this painting,
Paul De ROEs, the execution of Lady Jane Gray.