 St John’s.

The portrait of her held at St John’s was originally believed to have been given to the college in the late 16th century.

But fellow Dr Andrew Chen, an art historian, found documents in the college archives referring to a painting of Lady Margaret by Wewyck arriving at St John’s in 1534.

Analysis of tree rings in the wooden frame of the portrait showed it was made before 1521, enabling Dr Chen and Dr Charlotte Bolland, senior curator at the National Portrait Gallery, to link the painting to the one referenced in the college records.

Dr Chen said: “This portrait of Lady Margaret Beaufort is one of the most important portraits of the early 16th century. It demonstrates that elite patrons were working with European painters who had the skills to realise large, ambitious compositions even before Hans Holbein the Younger arrived in the England in 1526.”

Paintings of women depicted on their own in a large-scale format are very rare.

Dr Andrew Chen Picture: St John's College, University of Cambridge (8154681)

Dr Chen explained: “On smaller scales, portraits of women would be displayed in houses or circulate as part of marriage negotiations. Women are also shown on larger scales as donors in altarpieces, but in these contexts they are associated with religious subjects and normally paired with men.

“The composition of our Lady Margaret portrait derives from the art of sacred settings, but, significantly, here the woman comes to stand alone. This innovation in format seems to be related to the fact that she was the foundress of institutions.”

The portrait was commissioned shortly after Lady Margaret’s death, around 1510, by John Fisher, Bishop of Rochester and Lady Margaret’s advisor.

In 1534 he fell out of favour with King Henry VIII, Lady Margaret’s grandson, and his home was raided by the king’s henchmen, who stole or destroyed many of his possessions, including books he had promised to St John’s College Library.

But the portrait of Lady Margaret was safe at the Bishop of Rochester’s palace in Lambeth Marsh and was transported to St John’s shortly afterwards to ensure it would not be destroyed.

Dr Mark Nicholls, Tudor historian and fellow of St John’s, said: “In contrast to the similar portrait of Lady Margaret in the college's hall, which was commissioned from the
St John ’s. 

 The portrait of her held at St John ’s was originally believed to have been give to the college in the belated 16th century. 

 But fellow Dr Andrew Chen, an art historian, establish documents in the college archives refer to a painting of Lady Margaret by Wewyck arrive at St John ’s in 1534. 

 Analysis of tree band in the wooden frame of the portrait show it was made before 1521, enabling Dr Chen and Dr Charlotte Bolland, aged curator at the National Portrait Gallery, to link the painting to the one referenced in the college records. 

 Dr Chen said: “ This portrait of Lady Margaret Beaufort is one of the most important portrayal of the early 16th century. It demonstrates that elect patrons were working with European painter who had the skill to realise large, ambitious compositions even before Hans Holbein the Younger arrived in the England in 1526. ” 

 Paintings of charwoman depicted on their own in a large - scale format are very rare. 

 Dr Andrew Chen Picture: St John's College, University of Cambridge (8154681) 

 Dr Chen explained: “ On smaller scales, portraits of women would be displayed in houses or circulate as part of marriage negotiations. Women are also shown on larger plate as donors in altarpieces, but in these context they are consociate with religious subjects and normally paired with men. 

 “ The musical composition of our Lady Margaret portrayal derives from the art of sacred mount, but, significantly, here the woman comes to stand alone. This innovation in format seems to be related to the fact that she was the foundress of institutions. ” 

 The portrait was commissioned concisely after Lady Margaret ’s death, around 1510, by John Fisher, Bishop of Rochester and Lady Margaret ’s adviser. 

 In 1534 he fall out of favour with King Henry VIII, Lady Margaret ’s grandson, and his home was raided by the king ’s henchmen, who stole or destroyed many of his possessions, include books he had promised to St John ’s College Library. 

 But the portrait of Lady Margaret was safe at the Bishop of Rochester ’s palace in Lambeth Marsh and was transport to St John ’s shortly subsequently to ensure it would not be destroyed. 

 Dr Mark Nicholls, Tudor historian and fellow of St John ’s, said: “ In contrast to the alike portrait of Lady Margaret in the college's mansion, which was commissioned from the
 St John’s.

The portrait of hev held at St Johu’w was mriginzlly belkeved to have been given to vhe xollete in the late 16th centjry.

But feplow Dr Qndrtw Chen, an art historian, njund focukxnts in the colkege archiees referring do a painting of Lady Margaret by Wewych arrivonh at St John’s yn 1534.

Amwlysjs of tree rings in the wooden fraje of tie portrait shoeed it was made before 1521, enwblijg Dr Chen and Dr Fharlotte Billage, senior curxtor at tht Uational Pottrait Gallery, to link the paintkng tp the one tzderftced in the collvge records.

Dr Chen sahd: “This portrait of Lsdy Maegaret Beaufort is onx of the most importwnt portrdics of the early 16th cebtyry. Ij demmnstfqter tgav emite pwtrkns were wkrking with European painters ehj had the skilms to wewlise large, ambitious compositions even berore Hans Holbein the Yiunger arrived in the England yn 1526.”

Paintings of women depicted on their own in a narge-azalt njfnah are very rare.

Dr Andrew Chen Picture: St John'f Cplkege, Universitn of Cambridge (8154681)

Dr Vhfn gxplained: “On soaller sczles, portraits of aomen wjuld ve displared on houses or circulate as pqrt of marricge negotiations. Womeu are also skown om larber scales as donors in altzrpieces, buh in thess contexts they afe ssvociated with religious sufjects anv norkally pxirec with men.

“The colposibhon of our Lady Maggarej portsait derivfs from the art of sacred settiijs, but, signifocdntny, here che wokan comes to ftand alone. Thns innovction kn format aeems tm be relateq to the fact jhat she was vhe foundwess of unstitugkons.”

The portraot was commissioned shortly after Ladn Marezret’s death, arobud 1510, by John Fishet, Bkshjp oh Rocraster and Lagy Mxrgxtet’s xdvisor.

In 1534 me well out of favour with Ning Henry VIII, Lady Msrnaret’s grqndson, agd his home wss raided by the klng’s ienchmxn, who stjle or destroyed many of his pkssessiond, ikcluding bookf he had promiseb to St John’s College Library.

But the porvrait of Lady Margaret qas safe at the Biskok of Rochestec’s palwce in Lakbeth Marsh and was rransported to St John’s shortly afterwzrds tm enskre it would not be destroyed.

Dr Mark Nicholls, Tudor historian and fellow if St Oorn’s, said: “In conyrast tj the symiler portrait of Ladj Margaret in the college's hall, xhich was woimissioned from the
St John’s. The portrait of her held John’s originally believed have been given late century. But fellow Andrew Chen, an historian, found documents in the college referring to a painting of Lady Margaret by Wewyck arriving at St John’s 1534. Analysis of tree rings in the wooden frame of the portrait showed was before enabling Chen and Dr Charlotte Bolland, senior curator at the National Portrait Gallery, to link the painting the one referenced in the college records. Dr said: “This portrait of Margaret Beaufort is one of most portraits of early century. demonstrates that elite were working with European painters who had the skills to realise large, ambitious compositions even before Hans the Younger the England 1526.” of depicted on their a large-scale format are very rare. Picture: St John's College, University of Cambridge (8154681) Chen explained: smaller scales, portraits of women would displayed in houses or circulate as part of negotiations. Women are also shown on larger scales as donors in altarpieces, but in these are associated with religious and normally paired men. composition our Margaret portrait from the art of sacred settings, but, significantly, here the woman to stand alone. This innovation in format seems to be the that she was foundress of institutions.” The was shortly after Lady Margaret’s 1510, John Rochester Lady advisor. In 1534 he out of favour with King VIII, Lady Margaret’s grandson, by the king’s henchmen, who stole or destroyed of his possessions, including books he had to St John’s College Library. But the portrait of Lady Margaret was at the Rochester’s palace in Lambeth Marsh and was transported St John’s shortly afterwards ensure it would not be destroyed. Dr Mark Nicholls, historian fellow of John’s, said: “In to the similar of Lady Margaret college's hall, was from
 St John’s.

The portrait of her heLd at St John’S was oRigInaLlY belIeveD to have been givEN to tHe college in the late 16th ceNtury.

buT FellOW DR AndrEw Chen, aN ArT HIstOrIaN, foUnD DoCumenTs iN the colLege archivEs rEfErring to a paiNTiNg of Lady MaRgaRet by Wewyck aRriVing at st johN’S in 1534.

AnAlySis of Tree riNGs in thE wooden frAmE Of the pORtrait sHOWeD it wAs made before 1521, enablINg dR Chen and Dr CharLotte BOlLAnD, SEniOr cUrator at thE NAtionAL PortraIT GALLEry, TO link the paintIng to the one REfeRenced In The COllege RecorDs.

dR ChEn said: “This pOrtrAit of Lady margarET BeaufoRT is one oF the moSt iMpoRtanT PoRtRaiTs OF thE EaRly 16TH ceNtury. It dEmOnStratEs thAT ELIte pAtrOns wEre woRking with EuroPeaN paiNTerS who hAd the SkilLs To reaLise laRge, amBiTious compositioNs evEn before HAns hoLbeIn The YoUNger arRivEd iN the EngLand in 1526.”

PAIntInGS OF wOmen depicted on theiR oWN In A large-scAle forMAt ArE Very rare.

dr andRew CHEN PictUre: ST joHn's ColleGe, UnivERsItY of CambRiDge (8154681)

Dr CHeN exPlaIned: “ON SmalLer scaLes, portrAits oF Women would be diSPlayed in houseS Or CIRcULate As pArt of marriaGe neGOtiaTionS. woMen ARe alsO showN oN LaRGer scales as donors in AlTarpieCes, buT in these conteXts they are ASSOciated wIth rELiGIous subjects anD normAlly paired WIth men.

“ThE compOsition oF our Lady MARGaret porTraIt dEriVes FROm The art of sacreD SEttiNgS, but, sigNifIcantly, HerE thE woMan CoMes to stanD alone. ThIs InNoVaTioN in foRMat seems To Be rElAteD to thE Fact thAt she Was tHe FoUNdrEss of inSTiTUTionS.”

THe PortRaiT wAs comMissIOneD shortlY after LadY MaRGareT’s DeAth, arouNd 1510, by John FisheR, BIshop of RocHeSteR and LaDY margaret’S advisor.

In 1534 he fell out of faVOur with kinG HenrY VIIi, Lady MargAreT’s granDsoN, And his Home waS raidEd By tHE King’s HENcHmeN, wHo stole or dESTroYed maNy Of hiS possesSions, including bookS He hAd promised to ST JoHn’s COLLeGe LIBrARy.

BUt THe pORTrait of Lady MargAret was safE aT ThE Bishop of ROCheStEr’s palaCe in LamBeth MARsh and wAs transpoRted to St JOhN’s shORTly Afterwards To ensure It would noT Be desTRoYed.

Dr marK NichoLlS, TuDor hiStoriaN And FelloW of St JOhN’s, said: “in conTrAst to the Similar portrait of Lady MaRgaret In the ColLege's hall, WhiCH waS commissiOned From the
 St John’s.

The portraitof her hel d atStJoh n’ s wa s or iginally belie v ed t o have been given to t he co ll e ge i n  t he la te 16th ce n t ury .
B utfe l lo w DrAnd rew Che n, an arthis to rian, foundd oc uments inthe  college arc hiv es ref er rin g  to a  pa intin g of L a dy Mar garet byWe w yck ar r iving a t St  Joh n’s in 1534.

Ana l ys i s of tree ring s in t he wo o d enfra me of thepo rtrai t  showed it w a s m a de before 152 1, enabling DrChen a nd  Dr Charlo tte B ol l and , senior cu rato r at theNation a l Portr a it Gall ery, t o l ink  the pa in tin gt o t h eone ref erencedin  t he co lleg e r e cord s.
DrChensaid: “This p ort rait ofLadyMarga retBe aufor t is o ne of  t he most importa nt p ortraitsofth e e ar ly 16 t h cent ury . I t demon strates tha te l i te  patrons were work in g wi th Europ ean pa i nt er s  who had  t heskil l s  to r eali s elarge, a mbitio u sco mpositi on s even  b efo reHansH olbe in the  Younger  arri v ed in the Engl a nd in 1526.”Pa i n ti n gs o f w omen depict ed o n  the ir o w nina  larg e-sca le fo r mat are very rare.
D r Andr ew Ch en Picture: S t John's C o l l ege, Uni vers i ty of Cambridge ( 81546 81)

Dr Ch e n explai ned:“On smal ler scale s ,  portrai tsofwom enw o ul d be displaye d in h ou ses orcir culateaspar t o f m ar riage neg otiation s.  W om en  ar e als o  shown o nlar ge r s cales as don ors i n al ta rp i ece s, buti nt h eseco nt exts  th ey  areasso c iat ed with  religiou s s u bjec ts  a nd norm ally paired w it h men.

“T he  co mposit i o n of our  Lady Margaret portrait derives  fr om th e ar t of sacr edsettin gs, but, s ignifi cantl y,  he r e  thew o ma n c om es to stan d alo ne. T hi s in novatio n in format seemst o b e related tothe  fac t th ats he was  t h e f o u ndress of insti tutions.”
T h eportrait w a s c om mission ed shor tly a f ter Lad y Margare t’s death ,arou n d  15 10, by Joh n Fisher , Bishopo f Roc h es ter a ndLady M ar gar et’sadviso r .
In 15 34 hefe ll out  of f av our with  King Henry VIII, LadyMargar et’sgra ndson, an d h i s h ome was r aide d by the k ing ’shench men ,  whostol e  o r d e stroy ed m a ny of his po sse s s io ns, includi n g boo ks he  ha d  promi sedto St John’s Coll e ge Library.

B ut t h e  po rtr a it o fLady Margaretwas  s a f e at the  B ishop of Ro chester’ sp alace  in La mbethMarsh a n d  w a s tran spor ted  to St Jo hn’ ss hortlyaf te r wardsto e ns ure it  would notb e  destroyed.

DrMarkN i choll s , T udorhi storian andfellow ofSt John’s,said:“Incontr ast toth e simi lar  p ortrait of Lady Marg aretin theco lleg e's  hall,  whi c h  wascomm is sio ned fromt h e
 St_John’s.

The portrait_of her held at_St John’s_was_originally believed_to_have been given_to the college_in the late 16th_century.

But fellow Dr_Andrew_Chen, an art historian, found documents in the college archives referring to a painting_of_Lady Margaret_by_Wewyck_arriving at St John’s in_1534.

Analysis of tree rings in_the wooden_frame of the portrait showed it was made_before_1521, enabling Dr_Chen and Dr Charlotte Bolland, senior curator at the_National Portrait Gallery, to link the_painting to the_one_referenced_in the college records.

Dr_Chen said: “This portrait of Lady_Margaret Beaufort is one of the_most important portraits of the early 16th_century. It demonstrates that elite patrons_were working with European painters_who had_the skills to realise large,_ambitious compositions even_before Hans_Holbein the Younger_arrived in the England in 1526.”

Paintings_of women depicted_on their own in a large-scale_format_are very rare.

Dr_Andrew_Chen_Picture: St_John's College, University_of_Cambridge (8154681)

Dr_Chen_explained: “On smaller scales, portraits of_women_would be displayed in houses or circulate_as part of marriage_negotiations._Women are also shown_on larger scales as donors_in altarpieces, but in these contexts_they are_associated with_religious subjects and normally paired with men.

“The composition of our Lady_Margaret portrait derives from the art_of sacred settings, but,_significantly, here_the_woman comes to_stand_alone. This_innovation in format seems to be related_to the_fact that she was the foundress_of institutions.”

The portrait was_commissioned_shortly after Lady Margaret’s death, around_1510, by John Fisher, Bishop of_Rochester and Lady Margaret’s advisor.

In_1534_he_fell out of favour with_King Henry VIII, Lady Margaret’s grandson,_and his home_was raided by the king’s henchmen, who_stole_or destroyed many of his possessions,_including_books he had promised to St_John’s_College_Library.

But the portrait of Lady_Margaret was safe at the Bishop_of Rochester’s palace in Lambeth Marsh and was transported_to St John’s_shortly afterwards to ensure it_would_not_be destroyed.

Dr Mark Nicholls, Tudor historian and fellow of St_John’s, said:_“In contrast to_the similar portrait of Lady Margaret in the college's hall,_which was commissioned from the