William Blake
The Penance of Jane Shore in St Paul’s Church, 1793, Ink, watercolour, and gouache on paper, 245 x 295 mm, Tate; Presented by the executors of W. Graham Robertson through the Art Fund 1949, N05898, © Tate, London / Art Resource, NY
Performing Penance
Commentary by Maryanne Saunders
The Penance of Jane Shore in St Paul’s Church by William Blake does not refer directly to Luke 7. Rather, Blake’s work depicts the historical event of the public penance of King Edward IV’s mistress Elizabeth ‘Jane’ Shore after the monarch’s death in 1483.
The ‘walk of shame’ demanded of the noble woman Jane Shore after her long romances with the King and other nobility, was ostensibly a punishment for her wantonness and sexual immorality. Others theorized that the spectacle was in fact orchestrated by Edward’s brother, Richard III, in response to allegations that Jane had been passing political messages amongst his enemies.
It is the punishment itself, rather than the crime, that is depicted in this work by Blake, made two centuries after her death and undoubtedly with Early Modern plays based on her life in mind. Jane steps towards the centre of the composition. She is wrapped in a blanket over her kirtel (underdress) and holds a taper in her hand. She is surrounded by a group of soldiers and at right a group of spectators stare at her, perhaps censoriously.
This work is interesting for the manner in which it depicts female penitence and what appears to be the inevitable public humiliation that accompanies it. Jane is half dressed by the standards of Tudor nobility, and—in a way not dissimilar to the Rubens painting elsewhere in this exhibition (albeit with a very different level of agency over the situation)—she is placed at the forefront of the bustling crowd. It is a place of exposure.
Nevertheless, the presence of the soldiers is indicative of Jane’s status, class, and relative safety despite the situation. Although she was subject to taunts and was even imprisoned, she later married, living out the rest of her life in bourgeois comfort.
The viewer may read the scene as one of a powerless woman, forced to humiliate herself in public for the sake of a tyrannical king. Alternatively, we may see a political agent escaping harsher punishment by shielding herself in her gender and class.