The tomb of Mary Queen of Scots is widely recognized as one of the most important visual symbols of dynastic power that can still be viewed in Britain today. Although art historians had originally regarded the strongly Catholic depiction of Mary in captivity, the so-called Sheffield portrait, as the model for the effigy, for more than a century the consensus is that it was based on one of Nicholas Hilliard’s miniature portraits. In this essay a study of the images as well as related documents in the exchequer and Hardwick Hall accounts reestablishes that the Sheffield type was indeed the specific model for the tomb. This does more than simply settle a long-standing question. It also opens the way for an exploration of the content of this most popular portrait of Mary, which was fraught with significance not only for King James VI, Mary’s son, but also the crypto-Catholic nobleman Henry Howard, first earl of Northampton, who was in charge of the tomb’s completion.

中文翻译：

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谢菲尔德肖像类型、他们的天主教目的和苏格兰玛丽女王的坟墓

苏格兰玛丽女王的陵墓被广泛认为是王朝权力最重要的视觉象征之一，至今仍能在英国看到。虽然艺术史学家最初认为玛丽被囚禁的强烈天主教描绘，即所谓的谢菲尔德肖像，作为肖像的模型，一个多世纪以来的共识是它是基于尼古拉斯希利亚德的一幅微型肖像。在这篇文章中，对财政和哈德威克大厅账户中的图像和相关文件的研究重新确定了谢菲尔德类型确实是坟墓的特定模型。这不仅仅是解决一个长期存在的问题。它还为探索这幅最受欢迎的玛丽肖像的内容开辟了道路，这不仅对玛丽的儿子詹姆斯六世国王，