The Symbolism of A Catte by Mary, Queen of Scots
Amy Hyslop
Mary Stuart, known more commonly as Mary Queen of Scots, is one of Scotland’s most well-known and intriguing historical figures. Countless historians have researched and analysed her youth, reign, and imprisonment for centuries. However, one aspect of her life that has remained under-researched is her contribution to the arts. Mary was an incredibly accomplished needlework artist, producing many embroidered panels throughout her life, with one of the most interesting embroideries made during her imprisonment under Elizabeth I. In particular, A Catte (1569-84) stands out as a commentary on her position as an exiled and imprisoned monarch.
Mary Stuart, A Catte, 1569-84, Embroidered Panel. Royal Collection Enterprises Limited 2024 | Royal Collection Trust
A Catte is one of the most well-known pieces attributed to Mary and her companion Elizabeth (Bess) of Hardwick, an incredibly wealthy and accomplished noblewoman, whose estates Mary spent fifteen years of imprisonment within and with whom she designed many embroideries. This panel is currently on display in the Palace of Holyroodhouse in Edinburgh, under the care of the Royal Collection Trust. Embroidery was a popular pastime amongst women of noble birth in the sixteenth century, and Mary used this art form as a way to express her personal and political frustrations. Her embroidered panels are not simply decorative, they are also deeply symbolic. This panel portrays a ginger cat seated on a chequered floor bearing the cypher of Mary Stuart; the cat’s paw has trapped the tail of a mouse who tries to escape its grasp. The simple composition holds a deeper metaphorical meaning that reflects Mary’s relationship with her Protestant cousin, Elizabeth I. Scholars have interpreted the feline in A Catte as an allegory for Elizabeth, while the mouse trapped beneath the cat’s paw symbolises Mary herself.
Left: Embroidered monogram, George Elizabeth Shrewsbury (Bess of Hardwick), 1550 – 1608. Centre: Mary Stuart, A Catte, 1569-84, Embroidered Pane. Right: Embroidered monogram, Bess of Hardwick, 1550 – 1608. Royal Collection Enterprises Limited 2024 | Royal Collection Trust.
The composition of the two animals is what makes A Catte incredibly interesting. The decision to have the cat’s paw on the mouse’s tail rather than its body suggests a type of power dynamic – in which the predator is not seeking an immediate kill but is instead toying with its prey. Elizabeth’s political manoeuvres regarding Mary reflected this dynamic as she never outright eliminated her cousin until it was necessary, instead keeping her imprisoned for nearly two decades. This allowed her to exert control over Mary’s fate and, by extension, over the Catholic cause in England. Yet, the mouse remains unharmed, it is pinned down but remains alive, a possible reflection of Mary’s belief in her own continued claim to the Scottish and English throne despite the efforts of her cousin.
A Catte is a brilliant testament to the coded language of typically feminine artistry throughout history. Through the simple yet charged image of a cat and a mouse, Mary, Queen of Scots communicated her perception of her relationship with Elizabeth I and the treacherous political game that ultimately led to her death.
Bibliography
Www.rct.uk. “Mary, Queen of Scots (1542-87) - Embroidered Panel,” 2024. https://www.rct.uk/collection/28224/embroidered-panel.
Www.rct.uk. “RCIN 28224 - a Catte,” 2024. https://www.rct.uk/collection/stories/mary-queen-of-scots-1542-1587/embroidered-panel-0.