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The oldest natural son of Charles II (1630-1685), James Scott was born to Lucy Walter (?1630-1658) at Rotterdam. Charles always acknowledged James as his son and rumour persisted that Lucy and Charles were married (the third Duke of Buccleuch having found and destroyed the marriage certificate in the 18th century). James’s early childhood was traumatic and unstable - he was kidnapped twice and moved location and family almost constantly (the name ‘Crofts’ was adopted by him from Lord Crofts, who treated him as his son). He formally changed his name to Scott as a condition of his arranged marriage in 1663 to the wealthy Scottish heiress Anna Scott, who was already Countess of Buccleuch in her own right albeit only 12 (and he only 14) at that time.

After his marriage, James was publicly acknowledged by his father was created Duke of Monmouth and Earl of Doncaster. After their marriage he and his wife were also elevated in the Scottish peerage to the dukedom of Buccleuch and earldom of Dalkeith. Painted by Samuel Cooper at the age of 11 in 1660[1], Monmouth’s looks were much admired by his contemporaries, but his skills as soldier and commander were equally revered. After 1665, he enjoyed a prominent military career, serving in the navy under his uncle James Duke of York, and, in 1672, commanding the army that assisted Louis XIV (1638-1715) against the Dutch. In 1678 he was appointed general of all the land forces in Britain.

The present work fits with a handful of portraits painted by the official court artist Peter Cross in 1681. This year was a turning point in the question of who would succeed his father as king, as he had not produced a legitimate heir with his wife, Catherine of Braganza. Monmouth’s uncle, James Duke of York, was openly Catholic at a time when great hatred was levelled against followers of that faith.

This miniature, and others painted during the early years of the 1680s, may have been presented to Monmouth’s supporters as he attempted to promote himself as the legitimate, and Protestant, rightful heir to the English throne. During 1680 he made a short progress to Chichester and appeared in London where crowds supported and welcomed him. He then travelled west to Bath and Dorset, greeting those exclaiming 'God bless our King Charles, and God bless the Protestant Duke'[2] (there, he even touched for the king's evil, thereby signifying his belief in his own royal status). Charles became nervous as the supporters of his natural son openly wore blue ribbons (much like the garter ribbon worn here by Monmouth); the (fewer) supporters of his uncle James wore red.

In the end, at the event of his father’s death in 1685, it seems that Monmouth over-estimated his own royal status and simultaneously underestimated his public support. Years of waiting and frustration culminated in an almost pathetic invasion of 83 men, who landed at Lyme Regis, Dorset prepared to fight. After a predictable defeat at the battle of Sedgemoor, Monmouth was brought to his uncle who immediately ordered his nephew’s execution to take place within weeks. The executioner botched the job; it was reported that it took five strokes of the axe to sever Monmouth’s head from his body.

The present work has all the trappings of a royal image and can be compared directly to portraits of the king, also by Cross. Cross was responsible for miniatures of all the prominent figures at the court, including portraits of the king’s many mistresses. He was a similar age to the glamorous and charming Monmouth and portrayed him with appropriate aplomb.[3]

[1] This tender, unfinished sketch is in the Royal Collection [RCIN 420645]

[2] True Narrative of the Duke of Monmouth's Late Journey (2, 4)

[3] There is a similar version previously in the collection of the Duke of Portland which remains at Welbeck Abbey (see Walpole Society, 1914-15, vol IV Plate XVI, no.91, circa 1683); another exists in a private collection with the original diamond-set gold frame.