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The reign of Mary i (24 July 1553–17 November 1558) is widely seen as a disaster for both the woman herself and her devout faith. It can be argued that she did more than anyone to make England a Protestant nation. When we seek to find any trace of her patronage of the arts or of major building projects, we find that little survives. Eamon Duffy called such traces the ‘disjecta membra’. Yet each piece, each surprising survival, demonstrates an awareness of the latest fashions, embracing a forward-looking form of Renaissance arts rather than a backward-looking, conservative Gothic. To discover and emphatically assign a major new piece of work to this catalogue of relics is justifiably a cause of celebration. In 2011, Charles Tracy FSA re-assessed the Marian choir stalls now in Holy Trinity church, Sutton Coldfield (in Warwickshire), rightly calling them the ‘refugee choir stalls from Worcester’, for it was from Worcester cathedral that this magnificent suite was evicted in a fit of Victorian vandalism. In this article, the author demonstrates that these choir stalls were created through the patronage of Mary i, and their makers evoked in their creation ideas and fashions that emanated from Hans Holbein and Sebastiano Serlio, to create what is a unique set of work.
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