“Parure, consisting of a necklace with a pendant, a bracelet and a pair of ear-rings. Enamelled and chased-gold links uniting sixteen enamelled miniatures, fourteen inscribed on the reverse with the identities of the figures portrayed.

The inscriptions on the backs of these enamelled miniatures identify the portraits as following: on the necklace from left to right, Mme de Parabere (mistress of the Regent, the duc d’Orléans), Princess de Lamballe (Marie Antoinette’s closest friend;), Mme Elizabeth (sister of Louis XVI), Henriette d’Angleterre (sister of Charles 11 of England, wife of the Dauphin, Philippe d’Orléans), Mme Dubarry (mistress of Louis XV from 1769); Marie Antoinette (Queen of France) on the pendant.. The back of the miniature on the clasp is covered but the portrait appears to be that of Mme de Pompadour, mistress of Louis XV for twenty years (1744 - 64). On the bracelet, from left to right the portraits are of Mlle de Lavaliere (presumably Louise de la Valiere, mistress of Louis XIV), Marie Antoinette, Marquise de Sévigné (mistress of Louis XIV), Mme de Montespan (also a mistress of Louis X1V). The inscription on the clasp is again covered, but the sitter may be Madame de Maintenon, last mistress of Louis XIV, whom he married in 1685. The earrings have Mme Elizabeth, the Princess de Lamballe, and Marie Antoinette twice; the upper miniature on the right shows her as Archduchesse d’Autriche, before she married Louis XVI.”

The yeomen warder took me around to the back of Saint Peter ad Vincula. We stopped in front of the final resting place of past Saint Thomas Moores where I crossed myself and the guard removed his at, crossed himself and smiled at me. We spoke about the life of the Saint and I felt very honoured to have been able to view what not many see. (Sadly pictures are not allowed in Saint Peter Ad Vincula anymore)

He then took me to the Chapel and my heart sped up. He said “I’m sure you know where she is right?” and I smiled. He lifted the blue barrier and let me go up to the grave of Anne Boleyn. I had to step over poor Katherine to get to Anne. I laid my roses right above the lettering: Queen Anne. I touched her grave with my hand. I put my hand on the grave of Anne Boleyn. And then when led me out he told me it was an honour and shook my hand.

As I was leaving some people stopped and asked if I was a descendant of Anne Boleyn. I told them No, I just love her. No pictures were allowed in the chapel but I took a few of the execution site And someone stopped and asked if I was related to Anne because she had dark hair and pale skin so they thought I was a great-great however many great- granddaughter. I didn’t cry.

I feel I’m not sure somehow peaceful because Anne was never forgotten. Anne did not die in vain, Elizabeth became Queen and Anne lived through her.

On my way to the Tower. I bought roses to adorn Anne’s grave in the Chapel and a lone rose for her name at the execution site and one more because I have not forgotten Jane.

Tomb effigy of Elizabeth I

Tomb effigy of Elizabeth I. The large marble monument was by Maximilian Colt, assisted by John de Critz, and dates to early seventeenth century (during the reign of James I, Elizabeth’s successor). The jewellery and regalia on the effigy are modern pieces, dating to the 1970s. The tomb, which cost £1,485, is situated in Henry VII’s Lady Chapel in Westminster Abbey.

The monument also marks the grave of Mary I, England’s first crowned Queen Regent (Elizabeth’s coffin rests on top of Mary’s). Mary and Elizabeth were both the daughters of Henry VIII and traditionally both are portrayed as representing opposing sides of the religious schism that dominated English affairs throughout the sixteenth century. Modern assessments, particularly those focusing on Mary, have questioned such longstanding perceptions.

Profile of the head of Elizabeth I’s effigy

Detail on the head of the funeral effigy of Elizabeth I.

This effigy was mostly constructed in 1760. The original funeral effigy made in 1603 for Elizabeth’s funeral was, by the beginning of the eighteenth century, in a deplorable state. Little survived and so it was decided to incorporate the old effigy into a new one which would retain certain characteristics. This was the end result. The nucleus of the effigy is essentially the one from 1603, but it has been drastically altered.

The head was replaced with a wax one. The original hips were filled out and certain items fixed to the model (like a pair of drawers). The cost of the changes amounted to £56 2s 3d which included items of dress for the effigy.

Overall parts of the costume date to the eighteenth century. However certain parts were added in the nineteenth century with some more adjustments made in the 1930s and 1950s. Many items of dress and jewellery are not related to Elizabethan fashion but reflect the fashion of the eighteenth century. For example the model wears a choker of a type favoured by women around the 1760s.

memorian asked: ”Are there pictures of any surviving Garments worn by Queen Elizabeth I?”

The Effigy Corset belonging to Queen Elizabeth I.

This is the diadem of George IV you will see on the Queen’s visits to Parliament and the one she is wearing in her portraits on English coins and notes.

Sorry it’s such a small picture! Queen Elizabeth’s boots. Wow?

n Public and in Private: The World of Elizabeth I- Susan Watkins 
Photograph © Mark Fiennes)