Portraiture Images as Princess The earliest images of Elizabeth date from when she was at most fourteen. She appears with her parents and siblings in the magnificent stained-gla.s.s "Royal Window" in the northwest transept of Canterbury Cathedral (above the site of St. Thomas Becket's murder in 1170), executed probably by the King's glazier, William Neve, after Katherine's birth in 1479 and before November 1480, because the youngest sister, Bridget, who was born that month, does not appear. Elizabeth is shown kneeling behind her mother, at a prayer desk on which lies an open book. Between the King and Queen was a now-vanished Crucifixion, and above were once scenes showing the seven joys of the Virgin Mary. Behind Elizabeth-in a line, although not in order of age, according to the later inscriptions below-kneel her four identically dressed sisters, who, according to those inscriptions, are Cecily, Anne, Katherine, and Mary. Probably these are incorrect, and the princesses are actually depicted in their order of seniority: Elizabeth, Mary, Cecily, Anne, and Katherine. Like her sisters, Elizabeth wears a long purple damask gown with a golden girdle and a neckline trimmed with ermine, with a rich collar of gold studded with diamonds in quatrefoils; her long fair hair is loose nearly to her waist beneath a heavy coronet.

The window was partly destroyed in 1642, during the Civil War, by a Puritan fanatic, leaving only the royal figures. It was badly restored in the eighteenth century, after which Elizabeth's head was recorded as being too small; fortunately, later restoration has used the surviving gla.s.s in as authentic a setting as possible. The only original heads are those of the King and Queen, but that of the princess in the end panel-probably Katherine-survives in the Burrell Collection in Glasgow, and from this we can see that the restored heads are all faithful copies of it. They are therefore unlikely to be true likenesses of the princesses.

It has been said that the naturalism in these stained-gla.s.s figures, and those at Little Malvern (see below), had not been seen in English art for a century, and that their rich design owes something to the influence of the Netherlandish painter Hugo van der Goes.1 Elizabeth is also depicted with her sisters Mary, Cecily, and Anne in the remaining fragments of a stained-gla.s.s window in St. Giles's Church-the tower and choir of which are all that remain of Little Malvern Priory, Worcestershire, a Benedictine cell of Westminster Abbey. It is one of a set of five windows depicting the royal family, which were crafted by local glaziers Richard Twygge and Thomas Woodshaw, and donated between 1480 and 1482 by Bishop Alc.o.c.k, tutor to Edward, Prince of Wales, the subject of another window. The other three windows depicted Edward IV; Richard, Duke of York-both now lost-and Elizabeth Wydeville, whose head is missing.

Aged between fourteen and sixteen, Elizabeth kneels in front of her sisters at a prayer desk bearing books, beneath a rich canopy of estate. She wears a rather old-fashioned heart-shaped headdress adorned with an elaborate jewel, and a crimson mantle over a rich blue gown with a deep V-neckline edged with bands of gold. Her sisters are differently and less splendidly attired, reflecting the fact that, as the future Queen of France, Elizabeth was of far greater importance.2 Images as Queen In the north transept of Great Malvern Priory, Worcestershire, another former daughter house of Westminster Abbey, can be seen the royal "Magnificat" window, given by one of the donors it portrays between May 1499 and April 1502, according to the inscriptions and the evidence of the glazing.3 It is inscribed: "Pray for the good estate of the n.o.ble and most excellent King, Henry VII, and of Elizabeth, Queen, and of the lord Prince Arthur, their son, and also of his most well-beloved consort." At the bottom, below the lights depicting the joys of the Virgin (as in the Royal Window at Canterbury, which probably influenced that at Great Malvern), are the kneeling figures of the King (restored), Prince Arthur, and three knights of the body: Sir Reginald Bray, Sir John Savage (gone, apart from his tabard), and Sir Thomas Lovell (reconstructed from fragments). The figure of Elizabeth of York is mostly missing, lost in a hotchpotch of gla.s.s fragments. It has been suggested that the window was the King's gift, prompted by Elizabeth, whose grandfather, Richard, Duke of York, had been active in the rebuilding of the priory in memory of his Beauchamp and Despenser relations; possibly she mooted the idea after Warwick's execution in 1499, which left Henry VII undisputed lord of Malvern. However, it could have been donated by any or all of the people portrayed in the gla.s.s.4 The earliest known surviving portrait of Elizabeth of York is a half-length in the Royal Collection (RC 403447). In 1974, tree-ring a.n.a.lysis of RC 403447 suggested that the panel dates from 14851500 and is from the same tree used for a portrait of Prince Arthur in the Royal Collection,5 but further a.n.a.lysis in 2012 indicated 1480 as the earliest possible date of the panel, and the most likely date as the 1490s.6 Examination under a microscope revealed an underdrawing that had been sketched, rather than one with straight traced lines. This strongly suggests that the portrait was painted from life.7 Elizabeth wears a long-lappeted gable hood of black velvet or silk with frontlets embellished with precious stones and goldsmiths' work. Her gown is of crimson velvet with a front-fastening bodice, its neckline edged with a jewel-encrusted border and ermine; the long tight sleeves have ermine cuffs. Her beringed fingers hold a white rose. Her hair appears reddish-gold, parted in the center, with plaits wound up over her head, which can just be seen beneath the hood, and she has a widow's peak, which is evident only in her early portraits. She wears a necklace of pearls and rubies. Another version of this picture hangs at Christ Church, Oxford.

A portrait of Elizabeth-which may well have been RC 403447-is listed in Henry VIII's inventories of 1542 and 1547, and was almost certainly the one owned by his son, Edward VI.

Charles I had two portraits of Elizabeth. One was among "nine old heads" on display in Whitehall Palace: "King Henry the 7th his queen in a black and golden dressing, holding in her hand a little white rose, in a blue-painted, gilded frame." The other was "among the twenty-three little heads, King Henry the 7ths Queen picture with a little white rose in her hand and a black-and-gold dressing, in a red and gilded frame," which measured 14 by 9 inches and hung beside a portrait of Henry VII.8 Presumably (comparing the descriptions), the former picture was larger. The "black-and-gold dressing" seen in both pictures was almost certainly Elizabeth's gable hood. Conceivably, the smaller portrait owned by Charles I was the same as the one in Henry VIII's inventory, and is to be identified with RC 403447, which measures 14 by 10 inches.

In 1537, Henry VIII commissioned from his court painter, Hans Holbein, a great mural for the privy chamber in Whitehall Palace, which was lost when the palace burned down in 1698, and is known only from two small copies painted ca. 166769 by Remigius van Leemput.9 The "Great Picture," as it was known, portrayed the full-length, life-sized figures of Henry VIII and his third wife, Jane Seymour, in the foreground, with Henry VII and Elizabeth of York standing behind on a raised carpeted platform. The figures are arranged around a large stone plinth bearing the date 1537 and a heroic inscription that makes no mention of Elizabeth or Jane Seymour, being concerned only with the achievements of the kings: "If you enjoy seeing the ill.u.s.trious figures of heroes, look on these: no painting ever bore greater ..." A preliminary, full-size drawing by Holbein of the figures of the kings is in the National Portrait Gallery, but that of the queens is lost.

Probably Holbein took his likeness of Elizabeth from the portrait in Henry VIII's collection,10 which was presumably offered as a good likeness of the King's mother. The features are strikingly similar to those in RC 403447, which lends itself to the theory that the latter was indeed the painting owned by Henry VIII. However, the necklace is different, as is the fabric of the gown, which is of cloth-of-gold damask.

It is possible that Holbein-probably at Henry VIII's request-chose to paint Elizabeth in a golden gown11 with different jewels, rather than in the attire she wears in the portrait. It is not known where he got the details of the gown or its skirt, which do not appear in any portrait (full-length portraits prior to the mural are rare) or on Elizabeth's tomb effigy, but are accurate for the period. Possibly Holbein obtained descriptions of her dress from other sources. There would have been people at court who could remember her, not least the King himself. And possibly one of her surviving gowns was brought for him from the Royal Wardrobe at the Tower.

The only other portrait in which Elizabeth wears a gold damask gown is a seventeenth-century miniature painted by John Hoskins, now in the collection of the Duke of Buccleuch.12 The miniature was one of several that Charles I commissioned of his forebears. In the seventeenth century Abraham van der Doort described it as a portrait of Elizabeth "in a black dressing adorn'd with gold and pearls in a golden habit with white ermine," copied "after an ancient old colored piece."13 By "piece" he evidently meant a panel-which was one of the meanings of the word in those days-and presumably a panel portrait; he is hardly likely to have referred to Holbein's magnificent and famed mural in such terms, so we might speculate that Hoskins based his miniature on the larger of Charles I's portraits of Elizabeth, which in turn was perhaps based on the mural. Several later images of Elizabeth (including numerous engravings from the eighteenth century on) derive from Holbein's image.

In the reign of Charles II two portraits of Elizabeth-probably the same ones-were hanging at Whitehall:14 one measured 22 by 17 inches, the other, "Henry 7ths Queen with a white rose in her hand," 14 by 10 inches. It seems both portraits survived the sale of Charles I's goods, so the smaller picture may well have been RC 403447.

According to Oliver Millar, the larger picture in Charles II's collection had apparently left the Royal Collection by 1714. Perhaps it perished when Whitehall Palace was burned down in 1698. In 1818 two paintings of Elizabeth were hanging at Kensington Palace. One was probably RC 403447, which presumably was the smaller portrait owned probably by Henry VII, Charles I, and Charles II. The other portrait recorded at Kensington was apparently part of a set of royal portraits bought by Queen Caroline of Ansbach, wife of George II, from Lord Cornwallis in the eighteenth century; it was later at Buckingham Palace, and is now at St. James's Palace. Very similar to the image in the National Portrait Gallery, it measures 22 by 17 inches, and bears the inscription: ELIZABETH REGINA MATAR HENRICI OCTAV (Queen Elizabeth Mother of Henry the Eighth). Millar describes it as a later derivation of the standard portrait type, part of a long gallery set of portraits of kings and queens, popular in late Elizabethan and Jacobean times among the owners of great houses; but it dates from 15501600, so may be one of the earliest surviving copies.15 A portrait of Elizabeth was painted around 1502 by Maynard Wewyck and sent to James IV in September that year.16 Possibly it is to be identified with another early portrait, which was in the collection of the Duke of Hamilton at Holyroodhouse, Edinburgh, before it was sold at Sotheby's in 2005. It was once thought to portray Margaret Tudor, but it is clearly Elizabeth, much as she is portrayed in RC 403447. Her attire is similar but she looks older; she wears an elaborate heavy jeweled collar and holds, uniquely, a red rose. Her hair looks significantly darker, and dips to the widow's peak evident in early likenesses. What is different is the background, which is plain and dark in nearly every other portrait but here is a luminous pale greenish-blue with a gold tracery canopy embellished with Tudor roses, fleurs-de-lis, and portcullises. There has been speculation that the portrait dates from the early sixteenth century and was originally in Margaret's own collection17 before being acquired by the Hamiltons.

A drawing called "Margaret Tudor," probably by Jacques le Boucq, in the Receuil d'Arras, may depict her mother, Elizabeth of York, as it closely resembles the latter's portraits. It was once thought that it might be the lost original on which they are based,18 and it is true that they are all versions deriving from a single type, but-given its early date and royal provenance-the original is far more likely to have been RC 403447.

The most famous-and the most widely reproduced-copy is that in the National Portrait Gallery, London, which has been tree-ring-dated to ca. 15901600. Its history prior to 1870 is not known, but it was probably originally part of a long gallery set. Like all versions, it shows the Queen in similar costume to that in RC 403447, but with minor variations. Here her gown is scarlet rather than crimson, and her hands rest on a parapet, a popular pose in portraits of the period; this parapet is draped with gold-figured velvet, and her beringed fingers hold a white rose. She appears younger than in RC 403447. Around her neck hangs not a pearl necklace, but a ruby pendant in the form of a cross with pearls at each corner, suspended on a black cord; similar jewels appear in portraits of her sons, Arthur and Henry. The portrait is inscribed: ELIZABETHA UXOR HENRICI VII (Elizabeth, wife of Henry VII). It has been said that this portrait makes her look "bland and lacking in character,"19 but that could be said of many similar crudely executed, two-dimensional panel portraits of the period.

There are other versions of this standard portrait type at Anglesey Abbey; Hatfield House, Hertfordshire; the Old Deanery, Ripon; Dunham Ma.s.sey, Manchester; Trinity College, Cambridge; Christ Church College, Oxford; Nostell Priory, Yorkshire; Hever Castle, Kent; and in the Tyrwhitt-Drake collection. Another was recorded in 1866 in the collection of J. P. b.a.s.t.a.r.d. A portrait from the Brocket Collection at Bramshill House, Hampshire, was sold first at Sotheby's in 1952 and again at Christie's in 1954; one from the Sh.e.l.ley-Rolls collection was sold at Christie's in 1961. A half-length, later version showing Elizabeth in a high-necked gown with different, coa.r.s.er features, was once at seventeenth-century Stanford Hall, Leicestershire, but is now in the Courtauld Inst.i.tute of Art. An eighteenth-century version by a member of the circle of Michael Dahl, with the features painted in contemporary style, was sold by Priory Fine Arts in 2012.20 The Anglesey Abbey portrait, one of a pair with Henry VII in the collection of the National Trust, has been tree-ring-dated to 151220, and is one of the earliest surviving portraits of Elizabeth. Again her hair is darker than usual, and she wears a very rich, heavy gold collar not seen in other portraits, much in the style of the collars worn by her younger self and her sisters in the Royal Window at Canterbury. It has been described as "a ponderous design typical of late Gothic taste."21 In the Nostell Priory and Dunham Ma.s.sey portraits, Elizabeth's hands do not rest on a parapet, as in most of the others, but hover oddly in front of her, and she wears a simple cord necklace; the Nostell version is three-quarter length, showing a pointed bodice belonging to the later Tudor period, with a gathered skirt beneath; but we can see from the Holbein mural that Elizabeth's gown would actually have had a corded belt at waist level. The portrait at Hever Castle, said to date from ca. 1590 (although the style of painting, the lettering, and the oval inset suggest it is later), is inscribed ELIZABET MATER HENERICUS 8, and shows her wearing a simple string of pearls.

Another slightly different version of the standard portrait, acquired by the art historian Philip Mould, was originally in the collection of the earls of Ess.e.x at Ca.s.siobury Park (demolished 1927). Dating from the late sixteenth century, it probably once formed part of a long-gallery set, and shows Elizabeth in a looser gown with a much higher neck against a background of green damask. Several engravings derive from this portrait. The Hatfield portrait, in which the Queen wears a different jeweled collar of roses and knots, bears the date 1500 but was probably painted in the early seventeenth century, when it was first recorded in Robert Cecil's new house, built in 1611. It too has a green damask background, but darker than in the Ca.s.siobury portrait.22 Elizabeth appears posthumously in a wood-panel painting in the Royal Collection at Windsor.23 It was commissioned by Henry VII from an unknown Flemish painter around 150305, and depicts the King, Queen, and their children at prayer before England's patron saint, St. George, who is vanquishing the dragon. In the background is the rescued princess, leading a lamb symbolizing peace-the peace Henry Tudor had brought to England. St. George appears as the family's protector, who will make suit to G.o.d to watch over this righteous king and his dynasty. The picture was almost certainly intended to emphasize the royal family's devotion to St. George, whose cult Henry VII keenly promoted.

The King and Queen wear imperial crowns of the type adopted by Henry V, their children coronets. Henry's may be the new crown set with many precious stones that he had commissioned for the Feast of the Epiphany in 1488;24 Elizabeth's crown sits on top of her hood. She kneels before a desk draped in rich cloth of gold patterned with red roses, and wears a long-lappeted gable hood of black velvet or silk, and crimson robes of estate embellished with ermine, her daughters attired in the same style. Behind the figures are canopies and royal tents decorated with the Tudor rose and the Beaufort portcullis. We know that this is a posthumous portrait of Elizabeth because all four of her children who died young are included. In keeping with the artistic practice of those days, they are portrayed as grown children rather than infants-as if they were growing up in Heaven.25 Some of the figures may be likenesses. For example, Henry VII and Arthur are shown with straightish, lank hair, but Prince Henry has luxuriant curls and the high, hooked nose we see in later portraits. Henry VII's is an idealized representation. The likenesses of Arthur and Elizabeth were done from memory, and probably not very accurately. Those of Edmund, the younger Elizabeth, and Katherine, all of whom died in infancy, are imaginary. Margaret and Mary are just recognizable.

Horace Walpole, who owned the picture in the eighteenth century, and published an engraving in his book, Anecdotes of Painting in England, incorrectly described it as Henry V and his family, but he was probably correct in claiming that it was a votive altarpiece, possibly commissioned by Henry VII for St. George's Chapel, Windsor, or for the Chapel Royal at Richmond Palace. The earliest record of it is the engraver George Vertue's description ca. 1726, when it was at Tart Hall, St. James's, London, in the collection of William Stafford, Earl of Stafford; it may have been one of the pictures that had come down to Stafford from Thomas Howard, Earl of Arundel, who owned the Howard letter, another artifact connected with Elizabeth of York.26 At Syon House, Isleworth, there is a painting on canvas of Elizabeth and her daughters that derives from the St. George altarpiece, although the costume and jewelry are different and the figures have a more realistic quality. Syon House also has a companion panel of the King and his sons. These are perhaps nineteenth-century copies of two lost panel paintings based on the figures in the altarpiece, last seen in 1863 when they were owned by Sir John Stephen Barrington Simeon of the Isle of Wight.27 Again Elizabeth wears her beautiful imperial crown and the traditional robes of estate-a gown, high-necked surcoat with a furred stomacher, and a long mantle-the design of which dated from the fourteenth century. The background is a plain hanging, studded with Tudor roses and surmounted by banners bearing roses and portcullises.

A similar depiction of Henry and Elizabeth appears in an illuminated ma.n.u.script, "The Ordinances of the Confraternity of the Immaculate Conception," and is dated 1503, the year the confraternity was established in London; its ordinances were drawn up on March 22.28 It shows the King and Queen with their seven children, kneeling before the Immaculate Conception, represented by the figures of Joachim and Anna at the place where, according to medieval belief, they conceived the Virgin Mary-the Golden Gate of Heaven (which looks remarkably like a Beaufort portcullis). Again, this is a posthumous image of Elizabeth (her death is mentioned in the text), portraying her four infants who died young, who again are shown as grown children. Little attempt at accurate portraiture has been made.

Two carved wooden medallions in the window recess of the dining room of Haddon Hall in Derbyshire are possibly portraits of Henry VII and Elizabeth dating from ca. 1500, although it has also been suggested that they depict the then owner, Sir Henry Vernon, and his wife. Elizabeth's eldest son, Prince Arthur, stayed at Haddon Hall in 1501 as the guest of Sir Henry, his governor and treasurer.

A tiny sculpted figure of Elizabeth, encircled by a Tudor rose and surmounted by a crown, is to be seen in the southwest corner of the Antechapel of King's College Chapel, Cambridge; it is one of many early Tudor royal emblems decorating the chapel. Founded by Henry VI in 1446, the building was completed after 1508 by Henry VII and Henry VIII as a fitting memorial to their revered royal ancestor.

The Sudbury Hutch, a contemporary cupboard chest made ca. 1500 and named after retired vicar Thomas Sudbury, who presented it in 1503 to St. James's Church, Louth, Lincolnshire (where it still reposes), bears carved medallions of Henry and Elizabeth, with a crowned Tudor rose between them. The arches surmounting the medallions are early examples of Renaissance carving in England. Elizabeth is portrayed in an open-arched crown with her hair loose; Henry wears an imperial (closed) crown.29 The full-length, stained-gla.s.s figures of Henry VII and Elizabeth of York appear, surrounded by Tudor heraldic symbols, in the east window of the chancel of St. Nicholas's Church, Stanford-on-Avon, Northamptonshire, which dates from ca. 153740. Beneath the Queen is the label "Elizabetha R." In the background the royal motto, "Dieu et mon droit," appears in diagonals on a gold ground. The figures derive from Holbein's Whitehall mural. The window was at Stanford Hall until the 1880s, and it has been suggested that it was originally commissioned by Henry VIII for one of his palaces, and that there may have been other panels showing Henry VIII and Jane Seymour.30 In support of that theory, the church organ in St. Nicholas's is said by some sources to have been the one made in 1630 for the Chapel Royal of Whitehall Palace, which was removed by Oliver Cromwell and came into possession of the Cave family, who had owned Stanford Hall since 1430; other sources claim that the organ came from Magdalen College, Oxford. Possibly the Caves acquired the gla.s.s panels from the palace; as has been noted, they owned a portrait of Elizabeth of York.

A full-length oil panel of Elizabeth in the Princes Chamber in the Palace of Westminster was executed by Richard Burchett between 1854 and 1860; it too derives from the Holbein mural. A miniature portrait in the Royal Collection by William Ess.e.x is dated 1844, and is based-according to the artist-on the portrait at Hatfield House, but its similarity to RC 403447 is marked. A fanciful nineteenth-century portrait of Elizabeth by Edward Penstone was auctioned at Aylsham, Norfolk, in 2010.

Elizabeth appears in Victorian stained-gla.s.s windows in the Lady Chapel of Winchester Cathedral and Cardiff Castle.

It is sometimes said that the Queen in the historic tapestry dating from ca. 1500 in St. Mary's Guildhall, Coventry, is Margaret of Anjou, and that the tapestry depicts her with Henry VI and their court, which was established at Coventry for three years in the 1450s. But it is possible that it's meant to show Henry VII and Elizabeth of York, who were admitted to the guild of the Holy Trinity in 1500. The tapestry was woven in Flanders around that time, and the costume and imagery give a vivid impression of the sumptuous attire of a queen of Elizabeth's time and her attendants. This is not a portrait, but the figure of Elizabeth (or Margaret), who kneels at a prie-dieu, wears a gorgeous gown of cloth of gold figured with red, a heavy collar and chain, and a shorter Flemish hood of red velvet topped with a fitted coronet.

APPENDIX II.

Elizabeth of York's Ladies and Gentlewomen Elizabeth's ladies and gentlewomen are listed below in alphabetical order. The records, however, are incomplete. Much of the information comes from Elizabeth's privy purse expenses of 150203; the rest, which is often of a fragmentary nature, has been pieced together from other sources.

Elizabeth Baptiste was in service in 1503.1 Frances Baptiste, who must have been related, was paid 2.13s.4d. [1,300] in 1500, and was still in service in 1503.2 Margaret Belknap (d. 1513), wife of John Boteler, was in service in 1503.3 Margaret Bone was in service in 1503.4 Mary Brandon (ca.14661529), wife to John Reading, was sister to Sir William Brandon, Henry VII's standard bearer, who had died defending the King at Bosworth. She later transferred to the household of Elizabeth's son, the future Henry VIII, and in 1515 was granted an annuity of 50 for her service to Elizabeth of York and her daughter, Princess Mary.5 Elyn Brent, one of Elizabeth's gentlewomen, was probably the wife of Robert Brent, gentleman usher of the Queen's chamber, and was in service in 150203.6 Anne Browne, sister to Sir Anthony Browne (and later the first wife of Charles Brandon, Duke of Suffolk, who divorced her), was appointed a maid of honor at Michaelmas 1502, receiving the lowly salary of just 5 [2,400] a year.7 Anne Buckenham was one of the Queen's gentlewomen in 1502.8 Elizabeth, wife of John Burton, was perhaps sister-in-law to Edmund Burton, a yeoman of the Queen's chamber; Henry VIII later bestowed on her an annuity of 20 marks [2,350] in recognition of her good service.9 Elizabeth Catesby (ca.14381514), wife of Roger Wake, was the sister of Richard III's adviser, Sir William Catesby, who was executed after Bosworth. She was in Elizabeth's household in 1503,10 and later transferred to that of Princess Mary. In 1514, Henry VIII, describing her as his kinswoman, awarded her a pension for good service to his mother and sister.11 Elizabeth, wife of Edward Chamber of Dorset, went on to serve her mistress's daughter, Princess Mary. Henry VIII rewarded her with an annuity of 20 [7,600] in 1515.12 Anne Crowmer (or Cromer) (ca.1470after 1520) received 10 [5,000] in 1503,13 by which time she had been appointed governess to Elizabeth's daughters and lady mistress of the royal nursery. Anne may have been the daughter of Sir James Crowmer; she married William Whettenhall, Sheriff of Kent, in 1489.14 A William Crowmer was one of the Queen's gentleman ushers and a servitor of the King; Elizabeth gave money to his daughter, a nun at the Minories, Aldgate.15 Margaret Ellerbeck married William Tendring around 1500, and later served Katherine of Aragon.

Elizabeth Fitzherbert was in service in 1503.16 Nothing is known of Margaret Gough apart from her name. She was perhaps related to Lewis Gough, the Queen's footman.

Anne Green (ca.14891523) was another gentlewoman of honor. The daughter of Sir Thomas Green, she was an aunt of Katherine Parr, Henry VIII's sixth wife.

Anne Hubbard (b. ca. 1435), gentlewoman to Elizabeth and Margaret Beaufort, was rewarded in 1515 by Henry VIII with an annuity of 100s. [2,000] for her good service.17 Elizabeth Hubbard is another attendant about whom nothing is known. She may have been a member of the Hobart family of Norfolk, Hubbard being a variation of their name.

Katherine Hussey (ca. 14611508) was the wife of the King's trusted adviser, Sir Reginald Bray, and almost certainly owed her position to his standing at court. A friend of the humanist John Colet, Dean of St. Paul's, she had served Margaret Beaufort before joining Elizabeth's household, and she and her husband continued to maintain lodgings at Coldharbour, Margaret's London house. She was buried with Reginald in St. George's Chapel, Windsor.18 Elizabeth Jerningham (d. ca. 1518), who served as Elizabeth's wardrobe keeper, was the wife of John Denton, of whom nothing is known. In July 1486, "by the King's commandment, by the hands of Elizabeth Denton," 90 [44,000] was delivered to the Queen.19 In 1496 she became lady mistress of the nursery of Prince Henry. She received 20 [10,000] in 1503,20 and in 1515 was granted a pension of 50 per annum for "service to the late King and Queen."

Eleanor Johns, or Jones, was in service in 150203.21 Elizabeth Lee was also in service in 150203.22 Anne Neville (1468after 1525) was probably the daughter of Ralph Neville, third Earl of Westmorland, and married William, Lord Conyers, before 1498.23 Lady Anne Percy (before 14851552), who joined Elizabeth's household around 149596,24 was the daughter of the fourth Earl of Northumberland, and was to marry William FitzAlan, Lord Maltravers, in 1510. She was lady-in-waiting to Elizabeth, and later served Princess Mary. Henry VII once gave her two gowns, a kirtle, a bonnet, a doublet, and other items, valuable and costly additions to her wardrobe.25 Eleanor Pole, the wife of Sir Ralph Verney, was one of Elizabeth's favorite ladies. She was the daughter of Geoffrey Pole by Edith St. John, and therefore Margaret Beaufort's half sister. Later, she would serve Katherine of Aragon.26 Henry VIII awarded her a pension for good service to his mother.27 Jane Popincourt-who was later to be at the center of a scandal at the French court, thanks to her affair with a married royal duke-served in Elizabeth's household. She came from the nursery household at Eltham, where she was in post from at least 1500, when she had been provided with a black gown after the death of Prince Edmund. Elizabeth paid 8d. [20] for repairs to Jane's gowns in 1502.28 By then she was Princess Mary's maid. Possibly she had been engaged to help look after Princess Mary from infancy; certainly she taught her French. Later still, Jane served Katherine of Aragon. There is no good evidence to substantiate modern a.s.sertions that she was an early mistress of Henry VIII.

Eleanor Ratcliffe (d. 1518), who may have attended Elizabeth before her marriage, and was perhaps the "Mrs. Ratcliffe" later recorded in Margaret Beaufort's household, later married the Chancellor of the Exchequer, Sir Thomas Lovell of Elsynge Manor, Enfield, a house much visited by Henry VII.29 Mary Ratcliffe's salary in 1503 was 10 [4,860].30 Mary Reading, gentlewoman, received a substantial annuity of 50 [18,980] in 1515 from Henry VIII in grat.i.tude for her service to Elizabeth, which must have been sterling to deserve such a lavish reward.31 Mary Roos (d. after 1540), granddaughter of Thomas, ninth Lord Roos of Hamlake, was closely related to Margaret Beaufort. Her brother, Thomas Roos, a staunch Lancastrian, had been beheaded in 1464. She married Hugh Denys, a prominent courtier and administrator of the Privy Chamber, and later served Katherine of Aragon. In 1496, Henry VII granted her an annuity of 40 marks [1,050], which Henry VIII was still paying her in 1540.32 Anne Sandys married Richard Weston around 1502. He was also in Elizabeth's service and served the King as groom of the Privy Chamber. He was knighted in 1518. Their son, Francis Weston, would be executed in 1536 for adultery with Henry VIII's second queen, Anne Boleyn. Mrs. Weston was in service in 1503.33 Richard Weston was often involved in transactions between Henry and Elizabeth, once defraying her expenditure of 100 [48,600] on "Venice gold" for a gown for the King.34 Elizabeth Saxby ("Mrs. Saxilby") had married into an old Lincolnshire family. She later served Princess Mary.35 In 1514, when she is described as a widow, Henry VIII rewarded her with a pension of 20 [9,680] for her services to his mother, father, and sister.36 Anne Say was a gentlewoman to the Queen in 1502; when she fell ill at Woodstock during a progress, Elizabeth paid for her to be boarded out at Abingdon for several weeks until she recovered.37 Katherine (d. 1505), daughter of Lord Scales and wife of first Sir Thomas Grey and then Sir Richard Lewkenor, was lady-in-waiting in succession to her kinswomen Elizabeth Wydeville and Elizabeth of York.38 Elizabeth Scrope (d. 1544) married Sir John Pechey around 1500. She was in service in 1503.39 Henry VIII awarded her a pension for good service to his mother.40 Alice Skelling was in service in 1503 and received 5 [2,400] per annum.41 Joan Steward was granted an annuity of 20 [9,700] in 1511 by Henry VIII in consideration of her good service to his mother.42 Jane Vaux (ca. 14651538) had previously served Margaret Beaufort, and, before 1499, was appointed governess to Elizabeth's daughters.43 The King and Queen attended her wedding to Sir Richard Guildford, Comptroller of Henry VII's household, before 1489. Henry VIII awarded her a pension for good service to his mother.44 Katherine Vaux (nee p.e.n.i.ston) (d. after 1509) was the mother of Jane Vaux. She had been lady-in-waiting to Margaret of Anjou from at least 1452, and was imprisoned with her in 1471 after the Battle of Tewkesbury, in which her husband, William Vaux, was killed. She returned to France with Margaret in 1476, and on the latter's death in 1482 she came back to England. Henry VII reversed the attainder on William Vaux, paving the way for Katherine to enter Elizabeth's service. She was present at the christening of Prince Arthur in 1486 and at Elizabeth's coronation.45 Henry VIII awarded her a pension for good service to his mother.46 He did the same for Dorothy Verney.47 Anne Weston, sister-in-law of Anne Sandys, married Sir Ralph Verney around 150709. She features many times in the Queen's privy purse expenses for 150203, and was clearly a prominent member of Elizabeth's household. Her salary in March 1503 was 20 [9,700].48 Margaret Wheathill (d. after 1518) was the wife of John Ratcliffe, Lord FitzWalter, and remained in Elizabeth's household even after her husband was beheaded in 1496 for his involvement in Perkin Warbeck's conspiracy.49 Margaret Wotton (14871541) seems to have been in attendance as a "gentlewoman of honor" on a part-time basis, as in 1503 she received 2 [970] for six months' service.50 Her mother was Anne Belknap, sister of Margaret Belknap, who was also in Elizabeth's service. In 1509, Margaret Wotton would marry Elizabeth's nephew, Henry Grey, Marquess of Dorset.

This book is dedicated to

seven little people: Neve Marston Jake Preston Eleanor Weir Emily Weir Piper Weir Susan Weir Wren Weir, and to two great friends, Sh.e.l.ley and Burnell

ACKNOWLEDGMENTS.

I should like to express my grat.i.tude to the kind, knowledgeable, and enthusiastic people who have supported me in the writing of this book. To Sarah Gristwood, for hours of discussion about Elizabeth of York, and for giving so generously of her time to read the typescript, correct errors, and make suggestions; to her and to Josephine Wilkinson for their views on the vexatious matter of the Buck letter; to Nicola Tallis, for sending me academic papers on Elizabeth; to Professor Anthony Goodman, for advice on precontracts in the fifteenth century; to Ian Coulson, for sending me his research on the Paradise State Bed; to Jennifer Scott, Curator of Paintings at the Royal Collection, for information on portraits of Elizabeth owned by Her Majesty the Queen, and for engaging in many enjoyable email exchanges on the subject.

I should like to thank Will Sulkin, my publisher at Jonathan Cape for so many years, for commissioning this book, and indeed for all his wonderful support and friendship during those years. Special thanks are due also to my new publisher, Dan Franklin, for his prompt and professional a.s.sistance and expertise; to Clare Bullock, for her work on the ill.u.s.trations and for administrative support; to Frances Jessop, for her creative input; to Neil Bradford, for excellent design and production; and to Clara Womersley, for her enthusiasm and ever-supportive help, way beyond the call of duty! Thanks also to Jane Selley and Mary Chamberlain for work on the ma.n.u.script.

I owe a huge debt of grat.i.tude to my editorial director, Anthony Whittome, not only for his creative guidance but also for his original and convincing theory about Elizabeth of York and the Buck letter.

I should add that the conclusions I have reached in this book-and any errors-are my own. Having researched firstly from primary sources, I had formulated my own conclusions on many aspects of Elizabeth's story before I came to read the secondary sources and found that some historians had evolved similar theories. Those whose views and insights have had a bearing on my work have been credited in the notes.

SELECT BIBLIOGRAPHY.

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