^{page 226 note 1} Evans, Joan, History of Jewellery (1953). p. 93.Google Scholar The author is deeply indebted to Dr. Joan Evans for her generous help, especially for her kindness in reading the typescript of this paper.

^{page 226 note 2} Read, C. H., The Catalogue of the Waddesdon Bequest (1902), no. 67, pl. XVIGoogle Scholar; Joan Evans in Burlington Magazine, June 1941, where, because the heraldic evidence was misread by Mr. van der Put, the reliquary was shown to have been made for the Duc d'Orleans between 1389 and 1407. Baron Meurgey de Vupigny, President of the Societé Française d'Héraldique et de Sigillographie, has read the arms as those of a prince of the House of Berri viz. ‘d'azure semé de fleurs de lis d'or à la bordure engrêlée de gueules’. Furthermore, the several famous illuminated manuscripts written for the Duc de Berry have the same coat of arms.

^{page 226 note 3} Preserved in the Treasury of Alt-Ötting; illustrated in Evans, Joan, Art in Medieval France (1948), pl. 198.Google Scholar

^{page 226 note 4} Schatzkammer der Residenz, Munich Cat. no. 558; illustrated in colour in E. Steingräber: Antique Jewellery (1957), pl. III, where he identified the portrait as that of Robert de Masmines, a Knight of the Golden Fleece, on the grounds of its likeness to a portrait of this gentleman.

^{page 227 note 1} In the Petit Palais, Paris.

^{page 227 note 2} T. Müller and E. Steingräber, ‘Die französische Goldemailplastik um 1400’, Münchner Jahrbuch der bildenden Kunst, vol. v, 1954; illustrated in Joan Evans, History, op. cit., pl. 43c.

^{page 227 note 3} Kunsthistorisches Museum, Vienna; illustrated in colour in Joan Evans, History, op. cit., colour pl. IIa E. Steingräber, Antique Jewellery, op. cit., fig. 148, pp. 90–91, where it is stated that ‘it seems to have a French origin’.

^{page 227 note 4} Archaeologia, vol. xxxix, pl. XIV.

^{page 228 note 1} Purchased by the British Museum in 1955 (reg. no. 1955, 5–7, 1), with the aid of the Christy Trustees and the National Art-Collections Fund. No provenance of this jewel is recorded.

^{page 230 note 1} I should like to thank Lord Wharton for all his generous co-operation in assisting my inquiries, for allowing the hat badge to be brought to the Society of Antiquaries for Fellows to see, and for placing it on loan at the British Museum.

^{page 231 note 1} Joan Evans, English Jewellery (1921), p. 73.

^{page 231 note 2} Paul Ganz, ‘A newly discovered Lady's Portrait by Hans Holbein the Younger’, Connoisseur, CXXX. 82 (colour plate).

^{page 232 note 1} Reg. no. 94, 7–29, I. As the provenance of this gold Girdle book has not been published before and is entirely English, a brief summary of its history is given here. The following facts are drawn from three sources: Notices and Remains of the Family of Tyrwhitt (reprinted 1872), p. 25;Nichols, Progresses of the Court of Elizabeth, vol. i, p. xxxvii; Gentleman's Magazine, vol. v (1791), p. 27, pl. III. Franks, who gave the Girdle book to the museum in 1894, purchased it from Charles Wertheimer, who had bought it at the sale of George Field's Collection in the early eighteen-nineties. Previously it was in the Duke of Sussex's Collection and in 1872 it was owned by Mr. Farrer, who had it from Sir John Cullum. In March 1791 the Girdle book, then in the possession of the Revd. Mr. Ashby, of Barrow, Suffolk, was fully illustrated and described in the Gentleman's Magazine. That illustration proves that almost all the areas now devoid of enamel were already in 1791 in that damaged state. According to John Nichols, writing in 1788—no doubt on the oral testimony of the Revd. Mr. Ashby —the mother of the Revd. Mr. Ashby received it soon after her marriage in 1720 from her husband's father, George Ashby, M.P., of Quenby, Leicester-shire, as a family heirloom. How or when the Girdle book entered the Ashby family was, and still is, a mystery. According to Nichols in 1788 the Girdle book contained ‘on a blank leaf at the beginning this memorandum: This Book of Private Prayer was presented by the Lady Eliz. Tirwitt to Queen Eliz. during her confinement in the Tower; and the Queen generally wore it hanging by a Gold Chaine to her Girdle; and at her death left it by will to one of her Women of her Bed-chamber’. This page, if it ever existed in the book, is now missing, though as there is no sign of a page having been removed, it was probably a later insertion. If there was any truth in this memorandum, the reference must have been to the covers, for the earliest of the printed prayers in the Girdle book were published in 1574, later than the event referred to. Admittedly the Lady Elizabeth Tirwit was appointed governess to the Princess Elizabeth in place of Katherine Ashley in 1548, but if it was ever her gift to the Princess Elizabeth in the mid-fifties, then its contents were different at that time. This tradition may, however, arise out of the fact that the first set of prayers in it are entitled: Morning and Evening Praiers with divers Psalmes, Himnes, and Meditations. Made by the Lady Elizabeth Tirwit (1574). At this stage, therefore, the conclusion can only be that the tradition that it belonged to Queen Elizabeth I is incapable of proof.

^{page 234 note 1} Preserved in Windsor Castle; illustrated in colour in Parker, K. T., Drawings of Holbein at Windsor Castle (London, 1945).Google Scholar

^{page 234 note 2} Campbell Dodgson, Proc. of Society of Antiquaries, 28th June 1917. Hind, A. M., Engraving in England (Cambridge, 1952), pp. 55–56, pl. 25–28.Google Scholar The only complete copy of this book of engravings is in the Landesmuseum, Münster, Westphalia.

^{page 234 note 3} Archaeologia, xliv (1873), pp. 259–62 (with illustration). The manuscript prayers contain references which suggest the volume was written c. 1536.

^{page 235 note 1} Dr. Joan Evans, English Jewellery, op. cit., pl. XVII. 3.

^{page 235 note 2} Preserved in the Department of Manuscripts.

^{page 235 note 3} Dr. Joan Evans, English Jewellery, op. cit., pl. XVII. 5.

^{page 235 note 4} Preserved in the Department of Printed Books. Colour illustration in Davenport, Cyril, Royal English Bindings (London, 1896), opp. p. 16.Google Scholar

^{page 237 note 1} Wallace Collection, Catalogue of Objects of Art (1910), p. 176, no. 62.

^{page 237 note 2} Joan Evans, History, op. cit., pl. 48 b.

^{page 237 note 3} Hitherto unpublished, the jewel is thought to have entered the royal collection in 1762 from the Consul Smith Collection. The engraved gem may well be a late fifteenth-century Renaissance copy and not an antique gem.

^{page 237 note 4} Victoria and Albert Museum (630–1884).

^{page 238 note 1} Collection of Mr. Melvin Gutman, New York. I should like to thank Mr. Melvin Gutman for all his co-operation and for sending me a photograph which he kindly permitted me to publish. The jewel has been set into a later locket of which it forms the hinged lid. The back of the locket has a Jewish enamelled inscription.

^{page 238 note 2} Kunstgewerbe-Museum der Stadt Köln; Elizabeth Moses, Der Schmuck der Sammlung W. Clemens, p. 56, where the scene is described as ‘three figures at a healing-well (eine Heilquelle)’.

^{page 239 note 1} Acquired in 1952 by the Rijksmuseum, Amsterdam, from the collection of Dr. F. Mannheimer, formerly in the collection of Baroness Mathilde von Rothschild.

^{page 239 note 2} The Cleveland Museum of Art, J. H. Wade Collection. Formerly in the collection of Thewald, Cologne; Eugene Gutman, Berlin; Joan Evans, History, op. cit., p. 100.

^{page 240 note 1} The Walters Art Gallery, Baltimore; Bulletin of the Walters Art Gallery, November 1947.

^{page 240 note 2} Sold at Christie's, 28th November 1961, lot 122; no provenance is recorded.

^{page 241 note 1} Horace Walpole's Correspondence, ed. by W. S. Lewis, XV, 233; Lord Orford, Works, xi, 477; Tytler, P. Fraser, Historical Notes on the Lennox or Darnley Jewel (1843)Google Scholar; Way, A., Catalogue of Antiquities and Historical Scottish Relics (1859), p. 163Google Scholar; Joan Evans, English Jewellery, op. cit., p. 188, and History, op. cit., p. 125, colour pl. IIIb and IVa.

^{page 241 note 2} Her portrait in the Nat. Portrait Gallery (no. 401) depicts her wearing only one jewel, a dramatically large Renaissance pendant.

^{page 242 note 1} Reg. no. 1956, 10–7, I. No provenance for this jewel is known.

^{page 242 note 2} Waddesdon Bequest, cat. no. 171.

^{page 243 note 1} Colding, Torben Holck, Aspects of Miniature Painting (Copenhagen, 1953)Google Scholar, fig. 26 where it is attributed to a south German workshop.

^{page 243 note 2} Waddesdon Bequest, cat. no. 152.

^{page 243 note 3} In the Bayerischen Staatsbibliothek, Munich (Cod. Icon. 429).

^{page 244 note 1} Joan Evans, History, op. cit., pl. 38.