Editing Wardrobe of Mary, Queen of Scots

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[[File:Mary Stuart Queen.jpg|thumb|right|[[Mary, Queen of Scots]] in France, after [[François Clouet]], her high collared doublet in pink or "incarnate" satin is embroidered with triplets of pearls, [[Victoria and Albert Museum|V&A]]]]
The wardrobe of [[Mary, Queen of Scots]], was described in several contemporary documents, and many records of her costume have been published.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), pp. 369-373 (Bibliography).</ref>
[[File:Mary Queen of Scots portrait.jpg|thumb|right|Mary's pearl embroidered black velvet bonnet, seen here at the [[National Portrait Gallery, London|National Portrait Gallery]], also makes an appearance at [[Hardwick Hall]]]]
[[File:Mary I Queen of Scots.jpg|thumb|right|A version of the so-called "Sheffield Portrait" by a follower of [[Rowland Lockey]], the most familiar image of Mary, featuring devotional jewellery against the black velvet background of the queen's robe, [[Government Art Collection|GAC]]]]

==Clothes for a queen==
Mary, Queen of Scots (1542–1587) lived in France between 1548 and 1560 and clothing bought for her is particularly well-documented in the year 1551.<ref>Alphonse de Ruble, ''La première jeunesse de Marie Stuart'', (Paris, 1891), selected transcriptions from BnF Fr. 11207, see external links.</ref> Her wedding dress in 1558 was described in some detail. More detailed records of her costume survive from her time in Scotland, with purchases recorded in the royal treasurer's accounts and wardrobe accounts kept by [[Servais de Condé]]. Inventories were made of her clothing and [[jewels of Mary, Queen of Scots|her jewellery]] during her time in Scotland and after she [[Act Anent the demission of the Crown in favour of our Sovereign Lord, and his Majesty's Coronation 1567|abdicated]] and went to England. Details of her costume on the day of her execution at [[Fotheringhay Castle|Fotheringhay]] in 1587 were widely reported and circulated in manuscript.<ref>David Scott, ''History of Scotland'' (Westminster, 1728), p. 514: William Camden, ''Annales Rerum Anglicarum Et Hibernicarum Regnante Elizabetha'', vol. 1 (London, 1717), p. clxiii.</ref>

Few details of known of Mary's clothes in infancy in Scotland, except that Margaret Balcomie, or Malcomy,<ref>''Register of the Privy Seal of Scotland'', vol. 5:2 (Edinburgh, 1957), p. 137 no. 2874.</ref> had an allowance of soap and coal to warm the water to wash her linen. She became laundress to James VI at Stirling Castle in 1568.<ref>Steven J. Reid, ''The Early Life of James VI, A Long Apprenticeship'' (Edinburgh: John Donald, 2023), p. 34: ''HMC Earl of Mar & Kellie'' (London, 1904), pp. 18–19, her allowances for soap and coal in 1543 are recorded in Regent Arran's household books.</ref> In 1548 her mother, [[Mary of Guise]], asked her envoy [[Henri Cleutin]] to buy [[cloth of gold]] for a gown for her, from René Tardif and [[Robert Fichepain]], merchants of the "argenterie" who served the French court.<ref>Rosalind K. Marshall, 'Hir Rob Ryall: the Costume of Mary of Guise', ''Costume'', 12:1 (1978), pp. 1-12: [[National Library of Scotland]] Adv. MS 29.2.5 ff. 18, 27.</ref> In January 1537, Tardif and Fichepain had supplied fabrics to [[James V]] for his wedding to [[Madeleine of Valois]].<ref>Louis, duc de La Trémoille, ''Les La Trémoille pendant cinq siècles: Charles, François et Louis III'' (Paris, 1894), pp. 28–29.</ref> In France, in 1551, René Tardif supplied velvet, satin, taffeta, and Holland linen.<ref>[[Jane T. Stoddart]], [https://archive.org/details/girlhoodofmaryqu00stoduoft/page/36/mode/2up ''The girlhood of Mary Queen of Scots'' (London, 1908), p. 37]</ref> Mary's clothes were embroidered with jewels by her tailor Nicolas du Moncel, a white [[satin]] skirt front and sleeves featured 120 [[diamond]]s and [[ruby|rubies]], and [[coif]]s for her hair had gold buttons or rubies.<ref>Alphonse Ruble, [https://babel.hathitrust.org/cgi/pt?id=njp.32101062103260&view=page&seq=300 ''La première jeunesse de Marie Stuart'' (Paris, 1891), pp. 287-8], 297: Clare Hunter, ''Embroidering Her Truth'' (London, 2022), p. 37: Alexander Wilkinson, ''Mary Queen of Scots and French Public Opinion'' (Palgrave Macmillan, 2004), p. 16.</ref>

[[Gift economy|Gift giving]] was an important part of court culture.<ref>[[Felicity Heal]], ''The Power of Gifts: Gift-exchange in Early Modern England'' (Oxford, 2014), p. 99.</ref> In 1560, a courtier, [[Florimond II Robertet, seigneur de Fresne|Florimond Robertet]], wrote of his plans to give Mary two pairs of long [[Granada]] silk stockings of the best kind, one of red or pink (''incarnate'') and another turquoise (''bleu turquin'') of an azure shade.<ref>Jane Stoddart, [https://archive.org/details/cu31924028150914/page/n282/mode/2up ''The girlhood of Mary Queen of Scots from her landing in France to her departure'' (London, 1908), p. 283]</ref><ref>Louis Paris, [https://archive.org/details/ngociationslet00pari/page/446/mode/2up ''Négociations, lettres et pièces diverses relatives au règne de François II'', (Paris, 1841), p. 446]</ref>

===Masques in France===
[[File:Mary Queen of Scots Blairs Museum.jpg|thumb|right|Mary's skirts are shaped by a French [[farthingale]] in the [[Blairs College|Blairs Museum]] portrait]]
[[Masque]]s were the heart of festivities at royal courts.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (Sceptre, 2022), p. 151.</ref> Mary wore [[farthingale]]s, and danced in masques (with the French governess [[Françoise d'Humières]]) in costumes made with lightweight silver and gold fabrics decorated with silver and gold metallic spangles.<ref>Michael Pearce, 'Maskerye Claythis for James VI and Anna of Denmark', ''Medieval English Theatre 43, 2021'' (Cambridge: D. S. Brewer, 2022), p. 113.</ref> These were a type of [[sequin]] or "[[oes]]" called ''papillotes'' or ''espingles'' in French.<ref>Alexandre Labanoff, ''Lettres de Marie Stuart'', 4 (London: Dolman, 1844), p. 222.</ref> Her dance teacher, or ''balladin'', was Jehan Paulle ''alias'' Paule de Rege.<ref>Alphonse de Ruble, ''La première jeunesse de Marie Stuart'', (Paris, 1891), pp. 70, 281, 286-92: [[Margaret M. McGowan]], ''Dance in the Renaissance: European Fashion, French Obsession'' (Yale, 2008), p. 152: Patrick Fraser Tyler, ''History of Scotland'', 6 (Edinburgh, 1837), p. 434, citing BL Egerton MS: [https://gallica.bnf.fr/ark:/12148/btv1b550133882/f164.item BnF, Côme Clausse, Comptes des Enfants de France pour l'année 1551, Fr. 11207 f. 79v]</ref> In 1554, Mary played the [[Delphic Sibyl]] and [[Mary Fleming]] was the [[Erythraean Sibyl]] in a masque written by [[Mellin de Saint-Gelais]].<ref>[[Marcus Merriman]], 'Mary, Queen of France', ''Innes Review'', 38:38 (1988), p. 41: James Emerson Phillips, ''Images of a Queen: Mary Stuart in Sixteenth-century Literature'' (University of California, 1964), pp. 3–4: Alphonse de Ruble, ''La première jeunesse de Marie Stuart'', (Paris, 1891), pp. 95-08.</ref>

In 1554 her governess [[Françoise de Paroy|Françoise d'Estainville, Dame de Paroy]], wrote to Mary of Guise asking permission to buy two diamonds to lengthen one of Mary's headbands with rubies and [[pearl]]s. She also wanted to buy a new gown of cloth-of-gold for Mary to wear at the wedding of [[Nicolas, Duke of Mercœur|Nicolas, Count of Vaudémont]] (1524–1577), and Princess Joanna of [[House of Savoy|Savoy-Nemours]] (1532–1568) at [[Fontainebleau]]. This new costume was intended to emulate the fashion adopted by the French princesses of the blood, [[Elisabeth of Valois]] and [[Claude of France (1547–1575)]].<ref>[[Marguerite Wood]], ''Balcarres Papers'', vol. 1 (Edinburgh, 1925), pp. 252-6.</ref> In a letter to her mother, Mary mentions a pair of embroidered sleeves that were being made for her in Scotland.<ref>Labanoff, ''Letters de Marie Stuart'', vol. 1, p. 45.</ref>

Pageants at [[Wedding of Mary, Queen of Scots, and Francis, Dauphin of France|Mary's wedding in April 1558]] were designed by [[Bartolomeo Campi]] of [[Pesaro]],<ref>Herbert Van Scoy, Bernerd C. Weber, 'The Marriage of Mary Queen of Scots and the Dauphin', ''Scottish Historical Review'', 31:111, Part 1 (April 1952), p. 47.</ref> who had previously worked for [[Guidobaldo II della Rovere, Duke of Urbino]],<ref>Stuart W. Pyhrr & José-A. Godoy, ''Heroic Armor of the Italian Renaissance: Filippo Negroli and His Contemporaries'' (Metropolitan Museum, 1998), p. 283: Marina Belozerskaya, ''Luxury Arts of the Renaissance'' (Getty, 2005), p. 160.</ref> and designed costume for two court festivals in [[Urbino]].<ref>Carolyn Springer, ''Armour and Masculinity in the Italian Renaissance'' (University of Toronto, 2010), p. 87.</ref>

On 6 July 1559, Mary, as ''Reine dauphine'', ordered counterfeit precious stones for masque costumes from a painter Éloi Lemannyer, for the weddings of [[Elisabeth of Valois]] and [[Margaret of Valois, Duchess of Berry|Margaret of Valois]]. Lemmanyer, an usher of the Dauphin's chamber, provided 1,262 imitation rubies, diamonds, and emeralds.<ref>Catherine Grodecki, ''Documents du Mintier Central des Notaires de Paris: Histoire de l'Art au XVIe Siécle'', 2 (Paris, 1986), pp. 31, 188 no. 796.</ref> Mary wore cloth of silver at their weddings.<ref>Michaud & Poujoulat, ''Nouvelle collection des mémoires: Memoir-Journaux du Duc de Guise'', 16 (Paris, 1839), p. 445.</ref>

===Coin portraits===
[[File:Ryal, Queen Mary, Scotland, 1555 - Bode-Museum - DSC02752.JPG|thumb|right|Portraits used for Mary's Scottish coinage reflect her costume in France in the 1550s]]
[[File:Mary Queen of Scots in mourning.jpg|thumb |right|Mary in ''deuil blanc'' mourning, after [[François Clouet]], [[Wallace Collection]]]]
Some of Mary's Scottish coinage was designed by [[John Acheson (goldsmith)|John Acheson]], who visited the court in France in 1553.<ref>Lionel Cust, ''Notes on the authentic portraits of Mary, Queen of Scots'' (London, 1903), 60-1.</ref> Coins including the gold ryal show her in profile, wearing a caul or hairnet with two jewelled bands.<ref>[https://emuseum.aberdeencity.gov.uk/objects/27367/portrait-ryal-mary?ctx=096aed9c26deb1010282c2fea5a409baa1643d00&idx=19 Portrait ryal of Mary, Aberdeenn Museums]</ref> Several sets of these bands appear in her [[jewels of Mary, Queen of Scots|jewel inventories]] listed in French in pairs as ''bordures'' or ''brodures'', the ''bordure de touret'' at the forehead and the longer ''bordure d'oriellette'' over the head.<ref>Joseph Robertson, ''Inventaires'' (Edinburgh, 1863), p. 77: [[Andrew Lang]], 'Portraits and Jewels of Mary Stuart', ''Scottish Historical Review'', 3:11 (April 1906), pp. 280-3 mistakenly described these items as neckwear: Marjorie Meiss-Even, [https://f.hypotheses.org/wp-content/blogs.dir/1386/files/2013/06/meiss-even-marjorie.pdf 'Autour du petit chaperon noir: Les mots de la coiffe féminine française au milieu du XVIe siècle', Colloque Vêtements & Textiles, Elaborer un vocabulaire historique du vêtement et des textiles dans le cadre d’un réseau interdisciplinaire, Dijon, 20-21 octobre 2011]</ref> In England, the equivalent accessories for [[French hood]]s were called upper and nether billiments.<ref>M. Channing Linthicum, ''Costume in the Drama of Shakespeare and his Contemporaries'' (Oxford, 1936), p. 234.</ref>

===Mourning clothes in white and black===
After the death of [[Mary I of England]],<ref>Alexander Wilkinson, ''Mary Queen of Scots and French Public Opinion'' (Palgrave Macmillan, 2004), p. 48.</ref> and the death of her first husband [[Francis II of France]] died in December 1560, Mary wore a form of mourning called ''deuil blanc'', involving a white pleated [[cambric]] veil.<ref>Susan Frye, ''Pins and Needles: Women's Textualities in Early Modern England'' (Philadelphia, 2010), 46.</ref> Her portrait was drawn by [[François Clouet]], and reproduced in several painted versions made after her death.<ref>Lionel Cust, ''Notes on the authentic portraits of Mary, Queen of Scots'' (London, 1903), pp. 51-4.</ref> The paintings indicate either a dark blue or green gown, not present in the drawing.<ref>Forrest P. Chisman, 'The portraits of Mary, Queen of Scots, En Deuil Blanc: A study in copying', ''British Art Journal'', 6:2 (Autumn 2005), pp. 23-27.</ref> Mary discussed her image as a woman in mourning with the English ambassador [[Nicholas Throckmorton]] in the context of sending her portrait to Queen Elizabeth.<ref>Susan Frye, ''Pens and Needles: Women's Textualities in Early Modern England'' (Philadelphia, 2010), pp. 45-50.</ref> Throckmorton's letter suggests she was not wearing the ''deuil'' when they spoke in August 1560, and she said:<blockquote>I perceive you like me better when I look sadly than when I look merrily, for it is told me that you desired to have me pictured, as when I wore the ''deuil''.<ref>Joseph Stevenson, ''Calendar State Papers Foreign, 1560-1561'' (London, 1865), p. 251 no. 446: TNA SP 70/17 f.82v.</ref></blockquote> Mary also wrote a poem on her portrait, image, ''deuil'', and her pale violet cheek.<ref>Susan Frye, ''Pins and Needles: Women's Textualities in Early Modern England'' (Philadelphia, 2010), pp. 48-9.</ref> The verse may be a response to the courtier poet [[Pierre de Bourdeille, seigneur de Brantôme]], who wrote of her snow white complexion merging with the white ''deuil''.<ref>Brantôme, ''Oeuvres: Femmes Illustres'', vol. 2 (London, 1779), pp. 109-110, 114: Lionel Cust, [https://archive.org/details/notesonauthentic00cust/page/48/mode/2up ''Notes on the authentic portraits of Mary, Queen of Scots'' (London, 1903), pp. 48-9]</ref>

In September 1561 tailors and "boys" made black mourning "dule" riding cloaks and skirts for [[Mary, Queen of Scots]], and her 15 ladies to wear at her [[Entry of Mary, Queen of Scots into Edinburgh|Entry to Edinburgh]]. Mary wore black Florence serge, the other costumes were made from 50 ells of cheaper black stemming.<ref>[[James Balfour Paul]], ''Accounts of the Treasurer of Scotland'', vol. 11 (Edinburgh, 1916), p. 66.</ref>

The royal accounts for November 1561 mention the women of the household transitioning into a "second mourning", or perhaps receiving their second allowance of black velvet mourning clothes.<ref>''Accounts of the Treasurer'', vol. 11 (Edinburgh, 1916), pp. xxiii, 84.</ref> In December 1561, Mary solemnly observed the anniversary of her husband's death with [[Carlo Ubertino Solaro, Count of Moretta|Obertino Solaro, Monsieur de Moret]], the ambassador of Savoy. The English ambassador, [[Thomas Randolph (ambassador)|Thomas Randolph]], noted that the Scottish nobles at court did not wearing mourning "dewle" for the day.<ref>Joseph Bain, ''Calendar State Papers Scotland'', vol. 1 (Edinburgh, 1898), p. 579 no. 1050.</ref> One "dule weid" mourning outfit comprised a large veil and seven components or pieces of "black crisp of silk".<ref>Thomas Thomson, ''Collection of Inventories'' (Edinburgh, 1815), p. 230.</ref> Randolph also noted Mary's practice of needlework, "sewing some work or other", in the counil chamber of [[Holyrood Palace]].<ref>Michael Bath, ''Emblems for a Queen: The Needlework of Mary Queen of Scots'' (London: Archetype, 2008), p. 3.</ref>

In April 1562, Randolph wrote about plans for Mary's interview with Elizabeth in England, and he thought the Scottish party would be dressed in black cloth, to suit Mary's wearing of mourning clothes and also save money.<ref>Joseph Bain, ''Calendar State Papers Scotland'', vol. 1 (Edinburgh, 1898), p. 621 no. 1096.</ref> At the end of May, Mary invited the Hepburn or [[John Cockburn of Ormiston|Cockburn Laird of Ormistoun]], the [[Gilbert Kennedy, 4th Earl of Cassilis|Earl of Cassilis]], and others to come the borders for the meeting of the queens. They were instructed that her "whole train will be clad in dule, therefore address you and such as will be in your company in like sort". The meeting (at York) was cancelled.<ref>[[Thomas Wright (antiquarian)|Thomas Wright]], [https://archive.org/details/queenelizabethhe01wrig/page/98/mode/2up ''Queen Elizabeth and her times'', 1 (London, 1838), p. 98]</ref> Mary made a progress to Aberdeen and [[Siege of Inverness (1562)|Inverness Castle]] instead.<ref>Joseph Bain, ''Calendar State Papers Scotland'', vol. 1 (Edinburgh, 1898), pp. 631 no. 1111, 640 no. 1126, 651 no. 1138: ''HMC 5th Report: Marquis of Ailsa'', p. 615.</ref> Randolph said the court had cast aside its "sorrowful garments and mourning weeds" in June 1562.<ref>''HMC Rutland'', 1 (London, 1888), p. 84.</ref>

Mary incorporated mourning clothes into the ceremony when she [[wedding of Mary, Queen of Scots, and Henry, Lord Darnley|married Lord Darnley]] on 29 July 1565. She entered the chapel of Holyroodhouse wearing "a great mourning gown of black" with a "great wide mourning hood". Randolph said the costume resembled her dress at her first husband's funeral.<ref>Henry Ellis, ''Original Letters'', series 1 vol. 2 (London, 1824), p. 202.</ref> After the wedding and mass, she went to her bedchamber and courtiers unpinned these garments, and her ladies put on her new costume.<ref>[[Gilbert Stuart (writer)|Gilbert Stuart]], ''The History of Scotland: From the Establishment of the Reformation'', vol. 1 (London, 1784), pp. 108-110.</ref> There were three wedding rings, a gold ring with a rich diamond and red enamelling was perhaps the principal.<ref>Joseph Robertson, ''Inventaires'', p. 112: John Guy, ''Mary Queen of Scots'' (London, 2004), p. 215.</ref> Her costume and its solemn removal was described by Thomas Randolph in a letter to the [[Robert Dudley, 1st Earl of Leicester|Earl of Leicester]]:<blockquote>She had on her backe the greate murning gowne of blacke, with the greate wyde murning hood, not unlyke unto that whiche she woore the deulfull daye of the buriall of her husbonde ... there [in her chamber] beinge required according to the solemnitie to off her care, and leave asyde these sorrowful garments ... she suffreth them that stood by, every man that could approve, to tayke owte a pyne, and so being committed unto her ladies, changed her garments.<ref>Henry Ellis, ''Original Letters'', Series 1 vol. 2 (London, 1824), pp. 200-4: [[British Library]] Cotton Caligula B IX (vol. 1), f. 218/227.</ref></blockquote>

Mary's mourning clothes after the death of [[Henry Stuart, Lord Darnley|Darnley]] in February 1567 required 24 papers of pins.<ref>[[David Hay Fleming]], ''Mary Queen of Scots'' (Edinburgh, 1897), p. 508.</ref> The fabric was black serge of Florence, with some black plaid, the skirt and sleeves were silk chamlet lined with taffeta, the headdresses were linen and camerage ([[cambric]]).<ref>[[Alexander Macdonald (antiquary)|A. Macdonald]], 'Precepts issued on the death of Lord Darnley', ''Archaeologia Scotica: Or, Transactions of the Society of Antiquaries of Scotland'', vol. 3 (Edinburgh, 1831), p. 82.</ref> Florian Broshere, the tapestry worker and embroiderer, draped her bed and hanged the chapel at Holyrood with fine French black.<ref>Charles Thorpe McInnes, ''Accounts of the Treasurer of Scotland'', vol. 12 (Edinburgh, 1970), pp. 42, 46.</ref>

===Clothing in the inventories and treasurer's accounts===
During Mary's adult reign in Scotland, purchases of textiles for her clothes and payments for tailors appear in the accounts of the [[Treasurer of Scotland|Lord Treasurer]]. Her mother, Mary of Guise, as Regent (1554-1560) had paid for her clothes from her own French incomes.<ref>[[James Balfour Paul]], ''Accounts of the Treasurer'', vol. 10 (Edinburgh, 1913), p. xiv.</ref> Mary had a wardrobe as a department of her household, with several officers and artisans including tailors and embroiderers, and the "tapissiers" who looked after tapestry, beds, and furniture with her ''menusier'', Nicholas Guillebault, the household carpenter or upholsterer. In March 1566 she rewarded her French embroiderer, Pier Veray, with the lucrative position of clerk of the customs of Edinburgh, an office taken from a suspect in the murderer of [[David Riccio]].<ref>''Register of the Privy Seal of Scotland'', vol. 5:2 (Edinburgh, 1957), p. 71 no. 2711.</ref> There were workers outside the household too, mostly in Edinburgh, including the Flemish shoemaker [[Fremyn Alezard]] and the furrier Archibald Leche. Servais de Condé, a valet of the chamber, assisted by Angell Marie, the varlet of the wardrobe, kept a written record in French tracking the use of the more expensive fabrics.<ref>Joseph Robertson, ''Inventaires de la Royne Descosse: Catalogues of the jewels, dresses, of Mary Queen of Scots'' (Edinburgh, 1863), pp. 125-178.</ref> A broadly similar record of fabrics used by Mary of Guise from 1552 to 1554 also survives.<ref>Michael Pearce, ''The Dolls of Mary Queen of Scots: Edinburgh Castle Research Reports'' (Edinburgh, Historic Environment Scotland, 2018), p. 20: National Records of Scotland, NRS E34/19.</ref>

In this example from July 1564, black velvet was given to Mary's tailor [[Jean de Compiègne]], also known as Jehan Poulliet,<ref>Teulet, 'Maison de Marie-Stuart', ''Relations Politiques'', vol. 2 (Paris, 1862), p. 273.</ref> to make a purse for kerchiefs:<blockquote>Plus a Jehan de Conpiegne i quartier de veloux noyr pour faire une grand bource pour la Royne lequelz fert a metre les mouchoy.<br />More, to Jehan de Compiegne, a quarter of black velvet to make a big purse for the queen, which she carries to hold kerchiefs.<ref>Joseph Robertson, [https://archive.org/details/inventairesdela00robegoog/page/n330/mode/2up ''Inventaires de la Royne Descosse: Catalogues of the jewels, dresses, of Mary Queen of Scots'' (Edinburgh, 1863), p. 149]</ref></blockquote>

Some linen ''mouchoirs'' in the inventories may have been [[handkerchief]]s, while others appear to be head coverings. Other linen items include pairs of ''callesons'' or ''caleçons'', linen hose or stockings or [[undergarment]]s which were also made for the fool known as La Jardiniere.<ref>''Inventaires'' (1863), pp. 126, 138.</ref>

Inventories of Mary's clothes written in French survive in the [[National Archives of Scotland]] and were printed by [[Joseph Robertson (historian)|Joseph Robertson]] in 1863. This is an example of a skirt, with a note that it was given to the queen's favourite [[Mary Beaton]]:<blockquote>Une vasquyne de satin cramoysy enrechye d'une bande d'ung passement d'argent faict a jour et borde d'ung passement d'argent.<br />Au moy de Fevvrier la Royne donne laditz vasquine a Mademoysel de Beton.<ref>Joseph Robertson, [https://archive.org/details/inventairesdela00robegoog/page/n250/mode/2up ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), p. 70]</ref></blockquote>

This was one of fifteen embroidered skirts with [[passementerie]] listed in 1562. There were six plain skirts, and fifteen skirts of cloth of gold or silver. A cloth of gold skirt with matching sleeves was given to [[Magdalen Livingstone]] for her wedding. A skirt of cloth of silver was unpicked in 1566 for fabric to dress a bed.<ref>Joseph Robertson, ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), pp. 68-71.</ref> Mary had several skirts made to match doublets, in silk camlet, velvet, and satin.<ref>Melanie Schuessler Bond, ''Dressing the Scottish Court 1543-1553: Clothing in the Accounts of the Lord High Treasurer of Scotland'' (Boydell, 2019), p. 101: Joseph Robertson, ''Inventaires'' (Edinburgh, 1863), p. 101.</ref> Mary wore skirts over a shaped [[farthingale]], these were lined or doubled with taffeta, and their bell-shaped form stiffened with "girds" of [[baleen|whale baleen]].<ref>''Accounts of the Treasurer'', vol. 11 (Edinburgh, 1916), pp. 204, 226, 246.</ref><ref>Sarah Bendall, [https://journals.openedition.org/apparences/3653 'Whalebone and the Wardrobe of Elizabeth I: Whaling and the Making of Aristocratic Fashions in Sixteenth-Century Europe', ''Apparence(s)'', 11 (February 2022), p. 8] {{doi|10.4000/apparences.3653}}</ref> In December 1563 the tailor and valet of the wardrobe Jacques de Senlis reworked an old black velvet skirt that had belonged to Mary of Guise into a new style for the queen.<ref>Joseph Robertson, [https://archive.org/details/inventairesdela00robegoog/page/n322/mode/2up ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), pp. 27 item 90, 142]</ref><ref>Teulet, 'Maison de Marie-Stuart', ''Relations Politiques'', vol. 2 (Paris, 1862), p. 272.</ref>

Hats for Mary and Darnley were made by Johnnie Dabrow, a Portuguese milliner who had settled in Edinburgh.<ref>''Accounts of the Treasurer'', 11 (Edinburgh, 1916), 430.</ref> Linen was bought to line her bath.<ref>[[David Hay Fleming]], ''Mary Queen of Scots'' (London, 1897), 510.</ref> The accounts also mention furnishings and beds, and a variety of accessories including velvet collars for the queen's little dogs, "les petitz chiens de la Royne".<ref>Joseph Robertson, ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), p. 141.</ref> The [[Scots language]] and older French vocabulary in the inventories of Mary, Queen of Scots can be difficult to read and interpret. Some help is given by the original cross-referencing numbers which were printed in the 19th-century editions.<ref>Michael Pearce, 'Beds of "Chapel" Form in Sixteenth-Century Scottish Inventories: The Worst Sort of Bed', ''Regional Furniture'', 27 (2013), pp. 85-6: Thomson (1815): Robertson, ''Inventaires'' (1863), pp. lix-lx, explanation in footnote.</ref> French and Scots language entries for the same item can be compared, in many cases giving insightful contemporary translations.<ref>Michael Pearce, 'Maskerye Claythis for James VI and Anna of Denmark', ''Medieval English Theatre 43, 2021'' (Cambridge: D. S. Brewer, 2022), p. 115 & fn.33.</ref> The letter "H" seen in the inventories refers to items confiscated from [[Huntly Castle]],<ref>Michael Pearce, 'Beds of Chapel Form in Sixteenth-Century Scottish Inventories: The Worst Sort of Bed', ''Regional Furniture'', 27 (2013), pp. 85-86.</ref> and a letter "S" means an item was at [[Stirling Castle]].<ref>Michael Pearce, [https://www.historicenvironment.scot/archives-and-research/publications/publication/?publicationid=b78493b8-3cf3-4b47-a7c2-a9eb00f39ad1 ''Edinburgh Castle Research: The dolls of Mary Queen of Scots'' (Edinburgh, 2018), p. 18]</ref><ref>Thomson (1815), p. 212. The letter "S" is used in the [[British Library]] copy of the 1578 inventory, Harley MS 4637.</ref>

Mary's French vocabulary and the French words used by her clerks caused confusion when she was in England. In 1584, [[Ralph Sadler]] had to explain that she wanted "Turkey-work foot carpets" (rugs) to lay around her bed. A French phrase used for these rough-textured hairy rugs ''tapisserie velue'' had been confused with velvet cloths, ''tapisserie de veloux''.<ref>''Sadler Papers'', vol. 2 (Edinburgh, 1809), 503–504.</ref>

Notes added to the inventories record gifts of clothing that Mary made from her wardrobe to favourite aristocrats, courtiers, and women of her household. She gave a skirt to the "little daughter of her laundress", Margaret Douchall who later followed her mother into royal service and married [[Jerome Bowie]], a servant in the wine cellar.<ref>Joseph Robertson, ''Inventaires'' (Edinburgh, 1863), p. 72.</ref>

Costumes were given to household servants. In March 1567 five pages and seven lackeys were provided with riding cloaks of black stemming, pourpoints (doublets), and Mantua-style bonnets and hats by the tailor John Powlett. The list of fabrics survives in French and Scots. The smart and uniform appearance of these servants, visible when Mary travelled, greatly contributed to the impression of royal magnificence. These black clothes were the official mourning for the death of Lord Darnley.<ref>Charles Thorpe McInnes, ''Accounts of the Treasurer of Scotland'', vol. 12 (Edinburgh, 1970), p. 45-5, 399.</ref>

==Masques, ceremony, and special costume==
Mary wore her crown and robes for state ceremonies, including the first day of the [[Parliament of Scotland]] on 26 May 1563.<ref>''Calendar State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 10 no. 9.</ref> Her robes were later described as a "rob ryall of purper velvot embroiderit about with gold, furrit with spottit armenis ([[stoat|ermine]]) and a band about".<ref>Thomson (1815), p. 219.</ref> Scottish monarchs had robes for their coronations and for Parliament. When [[Charles I of England|Charles I]] came to Scotland for his coronation in 1633 he had the old Parliament robes of [[James IV of Scotland|James IV]] refurbished and perfumed for his use.<ref>''Earl of Stirling's Register of Royal Letters'', vol. 2 (Edinburgh, 1885), p. 660: National Records of Scotland E25/20.</ref> In March 1566, Mary's tailor Jehan de Compiegne made her headdresses of cloth of silver to wear in Parliament, presumably when not wearing the crown.<ref>Robertson, ''Inventaires'', pp. lxvii, 163: Thomson (1815), p. 231.</ref>

===Mary's Highland costume===
Mary and her court wore [[Highland dress|Highland clothes]] in [[Argyll]] and during visits to the north and Inverness. In June 1563 the court prepared "Hyeland apparell" for the progress to Argyll and [[Inveraray Castle|Inveraray]]. Mary would wear a "marvellous fair" costume which had been a gift from [[Agnes Campbell]] the wife of [[James MacDonald, 6th of Dunnyveg|James MacConel or MacDonald]] of [[Dunyvaig Castle|Dunyvaig]].<ref>[[John Guy (historian)|John Guy]], ''The Life of Mary Queen of Scots'' (Fourth Estate, 2009), p. 180: Jane E. A, Dawson, 'The emergence of the Scottish Highlands', Brendan Bradshaw, Peter Roberts, ''British Consciousness and Identity: The Making of Britain, 1533-1707'' (Cambridge, 1998), p. 289: ''Calendar State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 13 no. 13.</ref> The inventories of Mary's father, [[James V of Scotland]], include Highland clothes, possibly made for his voyage around Scotland in 1540.<ref>Rosalind K. Marshall, 'To be the Kingis Grace ane Dowblett: The Costume of James V, King of Scots', ''Costume'', 28:1 (2014), 16.</ref>

The French author Brantôme claimed to have seen Mary in [[Highland dress|Highland costume]].<ref>Alexander Wilkinson, ''Mary Queen of Scots and French Public Opinion'' (Palgrave Macmillan, 2004), p. 18.</ref> He said she looked like a goddess, as her beauty transformed such costume, as anyone who had seen her portrait in such clothes would agree. Such a portrait, if it ever existed, does not survive. Brantôme, like other French writers of the period, writes of the "barbarous fashions of the savages of her country".<ref>Joseph Robertson, ''Inventaires'' (Edinburgh, 1863), pp. x, lxvii-lxviii: Brantôme, ''Oeuvres: Femmes Illustres'', vol. 2 (London, 1779), p. 109.</ref>

Locally made woollen tartan or plaid was bought in Inverness. These cloths may not have closely resembled modern [[tartan]] fabrics. Some "Highland" items appear in inventories, including three Highland mantles in black, blue, and white, perhaps relating to these progresses, or used as masque costume.<ref>Clare Hunter, Embroidering Her Truth: Mary, Queen of Scots and the Language of Power (London: Sceptre, 2022), p. 155: ''Accounts of the Treasurer'', vol. 11 (Edinburgh, 1916), p. 197: Thomson, ''Inventories'', p. 231.</ref> Among Mary's smocks or shirts, called "sarks", were four English [[blackwork]] sarks, and a "hieland syd sark of yallow lyning pasmentit with purpour silk and silver".<ref>Thomas Thomson, ''Collection of Inventories'' (Edinburgh, 1815), p. 215.</ref> Changing clothes to cross regional boundaries was traditional. Randolph, the English ambassador, joked about having to wear a yellow "safferon shyrte or a hylande pladde" if he went to Argyll.<ref>Jane E. A Dawson, ''The Politics of Religion in the Age of Mary, Queen of Scots'' (Cambridge, 2002), p. 119: TNA SP52/8 f.80.</ref>

==Masques==
Red and white taffeta masque clothes made by Jacques Senlis in February 1562 were probably intended for the wedding of the [[Regent Moray|Earl of Moray]] and Mary's friend [[Agnes Keith, Countess of Moray|Agnes Keith]], and red and white costumes were made for three lutenists.<ref>''Accounts of the Treasurer'', vol. 11, xxx–xxxi, 103, 108–109.</ref> Costumes were made by Mary's tailor Jacques de Senlis for dancers and lute players who performed for Mary and the court during a wedding at [[Castle Campbell]] on 10 January 1563. They were dressed as shepherds in white taffeta with purses or satchels made of white damask.<ref>Michael Pearce, 'Maskerye Claythis for James VI and Anna of Denmark', ''Medieval English Theatre 43'' (Cambridge: D. S. Brewer, 2022), pp. 109-111.</ref> 

A masque in December 1563 involved three large blue velvet Swiss bonnets and wigs. There was also a blue velvet bonnet for [[Nichola (fool)|Nichola the Fool]], and [[Mademoiselle Rallay]] was given canvas to fashion wigs.<ref>Joseph Robertson, ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), pp. 141-2.</ref> The occasion may have been her twenty-first birthday, where she tired herself with "dancing over long".<ref>''Calendar State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 28 no. 41.</ref> Mary's tailor Jehan de Compiegne made costumes from orange "changing" or shot taffeta for a [[masque]] in February 1565 at [[Holyrood Palace]], with a smaller costume in the same fabric for a young girl at court.

The English ambassador [[Thomas Randolph (diplomat)|Thomas Randolph]] described the Twelfth Night or Shrovetide masques and banquets of February 1564.<ref>Rosalind K. Marshall, "Prosopographical Analysis of the Female Household", [[Nadine Akkerman]] & Birgit Houben, ''The Politics of Female Households: Ladies-in-waiting across Early Modern Europe'' (Brill, 2014), p. 224: [[John Guy (historian)|John Guy]], ''My Heart is My Own: The Life of Mary Queen of Scots'' (London: Fourth Estate, 2009), p. 188.</ref> The [[Mary Fleming|four Maries]] and the queen's ladies wore white and black at one banquet,<ref>[https://archive.org/details/calendarofstatep07grea_0/page/56/mode/2up ''Calendar State Papers Foreign, Elizabeth, 1564-5'', vol. 7 (London, 1870), p. 56 no. 181]</ref> and verses were recited as the courses were brought in by gentlemen wearing black and white.<ref>John Guy, ''The Life of Mary Queen of Scots'' (Fourth Estate, 2009), p. 189: Joseph Robertson, ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), p. 144-5: ''Calendar State Papers Scotland'', vol. 2 (Edinburgh, 1900), pp. 41, 47.</ref> Mary herself in white and black with white and black lace at her neck wore no other jewels except a diamond ring, a gift from Elizabeth I, worn as a pendant.<ref>[https://archive.org/details/miscellanyofmait02mait/page/392/mode/2up ''Maitland Miscellany'', 2 (Edinburgh, 1839), p. 392]</ref> In Randolph's words:<ref>[https://archive.org/details/reportonpepysman00grea/page/10/mode/2up ''HMC Pepys Manuscripts at Magdalene College, Cambridge'' (London, 1911), pp. 11–13]</ref><blockquote>The Queen of the Bean ([[Mary Fleming]]) that day was in cloath of silver, her head, her neck, her shoulders, the rest of her body, so besett with stones, that more in our whole jewell house wer not to be found. The Queene herselfe apparalled that day in collours whyt and black, no nether (other) jewell or gold about her that day bot the ring that I brought her from the Queen's Majestie (Elizabeth) hanging at her breast with a lace of whyt and black about her neck. The cheare that day was great.<ref>[https://archive.org/details/royallettersinst00mait/page/30/mode/2up?q=cheare "Royal letters and instructions, and other documents: from the archives of the Earls of Wigton", ''Miscellany of the Maitland Club'' (Edinburgh, 1840), pp. 31–32]</ref></blockquote>

Mary seems to have emulated the fashion of other courts by dressing herself and her ladies in black and white for the masque, echoing colours adopted by [[Diane de Poitiers]],<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), p. 128.</ref> and Elizabeth I was entertained by a masque of men dressed in black and white at the house of Sir [[Richard Sackville (escheator)|Richard Sackville]] in July 1564. Elizabeth told the Spanish ambassador that black and white were her colours.<ref>Jane A. Lawson, 'Rainbow for a Reign: The Colours of a Queen's Wardrobe', ''Costume'', 41:1 (2007), 26. {{doi|10.1179/174963007X182318}}</ref> For Elizabeth (and Mary), according to heraldic lore, black and white may have symbolised purity, steadfastness, and virginity.<ref>Carole Levin, ''The Heart and Stomach of a King: Elizabeth I and the Politics of Sex and Power'' (Philadelphia, 2013), 39.</ref>

Fabrics bought for Mary included "silver tock", a metallic [[tinsel]] fabric that was much less expensive than cloth of silver, at 20 shillings for an ell length.<ref>''Accounts of the Treasurer'', vol. 11 (Edinburgh, 1916), pp. 439, 466.</ref> Silver tock was particularly used in masques, in France when Mary was a child in 1550 and later in Scotland in the reign of Mary's son James VI.<ref>Michael Pearce, 'Maskerye Claythis for James VI and Anna of Denmark', ''Medieval English Theatre 43'' (Cambridge: D. S. Brewer, 2022), pp. 113–115 {{doi|10.2307/j.ctv24tr7mx.9}}</ref>

==Masquing, male costume, and Lord Darnley==
[[File:Mercat cross, Broad Street - geograph.org.uk - 2723359.jpg|thumb|right|[[Mary, Queen of Scots]] is said to have danced around the Market Cross of [[Stirling]] disguised "in homely sort" in July 1566.<ref>Thomas Finlay Henderson, [https://archive.org/details/cu31924088018555/page/n403/mode/2up ''Mary, Queen of Scots, her environment and tragedy, a biography'', 2  (London, 1905), p. 655]</ref>]]
Several sources refer to Mary and her ladies wearing male costume for dance and for disguising or "[[guising]]", masked visits and promenades in Scottish towns.<ref>Sarah Carpenter, 'Performing Diplomacies: The 1560s Court Entertainments of Mary Queen of Scots', ''The Scottish Historical Review'', 82:214, Part 2 (October 2003), p. 215.</ref><ref>John J. McGavin, ''Theatricality and Narrative in Medieval and Early Modern Scotland'' (Ashgate, 2007), pp. 39–40.</ref> On Easter Monday in April 1565 Mary and her ladies dressed like "bourgeois wives" and walked up and down the steep streets of [[Stirling]], collecting contributions for a banquet.<ref>Kristen Post Walton, ''Catholic Queen, Protestant Patriarchy: Mary Queen of Scots and the Politics of Gender and Religion'' (Palgrave Macmillan, 2006), p. 122.</ref> The activity can be identified with the custom of "[[hocktide|Hocking]]", more usually recorded as an English custom.<ref>Lesley Mickel, 'From Bourgeois Wife to Renaissance Monarch: the Royal Entertainments and Imperial Ambition of Mary Stuart (1561–1566)', ''Review of Scottish Culture'', 27 (2017), pp. 48-61: Muriel Clara Bradbrook, ''Shakespeare: The Poet in his World'' (Weidenfeld & Nicolson, 1978), p. 16.</ref> Thomas Randolph's report of this Easter dressing-up custom reveals that the clothes worn by ladies at court were notably different from the costume worn by merchant's wives or other women living and working in Scotland's burgh towns, probably both in terms of fabrics and style.<ref>Joseph Bain, ''Calendar of State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 148 no. 171.</ref> Mary celebrated Easter at [[Stirling Castle]] this year, not in Edinburgh.<ref>Edward Furgol, [http://journals.socantscot.org/index.php/psas/article/view/9307 'Scottish itinerary of Mary Queen of Scots, 1542-8 and 1561-8', ''Proceedings of the Society of Antiquaries'', 117 (1988), scanned microfiche]</ref> She had compared herself to a "bourgeois wife" in February 1565 while staying in a merchant's house in St Andrews, keeping a small household with little ceremony, and no cloth of estate, the canopy used above a throne.<ref>Joseph Bain, ''Calendar of State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 120 no. 142.</ref>

In the days after her marriage, in July 1565, Mary and Darnley walked up and down [[Royal Mile|Edinburgh High Street]] in disguise.<ref>Joseph Stevenson, ''Selections'' (Glasgow: Maitland Club, 1837), pp. 119-120, 141.</ref> For a masque to entertain the French ambassador, [[Nicolas d'Angennes]], seigneur de [[Rambouillet]], who brought the [[Order of Saint Michael]] for Darnley, the tailor Jean de Compiegne made six costumes decorated with flames made of cloth of gold reused from old cushion covers.<ref>Michael Pearce, 'Maskerye Claythis for James VI and Anna of Denmark', ''Medieval English Theatre 43, 2021'' (Cambridge: D. S. Brewer, 2022), p. 115 & fn.33: Joseph Robertson, ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), pp. lxxxvi, 162: Thomson (1815), p. 148 item 128.</ref><ref>Rosalind K. Marshall, "Prosopographical Analysis of the Female Household", [[Nadine Akkerman]] & Birgit Houben, ''The Politics of Female Households: Ladies-in-waiting across Early Modern Europe'' (Brill, 2014), p. 224.</ref> During the masque the queen's ladies, "cled in men's apperrell", presented 8 Scottish [[dirk|dirks or daggers]] to the French guests, with black velvet scabbards embroidered with gold.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), p. 156: Lesley Mickel, 'From Bourgeois Wife to Renaissance Monarch: the Royal Entertainments and Imperial Ambition of Mary Stuart (1561–1566)', ''Review of Scottish Culture'', 27 (2017), pp. 48–61: Clare McManus, ''Women on the Renaissance stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590-1619'' (Manchester, 2002), p. 69.</ref> A chroncle called the ''Diurnal of Occurrents'' described the scene in February 1566:<blockquote>And the sammin nycht at evin, our soveranis maid ane banket to the ambassatour foirsaid [[Rambouillet]], in the auld chappell of Halyrudhous, quhilk wes reapparrellit with fyne tapestrie, and hung magnificentlie, be the saidis lordis maid the maskery efter supper in ane honourable maner. And upoun the ellevint day of the said moneth, the king and quene in lyikmanner bankettit the ambassatour; and at evin our soveranis maid the maskrie and mumschance, in the quhilk the quenis grace, and all hir Maries and ladies wer all cled in men's apperrell; and everie ane of thame presentit ane quhingar, bravelie and maist artificiallie made and embroiderit with gold, to the ambassatour and his gentilmen, everie one of thame according to his estate.<ref>Thomas Thomson, [https://archive.org/details/diurnalofremarka00thom/page/86/mode/2up ''Diurnal of Occurrents'' (Edinburgh, 1833), p. 87]</ref></blockquote>

Randolph wrote that Mary, Darnley, and [[David Rizzio]] took part in a costly masque with seven other dancers in rich attire to welcome Rambouillet. Darnley's costume for his investiture in the Order was given to a French herald (Saint Michael, a Monsieur d'Oze)<ref>''llustrations of Ancient State and Chivalry from MSS in the Ashmolean Museum'' (London, 1840), pp. 97–109.</ref> as a prerequisite, these clothes were of satin guarded with black velvet and satin, sewn with aglets of gold.<ref>''A Narrative of the Minority of Mary Queen of Scots by James Maitland'' (Ipswich, 1842): W. Park, 'Letter of Thomas Randolph to the Earl of Leicester, 14 February 1566', ''Scottish Historical Review'', 34:118 Part 2 (October 1955), pp. 135-139: National Library of Scotland MS 3657.</ref> Rambouillet stayed in Edinburgh's [[Canongate]], and subsequently a number of local women were slandered as prostitutes and said to have visited the lodging dressed in men's clothes.<ref>Alma Calderwood, ''Buik of the Kirk of the Canagait'' (SRS: Edinburgh, 1961), pp. 60, 64, 66.</ref>

Mary went to [[Alloa Tower]] about a month after the birth of [[James VI and I|Prince James]], and was said to have danced around the Market Cross of Stirling "abandoning herself to riotousness" while "arrayed in homely sort".<ref>R. H. Mahon, ''Mary, Queen of Scots, a study of the Lennox Narrative'' (Cambridge, 1924), pp. 122-3, from Cambridge University Library Oo.7.47/8, the visit to Stirling was made from [[Alloa Tower]]: Thomas Finlay Henderson, [https://archive.org/details/cu31924088018555/page/n403/mode/2up ''Mary, Queen of Scots, her environment and tragedy, a biography'' (London, 1905), pp. 402, 655]</ref>

=== Wedding of Nicolas Wardlaw ===
On 31 August 1566, Mary's half-brother [[James Stewart, 1st Earl of Moray]] wrote from Stirling to the [[treasurer of Scotland|treasurer]] [[Robert Richardson (Lord Treasurer)|Robert Richardson]] to ensure [[Nicolas Wardlaw, Lady Bonnyton|Nicola or Nicolas Wardlaw]], a daughter of [[Henry Wardlaw of Torrie]] and known as Madame Torrie, one of the queen's gentlewomen, received a purple velvet gown with passments of gold for her wedding to Patrick Wood of Bonnyton. Such gifts were customary, though usually organised by Mary herself.<ref>John Charles Gibson, ''The Wardlaws in Scotland: A History of the Wardlaws of Wilton and Torrie'' (Edinburgh, 1912), pp. 70–72.</ref> Mary was at [[Drummond Castle]], on her way back to Stirling after hunting at Glen Artney.<ref>Edward Furgol, [http://journals.socantscot.org/index.php/psas/article/view/9307 'Scottish Itinerary of Mary Queen of Scots, 1542-8 and 1561-8', ''PSAS'', 117 (1987), microfiche, scanned]</ref><ref>[[John Parker Lawson]], [https://archive.org/details/historyofaffairs30keit/page/446/mode/2up ''History of Scotland by Robert Keith'', 3 (Edinburgh: Spottiswoode Society, 1845), p. 447 fn.2]</ref> Moray wrote that Nicolas Wardlaw received the gift because "she hes bene ane auld servand and is sic a gentilwoman as is worthie to be furtherit".<ref>John Charles Gibson, ''The Wardlaws in Scotland: A History of the Wardlaws of Wilton and Torrie'' (Edinburgh, 1912), p. 70: Moray's letter (NRS SP13/95) was printed in the ''National Manuscripts of Scotland'', Part III no. LII.</ref>

There was a swift turnaround as the clothes were needed at Stirling for the wedding on Tuesday 6 September. Richardson passed a detailed list of requirements called a "memorial", written in French and signed by Mary, to Servais de Condé. Servais gave the outfit and materials to a page to carry from Edinburgh to Stirling. The "memorial" survives and was translated into Scots for the treasurer's accounts. The gown was made of 11 French measure ells of "violat velvote" or ''vellours viollet''. Her white satin sleeves and skirt front, the ''grand manches'' and ''davant'', were decorated with narrow gold braids, ''petite natte d'or''.<ref>Charles Thorpe McInnes, ''Accounts of the Treasurer of Scotland'', 12 (Edinburgh: HMSO, 1970), pp. 19, 395–396.</ref> Her companion in Mary's bed chamber, Jonet Seton, was given a similar gown on her marriage to [[John Bellenden (Lord Justice Clerk)|John Bellenden]].<ref>Theo van Heijnsbergen, "Literature and History in Queen Mary's Edinburgh", ''The Renaissance in Scotland: Studies in Literature, Religion, History and Culture'' (Brill, 1994), p. 197: [[James Balfour Paul]], ''Accounts of the Treasurer of Scotland'', 11 (Edinburgh, 1916), p. 343.</ref>

=== Costume and the baptism ===
On 5 September 1566 Mary ordered fabrics for the household of her son, the future [[James VI of Scotland|James VI]], at [[Stirling Castle]], for beds and bedding for [[Margaret Beaton|Margaret Beaton, Lady Reres]] and the gentlewomen appointed as rockers of the prince's cradle. Taffeta was bought to make costumes for the [[baptism of James VI|masque at James' baptism]]. Mary was concerned to impress the guests at the baptism and gave orders for the clothes of her lords and followers. [[John Forster (soldier)|John Forster]], an English [[Lord Warden of the Marches|border warden]], heard that Mary had ordered clothes for the [[James Hepburn, 4th Earl of Bothwell|Earl of Bothwell]] in blue, the [[Archibald Campbell, 5th Earl of Argyll|Earl of Argyll]] in red, and the [[Regent Moray|Earl of Moray]] in green, "at her own charge". She asked her lords to each bring a certain number of retainers dressed in colours.<ref>David Hay Fleming, ''Mary Queen of Scots'' (London, 1897), p. 428: ''Calendar State Papers Foreign Elizabeth'', vol. 8 (London, 1871), p. 131 no. 723, TNA SP 59/12 f.105.</ref> Lord Darnley's costume was said to have been neglected. According to [[George Buchanan]], in response to criticism about disparities in Darnley and Bothwell's dress, Mary blamed the embroiderers and tailors, but it was known that she had embroidered some details for Bothwell's clothes herself.<ref>James Aikman, [https://archive.org/details/historyofscotlan2buch/page/486/mode/2up ''History of Scotland of George Buchanan'', vol. 2 (Glasgow, 1827), pp. 487-8]</ref>

In January 1567 the tailor Jehan de de Compiegne was given clothes including a black "Almain" or German-style cloak. In February the jester George Styne or Stevin had a costume made of blue [[Kersey (cloth)|kersey]], and in March [[Nichola (fool)|Nichola]] the fool had new linen. 10 [[ell]]s of linen were bought for lining Mary's bathtub, and canvas for bathing was delivered to [[Marie Courcelles|Toussaint Courcelles]].<ref>[[David Hay Fleming]], ''Mary Queen of Scots'' (Edinburgh, 1897), pp. 499-501, 505-510: ''Accounts of the Treasurer'', vol. 12 (Edinburgh, 1970), pp. 56, 403 no. 44.</ref>

===Bastian's wedding masque===
On the night that Lord Darnley was [[Murder of Lord Darnley|killed by an explosion]] at the [[Kirk o'Field]], Mary attended the wedding banquet and masque for her servant [[Bastian Pagez]] and Christily Hog. Mary gave the bride satin, velvet, and green ribbons for her gown. She also gave her servant [[Margaret Carwood]] clothes for her wedding.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), 183: ''Accounts of the Treasurer of Scotland'', vol. 12 (Edinburgh, 1970), p. 40.</ref> [[George Buchanan]] mentions the "masking-dance" at the wedding in his ''Dectection''.<ref>James Anderson, ''Collections'', 2 (Edinburgh, 1727), 78.</ref> Darnley's father, the [[Matthew Stewart, 4th Earl of Lennox|Earl of Lennox]] later produced a narrative of events which says that some witnesses said Mary was dressed in men's clothing on that night, "which apparel she loved oftentimes to be in, in dancings secretly with the King her husband, and going in masks by night through the streets".<ref>R. H. Mahon, ''Mary, Queen of Scots, a study of the Lennox Narrative'' (Cambridge, 1924), pp. 99, 130: Thomas Finlay Henderson, [https://archive.org/details/cu31924088018555/page/n407/mode/2up ''Mary, Queen of Scots, her environment and tragedy, a biography'', 2 (London, 1905), p. 659]</ref>

Some costume for masques, "dansyne" or maskyne cleise", was obtained by Regent Moray in November 1569 and receipted by his lawyer and secretary Robert Fleschour.<ref>[https://archive.org/details/reportofroyalcom06grea/page/672/mode/2up ''HMC 6th Rport: Moray'', p. 648]</ref> Amy Blakeway suggests that Moray may intended to use them for festivities at Christmas time, but such plans would have been upset when fugitives from the [[Rising of the North]] crossed the border.<ref>Amy Blakeway, ''Regency in Sixteenth-Century Scotland'' (Boydell,  2015), p. 152.</ref>

==In conflict==
When Mary was at [[Inverness Castle|Inverness]] in September 1562 she said, after seeing the armed guard return from watch at night, that she regretted she "was not a man to know what life it was to lie all night in the fields, or to walk upon the causeway with a [[Jack of plate|jack]] and a knapschall (helmet), a Glasgow [[buckler]], and a broad sword".<ref>[[John Guy (historian)|John Guy]], ''My Heart is My Own: The Life of Mary Queen of Scots'' (Fourth Estate, 2009), p. 164: Joseph Bain, ''Calendar State Papers Scotland'', vol. 1 (Edinburgh, 1898), p. 651 no. 1138.</ref>

After the murder of Lord Darnley, when Mary seemed likely to marry the [[James Hepburn, 4th Earl of Bothwell|Earl of Bothwell]], [[William Kirkcaldy of Grange]] wrote to the [[Francis Russell, 2nd Earl of Bedford|Earl of Bedford]], an English diplomat, that Mary did not care if she lost France, England and Scotland for Bothwell's sake, and she had said she would go with him to the world's end in a white petticoat;<blockquote>sho caris not to lose France Ingland and her owne countrie for him, and sall go with him to the warldes ende in ane white peticote or she leve him.<ref>Victoria Smith, 'Perspectives on Female Monarchy', in J. Daybell & S. Norrhem, ''Gender and Political Culture in Early Modern Europe'' (Abingdon, 2017), p. 153: [[Julian Goodare]], 'The Ainslie Bond', ''Kings, Lords and Men in Scotland and Britain, 1300-1625'' (Edinburgh, 2014), pp. 305-6: ''Calendar State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 322.</ref></blockquote>

A report written by the Captain of [[Inchkeith]], [[Robert Anstruther (soldier)|Robert Anstruther]], and a chronicle called the ''Diurnal of Occurrents'',<ref>Thomas Thomson, [https://archive.org/details/diurnalofremarka00thom/page/112/mode/2up ''Diurnal of Occurrents'' (Edinburgh, 1833), p. 113]</ref> mention that Mary wore male clothing on her ride from [[Borthwick Castle]] to [[Dunbar Castle]] in 1567, and she is sometimes said to have been disguised as a page. Mary wore a short red petticoat at knee-length at Dunbar the next day before the [[battle of Carberry Hill]]. Anstruther's report written in French describes another item, but the words appear to be illegible.<ref>[[John Guy (historian)|John Guy]], ''Queen of Scots: The True Life'' (New York, 2005), p. 331: Teulet, ''Relations de la France et de l'Espagne avec l'Écosse'', vol. 2 (Paris, 1862), p. 303.</ref> According to [[George Buchanan]], Mary changed into a short skirt at [[Fa'side Castle|Fawside Castle]] on the morning of 15 June 1567 before the battle of Carberry. She left some clothes behind in a chest, including a gown of black "estamet" (stemming) embroidered with grains of jet, a crimson [[camlet]] dress, a plaid, a great cloak, and a hat embroidered with gold and silver, with a panache. The black gown was "faict a la souvaige", perhaps meaning Highland fashion. Mary kept her linen in a small case covered with [[Anarhichadidae|sea wolf's]] skin, ''une petite mallette de poil de loup marin''.<ref>[[Annie Cameron]], ''Warrender Papers'', vol. 1 (SHS, Edinburgh, 1931), p. 50.</ref>

An English soldier and border official, [[William Drury]], heard another description of Mary's costume at this time, that she was dressed at the field of battle, "after the attire and fashion of the women of Edinburgh, in a red petticoat tied with points, a partlet, a velvet hat, and muffler".<ref>Allan James Crosby, ''Calendar State Papers Foreign'', 8 (London, 1871), p. 254 no. 1313, (TNA SP 59/13 f.156).</ref> The partlet, worn over the shoulders, does not frequently appear in the queen's inventories but was included in lists of townswomen's property.<ref>Cordelia Beattie & Cathryn Spence, 'Married Women, Testaments and Property in Sixteenth-Century Scotland', ''Scottish Historical Review'', 102:1 (April 2023), Appendix (i) {{doi|10.3366/shr.2023.0587}}</ref> Both male apparel and bourgeois costume featured in the clothing worn by Mary for masques and disguisings.<ref>[[Agnes Strickland]], ''Life of Mary Stewart'', vol. 2 (London, 1873), p. 8, citing TNA SP 59/13 f.157.</ref><ref>Thomas Finlay Henderson, [https://archive.org/details/cu31924088018555/page/n151/mode/2up ''Mary, Queen of Scots, her environment and tragedy, a biography'', 2 (London, 1905), p. 465]</ref>

==Abdication, Lochleven Castle, and England==
[[File:Lochleven Glassin.JPG|thumb|right|While confined at [[Lochleven Castle]], Mary may have made a purse for her watch, later sent to her England.<ref>William James Duncan, [https://archive.org/details/miscellaneouspa02unkngoog/page/n56/mode/2up ''Miscellaneous Papers, Principally Illustrative of Events in the Reigns of Queen Mary and King James VI'' (Maitland Club: Glasgow, 1834), p. 17]</ref>]]
After the [[battle of Carberry Hill]], Mary was taken from Edinburgh to [[Lochleven Castle]]. According to [[John Lesley]], "in the night privily she was conveyed, and with haste, in disguised apparel, to the strong fort of Lochleven, and after a few days, being stripped out and spoiled of all her princely attirement, was clothed with a coarse brown cassock".<ref>David Hay Fleming, ''Mary Queen of Scots'' (London, 1897), 466: Robert Keith, ''History of the Affairs of Church and State'', 2 (Edinburgh, 1845), p. 646.</ref>

Mary's secretary [[Claude Nau]] later wrote that [[Francisco de Busso]], keeper of Holyroodhouse, gave her wardrobe to her enemies. When [[James Stewart, 1st Earl of Moray]] returned from France, he set a tailor who worked for his wife [[Agnes Keith, Countess of Moray|Annas or Agnes Keith, Countess of Moray]] to make Mary a new violet gown (''une robbe de drap violet''), and he let her have some of her older worthless clothes.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (Sceptre, 2023), p. 226: Joseph Stevenson, [https://archive.org/details/historyofmaryste0000nauc/page/56/mode/2up ''The history of Mary Stewart, from the murder of Riccio until her flight into England'' (Edinburgh: William Pateron, 1883), pp. 56, 261]</ref>

The treasurer's accounts mention a package of sewing and embroidery equipment in October 1566, which was sent from Edinburgh to [[Stirling Castle]] for Mary and her ladies which included six double hanks of gold and silver thread, with eight "mousis" with needles.<ref>Charles Thorpe McInnes, ''Accounts of the Treasurer of Scotland, 1566–1574'', 12 (Edinburgh: HMSO, 1970), p. 26.</ref> After a time, clothes and sewing thread for embroidery and other textile works were sent to Mary in her prison at Lochleven Castle. The tailor Jean de Compiegne usually supplied her with silk thread for sewing and [[crochet]], "''soye à coudre et crochetz''".<ref>Teulet, 'Maison de Marie-Stuart', ''Relations Politiques'', vol. 2 (Paris, 1862), p. 273.</ref> On 17 July 1567, she requested the services of an embroiderer to draw patterns for her, to "draw forth such work as she would be occupied about".<ref>[[Joseph Stevenson]], ''Selections'' (Glasgow, 1837), p. 220.</ref> At this time, according to [[Nicholas Throckmorton]], Mary thought she was seven weeks pregnant with Bothwell's child.<ref>[[Joseph Stevenson]], ''Selections from unpublished manuscripts illustrating the reign of Mary Queen of Scotland'' (Glasgow, 1837), pp. 220-1: ''CSP Scotland'', 2, p. 355 no. 563: TNA SP 52/14 f.36.</ref>

On 3 September 1567 Mary wrote to [[Robert Melville, 1st Lord Melville|Robert Melville]] to ask Servais de Condé to send silk thread and sewing gold and silver, doublets and skirts of black and white satin, a red incarnate doublet, a taffeta loose gown, clothes that she had asked Lady Livingstone to send, and clothes for her maidens.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), pp. 218-219: [[William Barclay Turnbull]], ''Letters of Mary Scots'' (London, 1845), p. v.</ref> Mary also wanted camerage ([[cambric]]) and linen, and two pairs of sheets with black thread for embroidery, and needles and a mould (cushion) for net-work or lace called [[Bobbin lace ground|"rasour" or "réseau"]] (''réseuil''), a bed cover, and dried plums and pears.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), p. 218: A. Labanoff, ''Lettres de Marie Stuart'', vol. 2 (London, 1852), pp. 61-2: [[William Fraser (historian)|William Fraser]], [https://archive.org/details/melvillesearlsm01frasgoog/page/n50 ''The Melvilles, Earls of Melville, and the Leslies, Earls of Leven'', vol. 2 (Edinburgh, 1890), p. 7]</ref> 

A part of her request was fulfilled by new purchases made by her half-brother [[Regent Moray]] in October. Green and black cloths, black and coloured silk thread, and hanks and silver and gold thread were bought for Servais de Condé to take to Mary.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), pp. 218-9: Charles Thorpe McInnes, ''Accounts of the Treasurer of Scotland'', vol. 12 (Edinburgh, 1970), p. 83.</ref> A memorandum written in French survives of textiles and thread sent to Mary at Lochleven, [[Carlisle Castle|Carlisle]], and [[Bolton Castle]]. Projects at Lochleven included large quantities of sequins, called ''espingles'' or spangles, and pieces of canvas depicting flowers outlined in black thread.<ref>William James Duncan, [https://archive.org/details/miscellaneouspa02unkngoog/page/n52/mode/2up ''Miscellaneous Papers, Principally Illustrative of Events in the Reigns of Queen Mary and King James VI'' (Maitland Club: Glasgow, 1834), pp. 12-19, 149-51] [[Margaret Swain]], ''The Needlework of Mary Queen of Scots'' (London, 1973), pp. 54-6.</ref>

Mary tried to escape disguised in the clothes of her laundress, but was recognised by the boatmen on [[Loch Leven (Kinross)|Loch Leven]] who returned her to the castle after noticing her hands were "very fair and white".<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), p. 226: Agnes Strickland, ''Letters of Mary, Queen of Scots'', vol. 2 (London, 1842), p. 292.</ref><ref>[[Thomas Wright (antiquarian)|Thomas Wright]], [https://archive.org/details/queenelizabethhe01wrig/page/266/mode/2up ''Queen Elizabeth and her times'', 1 (London, 1838), pp. 266–267]</ref><ref>John Parker Lawson, [https://archive.org/details/historyofaffairs0002keit/page/788/mode/2up ''History of the affairs of church and state in Scotland'', 2 (Edinburgh: Spottiswoode Society, 1845), pp. 789–793]</ref> Mary escaped from Lochleven on 2 May 1568, her disguise involved a borrowed red dress and changing her hairstyle so she looked like a local woman.<ref>Joseph Stevenson, ''History of Mary Stewart by Claude Nau'' (Edinburgh, 1883), pp. 89, 289.</ref> Usually, Mary's hair was elaborately dressed by [[Mary Seton]].<ref>''Calendar of State Papers Scotland'', vol. 2 (Edinburgh, 1900), pp. 447-8 no. 720.</ref> A Victorian antiquary, [[Charles Kirkpatrick Sharpe]], claimed to possess the cap she wore during the escape.<ref>Kelsey Jackson Williams, 'The Cabinet of Charles Kirkpatrick Sharpe:an Essay in the Biographical Distillation of Affinities',''Rethinking History'', 27:2 (2023), open access {{doi|10.1080/13642529.2023.2235530}}</ref>

Three days after her escape, her French cook Estienne Hauet (Stephen Hewat) and his wife Elles Boug packed four silk gowns, two velvet gowns, a chamlet gown, a satin partlet, and other items in a chest to send to the queen wherever she might be.<ref>David Hay Fleming, ''Mary Queen of Scots'' (Edinburgh, 1897), pp. 511-12, NRS E35/8, 'pour le mener et condure a la Royne la part ou elle sera'.</ref> After [[battle of Langside|Langside]], [[John Gordon of Lochinvar]] gave her clothes.<ref>Joseph Stevenson, ''History of Mary Stewart by Claude Nau'' (Edinburgh, 1883), pp. 95, 294.</ref> When Mary arrived in England, "her attire was very mean", and she had no change of clothes.<ref>Agnes Strickland, ''Letters of Mary, Queen of Scots'', vol. 2 (London, 1842), p. 294.</ref> She wrote to Elizabeth from [[Workington]] on 17 May 1568, saying she had not changed her clothes since her escape, as she had been travelling by night.<ref>Henry Ellis, ''Original Letters'', series 1 vol. 1 (London, 1824), p. 236: [[Janet Arnold]], ''Queen Elizabeth's Wardrobe Unlock'd'' (Maney, 1988), p. 98.</ref>

=== Carlisle Castle ===
At [[Carlisle Castle]], [[Francis Knollys (the elder)|Francis Knollys]] was impressed by the hairdressing skills of [[Mary Seton]], who Mary said was the "finest busker, the finest dresser of a woman's head and hair that is to be seen in any country".<ref>John Daniel Leader, ''Mary Queen of Scots in Captivity'' (Sheffield, 1880), p. 6.</ref> Knollys wrote "among other pretty devices, yesterday and this day she did set such a curled hair upon the Queen, that was said to be a periwig that showed very delicately, and every other day lightly ... she hath a new device of head dressing, without any cost, and yet sets forth a woman gaily well". Mary had received clothes "of black colour" by 28 June 1568, and Knollys sent to Edinburgh for more of Mary's clothes, as "she seemeth to esteem not of any apparyll other than hyr owne".<ref>''Calendar State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 448 no. 720, from British Library Cotton Caligula B IX.2 f.345.</ref> [[Andrew Melville of Garvock]] came to Carlisle bringing three gowns.<ref>Joseph Robertson, ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), pp. clv-clvi.</ref> The first consignment of clothes from Lochleven Castle to arrive in England for Mary proved inadequate, and she complained to Knollys that in three coffers sent by [[Regent Moray]] there was only one gown of taffeta, the rest only cloaks, saddle cloths, sleeves, partlets, coifs, and "such like trinketts".<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (Sceptre, 2023), p. 233: ''Calendar State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 453 no. 726: [[Agnes Strickland]], ''Letters of Mary, Queen of Scots'', vol. 2 (London, 1842), p. 302.</ref><ref>John Daniel Leader, ''Mary Queen of Scots in Captivity'' (Sheffield, 1880), p. 4.</ref>

Queen Elizabeth apparently hesitated to send her some of her own clothes, but did send 16 yards of black velvet, 16 yards of black satin and 10 yards of black taffeta, a gift interpreted by the costume historian [[Janet Arnold]] as a hint that Mary ought to be in mourning clothes.<ref>Janet Arnold, ''Queen Elizabeth's Wardrobe Unlock'd'' (Maney, 1988), p. 98.</ref> Mary's secretary [[Claude Nau]] mentions the receipt of this gift of textiles at Carlisle, packed in a small box and in shorter lengths than specified in Elizabeth's warrant.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (Sceptre, 2023), p. 232: Joseph Stevenson, [https://archive.org/details/historymarystew00naugoog/page/n326/mode/2up ''History of Mary Stewart by Claude Nau'' (Edinburgh, 1883), pp. 98, 297]</ref> The Spanish diplomat, [[Diego Guzmán de Silva|Guzmán de Silva]], seems to have reported this particular gift to [[Philip II of Spain|Phillip II]] as an unsuitable present for a queen comprising two old chemises, some black velvet, and a pair of shoes.<ref>Carole Levin, 'Queen Elizabeth and the Power and Language of the Gift', Donatella Montini & Iolanda Plescia, ''Elizabeth I in Writing: Language, Power and Representation in Early Modern England'' (Palgrave Macmillan, 2018), p. 224.</ref>

Francis Knollys sent Richard Graham ''alias'' Garse Ritchie, a servant of [[Henry Scrope, 9th Baron Scrope of Bolton|Lord Scrope]], to bring more of Mary's clothes from Lochleven. He brought five cart loads and four laden horses to [[Bolton Castle]] on 20 July 1568. He also brought "an old cloth of estate" which Mary was able to use above her chair in her great chamber. He went back to Scotland, where Regent Moray gave him a reward of 50 [[Écu|French crowns]] and a parcel of new clothing and costume fabric for his half-sister including; grey and black taffeta, black velvet, thread for stitching, jet buttons, and 12 pairs of leather shoes.<ref>Joseph Bain, ''Calendar State Papers Scotland: 1563-1569'', vol. 2 (Edinburgh, 1900), pp. 460 no. 737, 493 no. 791: ''Accounts of the Treasurer'', vol. 12 (Edinburgh, 1970), pp. 114, 137-8.</ref> Mary wanted Garse Richie to fetch her "jewels", the furs with gold mounts known as [[zibellino|zibellini]], from [[John Sempill of Beltrees]] but Moray would not allow this.<ref>Joseph Bain, ''Calendar State Papers Scotland: 1563-1569'', vol. 2 (Edinburgh, 1900), p. 478 no. 765.</ref> Mary received her portable sounding alarm clock or chiming watch from Lochleven, kept in a purse of silver and grey réseau work which she may have made herself.<ref>''Miscellaneous Papers, Principally Illustrative of Events in the Reigns of Queen Mary and King James VI'' (Glasgow, 1834), pp. 15, 17.</ref> She set up an old cloth of estate from Scotland above her chair in the Great Chamber at Bolton Castle, asserting her royal status.<ref>Joseph Bain, ''Calendar of State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 493 no. 791.</ref>

=== Tutbury Castle ===
A consignment of furnishing was sent to [[Tutbury Castle]] for Mary in January 1569 from the English great wardrobe and "removing wardrobe" and from the [[Tower of London]]. This included a group of tapestries, verdure tapestry bedcovers, bedding, and chairs and stools covered in crimson cloth of gold and other rich fabrics, and 2000 hooks and two hammers to hang the tapestry. Some hangings were sent to Tutbury from Sheffield by [[Bess of Hardwick]], the Countess of Shrewsbury. Chambers were "hanged" with tapestry for Lady Livingstone and her husband, and for [[Mary Seton]]. There was tapestry for three rooms of Mary's apartment, the great bedchamber, her own bedchamber, and the chamber for her grooms. Mary arrived at Tutbury on 4 February 1569 and her French tailor Jacques Senlis and the tapestry worker and embroiderer Florian rejoined her household.<ref>Joseph Bain, ''Calendar of State Papers Scotland'', vol. 2 (Edinburgh, 1900), pp. 606 no. 961, 613 nos. 979, 981, 616 no. 986, 617 no. 987.</ref>

The [[George Talbot, 6th Earl of Shrewsbury|Earl of Shrewsbury]] described her at Tutbury in March 1569, working at embroidery and making designs with [[Bess of Hardwick]], Lady Livingstone, and Mary Seton. This was an innocent domestic activity, unlikely to result in conspiracy and sedition:<ref>Emma Slocombe, 'Embroidery and Needlework of Bess of Hardwick', ''Hardwick Hall'' (Yale, 2016), p. 118.</ref> "this Queen continueth daily resort unto my wife's chamber, where with the Lady Leviston and Mistress Seton, she useth to sit working with the needle, in which she much delights, and in devising of works, and her talk is altogether of indifferent trifling matters, without any sign of secret dealing or practice".<ref>Joseph Bain, ''Calendar of State Papers Scotland'', vol. 2 (Edinburgh, 1900), p. 632 no. 1022, citing TNA SP 53/3 f.62: Michael Bath, ''Emblems for a Queen: the Needlework of Mary Queen of Scots'' (London, 2008), p. 4.</ref> A visitor, [[Nicholas White (lawyer)|Nicholas White]], mentioned embroidery as her indoor pastime in wet weather. The diversity of the coloured silks relieved the tedium of the labour of the stitch.<ref>[[Samuel Cowan (historian)|Samuel Cowan]], [https://archive.org/details/queenofscots02cowauoft/page/16/mode/2up ''Mary, Queen of Scots and Who Wrote the Casket Letters'', 2 (London, 1901), p. 17]</ref> Mary gave a speech comparing carving, painting and needlework.<ref>John Daniel Leader, ''Mary Queen of Scots in Captivity'' (Sheffield, 1880), pp. 42, 45.</ref><ref>Samuel Haynes, [https://archive.org/details/bub_gb_YitDAAAAcAAJ/page/n523/mode/2up ''Collection of State Papers'' (London, 1740), pp. 509-512]</ref><ref>[[Thomas Wright (antiquarian)|Thomas Wright]], [https://archive.org/details/queenelizabethhe01wrig/page/310/mode/2up ''Queen Elizabeth and her times'', 1 (London, 1838), p. 310]</ref>

The surviving results of their collaboration are known as the [[Oxburgh Hangings]]. In a letter of 10 September 1570, Mary mentioned that her servant [[Bastian Pagez]] devised or "invented" pieces of work, embroidery patterns, to cheer her up.<ref>[[Agnes Strickland]], ''Letters of Mary, Queen of Scots'', vol. 1 (London, 1842), pp. 139-140.</ref> The panels are worked in [[tent stitch]], the ''petit point'' embroidery which Mary probably learned in France. A surviving cushion includes a Latin motto ''Virescit Vulnere Virtus'', courage is strengthened by the wound. The motif was linked with a plot for her to escape and marry the [[Thomas Howard, 4th Duke of Norfolk]].<ref>Susan Frye, ''Pins and Needles: Women's Textualities in Early Modern England'' (Philadelphia, 2010), 52, 58.</ref>

In January 1570, Mary sent clothes from Tutbury to Scotland for James VI with her servants James Lauder and Alexander "Sanders" Bog. The clothes were sent to [[Annabell Murray, Countess of Mar]] at Stirling. Mary wanted these to be his first proper clothes since she had given him his first coat, his first "doublet and long hose" provided by his mother. In her letter to the Countess of Mar, Mary said the gift did not include essential buttons, which with the rest of her jewels were kept from her, "whereto there wants such buttons as were worthy to garnish it, thanks to them who withholds from us suchlike and better." The Countess of Mar obtained Mary's buttons for James three years later.<ref>William K. Boyd, [https://archive.org/details/calendarstatepa02boydgoog/page/56/mode/2up ''Calendar State Papers Scotland'', 3 (London, 1903), p. 57 no. 90]</ref>

There were rumours that Mary would try to escape from Tutbury in April 1571. One plan was that she should pretend to fall ill while dancing. When she was carried to bed a companion in her clothes would take her place. Mary would escape, dressed as a man, and ride away. Another plan was that she would slip away during a hunt, leaving a companion dressed in her riding clothes. Again, Mary would find an opportunity to change into male clothing and ride away with a messenger. A third plan was for the queen to cut her hair and smear her face with filth, like a "turnbroche", a boy who turned a spit over the kitchen fire. Mary seems not to have attempted escape by such methods.<ref>''Calendar State Papers Scotland, 1569-1571'', vol. 3 (Edinburgh, 1903), pp. 545-6 no. 702.</ref>

Mary had clothes sent to her from France. In November 1572 she wrote to the French ambassador [[Bertrand de Salignac de la Mothe-Fénelon|Mothe-Fénelon]] from Sheffield, hoping he could ask her mother-in-law [[Catherine de' Medici]] to buy linen for herself and her ladies.<ref>Labanoff, ''Lettres de Marie Stuart'', 3 (London, 1852), p. 396.</ref> A shopping list drawn up in 1572 by her tailor, Jehan de Compiegne, for Jean de Beaucaire, Seigneur de Puiguillon, gives an idea of clothes and textiles obtained from Paris. She may have imported similar goods during her years in Scotland, utilising her French income, although similar goods were available in Edinburgh merchants' booths. The lengths of fabrics were specified for some garments, robes of Florence serge, and doublets of satin lined with taffeta. The order included Milan-style points or ''fers'', and points of jet, an apparently ready-made velvet Spanish-style gown, stockings, shoes, velvet and leather slippers, plain and embroidered handkerchiefs, and other items. The purchases were packed in two coffers or ''bahuts'' and shipped in May to the French ambassador Mothe-Fénélon in London to forward to Mary at [[Sheffield Castle]].<ref>William Boyd, ''Calendar State Papers Scotland'', vol. 4 (Edinburgh, 1905), pp. 304-5 nos 324-5: TNA SP 53/8 ff. 95-8 (two copies): Some older historians assumed this list was Mary's gift to Elizabeth.</ref> The clothes had not reached her by 10 June, so Mary wrote to Mothe Fénélon about the missing coffer her tailor had brought to London.<ref>Sylvia L. England, 'Some Unpublished Letters of Mary, Queen of Scots', ''EHR'', 52:205 (January 1937), p. 81.</ref> Mary seems to have made a similar order in April 1573.<ref>Labanoff, ''Lettres de Marie Stuart'', vol. 4 (London, 1852), p. 70.</ref>

===Sheffield, French clothes, and a will===
In January 1576, the French ambassador [[Michel de Castelnau]] asked Elizabeth I to allow four trunks of French-made clothes to be delivered to Mary at [[Sheffield Manor]] by her tailor's servants.<ref>William Boyd, Calendar State Papers Scotland, vol. 5 (Edinburgh, 1907), p. 210 no. 218.</ref> Mary made a will when she was at Sheffield Manor in February 1577. She wanted the executors who would arrange for her funeral to have her large bed of "cramoysi brun" embroidered velvet, her tapestries of the Story of Aeneas and the Story of Meleager, a table nef, and a suite of wall hangings of cloth of gold and violet velvet. She bequeathed an old bed of violet velvet to a French servant Baltassar Hully.<ref>A. Labanoff, ''Lettres de Marie Stuart'', vol. 4 (London, 1852), p. 360 citing British Library Cotton Vespasian C. XVI f.145.</ref> Ten years later, the "cramoysi brun" bed was described as "old purple velvet, embroidered with cloth of silver and flowers, with curtains of purple damask, and a covering of serge furred with fox".<ref>A. Labanoff, ''Lettres de Marie Stuart'', vol. 7 (London, 1852), p. 271.</ref>

While at Sheffield in 1581, Marie Castelnau, the wife of the French ambassador in London, [[Michel de Castelnau]], sent her a gown and a "soutane". Her tailor Jacques de Senlis had died and she wanted to employ Jehan de Compiegne, a tailor who had worked for her in Scotland.<ref>[[William Barclay Turnbull]], ''Letters of Mary Stuart'' (London, 1845), p. 284.</ref> She asked James Beaton, Archbishop of Glasgow, to buy dress materials in Rouen for her, and forward them to the French ambassador [[Michel de Castelnau]].<ref>Alexandre Labanoff, ''Lettres de Marie Stuart'', vol. 5 (London, 1852), pp. 121-2.</ref> Mary was able to buy silk fabrics for her clothes in France, using 1039 crowns from her French income.<ref>William K. Boyd, ''Calendar State Papers Scotland'', vol. 6 (Edinburgh, 1910), p. 39 no. 46.</ref> A minor earthquake shook Mary's lodging at Sheffield in February 1575 while Mary's gentlewomen were working sitting on boxes and stools.<ref>David Templeman, ''Mary, Queen of Scots: The Captive Queen in England'' (Exeter: 2016), pp. 119–120: [[William Barclay Turnbull|William Turnbull]], ''Letters of Mary Stuart'' (London: Dolman, 1845), p. xi.</ref>

===Invisible ink===
After Castelnau was recalled from London, Mary wrote from Chartley to the new ambassador [[Guillaume de l'Aubespine de Châteauneuf]] about maintaining a secret correspondence. She suggested writing sometimes on supplies of white taffeta, or a fine linen called "linomple". The ambassador was to refer to the cloth in his letters, mentioning the length was a number of yards or ells plus one half. This would tell her that the ambassador had written on the cloth with invisible ink made with [[alum]].<ref>[[William Barclay Turnbull]], ''Letters of Mary Scots'' (London, 1845), pp. 339-340.</ref> A letter sent to Mary's secretary [[Claude Nau]] by his brother-in-law, Jean Champhuon, Sieur du Ruisseau, was intercepted. It included the suspicious phrase "a hundred and a half-hundred of feathers", thought to indicate a secret message.<ref>William K. Boyd, ''Calendar of State Papers relating to Scotland and Mary, Queen of Scots'', vol. 5 (Edinburgh, 1907), no. 63.</ref>

==Making gifts for Queen Elizabeth==
Mary hoped to gain Elizabeth's favour by gift giving.<ref>Catherine L. Howey, 'Women, dress, and Power at Court', Anne J. Cruz & Mihoko Suzuki, ''The Rule of Women in Early Modern Europe'' (University of Illinois, 2009), p. 151.</ref><ref>[[Maria Hayward]], 'Dressed to Impress', Alice Hunt & Anna Whitelock, ''Tudor Queenship: The Reigns of Mary and Elizabeth'' (Palgrave Macmillan, 2010), p. 91.</ref><ref>John Hosack, ''Mary, Queen of Scots, and her Accusers'', 2 (Edinburgh: Blackwood, 1874), pp. 181–82.</ref> Handmade items made personally or within the household could be highly regarded, especially if carefully chosen with insider advice and made from the finest materials.<ref>[[Jemma Field]], 'Female dress', Erin Griffey, ''Early Modern Court Culture'' (Routledge, 2022), p. 401.</ref> In 1574 Mary embroidered an incarnate or crimson satin skirt with silver thread using materials bought in London by the ambassador, [[Bertrand de Salignac de la Mothe-Fénelon|Mothe Fénélon]].<ref>Carole Levin, 'Queen Elizabeth and the Power and Language of the Gift', Donatella Montini & Iolanda Plescia, ''Elizabeth I in Writing: Language, Power and Representation in Early Modern England'' (Palgrave Macmillan, 2018), p. 227.</ref><ref>Jemma Field, 'Female dress', Erin Griffey, ''Early Modern Court Culture'' (Routledge, 2022), p. 401.</ref><ref>Catherine L. Howey, 'Women, Dress, and Power at Court', Anne J. Cruz & Mihoko Suzuki, ''The Rule of Women in Early Modern Europe'' (University of Illinois, 2009), p. 151.</ref> She had sent him a sample of the silk required.<ref>John Daniel Leader, ''Mary Queen of Scots in Captivity'' (Sheffield, 1880), pp. 318, 329–331.</ref> Mary soon wrote for more incarnate silk thread, better quality thinner silver thread, and incarnate taffeta for the lining.<ref>[[Janet Arnold]], ''Queen Elizabeth's Wardrobe Unlock'd'' (Maney, 1998), 94.</ref><ref>Alexandre Labanoff, [https://archive.org/details/lettresinstructi04maryuoft/page/110/mode/2up ''Lettres de Marie Stuart'', vol. 4 (London, 1852), pp. 111, 117, 119]</ref><ref>[[William Barclay Turnbull]], ''Letters of Mary Scots'' (London, 1845), p. xxviii.</ref> Mothe-Fénélon presented the finished item to Elizabeth on 22 May, with a declaration of friendship, and reported to [[Charles IX of France]] that the gift was a success.<ref>Janet Arnold, ''Queen Elizabeth's Wardrobe Unlock'd'' (Maney, 1988), p. 94.</ref><ref>[https://archive.org/details/correspondanced00coopgoog/page/n136/mode/2up ''Correspondance de Bertrand de Salignac de la Mothe Fénélon, 1574-1575'', vol. 6 (Paris, 1840), p. 122] 'une basquinne [sic] de satin incarnat, ... en tout tissu de sa main'.</ref><ref>David Templeman, ''Mary, Queen of Scots: The Captive Queen in England'' (Exeter: 2016), p. 112.</ref>

Presumably hopeful of an audience at the English court, in July 1574, Mary asked the [[James Beaton (archbishop of Glasgow)|Archbishop of Glasgow]], her contact in Paris, to send [[coif]]s embroidered with gold and silver and the latest fashion in Italian ribbons and veils for her hair.<ref>David Templeman, ''Mary, Queen of Scots: The Captive Queen in England'' (Exeter: 2016), p. 113.</ref> She hoped that one of the French tailors who had served her in Scotland, [[Jean de Compiègne]], would come to her at Sheffield, bringing patterns and fabric samples as worn at the French court.<ref>John Daniel Leader, ''Mary Queen of Scots in Captivity'' (Sheffield, 1880), pp. 339–340.</ref><ref>[[John Guy (historian)|John Guy]], ''My Heart is My Own: The Life of Mary Queen of Scots'' (London: Fourth Estate, 2009), pp. 449-50: Agnes Strickland, ''Letters of Mary, Queen of Scots'', vol. 1 (London, 1842), pp. 198-199: Labanoff, [https://archive.org/details/lettresinstructi34mary/page/186/mode/2up ''Lettres de Marie Stuart'', vol. 4 (London, 1852), p. 187]</ref>

Although she had few helpers for delicate work, Mary planned making more gifts for Elizabeth, including a "coiffure with the suite" and some lacework, "ouvrages de réseul". She asked Mothe Fénélon for advice on what Elizabeth would like best, and asked him to send lengths of gold [[passementerie]], braids called "bisette", and silver spangles or [[oes]] which she called ''papillottes''.<ref>John Daniel Leader, ''Mary Queen of Scots in Captivity'' (Sheffield, 1880), p. 331: ''Lettres de Marie Stuart'', vol. 4 (London, 1852), pp. 222-3.</ref> Mary gave Elizabeth an ''accoustrement de reseul'' in December 1574, probably a hairnet or snood.<ref>John Daniel Leader, ''Mary Queen of Scots in Captivity'' (Sheffield, 1880), p. 349.</ref>

Elizabeth remained cautious of Mary's gifts, and was reluctant to try some French sweets or sweetmeats which Mothe Fénélon offered her as a gift from the brother of the chancellor of Mary's dowry, for fear of poison.<ref>John Guy, ''My Heart is My Own: The Life of Mary Queen of Scots'' (London: Fourth Estate, 2009), p. 453.</ref><ref>Alexandre Labanoff, ''Lettres inédites de Marie Stuart'' (Paris, 1839), pp. 321-322: Labanoff, [https://archive.org/details/lettresinstructi04maryuoft/page/234/mode/2up ''Lettres de Marie Stuart'', vol. 4 (London, 1852), pp. 235-6]</ref><ref>Sophie Crawford Lomas, ''Calendar State Papers Foreign, 1584–1585'', 19 (London, 1916), p. 260.</ref> [[William Cecil, 1st Baron Burghley|William Cecil]] had written a memorandum for the safety of Elizabeth, advising caution with gifts of scented clothing and [[perfumed gloves]].<ref>Samuel Haynes, ''Collection of State Papers'' (London, 1740), p. 368.</ref> A letter from the treasurer Dolu in March 1576 mentions lemons or citrons and dry sugar comfits. Dolu had also bought a chessboard ''ung damyer'' and pieces ''cessetz'' for Mary.<ref>''HMC 6th Report: Frank'' (London, 1877), p. 456.</ref>

Elizabeth was pleased with one present received from Mary, and in September 1575 she sent [[Robert Beale (diplomat)|Robert Beale]] to Mary's keeper, the [[George Talbot, 6th Earl of Shrewsbury|Earl of Shrewsbury]], who mentioned her gracious acceptance, and Beale brought Mary a gift of a jewel depicting the story of [[Pyramus and Thisbe]].<ref>Diana Scarisbrick, 'Treasured in Adversity: Jewels of Mary Stuart, II', ''Country Life'' (10 June 1982): Labanoff, 7 (London: Dolman, 1844), pp. 243, 258: Lodge, ''Illustrations of British History'', 2 (London, 1791), p. 129.</ref>

Mary gave Elizabeth a skirt front or ''devant de cotte'' in July 1576, made in her household, and followed up with an embroidered casket and a headdress. She wrote that if the skirt pleased Elizabeth she could have others made, even more beautiful. Mary asked Elizabeth if she would send the pattern of the high necked bodice she wore, "''un patron d'un de voz corps à haut collet''" for her to copy.<ref>William Boyd, ''Calendar State Papers Scotland, 1574-1581'', (Edinburgh, 1907), p. 29 no. 233: Labanoff, ''Lettres de Marie Stuart'', 4, p. 335: TNA SP53/10.</ref>

Mary provided clothes for some of the women in her household. When she was at [[Worksop Manor]] in September 1583, she wrote to "[[Elizabeth Pierrepont|Bess Pierpont]]", who was at home with her family. Mary was having a black gown made for her and had ordered her a "garniture" to wear with it, either of wire-work and jewellery or a woven trimming, from London.<ref>Labanoff, ''Lettres de Marie Stuart'', vol 5 (London, 1852), pp. 370-1.</ref><ref>[[William Barclay Turnbull]], ''Letters of Mary Scots'' (London, 1845), pp. xxix-xxx.</ref>

In 1584, Mary asked the French ambassador in London, Michel de Castelnau to take special care of her secret correspondence and pay the couriers well. He should pretend the money was for gold and silver embroidery thread he sent to her.<ref>[[Agnes Strickland]], ''Letters of Mary, Queen of Scots'', vol. 1 (London, 1842), p. xl & vol. 2, p. 45: A. Labanoff, [https://archive.org/details/lettresinstruct07marygoog/page/462/mode/2up ''Lettres de Marie Stuart'', vol. 5 (London, 1852), p. 463]</ref> His wife, Marie, sent her coifs to wear on her head in March 1585.<ref>''Lettres de Marie Stuart'', vol. 6 (London, 1844), p. 106.</ref>

===A gown for Lady Cobham===
Mary found an ally in [[Anne Howard, Countess of Arundel]]. She had family connections in the north of England and could help get Mary's letters delivered in Scotland. In 1585, Mary wanted write to [[Frances Newton, Baroness Cobham|Frances, Lady Cobham]] and make her a gift of silk and velvet for a gown. Mary hoped the Countess of Arundel would buy the fabrics and give them to Cobham if this was appropriate. The French ambassador Castelnau would reimburse the Countess of Arundel.<ref>Alexandre Labanoff, ''Lettres de Marie Stuart'', vol. 5 (London, 1844), p. 193.</ref>

==Clothes remaining in Edinburgh Castle, 1578==
While Mary was England, and her son [[James VI of Scotland|James VI]] was growing up at [[Stirling Castle]], a substantial remainder of Mary's wardrobe and the furnishings of her palaces were locked up in [[Edinburgh Castle]]. An inventory was made in March 1578,<ref>David Moysie, [https://archive.org/details/memoirsaffairss02denngoog/page/n43/mode/2up ''Memoirs of the Affairs of Scotland'' (Edinburgh, 1830), p. 5]</ref> written in the [[Scots Language]], including her "gownes, vaskenis, skirtis, slevis, doublettis, vaillis, vardingallis, cloikis".<ref>Thomas Thomson, ''Collection of Inventories'' (Edinburgh, 1815), p. 219.</ref> The inventory exists in two copies, one in the [[National Archives of Scotland]] and another in the [[British Library]].<ref>British Library, Harley MS 4637: ''Calendar State Papers Scotland: 1574–1581'', vol. 5 (London, 1907), p. 283: Thomson (1815), pp. 203–261.</ref> The taking of this inventory was described in the chronicle attributed to [[David Moysie]].<ref>James Dennistoun, [https://archive.org/details/memoirsaffairss02denngoog/page/n43/mode/2up ''Moysie's Memoirs of the Affairs of Scotland'' (Edinburgh, 1830), p. 5]</ref>

Among the hundreds of items; "a Highland kirtle of black stemming embroidered with blue silk" was related to the black gown found in Mary's chest at Fawside, and a pair of white canvas shepherd's kirtles were remnants from a masque performed at [[Castle Campbell]] in 1563 at the wedding of [[James Stewart, 1st Lord Doune|Lord Doune]].<ref>Joseph Bain, ''Calendar State Papers Scotland'', vol. 1 (Edinburgh, 1898), pp. 678-9, 681: Joseph Robertson, ''Inventaires de la Royne Descosse'' (Edinburgh, 1863), pp. lxxxii, 136, 138.</ref> There were items of costume from court revelries and masques including feathers, golden shields, headdresses of silver, and "Egyptian" hats made of red and yellow fabrics.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), pp. 150, 220-1.</ref> Accessories included; "huidis, quaiffis, collaris, rabattis, orilyeitis (fronts of hoods), napkins, caming cloths, covers of night gear, hose, shoes, and gloves".<ref>Thomas Thomson, ''Collection of Inventories'' (Edinburgh, 1815), pp. 223, 229, 231.</ref> At least 36 pairs of her velvet shoes remained in Edinburgh Castle "of sundry colours passmented with gold and silver stored in Edinburgh Castle. These had probably been made for her by [[Fremyn Alezard]].<ref>Thomas Thomson, ''Collection of Inventories'' (Edinburgh, 1815), p. 236.</ref>

There were sixty pieces of canvas marked up for embroidery, including a canvas bed valance, "drawin upoun paper and begun to sew", with nine pieces of sewing canvas, some drawn and some undrawn. Some pieces of half finished embroidery included the arms of House of Longueville, and had belonged to Mary of Guise, whose first husband was the [[Louis II d'Orléans, Duke of Longueville|Duke of Longueville]].<ref>Thomas Thomson, ''Collection of Inventories'' (Edinburgh, 1815), p. 216.</ref>

===Dolls and Mary's cabinet===
[[File:Hans Holbein the Younger - Jane Seymour, Queen of England - Google Art Project.jpg|thumb|right|[[Jane Seymour]] owned dolls with miniature accessories]]
In one coffer stored in Edinburgh Castle there was a set of dolls called "pippens" with their miniature wardrobe of farthingales, sleeves, and slippers.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), pp. 77-84.</ref><ref>[https://www.historicenvironment.scot/archives-and-research/publications/publication/?publicationid=b78493b8-3cf3-4b47-a7c2-a9eb00f39ad1 Historic Environment Scotland: The dolls of Mary Queen of Scots]</ref> The dolls may have been intended for play, or used as [[fashion doll]]s disseminating patterns for creating new outfits for Mary and her ladies in waiting.<ref>Genevieve Warwick, ''Cinderella's Glass Slipper: Towards a Cultural History of Renaissance Materialities'' (Cambridge, 2022), pp. 73-74: Sophie Pitman, 'Dolled Up', Serena Dyer, Jade Halbert, Sophie Littlewood, ''Disseminating Dress: Britain's Fashion Networks, 1600-1970'' (London: Bloomsbury, 2022), pp. 28, 38-9.</ref>

Some renaissance dolls seem to have been destined for play. In 1571, Mary's former companion in France, [[Claude of Valois]], Duchess of Lorraine, asked her goldsmith Pierre Hotman to send her some dolls "as well-clothed as he could find" in 1571, with a set of miniature silver plates for a ''buffet'' made in Paris, intended as a present for Christine, the new-born daughter of [[Renata of Lorraine]], Duchess of Bavaria.<ref>Laborde, ''Notice des Emaux, Bijoux, et Objets divers exposés dans le Musèe des Galeries du Louvre'' (Paris, 1854), p. 465: ''Dictionnaire Historique de l'Ancien Langage Francois'', vol. 7 (Niort: Favre), p. 324.</ref> [[Jeanne d'Albret]] also bought dolls in 1571.<ref>Paul Raymond, [https://archive.org/details/revuedaquitaine00noulgoog/page/n142/mode/2up "Notes Extraites des Comptes de Jeanne D'Albret", ''Revue d'Aquitaine et des Pyrénées'', 11 (1867), p. 129]</ref>

[[Jane Seymour]], third wife of [[Henry VIII]], owned great and little "babies" dressed in gowns of cloth of silver, satin, and velvet tied with gold "aglettes", like her own sleeves.<ref>[[Maria Hayward]], ''Dress at the Court of Henry VIII'' (Maney, 2007), p. 159: Maria Hayward, ''The 1542 Inventory of Whitehall Palace'', 2 (Illuminata Publishers, 2004), p. 157 nos. 2247, 2248.</ref> In a treatise on collecting printed in 1565, Samuel Quiccheberg noted that princesses and queens sent each other dolls with details of foreign clothing.<ref>Sophie Pitman, 'Dolled Up: The Material Dissemination of Dress in Early Modern Europe', Serena Dyer, Jade Halbert, Sophie Littlewood, ''Disseminating Dress: Britain's Fashion Networks, 1600–1970'' (Bloomsbury, 2020), p. 39: Mark A. Meadow & Bruce Robertson, ''The First Treatise on Museums: Samuel Quiccheberg’s Inscriptiones, 1565'' (Getty, 2013), p. 84.</ref> Mary's tailor Jacques de Senlis updated the dolls' costumes with grey damask and silver cloth in September 1563.<ref>Michael Pearce, 'The Dolls of Mary Queen of Scots', ''Edinburgh Castle Research Reports'' (Historic Environment Scotland, 2018), pp. 13, 19: Joseph Robertson, [https://archive.org/details/inventairesdela00robegoog/page/n320/mode/2up ''Inventaires'' (Edinburgh, 1863), p. 139]</ref>

Mary's dolls are listed in the inventory with miscellaneous items which appear to be a remainder of her [[cabinet of curiosities]] in Scotland.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), p. 96: Michael Bath, ''Emblems for a Queen'' (Archetype, 2008), p. 124.</ref> A cabinet room at [[Holyrood Palace]] had been fashioned for Mary by her valet [[Servais de Condé]] in September 1561, the walls lined with fabic called "Paris green".<ref>''Accounts of the Treasurer'', vol. 11 (Edinburgh, 1916), p. 66.</ref> The work was financed with a loan from the banker and textile merchant [[Timothy Cagnioli]].<ref>[[Gordon Donaldson]], ''Thirds of Benefices'' (SHS, Edinburgh, 1949), p. 170.</ref>

===Elizabeth Stewart, Countess of Arran===
In 1584, [[James Stewart, Earl of Arran]] gained political power in Scotland, and his wife [[Elizabeth Stewart, Countess of Arran]] became an influential and controversial figure. An English diplomat, [[William Davison (diplomat)|William Davison]], reported that she had obtained new keys to Mary's jewel chests, and the official keeper of the keys, [[Robert Melville, 1st Lord Melville|Robert Melville]], would resign his responsibilities. Davison heard that the Countess of Arran had surveyed the remaining royal wardrobe, and "tried what garments, and that were the Queen's, may best fit her, and choose out, at her own discretion, what she liketh". Davison thought that these actions of Arran and his wife in August 1584 would soon provoke a reaction against them.<ref>''Letters and papers relating to Patrick, Master of Gray'' (Edinburgh, 1835), p. 6.</ref>

==The 1586 inventories==
[[File:British (Scottish) School - Henry Stuart (1545–1567), Lord Darnley, and Mary, Queen of Scots (1542–1587) - 1129218 - National Trust.jpg|thumb|right|Mary in black velvet embroidered with pearls, with matching sleeves and ''vasquine'' skirt over a French [[farthingale]], with [[Henry Stuart, Lord Darnley|Lord Darnley]], [[Hardwick Hall]]]]
An inventory of Mary's wardrobe was made at [[Chartley Castle]] on 13 June 1586, written in French. The main headings are:<ref>A. Labanoff, ''Lettres de Marie Stuart'', vol. 7, pp. 230-238.</ref>
* Gowns or ''robes'', including;
** A black velvet gown with a tail, embroidered with pearls, lined with black taffeta, with pearl buttons on the front and on the sleeves
** Another gown of [[Crêpe (textile)|crêpe]], embroidered with jet, the bodice lined with white satin
** Another gown of black satin, lined with black taffeta, two velvets passements at the front
* Skirts or ''vasquines''
** Another skirt of black taffeta, banded, lined with taffeta
** Another of black satin, lined with black taffeta, with two bands of velvet [[passementerie]] at the front
** Another of white satin, lined with white buckram, banded with beads of jet
* [[Doublet (clothing)|Doublets]] called ''pourpoincts''
** Another of white satin, with taffeta cordons on the sleeves
* Doublets called ''juppes''
** A jupe of "cramoisy brun" velvet with bands of black passementerie, lined with "brune" taffetta. This garment accords with a description of Mary's costume on the day of her execution given by [[Adam Blackwood]], and the "iuppe de velours cramoisy brun" mentioned in ''La Mort de la Royne D'Escosse'' (1588).<ref>John Morris, ''Letter-Books of Amias Paulet'' (London, 1874), p. 369: ''La Mort de la Royne D'Escosse'' (1588), p. 89.</ref>
** A jupe of crimson figured satin, with four bands of blue silk and silver passementerie, with fringes of the same, lined with white taffeta
* Cloaks or ''manteaux''
* Tapestries and cloths of estate
** A dais or cloth of estate of violet silk, embroidered with the arms of Scotland and Lorraine.<ref>See also, Thomson (1815), pp. 133-4 no. 4.</ref>
** Another cloth of estate of "cramoisy" brown velvet, barred with silver passementerie.<ref>See also, Thomson (1815), p. 124.</ref>
* Other items in the wardrobe coffers
** The bodice of a velvet gown with a high collar, with sleeves embroidered with passementerie and jet
** A garniture or ornament for a gown with bands of pearls on black velvet
[[File:Mary, Queen of Scots - A catte - Google Art Project.jpg|thumb|right|[[Mary, Queen of Scots]], embroidered a picture of a cat, [[Royal Collection]]]]

===Embroidery and pictorial sources===
[[File:Criptídeo de Frei André Thevet 1558.png|thumb|right|Mary embroidered one of the [[Oxburgh Hangings|Oxburgh panels]] with an image of the "Su", an animal from [[Patagonia]] illustrated by [[André Thevet]].<ref>Peter Mason, 'André Thevet, Pierre Belon and Americana in the Embroideries of Mary Queen of Scots', ''Journal of the Warburg and Courtauld Institutes'', 78 (2015), p. 211.</ref>]]
A further inventory was made at Chartley on 18 May of needlework in the keeping of [[Mademoiselle Rallay|Renée Rallay ''alias'' Mademoiselle de Beauregard]]. This includes 102 flowers worked in [[Tent stitch|petit-point]], 124 birds, and another 116 birds cut-out, 16 four-footed beasts including a lion attacking a wild boar, 52 fish, and other works of embroidery intended for a bed and a cloth of estate.<ref>A. Labanoff, ''Lettres de Marie Stuart'', vol. 7 (London, 1852), pp. 239-241: Michael Bath, ''Emblems for a Queen'' (London, 2008), pp. 5-6: Nicole LaBouff, 'Embroidery and Information Management: The Needlework of Mary Queen of Scots and Bess of Hardwick Reconsidered', ''Huntington Library Quarterly'', 81:3 (2018), p. 28.</ref> Another paper (in two parts) in French describes the devices on Mary's bed, the embroidered [[emblem]]s with Latin mottoes.<ref>Michael Bath, ''Emblems for a Queen'' (London, 2008), p. 147: William Boyd, ''Calendar State Papers Scotland'', vol. 9 (London, 1915), p. 502 no. 408.</ref>

Embroidery was a lifelong hobby and passion for Mary. She embroidered a pair of cushions as gifts for the Cardinal of Lorraine in 1574. One of her French administrators, Gilles, Seigneur du Verger, sent her a range of coloured silk thread in 1577, which she called "''soyes de nuances pour mes ouvrages''.<ref>Rosalind K. Marshall, ''Queen Mary's Women: Female Relatives, Servants, Friends and Enemies'' (Edinburgh: Birlinn, 2006), p. 183: Alexandre Labanoff, ''Lettres de Marie Stuart'', vol. 4 (London: Dolman, 1844), pp. 28, 394.</ref>

Mary used designs from [[emblem]] books and illustrations from the natural history works of [[Conrad Gesner]].  A ginger "catte" based on a woodcut of Gesner's may have been intended to represent Elizabeth I.<ref>John Guy, ''My Heart is My Own: The Life of Mary Queen of Scots'' (Fourth Estate, 2009), pp. 449-50.</ref> Other sources for animals incorporated for motifs worked by Mary include the publications of [[Pietro Andrea Mattioli]] and [[Pierre Belon]]. Her "bird of America", the toucan, was based on an illustration by [[André Thevet]], and she also copied his "Su". Thevet had a number of connections to Mary, and the Guise and French royal family, and had sailed to Brazil in the fleet of [[Nicolas Durand de Villegaignon]], who captained Mary's two voyages between France and Scotland.<ref>Peter Mason, 'André Thevet, Pierre Belon and Americana in the Embroideries of Mary Queen of Scots', ''Journal of the Warburg and Courtauld Institutes'', 78 (2015), pp. 209-11, 220.</ref>

===Treason as a cushion===
A design with the Latin motto ''Virescit Vulnere Virtus'' (virtue grows strong by wounding) seems to signal her will and ambition to survive her rival.<ref>John Guy, ''My Heart is My Own: The Life of Mary Queen of Scots'' (Fourth Estate, 2009), pp. 449-50.</ref> Made up a cushion cover as a gift to the Duke of Norfolk, the design featured a hand descending from heaven with a pruning hook, as if to clear away old growth for new shoots. This was interpreted as referring to Elizabeth as barren stock and the continuance of the English crown through the descent of Mary.<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (Sceptre, 2020), p. 273.</ref>

===Inventories made in August 1586 and February 1587===
In August 1586, possibly while Mary was taken to [[Tixall Gatehouse|Tixall]], an inventory was made of her jewels and silver plate in the keeping of [[Jane Kennedy (courtier)|Jean Kennedy]]. Some fabrics were in the keeping of [[Gilbert Curle|Elizabeth Curle]].<ref>A. Labanoff, ''Lettres de Marie Stuart'', 7 (London, 1852), pp. 242-249.</ref> There is also a short list of items stolen from Mary in 1586. The circumstances are unclear. The list includes a gold pincase to wear on a girdle, enamelled white and red, doublets of russet satin and canvas, a black velvet cap with a green and black feather, and three embroidered mufflers or [[Scarf|scarves]] of which two were black velvet. Three "carcanet chains" or necklaces were embroidered with gold and silver.<ref>William Boyd, ''Calendar State Papers Scotland: 1586-1588'', 9 (Edinburgh, 1915), p. 228: TNA SP 53/20 f.44.</ref>

The August 1586 inventory includes some linen and canvas for embroidery, and a bed of work of "rezel", ''le lict d'ouvraige de rezel''.<ref>.A. Labanoff, ''Lettres de Marie Stuart'', 7 (London, 1852), 244, 252.</ref> The "rezel" was probably the same "reseau" network that Mary had crafted at Lochleven. The bed curtains were described again in English as "furniture for a bedd, of network and holland intermixed, not half finished".<ref>A. Labanoff, ''Lettres de Marie Stuart'', 7 (London, 1852), p. 270.</ref> By this time, Charles Plouvart was employed as her embroiderer, a replacement for Pierre Oudry. Pierre Oudry had served Mary at Sheffield, with his wife, sister-in-law and five children. His wife became mentally ill and was kept at Tutbury while Mary was at Chartley.<ref>''Calendar State Papers Scotland'', vol. 8 (Edinburgh, 1914), pp. 181–83 no. 235, 200 no. 245, 412 no. 439.</ref> Later collectors and historians thought Oudry was a painter, and his name "P. Oudry Pinxit" was added Mary's portraits.<ref>David A. H. B. Taylor, 'Bess of Hardwick's Picture Collection', David Taylor & David Adshead, ''Hardwick Hall'' (Yale, 2016), pp. 76–78.</ref>

After Mary's execution in February 1587 a list of her belongings, jewellery and apparell, in the possession of various members of her household was made.<ref>Michael Bath, ''Emblems for a Queen: The Needlework of Mary Queen of Scots'' (London: Archetype, 2008), p. 6: William Boyd, ''Calendar State Papers Scotland: 1586-1588'', 9 (Edinburgh, 1915), p. 304 no. 292.</ref> Jean Kennedy, Renée Rallay, Gillis Mowbray, and Mary Pagez, the daughter of [[Bastian Pagez]], each held several items from the queen's wardrobe. Renée Rallay had the queen's embroidery silks. Some pieces, including the black velvet gown set with pearls were said to have been earmarked by Mary to be sold by her Master of Household, [[Andrew Melville of Garvock]], to cover the expenses of the return of servants to Scotland.<ref>A. Labanoff, ''Lettres de Marie Stuart'', 7 (London, 1852), pp. 254-274.</ref>

===The emblematic bed at Holyrood Palace in 1603===
Some of Mary's things were sent to Scotland, and in April 1603, the secretary of [[Anne of Denmark]], [[William Fowler (makar)|William Fowler]] noted or obtained a list of some of the emblems or devices [[Oxburgh Hangings|embroidered on the curtains of Mary's bed]] at [[Holyrood Palace]]. Fowler's nephew [[William Drummond of Hawthornden|William Drummond]] of [[Hawthornden Castle|Hawthornden]] sent a version of the list to [[Ben Jonson]] in 1619. The embroideries included a panel with a Latin motto ''Unus Non Sufficit Orbis'', or "One world is not enough".<ref>Michael Bath, ''Emblems for a Queen: The Needlework of Mary Queen of Scots'' (London: Archetype, 2008), pp. 147-157.</ref> An picture of a two [[loadstone]] magnets was captioned with an embroidered anagram of "Marie Steuart" in French as ''Sa Verteu M'attire'', meaning "its virtue attracts me". This anagram had been used by Mary as a signature to a poem in 1574.<ref>Susan Frye, ''Pens and Needles: Women's Textualities in Early Modern England'' (Philadelphia, 2010), p. 54.</ref>

==Mary's execution==
[[File:ExecutionOf MaryQueenOfScots DrawingBy RobertBeale 1587.png|thumb|right|Several contemporary narrative accounts describe Mary's clothes and disrobing at her execution at [[Fotheringhay Castle]].<ref>[https://www.bl.uk/learning/timeline/item106165.html British Library, Execution of Mary, Queen of Scots, Add. MS 48027]</ref>]]
During the investigations into the [[Babington Plot]], the code breaker [[Thomas Phelippes]] interviewed Mary's two secretaries, [[Gilbert Curle]] and [[Claude Nau]], and [[Jérôme Pasquier (courtier)|Jérôme Pasquier]], groom of the chamber and master of Mary's wardrobe, in the [[Tower of London]].<ref>Conyers Read, ''Bardon Papers'' (London: Camden Society, 1909), p. 43: [[John Hungerford Pollen (Jesuit)|John Hungerford Pollen]], [https://digital.nls.uk/scottish-history-society-publications/browse/archive/127236321?mode=fullsize ''Queen Mary and the Babington Plot'' (Edinburgh: Scottish History Society, pp. clxxxv-clxxxvii]</ref> Pasquier's role included buying cloth in London for the livery clothes of the household.<ref>William Boyd, ''Calendar State Papers Scotland, 1586-1588'', vol. 9 (London, 1915), pp. 248-249 no. 246: Regis Chantelauze, ''Marie Stuart: son proces et son execution, d'apres le journal inedit de Bourgoing son medecin'' (Paris, 1876), p. 559.</ref> He confessed to [[substitution cipher|writing and deciphering coded letters]] for Mary, and had written a letter asking the French ambassador to seek a pardon for the plotter [[Francis Throckmorton]].<ref>William Boyd, ''Calendar State Papers Scotland, 1586-1588'', vol. 9 (London, 1915), p. 56 no. 50.</ref>

[[Adam Blackwood]] wrote an account of the execution and her clothing. He said that Mary's veil, which reached the ground, was one usually worn on solemn occasions, or for important audiences.<ref>Samuel Jebb, ''De Vita Et Rebus Gestis Serenissimae Principis Mariae Scotorum'', vol. 2 (London, 1725), p. 640: Adam Blackwood, ''La mort de la royne d'Escosse, douairiere de France'' (1588), p. 89.</ref> An English account mentions she was attired "in a gowne of black sattyn embroydered with a French kind of embroydery of black velvett, her hair seemly trussed up with a vayle of white laund, which covered her head and all her other apparel down to the foote".<ref>William K. Boyd, ''Calendar of State Papers relating to Scotland and Mary, Queen of Scots'', vol. 9 (Edinburgh: HMSO, 1915), no. 267 citing TNA SP 53/21 f.26.</ref>

A narrative of Mary's execution by "R. W.", Robert Wingfield,<ref>Clare Hunter, ''Embroidering Her Truth: Mary, Queen of Scots and the Language of Power'' (London: Sceptre, 2022), p. 309: Charles Dack, ''The Trial, Execution and Death of Mary Queen of Scots'' (Northampton, 1889), pp. 1-18.</ref> mentions her costume as she left her bedchamber; "her borrowed hair" a wig, and on her head she had a dressing of [[Lawn cloth|lawn]] edged with [[Bobbin lace|bone lace]], a [[pomander]] chain and an "Agnus Dei" about her neck, a Crucifix in her hand, a pair of beads (a rosary) at her girdle, with a golden cross at the end of them. She had a veil of lawn fastened to her caul bowed out with wire, and edged round about with bone lace. Her gown was of black satin painted, with a train and long sleeves to the ground, with acorn-shaped buttons of jet and pearl. She had short or half sleeves of black satin, over a pair of sleeves of purple velvet. Her kirtle was of figured black satin, her petticoat upperbody unlaced in the back of crimson satin,<ref>William Joseph Walter, ''Mary, Queen of Scots. A journal of her twenty years' captivity'', 2 (Philadelphia, 1840), p. 344.</ref><ref>This phrase is omitted in some published versions, present in [[John Strype]], ''Annals of the Reformation'', vol. 3 (London, 1728), p. 584, and in British Library Harley MS 290 f.205, and Cotton Caligula C. IX f.638.</ref> and her petticoat skirt of crimson velvet, her shoes of Spanish leather with the rough side outward, a pair of green silk garters, her nether stockings of [[worsted]] were coloured watchet (sky blue),<ref>'Watchet', M. Channing Linthicum, ''Costume in the Drama of Shakespeare and his Contemporaries'' (Oxford, 1936), pp. 28-9.</ref> clocked with silver, and edged on the tops with silver, and next by her leg, a pair of white [[Jersey (fabric)|Jersey]] hose. An anonymous history of Mary calls her costume "matronlike and very modest".<ref>[[Agnes Strickland]], ''Letters of Mary, Queen of Scots'', vol. 2 (London, 1842), pp. 253-263, modernised here.</ref><ref>[[Annie Cameron|Annie I. Cameron]], [https://digital.nls.uk/scottish-history-society-publications/browse/archive/126810507?mode=fullsize ''Warrender Papers'', vol. 1 (Edinburgh: SHS, 1931), p. 268]: British Library Cotton Caligula B/IV f.402 An anonymous history.</ref><ref>Henry Ellis, ''Original Letters'', 2nd series vol. 3 (London, 1827), pp. 112-8 from BL Lansdowne MS 51 does not include the description of Mary's costume.</ref>

The two executioners disrobed her, with her two women (Jean Kennedy and Elizabeth Curle) helping,<ref>Marguerite A. Tassi, "Martyrdom and Memory: Elizabeth Curle's Portrait of Mary, Queen of Scots", Debra Barret-Graves, ''The Emblematic Queen'' (Palgrave Macmillan, 2013), pp. 102, 108: ''Calendar State Papers Scotland'', vol. 9 (Edinburgh, 1915), pp. 272-3.</ref> and then she laid the crucifix upon a stool. One of the executioners took the Agnus Dei from her neck, and she laid hold of it, saying she would give it to one of her women. Then they took off her chain of pomander beads and all her other apparel. She put on a pair of sleeves with her own hands. At length, she was unattired and unapparelled to her petticoat and kirtle.<ref>Agnes Strickland, ''Letters of Mary, Queen of Scots'', vol. 2 (London, 1842), pp. 253-263. {{PD-notice}}</ref> Anything touched by the queen's blood was burnt in hall's chimney fire.<ref>Henry Ellis, ''Original Letters'', 2nd series vol. 3 (London, 1827), pp. 112-8, this detail is sometimes misunderstood to include all or most of Mary's belongings. {{PD-notice}}</ref>

A version of the execution narrative written in the [[Scots Language]] mentions the burning of the executioners' clothes or anything touched by her blood; "all thingis about hir, belonging to hir, war takin from the executionaris and nocht sufferet so mutche to have ther aprones befor they war weshed, the blodie clothes, the blok, and quhatsumever [whatsoever] ellis war burnt in the chalmer".<ref>Annie I. Cameron, [https://digital.nls.uk/scottish-history-society-publications/browse/archive/126810495?mode=fullsize ''Warrender Papers'', vol. 1 (Edinburgh: SHS, 1931), p. 267]</ref> English and French narratives mentions that one the executioners found a little dog under her clothes while untying her garters.<ref>Alexandre Labanoff, ''Lettres inédites de Marie Stuart'' (Paris, 1839), p. 246.</ref>

Mary mentioned in a letter to the Bishop of Glasgow on 6 November 1577 that she had been sent "chaplets" or rosaries, and an "Agnus Dei" from Rome. These may be the items mentioned in the narrative of the execution.<ref>William Boyd, ''Calendar State Papers Scotland, 1574-1581'', (Edinburgh, 1907), p. 29 no. 233: TNA SP53/10.</ref>

===Red clothing on the scaffold===
[[File:Blairs_01_(4635082227).jpg|thumb|right|Mary wears red in a vignette in a portrait at [[Blairs College]]]]
A French account of the execution mentions her ''cotillon'' (petticoat) of red velvet, with ''corps'' (bodice) of red satin, and a ''paire des manches'' (doublet) of red satin, "thus she was executed all in red".<ref>Teulet, iv, p. 160.</ref> The [[Blairs College]] portrait of Mary has a vignette of the execution showing her upper half in red.<ref>Marguerite A. Tassi, "Martyrdom and Memory: Elizabeth Curle's Portrait of Mary, Queen of Scots", Debra Barret-Graves, ''The Emblematic Queen'' (Palgrave Macmillan, 2013), p. 123: John Hosack, ''Mary, Queen of Scots, and her Accusers'', 2 (Edinburgh: Blackwood, 1874), p. 467.</ref>

Another account of the execution, written by a Catholic writer, mentions that she wore a gown of black satin with French-style embroidery of black velvet. A gown of this description was listed at Chartley and after the execution.<ref>Labanoff, ''Lettres of Marie Stuart'', vol. 7 (London, 1852), pp. 234, 267.</ref> This writer does not mention the disrobing or any red clothes.<ref>William Boyd, ''Calendar State Papers Scotland'', vol. 9 (London, 1915), p. 274 no. 274.</ref>

A 19th-century historian [[James Anthony Froude]] conjectured that the "blood-red" costume, the crimson petticoat and kirtle, mentioned by Wingfield and others, was extraordinary and deliberate or "carefully studied".<ref>James Anthony Froude, ''History of England'', vol. 12 (London, 1870), p. 339.</ref> Red petticoats were not uncommon in Elizabethan England, and physicians such as [[Andrew Boorde]] thought that red clothes promoted health benefits.<ref>Melanie Schuessler Bond, ''Dressing the Scottish Court 1543-1553: Clothing in the Accounts of the Lord High Treasurer of Scotland'' (Boydell, 2019), pp. 95-6, 99: Susan James, ''Women's Voices in Tudor Wills, 1485–1603'' (Ashgate, 2015), pp. 266–267: Ninya Mikhaila & Jane Malcolm Davies, ''The Tudor Tailor: Reconstructing sixteenth-century-dress'' (London, 2006), p. 22.</ref> 

Recent writers suppose that Mary wore red to suggest an affiliation to martyrdom, since the colour may represent martyrdom.<ref>Marguerite A. Tassi, "Martyrdom and Memory: Elizabeth Curle's Portrait of Mary, Queen of Scots", Debra Barret-Graves, ''The Emblematic Queen'' (Palgrave Macmillan, 2013), pp. 102-3, 123, 127 fn. 6.</ref>

A glove at [[Saffron Walden]] Museum is said to have been her gift to [[Marmaduke Darrell]] at Fotheringhay. He was an English administrator of her household.<ref>Joseph Stevenson, 'Memorials of Mary Queen of Scots', James Paton, ''Scottish National Memorials'' (Glasgow, 1890), p. 68.</ref> The leather glove is embroidered with coloured silks and silver thread, and lined with crimson satin.<ref>W. B. Redfarn, 'The Glove of Mary Queen of Scots', ''The Reliquary'' (April 1882), pp. 193-5.</ref><ref>[https://saffronwaldenmuseum.swmuseumsoc.org.uk/discover/costume/ Saffron Walden Museum: Costume and Textiles]</ref>

The French ambassador in Edinburgh, Monsieur de Courcelles, bought black fabric from [[Henry Nisbet]] for mourning clothes for himself and his household including [[bombazine]] for doublets, and dyed [[Beauvais]] [[Serge (fabric)|serge]] for his men, "sairg de Beauvois tainct en soye pour habiller votre gens en dueil".<ref>William Boyd, ''Calendar State Papers Scotland'', vol. 9 (London, 1915), p. 414 no. 350.</ref>

==See also==
* [[Jewels of Mary, Queen of Scots]]
* [[Scottish Royal tapestry collection]]

==References==
{{Reflist}}

==External links==
* [https://mqs.glasgow.ac.uk/index.php/2020/08/11/wardrobe-of-a-renaissance-queen-marys-clothing-inventories/ Alison Rosie: Wardrobe of a Renaissance Queen: Mary’s Clothing Inventories]
* [https://www.historicenvironment.scot/archives-and-research/publications/publication/?publicationId=b78493b8-3cf3-4b47-a7c2-a9eb00f39ad1 ''The Dolls of Mary Queen of Scots'', Historic Environment Scotland, 2019]
* [https://vanishedcomforts.org/2020/08/17/shopping-for-mary-queen-of-scots-in-1548/ Shopping for Mary, Queen of Scots in 1548: Documents from the National Library of Scotland]
* [https://gallica.bnf.fr/ark:/12148/btv1b550133882/f671.item.r=11207 Manuscript account of the expenses of the royal children, 1551, (French), BnF Fr. 11207]
* [https://www.vam.ac.uk/articles/prison-embroideries-mary-queen-of-scots/ The Prison Embroideries of Mary, Queen of Scots: V&A]
* [http://www.elizabethancostume.net/cyte/node/19618 Texts of the inventories of Mary, Queen of Scots texts with suggested translation: Elizabethan costume database, Drea Leed]
* [https://sarahabendall.com/2020/10/28/the-sixteenth-century-vasquine-basquine-a-corset-farthingale-or-kirtle/ Sarah Bendall, The sixteenth-century Vasquine or Basquine: A corset, farthingale or Kirtle]
* [https://www.academia.edu/117278585/A_wardrobe_account_of_Mary_of_Guise_1552_1554 A wardrobe account of Mary of Guise, 1552–1554]

[[Category:Mary, Queen of Scots]]
[[Category:Material culture of Mary, Queen of Scots]]
[[Category:16th century in Scotland]]
[[Category:16th-century fashion]]
[[Category:Early modern history of Scotland]]
[[Category:Scottish monarchy]]
[[Category:Edinburgh Castle]]
[[Category:British royal attire]]
[[Category:Scottish clothing]]
[[Category:Material culture of royal courts]]
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