Another picture with a similar design on the underskirt is the portrait of Elizabeth Vernon Countess of Southampton which dates from c.1590. The cloth depicted was presumably worked by seamstresses to a standard pattern. In addition, closer investigation shows that the motifs on these two portraits are further apart, and I have measured the distances, than the motifs on the Blanche Parry Embroidery. Interestingly, the Welbeck Portrait was painted by the elder Marcus Gheeraerts, while the Rainbow Portrait was painted by his son or son-in-law. Cloth with a floral design was evidently fashionable in the later 1580s-1590 and the Queen may have had a number of dresses with such pretty patterning. Clearly it was a design much liked by Blanche Parry as the embroidery sent to Bacton Church belonged to her and/or reminded her friends of her. Her beloved Queen Elizabeth would have known Blanche's preferences and she may have actually given the cloth to Bacton Church herself.

It is thanks to the incumbents of Bacton Parish, and in particular to Revd. Charles Brothers, that the Blanche Parry Embroidery has survived[28] . It is also to the great credit of the parishioners and visitors since 1909 that it was able to do so without any security. It was there through two devastating World Wars and the enormous changes that affected the people and the area. It was due to these safety issues, which is a sad comment on the present, that I was careful how I publicised this discovery in my biography of Blanche Parry, 'Mistress Blanche, Queen Elizabeth I's Confidante' 2007 and in the book / calendar 'Blanche Parry & amp; Queen Elizabeth I' 2012. I knew the Blanche Parry Embroidery was valuable, though at the time few believed me, and that there could be no security for such a priceless treasure in Bacton Church.

The exciting research now being undertaken will provide more information. Bacton Church still owns the Blanche Parry Embroidery which is a national treasure being the only surviving cloth from one of Queen Elizabeth I's dresses. It will be on show to the public when it has been conserved. Bacton Church now has a stunningly beautiful replica which hangs on the north wall, in a special case, where the original used to hang for so long. Although a photograph on canvas, the high resolution and special equipment used makes it look like textile. The details and colours are marvellous and it is well worth seeing. We can also see what the cloth originally looked like in the Rainbow Portrait. So, for this unique survival we are fortunate in being able to see the cloth itself, a picture of what it once looked like and, finally, a beautifully produced replica. Wonderful!

Meanwhile, pictures and research documents mentioned here can be found in the Gallery

© Ruth E. Richardson 2017

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[28] Revd. Brothers' interest in the Blanche Parry Embroidery continued. In the December 1912 Parish Magazine He wrote: 'We are pleased to say that Mrs. Chapman, the wife of Dr. Chapman of Hereford, has very kindly promised to come and give us a Lecture, with lantern pictures, on Mistress Blanche Parry, our most illustrious benefactress and parishioner. This will likely be in January.' Blanche's alms bequest to Bacton Church still continues (see Richardson 2007). I am indebted to Colin Brothers for the references. Revd. Brothers also kept a cutting entitled Queen Elizabeth's Kirtle by Lionel Cust. Sir Lionel Henry Cust was Director of the National Portrait Gallery 1895-1909 and co-editor of The Burlington Magazine 1909-1919. The cutting was from one of these magazines [see Gallery]. He noted: Specially noteworthy are the embroidered dresses in the portraits of Queen Elizabeth...such as the small full-length portrait at Welbeck Abbey, the great full- length portrait at Hardwick Hall, the so -called 'Rainbow' portrait at Hatfield and the beautiful portrait at Cobham Hall. What became of these wonderful dresses?... it is quite reasonable to suggest that the embroidery given by Mistress Parry to Bacton Church is a piece of an actual kirtle worn by Queen Elizabeth... Sir Henry also included photographs of the embroidery before it was framed in 1909. However, Sir Henry Cust did not realise the dress in the Rainbow Portrait is the same cloth as the Blanche Parry Embroidery.