Sir Edward Carey - Queen Elizabeth's Master of the Jewels

Sir Edward Carey was Queen Elizabeth I's Master of the Jewels from 1595 - 1603, and joint Master of the Jewels with his son Henry Carey, 1st Viscount Falkland (b.1575 - d.1633), for King James I from 1603 - 1618. His family was well known within court circles. His father John Carey served as Groom of the Privy Chamber to Henry VIII, and he was the step brother of Francis Walsingham, through his mother Joyce Denny's second marriage to William Walsingham.

Henry Carey, 1st Viscount Falkland. Image Copyright to the National Trust, Hardwick Hall.

Soon after his appointment Edward was handed some of the queens jewels and goods by some commissioners on 5th August 1595 that had been in the possession of his predecessor John Astley, Esquier). It was decided that the jewels and goods of Elizabeth I that were in John's possession would be noted in way of an inventory. Work began on the inventory on 20th February 1596, which was copied into two books, one of which was given to Sir Edward Carey, the other book was signed by two commissioners being Lord Burghley, High Treasurer, and Sir John Fortescue, Chancellor of the Exchequer. 

Inventory Book Cover Entitled 'Queen Elizabeth Jewels and Plate, Signed by S.Edw.Carey. It is thought to be a later 17th/18th Century Addition. Image copyright to the British Library. Stowe MS 566


Close Up Detail of The Inventory Book Cover. Image copyright to the British Library. Stowe MS 566

One of the first entries on the inventory (which must be taken as one of the most important items) is the Kings Crown, which is described in great detail:

‘Firste the kinges Crowne of golde, the border garnished with seaven Ballaces, eighte Sapheres, fire poynted Dyamondes, twentie Rubies twoe of them being crased nynetene pearles, And one of the crosses of the same Crowne garnished with a greate Sapher, an Emeralde crased, fower Ballaces and nyne pearles not all of one sorte’.


Image from the Inventory Book Listing the Kings Crown. Image Copyright to the British Library. Stowe MS 566

But the inventory wasn't just full of listings for glamorous items, within the inventory, we also see gold toothpicks being listed which were in regular use at the courts of the Tudor monarchs. It also lists broken jewellery. Given the value of items - broken or not, it is not surprising to see them listed within the inventory.

Image from the Inventory Book Listing Some Gold Toothpicks. Image Copyright to the British Library. Stowe MS 566

All pages on the inventory have been signed by Sir Edward Carey himself, he no doubt triple checked everything before signing his name to every page. The listed items were also probably valued by the team of goldsmiths working for the queen, which were at Edward's disposal. There was a great need for different goldsmiths to value the items, as each could value items differently from one another, fashions changed and so might the value of the items with it, and also as a collective they might be able to spot any counterfeit jewels/stones etc. 

Signature of Sir Edward Carey, Master of the Jewels for Queen Elizabeth I. Image Copyright to the British Library. Stowe MS 566.

He would have looked after an impressive collection of jewels on behalf of the queen. Imagine the items he would have seen, and even perhaps held. What an exciting job he had...

Book Review: Jewels of the Renaissance by Yvonne Hackenbroch and Gonzague Saint Bris

Front of the Book's Case - Copyright to 'A Tudor Wardrobe Examined'

Back of the Book's Case - Copyright to 'A Tudor Wardrobe Examined'

Front Cover - Copyright to 'A Tudor Wardrobe Examined'

This book had always been on my radar (with it having picqued my interest with the sheer beauty of it's covers),  but I'm always a little more cautious when it comes to buying the more expensive books. I like to do my homework to make sure the prices are justified for what I am getting. 

I managed to buy this book new for around £60, which is a good deal. I had been tracking this book for a few months, and the prices were coming up around the £100 mark, but most academic books cost a pretty penny, so this didn't surprise me all that much. Is this book worth the investment though?

In some of the reviews I checked out on both Amazon and Goodreads, a reviewer mentioned that the images contained within the book were a little blurry. So when the book finally arrived I was wondering what I had let myself in for. Whilst reading the book some pictures were a bit blurred around the edges. The same couldn't be said for the remaining images throughout the book, which to me where perfectly clear and very acceptable.

Page Details from the Book - Copyright to 'A Tudor Wardrobe Examined'

Page Details from the Book - Copyright to 'A Tudor Wardrobe Examined'

The book's size is a novelty at first. Once you have slipped it out of it's enticing casing and have begun to actually read it, it is made somewhat more difficult due to the fact the book is very large, and weighty. With smaller books you can position yourself on the sofa or arm chair to read with some comfort, but with this I was leaning it on the arm of my sofa, or had it laid flat on the dining room table (the chairs of which aren't designed for long periods of sitting at any one time).

If I remember correctly (writing this review a good few days after completing the book) one error stood out to me within the book, which is an error whereby Juana of Castile is mentioned as being the only daughter of the Catholic Kings, Queen Isabella of Castille and King Ferdinand of Aragon. Which we know to be false. I imagine this would be changed in later editions though as is normal custom.

So, so far this doesn't sound like a very good investment if you were thinking about purchasing the book. However, I believe this book to be an excellent addition to my bookcase and well worth the money I spent on it.

The reason I think this, is because the book in itself is very well researched (yes, there was quite a significant mistake, but we are all human. I imagine it to be a typo not spotted by the proof reader), beautifully illustrated, and extremely informative. I learnt a lot (and I mean a lot) that I hadn't known before, and that is truly the worth and measure of any book. If you wanted an easy read this book is not for you.

The book itself covered the differences in jewellery design, and craftsmanship in various countries (Italy, France, Germany, The Netherlands, England & Scotland, and Spain & Portugal), and at various stages throughout the Renaissance. It mentions various craftsman that went into making jewellery, and their patrons for example. You track the influence of the Italians throughout what we now realise to be modern day Europe, with them introducing humanism into their jewellery designs instead of the more traditional religious designs that had been favoured throughout the middle ages. You also get to see the effects of the new faith being introduced, (brought about by Martin Luther) on trade, and jewellery design, with many artisans/goldsmiths fleeing to other countries for protection against this religious upheaval. It meant jewellery design could be spread further afield.

With this book I would have liked to have seen some maps, showing the different countries throughout the period, as this would have been very useful, also a glossary of jewellery terms would have been a great addition as I was looking them up on my phone. Lastly, I also wished to see a better list where all the jewels pictured etc. were located, as this was somewhat lacking.

Despite all this it will remain a great addition to my ever growing book shelf. I am giving it an overall score of 4/5.