Esther Inglis (1569?– 1624)
Esther Inglis is an important, indeed possibly unique, "early modern British female book artist." Born around 1569 in Dieppe to French Huguenot parents fleeing religious persecution, she was raised in Edinburgh where she learned the art of calligraphy from her mother, Marie Presot. Her father, Nicholas Langlois, was Master of the French School in Edinburgh, under the patronage of James VI. Inglis married Scottish clergyman Bernard Kello around 1596 and used her calligraphic skills to make copies for him in his position as Clerk of Passports and other foreign correspondence. Some of her small, jewel-like calligraphic volumes appear to have supported Kello's involvement with the secret negotiations for the succession of James VI to the English throne. The volumes also figured in the patronage system, where Inglis and her husband hoped for remuneration for her work. Many of her little books are dedicated to members of the Protestant circles in England and Europe, including Elizabeth I; James VI and I; Prince Henry; Prince Charles; Lucy Harington, Countess of Bedford; Robert Cecil, Earl of Salisbury; Sir Anthony Bacon; Prince Maurice of Nassau; Catherine de Parthenay, Duchess of Rohan; and Catherine de Bourbon, sister of Henri IV.
She was not only an adept calligrapher, using over forty styles of handwriting, but she also illuminated her manuscripts with self-portraits, flowers and birds, or exquisite black-and-white title pages, historiated initials, and printer's devices copied from printed books. Many of her volumes are bound in velvet or silk which she likely embroidered herself, as her skill with needle as well as pen was remarked upon by a contemporary. One of her last works was a sumptuous copy of Emblemes Chrestiens by Georgette de Montenay, made for Prince Charles in 1624, the year of her death.
Inglis's sources
Inglis mostly copied out Biblical texts in English, French or Latin from Ecclesiastes, Genesis, Psalms, Proverbs, and the Book of Solomon. She also made copies of French religious poems:
- Quatrains by Guy du Faur, Sieur de Pybrac (1529-1584)
- Octonaires . . . sur la Vanité et Inconstance du Monde, by Antoine de la Roche Chandieu (1534-1591)
For a full discussion of her textual and design sources, see the Scott-Elliot and Yeo Catalogue.
Selected further reading
Folger Shakespeare Library, The Collation
Barker, Nicolas. Introduction to Esther Inglis's Les Proverbes de Salomon: a Facsimile. Arundel, England: Roxburghe Club, 2012.
Bracher, Tricia. "Esther Inglis and the English Succession Crisis of 1599." Women and Politics in Early Modern England, 1450-1700. Ed. James Daybell. Aldershot, England; Burlington, VT: Ashgate, 2004. 132-146.
Frye, Susan. Chapter 2 in Pens and Needles: Women's Textualities in Early Modern England. Philadelphia: University of Pennsylvania Press, 2010.
Ross, Sarah Gwyneth. "Esther Inglis: Linguist, Calligrapher, Miniaturist, and Christian Humanist." Early Modern Women and Transnational Communities of Letters. Ed. Julie D. Campbell and Anne R. Larsen. Farnham, England; Burlington, VT: Ashgate, 2009. 159-181.
Tjan-Bakker, Anneke. "Dame Flora's Blossoms: Esther Inglis's Flower-Illustrated Manuscripts." English Manuscript Studies 1100-1700. Vol. 9, ed. Peter Beal and Margaret J.M. Ezell. London: The British Library, 2000. 49-72.
[Tjan]-Bakker, Anneke. "Esther Inglis & Maurice of Nassau." Quaerendo 48:1 (2018) 39-76. On Folger MS V.a.93. Ziegler, Georgianna. "'More than Feminine Boldness': The Gift Books of Esther Inglis." Women, Writing, and the Reproduction of Culture in Tudor and Stuart Britain. Ed. Mary E. Burke et al. Syracuse: Syracuse University Press, 2000. 19-37.
Ziegler, Georgianna. "Hand-Ma[i]de Books: The Manuscripts of Esther Inglis, Early-Modern Precursors of the Artists' Book." English Manuscript Studies 1100-1700. Vol. 9, ed. Peter Beal and Margaret J.M. Ezell. London: The British Library, 2000. 73-87.
Manuscripts chart
The chart lists 64 known manuscripts by Esther Inglis, four of which are untraced, and two of which have recently been identified and are in neither of the standard bibliographies listed below. The Folger Shakespeare Library and the Houghton Library at Harvard each own five of her manuscripts, the largest collections in the US. (I do not count Folger X.d.533 as a separate manuscript as it was part of V.a.93 and not counted separately in Scott-Elliot and Yeo.)
The chart is organized by:
- Location
- Shelf-mark
- E-Y No., referring to the Catalogue prepared by A.H. Scott-Elliot and Elspeth Yeo, Publications of the Bibliographical Society of America 84:1 (March 1990), 10-86.
- CELM No.: Catalogue of English Literary Manuscripts 1450-1700
- Title: see note on Sources above
- Date
- Dedication
- Self-Portrait: Scott-Elliot and Yeo identified 4 basic types, which are identified if possible
- Digital or other images available: Perdita refers to the subscription database of manuscripts by early English women writers; unfortunately, many of the images, made from microfilm, are grainy and difficult to see
- Binding: unusually, most of the manuscripts are in their original bindings
- Catalog Record
- Notes: "Barker" refers to the substantial Introduction by Nicolas Barker to his facsimile edition of Esther Inglis's Les proverbes de Salomon (Roxburghe Club, 2012)