Sharing similarities with Jane Segar, Inglis always signed her work and frequently included self-portraits of herself in the act of writing.

[3] However, unlike Jane Segar, Inglis successfully established a career based on manuscript books created for royal patrons.

[4] Over the course of her life, Inglis composed around sixty miniature books that display her calligraphic skill with paintings, portraits, and embroidered covers.

[1] In March 1580 James VI gave Nicolas Langlois and Marie Pressot £80 Scots to help their debts, contracted two years earlier.

[6] Nicholas Langlois died around the year 1613 and his widow Marie Pressot continued to live in Edinburgh in a house rented from John Jackson.

[9] Inglis was very fortunate to not only have knowledgeable and skillful parents to teach her and offer her such an advanced education, but also a father to assist her with her work.

Though this was still not entirely the norm, it was not thought of as rare, as there were other early-modern women during this time period who were educated through this form of advanced home schooling.

[1] Inglis is also one of the three women listed as painters in Scotland before 1700, along with Apollonia Kickius and Mrs Morris, in the biographical dictionary by Michael Apted and Susan Hannabuss.

[13] Upon moving to England, Kello and Inglis most likely had hoped to resume their work as a clerk and a scribe, but James had inherited a court from Queen Elizabeth, making this difficult.

[19] The manuscript compiled excerpts of religious text, and decorative alphabets, and was in no doubt put together to demonstrate her skill as a calligrapher.

[21] In January 1606, Robert Sidney, Lucy Russell, Countess of Bedford, and Lady Erskine of Dirleton all received a New Year's gift book from Inglis.

[20] Her title pages also had flowered borders, and the oblong size of the books were unique, as they were never found in any other medieval manuscripts from this era.

Artisans during this period typically copied text from other books by rewriting it with styled signatures and adding borders and such in the form of their own work.

This series was supposedly immensely popular at this time, as the same flowers were later drawn on painted glass at Lydiard Park in Wiltshire, as well as other cities.

Also, Inglis rarely approached other patrons during this time period, thus providing further evidence to the idea that she had found some type of patronage in Henry's household, and therefore no longer needed to produce such works, or even display her artistic skills for advertisement.

Composed of lavender sprigs and carnations, this symbolizes love and chastity, and it wasn't but a year later than Inglis became married to Kello.

Early in her career, before her signature flower themed manuscripts, Inglis drew her inspiration from the designs of printed books, often copying engraved title borders, ornaments, and initials.

[32] It was not until later in her career that Inglis began drawing in color and illustrating different flowers, fruits, or small animals that often appeared in the borders of Flemish manuscripts.

Even later in her career, she turned back to developing recreated printed books, including reproducing fifty-one of the Emblemes ou devises chrestiennes by Georgette de Montenay for Prince Charles.

Inglis produced jewel-like covers for her royalty works, usually embroidered with seed pearls and gold and silver thread on red velvet.

These manuscripts included psalms from the Geneva Bible, as well as other versions of the bible, verses from the Proverbs and Ecclesiastes, and the Quatrains of Guy Du Faur, Seigneur de Pibrac, and Octonairs of Antoine de la Roche Chandieu, two renowned French sixteenth-century religious writers.