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Wardrobe of Anne of Denmark

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Much is known of the wardrobe of Anne of Denmark (1574–1619), queen consort of James VI and I, from her portraits and surviving financial records. Her style included skirts supported by large farthingales decorated with elaborate embroidery, and the jewellery worn on her costume and hair.[1]

Anne of Denmark, 1595, circle of Adrian Vanson

Scotland

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Anne of Denmark came to Scotland as the bride of King James VI in 1590, bringing a large trousseau of newly made clothes, with other supplies and personnel, "all so costly, it is strange to hear".[2] She brought a Danish wardrobe master Søren Johnson, a tailor Paul Rey, and a furrier Henry Koss.[3] Three more Scottish tailors, Peter Sanderson, William Simpson, and Peter Rannald joined her service.[4] Some of her clothes in Scotland were made by a courtier, Elizabeth Gibb, wife of the diplomat Peter Young. She made linen items and hats and head coverings and veils for the queen, some known as "taffetas", and black satin veils for riding wear.[5] Some head dresses included "sneuds", hairnets constructed of silk ribbons, while jewelled "attires" were supplied by George Heriot. In the 1590s, Anne sometimes wore her hair in a wide-set coiffure, rather than piled high in the beehive style seen in later portraits.[6]

Anne of Denmark painted in 1603 or 1604, with a high coiffure,[7] and a jewel possibly including the Great H of Scotland.[8]

Fabrics were purchased for her wardrobe by a merchant Robert Jousie and his business partner Thomas Foulis, using some of the money James VI received as a subsidy from Elizabeth I and the custom duty of the Scottish gold mines.[9] Their two surviving accounts for the wardrobe (National Records of Scotland E35/13 and E35/14) detail fabrics bought for garments in journal form in the 1590s.[10]

In October 1590, Paul Rey made Anne a Danish-style gown, "ane goun of the Dence fassoune".[11] The accounts mention a gown of "fine cloth of silver grounded with brown silk to be her majesty a gown for the time of baptism", worn in August 1594 at Stirling Castle when her formal role included receiving diplomatic gifts at the baptism of her son Henry.[12] The present of a gold chain representing with precious stones the roses of York and Lancaster was said to be suitable for the foreface of the French-style gowns she now wore.[13]

Clothes were also made for members of Anne's household, like Margaret Vinstarr, the Lutheran minister Johannes Sering, and William Belo, usually with less embroidery and passementerie decoration.[14] On 13 June 1592, Anne ordered coordinating orange and green summer clothes for herself, Vinstarr, Marie Stewart (a "tender bairn"),[15] and for Belo (who was probably a page). She and King James gave clothes as gifts to her servants and gentlewomen for their weddings, including Marie Stewart who married the much older Earl of Mar in December 1592.[16]

Entry in the Scottish treasurer's accounts for clothes for the queen's pages and the "Moir", National Records of Scotland.[17]

Some of the costs of clothes for Anne of Denmark and her household were met by the treasurer of Scotland. The treasurer's accounts for October 1590 include a payment for costumes made by James Inglis and Alexander Miller for four pages and an African servant recorded as the "Moir".[18] His costume was a "jupe" of orange velvet, breeches, and a doublet of shot-silk Spanish taffeta festooned with white satin passementerie. His hat was of yellow Spanish taffeta lined with orange.[19]

Although Scottish merchants like Mungo Russell stocked many of the fabrics named in the record,[20] some of the material was supplied by an English merchant, Baptist Hicks,[21][22] and one of his former employees Humphrey Dethick came to the baptism of Duke Robert at Dunfermline Palace with tragic results.[23]

Anne of Denmark owned some clothes embroidered with pearls, and these valuable pieces were stolen by her goldsmith Jacob Kroger in 1597.[24] In 1597 she ordered an elaborate gown embroidered with jet beads and buttons which proved "over heavy" to wear and her tailor was ordered to start again.[25] Lightweight costume in brightly coloured taffeta was bought for masques, theatrical performances held at the weddings of courtiers, where she and King James danced in special outfits described as "maskerye claythis". Venues for these celebrations included Tullibardine Castle in June 1591 and Alloa Tower on New Year's Day 1593.[26][27]

England

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James VI and I and Anne of Denmark, engraving by Johannes Wierix
Anne of Denmark, c. 1614, by Marcus Gheeraerts the Younger
Anne of Denmark at Oatlands with an African servant, 1617, by Paul van Somer.[28]

At the Union of the Crowns in 1603, James became King of England. There are indications that Anne changed her style to that of the English court by having some clothes altered. New clothes were made for her household, and James (who travelled to England first) sent some of Elizabeth's jewels to Anne with an English hairdresser, Blanche Swansted.[29] Giovanni Carlo Scaramelli, a Venetian diplomat, wrote that Anne of Denmark had given away her jewels, costume, and wall-hangings to her ladies remaining in Scotland, and would find six thousand gowns in Elizabeth's wardrobe which were being adjusted for her.[30]

Dudley Carleton wrote that the new queen "giveth great contentment to the world in her fashion and courteous behaviour",[31] and had a "comely personage and an extraordinary grace in her fashion". She had done her face "some wrong" by sunburn from not wearing a mask or visard during her journey to Windsor Castle.[32] When the Spanish ambassador Juan Fernández de Velasco y Tovar, 5th Duke of Frías, arrived in August 1604 to negotiate the Treaty of London, Anne and her companions wore black masks while observing from a barge on the Thames. Even though their boat had no royal insignia, the Spaniards had no difficulty recognising them.[33]

James and Anne were crowned at Westminster on 25 July 1603. Audrey Walsingham had been sent to meet Anne at Berwick-upon-Tweed and was appointed a lady of the bedchamber, and after the coronation she was made Mistress of the Robes.[34] According to Arbella Stuart, Anne of Denmark asked Walsingham and the Countess of Suffolk to take Elizabeth's old clothes from a store in the Tower of London for a masque at New Year, The Vision of the Twelve Goddesses.[35][36][37] Dudley Carleton described the masque costumes as "embroidered satins and cloths of gold and silver, for which they were beholden to Queen Elizabeth's wardrobe".[38] It was said that George Home, 1st Earl of Dunbar, master of King's wardrobe, received a great quantity of Elizabeth's clothes as a gift from King James and he sold them for his own profit.[39][40][41][42] Anne retained a small collection of the gowns and garments of previous queens of England and Henry VIII, which she kept at Somerset House. These were sold on her death in 1619.[43]

Anne's usual costume now included large drum farthingales which were made by Robert Hughes in his Strand and Bow Lane workshops.[44] Their size was noted by diplomats including the Venetian priest Horatio or Orazino Busino.[45][46] Experimental reconstructions show that the farthingales were unlikely to have been quite as big as exaggerated contemporary reports.[47] There is also some uncertainty if Anne's use of large farthingales was in keeping with the fashion of other courts, and some scholars have argued that her preference for farthingales deliberately emulated the style of her predecessor in England, Elizabeth I.[48]

The dress of her gentlewomen and ladies in waiting was probably distinctive. Portraits exist of Anne Livingstone and Anne Coningsby Tracy as maids of honour (in costume with similarities to Elizabeth's maids in latter years),[49][50][51] and Anne of Denmark owned a portrait of Mary Middlemore.[52] Sir Edward Herbert fought with a Scottish usher who had snatched a ribbon or "topknot" from Mary Middlemore's hair in a back room of the queen's lodgings at Greenwich Palace.[53][54] The incident nearly led to a duel.[55]

Courtier in costume designed by Inigo Jones for the masque Hymenaei, portrait by John de Critz

An inventory of Anne's clothes made in 1611 (now held by Cambridge University Library) details many items of her costume, including the skirts and petticoats worn over the farthingale support. Some of these had elaborate embroidery, featuring birds, wild beasts, fruit bats, and architectural motifs, and had been New Year's Day gifts from courtiers.[56] The inventory records that Anne gave gifts of clothes to courtiers like Thomazine Carew, who received a black satin gown in a plain bias cut, and another black gown with blue "galloons" or lace strips in February 1610.[57] Embroidered crimson satin from a petticoat or skirt reused as an altar cloth, now held by the Burrell Collection (Acc. 29.314), may be a survivor from Anne's wardrobe.[58][59] Anne gave away one of her white satin petticoats as a New Year's Day gift on 1 January 1611, listed in the inventory as:

One petticote of white sattine Imbroydred alover butt moste Fayrest in a border 3 quarters deepe with rinninge workes of venice gold and purle with 12 broad squares of the Foresayd gold with severall Devices in eache square Intermixte with Dyvers Sorts of fruits Fowells and fyshes: with a gard one each Syde the border with Imagerie worke & fowles, edged with gold and Silver bone lace and Linde with yelow and white taffeta.[60]

(in modernised spelling) One petticoat of white satin embroidered all over, but most fairest in a border 3 quarters deep with running works of Venice gold and purl, with 12 broad squares of the foresaid gold with several devices in each square, intermixted with diverse sorts of fruits, fowls, and fishes: with a gard (border) on each side, the border with imagery work & fowls, edged with gold and silver bone lace and lined with yellow and white taffeta.

William Stone was a major supplier of fabrics in her first years in England, and had sent silks to Scotland in 1589 for the royal wedding.[61] Ribbons and passementerie were provided by silkmen, including Thomas Henshawe and his son Benjamin Henshawe.[62] Dorothy Speckard, who had worked for Elizabeth I,[63] became a silkwoman to Anne of Denmark.[64] She was in charge of Anne's linen and stockings in 1619.[65] The French-born Esther or Hester Le Tellier née Granges, was also her silkwoman, and she is thought to have been an aunt of the miniature painter David des Granges.[66] Anne was interested in the production of silk and set up a silkworm house at Oatlands. The windows of the new building were decorated with her heraldry.[67]

Some embroidery was worked by Christopher Shawe and he also made masque costumes used at court during performances held at New Year.[68] The 1611 inventory includes some items made for Tethys' Festival.[69] Zachary Bethell kept the wardrobe accounts and made inventories, and Christopher Mills was clerk.[70] Shawe was not paid as promptly as he wished for his work and had to petition for payment.[71] At the wedding of her daughter Princess Elizabeth in 1613, Anne wore white satin, with a head attire featuring pear-shaped pearls, and other jewels said to be worth £40,000.[72] The expenses of Anne's "apparel and the entertainment of her servants" were intended to be met by an annual income of £30,000 from crown lands,[73] the yearly amount spent on clothes alone was said to be £8,000.[74]

An inventory of Somerset House, then known as Denmark House, made after her death in 1619 by Francis Gofton includes very few items of her clothing. The wardrobe store contents there included embroidered "sweet bags" for perfume, beds and bedding, and "turkey carpets" and "carpets of Persia". Other miscellaneous items kept in chests include scarves of sea-water green taffeta and carnation taffeta embroidered with pearls.[75] Francis Bacon wrote that these were the colours that showed best by candlelight at masques.[76]

References

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  1. ^ Anna Reynolds, In Fine Style: The Art of Tudor and Stuart Fashion (London: Royal Collection Trust, 2013), p. 42.
  2. ^ Ethel Carleton Williams, Anne of Denmark (London: Longman, 1970), p. 14: William K. Boyd and Henry W. Meikle, Calendar State Papers Scotland, 10 (Edinburgh, 1936), p. 124 no. 160.
  3. ^ Jemma Field, "Dressing a Queen: The Wardrobe of Anna of Denmark at the Scottish Court of King James VI, 1590–1603", The Court Historian, 24:2 (2019), pp. 155–156. doi:10.1080/14629712.2019.1626120
  4. ^ Jemma Field, "Dressing a Queen: The Wardrobe of Anna of Denmark at the Scottish Court of King James VI, 1590–1603", The Court Historian, 24:2 (2019), p. 156.
  5. ^ Jemma Field, "Dressing a Queen: The Wardrobe of Anna of Denmark at the Scottish Court of King James VI, 1590–1603", The Court Historian, 24:2 (2019), pp. 160-3: Michael Pearce, "Anna of Denmark: Fashioning a Danish Court in Scotland", The Court Historian, 24:2 (2019), p. 146. doi:10.1080/14629712.2019.1626110
  6. ^ Jemma Field, "Dressing a Queen: The Wardrobe of Anna of Denmark at the Scottish Court of King James VI, 1590–1603", The Court Historian, 24:2 (2019), pp. 158–159.
  7. ^ Jemma Field, Anna of Denmark (Manchester, 2020), p. 159: Catherine MacLeod, "Facing Europe: The Portraiture of Anne of Denmark", Jill Bepler and Svante Norrheim, Telling Objects: Contextualizing the Role of the Consort in Early Modern Europe (Weisbaden, 2018), p. 70.
  8. ^ Jade Scott, "Mary Queen of Jewels", History Today, 70:10 (October 2024), pp. 55, 60.
  9. ^ Michael Pearce, "Anna of Denmark: Fashioning a Danish Court in Scotland", The Court Historian, 24:2 (2019), p. 141: Miles Kerr-Peterson & Michael Pearce, "James VI's English Subsidy and Danish Dowry Accounts", Scottish History Society Miscellany XVI (Woodbridge, 2020), pp. 5 fn. 16, 84.
  10. ^ Jemma Field, Anna of Denmark (Manchester, 2020), p. 131.
  11. ^ Jemma Field, "Dressing a Queen: The Wardrobe of Anna of Denmark at the Scottish Court of King James VI, 1590–1603", The Court Historian, 24:2 (2019), p. 158–156.
  12. ^ Thomas Thomson, Memoirs of his own life by Sir James Melville of Halhill (Edinburgh, 1827), pp. 412–3: National Records of Scotland E35/13 (modernised here).
  13. ^ Michael Pearce, "Anna of Denmark: Fashioning a Danish Court in Scotland", The Court Historian, 24:2 (2019), p. 141: Thomas Rymer, Foedera, 16 (London, 1715), p. 264
  14. ^ Michael Pearce, "Anna of Denmark: Fashioning a Danish Court in Scotland", Court Historian, 24:2 (2019), pp. 138–151.
  15. ^ Michael Pearce, 'Maskerye Claythis for James VI and Anna of Denmark', Medieval English Theatre, 43 (Cambridge: D. S. Brewer, 2022), p. 121 citing National Library of Scotland Advocates MS 34.2.17.
  16. ^ Jemma Field, "Female dress", Erin Griffey, Early Modern Court Culture (Routledge, 2022), pp. 400, 402 (the 1592 orders for orange and green clothes are found in NRS E35/13 and E35/14).
  17. ^ James Thomson Gibson-Craig, Papers relative to the marriage of King James the Sixth of Scotland, with the Princess Anna of Denmark (Edinburgh, 1828), p. 21
  18. ^ Michael Pearce, "Anna of Denmark: Fashioning a Danish Court in Scotland", Court Historian, 24:2 (2019), pp. 143–144, payments to Inglis are in the treasurer's account, payments to Miller are in NRS E35/13: Imtiaz Habib, Black Lives in the English Archives, 1500–1677, Imprints of the Invisible (Ashgate, 2008), pp. 230, 317 record no. 181.
  19. ^ Clara Steeholm & Hardy Steeholm, James I of England: The Wisest Fool in Christendom (New York, 1938), p. 142: James Thomson Gibson-Craig, Papers relative to the marriage of King James the Sixth of Scotland, with the Princess Anna of Denmark (Edinburgh, 1828), p. 21
  20. ^ Michael Pearce, "Anna of Denmark: Fashioning a Danish Court in Scotland", The Court Historian, 24:2 (2019), p. 141.
  21. ^ Michael Lynch, 'Court Ceremony and Ritual', Julian Goodare & Michael Lynch, Reign of James VI (Tuckwell, 2000), 90–91 fn: HMC Salisbury, 18, 408–9.
  22. ^ William Fraser, Memoirs of the Maxwells of Pollok, vol. 2 (Edinburgh, 1863), p. 51
  23. ^ Sarah Williams, Letters of John Chamberlain in the Reign of Queen Elizabeth (London, 1861), p. 139: Isaac Herbert Jeayes, Letters of Philip Gawdy of West Harling, Norfolk, and of London to various members of his family, 1579-1616 (London, 1906), p. 123
  24. ^ Mary Anne Everett Green, Calendar State Papers Domestic, Addenda 1580-1625 (London, 1872), p. 368: See TNA SP15/33/46.
  25. ^ Jemma Field, "Female dress", Erin Griffey, Early Modern Court Culture (Routledge, 2022), p. 399.
  26. ^ Michael Pearce, 'Maskerye Claythis for James VI and Anna of Denmark', Medieval English Theatre 43, 2021 (Cambridge: D. S. Brewer, 2022), pp. 108-123. doi:10.2307/j.ctv24tr7mx.9: HMC Salisbury Hatfield, vol. 4 (London, 1892), pp. 247, 252.
  27. ^ James Dennistoun, Memoirs of the Affairs of the Scotland by David Moysie (Edinburgh: Maitland Club, 1830), p. 161
  28. ^ Sara Ayres, "A mirror for the prince, Anne of Denmark in hunting costume with her dogs", Journal of Historians of Netherlandish Art, 12:2 (Summer 2020). doi:10.5092/jhna.2020.12.2.2: Jemma Field, "Anna of Denmark: A Late Portrait by Paul van Somer", The British Art Journal, 18:2 (Autumn 2017), pp. 50–56.
  29. ^ Henry Ellis, Original Letters, 1st Series vol. 3 (London, 1824), pp. 66, 70: Jemma Field, Anna of Denmark: The Material and Visual Culture of the Stuart Courts (Manchester, 2020), pp. 123-5: Petition of Blanche Swansted TNA SP14/107 f.121.
  30. ^ Horatio Brown, Calendar State Papers, Venice: 1603-1607, vol. 10 (London, 1900), 23 no. 36, 64 no. 91.
  31. ^ Jemma Field, Anna of Denmark: The Material and Visual Culture of the Stuart Courts, 1589–1603 (Manchester, 2020), p. 124.
  32. ^ Maurice Lee junior, Dudley Carleton to John Chamberlain (Rutgers University Press, 1972), pp. 34–35.
  33. ^ Maurice Lee, Dudley Carleton to John Chamberlain, 1603–1624 (Rutgers UP, 1972), 61: Linda Levy Peck, Northampton: Patronage and Policy at Court of James I (London, 1982), 110: John Nichols, Progresses of James the First, vol. 4 (London, 1828), p. 1063: Henry Ellis, Original Letters, 2nd series vol. 3, pp. 207-15, citing Relacion de la Jornada de Condestable de Castilla en Londres 1604 (Antwerp, 1604), 22: Calendar State Papers Domestic, 1603–1610, 141, SP 14/9A/f.12r: Willem Schrickx, "English Actors", Shakespeare Survey, 33 (Cambridge, 1980), p. 164.
  34. ^ Janet Arnold, Queen Elizabeth's Wardrobe Unlock'd (Maney, 1988), p. 151.
  35. ^ Sarah Gristwood, Arbella: England's Lost Queen (London: Bantam, 2004), p. 282: Sara Jayne Steen, The letters of Lady Arbella Stuart (Oxford, 1994), p. 197.
  36. ^ Clare McManus, Women on the Renaissance stage: Anna of Denmark and Female Masquing in the Stuart Court (Manchester, 2002), p. 107.
  37. ^ Ann Rosalind Jones & Peter Stallybrass, Renaissance Clothing and the Materials of Memory (Cambridge, 2000), p. 26.
  38. ^ Maurice Lee junior, Dudley Carleton to John Chamberlain (Rutgers University Press, 1972), p. 55.
  39. ^ Allen Hinds, Calendar State Papers, Venice: 1613–1615, vol. 13 (London, 1907), 388 no. 658: N. Barozzi & G. Berchet, Le relazioni degli Stati europei lette al Senato dagli ambasciatori Veneti, 4 (Venice, 1863), 169
  40. ^ Allen Hinds, Calendar State Papers, Venice: 1617-1619, vol. 15 (London, 1909), 417 no. 679: N. Barozzi & G. Berchet, Le relazioni degli Stati europei lette al Senato dagli ambasciatori Veneti, 4 (Venice, 1863), 201.
  41. ^ G. P. V. Akrigg, "The Curious Marginalia of Charles, Second Lord Stanhope", in James G. McManaway, Giles E. Dawson, and Edwin E. Willoughby ed., Joseph Quincy Adams Memorial Studies (FSL, Washington, 1948), pp. 785-801.
  42. ^ Janet Arnold, Queen Elizabeth's Wardrobe Unlock'd (London, 1988), p. 174: Maria Hayward, Stuart Style (Yale, 2020), p. 55.
  43. ^ Matthew Payne, "Inventory of Denmark House, 1619", Journal of the History of Collections, 13:1 (2001), p. 25: Thomas Rymer, Foedera, vol. 17 (London, 1717), pp. 176-7.
  44. ^ Sarah Bendall, Shaping Feminity: Foundation Garments the Body and Women in Early Modern England (Bloomsbury, 2022), pp. 118, 126.
  45. ^ Jemma Field, Anna of Denmark: The Material and Visual Culture of the Stuart Courts, 1589–1603 (Manchester, 2020), pp. 124–125.
  46. ^ Allen Hinds, Calendar State Papers, Venice: 1617-1619, vol. 15 (London, 1909), p. 80 no. 135
  47. ^ Sarah Bendall, Shaping Feminity: Foundation Garments the Body and Women in Early Modern England (Bloomsbury, 2022), p. 182.
  48. ^ Sarah A. Bendall, "Take measure of your wide and flaunting garments: The farthingale, gender and the consumption of space in Elizabethan and Jacobean England", Renaissance Studies, 33:5 (November 2019) pp. 712–737. doi:10.1111/rest.12537: Jemma Field, Anna of Denmark (Manchester, 2020), p. 129.
  49. ^ Jane Ashelford, Dress in the Age of Elizabeth (London, 1988), pp. 41-42.
  50. ^ Anne, daughter of Sir Thomas Coningsby and wife of Sir Richard Tracy: Paul Mellon Centre
  51. ^ Anna of Denmark, The Eglinton Jewel: National Galleries of Scotland, with portrait of Anne Livingstone
  52. ^ Jemma Field, Anna of Denmark: The Material and Visual Culture of the Stuart Courts (Manchester, 2020), p. 97: Wendy Hitchmough, "Setting the Stuart court: placing portraits in the performance of Anglo-Spanish negotiations", Journal of the History of Collections, 32:2 (July 2020), pp. 245-264.
  53. ^ Christine Jackson, Courtier, Scholar, and Man of the Sword: Lord Herbert of Cherbury and His World (Oxford, 2021), 90.
  54. ^ Allison L. Steenson, The Hawthornden Manuscripts of William Fowler (Routledge, 2021), 103.
  55. ^ Edward Herbert, The Life of Edward Lord Herbert of Cherbury (London, 1826), pp. 108-9: Norman Egbert McClure, Letters of John Chamberlain, vol. 1 (Philadelphia, 1939), p. 296.
  56. ^ Jemma Field, "The Wardrobe Goods of Anna of Denmark, Queen Consort of Scotland and England (1574–1619)", Costume, 51:1 (March 2017), pp. 21–22 and online supplement nos. 307–310, 370–373, from Cambridge University Library MS Dd.I.26. doi:10.3366/cost.2017.0003
  57. ^ Jemma Field, "The Wardrobe Goods of Anna of Denmark", Costume, 51:1 (March 2017), on-line supplement, pp. 42 no. 347, 53 no. 452.
  58. ^ Jemma Field, "The Wardrobe Goods of Anna of Denmark", Costume, 51:1 (March 2017), p. 8.
  59. ^ Glasgow Life: Textile Treasures. Petticoat fabric thought to have belonged to Anne of Denmark
  60. ^ Jemma Field, "The Wardrobe Goods of Anna of Denmark", Costume, 51:1 (March 2017), p. 22 and online supplement p. 52 no. 440.
  61. ^ Mary Anne Everett Green, Calendar State Papers Domestic, 1603–1610, 189: Frederick Devon, Issues of the Exchequer (London, 1836), 55–57: William K. Boyd and Henry W. Meikle, Calendar State Papers Scotland, 10 (Edinburgh, 1936), p. 162 no. 226.
  62. ^ Jemma Field, 'Clothing the Royal Family: the Intersection of the Court and City in Early Stuart London', Peter Edwards, Monarchy, the Court, and the Provincial Elite in Early Modern Europe (Brill, 2024), 257–58, 260–61. doi:10.1163/9789004694149_014: M. S. Giuseppi, Manuscripts of the Marquess of Salisbury, 19 (London: HMSO, 1965), 432.
  63. ^ Janet Arnold, Queen Elizabeth's Wardrobe Unlock'd (Maney, 1988), pp. 315–16.
  64. ^ Janet Arnold, Queen Elizabeth's Wardrobe Unlock'd (Maney, 1988), pp. 229-227, 315–316: Patricia Wardle, "Divers necessaries for his Majesty's use and service: Seamstresses to the Stuart Kings", Costume, 31:1 (January 1997), p. 16.
  65. ^ Matthew Payne, "Inventory of Denmark House, 1619", Journal of the History of Collections, 13:1 (2001), p. 40.
  66. ^ George Charles Williamson, The History of Portrait Miniatures, vol. 1 (London, 1904), p. 27: Mary Edmond, "Limners and Picturemakers", Walpole Society, 47 (1978-1980), p. 123.
  67. ^ Howard Colvin, The History of the King's Works, 4:2 (London: HMSO, 1982), p. 214.
  68. ^ W. H. Hart, 'Expenses for Masques in 1610', Proceedings of the Society of Antiquaries of London, vol. 1 (London, 1861), p. 31: Paul Reyher, Les Masques Anglais (Paris, 1909), p. 507
  69. ^ Jemma Field, "The Wardrobe Goods of Anna of Denmark", Costume, 51:1 (March 2017), p. 16.
  70. ^ Thomas A. Mason, Serving God and Mammon: William Juxon, 1582-1663, Bishop of London (University of Delaware Press, 1985), p. 93: M. S. Giuseppi & G. Dyfnallt Owen, HMC Salisbury, 20 (London: HMSO, 1965), p. 92: Christopher Mills (d. 1638) was buried at St Martin's, Herne, Kent.
  71. ^ Mary Anne Everett Green, Calendar State Papers Domestic, James I: 1603–1610 (London, 1857), p. 656, TNA SP14/59 f.14: HMC Salisbury Hatfield, vol. 21 (London, 1970), p. 287.
  72. ^ Calendar State Papers Venice, 1610–1613, vol. 12 (London, 1906), pp. 498–9 no. 775: Edward Rimbault, The Old Cheque-book, or, Book of Remembrance, of the Chapel Royal (London: Camden Society, 1872) p. 165: Diana Scarisbrick, "Anne of Denmark's Jewellery Inventory", Archaeologia, CIX (1991), p. 197 no. 24, the pear pearl attire. {{doi:10.1017/S0261340900014089}}
  73. ^ Jemma Field, Anna of Denmark (Manchester, 2020), pp. 45–47: G. Dyfnallt Owen and Sonia P. Anderson, HMC Manuscripts of the Marquess of Downshire, 6 (London: HMSO, 1995), pp. 261 no. 572, 300 no. 636.
  74. ^ Valerie Cumming, Royal dress: The image and the reality 1580 to the present day (London: Batsford, 1989), p. 20: Norman Egbert McClure, Letters of John Chamberlain, 2 (Philadelphia, 1939), pp. 219, 224.
  75. ^ Matthew Payne, "Inventory of Denmark House, 1619", Journal of the History of Collections, 13:1 (2001), pp. 25, 34–35, 41–42.
  76. ^ Lesley Mickel, "Glorious Spangs and Rich Embroidery: Costume in The Masque of Blackness and Hymeniae", Studies in the Literary Imagination, 36 (2003), p. 46.
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