Editing Anne of Denmark (section)

==Patron of the arts==
Anne shared with James the fault of extravagance, though it took her several years to exhaust her considerable dowry.{{Sfnp|Croft|2003|p=25}} In 1593, James appointed a special Council, known as the "[[Octavians]]", to sort out Anne's accounts and make economies.{{Sfnp|Stewart|2003|pp=142–143}} She loved dancing and pageants, activities often frowned upon in [[Presbyterian]] Scotland, but for which she found a vibrant outlet in [[Jacobean era|Jacobean]] London, where she created a "rich and hospitable" cultural climate at the royal court,{{Sfnmp|1a1=Barroll|1y=2001|1p=161|1loc="The cultural interests of Queen Anne and Prince Henry led to a brief flowering of elegance in the Royal Family."|2a1=Croft|2y=2003|2p=129}} became an enthusiastic playgoer, and sponsored lavish [[masque]]s. [[Sir Walter Cope]], asked by Robert Cecil to select a play for the Queen during her brother [[Ulrik of Denmark (1578–1624)|Ulrik of Holstein]]'s visit, wrote, "Burbage is come and says there is no new play the Queen has not seen but they have revived an old one called ''[[Love's Labour's Lost]]'' which for wit and mirth he says will please her exceedingly."{{Sfnp|Williams|1970|p=99}}{{Efn|This Burbage was probably [[Cuthbert Burbage]], brother of [[Richard Burbage]].<ref>{{Cite book |last=McCrea |first=Scott |title=The Case For Shakespeare: The End of the Authorship Question |date=2005 |publisher=Praeger/Greenwood |isbn=0-275-98527-X |location=Westport, Connecticut |page=119}}; {{Cite book |last=Ackroyd |first=Peter |date=2006 |title=Shakespeare: The Biography |location=London |publisher=Vintage |isbn=0-7493-8655-X |page=411}}</ref>}} Anne's masques, scaling unprecedented heights of dramatic staging and spectacle,{{Sfnmp|1a1=Barroll|1y=2001|1p=58|1loc="These spectacles lasted (not counting rehearsals) for the space of only one night a year and were not even performed every year of her reign. Thus, although surveys of the period define James's Queen via these masquings, they were, in the end, only the tip of the iceberg."|2a1=Croft|2y=2003|2p=2–3, 56|3a1=Stewart|3y=2003|3p=183|3loc="The allure of these elaborate, expensive pieces of theatre is by no means clear from their surviving scripts, suggesting that their appeal lay instead in the design of their sets and costumes, in their special effects, in their music and dancing, and in the novelty of having royalty and nobility performing on stage."}} were avidly attended by foreign ambassadors and dignitaries and functioned as a potent demonstration of the English crown's European significance. [[Zorzi Giustinian]], the Venetian ambassador, wrote of the Christmas 1604 masque that "in everyone's opinion no other Court could have displayed such pomp and riches".{{Sfnp|Barroll|2001|pp=108–109}}

[[File:Queens House.jpg|thumb|right|The [[Queen's House]] at Greenwich, begun for Anne in 1616]]
Anne's masques were responsible for almost all the courtly female performance in the first two decades of the 17th-century and are regarded as crucial to the history of women's performance.{{Sfnmp|1a1=Barroll|1y=2001|1p=58|1loc=uses the extant masque lists from 1603–1610 to identify the noblewomen of Anne's inner circle.|2a1=McManus|2y=2002|2p=3}} Anne sometimes performed with her ladies in the masques herself, occasionally offending or scandalizing members of the audience. In Anne's first masque, [[Samuel Daniel]]'s ''[[The Vision of the Twelve Goddesses]]'' of 1604, she played [[Athena|Pallas Athena]], wearing a tunic that [[Dudley Carleton, 1st Viscount Dorchester|Dudley Carleton]] judged too short, because it revealed her legs and feet. Anne commissioned the leading talents of the day to create these masques, including [[Ben Jonson]] and [[Inigo Jones]].{{Sfnp|Croft|2003|p=56}}{{Sfnp|Stewart|2003|p=183}}{{Efn|"The part she played in promoting the fortunes of Ben Jonson and Inigo Jones has never been sufficiently recognised."{{Sfnp|Williams|1970|p=124}} Other writers employed by Anne included [[Samuel Daniel]], [[Thomas Campion]] and [[John Donne]].{{Sfnp|Williams|1970|p=157}}}} In ''[[The Masque of Blackness]]'' of 1605, Anne performed while six months pregnant, and caused further scandal by appearing, alongside several of her ladies in waiting, with their skin painted as "blackamores".{{Sfnp|McManus|2002|p=11}} Carleton reported that, when the Queen afterwards danced with the Spanish ambassador, he kissed her hand "though there was danger it would have left a mark upon his lips".{{Sfnmp|1a1=McManus|1y=2002|1p=2–3|2a1=Williams|2y=1970|2p=126}} 

Jones, a gifted architect steeped in the latest European taste, also designed the [[Queen's House]] at Greenwich for Anne, one of the first true [[Palladian]] buildings in England,{{Sfnp|Croft|2003|p=3}}{{Efn|Probably, the first floor was finished at Anne's death.{{Sfnp|Williams|1970|p=181}}}} as well as ornamental gateways for her gardens and vineyard at [[Oatlands Palace|Oatlands]]. The [[Sergeant Painter]] [[John de Critz]] decorated a fireplace in her "tiring chamber", her dressing room at Somerset House with various colours of [[Marbleizing|marbling]] and imitation stone, and painted black and white marble in the chapel at Oatlands. In 1618 a passage at Somerset House was decorated with Renaissance style [[Grotesque|grotesque work]], recorded as "crotesque".<ref>{{Cite book |last=Bristow |first=Ian C. |title=Architectural Colour in British Interiors, 1615–1840 |date=1996 |publisher=Yale University Press |pages=2–3, 12}}</ref>

The diplomat [[Ralph Winwood]] obtained special greyhounds for her hunting from Jacob van den Eynde, Governor of [[Woerden]].<ref>[https://archive.org/details/buccleuchqueensb01greauoft/page/n155/mode/2up ''HMC (45) Buccleuch'', vol. 1 (London, 1899), p. 110]</ref> The Dutch inventor [[Salomon de Caus]] laid out her gardens at Greenwich and Somerset House.{{Sfnp|Field|2020|p=69}} She had a barge for her journeys on the Thames, with glass windows.{{Sfnp|Devon|1836|p=215}} Anne particularly loved music and patronised the lutenist and composer [[John Dowland]],{{Efn|Dowland dedicated his [[Lachrimae, or Seaven Teares|''Lachrymae'']] to Anne.{{Sfnp|Barroll|2001|p=58}}}} previously employed at her brother's court in Denmark, as well as "more than a good many" French musicians.{{Sfnp|Barroll|2001|p=58}}{{Sfnp|Stewart|2003|p=182}} Between 1607 and her death in 1619 she also employed the Irish harper [[Daniel Duff O'Cahill]].<ref>{{Cite journal |last=Donnelly |first=Seán |date=2000 |title=A Cork Musician at the Early Stuart Court: Daniel Duff O'Cahill (c. 1580–c. 1660), 'The Queen's Harper' |url=https://corkhist.ie/wp-content/uploads/jfiles/2000/b2000-002.pdf |journal=Journal of the Cork Historical and Archaeological Society |volume=105 |pages=1–26 [6–10]}}</ref>

Anne also commissioned artists such as [[Paul van Somer]], [[Isaac Oliver]], and [[Daniel Mytens]], who led English taste in visual arts for a generation.{{Sfnp|Croft|2003|page=24}} Under Anne, the [[Royal Collection]] began once more to expand,{{Sfnp|Barroll|2001|p=58}} a policy continued by Anne's son, [[Charles I of England|Charles]]. With some irony, Anne's servant [[Jean Ker, Countess of Roxburghe|Jean Drummond]] compared the queen's reputation to be content among "harmless pictures in a paltry gallery" with the Earl of Salisbury's "great employments in fair rooms".<ref>{{Cite journal |last=Wilks |first=Timothy |date=1997 |title=Art Collecting at the English Court: 1612–1619 |journal=Journal of the History of Collections |volume=9 |issue=1 |pages=31–48 [citing [[The National Archives|TNA]] SP14/67/104]|doi=10.1093/jhc/9.1.31 }}</ref> Drummond's remark contrasts the smaller and more private spaces housing the queen's collection with the halls and presence chambers where statecraft was enacted.{{Sfnp|Field|2020|p=43}}

She was involved in an unsuccessful attempt to found a college or university at [[Ripon]] in Yorkshire in 1604. The scheme was promoted by Cecily Sandys, the widow of the Bishop [[Edwin Sandys (bishop)|Edwin Sandys]] and other supporters including [[Bess of Hardwick]] and [[Gilbert Talbot, 7th Earl of Shrewsbury]].<ref>[[Francis Peck]], ''Desiderata Curiosa'', vol. 1 (London, 1779), p. 290.</ref> Historian Alan Stewart suggests that many of the phenomena now seen as peculiarly [[Jacobean era|Jacobean]] can be identified more closely with Anne's patronage than with James, who "fell asleep during some of England's most celebrated plays".{{Sfnp|Stewart|2003|p=183}}{{Sfnp|Williams|1970|p=106}}

Anne had a surprisingly good relationship with [[James Montague (bishop)|James Montague]], one of James's closest aides and Bishop of Bath and Wells from 1608 to 1616. Her first visit to Bath may have been timed to coincide with the completion of the re-roofing of Bath Abbey, at the bishop's own expense, and Montague staged a "Panegiricall entertainement", probably at the bishop's palace in Wells in 1613, in which the character of [[Joseph of Arimathea]] presented the queen with a bough from the [[Holy Thorn of Glastonbury]].<ref>Stout, Adam (2020) ''Glastonbury Holy Thorn: Story of a Legend'', Green & Pleasant Publishing, pp. 28–30 {{ISBN| 978-1-9162686-1-6}}</ref>