for the
masque Hymenaei, portrait by
John de Critz. in mourning costume for
Prince Henry in 1612,
NPG. , c. 1614, by
Marcus Gheeraerts the Younger,
RCT. at
Oatlands with an
African servant, 1617, by
Paul van Somer. by
Paul van Somer,
Nationalmuseum. At the
Union of the Crowns in 1603, James became King of England. He travelled to England first. Anne of Denmark remained in Scotland and had a miscarriage at Stirling Castle. James wrote to her that she should not wear mourning clothes for
Elizabeth I. There are indications that Anne changed her style to that of the English court by having some clothes altered. Fabrics were sent to her from England and new clothes were made for her household. The merchant
Baptist Hicks provided velvet, cloth of gold and silver, grosgrain,
tabine, tissue, sarcenet, taffeta, and satin. Some of Anne's gowns were "opened up" and enlarged into a "new fashion" with matching fabric. The change may have resulted in gowns suitable to be worn with a larger
farthingale. King James (who had travelled to England first) sent some of Elizabeth's jewels to Anne with an English hairdresser,
Blanche Swansted.
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.
John Chamberlain wrote that Elizabeth left "a well stored jewell house and a rich wardrobe of more than 2000 gownes with all things els answerable".
Dudley Carleton wrote that the new queen "giveth great contentment to the world in her fashion and courteous behaviour", 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. 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. 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. George Abercromby, a Scottish knight, was gentleman of the Queen's robes. Records show that another of her new bedchamber ladies
Bridget Markham bought dress accessories for her, such as lace, fringes, ribbons, and ordered embroidered waistcoats. Anne of Denmark's master tailor and yeoman of the robes was
James Duncan, a Scot with Aberdeenshire connections. The court and royal households moved locations several times to avoid the
plague that year, and "James Duncan's man" carried gowns from Winchester (where
Anne had staged a masque) to
Nonsuch and
Oatlands for Princess Elizabeth and her companions. According to
Arbella Stuart, Anne of Denmark asked Audrey 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. 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". The costumes were tailored by James Duncan. Anne, playing the part of
Pallas, wore a brand new stage helmet made by
Mary Mountjoy and skirts below the knee but shorter than was customary. Anne was also depicted in an engraving as Pallas, dressed in classical armour, "a figure at odds with wifely obedience and Jacobean pacifism". 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. 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. The Queen's usual usual costume now included large drum farthingales which were made by Robert Hughes in his
Strand and
Bow Lane workshops. Their size was noted by diplomats including the Venetian priest Horatio or Orazino Busino.
Experimental reconstructions show that the farthingales were unlikely to have been quite as big as exaggerated contemporary reports. 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. 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), and Anne of Denmark owned a portrait of
Mary Middlemore. Livingstone was depicted with the deep
décolletage seen in many Jacobean portraits, Coningsby's neckline is more Elizabethan.
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. The incident nearly led to a duel.
Lady Anne Clifford avoided opportunities to join the households of Anne or her daughter
Princess Elizabeth, but in 1646 had herself depicted as young adult in the "Great Picture", approximating the style worn at Anne's court. She mentions in her
Diary attending court in a favourite sea-water green satin gown without a farthingale in November 1617. Her gowns were made "to wear with open ruffs after the French fashion". Anne and women in her circle are often depicted in their portraits wearing a black silk cord or lace around their wrist, attached to a ring. This seems to be an adaptation of wearing jewels on silken cords at the neck, and may be related to the widespead public mourning at the death of
Henry Frederick, Prince of Wales. 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. 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. 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. 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.(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 in
Cheapside was a major supplier of fabrics in her first years in England, and had sent silks to Scotland in 1589 for the royal wedding. Agents for the late Thomas Woodward, a mercer to Anne of Denmark who also provided fabrics for masques, finally obtained a payment of £3,720 in November 1627. François Blondeau was Anne's parfumier, retained to scent stored robes and
perfume gloves. Thomas Wilson and Francis Baker made the queen's shoes, Baker attended the funeral of Prince Henry. Wilson, whose premises were on the
Strand, also made shoes for Anne's son,
Prince Henry who paid for a poor boy from
Woodstock to be his apprentice. Hugh Griffiths made silk stockings for the Queen. Ribbons and passementerie were provided by silkmen, including Thomas Henshawe and his son
Benjamin Henshawe.
Dorothy Speckard, who had worked for Elizabeth I, became a
silkwoman to Anne of Denmark. She was in charge of Anne's linen and stockings in 1619. 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. 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. Some embroidery was worked by
Christopher Shawe and he also made masque costumes used at court during performances held at New Year. The 1611 inventory includes some items made for ''
Tethys' Festival''.
Zachary Bethell kept the wardrobe accounts and made inventories, George Abercromby made payments, and Christopher Mills was clerk. Shawe was not paid as promptly as he wished for his work and had to petition for payment. 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. 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, the yearly amount spent on clothes alone was said to be £8,000. == Funeral and the wardrobe ==