This book analyses Anna of Denmark’s material and visual patronage at the Stuart
courts, examining her engagement with a wide array of expressive media including
architecture, garden design, painting, music, dress, and jewellery. Encompassing
Anna’s time in Denmark, England, and Scotland, it establishes patterns of
interest and influence in her agency, while furthering our knowledge of
Baltic-British transfer in the early modern period. Substantial archival work
has facilitated a formative re-conceptualisation of James and Anna’s
relationship, extended our knowledge of the constituents of consortship in the
period, and has uncovered evidence to challenge the view that Anna followed the
cultural accomplishments of her son, Prince Henry. This book reclaims Anna of
Denmark as the influential and culturally active royal woman that her
contemporaries knew. Combining politics, culture, and religion across the courts
of Denmark, Scotland, and England, it enriches our understanding of royal
women’s roles in early modern patriarchal societies and their impact on the
development of cultural modes and fashions. This book will be of interest to
upper level undergraduate and postgraduate students taking courses on early
modern Europe in the disciplines of Art and Architectural History, English
Literature, Theatre Studies, History, and Gender Studies. It will also attract a
wide range of academics working on early modern material and visual culture, and
female patronage, while members of the public who enjoy the history of courts
and the British royals will also find it distinctively appealing.
Ekphrasis and historical materiality in Shakespeare’s The Rape of Lucrece
, Archaeologies of English RenaissanceLiterature (Oxford:
Oxford University Press, 2007), and Angus Vine, In Defiance of Time: Antiquarian
Writing in Early Modern England (Oxford: Oxford University Press, 2010).
8 Catherine Belsey, ‘Invocation of the Visual Image: Ekphrasis in Lucrece and Beyond’,
Shakespeare Quarterly, 63 (2012), 175–98 (p. 196).
9 Greene describes an unrequited desire in the Renaissance for the ancient world, a
desire that was like an ‘incomplete embrace’ (The Light in Troy, p. 43).
10 Valentine Cunningham, ‘Why Ekphrasis?’, Classical Philology, 102
Ekphrastic encounters in Kyd’s The Spanish Tragedy
‘Fabulously counterfeit’: ekphrastic
encounters in Kyd’s The Spanish Tragedy
One of the more explicit references to the paragone in Renaissanceliterature
appears in Shakespeare’s Sonnet 16. Like several of the poems in the sequence,
Sonnet 16 self-consciously reflects upon the speaker’s attempts to represent the
friend in verse, or what the poet playfully refers to as his ‘barren rhyme’.1 But
this particular sonnet also sets up a further comparison between poetry and the
visual arts. The speaker proposes that the friend’s living offspring will
Continental accounts of architecture because of the new proliferation of translations, and who readjusted
continuously when speaking and hearing the words of their discussions.
1 Lawrence Stone, The Crisis of the Aristocracy 1558–1641 (Oxford: Oxford University
Press, 1967), pp. 41–2, 45–6, 51.
2 J. F. R. Day, ‘Primers of Honor: Heraldry, Heraldry Books, and English RenaissanceLiterature’, Sixteenth-Century Journal 21:1 (Spring 1990), 94–6.
3 On these volumes, see Day, ‘Primers of Honor’, 93–103.
4 John Guillim, A Display of Heraldrie: Manifesting a More Easie
Strong, Renaissance Garden, 97; Henderson, Tudor House and Garden, 101, 103;
Morgan, Nature as Model, 115–119.
Quoted in Strong, Renaissance Garden, 90–91. De Caus later published a design
– in Les Raisons des forces Mouvantes (Frankfurt, 1615) – for a Parnassus that is
almost identical to that described by Neumayr.
Morgan, Nature as Model, 120–121. For an examination of the role and place that
mechanical and magical effects held in the contemporary literary world see the
essays in W. B. Hyman (ed.), The Automaton in English RenaissanceLiterature