Wedding of Princess Elizabeth and Frederick V of the Palatinate

[9] Elizabeth's wardrobe was updated with silks and satin from Baptist Hicks and Thomas Woodward, gold lace from Christopher Weever, and John Spence made her whalebone "bodies" and farthingales.

[18] The marriage contract was finalized, and in a ceremony at Whitehall on St John's Day, 27 December, Frederick took Elizabeth's hand in her bedchamber and led her to the King in the Banqueting Hall, where they kneeled on a Turkish carpet and received his blessing and then the Archbishop of Canterbury's.

[19] The letter writer John Chamberlain heard that the contracts were read out by Thomas Lake, but the poor quality of the translations made the guests laugh out loud.

[24] A Scottish courtier Viscount Fenton sent the news that the couple were now "assured" to his kinsman in Stirling, adding, "The marriage is appointed to be on Saint Valentine's day and by mere accident".

[28] Frederick ordered more gifts from Paris, including caskets of jewels, and a particularly fabulous coach for Elizabeth covered inside and out with embroidered velvet.

The King sent word that Nisbet should buy a jewel, "a carquan of diamonds of great value", to give to Elizabeth on the morning of the wedding as she waited in the gallery at Whitehall before going in procession to the Chapel Royal.

Patrick Black, formerly a tailor to Prince Henry, made him a suit of "villouris raze" with satin and Milan passments and a velvet cloak.

[41] The theme was loosely based on the allegory in the first book of Edmund Spenser's The Faerie Queen, a work of 1590 celebrating the reign of Elizabeth I.

[47] The fireworks illustrated a theme or device, involving Lady Lucida, Queen of the Amazons, who spurned the love of the magician Mango, a "Tartarian".

[47] Then followed a further firework display, credited to John Tindall, of an assault by three ships on the Castle of Envy on an island in the Sea of Disquiet.

[49] This description may have brought to mind a garden feature of Somerset House designed for Anne of Denmark by Salomon de Caus, a Mount Parnassus carved with mussels and snails.

[51] The treasurer of the navy Robert Mansell was granted funds for "the naval fight to be had upon the river of Thames, for the more magnificent and royal solemnizing of the marriage of the Lady Elizabeth".

[53] The battle took place on the afternoon of Saturday 13 February between Lambeth Steps and Temple stairs, with a cordon or boom of tethered boats reserving a free passage for ordinary Thames traffic.

[57] John Chamberlain thought the event had fallen far short of expectation, and King James and the royals took no delight in the mere shooting of guns.

[63] He also noted that the daughters of the Earl of Northumberland and the Catholic Lord Montagu were very well dressed, a public show of loyalty when the groom was a leading Protestant prince.

[70] Roger Wilbraham wrote, "the Court abounding in jewels and embroidery beyond custom or reason: God grant money to pay debts".

[78] The event was celebrated in John Donne's Epithalamion, or Mariage Song on the Lady Elizabeth, and Count Palatine being married on St Valentines Day.

[86] He spoke with Orpheus, and Prometheus was revealed in the upper part of the stage, with eight masquers dressed as stars on moving clouds designed by Inigo Jones.

As these masquers descended in a cloud, the woodland scene changed to reveal four silver women, dancers turned to stone by Jove, in niches built according to the canons of classical architecture but gilded and set with jewels.

[88] The costumes were also designed by Inigo Jones, whose source material included a 1589 pageant or intermezzi in Florence celebrating the wedding of Christina of Lorraine and Ferdinando I de' Medici, Grand Duke of Tuscany.

[104] The Memorable Masque was produced for the Inns of Court by Edward Phelips, the Master of the Rolls and Richard Martin, a lawyer who worked for the Virginia Company,[105][106] with Christopher Brooke, and the Attorney General, Henry Hobart of Blickling.

[110] Martin Butler detects in the masque the kind of colonial ambition which Henry had preferred, but King James would avoid for its potential for conflict with Spain.

[112] The masque represented Virginian peoples on the stage,[113] while introducing the theme of gold mining from Guiana based on the voyages of Walter Ralegh,[114] conflating two colonial ventures.

[117] A marshal attending the performers and audience, "Baughan", was probably the usher of Anne of Denmark, who had previously fought with Edward Herbert over a hair ribbon worn by a maid of honour, Mary Middlemore.

[118] A drawing by Inigo Jones for a torchbearer at the masque, held at Chatsworth, shows a man wearing a feathered head dress, derived partly from a woodcut of Cesare Vecellio.

[137] Nothing more was heard of a masque planned by Elizabeth and her entourage, to involve herself and fifteen maidens, mentioned by Antonio Foscarini in October 1612, and probably abandoned after the death of Prince Henry.

[146] The other English ships, under the command of the Earl of Nottingham, were The Anne Royall, The Repulse, The Red Lion, The Phoenix, The Assurance, and The Disdain, with the frigate Primrose two smaller pinnaces The George, a transporter, and The Charles.

[153] In May the actor-manager John Heminges was paid by the Lord Treasurer for putting on fourteen or more plays including Much Ado About Nothing for Elizabeth, Frederick, and Charles at Whitehall.

She received gifts from the States General of jewellery, linen, Chinese lacquer furniture for a cabinet room, and two suites of tapestry woven at the workshop of François Spierincx.

[167] On 13 June there was a tournament of "mad fellows with tubs set on their heads, apparelled all in straw, and sitting on horse back", and the next day the Duke of Lennox, the Earl and Countess of Arundel, and others departed.