LITMIR.BIZ

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      I abhor the principles of the Church of Rome as much as it is possible for any to do, and I as much value the doctrine of the Church of England. And certainly there is the greatest reason in the world to do so, for the doctrine of the Church of Rome is wicked and dangerous and directly contrary to the scriptures, and their ceremonies – most of them – plain downright idolatry. But God be thanked, we were not bred up in that communion, but are of a Church that is pious and sincere, and conformable in all its principles to the scriptures. Our Church teaches no doctrine but what is just, holy and good, or what is profitable to salvation; and the Church of England is, without all doubt, the only true Church.⁶⁴

      A Venetian diplomat recorded that ‘The Duchess of York was not buried when negotiations were begun for a fresh one’. James’s eagerness to acquire a new spouse was partly because he wanted sons and heirs. It took him some time to find a bride, not least because he was adamant that candidates must be ‘young and beautiful’.⁶⁵ At length he decided to propose to an Italian princess, fifteen-year-old Mary Beatrice of Modena, who fulfilled both requirements. Negotiations dragged on because the girl had wanted to be a nun and it required the intervention of the Pope to persuade her that marriage to James represented a higher vocation. In September 1673 Mary Beatrice was wedded to James by proxy at a ceremony in Modena, but when news arrived in England that James had chosen a Catholic princess as his wife it was very ill received. After Parliament met on 20 October, a motion was passed urging that Mary Beatrice should be sent straight home on reaching England. Rather than heed these demands, Charles II prorogued Parliament before her arrival in November.

      ‘The offspring of this marriage will probably inherit the crown’, the Venetian ambassador noted, but there is no evidence that the likelihood of being superseded in the succession by Mary Beatrice’s sons upset Mary and Anne at this stage. Certainly their father assumed they would welcome their young stepmother, jovially telling eleven-year-old Mary ‘he had provided a playfellow for her’.⁶⁶

      Once she had recovered from her homesickness and her initial distaste for her middle-aged husband, Mary Beatrice’s youthful high spirits manifested themselves. There had been fears that someone of her ‘Italian breeding’ would have very pronounced ideas about etiquette, but here too her informality came as a pleasant surprise as she enjoyed games of blind man’s buff and snowball fights. Lady Tuke said she would never have expected her to be ‘such a romp as she proves’.⁶⁷

      Initially the signs were that Mary Beatrice had established an excellent relationship with her stepdaughters. In 1675 an observer reported she ‘diverts herself … with the princesses, whose conversation is much to her taste and satisfaction’. Three years later she would say of Mary, ‘I love her as if she was my own daughter’, and she gave every indication of being equally fond of Anne. When the Duchess of York accompanied her husband to Scotland in 1680 she complained not just about having to leave behind her own daughter Isabella, but also at being parted from Anne. The following year Mary Beatrice expressed delight when her stepdaughter was permitted to join her at Edinburgh, declaring herself ‘much pleased to have the Lady Anne with me’.⁶⁸ Anne was assumed to reciprocate these warm feelings, and in the early years it is indeed probable that they were genuinely on good terms. In time, however, Anne would come to detest Mary Beatrice.

      The fact that Mary and Anne were being brought up in a Catholic household was a cause of concern to the public. When Parliament met in February 1674 the House of Lords attempted to pass a resolution that called for ‘the removal of the Duke of York’s daughters from his charge because the Duchess is a Catholic’.⁶⁹ Once again the King staved off trouble by proroguing Parliament before the measure was put to the vote.

      Considering she was not even allowed to bring up her own children as Catholics, Mary Beatrice’s chances of converting her stepdaughters were surely slim. Having given birth in January 1675 to a baby girl (dismissed as ‘but a daughter’ by the disappointed father) she was appalled when her husband explained that ‘their children were the property of the nation’, and would be removed from their parents’ care unless raised as Protestants. Accordingly the child (who died that October) was christened according to Anglican rites, and her elder sisters stood as godmothers.⁷⁰

      Mary and Anne’s energies at this time were absorbed elsewhere with an acting project. In the autumn of 1674 the King had commissioned Thomas Crowne to write a masque to be staged at Whitehall, entitled Calisto, or The Chaste Nymph. Intended to rival the ballets and entertainments put on by Louis XIV in France, it was hoped that the masque would serve as an extravagant showpiece, in which ‘the splendour of the English monarchy will be seen’. The seven speaking roles were all taken by young ladies of the court. Anne’s sister Mary was given the role of the eponymous nymph, Calisto, while Anne played Calisto’s younger sister Nyphe. Even in this supporting role there were quite a lot of lines for a nine-year-old to master, but fortunately Anne had an excellent memory. Like other members of the cast, she was coached by Mrs Betterton, wife of the actor-manager Thomas Betterton. When Anne was a bit older the training she received at this point would be supplemented by lessons from another celebrated actress, Elizabeth Barry, who was credited with much improving her pupil’s diction.⁷¹

      On 22 February 1675 the masque was staged ‘in all its bravery and pomp’ in the presence of the King and Queen, foreign ministers and anyone else who had been able to secure seats. It was a lavish production, in which the elaborately costumed female performers appeared ‘all covered with jewels’. Basking in the audience’s ‘great applause’, the delighted author enthused that the success of the play owed much to the ‘graceful action, incomparable beauty and rich and splendid habits of the princesses’.⁷²

      Crowne had based his plot on a story from Ovid, relating how the nymph Calisto, servitor of the Goddess Diana, had been raped by Jupiter after the latter gained access to her by impersonating Diana. For decency’s sake, Crowne toned down the story so that Calisto successfully fends off Jupiter’s advances, but the script still contained much sexual innuendo. In particular the scenes in which Jupiter, masquerading as Diana, tries to force himself upon the unwilling nymph have an erotic subtext. Calisto is overcome with shame and confusion at finding herself an object of sexual attention from a woman, and even expresses dread that, like Diana, she might become infected by a ‘strange uncommon’ malady that will prompt her to commit ‘some horrid act’.⁷³ It is curious that Anne, whose reputation would later be compromised by allegations of lesbianism, should have appeared as a child in an entertainment which touched obliquely on such matters.

      No one who when young had any experience of the Restoration court could be said to have had an entirely sheltered upbringing. Pepys memorably observed that there was ‘nothing almost but bawdry at court from top to bottom’. Marital infidelity was so much the norm that in her early teens Anne’s sister Mary would write nonchalantly to a friend: ‘in two or three years men are always weary of their wives and [go] for mistresses as soon as they can get them’. Perhaps it was the behaviour of her father which planted this idea, although the court was of course also swarming with Charles II’s paramours. Anne was well aware of their existence, and came to dislike the King’s principal mistress, the Duchess of Portsmouth. Mary and Anne were not insulated from the gossip and scandal that periodically engulfed the Duchess of York’s maids of honour, many of whom were themselves barely out of adolescence.⁷⁴

      Far from being corrupted by their early environment, Mary and Anne both developed strong moral values and never lost sight of them. In view of their position, they were obviously less vulnerable than other young women at court, and in many ways they were carefully protected. One obvious precaution was to limit their exposure to predatory men, and at Richmond and London their social circle was almost exclusively female. Yet even here the princesses proved emotionally susceptible, developing schoolgirl crushes which, though innocent enough, had an intensity startling to modern sensibilities.

      Anne and Mary of course relied upon each other for companionship, and were very close when young. Mary once referred to Anne as ‘a creature … so double dear to me’, insisting that she had always cherished her with ‘a love too great to increase and too natural not to last always’. In a melodramatic moment she wrote

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