During his first visit he seems to have achieved such a reputation that Christian IV., King of Denmark and brother of the queen of James I., invited him to enter his service. Here, again, there is no reliable information as to his achievements; the only evidence indeed is of a negative character and consists of the remark of a Danish gentleman to the effect that “your great architect left nothing to my country but the fame of his presence.” On his return to England he seems to have been occupied chiefly in the devising of masques and plays, among the earliest of which were some given at Christ Church, Oxford, to entertain James I. Oddly enough the comment of the chronicler in this case is that he “undertook to further them much and furnish them with rare devices, but performed very little of that which was expected.”[11] That this failure must have been an exceptional case is sufficiently proved by the numerous drawings of scenery by him preserved at Chatsworth. Soon after his return to England he was appointed surveyor to the queen (Anne of Denmark), and in the year 1610 surveyor of the works to Henry, Prince of Wales, but there is no record of these appointments having resulted in any architectural work. Prince Henry died in 1612, and in 1613 Jones secured the reversion, after Simon Basil, of the office of surveyor of works to the king.[12] In the same year he went to Italy for the second time, where he studied the work of celebrated painters and architects, as well as the splendid remains of ancient architecture which were even more abundant in those days than in these. His intercourse with living architects and painters shaped his own methods of study and design, and there can be no doubt that he returned not only fully equipped to undertake any work that might fall to his lot, but deeply imbued with the spirit of Italian art and the prevalent Italian methods of design.