The loss of ecclesiastical patronage created a crisis for native craftsmen and artists, who turned to secular patrons. One result of this was the flourishing of Scottish Renaissance painted ceilings and walls, with large numbers of private houses of burgesses, lairds and lords gaining often highly detailed and coloured patterns and scenes, of which over a hundred examples survive. These include the ceiling at Prestongrange, undertaken in 1581 for Mark Kerr, Commendator of Newbattle, and the long gallery at Pinkie House, painted for Alexander Seaton, Earl of Dunfermline in 1621. These were undertaken by unnamed Scottish artists using continental pattern books that often led to the incorporation of humanist moral and philosophical symbolism, with elements that call on heraldry, piety, classical myths and allegory. The tradition of royal portrait painting in Scotland was probably disrupted by the minorities and regencies it underwent for much of the sixteenth century, but began to flourish after the Reformation. There were anonymous portraits of important individuals, including the Earl of Bothwell (1556) and George, fifth Earl of Seaton (c. 1570s). James VI employed two Flemish artists, Arnold Bronckorst in the early 1580s and Adrian Vanson from around 1584 to 1602, who have left us a visual record of the king and major figures at the court. In 1590 Anne of Denmark brought a jeweller Jacob Kroger (d. 1594) from Lüneburg, a centre of the goldsmith's craft.