Elizabeth Stuart’s international career as royal daughter and consort began in the cosmopolitan worlds of her childhood. Sir John Harington tutored the young princess in French and Italian, and her court musicians and personal music tutors included the Paduan composer Angelo Notari and the Mantuan lutenist Giovanni Maria Lugario, as well as the London-born descendants of Italian musicians, composers Thomas Lupo and Alfonso Ferrabosco. This group also includes the poet Emilia Lanier, née Bassano, who dedicated her 1611 Salve deus rex Judaeorum to the young princess. My chapter considers the impact of this cosmopolitanism on Elizabeth as a girl, as well as how girlhood itself signifies within early modern court culture. When, in 1608, the Scottish diplomat Thomas Rosa praised the twelve-year-old princess’s learning, he did so by comparing her to an international group of women: Zenobia, the Queen of Palmyra, a city that replaced Athens as a cultural center; the philosopher Aretia (Arete) of Cyrene, daughter of the Greek philosopher Aristippus; and Cornelia, daughter of Scipio Africanus, who educated her sons, the reform-minded Gracchi. Extending from Greece and Rome to present-day Syria, Libya, and Carthage, Rosa’s international frame of reference situates Elizabeth, as a girl, as not only a symbol but a conduit of learning and culture that brings England, as a nation, into a much broader multicultural and transhistorical conversation.