€6e £>fealu£Siuare &o titty* PRESIDENT. The Rt. Hon. The Earl of Ellesmere. VICE-PRESIDENTS. Rt. Hon. The Earl of Clarendon, GC.8. Lord The Earl of Glengall. Lord Rt. Hon. The Earl Howe. COUNCIL. 1849. Braybrooke. Leigh. Thomas Amyot, Esq.,F.R S. WilHam Ayrton, Esq.. F.R.S. Bayle Bernard, Esq. The Right Hon. the VIce-Chan- cellor Sir James Knight Bruce, F.R.S., F SA. John Brace, Esq.. Treas. S.A. J. Payne Collier, Esq., F.S A. Director. Bolton Corney, Esq. PeterCunningham,Esq.,Trda surer. Sir Henry Ellis, K.H. .Mm Forster, Esq. J. O. Halliwell, Esq., F.R.S. The Rev. W. Harness. Swynfen Jervis, Esq. Charles Knight, Esq. Sir E. Bulwer Lytton, Bart. William C. Macready, Esq. T. J. Pettigjew, Esq., F.R.S * Mr. Justice Talfourd, D C.L. W. J. Thorns, Esq., F..S.A. Thomas Thomson, Esq., M.D. F. G. Tomlins, Esq., Secretary. The Object of the Shakespeare Society is to print and distribute to the Subscribers books illustrative of Shakespeare and of the Lite rature of his time. Admission to the Society, of any respectable person, is made by "application to the Agent. The Subscription is £1 per annum, due on the 1st of January in each year in advance, on payment of which the Member is entitled to a copy of every book printed by the Society for the year for which the Subscription is made. The Subscription is payable to the London Agent, by cash or through the Country Agent, and must be made for the current year. The Subscribing for any or all of the previous years is optional. The books are only procurable of the Society by Members. The Affairs of the Society are managed by a Council, consisting of the President, six Vice-Presidents, and twenty-one Members : five of the latter retire every year, and the vacancies are filled up, on the recommendation of the Council, from the general body of the Sub scribers, at the Annual General Meeting. The CouNcrL meet on the second Tuesday in every month, to select and superintend the works printed by the Society ; and the General Members once a-year, on the 26tli of April. The Editors and the Council render their services gratuitously to the Society ; and every means are adopted to expend as nearly as possible the whole amount of the Subscriptions in producing books. The Delivery of the Books is made by the London Agent, Mr. Skeffington, to whom all communications on the subject should be made. It is a rule, most strictly adhered to, that No booh shall be delivered until the Subscription is paid. Contributions to "The Shakespeare Society's Papers" are soli cited by the Council — it having been deemed desirable to issue occa sional volumes thus formed and entitled, in order to create a medium for preserving and distributing illustrations of the literature, which is the peculiar object of the Society. !$ooft0 i0*urH ftp tf)e ^fja&rspraw g-OftetiK FOR 1841. Memoirs of Edward Alleyn, Founder of Dulwich College. By J. P. Collier. Gosson's School of Abuse. With Introduction, Src. Thomas Hey wood's Apology for Actors. With Introduction, &c. The Coventry Mysteries. Edited by J. O. Halliwell, with Introduction and Notes. Thvnn's Pride and Lowliuess. With Introduction, Notes, &c. Patient Grissell. A Comedy, by Dekker, Chettle, and Haughton. With Introduction and Notes, by J. P. Collier. FOR 1842. Extracts from the Accounts of the Revels at Court in Elizabeth and James's Reigns. With Intro duction aud Notes by Peter Cunningham. Ben Jonson's Conversations with Drummond. Introduction, &c. by David Laing. First Sketch of the Merry Wives of Windsor. The Novels on which it is founded, and an Intro duction aud Notes by J.O. Halliwell. ^ Fools and Jesters ; with Armin's Nest of Ninnies, &e. Introduction, &e. by J. P, Collier. The Old Play of Timou. Now first printed. Edited by Rev. A. Dyce. Nash's Pierce Pennilesse. With Introduction, &c. by J. P. Collier. Heywood's Edward the Fourth, a Play, in Two Parts. Edited by Barron Field. FOR 1843. Northbrooke's Treatise. With an Introduction, &c. by J. P. Collier. The First Sketches of the Second and Third Parts of Henry the Sixth. Edited by J.O. Halliwell. Oberon*s Vision Illustrated. By the Rev. A. J. Halpiu. The Chester Whitsun Plays — Part I. With Introduction and Notes by Thomas Wright. The Alleyn Papers, illustrative of the Early English Stage. With Introduction by J . P. Collier. Inedited Tracts by John Forde the Dramatist. With Introduction by J. P. Collier, FOR 1844. TarltoD's Jests andTarlton's Newesout of Purgatory. With a Life, &c. hy J. O. Halliwell. The True Tragedie of Richard the Third, from a unique Copy, and The Latin Play of Richard us Tertius.from a Manuscript. Edited by Barron Field. The Ghost of Richard the Third. A Poem. Edited by J. P. Collier. Sir Thomas More. A Play. Edited by the Rev. A. Dyce. Vol. I. of "The Shakespeare Society's Papers," being a Miscellany of Contributions Illustra tive of the Objects of the Society. The Taming of a Shrew. To which is added, the Woman lapped in Morrel Skin. Ediled by Thomas Amyot. FOR 1845. Illustrations of the Fairy Mythology of Shakespeare. By J. O Halliwell. First Part and a portion of the Second Part of Shakespeare's Henry the IVth. From a Unique Contemporary Manuscript. Edited by J.O. Halliwell. Diary of Philip Henslowe, from 1591 to 1609. From the Original at Dulwich College. Edited by J. P. Collier. Vol. II. of "TheShakespeareSociety'sP4pers." Consistiug of Miscellaneous Contributions. FOR 1846. The Fair Maid of The Exr-.hange.A Comedy, by Thomas Heywood: and Fortune by Land and Sea, a Tragi- Comedy, by Thomas Heywood and William Rowley. Edited by Barron Field. The Marriage of Wit and Wisdom. An Ancient Interlude. From the oiiginal Manuscript re cently discovered. Memoirs of the Principal Actors in Shakespeare's Plays. By J. Payne Collier. Rich's Farewell to Military Profession. From the unique Copy of the first edition of 1581. FOR 1847. Ralph Roister Doyster, a Comedy, by Nicholas Udall, and the Tragedie of Gorboduc, by Thomas Norton and Thomas Sackville. Edited by W. Durrant Cooper. Part II. ofTheChester Whitsun Plays. Edited by Thomas Wright. Vol. III. of "The Shakespeare Society's Papers." Consisting of Miscellaneous Contributions. FOR 1848. The Moral Play of Wit and Science. Edited by J. O. Halliwell. Extracts from the Registers of the Stationers' Company of WoTks entered for publication between 1557 and 1570, with Notes and Illustrations by J Payne Collier. Vol. I. Inigo Jones. A Life of the Architect, by Peter Cunningham Remarks on some of his Sketches for Masques and Dramas; by J. R, Planche Five Court Masques ; edited from the original MSS. of Ben Jonson, John Marston &c , by J. P. Collier. Accompanied by Facsimiles of drawings by luigo Jones, and a Portrait from a Painting by Vandyck. FOR 1849. Vol. IV. of "The Shakespeare Society's I'apers." Vol. II. of Extracts from the Registers of the Stationers* Company, between the vears 1570 ana 1587. By J. Payne Collier. ' An Engraving of theCHANDos Portrait, by permission of the President. the Rt. Hon. Earl uf Ellesmere. by Mr. Cousins, A.R A. IN PREPARATION, A dissertation on the imputed Portraits of Shakespeaie, as an accompaniment to the En»ravin» of the Chandos Portrait By J. Payne Collier ASblectionfiomOldys's MS. Notes to Laugbaiue's Diamatic Poets. Hy Peter Cunningham Tcriv tally T',md.rk Enarui.1 lr ti:il.'ll. r(o)-inE^ liioiraml iron,, on or,,,, not l',,l„,r hij Vondnke e„ arisaill,: in //,<• I'ofy.fxton oi )l,ijor Inmo Join:: Jl1''lfu/hirs. whirl, lo,,/ belonged te ll,.: tirrnl ih-oinlnillicr Jruno Jonos ir/tr ilinl l.U.Jion. INIGO JONES. A LIFE OF THE ARCHITECT; BY PETER CUNNINGHAM, ESQ. EEMAEKS ON SOME OF HIS SKETCHES FOE MASQUES AND DRAMAS; BY J. R. PLANCHE, ESQ. AND FIVE COURT MASQUES; EDITED PROM THE ORIGINAL MSS. OF BEN JONSON, JOHN MARSTON, ETC. BY J. PAYNE COLLIER, ESQ. ACCOMPANIED BY FACSIMILES OF DRAWINGS BY INIGO JONES; AND BY A PORTRAIT FROM A PAINTING BY VANDYCK. LONDON: PEINTED FOE THE SHAKESPEARE SOCIETY. 1848. F. Shoberl, Jim., Tiinter to H.R.H. Prince Albert, Rupert Street. COUNCIL THE SHAKESPEAEE SOCIETY. $«;Sfoent. THE EARL OF ELLESMERE. Wict^vtsiititntsS. THE EARL OF CLARENDON. THE EARL OF GLENGALL. THE EARL HOWE. THE RT. HON. LORD BRAYBROOKE. THE RT. HON. LORD LEIGH.Council. THOMAS AMYOT, ESQ., F.R.S., F.S.A. WILLIAM AYRTON, ESQ., F.R.S., F.S.A. BAYLE BERNARD, ESQ. THE RIGHT HON. THE VICE-CHANCELLOR SIR JAMES KNIGHT BRUCE, F.R.S., F.S.A. JOHN BRUCE, ESQ., TREAS. S.A. J. PAYNE COLLIER, ESQ., V.P. S.A., DIRECTOR. BOLTON CORNEY, ESQ., M.R.S.L. PETER CUNNINGHAM, ESQ., TREASURER. SIR HENRY ELLIS, K.H., PRINCIPAL LIBRARIAN OF THE BRITISH MUSEUM. JOHN FORSTER, ESQ. J. O. HALLIWELL, ESQ., F.R.S., F.S.A. THE REV. WILLIAM HARNESS. SWYNFEN JERVIS, ESQ. CHARLES KNIGHT, ESQ. SIR E. BULWER LYTTON, BART. WILLIAM C. MACREADY, ESQ. T. J. PETTIGREW, ESQ., F.R.S., F.S.A. MR. JUSTICE TALFOURD, D.C.L. WILLIAM JOHN THOMS, ESQ., F.S.A. THOMAS THOMSON, ESQ., M.D. F. GUEST TOMLINS, ESQ., SECRETARY. The Council of the Shakespeare Society desire it to be understood that they are not answerable for any opinions or observations that may appear in the Society's publications ; the Editors of the several works being alone responsible for the same. PREFACE. The present volume has been longer in preparation than was originally calculated upon. The delay in some degree arose out of the other avocations of the editors of the three different portions of the work, which interfered with their combined exertions ; but it was more especially caused by the number and nature of the illustrations. The most bountiful contributor of these is the Duke of Devonshire, who has always laid open the stores of his library for the use of the Shakespeare Society, and for the advancement of its objects. His Grace possesses a large collection of the designs of Inigo Jones, not merely for public and private edifices, made in the pursuit of his profession as an architect, but of his sketches from pictures, and of what we may call graphic hints for the execution of more elaborate performances. His extraordinary felicity with his pen and pencil is witnessed by no less a contemporary than Vandyck, in a passage quoted by Mr. Cunningham on p. 40; and in consequence of the rapidity, variety, and certainty of his hand, he VI PREFACE. was often employed, particularly on sudden emer gencies, in the execution of designs for the general appearance, and pecuhar habiliments of characters in Masques and other dramatic performances at Court. His public appointment was, in some sort, connected with these representations ; and we know from many authorities, particularly from several remarkable pas sages in Ben Jonson's "Masque of Queens," comprised in the present volume, that for the contrivance of the machinery and for the painting of the scenes them selves, the poets of that day were very commonly indebted to Inigo Jones. Besides, therefore, the sketches for the persons and dresses of the characters, the Duke of Devonshire is the owner of several boxes of designs for scenery, &c. The large paint ings, fixed or moveable, were made by inferior artists from these smaller designs of temples, palaces, man sions, cottages, rocks, wood, and water ; and not a few of them are actually splashed with the distemper used for the purpose. These his Grace, with his wonted liberality, placed at the disposal of our Society ; but it is obvious that we could only avail ourselves of a small part of the treasures, on account of their size ; and the specimens which we here present are taken from two folio volumes, chiefly, if not exclu sively containing sketches in connexion with the apparel and costume of personages who figured in the royal entertainments of James I. and Charles I. It will be seen that they are mere rough outlines instantly handed over to others, that they might make more finished and detailed representations in the PREFACE. Vll appropriate colours. Of these last the Duke of Devonshire has many examples; but our object, with only one or two exceptions, has been to ex hibit the sketches precisely in the state in which they came from the hand of Inigo Jones. Our fac similes have been made by Mr. Netherclift, with such fidehty, that the copies might almost be substituted for the originals, without detection. Another important contributor to the illustrations of our volume has been Major Inigo Jones, justly proud of his descent from his great namesake. Find ing that the Shakespeare Society was preparing a volume, devoted mainly to the life and works of his ancestor, and having an original portrait of Inigo Jones, by Vandyck, in his possession, he not merely permitted the Council to prefix it as a frontispiece to our volume, but, with most praiseworthy generosity, paid for the engraving of it upon steel, in a style of art that does credit to the master and to the donor. It remains to speak as briefly as we can of the literary portion of our volume. For the Life of Inigo Jones, the members are in debted to Mr. Cunningham, their able, learned, and indefatigable Treasurer. Hitherto, our language has possessed nothing deserving the name of a biography of this illustrious architect, who extended his studies and his zeal to all branches of art, either immediately or remotely connected with the profession he em braced. Mr. Cunningham has produced many new facts, and has inserted or quoted many new docu ments : it is really astonishing how some of them can Vill PREFACE. have remained so long unexamined and unemployed ; but with regard to others, they have been derived from sources of information peculiar to the writer. He has neglected nothing that could throw light on the genius, character, and actions of the subject of his me moir, and we are sure that such of our members as are best informed on matters of the sort will be gratified by the novelty and interest given to this part of our undertaking. Mr. Planch£'s taste and knowledge on the sub ject of early costume have been applied to the second portion of this work; and the Council gladly availed itself of his ready assistance. He has explained and illustrated some of the sketches in a manner which makes us regret that he did not extend to all the resources of his attainments and talents : it is left to the writer of the present Introduction to say a few imperfect words on the other plates, which can not well be dismissed without some explanation. We begin with two historical personages : — 1. Robert Kett, the tanner of Wimondham, who headed the rebellion in Norfolk in 1549. This sketch, (upon which the artist has written Cett, pro nouncing the first letter hard) however rough, is in teresting, because it establishes a new fact in our theatrical history; viz., that there was some early dramatic representation on the popular subject of this notorious leader. We know that Wat Tiler, Jack Straw, and Cade, (the last one of the cha racters illustrated by Inigo Jones) had been brought in various ways upon the public stage in the reigns PREFACE. IX of Elizabeth and James ; and we may fairly presume, from the design under consideration, that Kett had enjoyed the same distinction, although the fact is not recorded. The great probability, to say the least of it, is, that an historical play, in which Kett figured, and in which his rebellion was punished, having been brought with success upon the public stage, it was transferred to the royal theatre at Whitehall, and there performed for the amusement of the Court. For this reason, mainly, we selected the figure of Kett, as a specimen of what Inigo Jones considered ought to be his stage-dress and appointments. His truncheon, his hat and feather, his epaulets, &c, all show that he was represented as assuming the rank and character of a military commander. Such, we may infer, was his appearance also on the public stage, whether at the Globe on the Bankside, at the Fortune in Cripplegate, or before the more noisy and less refined audiences at the Bed Bull in St. John Street. 2. Knipperdolling (called Kniperdoling by Inigo Jones) was one of the allies and confederates of John of Leyden, near the commencement of the sixteenth century. A full account of him, among other places, may be found in Alexander Ross's " ncwefcia, or a View of All Religions," 8vo., London, 1672,1 accom panied by a portrait of the hero, to which the repre sentation by Inigo Jones could not be expected to bear much resemblance. Knipperdolling was a pro- 1 For a reference to, and for the use of this book, the writer is indebted to Mr. Bruce, a member of our Council. X PREFACE. phet and cobbler, and possessed great power and influence among the ignorant Anabaptists ; it is very clear, however, that he was only meant to be ridicu lous in our sketch; and, most likely, such was the sort of character he had sustained upon the common stage, before he was transferred to the Court. It is possible that he was made only to take part in some Antimasque, alluding to the story of that time ; but it is much more probable that he had first figured in a now lost drama, brought out before a pubhc auditory. 3. The Morris-dancer,, (or Moresco, as Inigo Jones properly called him under the figure he drew) fre quently appeared on our old theatres and in enter tainments at Court : he is found in the last Masque, in the third portion of our volume; and on this account the sketch forms an appropriate illustra tion. We chose it for another reason, also : it is in a totally different style of drawing to the other figures, and possibly may have been the work of some artist under the direction of our architect, who has added another tint, (happily expressed in our stone-engraving) in order to give greater effect to the figure. There is but little resemblance between it and the representation of William Kemp dancing his Morris to Norwich on the title-page of his " Nine Daies Wonder," 1600: the bells and the cap are nearly all they have in common. The close-fittinc habiliments, in the plate from Inigo Jones, are much more like those in the ancient representation by Israel von Mechlin, in vol. ii., p. 447, of Douce's PREFACE. XI " Illustrations of Shakespeare." Inigo Jones, in his inscription, does not fall into the error of some modern critics, who confound the dancer with the dance, and tells us that Moresco means the latter, when it is only the name of the former. 4. We have inserted the figure of the Torch- bearer, because he is found in nearly every Masque of the period which was performed at night : we may take it, perhaps, that he was ordinarily dressed as in our plate ; but the apparel of the torch-bearers was often regulated by circumstances, and rendered con sistent with the propriety of the whole scene. It would be very easy to multiply proofs that the torch- bearers (differing in number, but usually from eight to twelve) were habited with most fantastic variety in court performances. 5. The three characters of the Damsel, the Dwarf, and Lanier, are given in one plate, because they were so sketched by Inigo Jones. There can be little doubt but that the dwarf was the famous Sir Jeffrey Hudson, whose portrait, by Mytens, is at Hampton Court, having been painted for King James, with whom the httle knight was a great favourite. In what particular Masque Hudson was employed we know not. The third figure is that of Lanier, as the artist himself informs us. There were three Laniers, mu sicians, in the reigns of James and Charles — Nicholas,, William, and Jerome, the most famous being the first. In 1625-6, the two last, who are called "performers on the sack buts," were allowed £16 2s. Od. each, for their liveries. The amount had been rather less in Xll PREFACE. the time of Queen Elizabeth ; viz., £15 0*. 8d., which could be little short of £60 or £70 of our present money ; and it was thus expended, as appears in an ac count made out for Lord Burghley about 1585, when he surveyed the royal household, with a view to re duce its charges : — Allowance of Apparrellfor a Musition owte of the Gardrobe. Chamlett, 14 yardes, at 3". 4d. the yarde . 46'. 8d. Velvet, 6 yardes, at 15s. the yarde, amounteth to £4 10s. Damaske, 8 yardes at 8'. the yarde . . £3 4'. One furre of Budge, pryce . . . . £4 Lyneng and making ..... 20". Summa £15 0". 8d. Nicholas Lanier sang and composed the musiG for Ben Jonson's " Masque of Lethe," " after the Italian manner, stylo recitativo," as we are informed by the author in a note. He is probably the person in tended by Inigo Jones ; and it is evident that he was to play upon the harp in the performance for which the sketch was made. Lanier must have been most useful in court performances, because he was -an artist, as well as a musician, and sometimes assisted in painting the very scenes before which he figured. This representation of him is, therefore, peculiarly remarkable and interesting. 6. We have already had a Dwarf, and here we meet with a Giant, a character for which the Queen's Porter, as painted by Zucchero, (some time before the period to which we are now adverting) or a successor of equal stature, would be well qualified. The Tooth-drawer and Corn-cutter were either per- PREFACE. Xlll sonages in an Antemasque, or they might be adapted for such a representation as Marston's " Mounte bank's Masque" in our present volume. Among the more finished sketches by Jones is one of a Mounte bank, who may have been the very empiric Marston intended to ridicule. 7. The artist tells us, on the face of this sketch, that the three characters contained in it belonged to " the King's Masque, 1637." We know not, on any other authority, what was the nature of the repre sentation; and we have selected this specimen, not merely on that account, but because it shows so ex actly, and so humorously, the sort of performances about this time relished even by royalty and nobility. We do not, however, suppose that the " Scraper," the " Gridiron," and the "Ballad- singer," were more than subordinate personages: had there not been a great deal of show and expense about it, the grandeur and dullness of which was reheved by the comic buffooneries of these performers of what may be called "rough music," the King's Masque, at Christmas 1637-8, could hardly have cost such a large sum as £1400. (Hist. Engl. Dram. Poetry and the Stage, ii., 85.) The Queen's Masque, at Shrove-tide following, cost £1550, supposing all the money issued by virtue of the privy seals to have been laid out upon the exhibition. 8. This sketch is very much of the same kind as the last; but it illustrates the species of harmony Nick Bottom calls for when he exclaims, "I have a reasonable good ear for music: let's have the XIV PREFACE. tongs and the bones." ( " Midsummer Night's Dream," act iv., sc. 1.) This, in fact, formed one principal inducement for placing it among those of which we thought facsimiles would be acceptable: any thing that connects representations of the kind with Shake speare comes especially recommended to our notice. " Knackers" is written by Inigo Jones under the first figure, and " Tonges and Key" under the second : the " knackers " were usually made of bone, or hard wood, and were played between the fingers, in the same way as we still hear them every day among boys in the streets, and it is a very ancient and popular kind of music : the " tongs" were struck by the " key," and in this way the discordant sounds were produced that were so grateful to the ear of the en tranced Weaver. The figures themselves, like the rest, are the merest sketches, in order to inform the eye and guide the hand of the artist employed to make the more finished and exact, but less spirited and original drawings. 9. This plate contains an armed head, represented by a few masterly touches, and no doubt used for the manufacture of the helmet to be worn by a particular person or persons in some court perform ance. What the lower figures mean, we are not able precisely to explain, but they are full of cha racter, and one of them, raising his arm and dancing, is drawn with surprising ease and energy. In truth all are most useful studies for artists, and evince a facility and an accuracy that could only have been attained by great talent and much practice. Every PREFACE. XV body who has been fortunate enough to see the fac simile of the Sketch-book of Inigo Jones, made by direction of the Duke of Devonshire some ten or fifteen years ago, and presented to the private friends of his Grace, will be aware of the admirable schools to which Inigo Jones resorted for instruction, and of the wonderful success that attended his studies. We now come to the contents of the third portion of our volume, which has merely the merit of contain ing faithful printed copies of original manuscripts. As far as typography would enable us to accomplish it, they are, in five different instances, exact imitations of the manner in which the authors of Masques put their minds upon paper. The first is Ben Jonson's well-known " Masque of Queens," the most remarkable of his productions of this description, with witchcraft and incantations, in rivalry of, or generous competition with the scenes of the same kind in " Macbeth." Shakespeare showed what genius and invention could accomplish, and Ben Jonson proved what learning and labour, seconded by noble and vigorous poetry, could produce. In this there was not necessarily any envy of our great dramatist's success, and we do not impute it to Ben Jonson : he was perfectly justified in displaying before " a learned King," who had required his ser vices, what the authorities of antiquity, in particular such as Horace Lucan and Apuleius, would enable him to perform. Ben Jonson's effort was as much a tri umph of extensive erudition as Shakespeare's was of boundless imagination. Both arrived at the height XVI PREFACE. of what they intended; and Shakespeare could no more have produced the one, than Ben Jonson the other : each is wonderful in its way. Our impression of this piece is from the original and beautiful autograph of the poet preserved among the Royal Manuscripts in the British Museum, of which Gifford and his predecessors knew nothing, when they published their editions of Ben Jonson's Works. " The Masque of Queens" was performed on 2nd February, 1609, (some time after " Macbeth" had been brought out) and it was printed in quarto, in the same year, with a dedication to Prince Henry : when, however, it was included in the folio of Ben Jonson's Works, the printing of which he superintended in 1616, that dedication was omitted, in consequence of the lamented death of the Prince in the interval. It will be found that our copy differs in some material respects from both ; and we have printed it with the notes appended in the peculiar manner in which they stand in the author's own manuscript, which he presented to the King, and which has been preserved in our national depository. We need not enter into the differences between the several printed editions and Ben Jonson's autograph, because com parison is now rendered easy; but we may observe, that we have been so anxious that our impression shall exactly represent the autograph, that we have not hesitated to follow the latter, even in some places of trifling misquotation or reference, which were sub sequently corrected. Our readers will thus be able to see the exact state of our original, and the changes PREFACE. XVII subsequent inquiry enabled Ben Jonson to introduce. It will be found that, for the sake of compression, he did not scruple to print Latin verse as prose, only indicating the commencement of the lines by the use of capital letters. The second Masque is likewise by Ben Jonson, and in point of date it ought to have taken precedence. It was brought out at Whitehall on Twelfth Night, 1605, and it is not, like the former, solely in the handwriting of the poet, but in that of some scribe he employed: it is clear, however, that he carefully superintended the transcript from his own copy ; and in testimony he added in his autograph at the close — " Hos ego versiculos feci. " Ben Jonson." This original MS. was also unknown to Gifford, and of course to all previous editors of the productions of our second-greatest dramatist. They resorted only to the two printed copies in quarto and in folio ; and as Gifford has not quoted the title-page of the former accurately, it may be well to add it here, observing merely that the same quarto includes also the "Masque of Beauty," which was penned by Ben Jonson as a counterpart to his "Masque of Blackness." " The Characters of two Royall Masques. The one of Blacknesse, the other of Beautie, personated by the most magnificent of Queenes, Anne, Queene of great Britaine, &c. With her honorable Ladyes, 1605 and 1608, at White hall : and invented by Ben Jonson. — Ovid. Salve festa dies, meliorq. revertere semper. Imprinted at London for Thomas Thorp, and are to be sold at the signe of the Tigers head in Paules Church-yard." b XV111 PREFACE. The printed exemplar in the British Museum is one of extreme interest, inasmuch as it is the very copy Ben Jonson presented to the Queen, with the following inscription in his own handwriting : — D. Anna? M. Britanniaru Insu. Hib., &c. Reginae Feliciss. Formosiss. Musoeo S.S. Hunc libru vouit. Famas & honori eius servientiss. imo addictissimus Ben Jonsonius. Victurus Genium debet habere liber. In the instance of this Masque, as in the former, we have scrupulously followed the original, which is also- among the Royal MSS. And here the remark is, in a manner, forced upon us, that while we possess specimens at large of the autographs of numerous contemporaries of Shake speare — such as Ben Jonson, Marston, Dekker, Lodge, Peele, Nash, Massinger, &c. — we have nothing from his own hand, beyond the signatures to bis will, to a couple of deeds, and to a volume of Florio's trans lation of Montaigne's Essays. This brings us to the third production in the later portion of our volume, which is from the hand of that celebrated satirist and dramatist, John Marston. It is a new discovery, and we impute it to him, not only because his name is on the cover, in a hand- PREFACE. XIX writing of the time, although only in pencil, but be cause it is corrected in several places in his own handwriting, which entirely agrees with other extant specimens. The piece possesses much of the strength, and some of the coarseness, of the popular writer's mind ; but it well merited to be brought to hght, pre cisely in the shape in which it has descended to us. It is entitled " The Mountebank's Masque;" and the fourth sketch by Inigo Jones, remarked upon by Mr. Planche, represents the Harlequin, who was per haps attendant upon this very Mountebank, although nothing is said of him in the course of the perform ance. For the opportunity of printing this valuable relic we have again to express our great obligations to the Duke of Devonshire. Marston's Masque was exhibited in Gray's Inn Hall, as we learn from internal evidence on pages 111 and 117; and it contains a note of time on p. 129, in reference to the re-gilding of the Cross in Cheapside, which may serve to establish either the date when the production was written, or the date when the Cross was re-gilt; a circumstance, we believe, not alluded to in any topographical work, after the defacing of it in 1600, until its final demolition, in 1643. This per formance contains a great deal of variety, and dis plays much ingenuity of construction and invention of character, but here and there something has neces sarily been sacrificed to music, and dancing, and to what, in the theatrical language of the present day, is called " comic business." The fourth piece, " The Masque of the Twelve XX PREFACE. Months," is anonymous, and is printed from a manu script of the time, belonging to the editor of this por tion of the work. It is quite evident that it was a court performance ; and although nothing is said to fix the place of representation, we may be pretty certain that it was at Whitehall, and before James I. It is a production of some fancy and pleasantry, and the lyrical pieces introduced are musical and skilful. We have given it as it stands in the manuscript, not even dividing the lines, whenever they are written in sequence, and without observation of the metre. Our volume closes with a fifth hitherto imprinted Masque, or, more properly, Show, which is rather of a peculiar character, since it was written for the sake of introducing and terminating a supper, upon some occasion which has not been recorded. It is called " The Masque of the Four Seasons ;" and among the finished drawings from the rough designs of Inigo Jones, in the possession of the Duke of Devonshire, are representations of the four Seasons, which per haps were used for this very exhibition. In this piece, also, it is possible that Nicholas Lanier played Orpheus, and that the sketch of him, with his harp, upon which we have already remarked, belongs to it. This consideration may give it especial claims to notice ; and as the manuscript was in this instance also the property of the editor, he did not hesitate to insert it. In printing it, we have adhered to the pecu liarity of the original, by the rejection of capital let ters in the beginnings of the lines, and in other respects we have been equally faithful. From p. 143, PREFACE. XXI &c, it is evident that James I., his Queen, the Princes Henry and Charles, and Princess Elizabeth, were pre sent, and hence we may be sure that the performance occurred before 1612. The Council of our Society having authorized the editor of the third portion of the present publication to write the preface to the whole, it has been put to gether (as may be imagined from some expressions employed in it) without concert or communication with his excellent and zealous fellow-labourers ; and, as it may contain some points and opinions to which they might not be willing to subscribe, he has sub joined his own initials, to indicate his own respon sibility. J. P. C. Kensington, Nov. 25th, 1849. PS. It is to be borne in mind that the present work belongs to the subscription of 1848, although it has been unavoidably delayed until 1849. ILLUSTRATIONS. Portrait of Inigo Jones. From a Painting by Vandyck, in the possession of Major Inigo Jones .... To face the Title-page. The Facsimiles to follow the Life of Inigo Jones by Peter Cunningham, Esq. LIFE OF INIGO JONES. BY PETER CUNNINGHAM, ESQ. LIFE OF INIGO JONES. The life of Inigo Jones has been hitherto but imperfectly written. Errors are easily perpetuated, research being at tended with expense and trouble; and Inigo's biographers have generally been content to copy one another. Many particulars in the following Memoir will be found new to the biography of the great architect. Inigo Jones, the son of Inigo Jones, cloth-worker, living in the parish of St. Bartholomew the Less, in West Smith- field, London, was born in the year 1573, and christened in the church of St. Bartholomew, as the Register records, on the 19th of July in that year.1 The fair of St. Bartholo mew was long the great cloth fair of England, and the early character of the place is still indicated in the name of an adjoining street, called " Cloth Fair." The Register which records the baptism of Inigo records also the burial of his grandmother, and contains the baptisms and burials of a younger brother, named Philip, and of two sisters, all of whom died in infancy. The father (a native, it is thought, of Wales) was in indif ferent circumstances when Jones was a lad of sixteen ; and 1 Collier's " Memoirs of Actors," (printed for the Shakespeare Society) p. xxvi. B 2 LIFE OF INIGO JONES. a Book of Orders and Decrees of the Court of Requests, preserved in the Chapter House at Westminster, contains the decree of the Court, made 18 October, 1589, in the matter at variance " betwene Enego Jones, of the cittie of London, Cloth worker, and Richard Baker, of the same cittie, Baker." Inigo, the father, had become bound to Baker in the sum of =£80, " for the sure payment of £60 at a day certen limited by the condition." He had managed to pay off a portion of the debt ; and Baker, as was alleged, had agreed to accept the residue, at the rate of ten shillings every month. A dispute followed, the nature of which is not explained ; and Baker thereupon commenced an action for the recovery of his money. Inigo, on this, appealed " to the Queen's Ma jesty's Honourable Court of Requests," to stay the proceed ings at law. The decree of the Court, on the appeal, was to confirm the arrangement previously agreed upon, and Inigo Jones was ordered to pay ten shillings a month, from the next 31st of December till the debt should be liqui dated.1 Of Inigo's early hfe little is known, with any thing like certainty. The most probable account, says Walpole, is that he was bound apprentice to a joiner. His father, it is quite clear, had very Httle to give, and from his will — which I discovered in Doctors' Commons — still less to leave him. The will was made 14th February, 1596-7, only a few months before his death, and is very short. He describes himself as " Clothworker of the parish of St. Bennet, Paul's Wharf;" appoints his son Inigo his executor ; directs his body to be buried by the side of his wife, in the chancel of the church of St. Bennet, Paul's Wharf; and leaves whatever he possesses, after the payment of his debts, bills, and obligations, to his son Inigo and his three daughters, Joan, Judith, and Mary, to be divided equally among them. The father was buried in the church of St. Bennet, and his will was proved by 1 See Appendix A, p. 45. LIFE OF INIGO JONES. 3 Inigo, as executor, on the 5th of April, 1597. The future architect was then in his twenty-fourth year. Whatever Inigo's education or profession may have been, he was early distinguished by his inclination for " drawing or designing," and was, we are told by his first biographer, "particularly taken notice of for his skill in the practice of landscape painting."1 This reputation, it is added, supphed him with a patron; and one of the great lords at Court (either Lord Arundel or Lord Pembroke), attracted by his works, sent him "to Italy, to study landscape painting." Such is the received account, which is at least somewhat doubtful. Inigo's own words, in his book upon Stone- henge, fail to bear it out. " Being naturally inclined," he observes, " in my younger years, to study the arts of design, I passed into foreign parts, to converse with the great masters thereof in Italy, where I applied myself to search out the ruins of those ancient buildings which, in despite of time itself and violence of barbarians, are yet remaining. Having satisfied myself in these, and returning to my native country, I apphed my mind more particularly to architecture." When he ceased to be a painter, there is certainly no evidence ; but that he had acquired a skill in the art appears by a small land scape from his hand, bought by the Earl of Burlington, and still preserved at Chiswick. " The colouring," says Walpole, " very indifferent, but the trees freely and masterly imagined." Of this part of Jones's life our only direct information is -derived from a passage in the Vindication of Stonehenge, written by Webb, his pupil, kinsman, and executor. " He was," says Webb, " architect-general unto four mighty kings, two heroick queens, and that illustrious and never to be for gotten Prince Henry. Christianus the fourth, King of Den mark,2 first engrossed him to himself, sending for him out of 1 Life prefixed to Stonehenge Kestored, folio ed., 1725. 2 Of whom there is a fine full-length portrait, by Vansomer, at Hamp ton Court. His sister, Anne of Denmark, was the Queen of James I. B 2 4 LIFE OF INIGO JONES. Italy, where, especially at Venice, he had many years resided. Upon the first coming of that king into England, he attended him, being desirous that his own native soil, rather than a foreign, should enjoy the fruits of his laborious studies. Queen Anne here honoured him with her service first ; and not long after, Prince Henry, under whom with such fidehty and judgment he discharged his trust, as that King James made him his surveyor, in reversion. Prince Henry dying, he travelled into Italy, and returned into England when his place fell."1 In the assertion conveyed by this passage, that Inigo accompanied King Christianus to England, there is un doubtedly, however, a mistake ; for the king did not arrive till the 17th of July, 1606, and Inigo was employed at the English court before that time. But that his stay in Den mark, as Webb tells us, was long,2 there is no reason to doubt ; though the nature of his employment is unknown. He is said to have assisted in building part of the palace of Frede- ricksborg ; and the principal court, it has been observed, bears a marked resemblance to the court of Heriot's Hospital, in Edinburgh, which is attributed to Inigo, and not improperly, as I am inclined to believe.3 We first hear of Inigo in England in his thirty-second year. The queen of James I. had ordered a Masque to be performed at the Court at Whitehall on Twelfth Night, 1604-5. The poet was Ben Jonson; and this was his, as well as Inigo's, first employment in this way. The title of I the Masque was " The Masque of Blackness," and the bodily \ part, as Jonson tells us, " was of Master Inigo Jones's de sign and act." It was the first entertainment given by the queen, and the subject of the Masque was a suggestion of her own. "It was her Majesty's will," says Jonson, "to have them blackmoors." 1 Webb's Vindication, p. 123. 2 "Mr. Jones living so long in Denmark as he did." — Webb, p. 124. 3 Andersen Feldborg's Denmark Delineated, p. 88. LIFE OF INIGO JONES. 5 The poet's description of Inigo's portion of the work con tains the earliest notice we possess of the use of scenery in stage-entertainments : " First for the scene was drawn a landtschap, [landscape] consisting of small woods, and here and there a void place filled with huntings ; which falling, an artificial sea was seen to shoot forth, as if it flowed to the land, raised with waves which seemed to move, and in some places the billows to break, as imitating that orderly disorder which is common in nature. In front of this sea were placed six tritons, in moving and sprightly actions, their upper parts human, save that their hairs were*blue, as partaking of the sea-colour : their desinent parts fish, mounted above their heads, and all varied in disposition. From their backs were borne out certain light pieces of taffata, as if carried by the wind, and their music made out of wreathed shells. Behind these, a pair of sea-maids, for song, were as conspicuously seated ; between which, two great sea-horses, as big as the life, put forth themselves ; the one mounting aloft, and writhing his head from the other, which seemed to sink forward; so intended for variation, and that the figure behind might come off better : upon their backs Oceanus and Niger were advanced The Masquers were placed in a great concave shell, like mother of pearl, curiously made to move on those waters and rise with the billow ; the top thereof was stuck with a cheveron of lights, which, indented to the proportion of the shell, struck a glorious beam upon them, as they were seated one above another : so that they were all seen but in an extravagant disorder. On sides of the shell did swim six huge sea monsters, varied in their shapes and dispo sitions, bearing on their backs the twelve torchbearers, who were planted there in several graces These thus presented, the scene behind seemed a vast sea, and united with this that flowed forth, from the termination or horizon of whieh (being the level of the state which was placed in the upper part of the Hall) was drawn by the lines of prospective, the whole work shooting downwards from the eye; which decorum made it more conspicuous, and caught the eye afar off with a wandering beauty : to which was added an obscure and cloudy night piece, that made the whole set off. So much for the bodily part, which was of Master Inigo Jones's design and act."1 1 Ben Jonson's Works, by Gifford, vii., 7. 6 LIFE OF INIGO JONES. The cost of the Masque was about ,£10,000 of our present money. Inigo's early practice in painting was no doubt of use to him in drawing " the landscape of small woods, and here and there a void place filled with huntings." In the autumn of the same year, Inigo was employed on the scenery and devices necessary for the due performance of three plays presented before the king on the 28 August, 1605, in the present Hall of Christ Church, Oxford. Of his success on this occasion a contemporary has left the following account. "They* hired one Mr. Jones, a great traveller, who undertook to further them much, and furnish them with rare devices, but performed httle to what was expected. He had for his pains, as I have constantly heard, =£"50." "The stage," so runs the description, " was built close to the upper end of the Hall, as it seemed at the first sight : but indeed it was but a false wall, faire painted, and adorned with stately pillars, which pillars would turn about ; by reason whereof, with the help of other painted cloths, their stage did vary three times in the acting of one tragedy."1 The Masque of Hymen, on the succeeding Twelfth Night, (1605-6) was also the work of Jonson and Jones. The occa sion, though an ill-fated one, was one of great rejoicing and splendour — the marriage of the youthful Earl of Essex (afterwards the Parliamentary general) to Frances Howard, daughter to Thomas Earl of Suffolk, the Lord Treasurer. To Inigo's art, on this occasion, the poet bears ample testimony. " The design and art," he says, " together with the devices and their habits, belong properly to the merit and reputation of Master Inigo Jones, whom I take mod'est occasion, in this fit place, to remember, lest his own worth might accuse me of an ignorant neglect, from my silence."2 A Mr. Pory, one of the news-collectors of the day, and in that character pre- 1 Leland's Collectanea, ii., pp. 631, 646, edit. 1770; Malone's Shake speare by Boswell, iii., 81. s Ben Jonson, vii., 79. LIFE OF INIGO JONES. 7 sent at the Masque, has given an account of it, in a letter to Sh- Robert Cotton. " Both Inigo, Ben, and the actors, men and women," he says, " did their parts with great commen dation."1 The music was composed by "Master Alphonso Ferrabosco," and the dances made and taught by " Master Thomas Giles." The dresses were unusually superb ; and, it would seem, from one of the short descriptions of Jonson, that Inigo attempted what was then new upon the stage : — " Here the upper part of the scene, which was all of clouds, and made artificially to swell, and ride like the rack, began to open ; and the air clearing, in the top thereof was discovered Juno sitting in a throne sup ported by two beautiful peacocks ; above her, the region of fire, with a continual motion, was seen to whirl circularly, and Jupiter standing in the top, (figuring the Heaven) brandishing his thunder."* The poet was present, and assisted in turning a globe, wherein the masquers sat. The globe was so contrived that it " stood, or rather hung, for no axle was seen to support it."* In the next year's entertainments at Court, Inigo, I be lieve, was not employed. Jonson certainly was not ; for the poet who made the Masque for Twelfth Night, 1606-7, was Thomas Campion, who has left a description of it in print. It is a poor, tame performance, and the printed copy is chiefly valuable for an engraving of one of the masquers, dressed. There is no mention of Inigo's name in the printed account. The queen's second Masque, the work of Jonson, was " The Masque of Beauty," presented at the Court at Whitehall on the Sunday after Twelfth Night, 1607-8. But Inigo, there is reason to beheve, was unconnected with this performance also. " The order of the scene," says Jonson, " was care fully and ingeniously disposed, and as happily put in act (for the motions) by the King's master carpenter. The painters, I must needs say, (not to belie them) lent small colour to 1 Collier's Annals, i. 366 ; Gifford's Life of Jonson, p. lxxxviii. 1 Ben Jonson, vii., 59. ' Ibid., vii. 78. 8 LIFE OF INIGO JONES. any, to attribute much of the spirit of these things to their pencils." The king's master carpenter was William Porting- ton, an officer of the Board of Works, of whom a curious por trait is preserved at Carpenters' Hall. Had Inigo been em ployed, his name would doubtless have been mentioned by Jonson. He was, however, employed with Jonson, and at this very time, too, in devising a Masque in celebration of " the Lord Viscount Haddington's marriage at Court on the Shrove Tuesday at night, 1608" (1607-8). The Masque is called " The Hue and Cry after Cupid." " The two latter dances," says Jonson, " were made by Thomas Giles, the two first by Master Hier Heme. The tunes were Master Alphonso Fer- rabosco's. The device and act of the scene Master Inigo Jones's, with addition of the trophies. For the invention of the whole, and the verses, Assertor qui dicat esse meos, im- ponet plagiario pudorem."1 This is the great Masque men tioned by Rowland Whyte, in a letter to the Earl of Shrews bury : " The great Maske intended for my L. Haddington's marriage is now the only thing thought upon at Court, by 5 English— Lord Arundel, Lord Pembroke, Lord Montgomery, Lord Theophilus Howard, and Sir Robert Rich ; and by 7 Scottes — Duke of Lenox, Lord D'Aubigny, Lord Hay, Master of Mar, young Erskine, Sanquhar, and Kennedy. It will cost them about ,£300 a man."2 The Queen's next Masque, also the work of Jonson and Jones, was presented at Whitehall on the 2nd February, 1608-9, and called " The Masque of Queens." " The device of the witches' attire," the poet tells us, " was Master Jones's, with the invention and architecture of the whole scene and machine. Only I prescribed them their properties of vipers, snakes, bones, herbs, roots, and other ensigns of their magic, out of the authority of ancient and late writers, wherein the faults are mine, if there be any found ; and for 1 Ben Jonson, vii., 108. * Lodge, iii., 343. LIFE OF INIGO JONES. 9 that cause I confess them."1 And in another place, in the preface to the same Masque, he observes : " There rests only that we give the description we promised of the scene, which was the house of Fame. The structure and ornament of which (as is profest before) was entirely Master Jones's invention and design. First, for the lower columns, he chose the statues of the most excellent poets, as Homer, Virgil, Lucan, &c, as being the substantial supporters of Fame. For the upper Achilles, JEneas, Csesar, and those great heroes which these poets had celebrated. All which stood as in massy gold. Between the pillars underneath were figured land-battles, sea-fights, triumphs, loves, sacrifices, and all magnificent subjects of honour, in brass, and heightened with silver. In which he profest to follow that noble description made by Chaucer of the place. Above were sited the masquers, above whose heads he devised two eminent figures of Honour and Virtue for the arch. The friezes both below and above were filled with several coloured lights, like emeralds, rubies, sapphires, carbuncles, &c, the reflex of which with our lights, placed in the concave, upon the masquers habits was full of glory. These habits had in them the excellency of all device and riches, and were worthily varied by his invention, to the nations whereof they were queens. Nor are these alone his due ; but divers other accessions to the strangeness and beauty of the spectacle ; as the Hell, the going about of the chariots, and binding the witches, the turning machine, with the presentation of Fame. All which I willingly acknowledge for him; since it is a virtue planted in good natures, that what respects they wish to obtain fruitfully from others, they will give ingenuously themselves."2 This was high praise, and such as Jones knew how to appreciate. Inigo's reputation now introduced him to other employment, for I find in the books of the Treasurer of the Chamber to the King the entry of the foUowing payment to him : " To Inico Jones, upon therle of Salisburies warraunte, dated 16 June, 1609, for carreinge Lres for his Mat's servyce into Fraunce. xiij11. vj5. viijd." Of the nature of the service in which he had thus been em ployed there is no account. " Carrying letters," at this time, 1 B.en Jonson, vii., 118. ! Ibid., vii., 152. 10 LIFE OF INIGO JONES. was a sort of letter of introduction into good society, and was coveted and often obtained by all who sought distinction either at home or in foreign courts. The date of the Lord Treasurer's warrant shows the period of Inigo's return to London, where he soon found fresh em ployment, in assisting his old associate, Ben Jonson, in de vising another Masque for the Queen, to be presented at Christmas, 1610-11. The Bill of Costs was discovered by Mr. Devon among the Pell Records, and is the most full and interesting account we have of the cost and getting up of one of these princely and expensive entertainments. Inigo and Ben received the same rewards for their parts in the " invention :" THE BILL OF ACCOUNT OF THE HOLE CHARGES OF THE QUEEN'S MAT9 MASKE AT CHRISTMAS, 1 61 0. £ s. d. Imprimis, to Mr. Inigo Johnes, as appeareth by his bill . 238 16 10 Item, to Mr. Confesse, upon his bill for the 12 fooles . 16 6 6 Item, to his taylor, for making the suits, as appeareth by his bill 8 Item, for 128 yeards of fustian to lyne theire coats, att 10d the yeard .568 Item, for 87 ownces of coper lace, at 18d the ownce, and 6 ownces at 20d the ownce, used for the 11 preests gownes and hoodes, w'h shoues and scarfs .... 7 4 Item, for 24 yeards of riband to beare their lutes, att 12d the yeard, and one dozen at 2d the yeard . . . . 18 Item, to the taylor, for making those gownes and hoods . 4 Item, to the 11 preests, to buye their silke stockings and shoues, at £2 a peece ...... 22 Item, for 3 yeards of flesh collored satten, for Cupid's coat and hose, at 148 the yeard . . . . . 2 2 0 Item, for 26 yeards of callico, to lyne the preestes hoods, at 20d the yeard 2 3 4 Item, to the taylor, for making and furnishing of Cupid's suite wlh lace and puffs 1 10 Smd tot. . £308 14 3 LIFE OF INIGO JONES. 11 Rewards to the persons imployed in the Maske. £ Imprimis, to Mr. Benjamin Johnson, for his invention . 40 Item, to Mr. Inigo Johnes, for his paynes and invention . 40 Item, to Mr. Alfonso, for making the songes ... 20 Item, to Mr. Johnson, for setting the songs to the lutes . 5 Item, to Thomas Lupo, for setting the dances to the violins 5 Item, to Mr. Confesse, for teaching all the dances . . 50 To Mr. Bochen, for teaching the ladies the footing of 2 dances ........ 20 To the 12 musicions, that were preestes, that songe and played ......... 24 Item, to the 12 other lutes that suplied, and wlh fluts . 12 Item, to the 10 violencas that continually practized to the Queen 20 Item, to four more that were added att the Maske . . 4 Item, to 15 musitions that played to the pages and fooles . 20 Item, to 13 hoboyes and sackbutts . . . .10 Item, to 5 boys, that is, 3 Graces, Sphynks, and Cupid . 10 Item, to the 12 fooles that danced .... 12 Sma tot. . £292 Further received from the King's Wardrobe of Sir Roger Aston. £. s. d. Imprimis, of severall collered taffite, for 12 fooles and 3 Graces, 52£ ells, att 17s the ell . . . 44 8 3 Item, of crimson taffite, for the 11 preestes, amounting to 55 els, and Mr. Confesse his coate being in the number, att 17s the ell Item, of watched Satten, for the preestes hoods and gorgetts, 26 yeards, 3 quarters, att 15s the yeard Item, of taffite sarsnett, for scarffs to girde their gownds, being 18 ells, at 88 the ell .... Sma tot. Total charge . . . £719 1 3 (Signed) T. Suffolke. E. Worcester. 46 15 > . 19 19 9 1 7 4 £118 7 12 LIFE OF INIGO JONES. The Masque for which these expenses were incurred is " Love freed from Ignorance and Folly," a Masque of his Majesty's, printed in the folio edition of Jonson's works, with out a date. Sphynx and Cupid are two characters in the Masque. The twelve Fools were she-fools. The Graces and Priests are also mentioned. A Masque was part of the entertainment at Court on the 5th June, 1610, the day after Prince Henry's being created Prince of Wales.1 Inigo was employed on this occasion, not, however, with his former associate, Jonson, but with Samuel Daniel — the " well-languaged Daniel," as he was called by his contemporaries. The name of the Masque was " Tethys Festival, or the Queen's Wake," and the poet awarded to Inigo an unusual share of commendation. " But in these things," says Daniel, "wherein the only hfe consists in shew, the art and invention of the architect gives the greatest grace, and is of most importance; ours the least part, and of least note in the time of the performance thereof, and there fore have I intersected the description of the artificial part, which only speaks M. Inigo Jones." This is higher praise than Jonson had awarded Inigo, and Jones's vanity was not untouched by the distinction. Daniel and Jonson were at this time on unfriendly terms ; and the way in which the former speaks of a Masque as a trifling matter for a poet, conveys a sneer at Jonson, which none knew better how to value and return. The youthful Prince, in honour of whose creation this Masque was composed, had now a separate household of his own ; and Inigo's influence or reputation was such, that he obtained the appointment of Surveyor of the Works in the new establishment. The fees he received are recorded in the roll of the Prince's expenditure : " Inigoe Jones, Surveyor of the Woorkes, for his fee, at iij8 per diem. 1 Birch's Life of Prince Henry, p. 195. LIFE OF INIGO JONES. 13 for one whole yeare and a halfe and xl1"5 dayes, begonne the 13"' January, 1610[1], and ended at the feast of S'. Michael the Archangel, 1612. lxxxviij. ij. vjd." " Inigoe Jones, Surveyor of the prince's Woorkes, for his fee by Ires pattentes, at iijs per diem, for xxxvij dayes, begonne the first of October, 1612, and ended the vjth of November followinge .... cxj"."1 The same roll contains the Prince's " Gifts and Rewards," with Inigo's name on the hst for ,£30 — equal to i?120 of our present money. Henry understood and appreciated art, and had formed a fine coUection of pictures and statues, which made no inconsiderable display in the cabinets and galleries completed by his brother, King Charles I. The Prince found employment for his Surveyor in devising the machinery and dresses for a Masque presented at Court on New-year's day at night, being the 1st of January, 1610-1 1. The cost of the Masque includes a payment to Inigo:2 " THE PRYNCE's MASKE. " Payde to sondrye persons, for the chardges of a Maske presented by the Prince before the Kinges maae on Newyeres day at night, beinge the first of Januarie 1610, viz. : — To Mercers 289 8 5 Sylkemen 298 15 6 Haberdashers . . . • ¦ • 74 8 8 Embroderers 89 16 9 Girdelers and others, for skarfes, beltes, and gloves . 74 8 0 Hosyers, for silke stockinges, poyntes, and rybbons . 49 16 Cutler 7 4 0 Tyrewoman . . • • • • 42 6 Taylors 143 13 6 Shoemaker . . . . . . . 6 10 To Inigoe Jones, devyser for the said Maske . . 16 In all £1,092 6 10 1 Extracts from the Accounts of the Revels at Court, (printed for the Shakespeare Society) p. xvi. i Ibid., p. viii. 14 LIFE OF INIGO JONES. " The Prince's Masque " was written by Ben Jonson, and in his Works is called " Oberon the Fairy Prince, a Masque of Prince Henry's." There is no quarto copy of the Masque, but it is included in the exceUent folio of Jonson's Works, printed in 1616. The office of Surveyor terminated with the death of the Prince, on the 6th of November, 1612. There were others besides Inigo who had reason to regret the loss of such a master, " the glory of our own," as Jonson calls him, " and the grief of other nations." The regret for a time appeared to be deep and general ; but the Court, quickly casting off its mourning, rushed, in less than three months, into a succes sion of magnificent masques and entertainments, to celebrate the marriage of the Palsgrave with the Princess Ehzabeth. Three Masques, by three different poets, were invented in honour of this occasion. The Lords' Masque, presented on Shrove Tuesday, 14 February, 1612-13, was the work of Cam pion; the Middle Temple and Lincoln's Inn Masque, presented at Court on the day after, was the performance of Chapman ; and the Inner Temple and Gray's Inn Masque, intended for Shrove Tuesday, and presented at Court on the Saturday following, was the work of Francis Beaumont. Inigo was employed on Chapman's Masque, and, I beheve, on no other. Chapman's title is curious, and deserves transcription. "The Memorable Maske of the two Honorable Houses, or Inns of Court, the Middle Temple and Lyncoln's Inne. As it was performed before the King, at White-Hall, on Shrove Munday at night: being the 15 of February, 1613 [1612-13]. At the Princely celebration of the most Royall Nuptialls of the Palsgrave, and his thrice gratious Princesse Elizabeth, &c. With a description of their whole show ; in the manner of their march on horse-backe to the Court from the Maister of the Rolls his house : With all their right Noble Consorts, and most showfull atten dants. Invented and fashioned, with the ground and speciall structure of the whole worke, By our Kingdomes most Artfull and Ingenious Architect, Innigo Iones. Supplied, aplied, Digested, and written, By Geo : Chapman." [4to., n.d.] LIFE OF INIGO JONES. 15 The performers and their assistants made their " rendez vous " at the RoUs' House, in Chancery Lane, and rode through the Strand, past Charing Cross, to the Tilt-yard at WhitehaU, where they made one turn before the King, and then dismounted. The performance was in the HaU (a fine old buUding, destroyed in the reign of WiUiam III.); and the works, as invented and fashioned by " our kingdom's most artful and ingenious architect," are thus described : " First there appeared at the lower end of the Hall an artificial Rock, whose top was near as high as the Hall itself. This Rock was in the undermost part craggy and full of hollow places, in whose concaves were contrived two winding pair of stairs, by whose greeces the persons above might make their descents, and all the way be seen : all this Rock grew by degrees up into a gold colour, and was run quite through with veins of gold.... On the one side of the Rock, and eminently raised on a fair Hill, was erected a silver Temple, of an octangular form, in one of the carved compartments of which was written ' honoris fanvm.' " " Upon a pedestal," (in front, I suppose, of the Temple) " was fixed a round stone of sUver, from which grew a pair of golden wings, both faigned to be Fortunes. On the other side of the Rock was a grove. After the speech of Plutus, the middle part of the Rock began to move, and being come some five paces up towards the King, it split in pieces with a great crack, and out break Capriccio," a leading speaker in the Masque. The pieces of the rock " then vanished," and Capriccio dehvered his speech. The next change exhibited the upper part of the Rock suddenly turned to a Cloud, dis covering, a rich and refulgent Mine of Gold, in which the Twelve Maskers were triumphantly seated; their Torch- bearers attending before them. " Over this golden Mine, in an Evening Sky, the ruddy Sun was seen to set ; and behind the tops of certain White Cliffs by degrees descended, casting up a bank of clouds, in which awhile he was hidden." This "Memorable Mask" was doubtless what the poet 16 LIFE OF INIGO JONES. himself has called it, " a showe at aU parts so novel, conceit- ful, and glorious, as hath not in this land beene ever before beheld." The cost to the Society of Lincoln's Inn alone was =£•1086 8s. lid.1 Inigo's income suffered considerably by the untimely death of the Prince of Wales. His prospects, too, were altered ; but he was not without friends, or wanting in that self-reliance without which friends are of very little use. He was, more over, a free man, with the means to travel, partly through his own exertions, but chiefly, there is reason to beheve, by the patronage of the Earls of Arundel and Pembroke, now cer tainly vouchsafed to him. He made a second visit to Italy, taking books of authority with him, and making memo randa wherever he went. His copy of PaUadio (the folio edition of 1601), preserved at Worcester CoUege, Oxford, contains an entry dated " Vicenza, Mundaie, the 23rd of September, 1613;" and one of his Sketch books (a thin octavo, in a parchment cover, with green strings, now in the possession of the Duke of Devonshire) exhibits his name on the fly-leaf, with "Roma, 1614," written in his fine, bold hand, beneath it. The copy of PaUadio is as rich with notes in Inigo's hand writing as the Langbaine, in the British Museum, is with the notes of Oldys.2 One of his entries commences thus: " In the name of God, Amen. The 2 of January, 1614, I being in Rome, compared these desines foUowing with the Ruines themsealves. Inigo Jones." At folio 64 he has written, " The staires at Chambord I saw, being in France, and there are but 2 wayes to ascend, ye smaU hath a waal, wh windowes cut out, but this, y' seems, was discoursed to Pal- ladio, and he invented of himseelf thes staires." His PaUadio 1 Dugdale's " Origines Juridiciales," p. 285. * This precious volume belonged subsequently to Michael Burghers, the engraver, of whom it was bought 3rd March, 1708-9, by Dr. Clarke and bequeathed by him to Worcester College. LIFE OF INIGO JONES. 17 was his inseparable companion, wherever he went; and contains the names of " Andrea PaUadio" and " Inigo Jones," coupled together in his own handwriting — such was his admiration, and such his ambition. At b. iv., p. 41, occurs the following entry: " The Temple of Jove, vulgarly called frontispicio di Nerone, or a basilica, sum caU it a Temple of the Sun, and that is hkelyest." The book was with him, as appears from his own entries, at " Tivoli, June 13, 1 614 ;" at " Rome, 1614;" at "Naples, 1614;" at "Vicenza, 13 Aug., 1614;" and at London, "26 January, 1614;" i.e., 1614-15. Nor did he cease to carry his PaUadio about with him even in his progresses in England, as Surveyor of the Works. The fol lowing is written on a fly-leaf. " The length of the great courte, at Windsour, is 350fo, the breadth is 260 : this I mesured by paaces the 5 of december, 1619. "The great court at Theobalds is 159fo, the second court is 110fo square, the thirde courte is 88f0 — the 20 of June, 1621. " The front of Northampton Ho.1 is 162fo, the court is 81fo. " The first court at Hampton Court is 166 fo square. " The second fountaine court is 92fo broade and 150fo longe. "The Greene Court is 108fo broade and 116f0 longe, the walkes or cloysters ar 14fo betwene the walles. September the 28, 1625." Of the Temple of Jove he thus writes, June 13, 1639. " Clemente scoltor Romano tould mee that the ruines of this temple is pulld all downe, to haue the marble, by the Con stable Barbannos CoUona, by the popes permition : this was the noblest thinge which was in Rome in my time. So as all the good of the ancients wiU bee utterly ruined ear longe." On the death, in 1615, of Simon Basil, the Surveyor of the Works, Inigo returned to England to take possession of the office, of which the King had granted him the rever sion.2 His pay commenced from the 1st of October in that 1 Now Northumberland House, Strand. See Cunningham's " Hand book for London," article Northumberland House. 2 Webb, p. 123. C 18 LIFE OF INIGO JONES. year; at the rate of eight shillings a day for his entertain ment, eighty pounds per annum for his "recompense of availes," and two shillings and eight pence a day for his riding and travelling charges. His riding expenses were sub sequently raised, but the fees I have quoted were the fees of the office at the period of his appointment. He had other emoluments. The warrant to the Master of the Wardrobe, on his first appointment, dated 16 March, 1615-16, directs that he should receive " five yards of broad cloth for a gown, at twenty-six shillings and eight pence the yard ; one fur of budge, for the same gown, price four pounds ; four yards and a half of baize, to hne the same, at five shillings the yard ; for furring the same gown, ten shiUings; and for making the same, ten shiUings." The cost of the livery was there fore £12 15s. lOd. ; and this sum was paid to him yearly, as Surveyor of the Works, by the Master of the Ward robe.1 That the Earls of Arundel and Pembroke at this time (if not before) were active in bringing the merits of Inigo before the King, evidence exists in a letter from Lord Arundell to his Countess, dated from " Salisbury, 30 July, 1615:" " Upon Thursday nexte, the Kinge dineth at Wilton, by which time my lo. of Pembroke hopes Mr. Jones will be come hither. I tell him I hope he will, but I cannot promise, because I spake not with him of it when I came out of towne. I meane (by God his grace) to be at Arun dell on Tuesday or Wednesday, come seavennight, wcb is the eighth or ninthe of Auguste : if M1. Jones come hither, I will bringe him w01 me ; if not, you must wth you." And in a postscript he adds : " I make noe question but Mr. Jones will soone speake wlh Mr. Old- borough, and have under his hand some certainty of his disbursements and employment in Rome. I am sure Mr. Jones will, in his bargayne 1 Appendix B, p. 46. LIFE OF INIGO JONES. 1 9 w"1 Cimandio, include that picture of his father and uncle wcl1 hanges amonge the rest."1 Of the particular purchases which Inigo made while at Rome, for his munificent patron, I am sorry I can give no account. The Earl understood and was fond of every class and description of art. The Arundehan marbles at Ox ford, and his patronage of Inigo, Vandyke, and HoUar, wUl long familiarize and commend his name to the English ear. Inigo's new appointment found fuU employment for his time. Our kings had numerous palaces and manor-houses, and were fond of Progresses. There was, consequently, no lack of work. The Surveyor was either riding to superintend repairs, or returning homeward to devise fresh alterations, or busy inspecting the work that had been in hand while the Court was in progress. The pressing nature of his duties occasioned, at times, additional rewards, a few of which I have been fortunate enough to discover in the Accounts of the Treasurer of the Chamber : " To Inigoe Jones, Surveyor of his Mate Workes, the Comptroller, Mr. Carpenter, and Clerke of the Woorkes at Whitehall, vpon the Coun- cells worr*, dated xvt0 Nouembris, 1620, for performing certen workes in the Starchamber in ffebruary 1616, January and February 1618, and Aprill and Maye 1619, by the space of fortie dayes, and for making of a Hearse for the Queenes funerall lu. " To Inigoe Jones, Surveyo' of the Woorkes, Thomas Baldwyn, Comp troller, and Willm Portington, Mr. Carpenter, upon the Councells Warr', dated ultimo Decembris, 1620, for makeing readye and repayringe Elye House, in Holborn, for the Spanish Ambassador . . . xx11." He was, moreover, occasionally employed (and with Jonson, there is reason to beheve) in devising scenes and machinery for Masques and entertainments at Court. I say occasionally, for this sort of expensive amusement, during the latter half of the reign of James I., was of rarer occurrence than it had 1 Tierney's History of ArundeL p. 424. c 2 20 LIFE OF INIGO JONES. been earlier. The King had other tastes and fresh claims for his money; another architect had been introduced, in Inigo's absence ;¦ and the two great contrivers of such inven tions, Jones and Jonson, had unfortunately quarreUed. The first occasion of their quarrel no one has told us ; that it occurred, however, as early as 1619, is clear, from Jonson's Conversations with Drummond in that year. " He said to Prince Charles, of Inigo Jones, that when he wanted to ex press the greatest villaine in the world, he would call him ane Inigo ; " and on the same occasion he observed that, " Jones having accused him for naming him, behind his back, a fool, he denied it ; but, says he, I said, He was ane arrant knave, and I avouch it."2 A reconcUiation seems to have been effected, for they were again employed together as be fore. We shall see, however, that this reconciliation was not lasting ; and that, after a short interval, there was a second and a fiercer quarrel. The dispute with Jonson was varied by a piece of good fortune to Inigo. On Tuesday, the 12th of January, 1 618-19, while Jonson was in Scotland, the old Banqueting House at WhitehaU was destroyed by fire, and Inigo was ordered to erect a new building, of the same character, on the same site. He was made for such an emergency, as Wren afterwards was for a stUl greater opportunity. Nor is there, in the history of art, a more remarkable instance of successful rapidity than Inigo exhibited on this occasion. In less than six months after the fire which destroyed the whole building, the ground was cleared — Inigo ready with his design — and the first stone of the new Banqueting House laid. The latter took place on the 1st of June, in the same year (1619). 1 This was Constantine, an Italian, described by Campion (1614) as " M. Constantine, an Italian, Architect to our late Prince Henry." He is not mentioned by Walpole. 2 "Ben Jonson's Conversations with Drummond of Hawthornden," (printed for the Shakespeare Society) pp. 30, 31. LIFE OF INIGO JONES. 21 What was thought of the design may be gathered from the following entry in the accounts of the Treasurer of the Chamber : " To Inigo Jones, upon the Counsells warr', dated 27lh June, 1619, for making two several models, the one for the Star Chamber, the other for the Banquetting House ....... xxxvij1'." This payment to Jones escaped the researches of Vertue and the inquiries of Walpole ; but a still more curious dis covery, unknown to the same assiduous antiquaries, is the roU of the account of the Paymaster of the Works, of the "Charges in building a Banqueting House at Whitehall, and erecting a new Pier in the Isle of Portland, for convey ance of stone from thence to Whitehall " — a singular roU pre served at the Audit Office among the Declared Accounts. The sum received by the Paymaster was i?15,648 3s. The expense of the Pier was ,£712 19s. 2d., and of the Ban queting House, o&ll^lO 4s. ld. ; the expenditure exceeding the receipts by £5 Os. 3d. The buhding was finished on the 31st March, 1622; but the account, it deserves to be men tioned, was not declared (i.e., finaUy settled) tiU the 29th of June, 1633, eleven years after the completion of the building, and eight after the death of King James : a delay confirm atory of the unwillingness of both father and son to bring the works at WhitehaU to a final settlement. Inigo's great masterpiece is described, in this Account, as " a new build ing, with a vault under the same, in length 110 feet, and in width 55 feet within ; the wall of the foundation being in thickness 14 feet, and in depth 10 feet within ground, brought up with brick ; the first story to the height of 1 6 feet, wrought of Oxfordshire stone, cut into rustique on the outside and brick on the inside ; the waUs 8 feet thick, with a vault turned over on great square piUars of brick, and paved in the bottom with Purbeck stone ; the waUs and vaulting laid with finishing mortar; the upper story being the Banqueting House, 55 feet in height, to the laying on of the roof; the 22 LIFE OF INIGO JONES. waUs 5 feet thick, and wrought of Northamptonshire stone, cut in rustique, with two orders of columns and pilasters, Ionic and Composite, with their architrave, frieze, and cor nice, and other ornaments ; also rails and baUasters round about the top of the building, aU of Portland stone, with fourteen windows on each side, and one great window at the upper end, and five doors of stone with frontispiece and car- toozes ; the inside brought up with brick, finished over with two orders of columns and pUasters, part of stone and part of brick, with their architectural frieze and cornice, with a gal lery upon the two sides, and the lower end borne upon great cartoozes of timber carved, with raUs and baUasters of timber, and the floor laid with spruce deals; a strong timber roof covered with lead, and under it a ceiling divided into a fret made of great cornices enriched with carving ; with painting, glazing, &c." The master-mason was Nicholas Stone, the sculptor of the fine monument to Sir Francis Vere, in Westminster Abbey. His pay was 4s. lOd. the day. The masons' wages were from 12d. to 2s. 6d. the man per diem ; the carpenters were paid at the same rate ; while the bricklayers received from 14<2. to 2s. 2d. the day. These were, I am inclined to believe, rather low rates of remuneration. The Crown, pinched in its expen diture, and ambitious of great undertakings, was often obliged to force men into its employment. This I gather from the Accounts of the Paymaster of the Works, which contain a yearly gratuity " to the Knighte MarshaU's man for his ex- i traordinary attendaunce in apprehending of such persons as j obstinately refuse to come into his Majesty's Workes." The I gratuity was often eight, and occasionaUy ten pounds. While the works at Whitehall were in progress, a com mission was appointed by the Crown "to plant and reduce to uniformity Lincoln's Inn Fields, as it shaU be drawn by way of map or ground plot by Inigo Jones." A careful elevation, or view (painted in oil-colours), of Inigo's plan is LIFE OF INIGO JONES. 23 still preserved at WUton House, the princely abode of the Pembroke family. The view is taken from the south, and the principal feature in the elevation is Lindsey House, on the centre of the west side, which, with its stone facade, stands boldly out from the brick houses which support it on either side. This house, which stiU remains, was buUt for Robert Bertie, Earl of Lindsey, General of the King's forces at the outbreak of the Civil War, under Charles I. The front still continues to be admired, though now seen to great disadvantage, from the loss of the handsome-shaped vases which originally surmounted the open balustrade at the top. The internal accommodation was never good ; yet the house was long inhabited by persons of distinction, and was for some time the residence of the proud Duke of Somerset. The proportions of the square, which are seen to advantage in the plan at WUton, are those, it is said, of the base of the Great Pyramid. Of Inigo's business pursuits at this period he gives the fol lowing account, in a letter to Lord Arundel — the only letter of his writing which seems to have been preserved : " To the Right Hohk the Earle of Arundell and Surre, of his Ma' most fable privi Councell. I " Right Hoble, I " In my jorney to London, I went to Ha. Courte, whear I hearde that the Spanish imbassador came to Kingson, and sent his stewarde to Ha. Courte, who looked on the loginges intended for the imbassador, wch weare in Mr. Hugines his roomes, but the steward utterly dislyked thos roomes, sainge that the imbassador wold not lye but in the house : besides, ther was no furnitur in thos roomes, or bedding, or otherwyse, nether for the imbassador or his followers : so the stewarde retorning to his lorde, he resolved only to hunt in the parke, and so retorne. But the keeper answered, he might not suffer that, he having receved no order for it ; so the imbassador went bake discontented, having had sum smarte sporte in the warrine. But since, my lo. of Nottingha hearing of this, sent to the imbassador, to excuse the matter, weh the imbassador 24 LIFE OF INIGO JONES. tooke verry well, and promised to co and lie at Ha. Courte before his ma"" retorne ; but in my opinion, the fault was chiefly in the imbassador, in not sending a day or two before, to see how he was provided for, and give notice what wold please him. " Wee have satt on the collision for buildinges, on Monday last, to put in mynd thos who are bound by recognizance, or otherwyse, to conforme. " The plan of all the incroachments about Paules is fully finished. I hearr that the masons do begin to make up that part of the east end wcb they have demolished, not well, — but with uneven courses of stone. I am now going to the mr. of the wards, to tell him of itt. " Mr. William was verry merry at his departure, and the busshope and he are the ' greatest ' friends that may be. " After my departure for London, many of the masons went awaye wll,out leave, but since, some of the ar retorned ; and, for the rest, yf your lops do shewe sum exemplary punishment, causing the to be sent up as malyfactors, it will detter the rest fro ever doing the lyke. " The Banqueting-house goith on now well, though the going of the masons awaye have byne a great henderance to it. " Thus, with my humble dutye, I rest / " Your Honours ever to be commanded, " Inigo Jones.1 " Ye 17 of August, 1620." The " Commission for buildings," to which he refers, was a commission of inquiry into the number and nature of the new buildings erected in London since the accession of James I. Inigo was a member of this commission, and also of a commission formed in 1620 for conducting the repairs at old St. Paul's. It was at Wilton, in 1620, during one of the royal Pro gresses, that Inigo was sent for by the Earl of Pembroke, and "received his Majesty's commands to produce, out of his own practice in architecture, and experience in antiquities, whatever he could possibly discover concerning Stonehenge." The result of his inquiries appeared in a folio volume, pub lished three years after his death, from "some few undigested 1 Tierney's History of Arundel, p. 436. LIFE OF INIGO JONES. 25 notes," which Inigo had left behind him, and which Webb, who calls them such, had " moulded " together, for the pur pose of publication. Inigo declared, it is well known, that Stonehenge was a Temple of the Tuscan order, raised by the Romans, and consecrated to the god Cselus — the origin of aU things. This monstrous supposition (for such it cer tainly is) was attacked by Dr. Charlton, and vindicated by Webb ; but Inigo and Webb have found no followers, and the wUd theory of the great architect is only another illustra tion of the ignorance of the learned. Inigo was a courtier ; and his rough notes, after all, contain perhaps less of his own views upon the subject, than of ingenious illustrations of the hypothesis of the learned sovereign by whose command he had entered on the inquiry. His next work was the chapel at Lincoln's Inn, com menced in the year 1618, and consecrated on Ascension Day, 1623; Dr. Donne preaching the consecration sermon. This is a piece of well-proportioned bastard Gothic, standing on an open crypt, or cloister, in which the students of the Inn were accustomed to meet and confer, and receive their clients. Sir Christopher Wren's cloisters, in the Temple, were re- erected, after the Great Fire of 1666, for the very same pur pose. The Doric pUasters, in the Lincoln's Inn crypt, are curious illustrations of Inigo's love of Romanizing every thing. But it is good Gothic, for the time ; and far truer to the details of style, than any thing that Wren chose to pass for Gothic on the Dean and Chapter of Westminster, or on the parish authorities of the City of London. Two of his best performances belong to this period of his life — the chapel for the Infanta, at Somerset House, in the Strand, destroyed by Sir WiUiam Chambers, when the pre sent Government offices were erected on the site of the Pro tector's palace; and the beautiful Watergate to the town house of ViUiers Duke of Buckingham, which is still to be seen on the banks of the Thames, at the bottom of the pre- 26 LIFE OF INIGO JONES. sent Buckingham Street. The front of the chapel faced the Thames, and presented an harmonious elevation of a rustic arcade with five arches, and five weU-proportioned win dows between Corinthian pilasters, duphcated at either end. The water gate (quite a masterpiece of architectural harmony) may be looked upon as only a portion of a great bunding. It was Inigo's misfortune, and our own misfortune as weU, that he was not permitted to do much more, on any occasion, than indicate how successful he would haye been, had his whole idea been carried into execution. King James's necessities limited WhitehaU Palace to a portion only (the Banqueting House) : the assassin's knife restricted York House to an instalment only (a water gate) : and the CivU War, under Charles I., stopped the restoration of St. Paul's at the magnificent west portico. The three last Masques which King James hved to see represented, were the joint inventions of Inigo and Jonson. These were caUed, " Time Vindicated to Himself and to his Honours," acted at Court on Twelfth Night, 1622-3 ; "Nep tune's Triumph for the Return of Albion " (meaning Prince Charles), represented on Twelfth Night, 1623-4; and "Pan's Anniversary, or the Shepherd's Hohday," performed in the early part of 1625. The scene, at the representation of " Time Vindicated," " was three times changed during the time of the Masque, wherein the first that was discovered was a prospective of Whitehall, with the Banqueting House; the second was the Masquers in a Cloud ; and the third a Forest." Of the scenery or success of the other Masques we have no account.1 That the "inventors" were not now at variance may be fairly supposed from the circumstance, that in two of Ben Jonson's Masques, subsequently presented be fore King Charles I. and his Queen, Inigo was the associate of the poet. " Chloridia," the last represented, was also the last in which Jonson and Jones were joint inventors. 1 Ben Jonson, viii., 2; Collier's Annals, i., 438. LIFE OF INIGO JONES. 27 The cause of their quarrel is related by Mr. Pory, in a letter to Sir Thomas Puckering : — " The last Sunday, at night, the King's Masque was acted in the Banqueting House The inventor or poet of this Masque was Mr. Aurelian Townshend, sometime steward to the Lord Treasurer Salisbury ; Ben Jonson being for this time discarded, by reason of the predominant power of his antagonist, Inigo Jones, who, this time twelvemonth, was angry with him for putting his own name before his in the title-page ; which Ben Jonson has made the subject of a bitter satire or two against Inigo.1 "Jan. 12, 1631-2." The Masque which gave the offence to Inigo was " Chlo- ridia," already mentioned; "the inventors Ben Jonson, Inigo Jones." This was the last of Jonson's Court entertainments ; and the new poets introduced by Inigo's influence were Towns hend, Carew, Shirley, Heywood, and Sir William Davenant. Inigo had now pretty nearly his own way with the poets' title-pages, and the poets themselves are very grateful to the proud and powerful architect who had brought them forward. " The subject and aUegory of the Masque," says Townshend, " with the descriptions and appearances of the sceanes, were invented by Inigo Jones, Surveyor of His Majesty's Works."2 — " The scene and ornament," says Shirley, " was the art of Inigo Jones, Esquire, Surveyor of His Majesty's Works."3 Davenant was stUl more courteous. " The invention, orna ments, scenes, and apparitions, with their descriptions, were made by Inigo Jones, Surveyor-General of His Majesty's Works ; what was spoken or sung, by WiUiam Davenant, his Majesty's servant."4 " So much for the subject it selfe," says Heywood; " but for the rare decor ements which new appareU'd 1 Gilford's Memoirs of Ben Jonson, p. clx. 2 " Tempe Restored," 4to., 1631. 3 Shirley's Works, vi., 284. 4 " Salmacida Spolia, a Masque, presented by the King and Queen's Majesties at Whitehall, on Tuesday the 21st day of January, 1639." 4to. 1639. 28 LIFE OF INIGO JONES. it, when it came the second time to the RoyaU viewe, (Her Gratious Majestie then entertaining His Highnesse at Den- marke-House, upon his Birth-day) I cannot pretermit to give a due character to that admirable Artist, Mr. Inego Jones, Master Surveyor of the King's Work, &c, who to every Act, nay, almost to every sceane, by his exceUent Inventions, gave such an extraordinary luster; upon every occasion changing the stage, to the admiration of aU the spec tators : that, as I must ingenuously confesse, it was above my apprehension to conceive; so to their Sacred Majesties, and the rest of the auditory, it gave so general a content, that I presume they never parted from any object, presented in that kind, better pleased or more plenally satisfied." Carew is not so complimentary — for he sins in Jonson's way, by placing his own name before Inigo's, on the title-page. But Carew was "one of the Gentlemen of the Privy Chamber, and Sewer in Ordinary to his Majesty," and therefore could do as he liked. Jonson, poor, old, and supplanted at Court by the in fluence of his former associate, sharpened his pen for what he has caUed "An Expostulation with Inigo Jones;" or, as he has called him, on another occasion, Iniquo Jones.1 Gifford is inclined to think that only a portion of this satire proceeded from Jonson ; but that his view is erroneous is proved by the discovery of a copy of the Expostulation among the Bridgewater MSS., in Jonson's own handwriting.2 The great dramatist laughs at the " velvet suit " of the great architect, and exclaims, satirically, " Painting and Carpentry are the soul of Masque ;" while he sneers at what Inigo would like stUl worse, " Thy twice conceived, thrice paid for imagery." The truth is that Jones wanted, as Jonson has it, to be the 1 Entertainment at Bolsover, 30 July, 1634. ¦ Collier's New Facts, p. 49. LIFE OF INIGO JONES. 29 Dominus Do-AU of the work, and to engross aU the praise. This is Gifford's view, who adds — not unjustly, I am inchned to think — that " an obscure baUad-maker, who could string together a few rhymes, to explain the scenery, was more acceptable to him than a man of talent, who might aspire to a share of the praise given to the entertainment." But a paper of couplets, though written, as Howell phrases it, with a porcupine's quiU dipt in too much gaU, was not enough for Jonson ; and the " Master Surveyor " was intro duced as Vitruvius Hoop into the poet's next new play. Inigo was angry, and his interest at Court very naturally exerted to suppress the part ; successfully, too, it would ap pear, from the following entry in the Office-Book of the Master of the Revels : " R[eceived] for allowinge of The Tale of the Tubb, Vitruvius Hoop's parte wholly struck out, and the motion of the tubb, by commande from my lorde chamberlin ; exceptions being taken against it by Inigo Jones, surveyor of the Kings Workes, as a personal injury unto him. May 7, 1633— £2 0s. Od."1 It argues, it has been said, somewhat of a querulous and waspish disposition in Inigo to raise so loud an outcry on this occasion. " For aught that appears," says Gifford, " he might have passed unnoticed, and Medley and his Motions been trusted to the patience of the usual audience, without any essential injury to his reputation."2 But Gifford, when he wrote this, had whoUy overlooked the curious circum stance, that the character of Vitruvius Hoop is not to be found in the play, as it has come down to us. It is easy to beheve that the puppet motions in the piece would not have effected the reputation of Inigo ; but the original cha racter of Vitruvius Hoop, we may fairly assume, was extremely personal, for "In and In Medlay of Islington corpus and 1 Malone's Shakspeare by Boswell, iii., 232. 2 Gifford's Ben Jonson, vi., 237. 30 LIFE OF INIGO JONES. head-borough," a softened Vitruvius Hoop, retains enough to mark and hold up Inigo and his peculiarities to public ridi cule: " Squire Tub. Can any man make a Masque here, in this company ? To-Pan (a tinker). A Masque ? What's that? Scriben (the great writer). A Mumming or a Shew, With vizards and fine clothes. Clench (the farrier). A disguise, neighbour, Is the true word. There stands the man can do't, sir ; Medlay, the joiner, In-and-in, of Islington, The only man at a disguise in Middlesex. Squire Tub. But who shall write it ? Hilts. Scriben, the great writer. Scriben. He'll do't alone, sir; he will join with no man, Though he be a joiner, in design he calls it, He must be sole inventer. In-and-In Draws with no others in's projects ; he will tell you It cannot else be feazible, or conduce : Those are his ruling words, please you to hear 'un? Squire Tub. Yes ; Master In-and-in, I have heard of you. Medlay. I can do nothing, I. Clench. He can do all, sir. Medlay. They'll tell you so. Squire Tub. I'd have a toy presented, A Tale of a Tub, a story of myself. You can express a Tub ? Medlay. If it conduce To the design, whate'er is feasible : I can express a wash-house, if need be, With a whole pedigree of Tubs. Squire Tub. No ; one Will be enough to note our name and family, Squire Tub of Totten, and to shew my adventures This very day. Td have it in Tub's Hall, At Totten-Court, my lady-mother's house ; My house, indeed, for I am heir to it. Medlay. If I might see the place, and had survey'd it, LIFE OF INIGO JONES. 31 I could say more : for all invention, sir, Comes by degrees, and on the view of nature ; A world of things concur to the design, Which makes it feasible, if art conduce." There is more of this ; but Inigo had his revenge. This, the last play of the Ulustrious author, was maimed by his old associate ; and, when performed at Court by the Queen's players, was, as the Master of the Revels briefly records in his Office-Book, "not liked."1 Jonson was old in years, feeble in body, and poor in purse. Jones, too, was old (he was of the same age as Jonson), but his health was good — and his purse fuU. WhUst this petty quarrel was at its height, Inigo lost his friend, George Chapman the poet, with whom he appears to have hved on terms of the strictest intimacy. I have already had occasion to refer to the warm language of approbation bestowed by the translator of Homer upon Inigo, in his printed account of the memorable Masque in which they had been united. But Chapman was not content with this single encomium. To Inigo he inscribes his translation of Musasus ; and Inigo repaid the poet's compliment and friendship by erecting a monument to his memory in the churchyard of St. GUes's in the Fields, where, on the south side of the church, it is stiU to be seen. His next works of importance, in the higher line of his profession, were the great West Portico of old St. Paul's, and the Queen's House at Greenwich. St. Paul's was in a sad state of decay, and it was the wish of the King and of Archbishop Laud that the whole edifice should have been rebuUt by Inigo. This wiU account for the unseemly ad dition he is accused of making, when he placed a classic portico before a Gothic cathedral. It was not as a part of old St. Paul's that Inigo designed his magnificent west front, but as an instalment of a new building. The King under- 1 Malone's Shakspeare by Boswell, iii., 236. 32 LIFE OF INIGO JONES. took the whole repairs, without having, or wishing to have, as he has himself expressed it, " any to share in the honour of that particular with us i"1 and the new structure which Jones erected was worthy of the situation and the King's liberahty. The nave of old St. Paul's had been too long desecrated, as a lounge, or place of general meeting, for people in quest of news ; for dinnerless persons, to dine with Duke Humphrey ; and for servants out of employment, in search for masters. Inigo's portico was designed to remove this dese cration from the nave to the exterior of the bunding ; and, in order to get ample room for the numbers who frequented the buUding, the church of St. Gregory, by St. Paul's, was marked out for removal by the ambitious architect. A parish church in Inigo's days, however, was not so easUy removed as modern architects have since found such matters to be ; and every interest and exertion were made by the local authorities to preserve their church. One of the North family (to whom we are indebted for so much curious con temporary knowledge) has given the following account, in a News-Letter of the time : " The business of S*. Gregories church was moved by my lord and me to many of the great lords, who concluded the King's resolution for re moving the church was fixed, and would not be altered upon any reason the parish or we could alledge to the contrary. My lord treasurer [Juxon, Bishop of London] cannot save the Hall and Chapel of London House ; but down they must go, to make a clear passage about Paul's Church."2 — Sir John North to Dudley North, March 22, 1637. Old St. Paul's is described by FuUer as being truly the mother church, having one babe in her body — St. Faith's — and another in her arms — St. Gregory's. It was the church in her arms that Inigo began to remove, and would have soon demolished, had the King's affairs been at the time in a more 1 Wilkins's Concilia, iv., 492. J Gentleman's Magazine for October, 1846, p. 384. LIFE OF INIGO JONES. .53 prosperous condition. But it was now Inigo's turn to be annoyed. The parishioners of St. Gregory laid their com plaint before the House of Commons, and the Commons sent it on to the Lords, with a Declaration appended, that the parishioners deserved redress, and that proceedings should be taken against the King's architect for the demolition he had caused. The Complaint of the parishioners has not reached us, but the Declaration of the Commons contains some curious characteristics of Inigo's manner.1 He is accused of saying that he would not undertake the repairs at St. Paul's, " unless he might be the sole monarch, or might have the principality thereof" — a harmless charge, indeed, but person ally interesting, from the curious confirmation it supplies to the truth of Jonson's satire. The rest is, however, more offensive. He first pulled down a portion of the church, and then threatened, " that if the parishioners would _ not take down the rest of it, then the gaUeries should be sawed down, and with screws the materials of the said church should be thrown down into the street ;" hut finding this of no avail, he further threatened, " that if they did not take down the said church, they should be laid by the heels." The Decla ration of the Commons brought Inigo before the House of Lords, and his answer to the charge was that he was not guilty of the offence in such manner and form as the Declara tion expressed. Inigo gained time in this way, but the de cision was against him ; and the great architect not only saw his noble work of re-construction at a stand-still, but the very stones he had quarried and conveyed to the city made over to the parishioners of St. Gregory's for the rebuilding of their church.2 The Queen's House at Greenwich was begun by Anne of Denmark, Queen of James I., and completed by Henrietta 1 Nalson's Collections, vol. ii., p. 728. 2 Dugdale's St. Paul's, 2nd ed., 1716, p. 146. D 34 LIFE OF INIGO JONES. Maria, the Queen of Charles I. ¦ The name of Henrietta, and the date, 1635, the period of its completion, are stUl to be seen on the front of the building. It is now the Naval School; and when viewed from the river, stands as it were in the very centre of Greenwich Hospital. The interior deco rations were by Horatio Gentileschi ; and one of his ceihngs, but much damaged, is stiU to be seen in the saloon. The old palace of our sovereigns at Greenwich stood westward of the Queen's House ; and the smaU fragment facing the river — all that is now standing — contains six pilasters, with the caricature faces which Gerbier ridiculed in the works of Inigo and Webb. Charles II. set about the rebuUdiag of the Palace, and Webb was employed as Denham's assistant, in its reconstruction.2 The portion rebuUt by Webb — from, it is said, the design of Jones — was introduced by Wren into the general arrangement of Greenwich Hospital, and stUl forms the river front of the west side of the great square.3 Another important work of this period of Inigo's career was the Theatre of the HaU of the Barber-Surgeons in Monkwell Street, in the city of London. The room con tained four degrees of cedar seats, one above another, in elliptical form, adorned with figures of the seven Liberal Sciences, the twelve signs of the Zodiac, and a bust of King Charles I. The roof was an eUiptical cupola.4 This, as Walpole caUs it, " one of the best of Jones's works," was repaired, in the reign of George I., by the Earl of Burlington, the architect, and puUed down in the latter end of the last cen tury, and sold for the value of the materials. " The designe of the Chirurgeon's Theatre," an oval, dated " 1636," is pre- 1 Philipott's Survey, p. 162 ; Lysons' Environs, iv., 436, 453. 2 Evelyn, 19 October, 1661; 24 January, 1661-2. 3 Appendix D, p. 48. 4 Hatton's New View of London, 8vo., 1708, p. 597. LIFE OF INIGO JONES. 35 served in the portfolio of Jones's drawings at Worcester College, Oxford. While Jones was disputing with the parishioners of St. Gre gory, and actively engaged in rebuUding the Cathedral of St. Paul, he was also employed in planning the great square, or Piazza, of Covent Garden, for the Earl of Bedford. The square was formed about the year 1631, though never com pleted ; and, as I believe, never designed in full. The Arcade, or Piazza, was carried along the whole of the north and east sides ; the church completed the west ; and the south was girt by a grove of trees, and the garden-waU of Bedford House, in the Strand. The northern side was caUed the Great Piazza ; the eastern side, the Little Piazza.1 "In the Arcade," says Walpole, " there is nothing very remarkable ; the pUasters are as errant and homely stripes as any plasterer would make." This is true to the present appearance of the Arcade, though hardly true in Walpole's time, when the whole elevation remained as Inigo had built it, with stone pUasters on a red brick frontage. The pUasters, as we now see them, are lost in a mass of compo and white paint ; the red bricks have been whitened over, and the pitched roofs of red tile replaced with flat slate. The church, the leading feature in the square, was com menced in 1631, and not finished or even consecrated till the 27th of September, 1638. When the Earl of Bedford sent for Inigo, he told him he wanted a chapel for the parishioners of Covent Garden ; but added, he would not go to any con siderable expense. " In short," said he, " I would not have it much better than a barn." " WeU, then," replied Jones, " you shaU have the handsomest barn in England." It was built originally of brick, with Tuscan columns of stone, to the portico, and a roof covered with red tUes. Jones was present at its consecration by Juxon.2 Lord Burlington 1 Cunningham's Handbook for London, article Piazza. 2 Harl. MS., in British Museum, No. 1831. D 2 36 LIFE OF INIGO JONES. repaired it with care and reverence in 1727 ; and in 1795, on its total destruction by fire, it was rebuilt of stone, by the elder Hardwick, on the plan and in the proportions of the original structure. Of the first church buUt by Inigo there is a view by Hollar. This was the last of his works ; for, though he lived four teen years longer, with his mind unimpaired, and his portfolio full of noble designs for palaces and private houses — the CivU War diverted men's thoughts and means from the peaceful employments of architecture, and found for the King and his nobility other and sterner occupations than superintending squares, or rebuilding palaces. The stones quarried to re store St. Paul's were taken, we have seen, to rebuUd St. Gre gory's: WhitehaU was left unfinished: Greenwich was a mere fragment of a large design : and the masons and work men in the squares of Lincoln's Inn and Covent Garden took to arms, and fought for King, or Commons, as interest or inclination led them. Poets, actors, and engravers, were ahke thrown out of their usual occupations. Davenant, the Poet-Laureate, became lieutenant-general of ordnance, un der the King ; Wither, Governor of Farnham, for the Par liament ; whUe Robinson, the actor, HoUar, Peake, and Faithorne, the engravers, and one stUl greater, Inigo Jones himself, were taken with arms in their hands at the siege of Basing. • The history of the twelve last years of his life, if authen- ticaUy written, would be little more, there is reason to be lieve, than a history of anxieties and disappointments. He was not only imprisoned, but was fined for his loyalty. His office of Surveyor was at the best but nominal ; for he was neither employed as Surveyor, nor paid as one. But he had saved money, which in those perilous times he was at a loss how to preserve. There were others in the same difficulty ; 1 Carlyle's Cromwell, ii., 259, 2nd edition. LIFE OF INIGO JONES. 37 and Inigo, uniting with Nicholas Stone, the sculptor, buried his money in a private place near his house, in Scotland Yard. That he had aU the fears which Pepys, in a similar situation, so weU describes, it is not too much to imagine ; and he had need for alarm. The Parliament pubhshed an order, en couraging servants to inform of such concealments ; and, as four of the workmen were privy to the deposit, Jones and his friend removed it privately, and with their own hands buried it in Lambeth Marsh. He had now survived the friends to whom he was indebted for his advancement, the poets with whom he had been asso ciated, and the patrons to whom he owed his appointments- He had hved to see King Charles beheaded in the open street, before his own Banqueting House, at WhitehaU — Ben Jonson and Chapman at rest, in Westminster Abbey and the churchyard of St. Giles in the Fields — and the Earl of Arundel and both the Earls of Pembroke, William and Philip, gathered to their ancestral vaults. Grief, misfor tunes, and old age, at last terminated his life. He died at Somerset House, in the Strand, on the 21st June, 1652,1 in his seventy-ninth year, and on the 26th of the same month was buried, by his own desire, by the side of his father and mother, in the church of St. Bennet, Paul's Wharf, where a 1 The blunders about the period of Jones's death are almost beyond belief. Antony Wood says he died 21 July, 1651, and adds — "so I have been informed by the letters of James Webb, of Butleigh, in Somersetshire, Gentleman, son of John Webb, who married the cousin- german of the said Inigo Jones" (Ath. Oxon., ii. 423, ed. 1721). Kennet says he died 22 May, 1651 (Ath. Oxon., by Bliss, iii., 806). Walpole copies Wood ; and Walpole's ,editor (Dallaway) correcting his author, says he was buried 26 June, 1632. Allan Cunningham says he died in June, 1653 (Lives of British Artists, vol. iv., p. 138). I have examined the Register of St. Bennet's, and find that he was buried 26 June, 1652. The errors about Webb's relationship to Inigo are equally absurd. Some call him his nephew, others, his son-in-law. He was neither. 38 LIFE OF INIGO JONES. monument of white marble, for which he left one hundred pounds, was erected, with the foUowing inscription : Ignatius Jones, Arm. Architectus Reg. Mag. Brit, celeberrimus Hie jacet. Aul. Alb. Reg. sedificavit Templum D. Pauli restauravit: Natus Id. Julii MDLXXH. Obiit xi[x] cal. Junii MDCLI[I]. Vixit Ann. lxxix D" xxx iix. Uxoris Patruo amantissimo Prseceptori suo meritissimo Haeres et Discipulus Posuit Moerens Johan. Webb.1 It stood against the north wall, at some distance from his grave, and was destroyed in the Great Fire of 1666.3 I could wish that Wren, in rebuilding the church, had rebuUt the monument. He was never married, and the bulk of his property he bequeathed to John Webb, his executor, described, in his wUl,3 as having married "Ann Jones, my kinswoman." Webb was a native of London, and educated at Merchants Tailors' School. He was also the pupU of Jones, and suc ceeded to his master's coUection of designs, of which he made good use. He wrote, as has been already mentioned, " A Vindication" of Inigo's " Stonehenge Restored ; "4 and died 24 October, 1672, at Butleigh, in Somersetshire, on the same 1 Kennet, in Wood's Ath. Ox., by Bliss, iii., 806. 2 Wood's Ath. Ox., iv. 753. s Appendix E, p. 49. 1 The dedication is dated from Butleigh, in Somersetshire, 25 May, 1664; and the book was published in folio in 1665. Catherine Webb, the grand-daughter of the architect, and the last of the Webbs of But leigh, married a Mr. Riggs ; but neither of tl|gm survived their marriage, or each other, above ten days. The widow iWt the Right Honourable LIFE OF INIGO JONES. 39 day that he made his will. His wife was his executrix, and all his "library and books, and aU prints, and cuts, and draw ings of architecture," were left to his son, WiUiam Webb, with strict injunctions that they should be kept together. How long this injunction was obeyed, I am not aware : but the coUection — or at least a large part of it — belonged, in Aubrey's time, to Oliver, the City Surveyor,1 and subse quently to Dr. Clarke and the Earl of Burlington. Dr. Clarke's coUection was bequeathed by him to Worcester Col lege, Oxford, where it is still to be seen ; and the Earl of Burhngton's portion has since descended to the Duke of Devonshire. Of Oliver's Collection I can find no other account than Aubrey's. That Jones's library was a good one, for the period in which he lived, may be inferred from Peacham ; who observes, in his " Complete Gentleman," that he could only find Vasari in the library of Inigo Jones and in one other library. His face is rendered familiar to us by the noble portraits of Vandyck, to whom he sat at least twice. The finished picture went, with the Houghton Collection, to St. Peters- burgh, but the sketch en grisaille, engraved by HoUar, in 1655, for the first edition of the " Stonehenge Restored," is in this country, and is now in the possession of Major Inigo Jones, 11th Hussars, who has caused the picture to be care fully engraved, at his own expense, for the present account of the life of his great relative.2 Vandyck and Jones were James Grenville heir to her estate at Butleigh ; from whom it descended to the present Dean of Windsor, the great-nephew of Mr. Grenville. The Webbs purchased it of the Symcocks. 1 Aubrey's Lives, ii., 411. "Mr. Oliver, the City Surveyor, hath all his papers and designs, not only of St. Paul's Cathedral, &c, and the Banqueting House, but his designs of all Whitehall, suitable to the Banqueting House ; a rare thing, which see." 3 A portrait of Inigo, by Vandyck, in the possession of Lord Darnley, was exhibited at the British Institution, in 1820. Lord Yarborough has a clever copy of the portrait, en-grisaille, introduced into a composition 40 LIFE OF INIGO JONES. asked together to the dinners of the Painters' Stainers' Com pany, as appears by an entry in the Company's books ; an honour which was considerable, and looked upon as such. They were friends ; and Inigo's skill " in designing with his pen " was described by Vandyck " as not to be equalled by whatsoever great masters of his time, for boldness, softness, sweetness, and sureness of his touches."1 Notices, however trifling, that relate to two such men, cannot be devoid of interest, even to the general reader. Inigo lived in Scotland Yard,2 was a Roman Cathohc, and paid periodical fines to the overseers of the poor of St. Mar tin's in the Fields, for the privUege of eating flesh in Lent. The necessity that rendered the privilege requisite is un known ; but that he had his aUments may be gathered from the following prescription, written with his own hand at the end of his companion PaUadio : " For the spleene and vomiting mellencoly — my owne. " Take capers, and first wash of the vineger with warme water, then sett them on the fier in a scillett, and lett them boyle up on or too waumes, and take them of and straine the water from them in to a cul lender, and kepe them in a pipkin : take aurance and wash them well, and then plump them on the fiere, and straine them out in to a cullender, picture of ornaments, implements, &c. Major Inigo Jones has a copy of the Houghton picture which was given to a member of his family by Speaker Onslow, who considered it to be an original ; but it is too poor for Vandyck' s own hand. Lot 65 of the first day's sale of Vertue's pictures, was " A Head of Inigo Jones," said to be by " Vandyke." There is an original portrait of him on the staircase at the Ashmolean : but it is not like the received portraits, and is a poor performance. His head, engraved in an oval by Villamoena, and set in a kind of mural tablet, has this inscription : INIGO . JONES . ARCHITECTOR . MAGNAE . BRITANIAE F . VILLAMOENA . V This was engraved in Jones's life-time. Villamoena died about 1626. 1 Webb. ' Appendix C, p. 47. & LIFE OF INIGO JONES. 41 and keep them in an other pipkin ; take too spunfules, or less, of each of thes, mix them togeather, and eat them for a breakfast, and you may drink after them. This cured mee of the sharpe vomitinges wch I had hadd 36 yeares, but it is the frequent youse of them that doth the effect. This also hath cured many of the stoppinges of the spleene, who I have taught it to. I sumtimes youse sallett oyle with them, but it must bee verry good. I doe many times eat them with meat for a sallett, when I can not eate them in the morning.'' To this he has added a marginal note — " Aproved by many, as my Lo. NewcasteU, Mr. Herbert, Mr. Ouldsworth." The date of the entry is about 1638. Among the works actuaUy erected, assigned on good grounds to Inigo, and not already mentioned, I would in clude the foUowing : — The Cabinet for the King's pictures at Whitehall, and the Queen's Chapel, at St. James's ; a front at WUton — since disfigured — and a grotto at the end of the water; the middle parts of each end of the quadrangle, at St. John's CoUege, Oxford ; Cobham HaU, in Kent, built for the Duke of Richmond and Lenox, and now the seat of Lord Darnley; ColeshiU, in Berkshire, built for Sir Mark Pleydell, and now the seat of the Earl of Radnor; the Grange, in Hampshire, the seat of Lord Ashburton, and since altered by the late Mr. Wilkins. " It is not a large house," says Walpole, who writes before the alterations, " but by far one of the best proofs of his taste — the hall, which opens to a smaU vestibule, with a cupola, and the staircase adjoining, are beautiful models of the purest and most classical an tiquity" ; a gate at Oatlands, stUl standing ; a gate at Hol land House, Kensington, stUl there, but stupidly divided; a gate at Beaufort House, Chelsea, removed by Lord Burling ton to Chiswick; and Wing, in Buckinghamshire, puUed down by Sir William Stanhope. One of the best examples of his art is omitted by his biographers — Ashburnham House, in Westminster, which is stiU standing, with its noble cupola and staircase. Some of the houses in Great Queen Street, 42 LIFE OF INIGO JONES. Lincoln's Inn Fields, in one of which the great Lord Herbert of Cherbury died, were of his design, and carry the fleur- de-lys, in comphment to Queen Henrietta Maria, daughter of Henry IV, of France. There is a tradition preserved by Bagford, that the present Queen Street was originally designed as a square, and that it was built at the charge of the Jesuits.1 Among the works of a more doubtful character, attri buted to Inigo, the foUowing may be named : — Albins, in Essex; Pishiobury, in Hertfordshire, built for Sir Walter Mildmay; Charlton House, in Kent, buUt for Sir Adam Newton; Amesbury, in Wiltshire; Gunnersbury, near Brent ford ; Chevening, in Kent ; the front to the garden of Hinton St. George, in Somersetshire; a front at Castle Ashby, in Northamptonshire ; ChUham Castle ; the tower of the church at Staines, where he is said to have hved some time ; a part of Sion House, near Brentford ; Brympton, in Somersetshire, the mansion of Sir PhUip Sydenham; part of the church of St. Catherine Cree,in LeadenhaU Street; abridge atGwydder, in Wales, on the estate of the Duke of Ancaster; Drum- lanrig Castle, in Dumfrieshire ; Heriot's Hospital, in Edin burgh ; and the more modern part of Glamis Castle.2 Ames- bury and Gunnersbury (now no longer standing) were built by Webb, perhaps from Inigo's designs, and others are of an earher or a later date. The CouncU Room of Heriot's Hos pital is quite in Inigo's manner, and I am inclined to think that the whole buUding was of his design. That the designs of Inigo were not restricted to a new WhitehaU, and palaces at Greenwich, Newmarket, and in the Strand (on the site of Somerset House), the portfoho of his drawings at Worcester College affords most striking evidence. In this valuable folio are found, " upright for my Lord Maltravers his house at loatsbury, 1638" — 1 Cunningham's Handbook for London, article Queen Street. - Sir Walter Scott's Misc. Works, xxi., 97. LIFE OF INIGO JONES. 43 " Mr. Surveyor's designe for Sr Peter KiUigrew's house in the Blackfriars " — " ceiling of the Countess of Pembroke's bed-chamber" — "ceiling of the great staire at WUton" — "for the ceihng in the Cabinet-Room, Wilton, 1649"— " ceiling of the Countess of Carnarvon's bed-chamber" — " ceU- ing of the Countess of Carnarvon's withdrawing-room " — an enriched and gUt ceihng, in panels, for York House, with the Duke of Buckingham's motto, " Fidei Coticula Crux," worked in, as on the Water Gate ; " wainscott and moulds for the Consultation Room at Physician's CoUege," dated 1 651, and marked "not taken;" with designs for temples, (Par thenon-like, with statues and pediments filled with sculptures) for churches, one which Gibbs must have seen, and another with obehsks on towers — "for a Fountain in a Wall at Greenwich, 1637" — for "Exchanges or Merchants' Piazzas " — and for the " Office of the Works at Newmarket." In the same foho I observed an exquisite pencU drawing for a por tion of the Banqueting House, with the statues ; an early and different design for the church in Covent Garden ; a most dehcately pencUled drawing of the Portico to St. Paul's, with the statues ; a design "for the modeU of the Star Cham ber," dated 1617; and two "uprights" (one especially fine and large) " of the Palace at Somerset House," dated " 1 638," and marked " not taken ;" an elevation and ground-plot for a new house for the Earl of Pembroke, on the site of Dur ham House, in the Strand, and signed " John Webb." The ground-plot is marked "not taken," and dated 1649. Besides the original Sketch Book already mentioned, of which a few copies have been made in complete facsimile, the Duke of Devonshire possesses, as Mr. Collier informs me, a collection of designs for habits and Masques at Court, mounted in two foho volumes ; some boxes of architectural drawings, many perhaps by Webb ; and others of roughly- coloured designs for scenery in Masques, carrying upon them the splashes of the distemper colour with which the scenes 44 LIFE OF INIGO JONES. were painted. A small collection of his plans for shifting scenery in Masques is preserved among the Lansdowne MSS.1 in the British Museum. I cannot conclude this account of the Life of Inigo Jones without pointing out a singular and important error which Walpole commits, in his account of Jones : an error perpe tuated by AUan Cunningham, and by other authors who have written the life of the great architect. Walpole ascribes to PhUip Herbert, fifth Earl of Pembroke and Montgomery, some rambling, incoherent, manuscript notes, written about Jones in the first edition of the " Stonehenge Restored," formerly in the Harleian Library. That these notes, how ever, could not have been written by PhUip, the eccentric Earl, may be determined by a couple of dates. The Earl, who is said to have written them, died in 1 650, and the book in which they are written was published in 1655.2 Peter Cunningham. Victoria Road, Kensington, 28 September, 1849. 1 Lansdowne MSS., No. 1171. 2 The notes in question were written, I suspect, by Sir Balthazar Gerbier. I may be excused, perhaps, for mentioning in a note (and my readers perhaps will thank me for the information), that by far the best account of Inigo's New Whitehall and of his magnificent West Portico of St. Paul's will be found in the fourth volume of Allan Cunningham's Lives of British Artists. APPENDIX TO THE LIFE OF INIGO JONES. A. [From the Book of Orders and Decrees of the Court of Requests, pre served in the Chapter House at Westminster.'] Jones -j Decimo octavo die Novembris, A0. R. Rne Elizabethe, &c. Baker J xxxij0. [1589]. Uppon the opening and debating of the matter in varyance depending in the Quenes Ma*?1* honorable Court of Requests, betweene Enego Jones, of the Cittie of London, Clothworker, compl', and Richard Baker, of the same cittie, Baker, def, concerning in effect the stay of the pro ceeding of the said def ' in an action of debte by him heretofore com menced at the common lawe against the compl', uppon an obligation wherein the same pi' standeth bound unto the def in the some of fower- score poundes, with condition for the sure payment of lx" at a day certen limited by the said condition, some part of which said debte of lx" the said comp' by his bill alledgeth to be heretofore by him satisfyed and payed unto the said def. And that for the residue of the said debte beinge xlviij", yt was compounded and agreed betweene the said pi' and def that he, the same def, would accept and receave the same at the handes of the pi', after the rate of xs euery moneth, untill the said debte of lxu were fully satisfyed and payed, as by the said compl's bill more at large is sett furthe and alledged — for the full and finall ending of which said cause yt is this day by the Quenes Ma'' said counsaill of this said Court, by and with the full consent and agreement of both of the said parties and of their counsaill learned — ordered and decreed that the said 46 APPENDIX TO compl' shall forthwith confesse the said action so being commenced against him at the common lawe uppon the sayde obligation as is before declared ; and that immediately upon the confession thereof an indenture of defeasance or covenants shalbe made betweene the said parties, by and with the consent of the said counsaill learned of both the said parties, whereby it shalbe covenanted and agreed betwene them, that if he, the said comp*, or his executors or assignes, or any of them, shall hearafter continue the true payment of the said somme of tenne shillinges unto the said def, his executors or assignes, monethly, every moneth, xs, one con sequently ensuinge another, untill the said remaynder of the said debte of lxu, being fiftie five poundes, be fully satisfied and payed, the first pay ment thereof to commence the last day of the moneth of December next, that then neither he, the said def, his executors or assignes, nor any of them, shall heareafter at any time take any advantage or sue for any execution against the said pi', his executors, or assignes, uppon the said action so being by him confessed, as is aforesaid: And if the sayde compl' shall heareafter at any time make any defaulte of the said monethly pay ment of the said somme of x°, yet notwithstanding it is by the said coun saill, by and with the full consent of the said partie def ordered that neither he, the same def, his executors or assignes, nor any of them, shall heareafter at any time sue any execution uppon the said confession of the said action untill such time as he, the said def, his executors or assignes, shall haue made her Maties said Counsaill of this said Court, which then shalbe for the time being, privie and acquainted of the said breache or default of payment of the said somme of x" monethlie, and that thereuppon the said def shall for non payment thereof obteine license of her Maties said Counsaill of this said Court, to take execution against the said comp', uppon the said confession, for so much as to them shall then appeare to remaine unsatisfied of the said debte of lx" before mentioned, and not above. B. lAddit. MS., British Museum, No. 5,755 Original.'} James R. Wee will and comaund you, imediatlie upon the sight hereof, to deliuer, or cause to be deliuered, unto or welbeloued servaunt, Inigo THE LIFE OF INIGO JONES. 47 Jones, whome wee have appointed to he SVeyor of or Works, in the roome and place of Simon Basill, deceased, these ppcells hereafter follow ing for his Lyverie, That is to saie, five yards of broad clothe for a gowne, at twentie six shillings and eightpence the yard, one furr of Budge for the same gowne, price four pounds ; four yards and a half of baies, to lyne the same gowne, at fiue shillings the yard : for furring the same gowne ten shillings ; and for making the same gowne ten shillings. And further or pleasure and comandement is, that yearlie, from henceforth, at the feaste of All Saints, you deliuer or cause to be deliuered unto the said Inigo Jones, the like prcells, for his Livery, wth the furring and making of the same, as aforesaid, during his naturall lief. And these or Lres, signed wlh our owne hand, shalbe yor sufficient warrant, dormant, and discharge, in that behalf. Given under or signet, at or Pallace of Westmr, the sixteenth day of March, [1615-16] in the thirteenth yeare of or raigne of England, Praunce, and Ireland, and of Scotland the nine and fortieth. To or right trustie and welbeloued James Lord Hay, Mr. of or Greate Wardrobe now being, and to the Mr. of the same that hereafter for the time shalbe. James Hay. C. [Audit Office Enrolments, vol. ii., p. 404.] Charles, by the Grace of God, &c. — to the Threar and underthrear of or Excheqr now being, and wch hereafter from the tyme shalbe, and to all other our officers and ministers to whome it may appertaine — Greeting. Whereas the Surveyors of the Workes unto our predecessors haue formly had a dwelling house in or pallace of Westminster belonging unto them, as incident to that place, untill the same was to their preiudice alienated from them : And forasmuch as we are given to understand that in the tyme of or late deare father, King James, of happye memory, deceased, one Symon Basill, Esqe, being then Surveyor of the Workes, had a dwell ing house in the office of or workes, called Scotland yeard, wch house, to gether w"1 some storehouses there, being pulled downe by the sayd Symon Basill, hee procured a Lease of that part of the said yard, and built seve- rall houses thereupon for his owne private benefitt, soe as or Surveyor 48 APPENDIX TO hath paid a nine, and is answerable for a yearely rent to the value of forty sixe poundes p. ann. for one of the houses. Wee doo therefore make known to you, or said Threar and Underthrear, that of or speciale grace and flavor unto or trustie and welbeloved Servant, Inigo Jones, Esqr, now Surveyor of or Workes, as well in consideracion of his good and faithfull service done both to our said late deare ffather and to us, as for diverse other good consideracions us hereunto moving, wee are pleased to give and graunte unto him the some of forty sixe pounds of currant money of England pr ann., for the rent of his said dwelling house, and doe by these presents will and command you, aswell the officers of or Workes, to enter the same monethly, w,h other allowaunces and enter- teynemte, as alsoe the paymaster of or said workes now being, and that hereafter for the tyme shalbe, out of or Treasure from tyme to tyme re- mayning in his handes and custodie, to pay unto the said Inigo Jones the said allowaunce of fortie sixe poundes pr ann., for the rent of his sayd house, in such manner as other allowaunces and enterteyte of that office are usually paid, the first payem' to begin from the ffeast of the Annun- ciacon of the blessed Vergine Mary last past before the date hereof, and to continue during his naturall life. And these or Ires shalbe sufficient warr' and discharge, aswell to the said Payemaster of or workes, for the due paye' of the sayd some of fortie sixe poundes pr ann., as to the Auditors of or Imprests and all other or officers whom it may concern, for giving allowaunce thereof from tyme to tyme upon his Accomptes. Given under or signet, at or pallace of Westminster, the third day of Aprill, [1629] in the ffifth yeare of or Raigne. D. [Audit Office Enrolments, vol. vi.,p. 129] Charles R. Trusty and welbeloved, Wee greet you well. Whereas wee haue thought fit to employ you for the erecting and building of Our palace at Greenwich, Wee doe hereby require and authorize you to exe cute, act, and proceed there, according to your best skill and judgment in Architecture, as our Surveyor Assistant unto Sr John Denham, Knt of the Bath, Surveyor General of Our Works, with the same power of executing, acting, proceeding therein, and graunting of Warrants for THE LIFE OF INIGO JONES. 49 stones to be had from Portland, to all intents and purposes, as the said Sir John Denham have or might have : And hereof the officers of Our Workes, and Hugh May, Esq., Paymaster of the same, are to take notice and accordingly to conforme unto this Our Royal Pleasure : And Our further Will and Pleasure is, that the said Officers and Paymaster doe and shall from tyme to tyme make allowance and payment unto you of the salary of Two Hundred Pounds pr ann., with your trauelling Charges upon our services as the said Sir John Denham hath, and that the said salary of Two Hundred Pounds per ann. and trauelling Charges be entred monthly in the Bookes of Accompt of Our Officers' Entertainement, and payment made thereof, according to the said entry, out of the first Moneys that shall be receaued after it is entred, with proporconable arreares to be paid unto your Executors or Assignes since the beginning of January, 1663: and the same to continue during Our Pleasure; Giuen at our Court at Whitehall, the 21st day of November, 1666 : in the eighteenth year of Our Raigne. By his Maae* Comaund, Will Morice, To Our Trusty and Welbeloued John Webb, of Butleigh, in Our County of Somerset, Esqre- Let the Orders establisht for the present payments of the Ordinary of the Office of the Workes be duly kept, and not interrupted by this or any other Warrant that concernes any prticular Workes. But that ob served, let Mr. Webb be paid this Salary and Arreares out of those Monies that are or shalbe assigned particularly unto the building of His Mate Workes. And the Auditors of the Imprest are to allow the same. February 28th, 1666. T. Southampton. E. THE WILL OF INIGO JONES. Extracted from the Registry of the Prerogative Court of Canterbury. In the name of God, Amen. I, Inigo Jones, of the Parish of S'. Martin in the Feilds, in the County of Midd., Surveyor of the Works to the late King and Queens Mat8, aged seaventy-seaven yeares, being in perfect E 50 APPENDIX TO health of mind, but weake in body, doe make and ordayne this my last Will and Testament in manner and forme ffollowing. That is to say, Imprimis, I commend my Soule to Almighty God, hopeing by ye death and passion of my Saviour, Christ Jesus, to have remission of my Sinnes and attayne vnto eternall life. My body to the Earth, to bee buried in the Church of S'. Bennett, Paul's Wharfe, London. For the expences of my ffunerall I doe appointe one hundred pounds, and for the erecting of a Monument in memorie of mee, to bee made of white marbele, and sett upp in the Church aforesayd, I doe likewise appoint one hundred pounds. Item, I give and bequeathe to Richard Gammon, of the parish of S'. Mary Savoy, in the County of Midd., aforesayd, who maried Elizabeth Jones, my kinswoman, the summe of flue hundred pounds, and the halfe of my weareing apparrell. Item, I giue and bequeath to Mary Wagstaffe, my kinswoman, the summe of one hundred pounds, to be reserved in the hands of my Executor heereafter named, or Richard Gammon, aforesayd, to bee be stowed as they shall think fitt for her preferment, either by mariage or otherwise. Item, I give and bequeath one hundred pounds, to bee equally devided amongst the fiue Children of the said Mary Wagstaffe, which she had by Henry Wagstaffe, deceased, her late husband, to bee bestowed for their preferment as shalbe thought best fitt by my Executor and Richard Gam mon, aforesayd ; and in case any of the sayd Children dye before their portion of the said one hundred pounds bee disbursed, then the part and portion of the Child so dying to bee equally devided towards the advance ment of the other which survive. Item, I give and bequeath vnto John Damford, of the Parish of S'. Martin in the Feilds, Carpenter, the summe of one hundred pounds. Item, I giue and bequeath unto Stephen Page, for his faythful service, one hundred pounds. Item, I giue and bequeath vnto Anne Webb, my kinswoman, the sume of two thousand pounds, to bee layd out for a joynture for her by my Executor, within one yeare after the proving of this my Will. Item, I give and bequeath to the fiue Children of my Executor, by the said Anne Webb, one thousand pounds. Item, for all the debt which is due and oweing to mee for my enter- THE LIFE OF INIGO JONES. 51 taynement and service to the late King and Queene, I doe thereof be queath vnto Henry Wicks, Esqr, Paymaster of the Works, the summe of fifty pounds, to be payd within one moneth after the sayd debt shall be received, and the remaynder to bee equally devided betweene my Exe cutor and Richard Gammon, aforesayd. Item, I giue and bequeath vnto the poore of S'. Martin's Parish, the summe of tenn pounds, to bee payed within one moneth after the proving of this Will. Item, I give and bequeath vnto the poore of S'- Bennett's Parish, aforesaid, the summe of tenn pounds, to be payd within one moneth after the proveing of this Will. Lastly, I doe heereby make, ordeyne, and appoint John Webb, of the Parish of S'. Martin in the Feilds, in the County of Middx, (who maried Anne Jones, my kinswoman) the sole Executor of this my last Will and Testament, and Henry Cogan, of the said Parish, Esquire, and Henry Browne, of the Parish of St. Mary Savoy, aforesaid, Esqre, to bee the Overseers of this my last Will ; and for their care and paynes therein I doe heereby bequeath tenn pounds apeece to each of them. And I doe heereby alsoe make void and of none effect all former Wills, Acts, or Deeds, whatsoever, and doe by these presents declare this to bee my last Will and Testament. In Witnesse whereof I have herevnto sett my hand and seale1 the two and twentieth day of July, Anno Dni, 1650. Inigo Jones. Signed, sealed, and delivered, by the said Inigo Jones, and by him published and declared to be his last Will and Testament, in the presence of William Bell — Henry Browne — H. Cogan — WM Gape — and Godf. Austinson. This Will was Prooued at London beefore Sir Nathaniel Brent, Knight, Docf of Laws, and Master or Keeper of the Prerogative Court, the four and twentieth day of August, 1652, in the name of John Webbe, the Executor of the said Will, hee beeinge first sworne faithfully to Ad'ster, as in the Acts of Court appeares. 1 The seal is a fine antique head. E2 fc$ '(ff,Vl^- Jcoju^ (ccr^h^ 4> q % $<§ * ^pfl^Jf- ^5^9i^uar Co rs>- ^(mM-a/jt yi: f?*L~~-. frng <*~*- ¦ EEMAEKS ON THE COSTUME, ETC., OF some of the SKETCHES BY INIGO JONES. BY J. R. PLANOHE, ESQ. EEMAEKS ON THE COSTUME, ETC., OF SOME OF THE SKETCHES BY INIGO JONES. In a brief history of Stage Costume which I wrote some years ago for Mr. Charles Knight's first volume of " Table Talk," I observed that the valuable labours of Mr. Wharton, in his "History of English Poetry," and of Mr. Payne Collier, in his " Annals of the Stage," had brought to light many curious details of the expenses attending the getting up of pageants and dramatic shows, during the reigns of Henry VI., Edward IV., Eichard III., and Henry VII. ; while the Chronicles of Hall and Hollinshed were replete with descriptions of the gorgeous masqueradings of our eighth Harry and his splendid court. In addition to this information, the " Extracts from Accounts of the Revels at Court," in the reigns of Elizabeth and James I., edited by Mr. Peter Cunningham, and " Henslowe's Diary," edited by Mr. Collier, both which volumes are in the hands of our members, have supplied us with a mass of incidental notices, illustrative of the costume and properties displayed in the dramas and masques of the Shakesperian era. The great liberality of his Grace the Duke of Devonshire now enables the Council to bring the aid of the pencil to the labours of the pen, and enrich the libraries of our subscribers with facsimiles of drawings made by the celebrated Inigo 56 ON THE COSTUME, ETC., OP Jones, if not during the lifetime, very shortly after the de cease of Shakespeare, and which place before us not only the habits in which the Masques of his contemporary, Ben Jon son, were enacted, but in two instances, undoubtedly, the dress of characters in Shakespeare's own immortal produc tions. To commence, therefore, with these two most inte resting illustrations : PLATE I. Presents us with the Palmer's, or Pilgrim's dress, worn by Romeo in the Masquerade scene, the figure being simply subscribed " Romeo," in pencil, in the original. It is the usual costume of such personages, consisting of a long loose gown, or robe, with large sleeves, and a round cape covering the breast and shoulders ; a broad-leafed hat, turned up in front, and fastened to the crown by a button, apparently, if it be not intended for a small cockle-shell, the absence of Avhich customary badge would otherwise be the only remark able circumstance in the drawing. In the left hand of the figure is the bourdon, or staff, peculiar to Pilgrims. The modern representatives of Romeo have inaccurately carried a cross. In the text of the play, Romeo insists on bearing a torch. * " Give me a torch : I am not for this ambling; Being but heavy, I will bear the light." " A torch for me : let wantons, light of heart, Tickle the senseless rushes with their heels; For I am proverbed with a grandsire phrase: I'll be a candle-holder, and look on." And the only indication of his being in a Pilgrim's habit is derived from Juliet's addressing him, " Good Pilgrim," &c. The drawing is therefore most interesting authority for the actor ; and it is probable that Mercutio, Benvolio, and the " five or six maskers," were also attired in similar dresses ; SOME SKETCHES BY INIGO JONES. 57 as, at this period, the parties attending such entertainments appeared generally in sets of six or eight shepherds, wild men, pilgrims, or other characters, preceded by their torch-bearers, music, and sometimes, as Benvolio intimates, " a cupid hood winked with a scarf, bearing a Tartar's painted bow of lath," or some other allegorical personage, to speak a prologue, or introductory oration, setting forth the assumed characters and purpose of the maskers. PLATE II. JACK CADE. Jack Cade, the notorious rebel, introduced by Shakespeare in the Second Part of Henry VI. The figure is very rudely sketched, but is full of character — the ragged trousers of the artisan contrasting well with the plumed helmet of the mili tary chief. " This monument of victory will I bear," ex claims Cade, after the death of the StafFords (act iv., sc. iii.); and this exclamation is supposed to be explained by the fol lowing passage in Hollinshed — " Jack Cade, upon his victory against the StafFords, apparelled himself in Sir Humphrey's brigadine, set full of gilt nails." The brigandine was a jacket formed of overlapping pieces of iron, riveted together by nails, the heads of which, being gilt, ornamented the velvet covering of the jacket in perpendicular rows : but the plumed helmet would be a more distinguishing feature in the military costume of a leader, and more easily put on by the actors, and the appropriation by Cade of any portion of Lord Stafford's armour sufficiently in keeping with the fact re corded by the chronicler. There is another observation I would make, in illustration of the attention paid by the artist to the text of his author. In scene 10, of act iv., "Iden's Garden," Cade says — " I think this word sallet was born to do me good ; for many a time, but for a sallet, my brain- 58 ON THE COSTUME, ETC., OF pan had been cleft by a brown bill ; and many a time, when I have been dry, and bravely marching, it hath served me in stead of a quart pot, to drink in." In the above speech, Cade is playing on the word sallet, or sallad, which signifies either the well-known dish of herbs, or a peculiar helmet of the fifteenth century, (so called from the Italian, celata, or German, schale, a shell, bowl, or cover) and differing essentially from the ordinary helmet of Shakespeare's time. In the design before us we perceive the distinction has been carefully made. The figure wears an open head-piece ; not the vizored and beavered helmet of the time of James I. ; and sufficiently like the salade of the reign of Henry VI., to satisfy even the critical antiquary. The baton is in the left hand, having been transferred from the right, which is employed in drawing the sword, as at the moment of saying — "Come, then, let's go fight with them!" (act iv., scene 6.) PLATE III. AIRY SPIRIT, SCOGAN, SKELTON, BROTHER OE THE ROSY CROSS. These are all characters in the Masque of " The Fortunate Isles and their union," designed for the Court on the Twelfth Night, 1626. 1. An Airy Spirit. The Masque commences thus : "His Majesty being set, Enter, running, Johphiel, an Airy Spirit, and (according to the Magi) the intelligence of Jupiter's sphere, attired in light silks of several colours, with wings of the same, a bright yellow hair, a chaplet of flowers, blue silk stockings, and pumps and gloves, with a silver fan in his hand." The figure designed by Inigo Jones, if intended for this principal spirit, presents us with some variations from this description. He is attired in a tunic, most probably of "light silk," as the form of the body is pretty clearly defined through it ; and over the right shoulder he wears a scarf of SOME SKETCHES BY INIGO JONES. 59 similar material, and'probably of a different colour. His wig — for by " a hair" a whole head of false hair was signified — no doubt was of the "bright yellow" specified; but it is here unadorned by the chaplet of flowers. His stockings may have been blue ; but he seems to be depicted in buskins, in stead of pumps ; and gloves are not discernible on his hands, in neither of which do we behold a fan. The latter articles may have been added by the poet to the more poetical de sign of the painter. 2. Skogan and Shelton. " Methinks," (says the aforesaid Johphiel to Merefool, " a melancholie Student ") " you should inquire now after Skelton, or Master Skogan. — Mere. Skogan ! What was he? — Johphiel. O, a fine gentle man, and master of arts, of Henry the fourth's time, that made disguises for the King's sons, and writ in ballad-royal daintily well You shall see him, sir, is worth these both; and with him Domine Skelton, the worshipful poet-laureat to King Harry and Tityretu of those times. Advance quick, Skogan — and quicker, Skelton." And here follows the stage direction — "Enter Skogan and Skelton, in like habits as they lived." These two figures are so roughly sketched, that the details are scarcely made out enough to allow us to pronounce an opinion of the knowledge possessed by the artist of the cos tume of an earlier age, or of the extent to which, if known, he intended to represent it. There is nothing, however, that we can discern in either which is startlingly incorrect. The head-dress of both appears to be the ehaperon of the fifteenth century. Skogan appears to be clad in a short but full skirted doublet, or jerkin, such as may be seen throughout that cen tury ; and Skelton is enveloped in a long mantle, or gown, equally admissible, and wearing the long, upturned toed shoes, of Oriental form, which, under the name of Crackowes, first ^nade their appearance in Richard the Second's reign, and, 60 ON THE COSTUME, ETC., OF towards the close of the fifteenth century, disputed the palm of fashion with the poulaines, or duck's bills, and the equally absurd broad-toed shoes, which eventually obtained the mastery. Skelton died in 1529, by which time the long toes had completely disappeared ; but he was old enough to have remembered the previous fashion, and might have continued to follow it. 3. A brother of the Rosy Gross. It is not quite clear, from the Masque, which of the characters this was intended to represent. Merefool himself " hath vowed himself unto that airy order," and exclaims, " What mean the brethren of the Rosy Cross, so to desert their votary ?" but he is described by the author as attired " in bare and worn clothes, shrouded under an obscure cloke and the eves of an old hat." He also speaks of " his boots ;" but in the drawing he wears shoes ; a doublet, with full sleeves, of the dagged, or pounced pat tern, of Elizabeth, or James the First's time ; (similar to the brown silk one lately recovered from a wreck off Whitstable, and exhibited at a meeting of the British Archaeological Asso ciation) close fitting breeches, and a very high crowned hat : and, though the " Company of the Rosy Cross" is more than once alluded to, there is no mention of any Rosicrucian's ap pearance, save and except Merefool, for whom, notwith standing the absence of the cloak and boots, I am inclined to think the figure was designed. PLATE IV. HARLEQUIN FOR THE MOUNTEBANK. This figure is interesting, as showing the idea entertained of Harlequin, in the age of Shakespeare, before that tricksy sprite became so formidable a rival to the dramatist, that " the mountebank," his master, considered him of more im portance than Hamlet or Othello. The Harlequin of Inigo Jones is not the parti-coloured antic of our day, but what we SOME SKETCHES BY INIGO JONES. 61 are accustomed to call a Zany, or Scaramouch — the Clown of our pantomime, before the dress was invented (I believe, by Grimaldi) which has now become identified with that popular personage. I have a dreamy recollection of Laurent, Gri- maldi's celebrated competitor at Drury Lane, wearing the white dress, with long sleeves and loose trowsers, here de picted ; and occasionally a Clown of this description was introduced, in addition to the more astute and humorous ser vant of Pantaloon. It must be remembered that our Harle quin has, even from the time of Rich, differed essentially from the Arlequin of France, and the Arlechino of Italy. The latter is a wit — the former a simpleton. The black mask, the triangularly-patched dress of various colours, and the magic bat, have been the attributes of the French Har lequin for the last hundred and fifty years ; and those who are acquainted with the old prints of Turlupin, Gros Guil- laume, Gandolin, &c, will trace the gradual change of cos tume and phase of character, from the Vice, with his dagger of lath, in the ancient Morality, to the Harlequin of our pre sent Christmas entertainments ; from " the Chartered Liber tine " and loquacious Satirist, who belaboured the Devil, to the mute, dancing, glittering nondescript, who thrashes Pan taloon. " The Harlequin for the Mountebank" was probably compounded from those of the French and Italian stages ; and to the present time, the Quack Doctor, or Tooth-drawer, at a country fair, may be found with a similar domestic in attendance upon him. PLATE V. OLD HABIT OF THE THREE NATIONS, ENGLISH, IRISH, AND SCOTCH. It is unfortunate that these three figures should be so rudely sketched, as it would have been very interesting to ascertain exactly how the artist intended to represent the ancient dress of the Scotch and Irish nations, particularly. 62 SKETCHES BY INIGO JONES. As far as we can judge, from the rough lines before us, the Englishman's dress is a mere fanciful costume, the most dis tinct portion of which, the full, or trunk sleeve, is not older than the close of the fifteenth century. But the habits of the Irishman and the Scotchman are evidently designed from some received notion of national costume. Although not chequered by the pen, we may presume the mantle and short dress of the " Scotte " to be intended for the plaid and the fileah-beg. He appears to be bare-legged, but on his head wears, I imagine, a helmet, or conical iron skull cap. There appears to be a quiver of arrows at his back, and perhaps a buckler, or target, is visible over the right shoulder. In a ballad of the time of James I., called "a Song of a fine Skott," or " Jocky will prove a gentleman," the Scotchman is taunted as having worn shoes " made of the hide of some old cow" — " stockynges of the northern hew " — "garters of the listfull gray" — "a jerkin of the northerne gray" — "a girdle of whittlether" — a plain neck-band — and a "blewe bonnett." Although a lowlander may be therein described, it is singular how rarely we meet with an allusion, in any account of the old Scotch dress, to the chequered garb which is now considered its principal characteristic : it is, therefore, probable, the absence of any indication of check, in this drawing, may not be altogether unintentional. The Irish man is much more characteristically attired. He has the rough head of hair, called glibbe, in the old proclamations against it; the Irish mantle; "the skirts" of his jacket "very short, with plaits set thick about," as described by Derricke, either naked legs, or the close-fitting truis, worn as late as the seventeenth century. In Jonson's "Irish Masque," the gentlemen are directed to dance "in their Irish mantles : " but I have not been able to discover in which Masque these representatives of the three nations were introduced. J. R. Planche. THE MASK OF QUEENS, AND THE TWELFTH NIGHT'S REVELS. BY BEN JONSON. FKOM THE AUTHOR'S MSS. PRESERVED IN THE BRITISH MUSEUM. To the Glorie of our owne and greefe of other Nations : My Lord Henry Prince of Great Britayne. &c. When it hath bene my happinesse (as would it were more frequent) but to see yor face, and, as passing by, to consider you ; I haue wtb as much joy, as I am now farre from flattery in professing it, call'd to mind that doctrine of some great Inqui sitors in Nature, who hold euery royall and Heroique forme to pertake and draw much to it of the heauenly vertue. For, whether it be y* a diuine soule, being to come into a body, first chooseth a Palace fit for it selfe ; or, being come, doth make it so ; or that Nature be ambitious to haue her worke aequall, I know not : But what is lawfull for me to vnderstand and speake, that I dare ; wch is that both yor vertue and yor forme did deserue yor fortune. The one claym'd that you should be borne a prince ; the other makes that you do become it. And when Necessetie (excellent Lord) the Mother of the Fates, hath so prouided that yor forme should not more in sinuate you to the eyes of men, then yor vertue to theyr mindes ; it comes neare a wonder, to thinke how sweetely that habit flowes in you, and w"1 so howrely testimonies, wch to all posterity might hold the dignitye of Examples. Amongst the 66 THE EPISTLE. rest, yor fauor to letters and these gentler studies, that goe vnder the title of Humanity e, is not the least honor of yor wreath. For if once the worthy Professors of these learnings shall come (as here to fore they were) to be the care of Princes, the crownes theyr Soveraignes weare will not more adorne theyr Temples; nor theyr stamps Hue longer in theyr Medalls, than in such subjects labors. Poetry, my Lord, is not borne wth euery man, nor euery day: And in her generall right, it is now my minute to thanke yor Highnesse, who not only do honor her wth yor eare, but are curious to examine her wth yor eye, and inquire into her beauties, and strengths. Where, though it hath prou'd a worke of some difficulty to mee to retriue the par ticular authorities (according to yor gracious command, and a desire borne out of iudgment) to those things wch I writt out of fullnesse, and memory of my former readings ; yet, now I haue overcome it, the reward that meetes mee is double to one act ; wch is, that therby yor excellent vnderstanding will not only iustifie mee to your owne knowledge, but decline the stiffnesse of others originall Ignorance, allready armd to cen sure. For wch singular bounty, if my Fate (most excellent Prince, and only Delicacy of mankind) shall reserue mee to the Age of your Actions, whether in the Campe, or the Councell Chamber, y* I may write, at nights, the deedes of yor dayes ; I will then labor to bring forth some worke as worthy of yor fame, as my ambition therin is of yor pardon. By the most trew admirer of yor Hignesse Vertues, And most hearty Celebrater of them. Ben : Jonson. THE MASQUE OF QUEENES. It encreasing, now, to the third time of my being vs'd in these sendees to her Maties personall presentatio's, wth the Ladyes whome she pleaseth to honor ; it was my first, and speciall reguard, to see that the Nobilyty of the Invention should be answerable to the dignity of theyr persons. For wch reason, I chose the argument, to be, A Celebration of honorable $¦ true Fame, bred out of Vertue : obseruing that rule of the a hest Artist, to suffer no obiect of delight to passe *Hor.inArt. wthout his mixture of profit, and example. Poetic. And because her Matie (best knowing, that a principall part of life in these spectacles lay in theyr variety) had com- maunded mee to think on some Daunce, or shew, that might praecede hers, and haue the place of a foyle, or false-Masque ; I was carefull to decline not only from others, but mine owne stepps in that kind, since theb last yeare I had an bintheilfas- Anti-Masque of Boyes: and therefore, now, deuis'd that twelue que at my L. women, in the habite of Haggs, or Witches, sustayning the ,. a ra^,we persons of Ignorance, Suspicion, Credulity, &c, the opposites to good Fame, should fill that part, not as a Masque, but a spec tacle of strangeness, producing multiplicity of Gesture, and not vnaptly sorting wth the current, and whole fall of the Deuise. First, then, his Matie being set, and the whole Company in full expectation, that wch presented it selfe was an ougly Hell ; w°\ flaming beneath, smoak'd vnto the top of the Roofe. And, f 2 68 THE MASQUE OF QUEENES. in respect all Emits are {morally) sayd to come from Hell ; as also from that obseruation of Torrentius upon Horace his Canidia,c quae tot instructa venenis, ex Orci faucibus profecta c Vid. La- videri possit. These Witches, with a kind of hollow and in- mn. Torr., femavj mtlsique, came forth from thence. First one, then two, comment, in ^ Hor. Epod. and three, and more, till theyr number encreased to eleuen ; lib. ode. i\ an differently attired ; some wth ratts on theyr heads ; some on their shoulders ; others wth oyntment-potts at theyr girdles ; all wth spindells, timbrells, rattles, or other veneficall instruments, making a confused noyse, wth strange gestures. The deuise of their attire was Mr. Jones his, wth the Invention and Architecture of the whole Scene and Machine, only I pre scribed them theyr properties, of vipers, snakes, bones, herbes, rootes, and other ensignes of theyr Magick, out of the authority of antient, and late writers. Wherin the faults are mine, if there be any found ; and for that cause I confesse them. These eleuen Witches beginning to daunce (wch is an usual See the ceremony d at theyr Convents, or meetings, where sometimes, King's Ma- _. ._._ ,i\i t d ties booke (oT a*so> they are vizarded and masqud) on the sodayne one oi Soveraigne) them miss'd their Cheife, and interrupted the rest wth this of Damo- o , , . „ bpeach. nologie. Bo- r din. Remig. Delrio. Mall. Malefc., and a world of others, in the generall : but let us follow parti culars. e Amongst or Sisters, stay ; we want or e Dame ; vulgarwitch- Call h b her namCj es the honor of Dame (for so I translate it) is giuen, with a kind of pre-eminence, to some speciall one at theyr meetings, which Delrio insinuates, Disquis. mag. lib. ij. Qu. ix., quoting that of Apuleius. lib. j. de Asin. aureo. de quodam caupona Regina sagaru: and addes, vt scias etiam tum quasdam ab ijs hoc titulo honoratas ; wth Title M. Phillippo Lud- wigus Elich, Dtsmonomagix Quett. x., doth also remember. And the charme we vse to say, f When they That she quickly f anoynt, and come away. are to be trasported from place to place, they vse to anoynt themselues, and sometimes the things they ride on. Beside Apule. testimony, see these later, Remig. Damonolatria, THE MASQUE OF QUEENES. 69 lib. j. cap. xiiii. Delrio. Disquis., Mag. lib. ij. Quast. xvj. Bodin. Damonoman. lib. ij. cap. iiij. Barthol. de Spina quxst. de strigib. Phillippo Ludwigus Elich. Quaest. x. Paracelsus in magn. et occul. Philosophid teacheth the confection. Unguentii ex came recens natoru infantium, inpulmenti formd coctum, et cum herbis somniferis, quales sunt papauer, solanu, cicuta, Ssc. and Joa. Bapti. Porta, lib. ij. Mag. natur. cap. xxvij. I. CHARME. Dame, Dame, the watch is set : Quickly come, we all are met. From the lakes, and from the fennes,s g These pla- From the rockes, and from the dennes, ces> ^ tneir tr> j.v. j , » ,, owne nature i rom the woods, and from the caues, d- and ^ From the Church-yards, from the graues, mall, are From the dungeon, from the tree, reckond vp tt, j- +1, a- i, as the fittest' lhat they die on, here are wee. from wnence such persons should come ; and were notably obserued by that excellent Lucan in the description of his Erictho. lib, vj. To which we may adde this corollary e, out of Agrippa de Occult. philosop. lib j. cap. xlviij. Saturno correspondent loca queevis fcetida, tenehrosa, sub- terranea, religiosa et funesta, vt ccemiteria, busta, et hominibus deserta habitacula, et vetustate caduca, loca obscura, et horrenda, et solitaria antra, cauernie,putei,preeterea piscines, stagna, paludes et eiusmodi. And in lib. iij. cap. xlij., speaking of the like,. and in lib. iiij. about the end. Aptissima sunt loca plurimum experientia visionii, noc- turnaruq incursionum et consimilium phantasmatii, vt cxmiteria, et in quibus fieri solent executio et criminalis iudicij, in quibus recentibus annis publicee strages facta sunt, vel ubi occisoru cadauera nee dum expiata, nee rite sepulta recentioribus annis subhumata sunt. Comes she not yet ? Strike another heate. 2. CHARME. The weather is fayre, the wind is good, Vp, Dame o' yorh horse of wood, i> Delrio. Disq. Magic. lib. 2 Qutest vj. has a story out of Triezius of this horse of wood : But y' wch or witches call so is sometime a broome staffe, sometime a reede, sometime a distaffe. See Remig. Deemonol. lib.j. cap. xiiij. Bodin. lib. ij. cap. iiij. &c. Or else, tuck up yor gray frock, And sadle yor ' Goate, or yor greene 1 Cock, ' The goate is 70 THE MASQUE OF QUEENES. y'Deuilhim- And make his bridle a bottome of thrid, selfe, vpon rpQ rCHUe up \l0w manv miles you have rid. whome they . ride, often, to Quickly come away : their solem- For we all stay. nities, as ap pears by thr confessions in Rem. and Bodin, ibid. His Matie also remembers the story of the Diuell's appearance to those of Calicut, in that forme. Daemonol. lib. ij. cap. iij. J Of the greene Cock we have no other ground (to confesse ingenu ously) than a vulgar fable of a witch that wth a cock of that colour, and a bottome of blewe thred, would transport herselfe through the ayre ; and so escap'd (at the time of her being brought to execution) from the hand of Justice. It was a tale when I went to schoole. And somewhat there is like it in Mar. Delrio. Disqui. Mag. lib. ij. quest vj. of one Zyto, a Bohemian, that, among other his dexterities, aliquoties equis rhedarijs vectum, gallis gallinaceis ad epirrhedium suum alligatis susequebatur. Nor yet ? Nay, then, Wee'll try her agen. 3. CHARME. The Owle is abroad, the Bat, and the Toade, And so is the Cat-a-Mountaine ; The Ant and the Mole sit both in a hole, And Frog peepes out o' the fountayne ; The Dogges they do bay, and the Timbrells play, k All this is The Spindle k is now a, turning ; u a 1 en- rpjle ]yj00ne ;g re(j an(j tne gtarreg are ne(J phrasis ot _ ' the night, in But all the Sky is a burning ; theyr charme, and theyr applying themselves to it with theyr instruments, wherof ye spindle, in antiquitye, was ye cheife : and (beside the testemony of Theocritus in Pharmaceutria, who only vsd it in amorous affayres) was of special! act to the troubling of the moone. To wch Martial alludes, lib. ix. Epi. xxx. Qua nunc Thessalico Luna deducere rhombo, etc. And lib. xij. Epig. Ivij. Cum secta Colcho, Luna vapulat rhombo. 1 This rite The ditch 1 is made, and or nayles the spade, also of ma- -yyj^ Ictureg fuU of aQ(j f u king a ditch x _ ' with theyr Theyre livers I stick wth needles quick : nayles is fre- There lackes but the blood to make vp the flood. quent with our witches; whereof see Bodin. Remigius, Delrio, Malleus Malefic. Godelman, lib.ij. de Lamijs, as also the antiquity of it most viuelyexprest by Hora. Satir. viij. lib.j., where he mentions the pictures and the blood of a blacke lambe, all wch are yet in vse wth or moderne THE MASQUE OF QUEENES. 71 witchcraft. Scalpere Terram (speaking of Canidia and Sagana) unguibus, et pullam divellere mordicus agnam Ceeperunt : cruor infossam confusus, ut inde Maneis elicerent animas responsa daturas. Lanea et effigies erat, altera cerea, etc., and then by and by, Serpenteis atque videres Infernas errare caneis, Lunamq. rubentem, Ne foret his testis, post magna latere sepulchra. Of this ditch Homer makes mention in Circes speach to Vlysses : Odyss K. about the end Bodpov opi^ai, etc. and Ovid Metam. lib. vij in Medeas Magick. Haud procul egestd scrobibus tellure duabus Sacra facit, cultrosque in gutture velleris atri Conjicit, etpatulas perfundit sanguine fossas. And of the waxen images in Hypsipyles epistle to Jason, where he expresseth that mischiefe also of the needles. Deuouet absentes simulacraq. cerea fingit, Et miserum tenues in iecur urget acus. Bodin. Damon : lib. ij. cap. viij. hath (beside the knowne story of K. Duffe out of Hector Boetius) much of the witches later practise in y' kind, and reports a relation of a French ambassadours out of England, of certayne pictures of waxe found in a dunghill, neare Islington, of our late Queenes ; wch rumor I myselfe (being then very young) can yet remember to have bene current. Quickly, Dame, then bring yr part in, Spur, spur, upon little Martin ;m Merely, merely, make him sayle, A worme in his mouth, and a thorne in's tayle ; Fire above and fire below, With a whip i' your hand to make him goe. O, now she's come ! Let all be dumbe. m Theyr little Martin is hee that calls them to theyre Con venticles ; wch is done in a humane voyce ; but coming forth they find him in the shape of a great Bucke-Goate, upon whome they ride to theyr meetings. Delrio. Disquis. Mag. quest, xvj. lib. ij. and Bod. Damonom. lib. ij. cap. iiij. have both the same relation, from Paulus Grillandus, of a witch. Adveniente node et hord euocabatur voce quadam velut humand ab ipso Damone, quem. non vocant Damonem, sed Magisterulum, alia Magistrum Martinettu, sive Martinellum. Qua sic euocata mox sumebat pyxidem unctionis, et liniebat corpus suum in quibus- dam partibus, et membris : quo linito exebat ex domo et inveniebat Magisterulu suum in formd hirci, illam expectantem apud ostium, super quo mulier equitabat, et applicare solebat fortiter manus ad crineis, et statim hircus ille adscendebat per aerem, et bre- vissimo tempore deferebat ipsam, etc. At this the Damen entered to them, naked armed, bare footed, her frock tucked, her hayre knotted, and folded with vipers ; in her hand a torch made of a dead man's arme, lighted, girded with a snake. To whome they all did reverence, and she spake, vttring by way of question, the end where fore they came : wch, if it had bene done eyther before, or otherwise, had not bene so naturall. For, to have made them- n This Dame I make to beare the person of Ate, or mischeife, for so I in terpret it out of Homer's description of 72 THE MASQUE OF QUEENES. her, Iliad, I. selves theyr owne decipherers, and each one to have told ^k6 lT uPon their entrance what tlheV were> and whether they would, swift to hunt had bene a most piteous hearing, and vtterly vnworthy any mankind, quality of a Poeme : wherein a Writer should alwayes trust sound of iT somewhat to the capacity of the Spectator, especially at these feete ; and spectacles, where men, beside inquiring eyes, are understood Iliad T. ^ brine; quick eares, and not those sluggish ones of Porters walking upon & u yb° men's heads; and Mechanicks, that must be bor d through at every act wth in both narrations. places using one and the same phrase to signifie her power; BXonTsr' avdpcmrus, Ladens homines. I present her barefooted and her frock tuck'd, to make her seeme more expedite; by Horace his authority. Sat. viij. lib. j. Succinctam vadere palld Canidiam pedibus nudis, passoq. capillo. But for her hayre, I rather respect another place of his, Epod. lib. ode. v., where she appears Canidia brevibus implicata viperis crineis Et incomptu caput. And that of Lucan lib. vj. speaking of Erictho's attire, Discolor et vario Furialis cultus amictu Induitur, vultusque aperitur crine remoto, Et coma vipereis substringitur horrida sertis. For her torch, see Remig., lib. ij. cap. iij. DAME. HAGGES. Well done, my Hagges. And come we fraught wth spight, To overthrow the glory of this night ? Holds our great purpose? Hag. Yes. Dam. But wants there none Of our iust number ? Hag. Call us one by one, " In the -^-nd tnen °r Dame shall see. Dam.0 First, then, advance chayning of My drowsy servant, stupide Ignorance, ese vices j£nowne hy thy scaly vesture ; and bring; on make, as if . . one linke Thy fearfull Sister, wild Suspicion, produced Whose eyes do neuer sleepe ; Let her knit hands another, and ,-,r„, • , ^, 7 , . , , , the Dame W quick Credulity, that next her stands, were borne Who hath but one eare, and that allwayes ope ; out of them Tw0.faced Falshood follow in the rope ; all ; so as ¦ r they might And lead on Murmure, wth the cheekes deepe hung ; say to her, She Malice, whetting of her forked tongue ; scelerum ^n<^ Malice Impudence, whose forhead's lost ; quicquid Let Impudence lead Slaunder on, to boast THE MASQUE OF QUEENES. 73 Her oblique looke ; and to her subtill side possedimus Thou, black-mouthed Execration, stand apli'de ; omnes. Nor -r» in- w"l ** aP" Draw to thee Bitternesse, whose pores sweat gall ; peare mucn She flame-ey'd Rage ; Rage Mischeife. Hag. Here we are all. violenc'd if theyr series be considered, when the opposition to all vertue begins out of Ignorance ; that Igno rance begets Suspicion (for knowledge is euer open and charitable) ; that Suspicion Credulity, as it is a vice ; for beeing a virtue and free, it is opposite to it : but such as are iealous of them selues do easely credit anything of others whome they hate. Out of this Credulity springs Falsehood, which begets Murmure ; and that Murmure pre sently growes Malice, wch begetts Impudence ; that Impudence Slander ; that Slander Execration; Execration Bitterness; Bitternesse Fury; and. Fury Mischief e. Now for the personal presentation of them, the authority in Poetry is vniuersall. But in the absolute Claudian there is a particular and eminent place, where ye Poet not only produceth such persons, but almost to a like purpose: in Ruf. lib.j., where Alecto, envious of the times, infernos ad limina tetra sorores, Concilium deforme vocat, glo- merantur in unum Innumera pestes Erebi quascunque sinistro Nox genuit fmtu : nutrix discordia belli, Imperiosa Fames, leto vidua Senectus, Impatiensque sui Mor bus, Livorque secundis, anxius et scisso moerens velamine Luctus, et timor, et caco praceps Audacia vultu ; wth many others, fit to disturbe the world, as ours the night. Dam.? Joyne now our hearts, we faythfull Opposites p Here a- To Fame and Glory. Let not these bright nig-hts gaJTne, *>y way of lrrita- Of Honor blaze thus, to offend or eyes. tation I make Shew or selues truly envious ; and let rise tne Dame Our wonted rages. Do what may beseeme „ „ ~ ° J purpose 01 Such names and natures. Vertue else will deeme theyr coming, Our powers decreast, and think vs banish'd earth, and discouer at i ii i ¦ i-i theyr natures JN o lesse then heauen. All her antique birth, more iarKe]y As Justice, Fayth, she will restore : and bold wcl1 had bene Vpon o' sloth, retriue her Age of Gold. done^ff do- We must not let or natiue manners thus ing another Corrupt wth ease. Ill Hues not, but in us. thing : But I hate to see these fruicts of a soft peace, ca vnem m_ And curse the piety giues it such increase. tuluq orbem. Then wch the Poet cannot know a greater vice, he being y* kind of artificer, to whose worke is required so much exactness, as indifferency is not tolerable. Let us disturbe it then ;i and blast the light ; i These pow- Mixe Hell wth Heauen ; and make Nature fight ers of trou- 74 THE MASQUE OF QUEENES. bling Nature Wthin her selfe ; loose the whole henge of Things, are frequent- And cauge the Endes runne fack into theyr Springs. ly ascribed to Witches, and challeng'd by them selues, where ever they are induc'd, by Homer, Ovid, Tibullus, Pet. Arbiter, Seneca, Lucan, Claudian, to whose authorities I shall referre more anone. For ye present, heare Socrat. in Apul. de Asin. aureo lib.j. describing Meroe the Witch. Saga, et diuinopotens coelum deponere, terram suspendere, fontes durare, monteis diluere, Manes sublimare, Deos infimare, sydera extinguere, Tartaru ipsum illuminare. And lib. ij. Byrrhena to Lucius of Pamphile. Maga primi nominis, et omnis carminis sepulcralis Magistra creditur, qua surculis et lapillis, et id genus fri- uolis inhalatis omnem istam lucem mundi syderalis, imis Tartari, et in vetustum Chaos mergit. As also this later of Remigius, in his most elegant Arguments, before his Damonolatria : qua possint evertere funditus orbem, Et Maneis superis miscere hoc unica cura est. And Lucan. Quarii, quicquid non creditur, ars est. r This is also Hag. What or Dame bids us doe, solemne in Wee are ready for. .Dam. Then, fall too. their witch- J craft to be ex- Butr first relate mee what you haue sought, amind eyther Where you haue bene, and what you haue brought. by the Deuill or theyr Dame, at theyr meetings, of what mischiefe they have done ; and what they can confer to a future hurt. See M. Phillippo-Ludwigus Elich. Damonomagia lib. quest, x. But Remigius. in the very forme lib. j. Damonolat. cap. xxij. Quemad- modum solent Heri, in villicis procuratoribus, cum eoru rationes expendunt, seg- nitiem negligentiamque durius castigare. Ita Damon in suis comitiis, quod tempus examinandus cujusque rebus atque actionibus ipse constituit, eos pessime habere con- sueuit, qui nihil afferunt, quo se nequiores ac ftagitijs cumulatiores doceant. Nee cui- quam adeo impune est, si a superiore conventu nullo se scelere novo obstrinxerint ; sed semper oportet, qui gratus esse volet, in alium nouum aliquod facinus fecisse. And this doth exceedingly sollicitte them all, at suche times, least they should come unpre- pard. But we apply this examination of o1'9 to the particular vse ; whereby, also, we take occasion not alone to expresse the things, (as vapors, liquors, herbes, bones, flessh, blood, fat, and such like, wch are called media magica) but the rites of gathering them, and from what places, reconciling (as neare as we can) the practice of Antiquity to the neoterick, and making it familiar w"' or popular witchcraft. HAGGES. 1 For the ga- ¦, theringpeices of dead flesh, I have bene, all day, looking after Cor. Agripp. A rauen, feeding vpon a quarter ; losop. lib. iij. ^n^ soone as sne turn'd her beake to ye south, cap. xlij. and I snatch'd this morsell out of her mouth. lib. iiij. cap. ult. obserues that the vse was to call up ghosts and spirits wlh a fumigation made of that THE MASQUE OF QUEENES. 75 (and bones of carcasses) wch I make my Witch, here, not to cut her selfe, but to watehthe rauen, as Lucan s Erictho lib. vj. Et quodcumque iacet nudd tellure cadaver, Ante f eras volucresq. sedet: nee carpere membra Vult ferro, manibusque suis, morsusq. luporum Expectat siccis raptura afaucibus artus ; as if that peice were sweeter wcl1 the wolfe had bitten, or the rauen had picked, and more effectuous. And to do it at her turning to the south, as wth the prediction of a storme, wch though they bee but minutes in ceremonie, being observ'd make the act more darke, and full of horror. 2. 2 Spuma canu , i,i Lupi crines, I haue bene gathering wolues hayres, nodusllyena, The mad doggs foame and the adders' eares, oculi draco- The spurging of a dead mans eyes, nw' , Pe r a a . membrana, And all since the Evening Starre did rise. Aspidisauresare all men tioned by the Antients in witchcraft. And Lucan particularly, lib. 6, Hue quicquid foetu genuit Natura sinistra Miscetur, non spuma canum quibus vnda timori est, Viscera non lyncis, non dura nodus hyenae Defuit, 8fc, and Ovid Metamorphos, lib. vij. reckons vp others. But for the spurging of the eyes, let us'returne to Lucan, in the same booke, wch peice (as all the rest) is written with an admirable height. Ast vbi seruantur saxis quibus intimus humor Ducitur, et tractd durescunt tabe medulla Corpora, tunc omneis avide desavit in artus, Immersitque manus oculis, gaudetque gelatos Effodisse orbeis, et sicca pallida rodit Excrementa manus. 3. s Plinie,writ- t i -ii n i inS °f tne I, last night, lay all alone Mandrake, O'the ground, to heare the Mandrake grone : Nat. Hist. And pluck'd him vp, though he grew full low, S'-^ancTof And as I had done, the Cock did crow. the digging it vp, hath this cseremonye. Cavent effossuri contrarium ventu, et tribus circulis ante gladio circum- scribunt, postea fodiunt ad occasum spectantes. But wee haue later tradition, that the forcing of it vp is so fatallie dangerous, as the grone kills, and therefore they do it with doggs ; wch I think but borrowed from Josephus in his report of the roote Basaaras, lib. vij. de Bell Judaic : How-soever, it being so principall an ingredient in theyr magick, it was fit she should boast to be the plucker of it vp her-selfe. And that the cock did, crow alludes to a prime circumstance in theyr worke : For they all confesse, that nothing is so crosse or balefull to them, in theyr nights, as that the cock should crow before they haue done. Wch makes, that theyr little Masters, or Martinetts, of whome I haue mentioned before, vse this forme in dismissing their conventions: Eia, facessite proper^ hine omnes, nam iam Galli canere incipiunt : wch I interpret to be, because that bird is the messenger of light, and so contrary to theyr acts of darknesse. See Remigius Damonolo. lib. j. cap. xiiij., where he quotes that of Apollonius, de vmbrd Achillis. Philostr. lib. iiij. cap. v. And Euseb. Casariens. in confutat. contra Hierocl. iiij. de Gallicinio. 76 THE MASQUE OF QUEENES. And I ha' bene choosing out this scull From charnell-houses that were full ; From private grotts, and publique pitts, And frighted a Sexten out of his witts. 4 I have 4. touched at this before (in my note upon the first) of the vse of ga thering flesh, bones, and sculls, to wch I now bring y' peice of Apuleius lib. iij. de Asino aureo of Pamphile. Priusq. apparatu solito instruxit feralem officinam, omne genus aromatis, et ignora- biliter laminis literatis, et infelicium naviu durantibus clavis defletorum, sepultorum etiam, cadaverum expositis multis admodu membris, hie nares et digili, illic carnosi claui pendentium, alibi trucidatoru servatus cruor, et extorta dentibus fer arum trunca caluaria. And for such places, Lucan makes his witch to inhabit them lib. 6. desert- aque busta Incolit, et tumulos expulsis obtinet umbris. Under a cradle I did creepe, By day ; and when the child was a-sleepe, At night, I suck'd the breath ; and rose, And pluck'd the nodding nurse by the nose. 5 For this rite 5. see Barthol. de Spind qucest. de Strigibus cap. viij. Mall. Male- fica. Tom. 2. where he disputes at large the transformation of witches to catts, and theyr sucking both the spirits and the blood, calling them Striges, w'h Godelman, lib. de Lamijs, would have a stridore, et auibus fcedissimis ejusdem nominis; wch I the rather incline to out of Ovid's authority, Fast. lib. vj. where the Poet ascribes to those birds the same almost that these doe to the witches. Node volant, puerosque petunt nutricis egenteis, Et vitiant cunis corpora rapta suis : Carpere dicuntur lactantia viscera rostris, Et plenupoto sanguine guttur habent. I had a dagger ; what did I with that ? Kill'd an infant, to haue his fat. A piper it got, at a Church-ale, I bad him agayne blow wind i' the tayle. 6 Theyr kill ing of infants is common, both for con fection of theyr oynt- ment (where to one ingre dient is the fat boyld, as I have shew'd before out of Paracelsus and Porta) as also out of a lust to doe murder. Sprenger in Mall. Malific. reports that a Witch, a midwife in the Dioccese of Basil, confess'd to have kill'd aboue forty infants, euer as they were new borne, w"1 pricking them into the brayne with a needle, wcl' she had offered to the Deuill. See the story of the three Witches in Rem. Dcemonola. lib. ij. cap. iij. about the end of the chapter, and M. Philipp. Ludwigus Elich. quastio, viij. And that it is no new rite, read the practice of Canidia, Epod. Horat. lib. ode v. and Lucan lib. vj., whose admirable verses I can neuer be weary to transcribe. Nee ces- THE MASQUE OF QUEENES. 77 sunt b, cade manus, si sanguine vivo Est opus, erumpat jugulo qui primus aperto. Nee refugit cades vivum si sacra cruorem Extaq funerea poscunt trepidantia mensa. Vulnere si ventris, non qua Natura vocabat Extrahitur partus calidis ponendus in aris; Et quoties scevis opus est, etfortibus umbris Ipsafacit maneis. Hominum mors omnis in usu est. 7. 7 The abuse . of dead bo- A murderer, yonder, was hung in chaines, Qyes m The sunne and the wind had shrunk his vaynes : theyr witch- I bit of a sinew, I dipt his hayre, Torphyrie I brought of his ragges, y* daune'd i' the ayre. and Psellus are grave au thors of. The one, lib. de Sacrif. cap. de vero cultu. The other, lib. de Damo. wch Apuleius toucheth too, lib. ij. de. Asin. aureo. But Remigius, who deales with later persons, and out of theyr owne mouthes, Damonola lib. ij. cap. iij. afiirmes : Hoc et nostra atatis maleficis honimibus moris est facere, prossertim si cuius supplicio affedi cadaver exemplo datum est, et in crucem sublatum. Nam non solum inde sortilegijs suis materiam mutuantur, sed et ab ipsis carnificina instrumentis, reste, vinculis, palo, ferramentis. Siquidem ijs vulgi etiam opinione inesse ad incantationes magicas vim quondam, ac potestatem. And to this place I dare not, out of religion to the divine Lucan, but bring his verses from the same booke, Laqueum, nodosque nocenteis Ore suo rupit, pendentia corpora carpsit, Abrasitque cruces, percussaque viscera nimbis Vulsit, et incodas admisso sole medullas. Insertum manibus chalybem, nigramque per artus Stillantis tabi saniem, virusq. coadum Sustulit, et nervo morsus retinente pependit. 8. 8 These are The scrich-owle's egges, and the fethers black, furniture in The blood of the frog, and the bone in his back, Hor. Epod. I have bene getting, and made of his skin ' ' . ° b _ unda turpis A purset, to keepe Sr Cr anion in. ovar ana san guine, Plu- mamque nocturna strigis. And part of Medeas confection in Ovid Metamorp. lib. vij. Strigis infames, ipsis eu carnibus, alas. That of the skin (to make a purse for her Fly) was meant ridiculous, to mocke the keeping of theyr Familiars. 9. 9 Cicuta, Hy- And I ha' bene plucking, plants among, phiogloss'on, Hemlock, henbane, adders'-tongue, Solanum, Night-shade, moone wort, libbard's-bane ; Doromca,A- And, twise, by the doggs was like to be tane. conitum axe the common veneficall ingredients remembred by Paracelsus, Porta, Agrippa, and others ; wch I 78 THE MASQUE OF QUEENES. make her to have gather' d, as about a Castle, Church, or some such vast building (kept by doggs) among ruines, and wild heapes. I from the iawes of a Gard'ner's bitch Did snatch these bones, and then leap'd ye ditch : Yet went I back to the house agayne, Kill'd the black cat ; and here's ye brayne. ,0 Ossa ab 10. ore rapta ieiuna canis. Horace giues Canidia in the place be fore quoted, wcb ieiuna I rather change to gard'ners, as imagining such persons to keepe mastifes for the defence of theyr grounds, whether this Hag might goe also for Simples, where meeting with the bones, and not content with them, shee would yet doe a domestick hurt, in getting the cats brayne ; wch is another speciall Ingredient, and of so much more efficacy, by how much blacker the cat is : if you will credit Agrip. cap. de suffitibus. 11. 11 These also, both by the confessions of witches, and testemony of writers, are of principal vse in theyr witchcraft. The toade, mentiond in Virg. Georg. j. Inventusq. cauis Bufo, wch by Plinie is called Rubeta. Nat. Hist. lib. xxxij. cap. v., and there celebrated for the force in Magick. Juvenal toucheth at it twise (within my memory) Sat.j. and the vj. And of the owles eyes, see Cor. Agrip. de occult. Philos, lib. j., cap. xv. As of the batts bloud and wings there ; and in the xxv. cap. w'h Bap. Porta, lib. ij. cap. xxvj. I went to the toad breedes under the wal, I charm'd him out, and he came at my call ; I scratched out ye eyes o' the owle, before ; I tore the batt's wing : What would you have more ? 12 After all theyr boasted labors, and plenty of ma- terialls (as they ima gine) I make the Dame not only to adde more, but stranger, and 12. DAME. Yes, I have brought (to helpe our vowes) Horned poppie, cypresse boughes, The figg-tree wild, that grows on tombes, And juice, that from the larch-tree comes, The basiliskes blood, and the viper's skin. And, now, or orgies left's beginne. out of theyr meanes to get (except the first Papauer cornutu, wch I have touch'dat in the confection) as Sepulcris caprificos erutas, et cupressos funebreis, as Horace calls them where he armes Canidia. Epod. lib. Ode. v.: then Agaricum Laricis, of wch see Porta, lib. ij. de Nat. Magi, agaynst Plinie, and Basilisci, quem et Saturni sanguinem vocant vene- fici, tantasque vires habere ferunt. Cor. Agrip. de occult Philos, lib.j. cap. xlij. w"1 THE MASQUE OF QUEENES. 79 the viper remembred by Lucan, lib. 6, and the skinnes of serpents. Innataque rubris JEquoribus custos pretiosa vipera concha, Aut viuentis adhuc Lybicm membrana cerastx. And Ovid, lib. vij. Nee defuit illis Squamia ciniphei tenuis membrana chelidri. Here the Dame put her selfe into the midst of them, and beganne her following invocation; wherein she tooke occasion to boast all the power attributed to witches by the Antients : of which euery Poet (or the most) doth giue some. Homer to Circe, in the Odyss. Theocritus to Simatha, in Pharma- ceutria. Virgil to Alphesibwus, in his. Ovid to Dipsas in Amor. ; to Medea and Circe, in Metamorp. Tibullus to Saga. Horace to Canidia, Sagana, Veia, Folia. Seneca to Medea, and the Nurse in Here. Oete. Petr. Arbiter to his Saga in Frag ment. And Claud, to his Mega&ra lib. j. in Rufinum : who takes the habite of a witch as these doe, and supplies that historicall part in the Poeme, beside her morall person of a Fury, confirming the same drift in ours. You a Fiendes, and Furies, (if yet any bee a These invo- Worse then or selues) you that haue quak'd to see cations are solemne w"1 them ; whereof we may see the formes in Ovid. Met a. lib. vij. in Sen. Trag. Med. in Luc. lib. vj., which of all is the boldest and most horrid, beginning Eumenides, Stygi- umq. nefas, pmnaque nocentu, fyc. These knottsb untied; and shrunke when we have charm'd. b The unty- You that (to arme vs) have yor selues disarm'd, jng of tlley.r v ... knotts is And, to our powers resign'd yor whipps and brands, when they When we went forth, the Scourge of men and lands. are g°ing t0 You that have seene me ride, when Hecate businesse as Durst not take chariot ; when the boystrous sea Sagana is Without a breath of wind hath knockd the skie ; HoTa^E7 And that hath thundred, Jove not knowing why : peditaper to- When we have set the Elements at warres, tarn domum Made mid-night see the sunne, and day the starres ; vernaMs When the wing'd lightning, in the course, hath stay'd ; quas, Horret And swiftest rivers have runne back, afrayd capillis, ut 80 THE MASQUE OF QUEENES. marmus as- peris Echi nus, aut cur- rens Aper. To see the corne remoue, the groues to range, Whole places alter, and the Seasons change. When the pale Moone, at the first voyce, downe fell Poyson'd, and durst not stay the second Spell. You that haue oft bene conscious of these sights ; And thou,c three-formed Starre, that on these nights Art only power-full, to whose triple name Thus wee incline ; once, twise, and thrise-the-same : If now wtu rites profane and foull inough, Wee doe invoke thee ; darken all this roofe Wtb present fogges. Exhale earth's rott'nest vapors, And strike a blindness through these blazing tapers. c Hecate,who is call'd Tri via, and Tri- formis, of whome Vir gil, Mneid, lib. iiij. Ter- geminamque Hecaten, tria virginis ora Dianm. She was beleev'd to governe in witchcraft, and is remembered in all theyr invocations. See Theoc. in Pharmaceut. Xcap' E/cara SaaTrXiyrt, and Medea in Senec. Meis vocata sacris noctium sidus veni, Pessimos induta vultus : Fronte non und minax. And Ericht. in Lu. Persephone, nostratque Hecatis pars vltima, &c. Come, let a murmuring Charme resound, d This rite The whilst we d bury all i'the ground ; of burying theyr materialls is often confest in Remigius, and describ'd amply in Horace, sat. 8, lib.j. Vtque lupi bardam varia cum dente colubra Abdiderint furtim terris, &c. But first see euery e foote be bare, And every knee. Hag. Yes, Dame, They are. e The cere mony also of baring theyr feete is expressed by Ovid. Metamorph. lib. vij. as of theyr hayre. Egreditur tectis vestes induta recinctas, Nuda pedem nudos humeris infusa capillos. And Horac. ibidem. Pedibus nudis, passoq. capillo. And Seneca in Tragosd. Mede. Tibi more gentis, vinculo soluens comam, Secreta nudo nemora lustraui pede. f Here they speake as if they were creating some new feature, w0'1 ye Deuil persuades them to be able to do often, by the 4. Charme. Deepe/ 6 deepe, we lay thee to sleepe ; Wee leave thee drinke by, if thou chance to be dry, Both milke and blood, the dew and ye flood. We breath in thy bed, at the foote, and ye head ; We cover thee warme, that thou take no harme : And, when thou dost wake, THE MASQUE OF QUEENES. 81 Dame Earth shall quake, And the houses shake, And her belly shall ake, As her back were brake, Such a birth to make, As is the blew Drake Whose forme thou shalt take. pronouncing of wordes and pouring out of liquors on the earth. Heare what Agrippasays, de oc cult. Phi. lib. iiij. neare the end In evocationibus umbraru fumigamus cum sangine recenti, cum ossibus mortuorum et came, cu ovis, lacte, melle, oleo, et similibus, qua aptu medium tribuunt animabus, ad sumenda corpora, and a little before, Namque anima cognitis medijs, per qua quon dam corporibus suis conjungebantur per similes vapores, liquores, nidoresque facile alliciuntur, w* doctrine he had from Apuleius, without all doubt or question, who in lib. iij. de Asin, aur. publisheth the same : Tunc, decantatis spirantibus fibris litat vario latice, nunc rorefontano, nunc lacte vaccino, nunc melle montano, libat et mulsd. Sic illos capillos in mutuos nexus obditos, atque nodatos, cum multis odoribus dat vivis carbonibus adolendos. Tunc protinus in expugnabili Magica disciplina potestate, et cosed numinu coactoru violentid ilia corpora quoru fumabant stridentes capilli spi- ritum mutuantur humanu et sentiunt, et audiunt et ambulant. Et qua nidor suaru ducebat exuviaru veniunt. All which are mere arts of Sathan, when eyther himselfe will delude them w"1 a fallse forme, or troubling a dead body, make them imagine these vanities the meanes, as in the ridiculous circumstances y' follow, he doth dayly. Dame. Never a starre yett shott ? Where be the ashes ? Hag. Here, i' the pot. Damfi Cast them up ; and the flint stone Over the left shoulder bone Into the West. Hag. It will be best. 5 Charme. The sticks are a crosse, there can be no losse ; The sage is rotten, the sulphur is gotten Up to the skye, that was i' the ground. Follow it, then, wth or rattles round ; Under the bramble, over the brier, A little more heate will set it on fire : Put it in mind, to doe it kind, Flow water and blow wind. G e This throw ing up of ashes and sand, wth the flint stone, crosse sticks, and burying of sage, &c, are all us'd and beleev'd by them to theraysingofstorme and tempest. See Remigi. lib. j. Damonol. cap. xxv. Ni- der. Formi- 82 THE masque of QUEENES. Rouncy is over, Robbie is under, A flash of light, and a clapp of thunder, A storme of rayne, another of hayle, Wee all must home i' the egg-shell sayle ; The mast is made of a great pin, The tackle of cobweb, the sayle as thin, And if we goe through, and not fall in — cari.cap.ntj. Bodin. Da mon, lib. ij. cap viij. And heare Godel man, lib. ij. cap vj. Nam quando Da- moni gran- dines ciendi potestatem facit Deus, tum Maleficas instruit, ut quandoque silices post tergum in occidentem versus projiciant, aliquando ut arenam aqua torrentis in aerem conjiciant, plerumq. scopas in aquam intingant, ccelumq. versus spargunt, vel fossula facta et lotio infuso, vel aqud digitu moveant: subinde in olldporcorum pilos bulliant, nonnun- quam trdbes vel ligna in ripd transverse collocent, et alia id genus deliramenta effici- ant. And when they see the successe, they are more confirm'd, as if the event follow'd .theyr working. The like illusion is of theyr phantasie, in sayling in egge shells, creping through augur-holes, and such like, so vulgar in theyr confessions. h This stop, or interrup tion, shew'd the better, by causing that generall si lence, wch made all the following noyses, en forced in ye next charme, more dire- full : first imi tating y' of Lucan. Mi- Dame. Stay ! h All our Charmes do nothing winne Upon the night ; our labor dies ! Our magick-feature will not rise, Nor yet the storme ! We must repeate More direfull voyces farre, and beate The ground with vipers, till it sweate. 6 Charme. Barke doggs, wolves howle, Seas roare, woods roule, Clouds crack, all be black, But the light or Charmes do make. ratur Erich- thollasfactis licuisse moras; irata que morti Verberat immotum vivo serpents cadaver. And then theyr barking, howling, hissing, and confusion of noyse, exprest by ye same Author, in the same person. Tunc vox Lethaos cunctis pollentior herbis Excantare deos, confodit murmura primum Dissona, et humana multu discordid lingua. Latratus habet ilia canum, gemitusq luporum, Quod trepidus bubo, quod strix nocturna que- runtur, Quod strident ululantq. feree, quod sibtlat anguis Exprimit, et plandus illisa cautibus unda, Silvaruque sonum, fradaque tonitrua nubis. Tot reru vox una fuit. See Remig. too, Damonolat. lib. j- cap. xjx. THE MASQUE OF QUEENES. 83 Dame. Not yet ? my rage beginnes to swell ; Darknesse, Devills, Night, and Hell, Do not, thus, delay my spell. I call you once, and I call you twise, I beate you agayne, if you stay mee thrise : Through these cranies, where I peepe, I'le ' lett in the light to see yor sleepe ; And all the secrets of your sway Shall lie as open to the day, vernis. Et subito feriere die. And a little before to Proserpin. terra sub pondere qua te contineant Ennaa dapes, &c. As unto mee. Still are you deafe? Reach me a bough,3 that ne're bare leafe, j That wi- ther'd strayght as it shot out, wch is called Ramus feralis by some, and tristis by Sene. Trag. Med, 1 This is one of theyr com mon menaces, when theyr magick re ceives the least stop. Heare, E- richtho a- gayne ibid. Tibi pessime mundi Ar biter immit- tam ruptis Titana ca- a, Eloquar immenso To strike the ayre ; and Aconite k To hurle upon this glaring light : k A deadly poysnous herbe, faynd, by Ovid Me- tamo. lib. vij. to spring out of Cerberus his foame. Plinie gives it another beginning of name. Nat. Hist. lib. xxvij. cap. iij. Nascitur in nudis cautibus, quas aconas vocant, et inde aconitu dixere, nullo iuxtd ne pulvere quidem nutriente. Howsoever, the juice of it is like that liquor wch the Divell gives witches to sprinkle abroad, and do hurt, in the opinion of all the Magick-Masters. A rusty knife,1 to wound mine arme, And, as it dropps, I'le speake a charme Shall cleave the ground, as low as lies Old shrunke-up Chaos ; and let rise Once more, his darke, and reeking head, To strike the world and Nature dead Untill my magick birth be bred. A rusty knife I rather give her then any other, as fittest for such a devill- lish ceremo ny, wch Sene ca might meane by sa cro cultro in. the Tragedy where he armes Medea to the like rite (for anything I know) Tibi nudato pedore Manas, sacro feria brachia cultro : Manet noster sanguis ad aras. 62 84 THE MASQUE OF QUEENES. m These shouts and clamours, as also the voyce Har, Har, are very par ticular w'h them by the testimony of Bodin. Remi gius Delrio. and M. Phil. Ludwig. E- lich, who, out of them, re ports it thus. Tota turba colluviesque pessima fes- cenninos in honorem Da- monum can- tat obscmnis- simos : Hac canit, Har, Har. Ilia, Diabole Dia- bole Salta huc,salta il- luc ; Altera, lude h&c, lude 7 Charme. Black goe in, and blacker come out, At thy going downe, we give thee a shout. Hoo!m At thy rising agayne, thou shalt have two, And if thou dost what we would have thee doe, Thou shalt have three, thou shalt have foure, Thou shalt have ten, thou shalt have a score. Hoo, Har Har, Hoo ! 8 Charme. A cloud of pitch, a spur, and a switch, To hast him away, and a whirlwind play Before, and after, with thunder for laughter ; And stormes, for joy, of the roaring Boy ; His head of a drake, his tayle of a snake. 9 Charme. About, about, and about, Till the mist arise, and the lights fly out, The images neyther be seene nor felt ; The woollen burne, and the waxen melt ; Sprinkle yor liquors upon the ground, And into the ayre, around, around. Around, around, Around, around, illic; Alia Sa baath, Sabaath, Sec, Imb clamoribus, sibilis, idulatibus popysmis furit ad debacchalur pulveribus, vel venenis acceptis, qua hominibus, pecudibusque spargant. Till a musique sound," And the pase be found, To wch we may daunce, And or charmes advaunce. "Nor do they want mu sique, and in strange man ner given ye by the Devill, if we credite they™ confessions in Remig. Dam. lib. j. cap, xix., such as yc Syrbenaam quires were, wcl1 Athenaus remembers out of Clear chus, Deipnos. lib. xv., where every THE masque of queenes. 85 one sung what he would, without hearkning to his fellow ; like the noyse of diverse oares falling in the water. But be patient of Remigius relation, Miris modis illic mis- centur, ac turbantur omnia, nee ulld oratione satis exprimi queat, quam strepant son is inconditis absurdis, ac discrepantibus. Canit hie Damon ad tibiam, vel verius ad contu, aut baculii aliquod, quod forte humi reperlu, buccce ceu tibiam admovet. Ille pro lyra equi calvariam pulsat , ac digitis concrepat. Alius fuste, vel clava graviore quercu tundit, unde exauditur sonus, ac boatus veluti tympanorum vehementius pidsa- toru. Intercinunt raucide, et composito ad litui morem clangore Damones ; ipsuq. cmlum fragosd ariddque voce feriunt. At wch, wtt a strange and sodayne musique, they fell into ° ° The man- a magicall Daunce full of preposterous change, and gesticula- *!fr' aso' ° tion, but most applying to theyr property : who, at theyr ing is confest meetings, do all thinges contrary to the custome of men, in Bodin. lib. dancing back to back, hip to hip, theyr handes joyn'd, and ^nd ^mi- making theyr circles backward, to the left hand, with strange gius, lib. j. phantastique motions of theyr heads and bodyes. All wcl1 caP-m?°V- "j"* !*¦ U 1 1/ . JL lie were excellently imitated by the maker of the daunce, Mr. summe of wch Hierome Heme, whose right it' is, here to be nam'd. M. Philippo Lud. Elich. relates thus in his Damonomag. Quest, x. Tripudijs interdum intersunt facie liberd et apertd; interdum obducta larvd, linteo, cortice, reticulo, peplo, vel alio velamine, aut farrinario excerniculo involutd. And a little after, Omnia fiunt ritu absurdissimo, et ab omni consuetudine hominum alienissimo, dor sis invicem observis, et in orbemjundis manibus, saltando circumeunt perinde sua jactantes capita, ut qui astro agitantur. Remigius addes, out of the confession ofSybilla Morelia, Gyrum semper in loevam pro- gredi, wch Plinie observes in the Preists of Cybele, Nat. Hist. lib. xxviij. cap. ii., and to be done wUl great religion. Bodin addes, that they use broomes in theyr hands : w* wch we armd or witches. And so leave them. In the heate of theyr daunce, on the sodayne, was heard a sound of loud musique, as if many instruments had given one blast. Wth wcl1, not only the Hagges themselves, but they* Hell, into wch they ranne, quite vanish'd ; and the whole face of the Scene altered, scarse suffring the memory of any such thing : But, in the place of it appear'd a glorious and magnificent building, figuring the House of Fame, in the upper part of wch were discoverd the twelve Masquers, sitting upon a throne triumphall, erected in forme of a Pyramide, and circled wth all store of light. From whome a person, by this time, de- 86 THE MASQUE OF QUEENES. p The An- tients ex pressed a brave and masculine virtue in three figures (of Hercules, Perseus, and Bellerophon) of -wcU I chose yl of Perseus, arm'd as I have him de scribed out of Hesiod. Scu- to Hercul. See Apollo- dor, the graiiiarian of him, lib. ij. scended, in the furniture of Perseus ; and expressing heroicall and masculine vertue, began to speake. Heroique Virtue. So should, at Fame's loud sound, and Vertue's sight, All poore, and envious witchcraft fly the light. I did not borrow Hermes^ wings, nor aske p His crooked sword, nor put on Pluto's caske, Nor on mine arme advauncd wise Pallas shield, (By wch my face avers'd, in open feild, I slew the Gorgon) for an empty name : When Vertue cut of Terror, he gat Fame : And, if when Fame was gotten, Terror dyde, What black Erynnis, or more Hellish pride Durst arme these Hagges, now she is growne and great, To think they could her glories once defeate. I was her Parent, and I am her strength. Heroique Virtue sinkes not under length Of yeares, or ages, but is still the same While he preserves, as when he got good Fame. My daughter, then, whose glorious house you see, Built all of sounding brasse, whose columnes bee Men-making Poets, and those well made men, Whose strife it was, to have the happiest pen Renowme them to an after-life, and not Wth pride to scorne the Muse, and dye forgot ; She, that enquireth into all the world, And hath, about her vaulted palace, hoorl'd All rumors, and reports, or true orvayne, What utmost landes or deepest seas contayne, (But, only, hangs great actions on her file) She to this lesser World and greatest He, To night soundes Honor, wch she would have seene In yond bright bevie, each of them a Queene. THE masque of queenes. 87 Eleven of them are of times long gone. Penthesilea, the brave Amazon ; Swifte-foote Camilla, Queene of Volscia ; Victorious Thomyris of Scythia ; Chast Artemisia, the Carian dame, And fayre-hayr'd Beronice, JEgipts fame ; Hypsicratea, glory of Asia ; Candace, pride of Athiopia ; The Britanne honor, Voadicea ; The vertuous Palmyrene, Zenobia ; The wise and warlike Goth, Amalasunta ; And bold Valasca of Bohemia. These (in theyr lives, as fortunes) crown'd the choyse Of woman-kind, and 'gaynst all opposite voyce Made good to Time, had after death the clayme To live aeternis'd in the House of Fame. Where howrely hearing (as what there is old ?) The glories of Bel-anna so well told, Queene of the Ocean ; how that she alone Possest all vertues, for wc11, one by one, They were so fam'd ; and wanting then a head To forme y* sweete and gracious Pyramede, Wherein they sit, it being the soveraigne place Of all that Palace, and reserv'd to grace The worthiest Queene : These, wthout envy, on her In life desired that honor to confer, Wch, wth theyr death, no other should enjoy. She this embracing, wth a vertuous joy, Farre from selfe-love, as humbling all her worth To him that gave it, hath agayne brought forth Theyr names to Memory, and meanes this night To make her, once more, visible to light. And to that light, from whence her truth of spirit Confesseth all the lustre of her merit. 88 THE MASQUE OF QUEENES. To you, most royall, and most happy King, Of whome Fame's house, in every part, doth ring For every vertue ; but can give no increase, Not, though her loudest trumpet blaze yor peace : To you that cherish every great example Contracted in yor selfe ; and being so ample A feild of honor, cannot but embrace A spectacle so full of love, and grace Unto yor court : where every Princely Dame Contendes to be as bounteous of her fame. To others, as her Hfe was good to her ; For, by theyr lives, they only did confer Good on them selves, but by theyr fame, to yours, And every age the benefit endures. Here the throne wherein they sate, being machina versa- tilis, sodaynely chang'd, and in the place of it appeard Fama bona, as she is describd in Iconolog. di Cesare Ripa., attir'd in white, wth white wings, having a collar of gold about her neck, and a heart hanging at it; weh Orus Apollo in his Hieroglyp. interprets the note of a good fame. In her right hand she bore a trumpet, in her left an olive branch, and for •i iEneid, lib. her state, it was as Virgil i describes her at the full, her feete 4- on the ground, and her head in the cloudes. She, after the musique had done, wch wayted on the turning of the machine, call'd from thence to Vertue, and spake this. Fame. Virtue, my father, and my honor ; thou That mad'st mee good, as great, and darst avow No Fame for thyne, but what is perfect, ayde, To night the triumphes of thy white-wing'd Mayde. Do those renowmed Queenes all utmost rites Theyr states can aske. This is a night of nights. THE masque of queenes. 89 In mine owne chariots let them crowned ride, And mine owne birds and beasts in geeres applied, To draw them forth. Unto the first carre tie Farre-sighted eagles, to note Fame's sharpe eye ; Vnto the second, griffons, that designe Swiftnesse and strength, two other guifts of mine : Vnto the last our lions, that implie The top of graces, State and Majestic And let those Hagges be led, as captives, bound Before theyr wheeles, whilst I my trumpet sound. At wch the loud musique sounded as before, to give the Masquers time of descending. And here, wee cannot but take the opportunity, to make some more particular description of the Scene, as also of the Persons they presented : wcl1, though they were dispos'd rather by chance then election, yet is it my part to justefie them all vertuous ; and then the Lady, that will owne her presentation, may. To follow therefore the rule of chronologie, wch wee have observ'd in or verse. The most upward in time was Penthe- silea. She was Queene of the Amazons, and succeeded Otrera, or (as some will) Orythyia. She liv'd, and was present at the warre of Troy, on theyr part, agaynst the Greekes, where (as r r ^v-ltom Justine gives her testemony) inter fortissimos viros magna ejus Trog.Pomp., virtutis documenta extitere. Shee is no where mentioned, " but wth the preface of honor and virtue ; and is always ad- vaunced in the head of the worthiest women. Diodorus Siculus 3 makes her the daughter of Mars. She was honofd s Hist. lib. 2. in her death to have it the act of Achilles. Of wcV Propertius t £j0^ 3 sings this triumph to her beauty. Eleg. 10. Aurea cui postquam nudavit cassida frontem Vicit victor em Candida forma virum. Next followes Camilla, Queene of the Volscians, celebrated a ^ . by Virgil u about the end of the seventh booke ; then whose lib. 7. 90 THE MASQUE OF QUEENES. verses nothing can bee imagined more exquisite, or more honor ing the person they describe. They are these, where he reckons up those that came on Turnus part agaynst ^Eneas. Hos super advenit Volscd de gente Camilla, Agmen agens equitum, <§• florenteis osre catenas Bellatrix. Non ilia colo, calathisve Minervw Femineas assueta manus, sed prwlia vir go Dura pati, cursuque pedum prwvertere ventos. Ilia vel intactos segetis per summa volar et Gramina, nee teneras cursu Icesisset aristas : Vel mare per medium, fiuctu suspensa tumenti, Ferret iter, celereis nee tingeret wquore plantas. And afterward tells her attire, and armes, wth the admi ration, that the Spectators had of her. All wch, if the Poet created out of him selfe, without Nature, he did but shew how much so divine a Soule could exceede her. The third liv'd in the age of Cyrus, the great Persian Monarch, and made him leave to live ; Thomyrus Queene of the Scythians, or Massagets. A Heroine of a most invincible and unbroken fortitude, who, when Cyrus had invaded her, and taking her only sonne (rather by trechery then warre as shee objected) had slayne him ; not touch'd wth the griefe of so great a losse, in the juster comfort she tooke of a greater re venge, pursued not only the occasion and honor of conquering so potent an Enemye, wth whome fell two hundred thousand souldiers ; but, (what was right memorable in her victory) left not a messenger surviving of his side to report the Massacre. In Clio. She is remembred both by T Herodotus and w Justine to the Epito. lib. great renowne and glory of her kind, wth this Elogie : Quod potentissimo Persarum Monarchal bello congressa est, ipsumque et vita $ castris spoliavit, ad juste ulciscendam filij ejus indignis- simam mortem. The fourth was honor'd to life, in the time of JTerxes, and THE MASQUE OF QUEENES. 91 present at his great expedition into Greece, Artemisia, the Queene of Caria : whose vertue * Herodotus, not w'hout some */» Polymn. wonder, records. That a woman, a Queene without a husband, her sonne a ward, and she administring the government, occasion'd by no necessity, but a mere excellence of spirit, should embarque her selfe for such a warre ; and there so to behave her, as Xerxes, beholding her fight, should say -J Viri y Herod, in quidem extiterunt mihifeminw, feminw autem viri. She is no lesse renowm'd for her chastety and love to her husband, Mau- solus,1 whose bones, (after he was dead) she preserved in z Val. Max. ashes, and dranke in wine, making herselfe his tombe : and ""• 4' caP- 6' , ., , . . , . , and A. Gell, yet built to his memory a momment, deserving a place among m,# j0 cap, the seaven Wonders of the World, wch could not be done by 18. lesse then a Wonder of Women. The fifth was the fayre-hayr'd Daughter of Ptolomosus Phi ladelphia, by the elder Arsinoe ; who (maried to her brother Ptolomwus, surnam'd Eeergetes) was afterward Queene of ^Egipt. I find her written both Beronice and Berenice. This lady, upon an expedition of her new-wedded Lord into Assyria, vowed to Venus, if he returnd safe and conquerour, the offring of her hayre, w* vow of hers (exacted by the successe) she afterwards performed: But her father missing it, and taking it to heart, Conon, a Mathematician, who was then in house hold with Ptolomwe, and knew well to flatter him, perswaded the King that it was tane up to Heauen, and made a Constel lation; shewing him those seven starres ad caudam Leonis, wcU are since called Coma Beronices. Wch story, then presently celebrated by Cattimachus, in a most elegant poeme, Catullus more elegantly converted ; wherein they call her the Magna nimous, from a virgin: alluding (asa Hyginus sayth) to aa Astronom., rescue she made of her Father in his flight, and restoring the honor and courage of his army, even to a victory. The words are- Cognoram aparud virgine magnanimam.b Cat.decomd Beronic. 92 THE MASQUE OF QUEENES. The sixth, that famous wife of Mithridates, and Queene of Pontus, Hypsicratea, no lesse an example of vertue then the rest : who so lov'd her Husband, as she was assistant to him in all labors and hazards of the warre, in a masculine habite. c Lib. 4, cap. yor wch Cause (as Valerius Maximus observes) ° she departed coniua ' w'h a cneuC>e ornament of her beauty. Tonsis enim capillis, equo se et armis assuefecit, quo facilius laboribus et periculis ejus interesset. And afterward, in his flight from Pompey, accom panied his misfortune, wth a mind and body equally un wearied. She is solemnely registered by that grave author, as a notable president of mariage-loyalty and love : vertues that might rayse a meane person to the sequality w'h a Queene ; but a Queene to the state, and honor of a Deitye. The seventh, that renowme of ^Ethiopia, Candace ; from whose excellencye the succeeding Queenes of that nation were ambitious to be calld so. A woman of a most haughty spirit agaynst enemies; and singular affection to her subjects. I d Hist. Rom. nnd her celebrated by d Dion and Pline,e invading ^Egipt in e j$at ' jjist the time of Augustus ; who, though she were enforc'd to a lib.6, cap. 29. peace by his Lieutenant, Petronius, doth not the lesse worthely hold her place here, when every where this Elogie remaynes of her fame ; that she was Maximi animi mulier, tantique in suos meriti, ut omnes deinceps ^Ethiopum reginos ejus nomine fuerint appellate. She govern'd in Meroe. The eyght, our owne honor, Voadicea, or Boodicia, by some Bunduica, and Bunduca : Queene of the Iceni, a people that inhabited that part of the Band, wcb was call'd East-Anglia, and comprehended Suffolke, Norfolke, Cambridge, and Hunt ingdon shires. Since she was borne here at home, we will first honor her wth a home-borne testemony from the grave Ruin of and duigent Spenserf. Time. Bunduca, Britonesse, Bunduca, that victorious Conqueresse, E THE MASQUE OF QUEENES. 93 That lifting up her brave heroique thought, 'Bove womens weakenesse, wth the Romanes fought ; Fought, and in feild agaynst them thrise prevayled, &c. To wch, see her orations in story, made by Tacitus* and e Annal. lib. Dion,b wherin is expressed all magnitude of a spirit breath- h ^pit. Joan, ing to the liberty and redemption of her countrey. The latter Xiphilin in of whome doth honest her, beside, wth a particular description. er' Bunduica Britannica femina, orta stirpe regid, quas non solum eis cum magna, dignitate prwfuit, sed etiam bellum omne adminis- travit, cujus animus virilis, potius quam muliebris erat. And afterwards femina formd honestistimd, vultu severo, fyc. All wch doth waygh the more to her true prayse, in comming from the mouthes of Romanes and enemies. She liv'd in the time of Nero. The ninth in time, but sequall in fame, and (the cause of it) vertue, was the chast Zenobia, Queene of the Palmyrenes : who, after the death of her Husband, Odenatus, had the name to be reckond among the xxx. that usurp'd the Romane Empire from Galienus. She continew'd a long and brave warre agaynst severall Cheifes, and was at length triumphed on by Aurelian ; but ed specie, ut nihil pompabilius P. Rom. vide- retur. Her chastety was such, ut ne virum suum quidem sciret, nisi tentatis conceptionibus. She liv'd in a most royal man ner, and was adord to the custome of the Persians. When she made orations to her souldiers, she had alwayes her caske on. A woman of a most divine spirit and incredible beauty. * In Triqin. In * Trebellius Pollio reade the most noble description of a jVronw. Queene, and her, that can be utter'd with the dignity of an Historian. The tenth succeeding, was that learned and herioque Ama- lasunta, Queene of the Ostrogothes, daughter to Theodorick, that obtayn'd the principality of Ravenna, and almost all Italy. She drave the Burgundians and Almaynes out of 94 THE MASQUE OF QUEENES. Liguria, and appear'd in her government rather an example then a second. She was the most eloquent of her age, and cunning in all languages, of any nation y* had commerce wth j M. _ Anton the Romane Empire! It is recorded of her that, sine venera- bell *Vout 0'{^one eam 'e^er'lt nemo, pro miraculofuerit ipsam audire loquen- Cassiod.) tem : Tantaque illi in decernendo gravitas, ut criminis convicti, Ennead. vij. cum plecterentur, nihil sibi acerbum pati viderentur. lib. ij. The eleventh was that brave Bohemian Queene, Valasca, who, for her courage, had the surname of Bold. That to re- deeme herselfe and her sexe from the tyranny of men, wch they lived in, under Primislaus, on a night, and at an hower ap- poynted, led on the women to the slaughter of theyr barbarous husbands and lords ; and possessing them selves of their horses, armes, treasure, and places of strength, not only rul'd the rest, but liv'd many years after wth the liberty and fortitude k In Geo- oi Amazons. Celebrated (by Raphael Vollaterranus,^ and in an ^Focia ' e^egan* tract of an Italians? in Latine, who names himselfe quast. Philalethes, Polytopiensis civis) inter prwstantissimas feminas. Thetwelvth, and worthy Soveraigne of all I make Bel-anna, Royall Queene of the Ocean ; of whose dignity and person the whole scope of the Invention doth speake throughout : wch to offer you agayne here, might but prove offence to that sacred modesty, woh heares any testemony of others iterated wth more delight, then her owne prayse. She being placed above the neede of such ceremony, and safe in her princely vertue agaynst the good or ill of any witnesse. The name of Bel- anna I devis'd to honor hers proper, by; as adding to it the attribute of Fayre, and is kept by mee in all my Poemes, wherin I mention her Majesty wth any shadow or figure. Of wch some may come forth with a longer desteny then this age, commonly, gives the best births, if but help'd to light by her gratious and ripening favor. But here Idiscerne a possible objection, arising agaynst mee, THE MASQUE OF QUEENES. 95 to wch I must turne : As, How lean bring persons of so different ages to appear e properly together? or why (ufh is more unnatu ral!) wth Virgil's Mezentius, I joyne the living wtK the dead. I answere to both these at once; Nothing is more proper; no thing more naturall ; for these all live, and together, in theyr Fame ; and so I present them. Besides, if I would fly to the all-daring power of Poetry, where could I not take sanc tuary? or in whose Poeme? There rests now, that wee give the description (we promist) of the Scene, wchwas the House oi Fame. The structure and ornamente of woh (as is profest before) was intierly Mr. Jones his invention and designe. First, for the lower columnes, he chose the statues of the most excellent Poets, as Homer, Virgil, Lucan, &c, as beeing the substantial! supporters of Fame. For the vpper, Achilles, jEneas, Cwsar, and those great Heroes wch those poets had celebrated. All wch stood as in massy gold. Betwene the Pillars, underneath, were figured land-battayles, sea-fights, triumphes, loves, sacrifices, and all magnificent sub jects of honor, in brasse, and heightened w'h silver. In wdl he professt to follow that noble description, made by Chaucer of the like place. Above were plac'd the Masquers, over whose heads he devised two eminent figures of Honor and Vertue, for the arch. The freezes, both below and above, were filld wth severall colour'd lights, like emeralds, rubies, saphires, , carbuncles, &c. The reflexe of wch, wth other lights plac'd in ye concave, upon the Masquers' habites was full of glory. These habites had in them the excellency of all device and riches ; and were worthely varied, by his invention, to the Nations whereof they were Queenes. Nor are these alone his due, but diverse other accessions to the strangeness and beauty of the spectacle, as the Hell, the going about of the chariots, the binding of the witches, the turning machine, wth the presenta tion of Fame. All wch I willingly acknowledge for him; since it is a vertue planted in good natures, that what re- 96 THE MASQUE OF QUEENES. spects they wish to obtayn fruitfully from others, they will give ingenuously themselves. By this time, imagine the Masquers descended, and agayne mounted into three triumphant chariots, ready to come forth. The first foure were drawne wth Eagles (wherof I gave the reason, as of the rest, in Fame's speech) theyr 4 torchbearers attending on the chariot sides, and foure of the Hagges bound before them. Then follow'd the second, drawne by Griffons, wth theyr torchbearers and four other Haggs. Then the last, wch was drawne by Lions, and more eminent (wherin her Matie was) and had sixe torchbearers more, (peculiar to her) w* the like number of Hagges. After wch a full triumphant Musique, singing this song, while they rode in state about the stage. SONG. Helpe, helpe, all tongues, to celebrate this wonder : The voyce of Fame should be as loud as thonder. Her House is all of echo made, Where never dies the sound ; And, as her browes the clouds invade, Her feete do strike the ground. Sing then good Fame, that's out of Vertue borne, For, who doth fame neglect, doth vertue scorne. Here they alighted from theyr chariots, and daunc'd forth theyr first daunce ; then a second, immediately following it : both right curious, and full of subtile and excellent changes, and seem'd perform'd wth no lesse spirits, then those they personated. The first was to the cornets, the second to the violins. After wch they tooke out the men, and daunc'd the Measures, entertayning the time, almost to the space of an hower, wth singular variety. When, to give them rest, from the Musique wch attended the chariots, by that most ex cellent tenor voyce, and exact singer (her Maties servant, Mr. Jo. Allin) this Ditty was sung. THE MASQUE OF QUEENES. 97 SONG. When all the Ages of the earth Were crowned, but in this famous birth ; And that, when they would boast theyr store Of worthy Queenes, they knew no more : How happier is that Age, can give A Queene, in whome all they do live. After wch they daunc'd theyr third daunce, then wch a more numerous composition could not be seene : graphically dispos'd into letters, and honouring the name of the sweete and ingenious Prince, Charles, Duke of Yorke, wherin, beside that principall grace of perspicuity, the motions were so even and apt, and theyr expression so just, as if Mathematicians had lost propor tion, they might there have found it. The author was Mr. Tho. Giles. After this, they daunc'd Galliards and Cor- rantos. And then theyr last daunce, no lesse elegant (in the place) then the rest, wth wch they tooke theyr chariots agayne, and triumphing about the stage, had theyr return to the House of Fame celebrated wth this last song, whose notes (as to the former) were the worke and honor of my excellent Friend, Alfonso Ferrabosco. SONG. Who, Virtue, can thy power forget, That sees these live, and triumph yet ? Th' Assyrian pompe, the Persian pride, Greekes glory, and the Romanes dy'de. And who yet imitate Theyr noyses, tary the same fate. Force Greatnesse, all the glorious wayes You can, it soone decayes ; But so good Fame shall never : Her triumphs, as theyr causes, are for ever. H 98 THE MASQUE OF QUEENES. To conclude wch, I know no worthyer way of Epilogue, then the celebration of who were the Celebraters. The Queenes Matie. Co. of Arundell. Co. of Derbye. Co. of Huntingdon. Co. of Bedford. Co. of Essex. Cou. of Montgomery. La. Cranborrne. La. El. Guilford. La. Anne Winter. La. Windsore. La. Anne Clifford. the i:\rx THE TWELVTH NIGHT'S REVELLS. 99 THE TWELVTH NIGHT'S EEVELLS. Plinie Solinus Prolomsee, and of late, Leo Africanus, re member unto us a river in Aethiopia, famous by the name of Niger, of v/ch the people were called Nigritse, nowe Negros, and are the blackest nation of the world. This river taketh his springe owt of a certaine lake, eastward, and after a longe race, falleth into the Westerne Ocean. Hence the invention is deriv'd, and presented thus. In the end of the designd place, there is drawne uppon a downe right cloth, straynd for the scene, a devise of landtscope, wch openinge in manner of a curtine, an artificiall sea is seene to shoote foorth it self abroad the roome, as if it flowed to ye land. In front of this sea are placed six Tritons, with instru- mentes made of antique shells for musique, and behind them two Sea-maides. Betweene ye Maydes a payre of Sea horses, figured to the life, put foorth them selves in varied dispositions ; uppon whose backes are advanced Oceanus and Niger, arme in arme enfolded. Oceanus naked, the cullors of his flesh blew, and shadowed wth a roab of seagreene. His bodie of a humane forme. His head and beard gray. Hee is gyrlanded w* sea-grasse, and his hand sustaynes a Trident. Niger in forme and coullor of an Aethiope blacke : his hayre and rare beard curled ; shadow'd wth a blew and bright mantle ; his necke and wrists adorned wth pearle, crowned wth an artificiall wreath of cane and paper rush. These induce the Masquers, wch are twelve Nymphs, h 2 100 THE TWELVTH NIGHT'S REVELLS. Negros, and ye daughters of Niger, attended by as manie of the Oceanie, who are their light-bearers. The Masquers are placed in an entire concave shell of mother of pearle, curiously made to move on those waters, and guarded (for more ornament) wth Dolphins and Sea- monsters of different shapes : on wch in payres their light- bearers are, wth their lights burninge out of Murex shelles, advanced. The attire of ye Masquers is alyke in all, w*hout difference. Their cullours azure and silver ; their hayre thicke, and curled upright in tresses, lyke Pyramids, but retoorninge in the top, with a dressinge of feathers and Jewells. And for the eare, necke, and wrist, the ornament of ye brightest pearle, best settinge of from the blacke. For the light-bearers, sea-greene, their faces and armes blew. Their hayres loose and flowinge, gyrlanded wth Alga, or sea-grasse, and y* stucke about wth braunches of corall, and water lillyes. These thus presented, one of the Tritons, wth the two Sea-maydes, beginne to singe to the other lowd musique. Their voyces being a tenor, and two trebles. THE SONG. Sound, sound aloud The welcum of the orient Floud Into the west : Fayre Niger, sonne to great Oceanus, Now honored thus, Wth all his beauteous race : Who though but black in face, Yet are they bright, And full of life and light ; To prove that beauty best, Wch not ye coullor but ye feature Assures unto ye Creature. THE TWELVTH NIGHT'S REVELLS. 101 Wch ended, and the musique ceassinge, Oceanus provokes Niger as followeth. Oceanus. Bee silent now the ceremony's done : And Niger, say, howe comes it, lovely sonne, That thou, the Aethiop's river, so far east Art seene to fall in ye extreamest west Of mee, the King of floud's Oceanus, And in myne empires hart salute mee thus ? What is the end of thy Herculean labors, Extended to those calme and blessed shores ? Niger. To doe a kynd and carefull father's parte, In satisfying every pensive harte Of these my daughters, my most loved birth ; Who, though they were first-form'd dames of Earth, And in whose sparcklinge and refulgent eyes The glorious sonne did still delight to rise ; Though hee (the best Judg, and most formal cause Of all dames' bewties) in their firme hews drawes Signes of his ferventst love, and therby shewes That in their blacke the perfect'st beauty growes ; Since the fixt cullour of their curled hayre (Wch is the heighest grace of dames most fayre) No cares, no age, can chandge, or there display The fearfull tincture of abhorred gray. Since Death him self (him self beinge pale and blew) Can never alter their most faithfull hew ; All weh are arguments to prove howe farre Their beauties conquer in great Beauties warre : And now how neare Divinitie they bee That stand from passion, or decay so free : 102 THE TWELVTH NIGHT'S REVELLS. Yet since the fabulous voyces of some few (Poore braynsicke men, stild poets, here w* you) Have with such envy of their graces sunge The paynted beauties, other empires sprung, Lettinge their loose and winged fictions fly, To infect all climattes, yea, our puritie, As of one Phaethon that fir'd the world, And that before his heedlesse flames were hurl'd About the Globe, the Aethiops were as fayre As other dames, nowe blacke wth blacke dispayre, And in respect of their complexions chaungd Are each where since for lucklesse creatures rang'd. Wch when my daughters heard (as woemen are Most jealous of their beauties) feare and care Possest them whole, yea, and beleevinge them, They wept such ceaslesse teares into my streame, That it hath thus farre overflow'd his shore, To seeke them pacience whoe have since ermore, As the Sonne riseth, chargd his burninge throne Wth vollyes of revilinges ; cause hee shone On their scorcht chekes wth such intemperat fiers, And other dames made queenes of all desiers. To frustrat wch strange errour oft I sought, (Though most in vayne against a settled thought, As woemens are) till they confirm'd att length, By miracle, what I with soe much strength Of argument resisted ; (else they faynd) For in the lake where their first springe they gaind, As they satt coolinge their soft lymbs by night, Appeard a face all circumfusd wth light, Wherein they might decipher through the streame, (And sure they saw't, for Aethiops never dreame) These wordes — That they a land must forthwith seeke, Whose termination of ye Greeke THE TWELVTH NIGHT'S REVELLS. 103 Sounds Tania, where bright Sol, y' heatt Tlieir bloodes, doeth never rise nor sett, But in his jorney passeth by, And leaves that climatte of ye sky To comfort of a greater light, That formes all beautyes wth his sight. In search of this have wee three Princ-doomes past That speake owt Tania in their accents last ; Blacke Mauritania first, and secondly Swarth Lusitania. Next we did descry Rich Aquitania, and yet cannot find The place unto those longing nymphes designd. Instruct and ayd mee, great Oceanus : What land is this that nowe appeares to us ? Oceanus. This land, that lifts into the temperate ayre Hir snowy cliffe, is Albion the fayre, So calld of Neptune's sonne, y4 ruleth here ; For whose deare guard my self four thousand yeere (Since old Deucalions dayes) have walkt the round About his empire, proud to see him crownd Above my waves. At this the Moone is discovered in ye upper parte of the house, triumphant in a chariot, hir garments white and silver, the dressinge of her head antique, and crownd wth lights. To her Niger. Niger. O, see our silver starre, Whose pure auspicious light greetes us thus farre. Great Aethiopia, Goddesse of our store, Since wth particular woorshipp wee adore 104 THE TWELVTH NIGHT'S REVELLS. Thy generall brightnesse, lett particular grace Shine on my zealous daughters : show ye place Wch longe their longinges urgd their eyes to see. Bewtifie them that long have diefied thee. Aethiopia. Niger, bee gladd : resume thy native cheere, Thy daughters' labors have theyr period here, And so thy errors. I was that bright face Reflected by the lake, in wch thy race Read mistick lynes, wch skyll Pithagoras, First taught to men by a reverberat glasse. This blessed Ille doth with that Tania end, Wch their they sawe inscrib'd, and shall extend Wish'd satisfaction to their best desiers. Britania, wch the triple world admyres, This Ble hath nowe recovered for his name, Where raigne the beauties yl wth so much fame The sacred Muses' sonnes have honored, And from sweete Hesperus to Eous, spread. Wth that great name, Britania, this blest ille Hath wonne his antient dignitie and stile, A world divided from the world, and tryed The abstract of it in his generall pride. And were the World, with all his wealth, a ringe, Britannia (whose fresh name makes thunder singe) Might bee a diamond woorthy to enchace it, Rul'd by a Sunne that to this height doeth grace it, Whose beames shine day and night, and are of force To blanch an Aethiop and revive a corse : His light scientiall is, and past meere Nature, Can salve the rude defects of every creature. Call forth thy honor'd daughters, then, And lett them, fore the Britaine men, THE TWELVTH NIGHT'S REVELLS. 105 Indent the land with those pure traces, They flow with in their native graces. Invite them boldly to ye shore, Their beauties shalbee scorts't no more. This sonne is temperate, and refines All thinges on wch his radiance shines. Here the Tritons sound, and they daunce on ye shore, every couple (as they advance) severally presentinge their fannes ; in one of wcb are inscrib'd their mixed names, in the other a mute hieroglyphick, expressinge their mixed qualities, wch manner of symbole wee rather choose, then impresse, as well for strangenesse, as relishinge more of antiquitie, and nearer applyinge to y' originall doctrine of sculpture wch the Aegip- tians are sayd first to have derived from the Aethiopians. When their owne daunce is ended, as they are about to choose their men, on[e] from the sea is heard to call them wth this songe, sunge by a tenor voyce. SONGE. Cum away, cum away ; We grow jealous of your stay : If you doe not stopp yor eare, Wee shall have more cause to feare Syrens of the land, then they To doubt the Syrens of ye sea. Here they daunce wth there men, w?h beinge perfect, they are againe provoked from the sea, wth a songe of two trebles, iterated in ye fall by a double Echo. SONGE. f Daughters of the subtill floud, Treb 1 < ' l Do not let earth longer entertame you. f 'Tis to them enough of good, Ire "" [ That you geive this little hope to gaine you. 106 THE TWELVTH NIGHT'S REVELLS. Treb. 1. If they love, Treb. 2. You shall quickly see. r For when to flight you move, Treb. 1. ~{ I They'll follow you ye more you flee. r If not, impute it each to other matter : '1 They are but earth, and what you owed was water. Wth this, Aethiopia speakes againe. AlETHIOPIA. Enough, bright nymphes, the night grows old, And we are griev'd wee cannot hold You longer light ; but comfort take : Yor father only to the Lake Shall make returne ; yor selves wth feastes Must here remayne, the Ocean's guests. Nor shall this vayle the Sunne hath cast Above yor bloods more sommers last, For wch you shall observe these rites Thirteene tymes thrice, on thirteene nights. Soo often as I fill my spheare Wth glorious light throughout the yeare, You shall, when all things ells doo sleepe Save yor chast thoughts, wth reverence steepe, Yor bodyes in that purer brine, And holsome dew, called Ros-Marine, Then with that soft and gentle fome, Of wch the Ocean yet yeeldes some, Whereof bright Venus, Beauties Queene, Is sayd to have begotten beene, You shall yor gentler lymbs ore-lave, And for yor paynes perfection have : Soe that this night, the yeare gone round, You doe againe salute this ground, And in the beames of yond bright sunne Yor faces dry, and all is done. THE TWELVTH NIGHT'S REVELLS. 107 With wch in a daunce they returne to the sea agayne, where they take their shell, and with a full songe goo owt. SONG. Now Dian wth the burning face Decline's apace : By wch our waters know To ebb, that late did flow. Backe seas, backe Nymphes ; but wth a forward grace Keepe still yor reverence to ye place, And shout wtt joy of favor you have wonne In sight of Albion, Neptun's sonne. Hos ego versiculos feci. Ben. Jonson. THREE COURT MASKS; viz. : THE MOUNTEBANK'S MASK, BY JOHN MARSTON. THE MASK OE THE TWELVE MONTHS. THE MASK OF THE POITK SEASONS. PRINTED FROM THE ORIGINAL MANUSCRIPTS. THE MOUNTEBANK'S MASK. THE FIRST ANTIMASKE OF MOWNTEBANKES. mountebank's speech. The greate Master of medicine, .ZEsculapius, preserve and prolong the sanitie of these Royall and Princely Spectators. And if any here present happen to be valetudinarie, the blessed finger of our grand Master Paracelsus bee at hand for their speedie reparation. I have heard of a madd fellowe that styles himselfe a merry Greeke, and goes abroade by the name of Paradox, who with frisking and dauncing, and newe broacht doctrine, hath stolne himselfe, this Festivall tyme of Christmas, into favour at the Court of Purpoole, and having there gott some approbation for his small performance, is growne so audacious as to intrude himselfe into this honoured presence. To prevent whose further growyng fame, I have, with these my fellowe Artists of severall nations, all famous for the banke, hether made repaire, to present unto your view more wholesome, more pleasing, and more novell de lights, which, to avoyd prolixitie, I distribute into these fol lowing common places. Names of Diseases cured by us, Which being infinite, purposelie we omitt. Musicall Charmes, Familiar Receipts, 112 THE MOUNTEBANK'S MASK. Sing their Songs, viz. : Chorus. What ist you lack, what would you buye ? * What is it that you neede ? Come to me, Gallants ; tast and trye : Heers that will doe the deede. 1 Songe. 1. Heers water to quench mayden fires; Heers spirits for olde occupiers; Heers powder to preserve youth long, Heers oyle to make weake sinews strong. What! 2. This powder doth preserve from fate ; This cures the Maleficiate : Lost Maydenhead this doth restore, And makes them Virgins as before. What ! 3. Heers cure for tooth ache, feaver, lurdens, Unlawfull and untimely burthens : Diseases of all Sexe and Ages This Medicine cures, or els asswages. What! 4. I have receipts to cure the gowte, To keepe poxe in, or thrust them owte ; To coole hott bloods, colde bloods to warme, Shall doe you, if noe good, no harme. What! 2 Mo. Song. 1. Is any deffe ? Is any blinde ? Is any bound, or loose behinde ? THE MOUNTEBANK'S MASK. 113 Is any fowle, that would be faire ? Would any Lady change her haire ? Does any dreame ? Does any walke, Or in his sleepe affrighted talke ? I come to cure what ere you feele, Within, without, from head to heele. 2. Be drummes or rattles in thy head ; Are not thy braynes well tempered ? Does Eolus thy stomak gnawe, Or breed there vermine in thy mawe ? Dost thou desire, and cannot please, Loe I heere the best Cantharides. I come. 3. Even all diseases that arise From ill disposed crudities, From too much study, too much paine, From lasines, or from a straine, From any humor doing harme, Bee't dry or moist, or could or warme. I come. 4. Of lasie gowte I cure the Rich ; I ridd the Beggar of his itch ; I fleame avoyde, both thick and thin: I dislocated joyntes put in. I can old iEsons youth restore, And doe a thousand wonders more. Then come to me. What ! 3 Song. 1. Maydes of the chamber or the kitchinge, If you be troubled with an itchinge, 114 THE MOUNTEBANK'S MASK. Come give me but a kisse or twoe, He give you that shall soone cure you. Nor Galen nor Hipocrates Did ever doe such cures as theis. 2. Crakt maids, that cannot hold your water, Or use to breake wynd in your laughter ; Or be you vext with kibes or comes, He cure ; or Cuckolds of their homes. Nor Galen. 3. If lustie Doll, maide of the Dairie, Chance to be blew-nipt by the Fairie, For making Butter with her taile, He give her that did never faile. Nor Galen. 4. Or if some worse mischance betide her, Or that the night mare over ride her; Or if shee tell all in a dreame, He cure her for, a messe of creame. Nor Galen. 4 M. Song. 1. Is any so spent, that his wife keepes lent? Does any wast in his marrowe ? Is any a slugg? Lett him tast of my drugg, Twill make him as quick as a sparrow. My powder and oyle, extracted with toile, By rare sublimbe infusions, Have proofe they are good, by myne owne deere bloode, In many strange conclusions. THE MOUNTEBANK'S MASK. 115 2. Does any consume with the salt French rhewme ? Doth the Gowte or palsy shake him : Or hath hee the stone, ere a moneth be gone, As sound as a bell He make him. My powder. 3. The greefes of the spleene, and maides that be greene, Or the heate in the Ladies faces ; The gripes of the stitch, or the Schollers itch, In my cures deserue no places. My powder. The Webb or the Pinn,1 or the morphew of skynn, Or the rising of the mother, I can cure in a trice. Oh, then, be not nice, Nor ought that greeves you smother. My powder. FAMILIAR RECEIPTS. An approved receipt against Melancholie fceminine. If any Lady be sick of the Sullens, she knowes not where, let her take a handfull of simples, I know not what, and use them I know not how, applying them to the parte grievde, I knowe not which, and shee shall be well, I knowe not when. Against the Skirvie. If any Scholler bee troubled with an itch, or breaking out, which in tyme may prove the Skirvy, lett him first forbeare clawing and fretting meates, and then purge choller, but by noe meanes upwards. For restoring Gentlemen Ushers' Leggs. If any Gentleman Usher hath the consumption in his legges, lett him feede lustelie on veale two monethes in the 1 See " Winter's Tale," act i., sc. 2, and " King Lear," act iii., sc. 4. I 2 116 THE MOUNTEBANK'S MASK. spring tyme, and forbeare all manner of mutton, and hee shall increase in calfe. For the lentigo. If any be troubled with the Tentigo, lett him travell to Japan, or, because the forest of Turnbolia is of the same alti tude, or elevation of the Pole, and at hand, lett him hunt there for his recreation, and it shalbe done in an instant. For the Angina. If any Scholler labor of the Angina, a daungerous disease in the throate, soe that he cannot speake an howre togeather once in a quarter of a yeere, lett him forbeare all violent exercises, as trotting to Westminster Hall every terme, and all hott liquors and vapors ; lett him abstayne from company, retiring himselfe warme cladd in his studie fowre dales in a weeke, etfiet. For a Fellon. If any be troubled with a Fellon on his finger, whereby he hath lost the lawfull use of his hand, lett him but once use the exercise of swinging, and stretche himselfe uppon the soveraigne tree of Tiburnia, and it will presently kill the Fellon. Probatum. For a Tympanic If any Virgine be soe sick of Cupid that the disease is growne to a Tympanie, lett her with all speed possible re move herselfe, changing aire for forty weekes at least, keep ing a spaire diett as she travelles, allwayes after using lawfull exercises, till shee be married, and then she is past daunger. For Barrennes. If any Lady be long married, yet childles, lett her first desire to be a mother, and to her breakefast take a newe-laid egge, in a spoonefull of goat's-milke, with a scruple of Amber- THE MOUNTEBANK'S MASK. 117 greece ; and at supper feede on a henn trodden by one cock. But above all thinges, lett her avoide hurrying in a Coroch, especially on the stones, and assuming a finer molde then nature ment her, and noe doubt she shall fructifie. For the Falinge Sicknes. If any woman be trobled with the falinge sicknes, lett her not travell Westward Ho, because she must avoide the Isle of Man ; and for that it is an evill Spirrit only entred into her, lett her for a Charme allwayes have her legges a crosse when she is not walking, and this will help her. For a Rupture. If any Tradsman bee troubled with a Rupture in the bowells of his estate, that hee cannot goe abroade, lett him decoct Golde from a pound to a noble, taking the broth thereof from six monethes to six monethes, and hee shalbe as able a man as ever he was. Nowe, Princely Spectators, to lett you see that we are men quallified from head to foote, wee will shewe you a peece of our footemanship. Dance Antemaske. \_Exeunt. Enter Paradoxe. Helth and jouisance to this faire assembly. Now the thrice three learned Sisters forsake mee, if euer I beheld such beauties in Athens. You aske, perhappes, whoe I am that thus conceitedly salute you ? I am a merry Greeke, and a Sophister of Athens, who, by fame of certaine novell and rare presentments undertaken and promised by the gallant Spirrits of Graia drawne hither, have intruded myselfe, Sophiste like, in att the back doore, to bee a Spectator, or rather a Censor of their undertakings. The Muses graunt they nlay satisfie our expectations. Ah, the shewes and the 118 THE MOUNTEBANK'S MASK. songs, and the speeches, and the playes, and the comedies, and the actings that I have seene at Athens ! The universe never saw the like. But lett that passe. There was another end of my coming, and that was to gett some of these Beauties to bee my desciples ; for I teach them rare doc- trynes, but delightfull ; and if you be true Athenians, (that is, true lovers of novelties, as I hope you all are) you will give my hopes theire lookt for expectation. Knowe, then, my name is Paradox: a strange name, but proper to my discent, for I blush not to tell you truth. I am a slipp of darknes, my father a Jesuite, and my mother an Anabaptist ; and as my name is strange, soe is my profession, and the art which I teach, my selfe being the first that reduced it to rules and method, beares my owne name, Paradoxe. And I pray you, what is a Parradox ? It is a Quodlibet, or strayne of witt and invention strued above the vulgar conceyte, to begett admiration. And (because method is the mother of discipline) I devide my Paradoxe into theis heads — Mascu line, Fceminine, and Newter ; and first of the first, for the Masculine is more worthie then the Fceminine, and the Fceminine then the Newter. Drawes his Booke and reades. Masculine.1 1. He cannot be a Cuckold that weares a Gregorian, for a perriwigg will never fitt such a head. 2. A Knight of the long robe is more honorable then a Knight made in the fielde ; for furrs are deerer then spurs. 3. Tis better to be a coward then a Captaine ; for a goose lives longer then a cock of the game. 4. A Caniball is the lovingst man to his enemie ; for will ingly no man eates that he loves not. 5. A Batchelor is but halfe a man, and being wedd, he may prove more then halfe a monster ; for Aries and Taurus 1 These paradoxes are all numbered and marked by the author. THE MOUNTEBANK'S MASK. 119 rule the head and shoulders, and Capricorne reacheth as lowe as the knees. 6. A wittall cannot be a Cuckold: for a Cuckolde is wronged by his wife, which a wittall cannot bee; for volenti non fit injuria. 7. A Shoemaker is the fittest man of the parish to make a Constable ; for he virtuti officii may put any man in the stocks, and enlarge him at last. 8. A prisoner is the best fencer; for hee ever lies at a close warde. 9. An elder Brother may be a wise man; for he hath wherewithal! to purchase experience, at any rate. 10. A Musicion will never make good Vintner; for he deales to much with flats and sharps. 1 1 . A Drunkard is a good philosopher ; for hee thinkes arighte that the world goes round. 12. The Divell cannot take Tobacco through his nose ; for S'. Dunstone hath seerd that upp with his tongs. 13. Prentices are the nimblest Scavengers ; for they can dense the Citty Stews in one day. 14. Noe native Phisician can bee excellent ; for all excel lent simples are forriners. 15. A Master of Fence is more honorable then a Mr. of art ; for good fighting was before good writing. 1 6. A Court Foole must needs be learned ; for hee goes to schoole in the Porter's Lodge. 1 7. Burgomasters ought not to weare their furd gownes at Middsomer ; for soe they may bring in the sweating sicknes againe. 1 8. A Cuttpurse is of the surest trade ; for his worke is no sooner done, but hee hath his mony in his hand. I. Tis farr better to marrie a widdow then a maide.- 120 THE MOUNTEBANK'S MASK. 2. Down right language is the best Rhetorique to wyn a wooman ; for playne dealing is a Jewell, and there is no lady but desires her lapp full of them. 3. Weomen are to be commended for loving Stage players ; for they are men of known action. 4. If a wooman with child long to lye with another man, her husband must consent ; for if hee will not, shee will doe it without him. 5. Rich widdowes were ordained for younger brothers ; for they, being borne to no land, must plow in another man's soile. 6. A maid should marry before the years of discreation ; for Malitia supplet et cwtera. 7. Tis dangerous to wed a widdow ; for she hath cast her rider. 8. An English virgin singes sweeter here than at Brus- sells ; for a voluntary is sweeter than a forct noate. 9. A greate Lady may with her honor weare her servant's picture ; for a shaddowe yet never made a Cuckold. 1 0. A painted Lady best fitts a Captaine ; for so both may fight under theire cullors. 11. It is good for a young popish wench to marry an old man ; for so shee shalbe sure to keepe all fasting nights. 12. A dangerous secrett is safely plac't in a woman's bosom ; for noe wise man would search for it there. 13. A woman of learning and tongues is an admirable . creature ; for a starling that can speake is a present for an Emperor. 1 4. There were never so many chast wives as in this age ; for now tis out of fashion to lye with their owne hus bands. 15. A greate Lady should not weare her owne haire; for that's as meane as a coate of her owne spinning. 1 6. A faire woman's necke should stand awrie ; for so she lookes as if she were looking for a kisse. THE MOUNTEBANK'S MASK. 121 1 7. Women love fish better then flesh ; for they will have Place, whatever they pay for it. Newter.1 1. Ould thinges are the best thinges ; for there is nothing newe but diseases. 2. The best bodyes should weare the playnest habits ; for painted Clothes were made to hide bare walls. 3. Dissemblers may safely be trusted ; for their meaning is ever contrary to theire words. 4. Musicions cannot be but helthfull; for they live by good aire. 5. An Usurer is the best Christian ; for Quantum num- morym in area, Tanlum habet etfidei. 6. None should haue license to marry but rich folks ; for Vacuum, is a monster in rerum natura. 7. A hare is more subtile then a fox ; for shee makes more dubbles then old Reynard. 8. Tis better to be a beggar then a Marchant ; for all the worlde lyes open to his traffique, and yet he paies no custome. 9. Tis more safe to be drunk with the hopp then with the grape ; for a man should be more inward with his Country man than with a stranger. 10. It is better to buy honour then to deserve it; for what is farr fecht and deere bought is good for Ladyes. 11. A man deepe in debt should be as deepe in drink; for Bacchus cancells all manner of obligations. 12. Playhowses are more necessary in a well govern'd Commonwelth then publique Schooles ; for men are better taught by example then precept. 13. It is better to feede on vulgar and grosse meats, then on dainty and high dishes ; for they that eate only partridge or quaile, hath no other brood then woodcock or goose. 1 The word "Epicsene" is struck out by the author, and Newter written instead of it. 122 the mountebank's mask. 14. Taverns are more requisite in a Citty then Academies ; for it is better the multitude were loving then learned. 15. A Tobacco Shop and a Bawdy howse are coincident; for smoake is not without fire. 16. An Almanacke is a booke more worthy to be studied then the history of the world ; for a man to knowe himself is the most worthy knowledge, and there hee hath twelve signes to know it by. 17. Welth is better then witt; for few poetts have had the fortune to be chozen Aldermen. 18. Marriage frees a man from care; for then his wife takes all uppon her. 19. A Kennell of hounds is the best Consort; for they neede no tuning from morning to night. The Court makes better Schollers than the Universitie ; for where a King vouchsafes to bee a teacher, every man blushes to be a non proficient. Enter Pages. Para. But harke ! Musick : they are uppon entrance. I must put upp. Mayne Maske. Enter Pages 4. Theire Song, dialoguewise. Where shall wee finde reliefe ? Is there noe end of griefe ? Is there noe comfort left ? What cruell Charmes bereft The patrons of our youth ? Enter Wee must now begg for ruth. Obscuritie. Kind pitty is the most Poore boyes can hope for, when Their joyes are lost, the mountebank's mask. 123 Obscuritie. Light, I salute thee : I, Obscuritie, The sonn of Darknes and forgetfull Lethe ; I, that envie thy brightnes, greete thee nowe, Enforc't by Fate. Fate makes the strongest bow. The ever youthfull Knights by spells inchain'd, And long within my shady nooks restraynd, Must be enlargd, and I the Usher bee To theire night glories ; so the Fates agree. Then, putt on life, Obscuritie, and prove As light as light, for awe, if not for love. Loe ! heere their tender yeerd, kind-harted Squires, Mourning their Masters' losse : no new desires Cann trayne them from these walks, but here they wend From shade to shade, and give their toyles noe end. But now will I relieve their suffring care. Heare me, faire Youths ! since you so constant are In faith to your lov'd Knights, goe hast a pace, And with your bright lights guide them to this place ; For if you fall directly, that discent, Their wisht approach will farther search prevent. Haste by the virtue of a charming songe, While I retrive them, least they lagg to longe. THE CALL, OR SONGE OF OBSCURITIE. Appeare, Appeare, you happie Knights ! Heere are severall sortes of Lights :" Fire and beawtie shine togeather, Your slowe steppes inviting hether. Come away ; and from your eyes Th' olde shades remove, For now the Destinies Release you at the suite of Love. 124 THE MOUNTEBANK'S MASK. So, so : tis well marcht, march a pace ; Two by two fill up the place, And then with voice and measure Greete the Kinge of Love and Pleasure. Nowe, Musicke, change thy notes, and meete Aptly with the Dancers' feete ; For tis the pleasure of Delight That they shall tryumph all this night. THE SONG AND DANCE TOGETHER. Frolick measures now become you, Overlong obscured Knights : What if Lethe did benum you, Love now wakes you to delights. Love is like a golden flowre, Your comely youth adorning : Pleasure is a gentle shower Shedd in some Aprill morning. Lightly rise, and lightly fall you In the motion of your feete : Move not till our notes doe call you ; Musicke makes the action sweete. Music breathing blowes the fire Which Cupid feeds with fuell, Kindling honour and desire, And taming hartes most cruell. Quickly, Quickly, mend your paces, Nimbly changing measurd graces : Lively mounted high aspire, For joy is only found in fire. Musicke is the soule of measure, Mixing both in equall grace ; THE MOUNTEBANK'S MASK. 125 Twinnes are they, begott of Pleasure, When she wisely nombred space. Nothing is more old or newer Then nomber, all advancing ; And noe nomber can be truer Then musick joyn'd with dancing. Every Knight elect a Bewty, Such as may thy hart inflame : Think that her bright eye doth view thee, And to her thy action frame. So shall none be faint or wearie, Though treading endles paces ; For they all are lighte and merry Whose hopes are fedd with graces. Sprightly, sprightly, end your paces, Nimbly changing measurd graces : Lively mounted high aspire, For joy is only found in fire. Obscuritie. Servants of Love, for soe it fittes you bee, Since hee alone hath wrought your liberty, His ceremonies nowe and courtly rights Performe with care, and free resolved sprights. To sullen darknes my dull steppes reflect ; All covett that which Nature doth affect. The Second Measure ; which danc't, SONG TO TAKE OUT THE LADIES. On, on, brave Knights, you have well shewde Each his due part in nimble dances : These Bewties to whose hands are owde 126 THE mountebank's mask. Yours, wonder why You spare to try. Marke how inviting are their glances. Such, such a charm, such faces, such a call, Would make old iEson skip about the Hall. See, see faire choise, a starry sphere Might dymme bright day : choose here at pleasure. Please your owne eye : Approve you heere, Right gentle Knights : To these softe wights View, talk and touch, but all in measure. Farr farr from hence be roughnesse, farr a frowne ; Your fair deportment this- faire night shall crowne. After they have danced with the Ladyes, and sett them in their places, fall to their last Dance. Enter Paradox, and to him his Disciples. Silence, Lordings, Ladies, and fidelis ! Lett my tongue twang awhile. I have seene what hath beene shewed ; and now give me leave to shew what hath not beene seene, for the honour of Athens. By vertue of this musicall Whistle I will summon my disciples. See obedience : heere they are all redy. Put forward, my paradoxicall Pupils, methodically and arithmetically, one by one. 1. Behould this principall Artist that swift encounters mee, whose head is honoured by his heeles for dauncing in a Chorus of a Tragedy presented at Athens, where hee pro duced such learned varietie of footing, and digested it so orderly and close to the ground, that hee was rewarded with this Relique, the Cothurne or Buskin of Sophocles, which for more eminence he weares on his head. The paradoxical vertue thereof is, that being dipt into River or Spring, it THE MOUNTEBANK'S MASK. 127 alters the nature of the liquor, and returneth full of wine of Chios, Palermo, or Zaunte. 2. This second Master of the science of footemanship (for hee never came on horsback in his life) was famed att the Feast of Pallas, where in dauncing he came of with such lofty trickes, turnes above ground, capers, crosse capers, horse capers, so high and so lofty performed, that hee for prize bare away the Helmett of Pallas. The paradoxicall vertue of the Caske is, that in our travells if we fall among enemies, shew but this, and they suddenly vanish all like fearefull shaddowes. 3. Now, view this third peece of Excellence : this is hee that putt downe all the Bakers, at the feast of Ceres, and soe daunced there, as if he had kneaded doe with his feete : wherewith the Goddesse was so tickled, that shee in reward sett this goodly loafe on his head, and endued it with this paradoxicall influence, that cutt of it and eate as often as you please, it streit fills up againe, and is in the instant healed of any wound our hunger can inflict on it. 4. Approach now thou that comst in the reare of my dis ciples, but mayest march in the vanguard of thy validitie ; for at the celebration of the feast of Venus Cytherea, this Amoroso did expresse such passion with his eyes, such castes, such wynkes, such glances, and with his whole bqxly such de lightful! gestures, such cringes, such pretty wanton mymickes, that hee wonne the applause of all ; and, as it was necessary at the Feast of that Goddesse, hee had then a most ample and inflaming codpeece, which, with his other graces, purchast him this prize, the Smock of Venus, wrapt turbantlike on his head, the same shee had on when shee went to bed to Mars, and was taken napping by Vulcan. The paradoxe of it is, that if it bee hanged on the top of our Maypole, it drawes to us all the young lads and lasses neere adjoyning, without power to part till wee strike sale ourselves. And now I have named our Maypole, goe bring it forth, though it be 128 more cumbersome then the Trojan horse : bring it by force of armes, and see you fixe it fast in the midst of this place, least, when you circle it with your caprichious dances, it falls from the foundation, lights upon some ladyes head, and cuffes off her Periwigg. But now for the glory of Athens ! Musicke play es the Anty maske. The Disciples dance 1 Strayne. Wee have given you a taste of the excellency of our Atheniall Revells, which I will now dignifie with myne owne person. Lye here, impediment, whereof being freed, I will discend. O, you Authors of Greeke woonders ! what ostent is this ? What supernatural! Paradoxe ? a wooden Maypole find the use of voluntarie motion ! Assuredly this tree was formerly the habitation of some wood nimphe, for the Dryads (as the Poets say) live in trees ; and perhaps, to honour my dauncing, the nimphe hath crept into this tree againe : soe I apprehend it, and will entertaine her curtesie. Paradox his Disciples, and the Maypole, all daunce. Did ever eye see the like footing of a tree, or could any tree but an Athenian tree doe this? or could any nimphe move it but an Athenian nimphe ? Faire Nymphe, though I can nott arrive at thy lippes, yet will I kisse the wooden maske that hides thy no doubt most amyable face. Paradox offers to kisse, and a NympKs head meets him out of the Maypole. Woonder of woonders! Sweete Nymphe, forbeare: my whole structure trembles : mortalitie cannot stand the bright- nes of thy countenance. Pursue me not, I beseech thee : putt up thy face, for love's sake. Helpe, helpe ! Disciples, take away this dismall peale from me. Rescue me ! Rescue me, with all your violence. — So, the Divell is gone, and I will not stay long after. Lordings and Ladies: if there bee any here desirous to be instructed in the misterye of THE MOUNTEBANK'S MASK. 129 Paradoxinge, you shall have me at my lodging in the black and white Court, at the signe of the Naked Boye. And so to you all the best wishes of the night. Enter Mountebanke, like a Sicisse. Stay, you presumptious Paradox ! I have viewed thy an- tickes and thy Puppett, which have kindled in me the fire of Emulation. Looke; am I not in habitt as fantasticke as thy selfe ? Dost thou hope for grace with Ladyes, by thy novell doctrine? I am a man of art: witnesse this, my Charming Rodd, wherewith I worke Miracles ; and whereas thou, like a fabulous Greeke, hast made monsters of thy Disciples, loe ! I will oppose squadron against squadron, and plaine trueth against painted fiction. Now for [thy] moving Ale-signe: but for frighting the Devill out of it, I could encounter thee with Tottnam Hie Crosse, or Cheape Crosse, (though it bee new guilt) but I scorne odds, and therefore will I affront thee Pole to Pole. Goe, Disciples : usher in our lofty inchanted motion ; and, Paradoxe, now betake you to your tackling, for you deale with men that have ayre and fire in them. Paradoxe. Assist me, thou active Nimphe, and you, my glorious asso ciates. Victory ! Victory for Athens ! \_Dance. MOUNTYBANKE. Accomplisht Greeke ! now, as we are true Mountebankes, this was bravely performed on both parts, and nothing now remaynes but to make these two Maypoles better acquainted. But we must give place: the Knights appeare. Obscuritie Enter. Enough of these night sportes ! part fairely, Knightes, And leave an edge on pleasure, least these lightes 130 THE MOUNTEBANK'S MASK. I suddenly dymme all ; and pray, how then Will theis gay Ladies shift among you men, In such confusion? Some their homes may misse : Obscuritie knowes tricks as madd as this. But make your parting innocent for me ; I will no Author now of Error bee. My selfe shall passe with you, a friend of lighte, Giving to all this round a kind good nighte. LAST SONG. Wee must away : yet our slack pace may showe Tis by constraint wee this faire Orbe forgoe. Our longer stay may forfitt what but nowe Love hath obtaind for us : to him we bowe, And to this gentler Powre, who soe contriv'd That wee from sullen shades are now depriv'd, And hither brought, where Favour, Love, and Light, Soe gloriously shine, they banish Night. More would we say, but Fate forbids us more. — Our Cue is out — Good night is gone before. FINIS. THE MASQUE OF THE TWELVE MONTHS. To lowde Musique. The Scene being discouerd, the twelve Spheres descend, and sing to twelve Instruments this first Song, calling Bewty from her Forte, ye Hearte. After which, and an Alarme given by the Pulses, the Hearte opens, and Bewty issues, attended by Aglaia, (one of the Graces) the two Pulses beating before them up towardes ye King. Being neare, Bewty Bew. Peace, amourous Pulses ! y'are too Martial for Peace. Agl. If they be amourous, Madame, they must be Martiall : Militat omnis Amans. Bew. They beate yet too stronglie and passionately. Agl. Before whom should th' enamoured Pulses beate pas- sionatelie, if not before Bewty ? Bew. Before Bewtyes Soveraigne : that enamours infinitely more, and insulte on nothing. Agl. Before him they are. Why commaund you them to cease, then? Bew. Because, notwithstanding all their most cause to beate before him, the maiestie and merritt enthron'd in him compelling all passionate reverence in his beholders, yet they are troublesome, and troublesome Love is lothsome. Besides, they are nowe to be employed aboute my forte, the Hearte. Agl. What places supply they there ? Bew. The places of Sentinells ; since the Pulses naturally discover ye whole state of the Heart, through all the dimen sions of his dilatation and contraction. K 2 132 THE MASQUE OF Agl. What Hearte is it, Madame? A mans Heart, or a womans Hearte? Bew. A womans, and so greate ? Agl. What Heart so greate as a womans ? And this is so bigg, it burst. Bew. Not burst, but oppened. And that opennesse, in deed, is proper to a womans hearte ; but for that weaknes, unfitt to be made a Forte. This heart, therefore, is neither man's nor woman's, but the heart of the yeare ; signifying that the whole yeares cheife virtues and bewties are now to be contracted in one night, as the whole worldes are in one year. Agl. A contraction greate and princely. Bew. To performe, wch we are to induce, in their effectes the foure Elementes and the foure Complexions ; of whose apt composition, all the Bewtie of the world is informed. Agl. Of all wdl yr excellence is presented as abstract. Bew. Being amplified wth other personages infinitely more bewtifull. Agl. What persons are those that lye still enslumberd aboute yor Forte ? Bew. They are the issue of the Elementes and Complex ions, who sent mee these their sonnes, as their homages, acknowledging mee their Soveraigne, as being their best dis poser and composer. Agl. Maye I entreate their names ? Bew. The sonne of fire is Sparke ; of ayre, Atome ; of water, Droppe ; and of earth, Ant. Agl. Poore yonger brothers, it seemes, serving at this Forte onely as enfans perdus. Bew. Pages, pages ; onely persons of forme and ridiculous pleasure. Agl. Of wch you have nam'd yet but foure. Bew. The other foure are ye issue of ye Complexions : of the sanguine, a little Cupid (Love being a cheife effect of THE TWELVE MONTHS. 133 bloud) ; of choller, a little Furie (anger, wch choller causeth) being brevis furor ; of flegme, a Httle Foole; and of melan cholic, a little Witch. Agl. Of whate use are those banners and bandrolls stucke upon the forte ? Bew. They are the Yeares ensignes, whose Hearte this is suppos'd, expressing in amorous mottos, inscrib'd in them, the triumphant love and loyaltie included. To this our glorie of the yeare, and his most peaceful employer. Agl. What are those plumes stucke in ye middst and toppe, as that heartes pride, and his affections scope ? Bew. The ensignes of the darling of the yeare, delicious Aprill. Agl. What's the motto there ? Bew. His virtus nititur Alls. They are the winges of virtue, twixt wch (spight of fate) shee ballances her selfe, and stales her state ; and thus much for our necessarie relation. Goe, Pulses ! Beate towarde our sleepie Pages, and startle them wth an alarme from their sleepe into their Antemasque, using the most spritely action they maie, to expresse in gestures their particular natures. The Pulses beate towards the Forte, and give an Alarme ; at which the eight Pages starte up, and fall into their Ante- masque. After which Aglaia speaks. Agl. Here were gestures enowe, Madame, in steade of jestes. Bew. I wishe jestes had supplied their gestures; for their want, perhappes, may argue a dearth of witt amongst us. Agl. A want that may well chance here, wthout a misse. Such witt is butt like a wilde weede in a ranke soile ; wclx yett, being well manur'd, (I confesse) maie yeeld the whole some croppe of wisedome and discretion, at tyme o' th' yeare, and in ye meane tyme, beare the most ingenious flower of laughter. Bew. Ingenious ! what is't, but a foolish tickling of the 134 THE MASQUE OF spleeiie, and, indeed, the very embleme of a foole? A quality long since banisht ye Courte ; specially from all pro- ficientes in policie, and ladies of employment. Agl. However, Madame, meethinkes inward delight should be as pleasing as laughter. To wch end, if variety of showe be inserted, bee our hopes confident, wee shall not much misse laughter. Bew. If showe will serve, Aglaia, we will try To call ye whole pompe of the peacefull skye In all the thirteene moones that decke the yeare, And to the glorious Moneths the torches beare ; With incantations downe eithers sphere, The Queene of all invok't. O, Cynthia ! If ever a deformed witch could drawe The dreadfull brightnes from thie duskie throne, Lett nowe ye Goddesse of Proportion Much rather move it ; to right him for all, In whome all charms of Art and Nature call. Lowde musique, and the Moones appeare like Huntresses, w*h torches in their hands, Sfc. Agl. O, see ! yo* short charme was so sweete and strong, It past all power t' oppose or to prolong. In all these great confiners of ye skies, Ladies of ladies, wing'd inconstancies, Greate Presidentes of all Earth's changing fashions, In all her bodies ornamentes and passions, That (never getting garme,ntes fitt for them) Make lordes and ladies ravisht wth their streame. Musique. And they dance the second Antemasque. After wch Bewty speaks. Bew. Theise fires, I hope, have made ye colde night warme With stirring pleasures ; and our royall charme Call'd downe wth it as much delight as light. Agl. Soe maie it ; and disclose the crowning sight THE TWELVE MONTHS. 135 Of all ye Moneths, for wch these moones were made, As upper torchbearers, to guild their shade. After this, Prognostication enters, caperinge. Bew. Howe nowe ! what frolicke person have wee here ? Agl. Prognostication, Madame, that nowe enters, In prime of this newe yeare, in all his honors Sought to for his predictions ; and forerunnes The Moneths, our Masquers, and newe rising sunnes. After this, he dances vpp, and delivers his prognostications; wch done, lowde Musique, and the Masquers descend, Bewty speaking. Bew. Admire, admire, the full pompe of the yeare, Contracted, yett much amplified here. Agl. What glorious Moneths renowme that first araie ! Bew. There princely Aprell sittes ; and flourishing May ; Sweete Aprill, lov'd of all, yett will not love, Though Love's great godhead for his fauor stroue, Fetherd his thoughtes, and to his bosome flewe, Like to a nightingale, that there did sewe, To save her life, sought by some bird of prey. Hee smil'd at first, and gave her leave t' allay Her fright in shadowe of his flowrie hand: Wch pleas'd her so, that there she tooke her stand, And sung for joie ; then tooke another showe, And seem'd a lovely Nymphe wth shaftes and bowe, And shott at birdes aboute him. He drewe nye, And askt a sight of her faire Archerie ; W* when he handl'd, and did well behold The bewtie of her shafte, fordg'd all of gold, Hee askt them of her : shee excusde, and said Shee had no other riches, yett obaide ; And (with intention to make a kiss Good as her arrowe) those delights of his 136 THE MASQUE OF Offer'd to stake against one, and to plaie A game att chesse for all. He tooke the laie, Went in and wunne, and wrapt them in embraces ; And now Love's shaftes are headed wth his graces. Agl. Hee pluckt his winges, too, some reportes presume. Bew. Hee did, and beares them in a triple plume. Agl. Sweete Goddesse, lett your musique sound, and sing Him and his traine forth. Bew. Sett vp everie string, And euerie voice make like a trumpett ring. Here the Second Song, calling the Masquers to their Dance. After wch they dance their Entrie: which done, Aglaia Agl. These are no Moneths, but that celestial seede Of men's good angells, that are said to breede In blessed iles about this Britane shore ; That heighten spirittes bred here, with much more Then humane virtues. Bew. Gravest authors saye That there such angells dwell ; and these are they. Agl. O ! how they move nowe, while they rest ; but moving, Ravishe beholders, and cause more then loving : Commaund Heaven's harmony in numerous ayer, To sacrifice to their divine repaire, And make them move in all their pompe again. Bew. What shall we offer to his wisedome, then, By whome these move and be ? for whose worth all These wonders in those Iles angelicall, Are sett in circle of his charm'd commaund, Wall'd with the wallowing ocean ? And whose hand, Charming all warre from his milde monarchic, Tunes all his deepes in dreadfull harmonic Agl. Not harmonie of tunes alone, but heartes, Set to his love, sung in a world of partes. THE TWELVE MONTHS. 137 Here the third Song, beginning thus : Proceede with your, fyc. After wch they dance their mayne dance ; w'' done, Bewty invites them to dance with the Ladies. Bew. Nowe double all that hath bin pleasing, On Pleasure's cheife deservers seasing. No pleasure is exactlie sweete, Till ladies make their circles meete. After this, the fourth Song : See, See, fyc. ; wch done, they dance with the Ladies, and the whole Revells followe. At end whereof, Bewty speakes. Enter Madg Howlet, hooting, going vp towards y° King. After whome follows Piggwiggen, a Fairy, calling to her. Pig. You, myne hostesse of the Ivie bushe ! What make ye hooting in theis walkes ? How. What ? Lady Piggwiggin, th' only snoutfaire of the fairies. A my word, hadst thou not spoken like a maid, I had snatcht thee vp for a mouse. O ! a good fatt mouse were an excellent rere banquet this midnight, specially a citty mouse ; yor contry mouse is not worth ye fleying. Pig. Why, knowst thou where thou art, Madge ? How. In a good Yeoman's barne, I thinke ; for I am sure that from hence flowes all the barnes breade of the kingdome. But what wynde brings thee hether ? Pig. I am comaunded by our fairy Queene, that rules in night, now to attend her charge that night and daie rules, being the great enchantresse, imperiouse Bewty, who in her charmed fort sittes close hereby, enthron'd, and raignes this night great President of all those princely revells that in ye honor of our fairy king are here to be presented, to whose state her highnes hath design'd theis silent houres, Commaunding Musique from ech moving sphere, And silence from eche mover seated here. How. Nay, then, Pigg, I must tell yow yow usurp my 138 THE MASQUE OF naturall office: Night's all taming silence is my charge to proclaime, being Night's cheife herauld ; and at this howre, when Heauen had clos'd his eye, I open myne, and through ye silken ayre wing all my softer feathers, summoning all earth's sweete ladyes to their sweetest rest, or to their sweeter labors. Evry night make I attendance on this blessed bowre, Where Majestie and Love are mett in one, All harmfull spirritts frighting from his throne, And keeping watch yl noe ill-looking plannet fasten his beames here ; all ill-looking commettes (in all their influences so much feared) Converting into good and golden dewes, That peace and plenty through ye land diffuse. Pig. What ! turn'd poet, Madge ? How. I, Pigg : I hope I have not harbord so long in an ivie bush, but I can play the poet for a neede. Pig. Meaning a needy poet. How. Faith, needy we are all, Pig; and all for the needlesnes of so many. But this all equal knowledge hath decreed, Neede is no vice, since vices have no need. Pig. Sententious and satyricall ! Who would beleeve dull Madge were so sharpe a singer ? How. What, not the bird of Pallas ? Knowe thou, Pig, I have sung wtb the Nightingall, and obtain'd The prise from her in judgment of the best eares. Pig. True ; if ye biggest be best ; for the asse was yor judge. How. No matter who be a judge, so hee beares upright eares betwixt partie and partie. But if my song should not prove pleasing to lords, I hope yet ladies would a little beare wth mee for kindred sake. Pig. Kindred, Madge? By what clame comes that in? Methinkes there's little resemblance betwixt them and thee. THE TWELVE MONTHS. 139 Madg. Tis true, that fewe of them resemble mee favor, but in quallitie wee are a kinne. Pig. As howe, Madge ? Madg. Why, one point is, that they commonly love to be chatting, when all else are silent, wh is property borrowed from mee ; for my tongue is still walking, when all else are tonge-tyde. Pig. Thats something agreeable. Madg. Another is, that ladies take more pleasure in night then daie ; and so doe I. Only we differ in this ; they keepe house all night, and fly out ith' day. Pig. Then be it thie heraldrie to call them home nowe, and proclaime their silence. Madg. Nay, lett them alone for silence : when they come home, they'le keepe councell in their own causes as well as men. Pig. Proclaime their attendence, then, and attention to Bewty. Make a noise. How. Oyes! Pig. All manner of ladies. Ma. All &c. Pig. Cittie or countrey, Ma. Citty &c. Pig. That either are, or would be, of Bewties traine, Ma. That &c. Pig. Make ready to be observ'd, Ma. Make &c. Pig. In all the newest fashons Ma. In all &c. Pig. They can possibly gett for loue or mony. Ma. They &c. Pig. What cost soever is spard Ma. What &c. Pig. Shalbe defalkt out of their contentment. Ma. Shalbe &c. Pig. If their husbandes be in fault, Ma. If &c. Pig. They shall punish them at their pleasure. Ma. They &c. Pig. If their lovers, they shall change at pleasure. Ma. If&c. 1 40 THE MASQUE OF Pig. And further it is provided, Ma. And &c. Pig. That if any lady loose her Jewell, Ma. That &c. Pig. If it cannot be restored, Ma. If &c. Pig. Shee shall have the vallue of it given her. Ma. Shee &c. Pig. Out of Bewties privy purse. Ma. Out of &c. Pig. And Jove save our soueraigne. Ma. And &c. Pig. See nowe, the seane opens, and the twelve Spheres descend to call Bewty from her forte, the Hearte. Ma. Lett us be gone, then, and performe the rest Of our observance in some seate unseene. He flutter upp, and take my perche upon Some citty head-attire, and looke through that (Buzzelld wth bone lace) like myselfe in state. Doe thou transforme thie selfe into a glowe-worm, And twixt some ladies lovely brestes lye shining, Like to a crisolite, till, in the end, With some Good Night wee both againe attend. Pig. Agreed. [Exeunt. Bew. Nowe, Somnus, open thie Ambrosian gates, Usherd wth all Athenias birdes and battes, And (crown'd with poppey) rule and bound yc knees Of these thus spritelie principalities : Concluding all in as much golden rest, As all their motions have been prais'd and blest. After this, Somnus is seene hovering in y' ayre, and sings the last song. Retire, fyc. Wch done, they dance their going off, and conclude. 1 Song. Grace of Earth and Heaven appeare ! Feare to trust a human forte : Bewty, so divinelie cleare, Must not be conceald in Courte. THE twelve months. 141 If ever you your selfe affected, Showe here your light, or live neglected. Chor. Pulses, you that guard her lighte, Borne to rest nor daie nor night, Dead slumber must not thus enthrall : Wake, and with a lowde alarme, Serve our Conqueror of Charms, And for him breake your Hearte and all. Cho. Breake, Hearte, for feare to holde a forte Against the kingdome of a Courte. 2 Song. Shine out, faire Sunns, with all your heate, Showe all your thousand colour'd lighte ; Black Winter freezes to his seate ; The graie wullff howles, he does so bite ; Crookt Age on three knees creepes the streete ; The bonelesse Fish close quaking lies, And eates for colde his aking feete ; The Starrs in isickles arise. Cho. Shine out, and make this winter nighte Our Bewties Spring, our Prince of Lighte. Here they come forth, and dance their entrie. After wch, Bewtie speakes a little; and Harmony comaundes this 3d Song. 3 Song. Proceede with your divine delighte, Even till it reach meridian height ; Exceede the Sunne in your advances, Who onlie at his rising dances. Quicke offerings still to our Apollo give ; In whose creating beames yee shine and live. 142 the masque of the twelve months. 4 Song. See, see, howe Beauties summer glowes, Incenst to make her solstice here, Where all the motions of the yeare To all the Graces paie their vowes. Cho. Whie rest these breathing Plannetts, then ? These moulds of Life ? these orbs of Men ? Since here (it seemes) they passe for neither. Elsewhere, fife's joies are fors't and laide Still on ye racke. Or else, are like the inconstant wether, Wings without bodies, never staide, But in their lacke. But here they flowe, and staie and sitt, For worthie choices free and fitt. Chuse, chuse ! these joies [not] seas'd in tyme will flitt. Song. Retire ! Rest calls ye to retreate ; Late watchings waste the vitall heate, Though spent in sports, that nectar sweate. Retire ; and lett these numberd pleasures Teach youth and state to tread the measures ; And spare, still in the middst their treasures. Retire ; though in your princely blood Each spirrit for Somnus is too good. Yett come : bathe in his golden flood, Where true dreames shall employ yor breath, And teach you howe to wake in Death. FINIS. MASK OF THE FOUR SEASONS. Genius, or the Country es better Angeli, wrapt in amazement at some happy changes he observes in his Soyle and Clymate, be gins the entertainment wth his first Entry. Genius. What mean these preparations in ye ayre, proclaimeing some great welcome ? all soe fayre, the dogstar bites not ! and the parching heat that lately chapt our feilds, sweet showres, that beat on the earth's teeming bosome, have allay'd : the earth in robes of a new Spring arayde, seems proude of some late gueste : the days are clear as had tyme, from all seasons of ye year, extracted forth theyr quintessence. In mee, this countryes Genius, the sweet harmony of all the elements (that have conspir'd to blesse our soyle and clymate) hath inspir'd a fresher soule. But soft ! what doo I see ? Beuty join'd hand in hand with Majesty ? Mars and ye Queen of Love ? Sure, tis not they. I see noe wanton glances, but a raye like bright Diana's smiles ; and in his face a grave aspect, like Jove's, taking his place amidst heavns counsellors : nor are those twayn yonge Cupids : they have eys, and I in vayne guesse at yon fresher beauty then ye Spring, or smooth-fac't Hebe. Let sweet Orpheus sing 144 MASK OF THE FOUR SEASONS. unto his well tun'd lyre, y' they may see they're truly welcome here, whoe ere they bee. Orpheus enters wth this Song. Canst thou in judgment bee soe slow, as those ritch beautyes not to know ? look on those eys, and sure theyr shine will give more clearnes unto thine. These, the fayr causes of our mirth, shall in esteem our barren earth equall with theyrs, whose lofty eys, our higher mountaines heer despise. See how the heavnes smile on our land, and plenty stretch her opened hand, enritching us wtb hearts content, civility and government. Wee in our country, that in us, both happy are, and prosperous ; and of our youth noe more made poore, shall find ye Court ev'n at our dore. Genius. I'me sung into my sences, but nought might, like Majesty or Beuty, dazle sight : bee that my just excuse. Now let mee show what welcome for my country's sake I owe to these her blessings. Backward shall ye year runne in his course ; ye Seasons shall apear each wth theyr proper dantyes; Winter shall, as for his age preferd, bring first of all his full, though grosser dishes ; let them be th'expression of our entertainement, free, MASK OF THE FOUR SEASONS. 145 though not soe fine. Yet thus much lett mee say, there is noe danger in them, but you may feareles tast where you please, they're all our own ; noe dish whose tast or dressing is unknown unto our natives : neighbouring mountains yeald us goats, and in ye next adjoining feilds pasture our muttons : if there bee a buck turnd into venison, that, was likewise struck on our owne lawnes : of whatsoere is more, wee serve in noe strange dish, but [our] owne store. This speech ended, Winter ushers in y6 first course, weh having ordered upon ye table, turnes to ye Company. Winter. Not to detaine you longer from your fare, to tell you more then, welcome, welcome y'are : welcome, with all my hart. More can't be spoak ; a fuller- word then welcome is would cboak. \_An old man ; if you hear more, hear grace.1 The first Course taken away, Orpheus ushers Autumne, with the second: hee presents a bakemeat in one hand, and wyne in ye other, being ye fruits of Ceres and Bacchus, properly be* longing to Autumne, in whose name Orpheus sings. Your beautyes, ladyes, far more bright and sweet then Phoebus clearest light, have sooner far fetcht Autumne heer then all his smiles throughout ye year. Though wtt his rayes and fayrest days, and wtb serenest view, hee courts mee heer, 1 This is inserted as a stage-direction in the MS. ; but it seems a sort of prose conclusion to the speech of Winter, who, we may suppose, says grace before the King, Queen, &c, begin the feast. L 146 mask of the four seasons. yet I appear, but to attend on you. And, being come, I hold it scorne to welcome you wth meer bare corne ; here's Ceres in a new attire, and ripned wth a second fire. Cut up and find how shee is find ; for to entertaine you here's Bacchus blood, to digest your food ; why then, doe not refraine you. [Exeunt. The second Course taken away, Orpheus enters again, bringing in Summer, and thefrutes of her Season, wth this Song. Summer was offring sacrifice unto ye Sunne, but from your eys perceiving far a clearer light, ladyes, hee gives them to your sight ; and ritcher paiment doth hee find from your breaths then the Southern wind. As Autumnes clusters ripned bee by neighbouring grapes maturity, soe from your lips his cherryes, heer, take sweetnes, and theyr colour clear. Noe marvell, then, y* as your due they thus present themselves to you : all other fruites his season yealde[s] are yours, himself, his trees, his feilds. [Exeunt. The last of Orpheus songs is in ye person of if Spring, whoe brings in ye bason and ewer. The nightingale, ye larke, ye thrush doe sing, and all to welcome in ye Spring. MASK OF THE FOUR SEASONS. 147 The warme blood in ye veynes doth hop about and dance, and new life's in evry thing. The yong men they doe likewise court theyr lovers, whilst them theyr lusty, warme blood mooves ; but unto you ye Spring doth [raise] her voyce and sing, and her self your lover prooves. Shee not presents you heer wth simple flowres, but with sweet distilled showres : theyr very quintessence, most pleasing to ye sence, extracted from them forth shee powres. Add sweet to sweet, and wash your lilly hands : The Spring shall be at your commands. Nought could have brought back heer ye Spring tide [of] y8 year, Save you, fayr blessings of our land, To whom thus wth a wish shee bids Adieu. Spring, youth, and beuty, still attend on you. [Exeunt. After supper is ended, and ye tables taken away, Enters Genius. Heres not enough of mirth. I warne t'appear Once more the Seasons of ye year. Let musique strike, and you shall see old Winters full of jollity : Autumne is Bacchus darling, and soe joyd, perchance hee can not stand : the other livelyer Seasons shall, show ' you theyr pastimes festivall, 1 Miswritten So in the MS. 148 MASK OF THE FOUR SEASO'NS. how usually they doe themselves bestirre on May day, and the feast of Midsommer. This Speech ended, enter Winter. Winter is old, yet would he fain this fayr assembly entertain to his best powre ; but should he try, he feares it were not worth your ey. His cold stifle limbs are most unfit, although his heart be merry yet, his long nights jovially to spend with cups and tales to pleas his friend. Let not your expectations runne further; his dancing days are done: yet if hee soe may satisfie, by some quicke yongster to supply his place, hee Christmas Gamboles piekes,. to entertain you w"1 his trickes. 1. Then enters Gamboles, dancing a single Anticke wth a- forme. 2. After him, Autumne brings in Ms Anticke of drunkards. 3. Summer followes, wih a country dance of heymakers or reapers. 4.. The last is a morrice dance, brought in by ye Spring. These ended, Enter Genius, wth Epilogue. If these our pastimes pleas, I've yet one more that freely doth present you all her store : Night gives her howres ; part them, as you think best* between your recreation and your rest. finis. X- iilii