Related Research Articles
The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe, though it was developed earlier in Italy, in forms including the intermedio. A masque involved music and dancing, singing and acting, within an elaborate stage design, in which the architectural framing and costumes might be designed by a renowned architect, to present a deferential allegory flattering to the patron. Professional actors and musicians were hired for the speaking and singing parts. Often the masquers, who did not speak or sing, were courtiers: the English queen Anne of Denmark frequently danced with her ladies in masques between 1603 and 1611, and Henry VIII and Charles I of England performed in the masques at their courts. In the tradition of masque, Louis XIV of France danced in ballets at Versailles with music by Jean-Baptiste Lully.
Thomas Campion was an English composer, poet, and physician. He wrote over a hundred lute songs, masques for dancing, and an authoritative technical treatise on music.
The Masque of Blackness was an early Jacobean era masque, first performed at the Stuart Court in the Banqueting Hall of Whitehall Palace on Twelfth Night, 6 January 1605. It was written by Ben Jonson at the request of Anne of Denmark, the queen consort of King James I, who wished the masquers to be disguised as Africans. Anne was one of the performers in the masque along with her court ladies, all of whom appeared in blackface makeup.
Hymenaei, or The Masque of Hymen, was a masque written by Ben Jonson for the marriage of Robert Devereux, 3rd Earl of Essex, and Lady Frances Howard, daughter of the Earl of Suffolk, and performed on their wedding day, 5 January 1606. The costumes, sets, and scenic effects were designed by Inigo Jones, and the music composed by Alfonso Ferrabosco.
Love's Triumph Through Callipolis was the first masque performed at the Stuart Court during the reign of King Charles I, and the first in which a reigning monarch appeared. The work was written by Ben Jonson, with costumes, sets, and stage effects designed by Inigo Jones, and music by Nicholas Lanier. This play Also played in Greece national theatre in 1979 together with the Johnsons masques Oberon, the faery prince and News from the new world discovered in the moon. [[ [[ ]]
Oberon, the Faery Prince was a masque written by Ben Jonson, with costumes, sets and stage effects designed by Inigo Jones, and music by Alfonso Ferrabosco and Robert Johnson. Oberon saw the introduction to English Renaissance theatre of scenic techniques that became standard for dramatic productions through the coming centuries.
Love Freed from Ignorance and Folly was a Jacobean era masque, written by Ben Jonson and designed by Inigo Jones, with music by Alfonso Ferrabosco. It was performed on 3 February 1611 at Whitehall Palace, and published in 1616.
Love Restored was a Jacobean era masque, written by Ben Jonson; it was performed on Twelfth Night, 6 January 1612, and first published in 1616. The Dictionary of National Biography says of the masque, "This vindication of love from wealth is a defense of the court revels against the strictures of the puritan city."
The Hue and Cry After Cupid, or A Hue and Cry After Cupid, also Lord Haddington's Masque or The Masque at Lord Haddington's Marriage, or even The Masque With the Nuptial Songs at the Lord Viscount Haddington's Marriage at Court, was a masque performed on Shrove Tuesday night, 9 February 1608, in the Banqueting House at Whitehall Palace. The work was written by Ben Jonson, with costumes, sets, and stage effects designed by Inigo Jones, and with music by Alfonso Ferrabosco – the team of creators responsible for previous and subsequent masques for the Stuart Court.
The Golden Age Restored was a Jacobean era masque, written by Ben Jonson and designed by Inigo Jones; it was performed on 1 January and 6 January 1616, almost certainly at Whitehall Palace.
Mercury Vindicated from the Alchemists at Court is a Jacobean-era masque, written by Ben Jonson and designed by Inigo Jones. It was performed at Whitehall Palace on Twelfth Night, 6 January 1615. King James I liked it so much that he ordered a repeat performance the following Sunday, 8 January.
Neptune's Triumph for the Return of Albion was a Jacobean era masque, written by Ben Jonson, and designed by Inigo Jones. The masque is notable for the contradictory historical evidence connected with it and the confusion it caused among generations of scholars and critics.
The Speeches at Prince Henry's Barriers, sometimes called The Lady of the Lake, is a masque or entertainment written by Ben Jonson in honour of Henry Frederick, Prince of Wales, the son and heir of King James I of England. The speeches were performed on 6 January 1610 in conjunction with the ceremony known as Prince Henry's Barriers.
The Memorable Masque of the Middle Temple and Lincoln's Inn was a Jacobean era masque, written by George Chapman, and with costumes, sets, and stage effects designed by Inigo Jones. It was performed in the Great Hall of Whitehall Palace on 15 February 1613, as one item in the elaborate festivities surrounding the marriage of Princess Elizabeth, daughter of King James I, to Frederick V, Elector Palatine in the Rhineland.
The Masque of Augurs was a Jacobean era masque, written by Ben Jonson and designed by Inigo Jones. It was performed, most likely, on Twelfth Night, 6 January 1622.
Time Vindicated to Himself and to his Honours was a late Jacobean era masque, written by Ben Jonson and with costumes, sets, and stage effects designed by Inigo Jones. James's son and heir Prince Charles led the dances of the principal masquers, as he had in several previous masques at the Stuart Court.
The Vision of the Twelve Goddesses was an early Jacobean era masque, written by Samuel Daniel and performed in the Great Hall of Hampton Court Palace on the evening of Sunday, 8 January 1604. One of the earliest of the Stuart Court masques, staged when the new dynasty had been in power less than a year and was closely engaged in peace negotiations with Spain, The Vision of the Twelve Goddesses stood as a precedent and a pattern for the many masques that followed during the next four decades.
The Shepherd's Paradise was a Caroline era masque, written by Walter Montagu and designed by Inigo Jones. Acted in 1633 by Queen Henrietta Maria and her ladies in waiting, it was noteworthy as the first masque in which the Queen and her ladies filled speaking roles. Along with Tempe Restored (1632), The Shepherd's Paradise marked a step in the evolution in attitudes and practices that led to the acceptance of women onstage during the coming Restoration era.
Luminalia or The Festival of Light was a late Caroline era masque or "operatic show", with an English libretto by Sir William Davenant, designs by Inigo Jones, and music by composer Nicholas Lanier. Performed by Queen Henrietta Maria and her ladies in waiting on Shrove Tuesday, 6 February 1638, it was one of the last and most spectacular of the masques staged at the Stuart Court.
Honora Denny was an English courtier.