Masques Et Visages

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 public version of the masque was the pageant). A masque involved music, 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. Masquers who did not speak or sing were often 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.

Development

The masque tradition developed from the elaborate pageants and courtly shows of ducal Burgundy in the late Middle Ages. Masques were typically a complimentary offering to the prince among his guests and might combine pastoral settings, mythological fables, and the dramatic elements of ethical debate. There would invariably be some political and social application of the allegory. Such pageants often celebrated a birth, marriage, change of ruler or a royal entry and invariably ended with a tableau of bliss and concord.

Masque imagery tended to be drawn from Classical rather than Christian sources, and the artifice was part of the Grand dance. Masque thus lent itself to Mannerist treatment in the hands of master designers like Giulio Romano or Inigo Jones.

The New Historians, in works like the essays of Bevington and Holbrook's ''The Politics of the Stuart Court Masque'' (1998), have pointed out the political subtext of masques. At times, the political subtext was not far to seek: ''The Triumph of Peace'', put on with a large amount of parliament-raised money by Charles I, caused great offence to the Puritans. Catherine de' Medici's court festivals, often even more overtly political, were among the most spectacular entertainments of her day, although the "intermezzi" of the Medici court in Florence could rival them.

Dumbshow

In English theatre tradition, a dumbshow is a masque-like interlude of silent mime usually with allegorical content that refers to the occasion of a play or its theme, the most famous being the dumbshow played out in ''Hamlet'' (III.ii). Dumbshows might be a moving spectacle, like a procession, as in Thomas Kyd's ''The Spanish Tragedy'' (1580s), or they might form a pictorial tableau, as one in the Shakespeare collaboration, ''Pericles, Prince of Tyre'' (III.i)—a tableau that is immediately explicated at some length by the poet-narrator, Gower.

Dumbshows were a medieval element that continued to be popular in early Elizabethan drama, but by the time ''Pericles'' (c. 1607–08) or ''Hamlet'' (c. 1600–02) were staged, they were perhaps quaintly old-fashioned: "What means this, my lord?" is Ophelia's reaction. In English masques, purely musical interludes might be accompanied by a dumbshow.

Origins

The masque has its origins in a folk tradition where masked players would unexpectedly call on a nobleman in his hall, dancing and bringing gifts on certain nights of the year, or celebrating dynastic occasions. The rustic presentation of "Pyramus and Thisbe" as a wedding entertainment in Shakespeare's ''A Midsummer Night's Dream'' offers a familiar example. Spectators were invited to join in the dancing. At the end, the players would take off their masks to reveal their identities.

Court masques in England and Scotland

In England, Tudor court masques developed from earlier ''guisings'', where a masked allegorical figure would appear and address the assembled company—providing a theme for the occasion—with musical accompaniment. Costumes were designed by professionals, including Niccolo da Modena. Elizabeth of York paid for costumes for "disguysings" in June and December 1502. Minstrels were dressed in white and green Tudor livery. Henry VIII came to Catherine of Aragon's chamber disguised as Robin Hood in January 1510, perhaps causing initial uneasiness, and there was dancing.

Hall's ''Chronicle'' explained the new fashion of Italian-style masque at the English court in 1512. The essential feature was the entry of disguised dancers and musicians to a banquet. They would appear in character and perform, and then dance with the guests, and then leave the venue. At the meeting at Lille in October 1513, when the ladies were dancing after a banquet, Henry VIII and eleven other dancers entered "richely appareled with bonettes of gold". At the conclusion of their performance they gave their masque costumes to the audience.

On 1 May 1515, Henry VIII and Catherine of Aragon rode from Greenwich Palace to have breakfast in an arbour constructed in a wood at Shooter's Hill. Catherine and her ladies were dressed in Spanish-style riding gear, Henry was in green velvet. The royal guard appeared in disguise as Robin Hood and his men. There was a pageant chariot or car with Lady May and Lady Flora, followed by a masque and dancing.

According to George Cavendish, in January 1527 Henry VIII came to Cardinal Wolsey's Hampton Court, by boat "in a masque with a dozen of other maskers all in garments like shepherds made of fine cloth of gold and fine crimson satin paned, and caps of the same with visors", wearing false beards, accompanied with torch bearers and drummers. Their arrival at the palace water gate was announced by cannon fire. The King's part of the entertainment was organised by William Sandys and Henry Guildford. The masquers played a dice game called mumchance before dancing. Edward Hall described similar masques involving the king's disguised appearance.

In the play ''Henry VIII'', by Fletcher and Shakespeare, the masque was recalled when Henry in shepherd's disguise meets Anne Boleyn. Anne Boleyn and seven ladies in "maskyng apparel of straunge fashion" performed for Henry VIII and Francis I of France at Calais on 27 October 1532. Some of the costume, supplied by the yeoman of the revels Richard Gibson, was described as "masking gere".

Masques at Elizabeth I's court emphasized the concord and unity between Queen and Kingdom. A descriptive narrative of a processional masque is the masque of the Seven Deadly Sins in Edmund Spenser's ''The Faerie Queene'' (Book i, Canto IV). A particularly elaborate masque, performed over the course of two weeks for Queen Elizabeth, is described in the 1821 novel ''Kenilworth'', by Sir Walter Scott. Queen Elizabeth was entertained at country houses during her progresses with performances like the Harefield Entertainment.

In Scotland, masques were performed at court, particularly at wedding celebrations, and the royal wardrobe provided costumes. At a banquet at the tournament of the Wild Knight and the Black Lady in 1507, the Black Lady came into the hall at Holyroodhouse with Martin the Spaniard who was equipped with an archery bow and dressed in yellow. A cloud descended from the roof and swept them both away.

Performers at a wedding masque at Castle Campbell in 1562 dressed as shepherds. Mary, Queen of Scots, Henry Stuart, Lord Darnley, and David Rizzio took part in a masque in February 1566. Mary attended the wedding of her servant Bastian Pagez, and it was said she wore male costume for the masque, "which apparel she loved often times to be in, in dancings secretly with the King her husband, and going in masks by night through the streets". James VI and Anne of Denmark wore masque costumes to dance at weddings at Alloa Tower and Tullibardine Castle.

After James and Anne king and queen of England at the Union of the Crowns in 1603, narrative elements of the masque at their court became more significant. Plots were often on classical or allegorical themes, glorifying the royal or noble sponsor. At the end, the audience would join with the actors in a final dance. Ben Jonson wrote a number of masques with stage design by Inigo Jones. Their works are usually thought of as the most significant in the form. Samuel Daniel and Sir Philip Sidney also wrote masques.

William Shakespeare included a masque-like interlude in ''The Tempest,'' understood by modern scholars to have been heavily influenced by the masques of Ben Jonson and the stagecraft of Inigo Jones. There is also a masque sequence in his ''Romeo and Juliet'' and ''Henry VIII''. John Milton's ''Comus'' (with music by Henry Lawes) is described as a masque, though it is generally reckoned a pastoral play.

There is a detailed, humorous, and malicious (and possibly completely fictitious) account by Sir John Harington in 1606 of a masque of Solomon and Sheba at Theobalds. Harington was not so much concerned with the masque itself as with the notoriously heavy drinking at the Court of King James I; "the entertainment went forward, and most of the presenters went backward, or fell down, wine did so occupy their upper chambers". As far as we can ascertain the details of the masque, the Queen of Sheba was to bring gifts to the King, representing Solomon, and was to be followed by the spirits of Faith, Hope, Charity, Victory and Peace. Unfortunately, as Harington reported, the actress playing the Queen tripped over the steps of the throne, sending her gifts flying; Hope and Faith were too drunk to speak a word, while Peace, annoyed at finding her way to the throne blocked, made good use of her symbolic olive branches to slap anyone who was in her way.

Francis Bacon paid for ''The Masque of Flowers'' to celebrate the marriage of Robert Carr, 1st Earl of Somerset and Frances Howard, Countess of Somerset. James Hay, 1st Earl of Carlisle, was a performer and sponsor of court masques. He wrote about the tight-fitting costumes, that it was the fashion "to appear very small in the waist, I remember was drawn up from the ground by both hands whilst the tailor with all his strength buttoned on my doublet

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