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But it was all either an intrusion, alien to the general purport of the production, or else vastly overshadowed by the chief design, which was to present, with the aid of “disguisings” and elaborate “machines,” a sort of living picture or series of living pictures, expressing some mythological, allegorical episodes or complimentary idea.

The chief aim was splendid pageantry; something mainly to please the eye; and secondarily to charm the ear; without making too great claims upon the intellect.

Among the leading English masque writers during the period we are considering were George Gascoigne, Campion, Samuel Daniel, Dekker, Chapman, William Browne, Beaumont and Fletcher and Jonson.

In France, at the Court of Henri Quatre, and under the direction of his famous minister, the great and grave Sully—who himself took part in them—some eighty ballets were given between 1589 and 1610, apart from state balls and bals masqués.

In England among the more notable masques produced during about the same period were the following:—