"In poetry, painting,
architecture, they (the Masques) have not since been equalled."

"The Masque," continues Gifford, "as it attained its highest degree of
excellence, admitted of dialogue, singing and dancing; these were not
independent of one another, but combined by the introduction of some
ingenious fable into an harmonious whole. When the plan was formed, the
aid of the sister-arts was called in; for the essence of the Masque was
pomp and glory. Movable scenery of the most costly and splendid kind was
lavished on the Masque; the most celebrated masters were employed on
the songs and dances; and all that the kingdom afforded of vocal and
instrumental excellence was employed to embellish the exhibition. Thus,
magnificently constructed, was composed, as Lord Bacon says, for
princes, and by princes it was played. Of these Masques, the skill with
which their ornaments were designed, and the inexpressible grace with
which they were executed appear to have left a vivid impression on the
mind of Jonson. His genius awakens at once, and all his faculties attune
to sprightliness and pleasure. He makes his appearance like his own
Delight, accompanied with Grace, Love, Harmony, Revel, Sport, and
Laughter."

In the Masques the Pantomimic dances of the Masquers were known as
motions:--

"In curious knot and mazes so
The Spring at first was taught to go;
And Zephyr, when he came to woo
His Flora had his _motions_ too;
And thus did Venus learn to lead
The Idalian brawls, and so to tread,
As if the wind, not she did walk,
Nor press'd a flower, nor bow'd a stalk."

Before the arrival of the Italian Masque in England, the Harlequin
family were unknown, and, doubtless, Harlequin's first appearance in
this country was in consonance with the Masque itself.

Heywood, in a tract, published in 1609, entitled, "_Troia Britannica_,"
mentions "Zanyes, Pantaloons, Harlakeans, in which the French, but
especially the Italians, have been excellent as known in this country."

The earliest record I can find of a Harlequin performing in this country
is in the Masque given before Charles I. and his Court on the Sunday
evening following Twelfth Night, 1637. An account of this Masque, as
well as other information dealing with the Masque entertainments, will
be found in my volume, "Stage Whispers," and in the article on
theatrical scenery.

In a comedy, written by Ravenscroft, after the Italian manner, Joe
Ha