[584] Brantôme (ed. Soc. H. F.), vii. 346; Prunières, 48 sqq.; Brotanek, 291.
[585] Magnificentissimi spectaculi ... in Henrici Regis Poloniae ... gratulationem Descriptio Io Aurato Poeta Regio Autore (1573); cf. Lacroix, i. xxi, and the engraving reproduced by Prunières as pl. 2. Prunières, 70, thinks that Baltasar had already taken part in the 'mascarade', half-tilt, half-dance, at the wedding of Henri of Navarre in 1572.
[586] Balet comique de la Royne faict aux Nopces de Monsieur le Duc de Joyeuse et de Mademoyselle de Vaudemont, sa Sœur, par Baltasar de Beaujoyeulx, Valet de Chambre du Roy et de la Royne, sa Mere (1582). This is reprinted, but without the engravings, by Lacroix, i. 1; cf. Prunières, 75, who gives one of the engravings as his pl. 3.
[587] Prunières, 94 sqq. Lacroix, i. 89, 109, 237, 271, 305, prints four French masks which allow of a useful comparison with those of England, viz. Ballet des Chevaliers François et Béarnois (1592), Balletz representez devant le Roy (1593), Ballet de Monseigneur le Duc de Vandosme (1610); Ballet du Courtisan et des Matrones (1612); also a description of Le Grand Bal de la Reine Marguerite (1612), which shows the relation of the mask to the contemporary non-mimetic state ball. On French masks of 1605, 1609, 1612, and 1615, cf. Sullivan, 29, 52, 67, 99.
[588] Exceptionally, the main scene was supplemented by a throne 'in midst of the hall' in the Mask of Beauty and by a mount and tree at the upper end of the hall in Tethys' Festival.
[589] On Hans Eottes, or Eworth, first traceable as Jon Eeuwowts of Antwerp in 1540, and the considerable body of portrait work now ascribed to him, cf. L. Cust, The Painter E (Annual of Walpole Soc. ii. 1; iii. 113). On Ferrabosco and Ubaldini, ch. xiv (Italians).
[590] For the career of Jones, cf. D. N. B., Reyher, 75; R. Blomfield in Portfolio (1889), 88, 113, 126; and Renaissance Architecture in England, i. 97; H. P. Horne, An Essay on the Life of Inigo Jones, Architect in The Hobby Horse (1893), 22, 64; Cunningham, Inigo Jones (1848). Designs by Jones for the scenery, stage-machinery, and dresses of masks and other court entertainments are in Lansdowne MS. 1171, and in the collections of the Duke of Devonshire at Chatsworth and of the Royal Institute of British Architects. They are mostly of the Caroline rather than the Jacobean period. A few have been reproduced by Cunningham, Reyher, and Lawrence, ii. 97. P. Simpson (Sh. England, ii. 311) gives eight figures for the Mask of Queens.
[591] 'The design and act of all which, together with the device of their habits, belong properly to the merit and reputation of Master Inigo Jones, whom I take modest occasion in this fit place to remember, lest his own worth might accuse me of an ignorant neglect from my silence' (Hymenaei); 'The structure and ornament ... was entirely Master Jones's invention and design.... 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' (Queens).
[592] 'The artificiall part onely speakes Master Inago Jones' (Tethys' Festival); 'I suppose few have ever seen more neat artifice than Master Inigo Jones shewed in contriving their motion, who in all the rest of the workmanship which belonged to the whole invention shewed extraordinary industry and skill, which if it be not as lively exprest in writing as it appeared in view, rob not him of his due, but lay the blame on my want of right apprehending his instructions for the adorning his art' (Lords).
[593] Cunningham, Jonson, iii. 211.