[594] Mask of Blackness (1605); Hymenaei (1606); Haddington Mask (1608); Mask of Queens (1609); Tethys' Festival (1610); Oberon (1611); Love Freed from Ignorance and Folly (1611); Lords' Mask (1613); Chapman's Mask (1613). The designers of the Hay Mask (1607), Beaumont's Mask (1613), and the Mask of the Twelve Months are not named. Jonson says that the scene of the Mask of Beauty (1608) was 'put in act' by the King's Master Carpenter. This was an officer of the Works, one William Portington (Jupp, Carpenters' Company, 165). He was not necessarily the designer, but Jonson does not, as one would expect, mention Jones. Love Restored (1612) had a chariot, but perhaps no scene. The Irish Mask (1613) seems to be a Jacobean example of the simple mask. The Caversham Mask (1613) is another, but this was not at court.
[595] A far more thorough treatment than is possible for me will be found in the chapter on La Mise en Scène, in Reyher, 332.
[596] Designs by Jones for proscenia (of Caroline date) are reproduced by Lawrence (i. 97), The Mounting of the Carolan Masques; on proscenium titles, cf. Lawrence, i. 46.
[597] Feuillerat, Eliz. 117; cf. Halle, ii. 87.
[598] An ingenious paper on The Story of a Peculiar Stage Curtain in Lawrence, i. 109, suggests an affiliation between this sinking curtain and the Roman aulaeum.
[599] Chamber Accounts; cf. Reyher, 358.
[600] Reyher, 367.
[601] Cf. ch. xx.
[602] Cf. ch. xix.
[603] Cunliffe, The Influence of Italian on Early Elizabethan Drama (M. P. iv. 597), and Early English Classical Tragedies, xl.