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THEATRES, PLAYWRIGHTS, ACTORS, AND PLAYGOERS.
1. Servants of the Nobility become Players—Statutes of Edward VI.
and Mary-Statutes of Elizabeth-Licences.-II. Elizabeth's and
Leicester's Patronage of the Stage—Royal Patent of 1574--Master
of the Revels-Contest between the Corporation of London and
the Privy Council.-I11. The Prosecution of this Contest-Plays
Forbidden within the City-Establishment of Theatres in the
Suburbs-Hostility of the Clergy.-IV. Acting becomes a Pro-
fession—Theatres are Multiplied—Building of the Globe and
MASQUES AT COURT.
1. Definition of the Masque-Its Courtly Character-Its Partial
Influence over the Regular Drama.-11. Its Italian Origin.-III.
Masques at Rome in 1474-At Ferrara in 1502—Morris Dances-
At Urbino in 1513—Triumphal Cars.-IV. Florentine Trionfi-
Machinery and Engines—The Marriage Festivals of Florence in
1565–Play and Masques of Cupid and Psyche-The Masque of
Dreams—Marriage Festival of Bianca Capello in 1579.—V.
Reception of Henri III. at Venice in 1574–His Passage from
Murano to San Niccolò on Lido.-VI. The Masque transported
to England–At the Court of Henry VIII. and Elizabeth-
Development in the Reign of James I.-Specific Character of
the English Masque—The Share of Poetry in its Success.–VII.
Ben Jonson and Inigo Jones—Italian and English Artists—The
Cost of Masques.-VIII. Prose Descriptions of Masques—Jonson's
Libretti–His Quarrels with Jones—Architect versus Poet-IX.
Royal Performers—Professionals in the Anti-Masque.-X. Variety
of Jonson's Masques—Their Names—Their Subjects—Their
Lyric Poetry.—XI. Feeling for Pastoral Beauty-Pan's Anni-
versary.-XII. The Masque of Beauty-Prince Henry's Barriers
- Masque of Oberon.-XIII. Royal and Noble Actors—Lady
Arabella Stuart-Prince Henry-Duke Charles—The Earl and
Countess of Essex-Tragic Irony and Pathos of the Masques at
Court.-XIV. Effect of Masques upon the Drama-Use of them
by Shakspere and Fletcher-By Marston and Tourneur-Their
great Popularity-Milton's Partiality for Masques—The‘Arcades'
and · Comus'