The court masque
Portrait miniature of an unknown woman in a masque costume, painted by Oliver Isaac, watercolour on vellum, probably England, circa 1609, presented by The Art Fund. Museum no. P.3-1942
The most lavish 17th-century productions were not open to the public. King James I (reigned 1603–25) and later his son Charles I (reigned 1625–49) commissioned spectacular private performances called 'masques' which involved music, dance, opulent costumes and extraordinary scenery and special effects. They were performed once or twice at one of the royal palaces and were only seen by members of the court. Such lavish court entertainments were fashionable throughout Europe as an expression of princely power.
Masques were often used to celebrate royal occasions such as a wedding or birth. Design and visual symbols played an important role in masques which called for lavish costumes and sets. Nobles and royalty would take part, often playing gods or heroes while the other roles were played by professional actors.
Court entertainments were far more opulent than those of the public playhouses, but professional actors and writers crossed over between both. Masque-like elements began to be included in popular plays. There are masque scenes in Thomas Kyd's 'The Spanish Tragedy' and Shakespeare's 'Cymbeline' and 'The Tempest'. Ben Jonson wrote masques for the court as well as drama for the public playhouses.
Inigo Jones (1573–1652)
Inigo Jones introduced the proscenium arch and moveable scenery arranged in perspective into British theatre.
While travelling in France and Italy he had been impressed and inspired by the use of stage machinery and scenic invention. Under James I and Charles I he collaborated with the writer Ben Jonson on a series of masques and elaborate court productions that cost a fortune.
Inigo Jones's scenery used a series of shutters that slid in and out using grooves in the floor. He even flew in scenery from above and introduced coloured lighting by placing candles behind tinted glass.
After a series of successful collaborations Ben Jonson and Inigo Jones quarrelled. Jonson accused Jones of ensuring that the scenic changes and transformations had more predominance in the masque than his poetry. Indeed 'The Masque of Oberon' in 1611 cost over £2000 and the costumes alone cost over £1000. Jonson received £40 for writing the script.
Inigo Jones went on to design theatre buildings. In 1619 he transformed the Banqueting House at Whitehall into a theatre and in 1629 built the Cockpit at Court.
Engraved print of a court ballet
This print shows a court ballet performed before Maximilian, Duke of Bavaria, in Vlasislav Hall, Prague Castle in 1617. Spending vast sums on such lavish, ephemeral spectacles was quite usual in 16th and 17th century Europe. Their purpose was often to impress visiting dignitaries and present a positive image of a ruler and his court. They included vast processions, dances, sung episodes and acted interludes, all sumptuously costumed with elaborate coaches and chariots and stage effects. From these spectacles evolved ballet and opera. In this production, the dancers form geometric patterns on the floor of the theatre before what we would now think of as the proscenium arch, which is 'designed' as a rocky archway. It helps to give the perspective illusion to the scenery behind it, as well as helping to mask the ropes, pulleys and counterweights that worked the cloud machine and the god descending in his chariot.
Costume design for Jacqueline The Knowing One
Costume design for Jacqueline The Knowing One in the French Ballet des Fées de la Foret de Saint Germain, pen and ink over lead, watercolour heightened with gold, 1625. Museum no. S.367-1988
Engraving published in Les Plaisirs de L'Isle
The ballet La Princesse d'Elide was part of a seven day fête held in May 1664 at the Palace of Versailles. The festivities celebrated the birth of a son to Louise de La Vallière, mistress of the French king, Louis XIV. Versailles had no theatre, so temporary stages were set up around the palace and in the gardens. Here the stage has been set up in the grounds with the stage and orchestra pit looking up the avenue of trees and hedges towards the palace. Actors are shown performing before the king (seated centre front) and the court. The engraving is titled Seconde Journée - Theatre fait dans la meme allée, sur lequel la Comédye et le Ballet de la Princesse d'Elide furent representez.
Such lavish celebrations helped impress foreign dignitaries and reinforced Louis' image as absolute ruler. Louis and his courtiers often took part and Louis' nickname, The Sun King, came from his performance as Apollo, the Greek god of the sun, in the Ballet de la Nuit in 1653.
Costume design for a drummer in the French Ballet des Fées de la Foret de Saint Germain
Costume design for a drummer in the French Ballet des Fées de la Foret de Saint Germain, pen and ink over lead, watercolour, 1625. Museum no. S.369-1988
Engraved print of a ballet at Versailles
This engraving shows a comedy-ballet called The Princess of Navarre being performed at the French Royal Palace of Versailles, just outside Paris. It was produced as part of the celebrations of a royal marriage; the King's son, the Dauphin, had become engaged to Maria Theresa of Spain. The composer Jean Philippe Rameau was asked to write the ballet in partnership with the author Voltaire. The decorations were arranged by Charles Nicolas Cochin who also made this engraving of the event.
Costume design by Inigo Jones
Costume design by Inigo Jones (1573-1652), England, 1613
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