"It seems," says Isaac Disraeli, "that as no masque writer equalled
Jonson, so no 'machinist' rivalled Inigo Jones." For the great
architect was wont to busy himself in devising mechanical changes of
scenery, such as distinguishes modern pantomime. Jonson, describing
his "Masque of Blackness," performed before the court at Whitehall, on
Twelfth Night, 1605, says: "For the scene was drawn a landscape,
consisting of small woods, and here and there a void place, filled
with hangings; which falling, an artificial sea was seen to shoot
forth, as if it flowed to the land, raised with waves, which seemed to
move, and in some places the billows to break, as imitating that
orderly disorder which is common in nature." Then follows a long
account of the appearance, attire, and "sprightly movements of the
masquers:" Oceanus, Oceaniae, Niger and his daughters, with Tritons,
mermaids, mermen, and sea-horses, "as big as the life." "These thus
presented," he continues, "the scene behind seemed a vast sea, and
united with this that flowed forth, from the termination or horizon of
which (being the head of the stage, which was placed in the upper end
of the hall) was drawn by the lines of perspective, the whole work
shooting downwards from the eye, which decorum made it more
conspicuous, and caught the eye afar off with a wondering beauty, to
which was added an obscure and cloudy night piece, that made the whole
set off.
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