Frances Carr, Countess of Somerset by William Larkin
The Somerset Masque, sometimes known as The Squire’s Masque,[1] was written by Thomas Campion and performed on 26 December 1613 at the old Banqueting House at Whitehall Palace, to celebrate the wedding of Robert Carr, 1st Earl of Somerset and Frances Howard. Anne of Denmark, queen consort of James VI and I, took part in the performance by offering a branch from a magic golden tree.[2]
Anne of Denmark
The Earl and Countess of Somerset, by Renold Elstracke
Masques for a wedding
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The scheme of The Somerset Masque appears to be derived from the story of Peleus and Thetis, as related by Catullus.[3] Campion’s masque on the night of the wedding ceremony was the first of a number of entertainments, including Ben Jonson’s A Challenge at Tilt and The Irish Masque at Court, Thomas Middleton’s lost Masque of Cupids, and The Masque of Flowers. The costs of the masque, excluding the costumes, were met by James VI and I.[4][5] The master of ceremonies, Lewes Lewknor, invited diplomats to the events, and the newly-arrived Spanish ambassador Diego Sarmiento de Acuña, 1st Count of Gondomar and his wife were seated close to Anne of Denmark at The Somerset Masque.[6]
The speaking parts were delivered by four squires, hence the alternative title, The Squire’s Masque.[7] Error, Rumour, Curiousity and Credulity work their enchantments on a group of knights who arrive by sea. Their rescue is achieved by Eternity with a branch from Bel-Anna’s golden tree, as Anne of Denmark and “only she, can all knotted spells untie”.[8] This theme, sung by Nicholas Lanier, credits the queen with facilitating the marriage of the king’s favourite, although she had previously opposed it.[9] Anne passed the bough of the tree to William Herbert, 3rd Earl of Pembroke, a noted supporter of Somerset,[10] and here an actor and mediator in “a chain of accomodation”.[11]
Ben Jonson had given her the name Bel-Anna in The Masque of Queens.[12] Considering Anne of Denmark’s dislike of Somerset and the Howard family, Barbara Kiefer Lewalski suggests this role in The Somerset Masque “constrains the use of her power to an unwelcome arena”,[13] and for Clare McManus represents a “real political capitulation in front of the watching court”.[14] The queen’s aquiescence to the marriage, her “late pacification”, is thought to have been connected with the king’s gift of Greenwich Palace, added to her jointure in November 1613. The gift would lead her into conflict with the Earl of Northampton.[15]
One would-be performer, the courtier Henry Bowyer (a son of William Bowyer of Denham), died after over-exertion at the rehearsals.[16][17] Twelve lords danced as six formerly enchanted knights and six reanimated gold pillars; they were the Duke of Lennox, Earl of Pembroke, Earl of Dorset, Earl of Salisbury, Earl of Montgomery, Lord Walden, Lord Scrope, Lord North, Lord Hay, and the “three brethren of Lord Walden”, Thomas Howard, Henry Howard, and Charles Howard.[18][19] The lords descended in a stage cloud designed by Costantini de’ Servi, the device was a disappointment as the rope and pulleys were visible and it was noisy in operation. Spectatators compared it with the winch of a portcullis and the noise made when lowering a ship’s mast.[20]
John Chamberlain provided an unfavourable review of Campion’s masque “I heare litle or no commendation of the maske made by the Lords that night, either for devise or dauncing, only yt was rich and costly”.[21] On the following day King James, Prince Charles, and Somerset took part in a tournament of running at the ring.[22] A tournament of tilting was held on New Year’s Day. The bride’s team wore “murrey” and white and the groom’s team were in green and yellow.[23] The Lord Mayor’s masque, Middleton’s lost Masque of Cupids, was performed on 4 January 1614 at the Merchant Taylor’s Hall, and the royal family did not attend.[24]
Lanier’s song Bring away this sacred Tree, printed with music in 1614, proved popular and was included in manuscript collections.[25] The queen’s chamberlain, Robert Sidney, Viscount Lisle, had anticipated Jonson’s The Irish Masque would include the “choicest dancers” at court,[26] among them Sergeant Boyd, Abercromby, and Auchmoutie.[27] Although John Chamberlain observed the subject matter was considered offensive to Irish people, King James ordered a repeat performance.[28][29]
Costume for The Somerset Masque
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America was personified as a female figure with a feathered head dress in European court culture.
Male dancers presented the four elements and the four winds in coloured “skin coats”. Earth was grass-green, with “a mantle painted full of trees, plants and flowers, and on his head an oak growing”. Water’s skin coat was “waved”, with a mantle full of fishes.[30]
The four continents were represented by women (or men dressed as women) dancing in a “strange kind of confusions”; Europe was “in the habit of an Empress with an Imperial crown on her head”, Asia wore “a Persian ladies habit with a crown on her head”, Africa was “like a Queen of the Moors, with a crown”, and America was personified with “a skin coat the colour of the juice of mulberries, on her head large round brims of many coloured feathers, and in the midst of it a small crown”.[31][32][33]
An ambassador from Savoy, Giovanni Battista Gabaleoni, wrote a description of the performance. He may not have fully understood the nuance of the language. He mentions a dance to the tune of violins of “twelve lords, principal gentlemen, clothed in a tunic just to the middle of the thigh, closely fitted to the body, with layers in the antique fashion of crimson satin all embroidered with gold and silver, crimson stockings all garnished with gold ribbons, socks of silk embroidered, the shoes and their roses loaded with diamonds”.[34]
A group of rejoicing Thames mariners on barges “artificially presented”,[35] described by Campion as “skippers with red caps, with short cassocks and long slops, wide at the knees, of white canvas striped with crimson”, were according to Gabaleoni, “clothed in linen and red berets in the manner of slaves, and danced in a peasant fashion”.[36]
^ David M. Bergeron, The Duke of Lennox 1574–1624: A Jacobean Courtier’s Life (Edinburgh University Press, 2022), pp. 126, 178.
^ Barbara Ravelhofer, The Early Stuart Masque: Dance, Costume, and Music (Oxford University Press, 2006), p. 1: David Lindley, Thomas Campion (Brill, 1986), pp. 216–229.
^ David Lindley, “Thomas Campion”, Fredson Bowers, Jacobean and Caroline dramatists (Detroit, 1987), p. 42.
^ David Lindley, “Embarrassing Ben: The Masques For Frances Howard”, English Literary Renaissance, 16:2 (Spring 1986), pp. 347–48: Norman Egbert McClure, Letters of John Chamberlain, vol. 1 (Philadelphia, 1939), pp. 495–98.
^ Masque of Cupids, Lost Plays Database
^ Allen B. Hinds, HMC Manuscripts of the Marquess of Downshire, 4 (London, 1940), p. 299–301: John Orrell, “The Agent of Savoy at The Somerset Masque”, Review of English Studies, 28:111 (August 1977), pp. 303–305.
^ Because of the noble dancers, Edmund Howes called the performance “a gallant mask of lords” and Robert Sidney wrote of three planned masques, “one of earls and lords”, in Allen B. Hinds, HMC Manuscripts of the Marquess of Downshire, 4 (London, 1940), p. 259.
^ M. A. Katritzsky, “Travelers’ tales: magic and superstition on early modern European and London stages”, Verena Theile & Andrew D. McCarthy, Staging the Superstitions of Early Modern Europe (Routledge, 2013), p. 233: Simon Jackson, George Herbert and Early Modern Musical Culture (Cambridge, 2023), pp. 104–195: Clare McManus, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590–1618 (Manchester, 2002), p. 167.
^ David M. Bergeron, The Duke of Lennox 1574–1624: A Jacobean Courtier’s Life (Edinburgh University Press, 2022), p. 125: Martin Butler, The Stuart Court Masque and Political Culture (Cambridge, 2008), p. 216: Alison V. Scott, Selfish gifts : the politics of exchange and English courtly literature, 1580–1628 (Farleigh Dickinson, 2006), p. 181.
^ Henry Paton, HMC Manuscripts of the Earl of Mar and Kellie (London: HMSO, 1930), p. 52.
^ Martin Butler, The Stuart Court Masque and Political Culture (Cambridge, 2008), p. 218.
^ Clare McManus, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590–1618 (Manchester, 2002), pp. 169–170, 176–177: Peter Holman, The Masque at the Earl of Somerset’s Marriage, 1614 (Scholar Press, 1973).
^ Barbara Kiefer Lewalski, Writing women in Jacobean England (Harvard, 1993), p. 41.
^ Clare McManus, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590–1618 (Manchester, 2002), p. 170.
^ Jemma Field, Anna of Denmark: The material and visual culture of the Stuart Courts, 1589–1619 (Manchester, 2020), pp. 71, 82 fn. 165: Linda Levy Peck, Northampton: Patronage and Policy at the Court of James I (London: George Allen & Unwin, 1982), p. 74: Ethel C. Williams, Anne of Denmark (Longman, 1970), p. 166: Norman Egbert McClure, Letters of John Chamberlain, 1 (Philadelphia, 1939), p. 487: A. B. Hinds, HMC Manuscripts of the Marquess of Downshire, 4 (London, 1940), p. 252: A. B. Hinds, Calendar of State Papers, Venice, 1613–1615 (London: HMSO, 1907), p. 81 no. 166.
^ Barbara Ravelhofer, The Early Stuart Masque: Dance, Costume, and Music (Oxford University Press, 2006), pp. 75–76: Folkestone Williams & Thomas Birch, Court and Times of James the First, 1 (London: Colburn, 1848), p. 286: Henry Bowyer was the father of Sir William Bowyer, 1st Baronet.
^ Norman Egbert McClure, Letters of John Chamberlain, 1 (Philadelphia, 1939), p. 497
^ Peter Holman, The Masque at the Earl of Somerset’s Marriage, 1614 (Scholar Press, 1973): Folkestone Williams & Thomas Birch, Court and Times of James the First, 1 (London: Colburn, 1848), p. 285.
^ John Leeds Barroll, Anna of Denmark, Queen of England: A Cultural Biography (Philadelphia, 2001), p. 139.
^ John Orrell, “The Agent of Savoy at The Somerset Masque”, Review of English Studies, 28:111 (August 1977), pp. 301, 304.
^ Norman Egbert McClure, Letters of John Chamberlain, 1 (Philadelphia, 1939), p. 496
^ Folkestone Williams & Thomas Birch, Court and Times of James the First, 1 (London: Colburn, 1848), p. 285: John Nichols, Progresses of James the First, 2 (London, 1828), p. 715
^ Norman Egbert McClure, Letters of John Chamberlain, 1 (Philadelphia, 1939), p. 498.
^ A. B. Hinds, HMC Manuscripts of the Marquess of Downshire, 4 (London, 1940), p. 259: Masque of Cupids, Lost Plays Database
^ Ross W. Duffin, Unmasked: Lost Music for the 1613 Palatine Wedding Masques (Oxford, 2025), p. 7.
^ A. B. Hinds, HMC Manuscripts of the Marquess of Downshire, 4 (London, 1940), p. 259.
^ Maria Hayward, Stuart Style (Yale, 2020), p. 38.
^ David Lindley, “The Irish Masque at Court: Textual Essay, Ben Jonson online
^ James M. Smith, “Effaced History: Facing the Colonial Contexts of Ben Jonson’s Irish Masque at Court”, English Literary History, 65:2 (Summer 1998), pp. 297–321 .mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:”””””””‘””‘”}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url(“//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg”)right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url(“//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg”)right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url(“//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg”)right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url(“//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg”)right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(–color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(–color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}doi:10.1353/elh.1998.0015: Folkestone Williams & Thomas Birch, Court and Times of James the First, 1 (London: Colburn, 1848), p. 287.
^ John Nichols, Progresses of James the First, 2 (London, 1828), p. 710.
^ Peter Holman, The Masque at the Earl of Somerset’s Marriage, 1614 (Scholar Press, 1973), spelling modernised here: John Nichols, Progresses of James the First, 2 (London, 1828), p. 710
^ Virginia Mason Vaughan, Performing Blackness on English Stages, 1500–1800 (Cambridge, 2005), p. 71: Anthony Gerard Bartelmy, Black Face Maligned Race: The Representation of Blacks in English Drama from Shakespeare to Southerne (Louisiana State University, 1987), p. 35.
^ Nandini Das, João Vicente Melo, Haig Z. Smith, Lauren Working, Blackamoor/Moor, Keywords of Identity, Race, and Human Mobility in Early Modern England. (Amsterdam, 2021), pp. 40–50: Alden T. Vaughan, Roots of American Racism: Essays on the Colonial Experience (Oxford, 1995), p. 8.
^ Barbara Ravelhofer, The Early Stuart Masque: Dance, Costume, and Music (Oxford University Press, 2006), p. 2.
^ David M. Bergeron, “Court Masques about Stuart London”, Studies in Philology, 113:4 (Fall, 2016), pp. 823, 836.
^ Barbara Ravelhofer, The Early Stuart Masque: Dance, Costume, and Music (Oxford University Press, 2006), pp. 1–3: John Orrell, “The Agent of Savoy at The Somerset Masque”, Review of English Studies, 28:111 (August 1977), pp. 303–305: Thomas Campion, The Description of a Maske: Presented in the Banqueting Roome at Whitehall, on Saint Stephens Night Last (London, 1614).
External links
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David Thomas (bass), Anthony Rooley (lute), Trevor Jones (viol), and The Consort of Musicke: Lanier: Bring Away This Sacred Tree
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