LUMINALIA, OR The Festival of Light. Personated in a Masque at COURT, By the queen's Majesty, and her Ladies. On Shrove-Tuesday Night, 1637. LONDON, Printed by john Haviland for Thomas Walkley, and are to be sold at his shop at the flying Horse near York house, 1637. THe king's Majesty's Masque being performed, the Queen commanded Inigo jones Surveyor of her Majesty's works, to make a new subject of a Masque for herself, that with high and hearty invention, might give occasion for variety of Scenes, strange apparitions, Songs, Music and dancing of several kinds; from whence doth result the true pleasure peculiar to our English Masques, which by strangers and travellers of judgement, are held to be as noble and ingenious, as those of any other nations: This being suddenly done and showed her Majesty, and she approving it, the work was set in hand, and with all celerity performed in shorter time, than any thing here hath been done in this kind. The invention consisting of darkness and light, the night presents the first Antimasques and sleep with his three principal children, the Antimasques of dreams: The subject of the main Masque of light, was thus introduced. The Muses being long since drawn out of Greece by the fierce Thracians, their groves withered and all their springs dried up, and out of Italy by the barbarous Goths and vandals, they wandered here and there indecently without their ornaments and instruments: The Arch-Flamines and Flamines their Prophetic Priests being constrained either to live in disguises, or hide their heads in caves, and in some places, whensoever they began to appear, they were together with peace driven out by war, and in the more civilized parts, where they hoped to have taken some rest, envy and avarice by clipping the wings of Fame drove them into a perpetual storm, till by the divine minds of these incomparable Pair, the Muses and they were received into protection, and established in this monarchy, to the encouragement and security of those well-born wits represented by the Prophetic Priests of the Britanides. The Scene where this goddess of brightness was discovered, was styled the garden of the Britanides, or Muses of great Britain, not inferior in beauty to that of the Hesperides, or that of Alcinous, celebrated by Homer. The conclusion of all was an applause and confirmation of those Deities or second causes by whose influence at this prefixed time, the Britanides and their Prophetic Priests were to be established in this garden, by the unanimous and magnificent virtues of the King and queen's Majesties making this happy Island a pattern to all Nations, as Greece was amongst the Ancients. The ornament which served as a Bordure to enclose the Scene, was raised on two round Basements, on which were satyrs bigger than the life, bearing baskets of fruits, and knots of young satyrs clinging about their legs in extravagant postures: above these ran cornicements, which made the ground of a second order, wherein were terms of women feigned of silver, and children in their natural colours standing on arches, some wantonising about those terms, and other's holding great visards before their faces: On the heads of the Terms were cushions which served for capitals, that bore the finishing of composed frontispieces of great scrolls with fruitages, from whence hung lighted Lamps. In the Freeze above was other young satyrs, which seemed oppressed with the burden of great festons, the husks of which were tied up in knots to a double compartment composed of scrolls, quadratures, and Masque heads, in the midst hung a drapery feigned, of cloth of silver, and in it was written LUMINALIA: under all this ran a large valens of gold embroidered with flowers and great Tassells. The king's Majesty being seated under the State, the curtain in an instant disappeared discovering a Scene all of darkness, the nearer part woody, and farther off more open with a calm River, that took the shadows of the Trees by the light of the Moon, that appeared shining in the River; there being no more light to lighten the whole Scene than served to distinguish the several grounds, that seemed to run far in from the eye, with this Scene of darkness was heard the voices of Birds of Night. This strange Scene having a while entertained the sight of the spectators, there arose out of the hollow caverns of the earth a dusky cloud, and on it a Chariot enriched and drawn by two great owls, on this sat a matron in a purple robe, with stars of gold and large black wings displayed, her brown hair lose, and on her head a veil of russet cypress, with a picked crown and a golden Sceptre in her hand; Representing night: she tells she came to give repose to the labours of mortals: but seeing all things here tending to feasts and revels, she with her attendants will give her assistance, though it serve but as a foil to set off more nobler representations. night's first song. (1) In wet and cloudy mists, I slowly rise, As with mine own dull weight oppressed. To close with sleep the jealous lovers eyes, And give forsaken virgin's rest. (2) Th' adventurous Merchant and the Mariner, (Whom storms all day vex in the deep) Begin to trust the winds when I appear, And lose their dangers in their sleep. (3) The studious that consume their brains and sight, In search where doubtful knowledge lies, Grow weary of their fruitless use of light, And wish my shades to ease their eyes. (4) Th' ambitious toiling Statesman that prepares Great mischiefs ere the day begins, Not measures day by hours, but by his cares; And night must intermit his sins. (5) Then why, when my slow Chariot used to climb, Did old mistaking Sages weep? As if my Empire did usurp their time, And hours were lost when spent in sleep. (6) I come to ease their labours and prevent That weariness which would destroy: The profit of their toils are still misspent Till rest enables to enjoy. There came out from the sides of the Scene six persons, Oblivion, Silence, and the four nocturnal hours or vigils, all attendants on the night. Oblivion a young man naked, and a green mantle tucked about his shoulders, and upon his head a cuckoo. Silence an old man in a skin coat close to his body set full of eyes, his mantle tawny, and a garland of Peach-tree about his head. The first vigil in a robe of blue, with a red mantle, her hair hanging down in locks, and a bat setting before. The second habited as the former, but the colours somewhat darker, on her head a screech-owl. The third in purple, and black, on her head a dormouse. The fourth in watchet and carnation, her hair mixed with silver like dew, and a little Swan on her head, all these colours were appropriated to the several nocturnal hours. The Chariot of Night being arrived to the middle of the air, stayed, and after some dialogue with her attendants, she ascends singing, and is hidden in the clouds. night's second song. Silence. Why dreadful Queen dost thou appear, So early in this Hemisphere? 1 Vigil. Where all to triumphs are addressed, As they did need as little rest As wandering Planets have above; Who ne'er are tired, yet ever move. Oblivion. As little weary as are they; As free from sufferings and decay, Or fear of fleeting times expense; Not tired, with weight, or vexed with sense. 1 Vigil. Why would Oblivion mix with these that strive, To raise new joys, and keep the old alive? Vigil. What is the use of silence here? Thou seest (great Empress) every eye, Doth watch for measures, every ear Doth harken after harmony. Chorus of all. Why are we come to give their labours ease? That reckon sleep a death, rest a disease: And all this Isle their triumphs now express, Not to beget, but show their happiness: A precious sign, they know their own estate, And that makes Nations chiefly fortunate: For it alike should often valued be, To know, as to deserve felicity. The third song. (1) You just, and careful Registers of hours, And you whose several ever useful powers, Dispose and make me pleasing whilst I sway, Produce fantastic creatures of the night, Though not t' advance, yet vary their delight; Perhaps these triumphs may defer the day. (2) All that our striving mystery presents Will be but foils to nobler ornaments, Yet I so trust the causes of their joy, And am so envious of those glistering shows The Sun in pride, not favour doth disclose, That I would lengthen what I can't destroy. Antimasques produced by the Attendants of Night. 1 Entry. 2 Thieves. 2 Watchmen. 1 Belman. The two Thieves enter to share a booty, the watchmen and bellman first affright them, as they are dividing their booty, but in the end they were contented to share with the Thieves, and so they all joined in a dance. 2 Entry. 1 Wafer-man, and 4 lackeys with torches. 3 Entry. Five Fairies, of which Master jeffery Hudson, the queen's Majesty's dwarf, presented historical a principal Captain under King Auberon. 4 Entry. Coiners. Most of these Antimasques were presented by Gentlemen of Quality. These Antimasques being passed, the scene of night vanished; and a new and strange Prospect of Chimaeras appeared, with some trees of an unusual form, Mountains of gold, Towers falling, Windmills, and other extravagant edifices, and in the further part a great City sustained by a Rainbow, all which represented the City of Sleep. One of the Vigils in song called forth Sleep, who appeared coming out of a dark cave, with three of his principal sons. Morpheus the presenter of humane shapes. Iceles, of fearful visions. And Phantaste, of any thing that may be imagined. Sleep, a fat man in a black robe, and over it a white mantle, on his head a garland of Grapes, with a Dormouse sitting before, in his hand a golden wand. Morpheus in a robe of cloth of gold, his mantle Blue, on his head a garland of Poppy. Iceles, in a brownish flesh colour close to him, like the naked, a red mantle, great Bats wings on his shoulders; on his head a bend set with flames. Phantaste, in a white robe of cloth of silver, a green mantle, and on his head a dressing of several coloured feathers. The fourth Song. 1. Vigil .Why (as if guilty) dost thou hide thy head (Dull sleep!) in gloomy shades with Poppy spread? If thou dost steal our hours, is it a crime? Thou dost but lay them by for men's relief, And art at worst a profitable thief; Payest Nature double what thou stealest from Time. Invoke thy chiefest sons, and straight appear, To make these pleasures sit to last a year! Sleep .I come! I come! and that I more may please, My Morpheus I have brought, and Iceles, With wild Phantaste; each of them hath power To raise Ideas from my shady Bower: Those dreams of humane forms; of worse estate That reason want, and things inanimate. Chorus .How we shall fill each mortal with delight, To show the soul's fond business every night; When she doth inwardly contract her beams, To figure out her influence in dreams! How they will smile, that man's immortal part, Works things less perfect than if ruled by Art! The song ended, the sons of Sleep bring in these Antimasques of dreams. 1 Entry. An Ignis Fatuus, leading 4. Clowns that seem to walk in their sleep. 2. Entry. 4. Witches. 1. Devil in the shape of a Goat. 3. Entry. Robin-goodfellow. 1. Dairy-maid. 1. Kitchenmaid. 4. Entry. Of five feathered men, inhabitants of the City of Sleep. Presented by Master Thomas Howard. Master Henry Murrey. Master Charles Murrey. Master Charles Brunoe. Here an Antique ship was seen far within the Scene, sailing in the air. 5. Entry. From the Temple of the Cock, seated by the haven of the City of Sleep, the principal Mariners or Master's Mates in rich habits, but proper to the subject, come forth and make their entry. Presented by The Duke of Lenox. Earl of Carlisle. Lord William Hamilton. Lord Russell. 6. Entry. Five Sentinels guardians of the Ivory gate of the City of Sleep: Presented by Earl of Devonshire, Lord Philip Herbert, M. De la Vieuville, Mr. Francis Russell, Mr. Thomas Weston. 7. Entry. A cavalier in a dream being enamoured of a beautiful Gentlewoman, seeks by his Page to win her to his love, which she seems to entertain, but he coming near to court her she suddenly is turned into a fury, which much affrights them. Represented by The Earl of Antrum, and Mr. Bartholomew de Mountacut his Page. These Antimasques being passed, the Heaven began to be enlightened as before the Sun rising, and the Scene was changed into a delicious prospect; wherein were rows of Trees, Fountains, Statues, Arbours, Grota's, walks, and all such things of delight, as might express the beautiful garden of the Britanides. The morning Star appears in the Air, sitting on a bright Cloud, in form of a beautiful youth naked, with a mantle of watchet Cypress, on his head a Star. On the other side of the Heaven came forth Aurora in a Chariot touched with gold, borne up by a rosy coloured cloud, her garment white trimmed with gold, loosely tucked about her, and cut down on the sides; her arms bare with bracelets of gold, with a veil of Carnation flying, as blown up by the wind, her wings white spotted with gold, her fair hair dishevelled, and on her head a Garland of Roses. Hesperus asks Aurora, why the Sun is so long in coming, and whether being weary of his last journey, he is gone to take his rest. Aurora answers, that her brother the Sun hath for this time given up his charge of lightning this Hemisphere to a terrestrial Beauty, in whom intellectual and corporeal brightness are joined, and therefore bids him descend and summon the Arch-Flamines and Flamines to celebrate with divine hymns: this Goddess of brightness with those fair Nymphs dependants on her splendour. The fifth Song. Hesperus, Aurora. Hesperus The bright perpetual Traveller Doth now too long the day defer, Can he grow old, Or, in his fiery chariot cold, Or weary cause he still one course doth run? Aurora Bold Hesperus thou dost mistake the Sun: Though's journeys never can be passed, But must for ever last, Though 'tis not limited how far, Because it still is circular, Yet sure he cannot tire, Nor mortally wax old, Nor's universal beams grow cold, Since fed with immaterial fire. Hesperus What is the cause he then so long doth stay? Aurora He hath resigned the power of making day Throughout this Hemisphere, To a terrestrial beauty here. Hesperus Now I perceive why Poets call him wise He knows the way how to preserve his eyes, This earthly Star (long since the boast of Fame) Is both become his envy and his shame. Aurora 'Tis true, should he appear, he were undone, And eclipsed though in his pride of noon. Hesperus Yet in her looks he'll least of danger find, She darkens those with beauties of her mind. Aurora If thou wilt ever shine above, And in thy Sphere still safely move, Descend, and summon straight Apollo's Priests that wait I'th' garden o'th' Britanides. Hesperus Enough, I'll rouse them from their ease, That they with Hymns may celebrate Her virtues ever blessed estate. Both Her Nymphs (whose beauties can't expire,) 'Cause daily kindled by her fire, Must needs be ravished with those lays, Since as their own they love her praise. The Song ended, the morning Star descends singing, and Aurora passeth through the Air: As he descended the Chorus of Arch-Flamines and Flamines of the Britainides come forth, they were habited in rich habits of several colours, as they are described by the Ancients. Hesperus leads them down into the room near to the State. The sixth Song. To the King, by Hesperus and Chorus of Apollo's Flamines. Wisely did Arts great Lord That ruled Mythology, No vest for Truth afford, But to each eye Ordained her body naked still, to show Some kind of truth's men bashfully should know; Thy praises being truths are silenced so. (2) Yet mighty spirits raise Their actions up to Fame, When lifted high with praise: Then who will blame Great virtue for ambition when it strives To feed on praise (the food by which it thrives?) Who earn'st, yet hat'st, himself of truth deprives. Saraband as they move back. (1) We know it is more lawful far Than possible to sing your praise, Who shows how gentle, wise, and just you are, Must trace wide measures, not in common ways. (2) As some in war near a defeat, Confess betimes th' are overcome, To save their desperate honours by retreat; so we retire, lest wonder strike us dumb. After this song they return back in a measure, and mount the degrees, and stand on each side of the Scene. The seventh Song. When the Queen and Masquers appear. 1 How dull and uneffectual is that rage, Which swells our Poets when their numbers flow? Resembling sillily, in every ago, Things excellent, to what they least do know. 2 How poorly have they done, when they compare A beauty that can rule severest eyes, Unto some pretty twinkling senseless Star? Yet think they mend her by such similes. 3 If it be safe to gaze on beauty in extremes, Look there, correct your judgements by your sight! Those beauties near her, are made up of beams, They gathered from her useless scattered light. 4 Now judge (if fairest Stars no more contain Than what is certain to th' ginger) Whether compared to Stars she so much gain, As Stars have gotten when compared to her? Here the further part of the Garden opened, and the Masquers are seen, the queen's Majesty being seated high, and the Ladies somewhat lower on two degrees, the figure of the seat was half an Oval, about which were Terms, the upper parts like Cupids, and the under part enriched with leaves. At the two ends of this seat were figures of women like sirens converted into Foliage and Scrolls, all which seemed to be enchased of goldsmith's work; behind all was a bright sky, and in the midst about the queen's Majesty's seat was a Glory with Rays, expressing her to be the Queen of Brightness. The habit of the Masquers was close bodies, open before the breasts, of Aurora colour, richly embroidered with silver, about the waste ran a short Basis, cut in starlike beams of white, and under these were lower labels, large at the bottom, and cut in a Trefoil, tacked together with small twists of gold, the ornament at the shoulders coming down to the bowing of the arm, was of the same colour and form as the Basis, their arming-sleeves and skirts of their gowns as that of the bodies; they wore well-proportioned ruffs, and on their hair stood a small bend or diadem of jewels and starts between, which in the hinder part had a scroll, large at the bottom and narrow toward the top, to which their falls of white feathers were fastened. The song being ended, the Masquers came down from their seat into the room and made their entry, betwixt this and the second dance was this song. The eighth Song. After the first Dance. 1 Was there no other way Our wonder to allay But thus to falsify relief? For seeing quickly tired, What moving we admired, You turn our wonder into grief. 2 Renew your measures now Though but awhile, to show This respite was not weariness; But you by thee did please To give our pleasures ease, Which if continued, had grown less, The Masquers dance their second dance, which ended, and her Majesty seated under the state by the King, in the further part of the Scene appeared a heaven full of Deities or second causes, with instruments and voices, which together with the Muses of Great Britain and Chorus of Arch-Flamines and Flamines sing this last song. The ninth Song. To the King and Queen. 1 You that are chief in souls, as in your blood, And nothing bettered by your high descent, e'en in your passions as in reason good, To whom vast power can add no ornament. 2 Though Men the blessed estate of angel's praise, 'Cause not perplexed with what we sexes call; Yet you by such a humane difference raise Your virtue more, because 'tis conjugal. 3 Be long expected in your Thrones above! And stay on earth until our judgements know The noble use of that we so much love; Thus heaven still lends what we would ever owe. After this song, the upper part of the heaven opened, and a bright and transparent cloud came forth far into the Scene, upon which were many Zephyri and gentle breasts with rich, but light garments tucked about their waists, and falling down about their knees, and on their heads garlands of flowers: These to the Violins began a sprightly dance, first with single passages, and then joining hands in rounds several ways. Which Apparition for the newness of the Invention, greatness of the Machine, and difficulty of Engining, was much admired, being a thing not before tempted in the Air. The Masquers dance the Revels with the Lords. FINIS. The names of the Masquers. The queen's Majesty. duchess of Lenox. Countess of Southampton Countess of Newport. Lady Katherine Howard. Lady Dorothy Sidney. Lady Elizabeth Fielding. Mrs. Victoria Cary. Countess of Oxford. Countess of Carnarvan. Countess of Portland. Lady Elizabeth Cecil. Lady Rich. Lady Frances Howard. Mrs. Nevill.