To the right honourable the Lady Lucy, Countess of Bedford.

Madame.

In respect of the unmannerly presumption of an indiscreet printer, who without warrant has divulged the late show at court, presented the 8 of January, by the Queen Majesty and her ladies and the same very disorderly set forth; I thought it not amiss seeing it would otherwise pass abroad, to the prejudice both of the mask and the invention, to describe the whole form thereof in all points as it was then performed and as the world well knows very worthily performed, by a most magnificent Queen, whose heroic spirit and bounty only gave it so fair, an execution as it had. Seeing also that these ornaments and delights of peace are in their season, as fit to entertain the world and deserve to be made memorable as well  as graver actions, both of them concurring to the decking and furnishing of glory and Majesty, as the necessary complements requisite for state and greatness.

And therefore first I will deliver the intent and scope of the project: which was only to present the figure of those blessings, with the wish of their increase and continuance, which this mighty kingdom now enjoys by the benefit of his most gracious Majesty, by whom we have this glory of peace, with the accession of so great state and power. And to express the same, there were devised 12 goddesses, under whose images former times have represented the several gifts of heaven and erected temples, altars and figures unto them, as unto divine powers, in the shape and name of women. As unto Juno the goddess of empire and , they attributed that blessing of power: to Pallas, wisdom and defence, to Venus, love and amity, to Vesta, religion, to Diana, the gift of chastity, to Proserpina riches, to Macaria, felicity, to Concordia, the union of hearts, Astraea, justice, Flora, the beauties of the earth, Ceres plenty, to Tethis power by sea.

And though these images have often times divers significations, yet it being not our purpose to represent them, with all those curious and superfluous observations, we took them only to serve as hieroglyphs for our present intention, according to some one property that fitted our occasion, without observing other their mystical interpretations, wherein the authors themselves are so irregular and confused, as the best mythologers, who will make somewhat to seem anything, are so unfaithful to themselves, as they have left us no certain way at all, but a tract of confusion to take our course at adventure. And therefore owing no homage to their intricate observations, we were left at liberty to take no other knowledge of them, then fitted our present purpose, nor were tied by any laws of heraldry to range them otherwise in their precedencies, then they fell out to stand with the nature of the matter in hand. And in these cases it may well seem , or that there can be nothing done authentical, unless we observe all the strict rules of the book.

And therefore we took their aptest representations that lay best and easiest for us. And first presented the hieroglyphs of Empire and dominion, as the ground and matter whereon this glory of state is built. Then those blessings and beauties that preserve and adorn it, as armed policy, love, religion, chastity, wealth, happiness, concord, justice, flourishing seasons, plenty; and lastly power by sea, as to inbound and circle this greatness of dominion by land.

And to this purpose were these goddesses thus presented in their proper and several attires, bringing in their hands the particular figures of their power which they gave to the Temple of Peace, erected upon 4 pillars, representing the 4 virtues that supported a globe of the earth.

First Juno in a sky colour mantle embroidered with gold and figured with peacocks feathers, wearing a crown of gold on her head, presents a sceptre.

2 Pallas (which was the person her Majesty choose to represent) was attired in a blue mantle, with a silver embroidery of al weapons and engines of war, with a helmet-dressing on her head and presents a lance and target.

3 Venus, in a mantle of dove-colour and silver, embroidered with doves, presented (instead of her cestus, the girdle of amity) a scarf of divers colours.

4 Vesta, in a white mantle embroidered with gold-flames, with a dressing like a nun, presented a burning lamp in one hand and a book in the other.

5 Diana, in a green mantle embroidered with silver half-moons and a croissant of pearl on her head, presents a bow and a quiver.

6 Proserpina, in a black mantle embroidered with gold-flames, with a crown of gold on her head, presented a mind of gold ore.

7 Macaria, the goddess of felicity, in a mantle of purple and silver, embroidered with the figures of plenty and wisdom, (which concur to the making of true happiness) presents a caduceus with the figure of abundance.

8 Concordia, in a particoloured mantle of crimson and white (the colours of England and Scotland joined) embroidered with silver, hands in hand, with a dressing likewise of particoloured roses, a branch whereof in a wreath or knot she presented.

9 Astraea, in a mantle crimson, with a silver embroidery figuring the sword and balance (as the characters of justice) which she presented.

10 Flora, in a mantle of divers colours, embroidered with all sorts of flowers, presents a pot of flowers.

11 Ceres, in straw colour and silver embroidery, with ears of corn and a dressing of the same, presents a sickle.

12 Tethys, in a mantle of sea-green, with a silver embroidery of waves and a dressing of reeds, presents a trident.

Now for the introducing this show: it was devised that the night represented in a black vesture set with stars, should arise from below and come towards the upper end of the hall; there to waken her son Somnus, sleeping in his cave, as the proem to the vision. Which figures when they are thus presented in humane bodies, as all virtues, vices, passions knowledges and whatsoever abstracts else in imagination are, which we would make visible, we produce them, using human actions and even Sleep itself (which might seem improperly to exercise waking motions) has been often showed us in that manner, with speech and gesture. As for example:

Excussit tandem sibi se; cubitoque levatus

Quid veniat (cognovit enim) scitatur.

Intanto sopravenne, e gli occhi chiuse

A i Signori, et a i sergenti il pigro Sonno.

And in another place:

Il Sonno viene, e sparso il corpo stanco

Col ramo intriso nel liquor di Lethe.

So there, Sleep is brought in, as a body, using speech and motion and it was no more improper in this form to make him walk, and stand, or speak, then it is to give voice or passion to dead men, ghosts, trees and stones; and therefore in such matters of shows, these like characters (in what form soever they be drawn) serve us but to read the intention of what we would represent. As in this project of ours, Night and Sleep were to produce a vision, an effect proper to their power and fit to shadow our purpose, for that these apparitions and shows are but as imaginations and dreams that portend our affections and dreams are never in all points agreeing right with waking actions; and therefore were they aptest to shadow whatsoever error might be herein presented. And therefore was Sleep (as he is described by Philostratus in Amphiarai imagine) apparelled in a white thin vesture cast over a black, to signify both the day and the night, with wings of the same colour, a garland of poppy on his head and instead of his ivory and transparent horn, he was showed bearing a black wand in the left hand and a white in the other, to effect either confused or significant dreams, according to that invocation of Statius.

Nec te totas infundere pennas

Luminibus compello meis, hoc turba precatur

Laetior, extremo me tange cacumine virgae.

And also agreeing to that of Silius Italicus:

Tangens Lethaea tempora virga.

And in this action did he here use his white wand, as to infuse significant visions to entertain the spectators and so made them seem to see there a temple, with a Sibylla therein attending upon the sacrifices; which done, Iris (the messenger of Juno) descends from the top of a mountain raised at the lower end of the hall and marching up to to the Temple of Peace, gives notice to the Sibylla of the coming of the goddesses and withal delivers her a prospective, wherein she might behold the figures of their deities and thereby describe them; to the end that at their descending, there might be no stay or hindrance of their motion, which was to be carried without any interruption, to the action of other entertainments that were to depend one of another, during the the whole show; and that the eyes of the spectators might not beguile their ears, as in such cases it ever happens, whiles the pomp and splendour of the sight takes up all the intention without regard what is spoken and therefore was it thought fit their descriptions should be delivered by the Sibylla.

Which as soon as she had ended, the three Graces in silver robes with white torches, appeared on the top of the mountain, descending hand in hand before the goddesses; who likewise followed three and three, as in a number dedicated unto sanctity and an incorporeal nature, whereas the dual, Hierogliphicè pro immundis accipitur. And between every rank of goddesses, marched three torch-bearers in the like several colours, their heads and robes all decked with stars and in their descending, the cornets sitting in the concaves of the mountain and seen but to their breasts, in the habit of satyrs, sounded a stately march, which continued until the goddesses were approached just before the temple and then ceased, when the consort music (placed in the cupola thereof, out of sight) began. Whereunto the 3 Graces retiring themselves aside, sang, whiles the goddesses one after an other with solemn peace ascended up into the temple and delivering their presents to the Sibylla (as it were but in passing by) returned down into the midst of the hall, preparing themselves to their dance, which (as soon as the Graces had ended their song) they began to the music of the viols and lutes, placed on one side of the hall. Which dance being performed with great majesty and art, consisting of divers strains, framed unto motions circular, square, triangular, with other proportions exceeding rare and full of variety; the goddesses made a pause, casting themselves into a circle, whilst the Graces again sang to the music of the temple and prepared to take out the lords to dance. With whom after they had performed certain measures, galliards and currantos, Iris again comes and gives notice of their pleasure to depart: whose speech ended, they drew themselves again into another short dance, with some few pleasant changes, still retiring them towards the foot of the mountain, which they ascended in that same manner as they came down, whilst the cornets taking their notes from the ceasing of the music below, sounded another delightful march.

And thus, Madam, have I briefly delivered, both the reason and manner of this mask; as well to satisfy the desire of those who could not well note the carriage of these passages, by reason (as I said) the present pomp and splendour entertained them otherwise (as that which is most regardful in these shows) wherein (by the unpartial opinion of all the beholders strangers and others) it was not inferior to the best that ever was presented in Christendom: as also to give up my account hereof unto your honour, whereby I might clear the reckoning of any imputation that might be laid upon your judgement, for preferring such a one, to her Majesty in this employment, as could give no reason for what was done.

And for the captious censurers, I regard not what they can say, who commonly can do little else but say; and if their deep judgements ever serve them to produce anything, they must stand on the same stage of censure with other men and peradventure perform no such great wonders as they would make us believe. And I comfort myself in this, that in court I know not any, under him, who acts the greatest parts that is not obnoxious to envy and a sinister interpretation. And whosoever strives to show most wit about these puntillos of dreams and shows, are sure sick of a disease they cannot hide and would fain have the world to think them very deeply learned in all mysteries whatsoever. And peradventure they think themselves so, which if they do, they are in a far worse case then they imagine; . And let us labour to show never so much skill or art, our weaknesses and ignorance will be seen, whatsoever covering we cast over it. And yet in these matters of shows (though they be that which most entertain the world) there needs no such exact sufficiency in this kind. For, Ludit istis animus, non proficit. And therefore, Madam, I will no longer idly hold you therein, but refer you to the speeches and so to your better delights, as one who must ever acknowledge myself especially bound unto your honour.

Sam Daniel.