140:
278:(1610). The river nymphs wore head-attire that appeared to be made from shells and coral, with veils attached. Their upper garments were of sky-blue taffeta embroidered with maritime motifs. They had half-skirts of silver cloth worked with gold (the groundwork cut-away), and longer underskirts called "bases" in the sky-blue taffeta. Around the hem of the skirt was a meander of lace like a river with sedge and seaweed banks in gold. At the shoulder was the same work as the half-skirts, with ruffed-out upper sleeves. The lower sleeves matched the bodice with maritime motifs. The satin shoes were embroidered like the short skirts.
22:
195:
or guardian spirits of various rivers. They came down from their caverns one by one and marched in a meandering path towards the Tree of
Victory where they offered flowers to the Ocean King. Tethys danced and then reposed under the Tree of Victory, twice. The nymphs then began to take out men from
163:
brought blessings to the Ocean King, who was King James. Next one of the
Tritons explained the idea of the masque to James and Prince Henry, while the other gave a sword to Prince Charles. Charles got up and gave the sword to Henry, which was understood to be a gift from Tethys or rather Anne of
199:
Near the end of the show, one of the tritons reappeared to prevent the audience making for the refreshments. Mercury descended from the roof to announce that
Charles and six companions should follow him to bring back the queen and her companions, and restore them from their fishy forms. A scene
175:
Henry also received a scarf of "Love and Amity" which represented the
British Isles. James got a trident representing rule over the kingdoms of England, Scotland and Wales. In his speech the Triton explained the particular significance of Milford Haven as a harbour in Wales where
211:
Prince
Charles was Zephyrus. Anne of Denmark was Tethys. Princess Elizabeth appeared as the companion or daughter of Tethys, the "Nymph of Thames". King James was addressed as Oceanus, King of the seas.
670:
180:
began his Union of York and
Lancaster. After this gift exchange, Charles returned to his position while twelve maidens, "all of them daughters of earls and barons", danced around him.
297:. He also embroidered a pair of sea green satin shoes with gold and silver. Shaw later petitioned for payment for work done for the masque and other embroidery for the queen.
87:
designed the staging and scenery. A narrative of the masque was printed and a courtier also wrote a description of the event. The City of London had staged their pageant
232:
203:
The nautical theme included topical allusions in support of
British fisheries and the herring industry, and an appeal against attacks on Spanish shipping.
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had landed at
Milford Haven. Perhaps as an heir to a Tudor Arthurian tradition, during the masque Henry was to be presented with a sword by his mother.
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worked on the skirts and produced cobweb silver lace with veins of silver and sea green silk, stitched with silver "O" shapes or "
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244:
191:, as the nymph of Thames, sat at the queen's feet. On either side in caves or niches were six women masquers who represented the
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52:
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715:
259:
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During the performance Anne of
Denmark gave Prince Henry an engraved sword, which may be the jewelled sword surviving in the
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resembling a wood appeared, from which the queen and her ladies were reunited with the king by
Charles and his companions.
151:
took the part of "Zephyrus", the messinger of spring, wearing fairy wings. He was flanked by two muscular "sea slaves" or
274:
A handful of drawings by Inigo Jones for costumes survive. Daniel described the costumes in detail in his publication
215:
The account by a spectator and the 1610 publication name the other women who appeared in Milford Haven harbour as;
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326:
725:
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622:
364:
192:
169:
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John Pitcher, '"In those figures which they seeme", Samuel Daniel's Tethys' Festival', in David Lindley,
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John Pitcher, '"In those figures which they seeme", Samuel Daniel's Tethys' Festival', in David Lindley,
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Next in the harbour appeared Anne of Denmark seated on a raised throne with a back made like a silver
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Graham Parry, 'The Politics of the Jacobean Masque', J. R. Mulryne & Margaret Shewring,
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Timothy Wilks, 'Poets, Patronage, and the Prince's Court', in Robert Malcolm Smuts,
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John Brand, 'An Account of the Revenue, the Expences, the Jewels of Prince Henry',
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David M. Bergeron, 'Creating Entertainments for Prince Henry's Creation (1610)',
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The Progresses, Processions, and Magnificent Festivities, of King James the First
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The Progresses, Processions, and Magnificent Festivities, of King James the First
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393:
84:
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in June 1610. Among the formalities and festivities of the occasion, the masque
25:
124:, a Welsh port, with boats bobbing in the harbour, framed by giant statues of
262:(1575–1624) the "Nymph of Olwy"; Elizabeth Guildford the "Nymph of Dulesse" (
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draped with gold cloth, set around with lanterns that showed liked jewels.
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Anna of Denmark and Henrietta Maria: Virgins, Witches, and Catholic Queens
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Anna of Denmark and Henrietta Maria, Virgins, Witches, and Catholic Queens
473:(Oxford, 2016), pp. 171–172: The scarf may have cost £92, SP 14/57 f.119.
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and the Queen's silkman Thomas Henshawe (died 1611). The embroiderer
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38:
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From Tudor to Stewart: the regime change from Elizabeth I to James I
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From Tudor to Stuart: The Regime Change from Elizabeth I to James I
156:
138:
20:
104:. The sword, set with diamonds, was supplied by the goldsmiths
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Memorials of Affairs of State from the papers of Ralph Winwood
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Memorials of Affairs of State from the papers of Ralph Winwood
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The Duke of Lennox, 1574–1624: A Jacobean Courtier's Life
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produced on 5 June 1610 to celebrate the investiture of
112:, and described in inventories of the prince's jewels.
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at the request of the queen, who appeared in person as
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Representations of Elizabeth I in Early Modern Culture
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Sara Trevisan, 'The Representation of Female Power in
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Sword of Henry, Prince of Wales, Wallace Collection
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Proceedings of the Society of Antiquaries of London
155:, accompanied by eight young aristocratic women or
653:, vol. 42, No. 4 (Winter 2008), pp. 433–449.
132:. The setting evoked Henry's Tudor ancestry, as
570:, vol. 3 (London, 1725), p. 181: John Nichols,
382:The Stuart Court: Masque and Political Culture
315:Theatre and Government under the Early Stuarts
552:The Stuart Court Masque and Political Culture
539:The Stuart Court Masque and Political Culture
471:The Oxford Handbook of the Age of Shakespeare
348:The Stuart Court Masque and Political Culture
333:, vol. 3 (London, 1725), p. 181: Roy Strong,
258:; Lady Catherine Windsor the "Nymph of Usk";
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609:W. H. Hart, 'Expenses for Masques in 1610',
596:Martin Williams & Catherine Richardson,
456:.', in Alessandra Petrina & Laura Tosi,
120:The stage was set with a representation of
629:(London, 1857), p. 656 (TNA SP14/59 f.14).
369:Calendar State Papers Domestic, 1611-1618
266:); and Mary Wintour the "Nymph of Wye".
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168:, a goddess of justice associated with
28:costume for a nymph in Tethys' Festival
252:Edward Somerset, 4th Earl of Worcester
644:Tethys festival, or, The Queenes wake
598:British Drama, 1533–1642: A Catalogue
587:, vol. 2 (London, 1828), pp. 354–355.
574:, vol. 2 (London, 1828), pp. 348–349.
526:Anna of Denmark, A Cultural Biography
276:Tethys' Festival, or The Queen's Wake
7:
660:(Manchester, 1984), pp. 33–46.
613:, vol. 1 (London, 1861), pp. 30-31.
528:(Pennsylvania, 2001), pp. 122–126.
413:(Palgrave Macmillan, 2017), p. 99.
14:
460:(Basingstoke, 2011), pp. 166–167.
293:", and embroidered gold "oes" on
721:Henry Frederick, Prince of Wales
627:CSP Domestic, James I: 1603–1610
515:, vol. 2 (London, 1936), p. 317.
164:Denmark, and also the sword of
71:was performed by courtiers at
1:
317:(Cambridge, 1993), pp. 96–98.
90:London's Love to Prince Henry
600:, vol. 5 (Oxford, 2012), 77.
439:(Palgrave, 2017), pp. 97–99.
337:(London, 1986), pp. 155–158.
227:the "Nymph of Derwent"; the
196:the audience to dance with.
143:Prince Henry by Robert Peake
75:. The script was written by
646:(John Budge, London, 1610).
281:Costume suppliers included
250:Four sisters, daughters of
239:the "Nymph of Severn"; the
159:, to a song describing how
742:
711:European court festivities
554:(Cambridge, 2008), p. 134.
541:(Cambridge, 2008), p. 187.
502:(Manchester, 1984), p. 34.
384:(Cambridge, 2008), p. 185.
219:the "Nymph of Trent"; the
16:17th century English Masqe
696:English Renaissance plays
426:(Edinburgh, 2022), p. 80.
350:(Cambridge, 2008), p. 74.
223:the "Nymph of Arun"; the
235:the "Nymph of Air"; the
231:the "Nymph of Lee"; the
83:, a goddess of the sea.
706:Court of James VI and I
623:Mary Anne Everett Green
489:(Oxford, 2024), p. 244.
450:Prince Henry's Barriers
400:(Oxford, 2024), p. 244.
365:Mary Anne Everett Green
247:the "Nymph of Medway".
243:the "Nymph of Rother";
716:Works by Samuel Daniel
371:(London, 1858), p. 91.
241:Countess of Haddington
237:Countess of Montgomery
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335:Henry Prince of Wales
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24:
435:Susan Dunn Hensley,
409:Susan Dunn-Hensley,
363:, XV (1806), p. 18:
254:danced as rivers of
422:David M. Bergeron,
221:Countess of Arundel
524:J. Leeds Barroll,
233:Countess of Dorset
189:Princess Elizabeth
145:
102:Wallace Collection
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651:Comparative Drama
454:Tethys's Festival
287:Christopher Shawe
229:Countess of Essex
225:Countess of Derby
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658:The Court Masque
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34:Tethys' Festival
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45:(1594–1612) as
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53:Prince Henry
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483:Susan Doran
394:Susan Doran
97:on 31 May.
85:Inigo Jones
63:, was made
26:Inigo Jones
686:1610 plays
680:Categories
301:References
178:Henry VII
134:Henry VII
270:Costumes
701:Masques
295:tiffany
166:Astraea
153:Tritons
126:Neptune
116:Summary
93:on the
193:nymphs
161:Tethys
157:naiads
147:First
130:Nereus
95:Thames
81:Tethys
39:masque
37:was a
264:Dulas
452:and
207:Cast
128:and
108:and
59:and
291:oes
172:.
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