a revision by Massinger and Field in 1614 of a play by Beaumont and Fletcher, perhaps as early as 1604. With this exception no critic seems much to believe in the presence of Beaumont or Fletcher, and Boyle, who suggests Shirley, points out that the allusion in I. i. 124 to the relation between Philip III and the Duke of Lerma as in the past would come more naturally after Philip's death in 1621 or at least after Lerma's disgrace in 1618. The MS. is in various hands, one of which has made corrections. Some of these seem on internal evidence to have been due to suggestions of the censor, others to play-house exigencies.
Lost Play
Among plays entered in S. R. by Humphrey Moseley on 29 June 1660 (Eyre, ii. 271) is 'The History of Madon King of Brittain, by
F. Beamont'. Madan is a character in Locrine, but even Moseley can hardly have ascribed that long-printed play to Beaumont.
Inner Temple and Gray's Inn Mask. 20 Feb. 1613
S. R. 1613, Feb. 27 (Nidd). 'A booke called the [description] of the maske performed before the kinge by the gent. of the Myddle temple and Lincolns Inne with the maske of Grayes Inne and the Inner Temple.' George Norton (Arber, iii. 516). N.D. The Masque of the Inner Temple and Grayes Inn: Grayes Inne and the Inner Temple, presented before his Maiestie, the Queenes Maiestie, the Prince, Count Palatine and the Lady Elizabeth their Highnesses, in the Banquetting house at White-hall on Saturday the twentieth day of Februarie, 1612. F. K. for George Norton. [Epistle to Sir Francis Bacon and the Benchers.] N.D. . . . By Francis Beaumont, Gent. F. K. for George Norton.
1647. [Part of F_{1}.]
1653. Poems: by Francis Beaumont, Gent. [&c.] for Laurence Blaiklock. [The Masque is included.]
1653. Poems . . . for William Hope. [A reissue.]
1660. Poems. The golden remains of those so much admired dramatick poets, Francis Beaumont & John Fletcher, Gent. [&c.] for William Hope. [A reissue.]
1679. [Part of F_{2}.]
The texts of 1647-79 give a shorter description than the original Q_{q}, and omit the epistle.
Edition in Nichols, James (1828), ii. 591.
For general notices of the wedding masks, see ch. xxiv and the account of Campion's Lords' Mask; but it may be noted that the narrative in the Mercure François gives a very inaccurate description of Beaumont's work as left to us, introducing an Atlas and an Aletheia who find no places in the text.
The maskers, in carnation, were fifteen knights of Olympia; the musicians twelve priests of Jove; the presenters Mercury and Iris. There were two antimasks, Mercury's of four Naiads, five Hyades, four Cupids, and four Statues, 'not of one kinde or liverie (because
