IT seems to me that nothing more appropriate could be placed here as an epilogue to this book on the Shakespeare garden than the contemporary description of "A Maske of Flowers by the Gentlemen of Gray's Inn at Whitehall on Twelfth Night, 1613, being the last of the solemnities and magnificences which were performed at the marriage of the Earl of Somerset and Lady Frances, daughter of the Earl of Suffolk, Lord Chamberlain."

This was printed in 1614; and I have quoted it from the "History of Gardening in England" by the Hon. Alicia Amherst (London, 1895), who copied it from a very rare original.

This description not only presents a perfect picture of a Shakespearian garden but will be a revelation to those persons who think that only crude stage-setting existed in Elizabethan and Jacobean days. Although elaborate stage-setting was restricted to private entertainments, the designers of the period knew how to produce splendid effects. There is nothing more elaborate in the theater today than this ornate and brilliantly lighted scene:

"When the Dance ended, the loud music sounded. The curtains being drawn was seen a Garden of a glorious and strange beauty, cast into four Quarters with a cross-walk and alleys compassing each Quarter. In the middle of the cross-walk stood a goodly Fountain, raised on four columns of silver. On the tops whereof strode four statues of silver which supported a bowl in circuit containing four and twenty foot and was raised from the ground nine foot in height, in the middle whereof, upon scrolls of silver and gold, was placed a globe garnished with four golden mask heads, out of which issued water into the bowl; above stood a golden Neptune, in height three foot, holding in his hand a trident.

"The Garden walls were of brick, artificially painted in perspective, all along which were placed fruit-trees with artificial leaves and fruits. The Garden within the walls was railed about with rails of three foot high, adorned with balusters of silver, between which were placed pedestals beautified with transparent lights of variable colors. Upon the pedestals stood silver columns, upon the tops whereof were personages of gold, lions of gold and unicorns of silver. Every personage and beast did hold a torchet burning, that gave light and luster to the whole fabric.

"Every Quarter of the Garden was finely hedged about with a low hedge of cypress and juniper; the Knots within set with artificial flowers. In the two first Quarters were two Pyramids, garnished with gold and silver and glittering with transparent lights resembling carbuncles, sapphires and rubies.

"In every corner of each Quarter were great pots of gilliflowers which shadowed certain lights placed behind them and made resplendent and admirable luster. The two farther Quarters were beautified with tulips of divers colors, and in the middle and in the corners of the said Quarters were set great tufts of several kinds of flowers receiving luster from secret lights placed behind them.

"At the farther end of the Garden was a Mount, raised by degrees resembling banks of earth covered with grass. On the top of the Mount stood a goodly Arbor, substantially made and covered with artificial trees and with arbor flowers such as eglantine, honeysuckles and the like. The Arbor was in length three and thirty foot, in height one and twenty, supported with termes of gold and silver. It was divided into six arches and three doors answerable to the three walks of the Garden.

"In the middle of the Arbor rose a goodly large turret and at either end a smaller. Upon the top of the Mount in the front thereof was a bank of flowers, curiously painted behind, while within the arches the maskers sat unseen.

"Behind the Garden, over the top of the Arbor, were set artificial trees appearing like an Orchard joining to the Garden; and over all was drawn in perspective a Firmament like the skies in a clear night. Upon a grassy seat under the Arbor sat the Garden Gods in number twelve, apparrelled in long robes of green rich taffeta, caps on their heads and chaplets of flowers. In the midst of them sat Primaura, at whose entreaty they descended to the stage, and, marching up to the King, sung to lutes and theorbos."[97]