Although most of the occasions for masques were rather frivolous, such as the celebration of a society wedding, Jonson made sure that his masques were full of Platonic meanings, mythological references and humanistic doctrines that would tax the knowledge of the most learned among the audience. Jones, on the other hand, let loose his prodigious knowledge of classical art, his impressive competence as a painter, and his unmatched creativeness in devising stunning stage scenery and elaborate costumes for the masques, which won the admiration of all discerning observers (Ibid. 26-28).
Relationship with Jonson
Inigo Jones enjoyed a surprisingly tempestuous relationship with Ben Jonson. The partnership of the two men that started so promisingly, resulting in the creation of a number of superb masque productions, ended in bitter acrimony. Their hostility is surprising because both men were of approximately the same age, of similar humble background, shared rare artistic genius in their respective fields, and were given much leeway by generous royal patrons to work harmoniously.
One of the reasons for the fall-out between the two was that Jonson took the intellectual content of his masques more seriously than anyone else. He was, by all accounts, convinced that the soul of the masque was of infinite value. He deeply resented the tendency at the time to accord greater respect to the decoration and the "mere mechanics" of a show (Lees-Milne 45). Jonson believed that Jones was getting more credit than he deserved for his contribution to the masque productions. His resentment towards his "friend" grew from "irritation to contempt to intense dislike" just as applause for Jones got louder (Ibid. 46-47).
Jones, on the other hand, refused to admit the superiority of poetry over dramatic production;...
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