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 Mask of Beauty on 10 January. In a second mask, sometimes called, although not by its author, The Hue and Cry after Cupid, for the wedding of John Viscount Haddington and Lady Elizabeth Radcliffe on 9 February, Jonson appears to have considered that he took a definite step forward in the evolution of the mask-form, by the introduction of an antimask or group of grotesque dancers as a foil to the mask proper. The Queen's mask for 1608-9 was Jonson's Mask of Queens at Candlemas, and there was no other. During the winter of 1609-10, which was devoted to Prince Henry's mimetic barriers, there was no mask at all, unless indeed the anonymous and undated Mask of the Twelve Months belongs to this year. But on the following 5 June came Daniel's Tethys' Festival, which was the Queen's contribution to the festivities attending the creation of Henry as Prince of Wales. In 1610-11 there was a Queen's mask, Jonson's Love Freed from Ignorance and Folly, on 3 February, and also a Prince's mask, Jonson's Oberon, on 1 January. Jonson's Love Restored was a Prince's mask of 6 January 1612. The masks of 1612-13 were all given in celebration of the wedding of the Princess Elizabeth to the Elector Palatine of the Rhine, Frederick V, at Shrovetide. There were three of them. Campion's Lords' Mask was danced by lords and ladies of the Court on the actual day of the wedding, 14 February. The other two were contributed by the Inns of Court, and each was preluded by a public procession or triumph, such as had been found natural in earlier years when a mask came from London to the palace. The Middle Temple and Lincoln's Inn came by road on 15 February with a mask of Virginians by George Chapman; the Inner Temple and Gray's Inn by water on 16 February, with a mask of Olympian Knights by Francis Beaumont. This, however, they were not able to dance until 20 February. Jonson took no part in these hymeneal festivities, and may have been abroad. The masks for the wedding of Robert Earl of Somerset and Lady Frances Howard on 26 December 1613 almost vied in magnificence, and more than vied in number, with those given for the princess. The bride had passed through stormy days since Jonson's Hymenaei hailed her first marriage in 1606, and was to pass through stormier still. Campion was again selected as the poet for the actual wedding day. In his mask, sometimes called the Mask of Squires, and danced by lords and gentlemen of the Court, he had the assistance, not of Jones, but of Constantine de' Servi, who does not appear to have been very successful. Jonson's Irish Mask, which was given on 29 December and repeated on 3 January, was a comparatively slight performance, danced by five Englishmen