The Renaissance Artist as Plagiarist

Abstract

In 1638 Inigo Jones and Sir William Davenant produced two masques for the English court. The first, Britannia Triumphans, danced by the king in January, celebrated, a little prematurely, the triumph of the royal scheme of Ship Money: the famous trial was about to reach its conclusion, with a narrow victory in the Star Chamber for the crown. Three weeks later, at Shrovetide, the queen danced in Luminalia, Jones's most elaborate scenic spectacle up to that time. The complexity of the engineering was the more impressive, Jones tells us, because it had to be devised very quickly:

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