Meanwhile a taste, even a sort of passion, had arisen at the English court for masques and pageants of extraordinary magnificence. Poetry, painting, music, and architecture were combined in their production. Ben Jonson was the laureate; Inigo Jones the inventor and designer of the scenic decorations; Laniere, Lawes, and Ferabosco contributed the musical embellishments; the king, the queen, and the young nobility danced in the interludes. On these entertainments L3000 to L5000 were often expended, and on more public occasions L10,000 and even L20,000. "It seems," says Isaac Disraeli, "that as no masque writer equalled Jonson, so no 'machinist' rivalled Inigo Jones." For the great architect was wont to busy himself in devising mechanical changes of scenery, such as distinguishes modern pantomime. Jonson, describing his "Masque of Blackness," performed before the court at Whitehall, on Twelfth Night, 1605, says: "For the scene was drawn a landscape, consisting of small woods, and here and there a void place, filled with hangings; which falling, an artificial sea was seen to shoot forth, as if it flowed to the land, raised with waves, which seemed to move, and in some places the billows to break, as imitating that orderly disorder which is common in nature." Then follows a long account of the appearance, attire, and "sprightly movements of the masquers:" Oceanus, Oceaniae, Niger and his daughters, with Tritons, mermaids, mermen, and sea-horses, "as big as the life." "These thus presented," he continues, "the scene behind seemed a vast sea, and united with this that flowed forth, from the termination or horizon of which (being the head of the stage, which was placed in the upper end of the hall) was drawn by the lines of perspective, the whole work shooting downwards from the eye, which decorum made it more conspicuous, and caught the eye afar off with a wondering beauty, to which was added an obscure and cloudy night piece, that made the whole set off. So much for the bodily part, which was of Master Inigo Jones's design and art." Indeed, Inigo was not simply the scene-painter; he also devised the costumes, and contrived the necessary machinery. In regard to many of these entertainments, he was responsible for "the invention, ornaments, scenes, and apparitions, with their descriptions;" for everything, in fact, but the music or the words to be spoken or sung.