He escaped from some other personal attack which, in common with Chapman, he made on some individual, with only a second and also temporary imprisonment;[210] and from this time was in such constant requisition by the Court, that his imprudence went unnoticed. The “Masque of Darkness” was composed by the express command of Anne of Denmark, who appeared in it as a negress, surrounded with the dark beauties of her supposed African Court. The Queen, and the “Daughters of Night,” as the noble dames who acted in that pageant were called, were placed in a concave shell, seated one above another in tiers; from the top of the shell, which represented mother-of-pearl, hung a cheveron of light, which cast a bright beam on these ladies; the shell was moving up and down upon the sea, and in the billows appeared varied forms of sea-monsters, twelve in number, each bearing a torch on his back. The Queen was attired in azure and silver, with a curious head-dress of feathers, fastened with ropes of pearl, which showed well as the loops fell on the blackened throats of the masquers, who also wore ropes of pearl on their arms and wrists. Inigo Jones is conjectured to have written the directions for the costume of this masque.[211] Jonson now received periodical sums, not only from the Court, but from public bodies and private patrons. A year seldom passed without a Royal progress; and we have seen how essential the poet had become to the often impromptu revelries in which James I. continually indulged. Yet Jonson wrote his plays and masques slowly. The “Fox” took him a year to complete. His notion was that “a good poet’s made as well as born.”[212] He worked out his own success, and his labours were incessant. He had a practice of committing to his commonplace book remarkable passages that struck him. Lord Falkland, one of the most accomplished of the cavaliers, expressed his astonishment at the variety and extreme copiousness of Jonson’s knowledge. If a pedantic display of learning be imputed to Jonson, it must be remembered that it was, probably, in compliance with the taste of his royal patron, James, who delighted in exhibiting his classical proficiency; and who, even on his death-bed, as we have seen, answered the learned Prelate near him in Latin. It was during the first years of King James’s reign that Jonson justified these classic allusions in his “Masque and Barriers,” at the nuptials of the Earl of Essex to the faithless bride, also married afterwards to Somerset. “Some,” he says, “may squeamishly cry out, that all endeavours of learning and sharpness in these transitory devises, where it steps beyond their little (or let me not wrong them) no brain at all, is superfluous. I am contented these fastidious stomachs should leave my full tables, and enjoy at home their clean empty trenchers, fitted for such airy tastes, where perhaps a few Italian herbs, picked up, and made into a sallad, may find sweeter acceptance than all the sound meat of the world.”