Footnote 210: Gifford, p. 23. See note by Mr. Dyce, p. 23. Footnote 211: Introduction to Massinger, p. xv. Footnote 212: “Lines on Shakespere,” p. 552; Ben Jonson’s Works. These beautiful masques had the great advantage of being set to music by Henry Lawes, the composer who secured immortality to his name by the music of “Comus,” composed by him. Lawes was beginning his career of fame when Buckingham first entered the Court. The son of a vicar choral in Salisbury Cathedral, he rose to be first a gentleman of the Chapel Royal, and afterwards Clerk of the Chapel, and conductor of the private music of Charles I. Henry Lawes sometimes took a part in the masques which he composed; and acted the attendant spirit in “Comus.” His “ayres” and dialogues have disappointed posterity. Yet he appears to have been almost the father of English vocal music; and, as Milton declares-- “Taught our English music how to space Word with just note and accent.” Music, like all the other delights of peace, languished during the troublous times of the Rebellion, or flourished only on the battle-field. Lawes was obliged to teach singing during that period; but he lived to compose the coronation anthem for Charles II., and to have a place of interment assigned to him in Westminster Abbey. His brother, less happy, though a skilful musician also, and often employed in conjunction with Henry Lawes, took up arms for Charles I., in whose service he also lived, and to whom he was devoted, and fell, fighting for his sovereign, at the siege of Chester. It was then the custom for certain great families to receive musicians, as well as men of letters, in their houses, and to employ them in their especial line--sometimes in hymeneal festivities, sometimes in composing requiems. Thus the arts and sciences, poetry, music, painting, and scenic decoration, were united, during the life-time of George Villiers, in a degree never before or since known in this country. Massinger, Ben Jonson, Lawes, Inigo Jones, were at the service of the rich and noble, and awaited their bidding. Shakspeare died just after George Villiers had received the first public proof of Royal favour--the honour of knighthood;[213] and the era of masques and revels began. Still, “a craving for mental enjoyment,”[214] as well as that derived from the senses, was diffused. Footnote 213: In 1615. Shakspeare died in 1616. Footnote 214: Hartley Coleridge’s “Life of Massinger.”