<P> While the masque was no longer as popular as it was at its height in the 17th Century, there are many later examples of the masque . During the late 17th century, English semi-operas by composers such as Henry Purcell had masque scenes inset between the acts of the play proper . In the 18th century, William Boyce and Thomas Arne, among other composers, continued to utilize the masque genre mostly as an occasional piece, and the genre became increasingly associated with patriotic topics . There are isolated examples throughout the first half of the 19th century . </P> <P> With the renaissance of English musical composition during the late 19th and early 20th century (the so - called English Musical Renaissance), English composers turned to the masque as a way of connecting to a genuinely English musical - dramatic form in their attempts to build a historically - informed national musical style for England . Examples include those by Arthur Sullivan, George Macfarren, and even Edward Elgar, whose imperialistic Crown of India was the central feature at the London Coliseum in 1912 . Masques also became common as scenes in operettas and musical theatre works set during the Elizabethan period . </P> <P> In the 20th century, Ralph Vaughan Williams wrote several masques, including his masterpiece in the genre, Job, a masque for dancing which premiered in 1930, although the work is closer to a ballet than a masque as it was originally understood . His designating it a masque was to indicate that the modern choreography typical when he wrote the piece would not be suitable . </P> <P> Constant Lambert also wrote a piece he called a masque, Summer's Last Will and Testament, for orchestra, chorus and baritone . His title he took from Thomas Nash, whose masque was probably first presented before the Archbishop of Canterbury, perhaps at his London seat, Lambeth Palace, in 1592 . </P>

Who is most affiliated with the production of stuart court masques