by James Thomson and David Mallet with music by Thomas Arne which was first performed at Cliveden, country house of Frederick, Prince of Wales. Performed to celebrate the third birthday of Frederick's daughter Augusta, it remains among the best-known British patriotic songs up to the present, while the masque of which it was originally part is only remembered by specialist historians. Legacy The most outstanding humanists, poets and artists of the day, in the full intensity of their creative powers, devoted themselves to producing masques; and until the Puritans closed the English theatres in 1642, the masque was the highest art form in England. But because of its ephemeral nature, not a lot of documentation related to masques remains, and much of what is said about the production and enjoyment of masques is still part speculation. 17th- and 18th-century masques 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, continued to utilize the masque genre mostly as an occasional piece, and the genre became increasingly associated with patriotic topics. Acis and Galatea (Handel) is another successful example. There are isolated examples throughout the first half of the 19th century. Later masques 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 2005. Masques also became common as scenes in operettas and musical theatre works set during the Elizabethan period. 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. Constant Lambert