The masque participants finally dismounted outside the Banqueting House. Through his costume, Gideon could make out parts of the stark new classical building in three subtle shades of stonework, its harmonious Palladian style a cool contrast to the brightly painted beams and red brick of the rackety old Tudor buildings in Whitehall. Jostled by the other players and afraid his tail would be stepped on, he entered at the level of the Undercroft. The claws of his costume slipped on the stone, as he made his way up the easy flights of a broad stair. A tall doorway brought them into a magnificent two-storeyed hall, purposely designed for state receptions. Heat, braying voices, the stench of sweat and the cloying scent of rosewater assailed them. At the far end stood the King's canopied throne, flanked by the noblest gentlemen and ladies of the court. Lapdogs scampered about at will. Other courtiers, decorated with pockmarks and great pearls, lined the two side aisles, where splendid tapestries covered the tall window niches, pegged back on the street side to allow a view outside. Above, lesser spectators hung over the balcony which ran around the upper storey, including members of the Inns of Court who had fought the Lord Chamberlain for permission to see their own masque. The room, already warm from so many jostling bodies, was ablaze with lights, the glister of silver and gold tissue, and the sparkle of jewels. Only its ceiling was bare. Painted panels had been commissioned from Peter Paul Rubens, but they would not arrive from Holland until the following year.

The King and Queen, diminutive figures enthroned like dolls on their state dais, faced a specially constructed raised stage. During the masque, this would represent variously arbours, streets, a tavern, open countryside and clouds, with all the scene changes and spectacles wrought by cunning machinery.