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196 and look on. In the seventeenth century they were not so indispensable, either for illumination, which could be better supplied by fixed lights upon the scene, or for variety. And with the multiplication of other purposes the room which they took up could ill be spared. In Tethys' Festival, given exceptionally during the heat of summer, there were no torch-bearers, on the ground that 'they would have pestered the roome, which the season would not well permit'. And therewith begins a tendency either, as already indicated, to merge them in the antimask, or to omit them altogether. The vizard again and the ceremonial unvizarding at the end of the performance, although usual, and of course essential parts of the tradition, do not appear to have been quite invariable under James I. As early as the Mask of Blackness in 1605, blackened faces and arms were substituted, which, says a contemporary writer, were 'disguise sufficient' and an 'ugly sight', and the experiment was not repeated. I do not know that for any historic period there is evidence that the maskers regularly brought gifts with them, although they sometimes did, and one may suspect that such gifts represented the 'luck' of the primitive custom. A jewel was all very well when Arthur Throgmorton wanted to use a mask as a medium for recovering the lost favour of Elizabeth. But it may be assumed that Elizabeth would think it a useless expense, when a mask was only conventionally a surprise visit, and was really designed on her own instructions in her own Office of the Revels. And although James did on one