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 effect of the houses. For these also timber frames and canvas served. The hollow tree was doubtless a feature of the wood scenes, in which the painter's art, whether in relief or in perspective, was supplemented by the natural foliage of holly and ivy. Elaborate rocks, such as are familiar in the masks, were also constructed. That for The Knight in the Burning Rock in 1578-9 required much timber, carried a chair, and was reached by a scaling ladder. The effect of burning was produced by lighted aqua vitae. I am not quite sure whether a cloud drawn up and down by a cord and pulleys in the same year belonged to this play or to a mask, but obviously there was much give and take between the methods of plays and masks. Spectacular elements were freely introduced into plays. A 'monster' of hoops and canvas, with a man moving inside it, was as easy for the managers of a Perseus and Andromeda in 1572-3 as for those of a Peter Pan in our own day; and doubtless the character was equally popular. Hounds' heads were 'mowlded' for the cynocephali in The History of the Cenofalles of 1576-7. The mediaeval 'devices for hell, and hell mowthe' were still in vogue in 1571-2, and in the same year Narcissus was enlivened by thunder and lightning and by the sounds of a hunt which rang through the palace court-yard, and ''Paris and Vienna'' by a tourney and barriers, in which players mounted on hobby-horses contended for a 'christall sheelde'.