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seated in a cave, or the trees in the grove of Diana were drawn into the ground, and the maskers appeared out of their cloven tops. Similarly the splitting of a rock, to let out personages concealed therein, is an incident which recurs in more than one mask (Haddington Mask, Oberon, Chapman's Mask). The development of the antimask, with the emphatic contrast between the grotesque and the magnificent which this implied, seems to have been the motive which led to the introduction of more wholesale changes of scene. In the Mask of Queens the background for the antimask was a Hell, and when it was over 'the whole face of the scene altered, scarce suffering the memory of such a thing', and in place of the Hell appeared a House of Fame. In Mercury Vindicated, again, the Laboratory of the antimasks gave way to a Bower of Nature for the mask proper. In Oberon the antimask was before a cliff with a rising moon, and thereafter the scene twice opened, to disclose, first the 'frontispiece' and then the interior of a palace of Fays. The art of transformation was perhaps carried to its greatest extent during this period in the Lords' Mask for the Princess Elizabeth's wedding, of which the Venetian ambassador in his report to the Signory especially noted the three changes of scene as an outstanding feature. This elaborate spectacle affords examples of nearly all the devices of juxtaposition, superimposition, partial and complete transformation, by which a variety of scenic interest is reconciled with a concentrated setting. The original scene was horizontally divided. The lower half, which was first discovered, contained side by side a wood, a thicket of Orpheus, and a cave of Mania. Before this danced the antimask. Then a curtain fell from the upper part of the scene, and discovered amongst clouds Prometheus and eight Stars. The Stars were individually transformed to men maskers, and the clouds to the House of Prometheus. Beneath torch-bearers emerged and danced, still in front of the wood. The whole face of the scene was then overspread with a cloud on which the men maskers descended. The lower part of the scene was then changed from a wood to a façade of niches containing statues, which were individually transformed into women maskers. The mask proper followed, and when the dancing was over, there was a final change of the whole scene to a porticoed perspective, leading up to the obelisk of Sibylla. Even by 1613 the art of Jones had handsomely accomplished its task of ministering to the pride of the eyes. In his later or Caroline period he advanced to even greater triumphs, and did not shrink from the decorative and mechanical difficulties