Six musicians followed the state-chariot of Gray's Inn, playing as they went; and then came the triumphal cars of the Middle Templars, the Inner Templars, and the Lincoln's Inn men--each car being drawn by four horses and attended by torch-bearers, flambeau-bearers, and musicians. In shape these four cars were alike, but they differed in the color of their fittings. Whilst Gray's Inn used scarlet and silver, the Middle Templars chose blue and silver decorations, and each of the other two houses adopted a distinctive color for the housings of their horses and the liveries of their servants. It is noteworthy that the inns (equal as to considerations of dignity) took their places in the pageant by lot; and that the four grand masquers of each inn were seated in their chariot on seats so constructed that none of the four took precedence of the others. The inns, in days when questions of precedence received much attention, were very particular in asserting their equality, whenever two or more of them acted in co-operation. To mark this equality, the masque written by Beaumont and Fletcher in 1612 was described "The Masque of the Inner Temple and Grayes Inn; Grayes Inn and the Inner Temple:" and the dedication of the piece to Francis Bacon, reversing this transposition, mentions "the allied houses of Grayes Inn and the Inner Temple, and the Inner Temple and Grayes Inn," these changes being made to point the equal rank of the two fraternities. Through the illuminated streets this pageant marched to the sound of trumpets and drums, cymbals and fifes, amidst the deafening acclamations of the delighted town; and when the lawyers reached Whitehall, the king and queen were so delighted with the spectacle, that the procession was ordered to make the circuit of the tilt-yard for the gratification of their Majesties, who would fain see the sight once again from the windows of their palace. Is there need to speak of the manner in which the masque was acted, of the music and dances, of the properties and scenes, of the stately banquet after the play and the grand ball which began at a still later hour, of the king's urbanity and the graciousness of Henrietta, who "did the honor to some of the masquers to dance with them herself, and to judge them as good dancers as she ever saw!" Notwithstanding a few untoward broils and accidents, the entertainment passed off so satisfactorily that 'The Triumph of Peace' was acted for a second time in the presence of the king and queen, in the Merchant Taylors' Hall. Other diversions of the same kind followed with scarcely less _eclat_. At Whitehall the king himself and some of the choicest nobles of the land turned actors, and performed a grand masque, on which occasion the Templars were present as spectators in seats of honor.