The religious or miracle plays soon extended their boundaries, became blended with "mummings," or "disguisings," and entertainments of pageantry. Morals, interludes, and masques were gradually brought upon the scene. Dancers, singers, jugglers, and minstrels became indispensable to the performances. The Church and the Theatre drifted apart; were viewed in time as wholly independent establishments. The actor asserted his individuality; his profession was recognised as distinct and complete in itself; companies of players began to stroll through the provinces. The early moral-play of the "Castle of Perseverance," which is certainly as old as the reign of Henry VI., was represented by itinerant actors, who travelled round the country for that purpose, preceded by their standard-bearers and trumpeters, to announce on what day, and at what hour, the performance would take place. It would seem that the exhibition concluded at nine o'clock in the morning, so that the playgoers of the period must probably have assembled so early as six. In the reign of Edward IV. the actors first obtained parliamentary recognition. The Act passed in 1464, regulating the apparel to be worn by the different classes of society, contains special exception in favour of henchmen, pursuivants, sword-bearers to mayors, messengers, minstrels, and "players in their interludes." The first royal personage who entertained a company of players as his servants was probably Richard III. when Duke of Gloucester, who seems, moreover, to have given great encouragement to music and musicians. In the reign of Henry VII. dramatic representations were frequent in all parts of England. The king himself had two companies of players, the "gentlemen of the chapel," and his "players of interludes."