For obvious reasons, many dominoes, both for men and women, were made reversible. Occasionally, in addition to the hood, a towering erection was worn on the head, causing the wearer to appear of supernatural height, and the more mysterious. And I pause here to observe with emphasis that at a masked ball a domino is invested with special interest when surmounted by a fantastic headgear, and that such an incongruous alliance as that of a white-powdered and curled wig and the black silk domino shaped as a gaberdine, with a full hood and lace-frilled silk mask, creates an effect beneath which an identity may be most easily concealed. Far more desirable, however, in the interests of the beautiful, is it to select the domino and head-dress in sympathy; and I may quote as a successful blend a long cloak of jet-spangled net, with jet-spangled hood falling round the shoulders, and a high-pointed head-dress of the fourteenth century, with a pendent jet veil and a jet mask to cover the face, the chin being held by a few folds of net to match the veil. Dominoes made of net oversewn with petals of flowers, the hoods adorned to match and well drawn over the hair, and the masks of lace in butterfly shape, may also be quoted as decorative; and so too may the domino of accordion-pleated silk, but custom has somewhat staled the charms of this, and I would vote rather for the more sumptuous brocade, and urge the importance of liberality in its folds. The mask has, at all times, been the essential complement of the domino. In its ordinary form it consists of a stiff shape arranged to fit the face as far as the upper lip. Moulded to the nose, it is provided with slits for the eyes and nostrils, and fastened by means of a button and a narrow elastic band. Now and then it is edged with a frill of lace which conceals the chin and further enhances the disguise. Black satin and velvet are most frequently employed to cover this kind of mask, the latter, by the way, being far more becoming; but the black lace mask is an innovation of modern times, sometimes failing in its purpose of disguise, and the chiffon spangled mask may be accredited with like disadvantage. Coloured masks, or _loups_, as they are termed in French, are also worn, but have little to commend them, being grotesque and ugly. Authorities differ concerning the origin of masks. The most generally accepted theory is that they were first employed at the festivals of Bacchus, and recent discoveries have proved them to have been in use in ancient Egypt, numerous specimens having been found at the heads of mummy-cases. These early examples are composed of a substance closely resembling papier-maché, and painted in imitation of life. It was in Greece, however, that the mask reached its apotheosis. There it formed an indispensable factor in classic drama. Its introduction on the stage is attributed to Thespis, who is held to have substituted masks for cosmetics.