Had Marioreybanks given us the names of those who took part in the festivities which he describes as having taken place on the occasion of Lord Fleming's marriage, can we doubt that the Marys would have been found actively engaged in the open-air performance "in the Parke of Holyroudhous, under Arthur's Seatt, at the end of the loche"?[56] Indeed, it is not matter of mere conjecture, but of authentic historical record, that on more than one occasion Buchanan did actually introduce the Queen's namesakes amongst the dramatis personæ of the masques which, as virtual laureate of the Scottish Court, he was called upon to supply. The _Diurnal of Occurrents_ mentions that "upoun the ellevint day of the said moneth (February) the King and Quene in lyik manner bankettit the samin (French) Ambassatour; and at evin our Soveranis maid the maskrie and mumschance, in the quhilk the Queenis Grace and all hir Maries and ladies were all cled in men's apperell; and everie ane of thame presentit ane quhingar, bravelie and maist artificiallie made and embroiderit with gold, to the said Ambassatour and his gentilmen, everie ane of thame according to his estate".[57] That this, moreover, was not the first appearance of the fair performers we also know, for it was they who bore the chief parts in the third masque acted during the festivities which attended the Queen's marriage with Darnley; and it was one of them, perhaps Mary Beton, the scholar of the court, who recited the verses which Buchanan had introduced in allusion to their royal mistress's recovery from some illness otherwise unrecorded in history: Kind Goddess, Health, four Nymphs their voices raise To welcome thy return and sing thy praise, To beg as suppliants that thou wouldst deign To smile benignly on their Queen again, And make her royal breast thy hallowed shrine, Where best and worthiest worship shall be thine. That the four Nymphs mentioned in this, the only fragment of the masque which has been preserved, were the four Marys, is explained by Buchanan's commentator, Ruddiman: "Nymphas his vocat quatuor Mariæ Scotæ corporis ministras, quæ etiam omnes Mariæ nominabantur". It is more than probable, too, that the Marys were not merely spectators of the masque which formed a part of the first day's amusements, and of which they themselves were the subject-matter. It may still be read under the title of "Pompa Deorum in Nuptiis Mariæ", in Buchanan's Latin poems. Diana opens the masque, which is but a short mythological dialogue, with a complaint to the ruler of Olympus that one of her five Marys--the Queen herself is here included--has been taken from her by the envious arts of Venus and of Juno: