THE _Times_ of Thursday last in a learned article on the Gray's Inn Masque, records that "On the 28th February 1587, eight members of the Society were engaged in the production of _The Misfortunes of Arthur_" but on the occasion of _The Maske of Flowers_ in 1887, the Honourable Society of Gray's Inn showed what could be done with the _Success of Arthur_; that is, of Master ARTHUR W. À BECKETT, Master of the Revels. And indeed what could be done in Old Gray's Inn, was on that occasion quite a Revel-ation to most of us. _Mr. Punch_ heartily congratulates the Honourable Society of Gray's Inn on possessing such a Revel-Master--he ought at once to be created Lord Revel-stoker--who is able to give life and form to so excellent an idea, who can design such exquisite costumes, compose such appropriate music, paint such perfect scenery, and instruct amateur pupils in the arts of elocution, action, singing and dancing. [Illustration: Embodiment of an Arthurian legend. The Master of the Revels.] _Mr. Punch_ is perfectly aware that the costumes were due to Mr. LEWIS WINGFIELD'S designs and Mr. ALIAS'S workmanship, that the scenery was painted by the old stager JOHN O'CONNOR, that the music was composed and arranged by Messrs. PRENDERGAST and BIRCH-REYNARDSON, and that the dances were invented "with the assistance of MSS." (old English for "Master of the SeremonieS") and taught by the experienced Mr. D'AUBAN. But the lawyers of Gray's well know that "_Qui facit per alium facit per se_,"--and in the case of the costumes, _Qui facit per_ ALIAS _facit per se_--and so with the merit of what Master ARTHUR W. À BECKETT executes by his chosen agents he himself is to be credited. It was a great success, from first to last. Just one word at parting. _Mr. Punch_ hopes that the _Maske_, as it is, is _not_ to be reproduced on the public stage. Such a proceeding, by depriving it of its venerable and appropriate surroundings, would vulgarise an entertainment which should have remained, within the precincts of Gray's Inn, archaic and unique. * * * * *