The first part of these is certainly spoken by a presenter who points out the ‘vpplandishe’ complainants to whom he refers. But the reply is in the first person, and apparently put in the mouths of the ‘wyues’ themselves, while the conclusion is a judgement delivered, again probably by the presenter, in the name of the king[1441]. Whether Lydgate was the author of an innovation or not, the introduction of speeches, songs, and dialogues was common enough in the fully-developed mummings. For these we must look to the sumptuous courts of the early Tudors. Lydgate died about 1451, and the Wars of the Roses did not encourage revelry. The _Paston Letters_ tell how the Lady Morley forbade ‘dysguysyngs’ in her house at Christmas after her husband’s death in 1476[1442]. There were _ludi_ in Scotland under James III[1443]. But those of his successor, James IV, although numerous and varied[1444], probably paled before the elaborate ‘plays’ and ‘disguisings’ which the contemporary account-books of Henry VII reveal[1445]. Of only one ‘disguising,’ however, of this period is a full account preserved. It took place in Westminster Hall after the wedding of Prince Arthur with Katharine of Spain on November 18, 1501, and was ‘convayed and showed in pageants proper and subtile.’ There was a castle, bearing singing children and eight disguised ladies, amongst whom was one ‘apparelled like unto the Princesse of Spaine,’ a Ship in which came Hope and Desire as Ambassadors, and a Mount of Love, from which issued eight knights, and assaulted the castle. This allegorical compliment, which was set forth by ‘countenance, speeches, and demeanor,’ ended, the knights and ladies danced together and presently ‘avoided.’ Thereupon the royal party themselves fell to dancing[1446]. ‘Pageants’ are mentioned in connexion with other disguisings of the reign, and on one occasion the disguising was ‘for a moryce[1447].’ Further light is thrown upon the nature of a disguising by the regulations contained in a contemporary book of ‘Orders concerning an Earl’s House.’ A disguising is to be introduced by torch-bearers and accompanied by minstrels. If there are women disguised, they are to dance first, and then the men. Then is to come the morris, ‘if any be ordeynid.’ Finally men and women are to dance together and depart in the ‘towre, or thing devised for theim.’ The whole performance is to be under the control of a ‘maister of the disguisinges’ or ‘revills[1448].’