The facts brought together in the present chapter show how ‘pageant’ came to have its ordinary modern sense of a spectacular procession. How it was replaced by other terms in the sense of ‘play’ will be matter for the sequel. It may be added that the name is also given to the elaborate structures of carpenters’ and painters’ work used in the early Tudor masks[522]. These the masks probably took over from the processions and receptions. On the other hand, the receptions, by an elaboration of the spoken element, developed into the Elizabethan ‘Entertainments,’ which are often classified as a sub-variety of the mask itself. This action and reaction of one form of show upon another need not at this stage cause any surprise. A sixteenth-century synonym for ‘pageant’ is ‘triumph,’ which is doubtless a translation of the Italian _trionfo_, a name given to the _edifizio_ by the early Renascence, in deliberate reminiscence of classical terminology[523]. BOOK IV THE INTERLUDE Patronage cannot kill art: even in kings’ palaces the sudden flower blooms serene. MODERN PLAY. CHAPTER XXIV PLAYERS OF INTERLUDES [_Bibliographical Note._—The _Annals of the Stage_ in J. P. Collier, _History of English Dramatic Poetry_ (new ed. 1879), although ill arranged and by no means trustworthy, now become of value. They may be supplemented from the full notices of Tudor _spectacula_ in E. Hall, _The Union of Lancaster and York_, 1548, ed. 1809, and from the various calendars of State papers, of which J. S. Brewer and J. Gairdner, _Letters and Papers of the Reign of Henry VIII_ (1862-1903), including the _Revels Accounts_ and the _Kings Books of Payments_, is the most important. Some useful documents are in W. C. Hazlitt, _The English Drama and Stage_ (1869). The French facts are given by L. Petit de Julleville, _Les Comédiens en France au Moyen Âge_ (1889).]