Of more artistic merit and interest is the “Masque,” which really preceded opera; originally developing in carnival processions through the streets of Italian towns, it was adopted in England during the reigns of Henry VIII. and some succeeding monarchs. The plan of such works was the presentation of some allegorical idea upon a stage with descriptive music, both vocal and instrumental, and, in addition, a large proportion of dancing. Campion, Lock, Coperario, and many others took part in the composition of these divertissements, which were in great demand for such functions as royal weddings. They were staged in the most sumptuous manner, great attention being paid to stage machinery, costume, etc.; much of the music has been lost, but what remains shows it to have been excellent of its class, and effective even in performance to-day. [Sidenote: =Ballet=] In early days of operatic history there was no radical difference between the masque and the ballet; an entertainment of vocal and instrumental music in celebration of the marriage of the Duke of Joyeuse in 1581 (costing three and a half million francs to produce, by-the-bye) was termed “Ballet comique de la Royne.” As an illustration of the dance alone, which is its present signification, the ballet appears to date from the foundation of the opera in France, with which it has had a very close and lasting connection. Indeed until recently grand opera without a ballet was unknown; beginning with Lully, and continuing even up to the present day, the ballet has maintained a position of great importance; and although it has never appealed to the English to the same extent as it seems to have done to our Continental brethren, it has been transported with the works in which it was introduced, and has become a very familiar feature to opera-goers; even so recent a work as Cilea’s _Adriana Lecouvreur_ introduces a lengthy and somewhat annoying ballet. [Sidenote: =Objections thereto=]