the gold mine was an evening sky, and the red sun was seen to set. There were white cliffs in the background, and from them rose a bank of clouds, which hid everything. The mask cost Lincoln’s Inn alone more than a thousand pounds. Of course, scenery of the kind described must have been extremely costly, the designer having neither the appliances nor the skilled workmen who carry out such marvellous scenic effects in our modern theatres. One more example of Inigo’s powers as a “devyser” may be quoted from Cunningham. In 1611, in January, the Prince, then nearly at the end of his short life, presented a mask at Court, that is, at Whitehall. It was written by Ben Jonson, and called “Oberon, the Fairy Prince.” It cost 289_l._ 8_s._ 5_d._ for mercery, 298_l._ 15_s._ 6_d._ for silk, and 143_l._ 13_s._ 6_d._ for tailor’s work; in all, the Prince had to pay 1092_l._ 6_s._ 10_d._ The interest of these details lies in the fact that it was by making stage scenery that Inigo Jones was taught how to extract the greatest amount of effect from the smallest amount of material or means. It let him into the secret of proportion, and the marvellous amount of influence proportion alone, without ornament or expense, can be brought to exercise. Other men at that time also understood stage scenery, but stage scenery was to them nothing more. The information so gained fell on fertile soil in the mind of Inigo, and brought forth eventually those splendid architectural designs for which he can never be too much praised.