ABSTRACT
If tournaments formed the outdoor and competitive aspect of court entertainment, the complementary indoor equivalent, based upon dancing, is broadly summed up under the term disguising.1 The two are intricately knit together: from at least the thirteenth century, descriptions of tournaments include accounts of indoor evening dance^revels as if they were part of the same event, and Rene d’Anjou’s Traite des tournois lays down the points where such dancing is an intrinsic part of the proceedings.2 ‘Jiistynges, pleys, dysguysynges* are frequently bracketed together in contexts that suggest that they are seen as part of the same thing.3
