The best talent in London contributed. The music was by the King's favourite composer William Lawes, his brother Henry Lawes, and Simon Ives, who excelled at glees and part-songs. The indoor stage sets were by the tireless Inigo Jones, architect, painter and emblematic publicist of the Stuart monarchy. The pageant's enormous cost included payment to a French costume-maker, brought out of retirement to stitch bird costumes, plus the cost of many sacks of feathers, acquired by this Frenchwoman at inflated prices from the canny feather-suppliers with whom she had long been in league.

For Gideon and his two companions she had produced padded suits sewn with hundreds of grey, white and russet feathers, costumes which had to be kept pulled up tight under the crotch, to make their legs look as long and thin as possible. The suits were held on by braces over the shoulders and were topped with heavy heads that had to be applied very carefully, or they ended up askew. In his feathered costume, Gideon had a fine, bright-chestnut padded belly marked with a distinctive white bar across his upper chest like a mayoral chain and prominent white eye stripes, joining on the back of the neck; after his headpiece was fixed, he could dip and raise its narrow beak, though at risk of breaking it.

Once inside, visibility was almost nil. He felt hot and claustrophobic, and the bird's head crushed down on his own with disconcerting pressure. Gideon began to experience regrets, but it was too late to back out.

Chapter Two — Whitehall: 2 February 1634

The blur of torchlight first became visible to the waiting crowds at Charing Cross. Spectators made out an occasional twinkle, then ranks of tarry flambeaux bobbed queasily in the darkness, finally filling the broad street with light.