In the “revelatory” conclusion to Thomas Carew's Stuart masque, Coelum Britannicum (1634), King Charles I and Henrietta Maria are deified. Mercury plays their Attendant Spirit, conducting his Lady, the actual Queen, and her king into the hallowed halls of sanctified sovereignty: “Then shall you see / The sacred hand of bright eternity; Mould you to stars, and fix you in the sphere / To you your royal half, to them she'll join / Such of this train as with industrious steps / In the fair prints your virtuous feet have made, / Though with unequal paces, follow you” (186). Here Carew even grants Henrietta and Charles, the royal twins, “carlomaria,” a virtual monopoly over this Platonic realm of representation and visibility, of personhood, perfection, and power. It was, the masque proclaimed, these two alone who were graceful and “formed fit for heaven” (189) enough to “dispense to th' world a pure refined influence” (168).