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Cawte quotes further accounts describing complaints to the local magistrates about disruptive morris dancers in Longdon, disrupting the Sabbath day from 1614 to 1617 and another account of dancers in Much Wenlock in 1652, causing a disturbance in an ale house at Nordley.Later evidence from France includes this quote from Thoinot Arbeau circa 1580: "In fashionable society when I was young, a small boy, his face daubed with black and his forehead swathed in a white or yellow handkerchief, would make an appearance after supper.He wore leggings covered with little bells and performed a morris".Evidence of the 18th-century association of black faces with morris is given by the description of the Betley Window (a stained-glass window in Betley Hall, Staffordshire, from around 1621, depicting morris dancers) by its owner, George Tollet (1725–1779). to call some of the representations on my window, Morris Dancers, though I am uncertain whether it exhibits one Moorish personage, as none of them have black or tawny faces, nor do they brandish swords or staves in their hands, nor are they, in their shirts adorned with ribbons." questions the Moorish link, quoting both Douce and Cecil Sharp who felt the English dance was too dissimilar in style and appearance to be derived from the continental European Moorish dances believed to be of Moorish origin.Sharp himself appears to have changed his view between 1906, when he saw a link between the black faces of English morris and the dancers on the Franco–Spanish border, and 1912, when he viewed the dance to be a pan-European custom possibly corrupted by Moorish influence.

A small statue of a "Moriskentänzer" made by Erasmus Grasser in 1480 for Old Townhall in Munich, one of a set of 16, of which only 10 remain.This dancer has an appearance which would be described at the time as "moorish", but all the other 9 surviving carvings are fairer-skinned. from 1480 in Munich, Germany, show "Moriskentänzer" with bells, including one of the ten extant having African features.Another theory is that the blackface tradition derives from earlier forms of the dance involving a Moroccan king and his followers.There is recorded evidence from 1688 of payments in Shrewsbury of 10 shillings to "Ye Bedlam Morris" and 2 shillings for "Ye King of Morocco".