etween
chamber and garden or field dancing.

[Illustration: Fig. 48.--A torchlight military dance of the early 16th
century. From a picture by Hans Burgkmair.]

At the end of the sixteenth century we get a work on dancing which
shows us completely its position as a social art in that day. It is
the "Orchesographie" of Thoinot Arbeau (Jean Tabouret, Canon of
Langres, in 1588), from which comes the illustration of the
"Galliarde" (fig. 49) and to which I would refer the reader for all
the information he desires concerning this period. In this work much
stress is laid on the value of learning to dance from many points of
view--development of strength, manner, habits and courtesy, etc. Alas!
we know now that all these external habits can be acquired and leave
the "natural man" beneath. [Illustration: Fig. 49.--_La Galliarde_.
From the "Orchesographie" of Thoinot Arbeau (Jean Tabourot), Langres,
1588.]

Desirable, therefore, as good manners and such like are, they do not
fulfil all the requirements that the worthy Canon wished to be
involved by them.

[Footnote: The advice which he gives is valuable
from its bearing on the customs of the 16th century. It even has great
historical value, indicating the influence dancing has had on good
manners. That the history of dancing is the history of manners may be
too much insisted upon. For these reasons we insert these little known
passages. The first has reference to the right way of proceeding at a
ball.

"Having entered the place where the company is gathered for the
dance, choose a good young lady (honneste damoiselle) and raising
your hat or bonnet with your right hand you will conduct her to
the ball with your left. She, wise and well trained, will tender
her left and rise to follow you. Then in the sight of all you
conduct her to the end of the room, and you will request the
players of instruments to strike up a 'basse danse'; because
otherwise through inadvertance they might strike up some other
kind of dance. And when they commence to play you must commence
to dance. And be careful, that they understand, in your asking
for a 'basse danse,' you desire a regular and usual one.
Nevertheless, if the air of one song on which the 'basse danse'
is formed pleases you more than another you can give the
beginning of the strain to them."

"_Capriol_:--If the lady refuses, I shall feel very ashamed.

"_Arbeau_:--A well-trained