SOCIETY DANCING FROM THE FIFTEENTH CENTURY.
[Illustration: Fig. 37.--Italian dance. From an engraving, end of 15th
century, attributed to Baccio Baldini.]
Concerning the dance as a means of social intercourse, it does not
appear to have been formulated as an accomplishment until late in the
thirteenth century, and at a later date was cultivated as a means of
teaching what we call deportment, until it became almost a necessity
with the classes, as is shown by the literature of that period. The
various social dances, such as the Volte, the Jig and the Galliard,
although in early periods, not so numerous, required a certain
training and agility. These, however, soon became complicated with
many social and local variations, the characteristics of which are a
study in themselves. The dances (figs. 37 and 38) in a field of
sports, from an Italian engraving of the fifteenth century, show us
nothing new; indeed, with different costumes it is very like what we
have from Egypt (fig. 3), only a different phase of the action, and
the attitude of this old dance is repeated even to our own time.
[Illustration: Fig. 38.--Italian dancing, the end of the 15th
century.]
In the Chamber dance by Martin Zasinger (fig. 39), of the fifteenth
century, no figures are in action, but we see an arrangement of the
guests and musicians, from which it is evident that the Chamber dance
as a social function had progressed and that the "Bal paré," etc.,
was here in embryo.
The flute and viol are evidently opening the function and the trumpets
and other portions of the orchestra on the other side waiting to come
in.
[Illustration: Fig. 39.--Chamber dance, 15th century. From a drawing
by Martin Zasinger.]
The stately out-door function, in a pleasure garden, from the "Roman
de la Rose" (fig. 40) illustrates but one portion of the feature of a
dance, another of which is described in Chaucer's translation:
"They threw y fere
Ther mouthes so that through their play
It seemed as they kyste alway."
Fancy dress and comic dances have handed down the same characteristics
almost to our own time. The Wildeman costume dance (fig. 41) is
interesting in many respects, it not only shows us the dance, but the
costume and general method of the Chamber.
[Illustration: Fig. 40.--Dancing in a "pleasure garden," end of the
15th century. French, from the "Roman de la Rose," in the British
Museum.]
The fifteenth century comic dancers in a _fête champétre_ (fig. 42)
and those of the seventeenth century by Callot (fig. 52) are good
examples of this entertainment--in the background of the latter a
minuet seems to be in progress. The Morris dance (fig. 50) shows us
the development that had taken place since the fourteenth century.
[Illustration: Fig. 41.--Fancy dress dance of Wildemen of the 15th
century. From MS. 4379 Harl, British Museum.]
[Illustration: Fig. 42.--Comic dance to pipe and tabor, end of 15th
century. From pen drawing in the Mediaeval House Book in the Castle of
Wolfegg, by the Master of the Amsterdam Cabinet.]
[Illustration: Fig. 43.--A dance of Angels and Saints at the entrance
to Heaven. Fra Angelico.]
[Illustration: Fig. 44.--Dancing angels. From a "Nativity" by Sandro
Botticelli _circa_ 1500 A.D.] [Illustration: Fig. 45.--Albert Dürer,
1514 A.D.]
[Illustration: Fig. 46.--Albert Dürer.]
Allusion has already been made to the beautiful paintings of
Botticelli and Fra Angelico, which tell us of Italian choral dances of
their period; these do not belong to social functions, but are
certainly illustrative of the custom of their day. Albert Dürer (figs.
45, 46) has given us illustrations of the field dances of his period,
but both these dances and those drawn by Sebald Beham (fig. 47) are
coarse, and contrast unfavourably with the Italian, although the
action is vigorous and robust.
[Illustration: Fig. 47.--Scenes from dances. German, dated 1546, by
Hans Sebald Beham.] The military dance of Dames and Knights of
Armour, by Hans Burgkmair, on the other hand, appears stately and
dignified (fig. 48). This may illustrate the difference between
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 "Orchésographie" 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 "Orchésographie" 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 lady never refuses him who so honours
her as to lead her to the dance.
"_Capriol_:--I think so too, but in the meantime the shame of the
refusal remains with me.
"_Arbeau_:--If you feel sure of another lady's graciousness, take
her and leave aside this graceless one, asking her to excuse you
for having been importunate; nevertheless, there are those who
would not bear it so patiently. But it is better to speak thus
than with bitterness, because in so doing you acquire a
reputation for being gentle and humane, and to her will fall the
character of a 'glorieuse' unworthy of the attention paid her."
"When the instrument player has ceased" continues our good Canon
"make a deep bow by way of taking leave of the young lady and
conduct her gently to the place whence you took her, whilst
thanking her for the honour she has done you." Another extract is
not wanting in flavour: "Hold the head and body straight, have a
countenance of assurance, spit and cough little, and if necessity
compels you, turn your face the other side and use a beautiful
white handkerchief. Talk graciously, in gentle and honest speech,
neither letting your hands hang as if dead or too full of
gesticulation. Be dressed cleanly and neatly 'avec la chausse
bien tirée et Pescarpin propre.'
"And bear in mind these particulars."
]
We have have seen from the fourteenth century (figs. 35 C, 36 A, 46)
how common the bagpipe was in out-of-door dances; in the illustrations
from Dürer (fig. 46) and in fig. 53 from Holtzer it has developed, and
has two accessory pipes, besides that played by the mouth, and the
player is accompanied by a sort of clarionet. This also appears to be
the only accompaniment of the Trio (fig. 58). [Illustration: Fig.
50.--Morris dancers. From a window that was in the possession of
George Tollett, Esq., Birtley, Staffordshire, 16th century.]
[Illustration: Fig. 51.--Court dance. From a drawing by Callot, 1635
A.D.]
In the sixteenth century certain Spanish dances were introduced into
France, such as la Pavane, which was accompanied by hautboys and
sackbuts.
[Illustration: Fig. 52.--Comic dancers. By Callot, from the act
entitled "Balli di Sfessama," 1609 A.D.]
[Illustration: Fig. 53.--Country dance. From a drawing by John
Evangelist Holtzer, 17th century.]
[Illustration: Fig. 54.--A ball-room dance, _Le Bal Paré_, of the 18th
century. From August de l'Aubin.]
[Illustration: Fig. 55.--A dance in the 18th century. From a painting
by Hogarth.]
There were, however, various other dances of a number too
considerable to describe here, also introduced. The dance of the
eighteenth century from Derby ware (fig. 59) seems to be but a
continuation in action of those of the sixteenth century, as
out-of-door performances.
[Illustration: Fig. 56.--Caricature of a dancing master. Hogarth.]
We have now arrived at the modern style of ball, so beloved by many of
the French Monarchs. Henry IV. and Napoleon were fond of giving these
in grand style, and in some sort of grand style they persist even as a
great social function to our own time. The Court balls of Louis XIII.
and XIV. at Versailles were really gorgeous ballets, and their
grandeur was astonishing; this custom was continued under the
succeeding monarchs. An illustration of one in the eighteenth century
by August de l'Aubin (fig. 54) sufficiently shows their character.
There is nothing new in the postures illustrated, which may have
originated thousands of years ago. As illustrating the popular ball of
the period, the design by Hogarth (fig. 55) is an excellent contrast.
The _contredanse_ represented was originally the old country dance
exported to France and returned with certain arrangements added. This
is a topic we need not pursue farther, as almost every reader knows
what social dancing now is.
[Illustration: Fig. 57.--Spring dancing away from winter. From a
drawing by Watteau.]
[Illustration: Fig. 58.--The Misses Gunning dancing. End of the 18th
century, from a print by Bunbury, engraved by Bartolozzi.]
[Illustration: Fig. 59.--Dancing. Close of the 18th century. From
Derby ware.]
[Illustration: Fig. 60.--Spanish dance in the Hall of Saragoza, 19th
century.]