THE "EARLY ENGLISH" AND "MEDIAEVAL" DANCE TO THE FOURTEENTH CENTURY.

The last illustration from the Baths of Constantine brought us into
the Christian era, although that example was not of Christian
sentiment or art. It is possible that the dance of Salome with its
diabolical reward may have prejudiced the Apostolic era, for we find
no example of dancing, as exhibiting joy, in Christian Art of that
period. The dance before Herod is historical proof that the higher
classes of Hebrews danced for amusement.

As soon, however, as Christianity became enthroned, and a settled
society, we read of religious dances as exhibiting joy, even in the
churches. Tertullian tells us that they danced to the singing of hymns
and canticles. These dances were solemn and graceful to the old tones;
and continued, notwithstanding many prohibitions such as those of Pope
Zacharias (a Syrian) in A.D. 744. The dancing at Easter in the
Cathedral at Paris was prohibited by Archbishop Odo in the 12th
century, but notwithstanding the antagonism of the Fathers, the dances
were only partially suppressed.

They were common on religious festivals in Spain and Portugal up to
the seventeenth century and in some localities continue even to our
own time. When S. Charles Borromeo was canonized in 1610, the
Portuguese, who had him as patron, made a procession of four chariots
of dancers; one to Renown, another to the City of Milan, one to
represent Portugal and a fourth to represent the Church. In Seville at
certain periods, and in the Balearic Isles, they still dance in
religious ceremonies.

We know that religious dancing has continually been performed as an