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."