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 CHAPTER XIX OF DANCING DRESSES, EUROPEAN AND ORIENTAL, ANCIENT AND MODERN between Church and Stage is of no novel date. The relationship between the two has been close and intimate since the days when no religious festival was complete without its chorus of dancers, and the officiating priests took part in the tripping until the introduction, in the Middle Ages, of such profanities as the Dance of Death and the Dance of the Angels, common in Italy, Spain, and France, caused the practice to fall into disrepute.

Possibly the present time sees the Terpsi-chorean art at its lowest ebb. Nevertheless, a promising sign of reviving interest is that modern scientists, following the example of the old Greek philosophers, are emerging as champions of the lightsome measure. Still, it is doubtful whether it will ever again attain the respect it reached in ancient Greece; and it were mere optimism to hope that we may yet witness Members of Parliament dancing to their seats in the House of Commons, our judges pirouetting solemnly towards the bench, and our admirals and generals inculcating a spirit of patriotism by dances devised to inspire 225