A Treatise on the Art of Dancing

by Giovanni-Andrea Gallini

Processional dances were also much in vogue among that people. They had especially an anniversary ceremony or procession, called, from its pre-eminence, singly, Pompa, or the Pomp.

It was celebrated, in commemoration of a victory obtained over the Latians, the news of which was said to have been brought by Castor and Pollux, in person. This festival, was, at first, consecrated to Jupiter, Juno, and Minerva. But it was afterwards made more general, and celebrated in honor of all the Gods. This procession was in the month of September. It began at the temple of Jupiter Capitolinus, proceeded to the Forum Romanum, from thence to the Velabrum, and

afterwards to the Grand Circus. You have in Onuphrius Panvinius, the order of this procession at large, of which the directors were the chief magistrates of the city: the sons of the nobility leading the van. Those of the Equestrian order, whose fathers were worth a hundred and fifty thousand sesterces, followed on horseback. It would be here foreign from my purpose to give the whole description of this procession, and of those who composed it. It is sufficient to observe, that processional dancing constituted a considerable part of it. The Pirrhic dance, executed to a martial air, called the Proceleumaticus, employed the men of arms. These were followed by persons who danced and leaped, in the manner of Satirs, some of them in the dress ascribed to Silenus, attended by performers on instruments adapted to

that character of dance. These made the comic part of the procession, and the persons representing Satirs, took care to divert the people by leaps, by a display of agility, and by odd uncouth attitudes, such as were in the character they had assumed. There were also in another part of the procession twelve Salii, or priests of Mars, so called from their making sacred dances in honor of that God, the most considerable part of their worship; these were headed by their master or Præsul, the leader of the dance, a term afterwards assumed by the Christian Prelates. There were also the Salian virgins, besides another division of the Salii called Agonenses or Collini.

Nor is the processional dancing any thing surprizing; concerning that among the heathens, and even among the

Hebrews, they were greatly in use. Who does not know that David’s dancing before the arch was but in consequence of its being one of the religious ceremonies on that occasion?

The heathens used especially to form dances before their altars, and round the statues of their gods. The Salii, or priests of Mars, whose dances were so framed as to give an idea of military exercise and activity, threw into their performance steps so expressive and majestic, as not only to defend their motions and gestures from any idea of levity and burlesque, which it is so natural for the moderns to associate with that of dancing, but even to inspire the beholders with respect and a religious awe. The priests chosen for this function, were always persons of the noblest aspect, suitable to the dignity

of the sacerdotal ministry. And so little needs that dignity of the heathen ministry be thought to be wounded or violated by the act of dancing, in religious worship, that dances were actually in use among the primitive Christians, in their religious assemblies. There was a place in their churches, especially allotted for these consecrated dances, upon solemn festivals, which even gave the name of choir to those parts of the church now only appropriated to the reading of the divine service, and to singing. In Spain, it long remained an established custom for Christians to assemble in the church-porches, where, in honor of God, they sang sacred himns, and to the tunes of them, performed dances, that were extremely pleasing, for the decent and beautiful simplicity of the execution. All which I mention purely to salve that inconsistence,

of the levity of dancing with the gravity of divine worship. An inconsistence of which the antients had no idea; since, on that occasion, they almost constantly joined dancing to singing.

They are both natural expressions of joy and festivity; and as such they thought neither of them improper in an address of gratulation to the deity, whom they supposed rather pleased at such innocent oblations of the heart, exulting in his manifold bounties and blessings.