and javelins in their
hands: but, on certain occasions they performed in panoply, or
complete suits of armour. Strengthened by their daily and
various manly exercises, they were enabled to execute these
dances, with a surprising exactness and dexterity. The martial
simphony that accompanied them, was performed by a numerous band
of music; for the clash of their arms being so loud, would else
have drowned the tune or airs of the musicians. It is impossible
to imagine a more sublime, splendid and picturesque sight than
what these dances afforded, in the brilliancy of their arms, and
the variety of their evolutions; while the delight they took in
it, inspired them with as much martial fire, as if they had been
actually going to meet the enemy. And indeed this diversion was
so much of the nature of the military exercise, that none could
be admitted who were not thoroughly expert in all martial
training. In time of peace, this kind of dance was considered as
even necessary to keep up that suppleness and athletic
disposition of body, to bear action and fatigue, essential to
the military profession. If the practice had been neglected, but
for a few days, they observed a numbness insensibly diffuse
itself over the whole body. They were persuaded then that the
best way of preserving their health, and fitness for action, and
consequently to qualify them for the most heroic enterprizes,
was to keep up this kind of exercise, in the form of diversion.

These martial dances, have, in some operas of Italy, been
attempted to be imitated, with some degree of success: but as
the performers had not been trained up to such an exercise, like
the Greeks, it was not to be expected that the representation
should have the same perfection, or color of life.

The composition of the music, and the suiting the airs to the
intended execution of a dance, is a point of which it is scarce
needful to insist on the importance, from its being so obvious
and so well known. Nothing can produce a more disagreeable
discordance than a performer's dancing out of time. And here it
may be observed, how much lies upon a dancer, in his being at
once obliged to adapt his motions exactly to the music and to
the character: which forms a double incumbence, neither point of
which he can neglect, without falling into unpardonable errors.

Where dances are well composed, they may give a picture, to the
life, of the manners and genius of each nation and each age, in