ncing
platform, and Herculaneum and Pompeii have shown us the results.

[Illustration: Fig. 26.--Bacchante leading the Dionysian bull to the
altar. Bas-relief in the Vatican.]

In the theatre the method of the Roman chorus differed from that of
the Greeks. In the latter the orchestra or place for the dancing and
chorus was about 12 ft. below the stage, with steps to ascend when
these were required; in the former the chorus was not used in comedy,
and having no orchestra was in tragedies placed upon the stage. The
getting together of the chorus was a public service, or liturgia, and
in the early days of Grecian prosperity was provided by the choregus.

Tiberius by a decree abolished the Saturnalia, and exiled the dancing
teachers, but the many acts of the Senate to secure a better standard
were useless against the foreign inhabitants of the Empire accustomed
to sensuality and licence.

[Illustration: Fig. 27--Bacchante. From a fresco, Pompeii, 1st century
B.C.]

[Illustration: Fig. 28.--Dancer. From a fresco in the Baths of
Constantine, 4th century A.D.]

Perhaps the encouragement of the more brutal combats of the Coliseum
did something to suppress the more delicate arts, but historians have
told us, and it is common knowledge, what became of the great Empire,
and the lyric with other arts were destroyed by licentious
preferences.

CHAPTER IV.

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 partiall