| Show THE picturesque PAVANE A from the bat nail I 1 I 1 rooms of vf by cone Time sHow it Is in danced the pavane Is to bo be the next revival from the ball rooms of the bygone times to dance in ia character the performers should wear louis lou XIII dresses with their largo putted puffed sleeves arid and wide van dyken dyke alace lace turned back from the shoulders and drooping over the arms the overdress and petticoat would not be any novelty in these days of louis XV gow gov ris ns and the lace inco wired high at the b back a ck of tho the neck would be becoming to many and by no means a startling innovation the stylo style of hair bair however would bo be rather trying the coiffure of that period was perfectly flat on the top the back hair was waa arranged around a comb while a thick bunch of curls hun hung over either ear concealing both the buckled buckled or re slices shoes with pointed toes and ghigli ll eels are familiar enough to us its all the mens dress is sufficiently cletur picturesque with silk stockings re shoes knee breeches ending in a frill of rich lace and tied writh with ribbons at the knees tight jacket of silk or elvet civet with slashed sleeves and short coat hanging banging loose from alie shoulders deep cavalier collars and long iong love locks aro are inseparably connected inbur in our minds with a later period of our own island history the lance dance itself is a graceful one with much sinuous turning and twisting of the dancers many sliding steps deep courtesies and pretty pointed toe brought irp ftp recover the music is in triple time lik lika p that of ilie minuet and the first remarkable feature in the lance dance Is the starting off of two out of caell cadi four couples to the very end of the room in the minuet step and their slow dance back again to place themselves as vis a N is to the other two couples immediately after the latter set off on a similar expedition returning to their original positions this thia preliminary canter concluded the real business of the dance begins strangely str insely enough by scattering the four couples to the very extremities of tho the room brought together al ayin ay gaan in in the center still holding hands they content themselves with a more limited space pace ranging themselves as though for a quadrille the third figure is a pretty one but one irk in which men in modern co costume sturno would probably feel thein themselves selves to lie be ridiculous each gentleman kleeli on ono ona knee his sword well out at the th ebu bi z his right hand resting palm upward on iris his right knee hilee each lady taking a scrap sarai of her 0 erd ress in each hand band sets oft off with the left toot foot aud and glides coquettishly in front of the partner opposite her own in a diagonal direction then the men rise lady and cavalier making each other a low reverence tho the whole tour four couples in the same moment al much luch of the beauty of this figure consists in in the t curtesy being 7 made exactly simultaneously by the eight dancers this was the only point in which the dancers at the costume ball failed in their cavot some of thern them we c rising after their low bow at the moment when others were making the descent this reverence over the cavaliers cavaliere cava liers go down again on oil one knee while the ladies dance oil off each arriving before her very own partner when there are fresh courtesies the men rising and giving their right hands to the ladies who pirouette without letting go the hand being supported by the other arm of their partners Part partners vi which aich is passed pass pas ed eil round their waist in the last figure the four dancers form a ircle circle c by talan hands and then letting go but still holding the arms raised high in the air each couple turns to each other with a step to the right and then one to the left repeating this double movement four times after this each couple stands ranged behind the first and dances off out of the room ly by a door on the opposite side to that by which they danced into it london society |
