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A description of the Gavotte follows, and it is interesting to note that this dance which is still seen on the stage sometimes to-day, was an established favourite as far back as 1588. Then comes an account of the “Morisque” dance, the origin of which Arbeau places in the Saturnalia of the ancient world, not without reason, one fancies; and then he gives account of the Canaries, which, he says, some say takes its name from the Canary Isles, while others derive it “from a ballet composed for a masquerade in which the dancers were dressed as kings and queens of Mauretania, or even as savages therefrom, with headdress of varied plumage.” The last chapter is devoted to the dance of Bouffons, a dance with sword and buckler supposedly derived from ancient Rome and a never-failing source of delight to French playgoers and opera-lovers of the sixteenth and seventeenth centuries.

Before the “Dialogue” actually closes, young Capriol politely thanks Monsieur Arbeau for the trouble he has taken to teach him dancing, and Arbeau responds by promising a second volume (alas! never written) dealing with the ballets of the masquerades “made” at Lengres. He urges him meanwhile to practise “les dances honnestement,” and so become a worthy comrade of the planets “qui dancent naturellement”: and he closes his discourse very prettily with the words, “Je prie Dieu vous en donne la grace.”