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If the masque was a kind of ballet that did not move from its appointed place within sight of the Royal and Courtly audience, by whom it was commanded as a spectacle for private entertainment, there was a “ballet” which did, and became, like the “carrousels” and “triumphs,” a very public spectacle, namely the ballet-ambulatoire, or peripatetic “ballet,” said to have originated among the Portuguese, and much encouraged by the Church.

The Beatification of Ignatius Loyola in 1609 is an instance of peripatetic “ballet” famous in the history of the dance.

Interesting account of it is given by the invaluable Menestrier, who writes:

“As the Jesuits had a war-like character, they chose the Siege of Troy for the subject of their ballet. The first act took place before the church of Notre Dame de Lorette. It was there they stood the wooden horse. Full of Jesuits, the machine began to move, while numerous dancers acted the most remarkable feats of arms of Achilles, Ajax, Hector and Æneas. The monstrous horse and its retinue advanced, preceded by a brilliant orchestra. They arrived at the Place St. Roch, where the Jesuits had their church. The city of Troy, or at least a part of its towers and ramparts, constructed of wood, occupied a third of this place. A piece of wall was broken down, to give entrance to the horse, the Greeks descended from the machine and the Trojans attacked them with guns. The enemy defended with the same arms, and the two sides fought—while dancing! Eighteen great staves filled with fireworks caused the burning and the ruin of Troy!”