In those days many of the emperors of China studied and understood the art of dancing. History shows many such “Davids” (although not so well known as Israel’s royal dancer) in the dynasties of the empire. Autumn was the favorite season for the study of dancing, as the “feast of ancestors” takes place in the Spring, and the pupils were ready to exhibit their proficiency at that great event. The ancient practice of imperial dancing, was continued even as recently as 1719, when one of the sons of Kang-hi, of the age of twenty, performed before the emperor and his court. There are also mandarins whose duty it is to dance before the emperor; the pantomime of these is especially graceful and dignified. They advance slowly two by two, their limbs and bodies moving gently to the time of a tranquil music; they turn around without quitting their relative positions, and after a series of gestures made in perfect unison, and some symmetrical evolutions, they make the salute of honor, and retire. This dance seems to be only a formal expression of homage to the emperor. The dress of these officials is uniform, and elegant, fine silk capes, caps, etc., the only difference of costume being the buttons, with which the top of the caps are ornamented; the different color of these being indicative of greater or lesser rank. This _corps_ of dancers is recruited from the wealthiest and greatest families of the empire. In the dances, every detail is strictly systemized and observed; the very positions are calculated according to the points of the compass; thus one dancer is always placed at the north-west, another at the north-east, the entrance is to be made from a fixed cardinal point, the exit at another; all is rule and precision. The number of dancers is not at present limited to that given above (sixty-four for the emperor, thirty-six for viceroys, etc.) as the ancient standard. At times of great festivity, the dancers of the Imperial court are reckoned by hundreds. Such _grandes ballets_, are almost always symmetrical and in concerted movements; but there are also _solo_ dances; in these _pas seuls_ the dancer often accompanies himself with both song and instrument. This proves how slow and majestic the motions must be. In dances, females very often appear, but in private only. Mandarins frequently own female dancers and singers, whose performances are reserved for their own families. It is but rarely, and as a mark of especial honor, that they allow some intimate friend to view the dancing of these slaves.