The representations of the dance of Salome to be found in mediæval stained glass or manuscripts give an idea of the sort of tricks and games considered the fittest to amuse people of importance while sitting in their hall or having their dinner. It is by dancing on her hands, head downwards, that the young woman gains the suffrages of Herod. As the idea of such a dance could not be drawn from the Bible, it obviously arose from the customs of the time. At Clermont-Ferrand, in the stained glass of the cathedral (thirteenth century), Salome dances on knives which she holds with each hand, she also having her head downwards. In a window at the Lincoln cathedral she has no knives, but her “dance” is of the same sort and her red-stockinged feet touch the upper line of the glass panel. At Verona, she is represented on the {220} most ancient of the bronze gates of St. Zeno (ninth century) bending backwards and touching her feet with her head. Those standing by are filled with surprise and admiration, one puts his hand to his mouth, the other to his cheek, in an involuntary gesture of amazement. She may be seen in the same posture in several manuscripts in the British Museum; Herod is sitting at his table with his lords, while the young woman dances head downwards.[296] In another manuscript, also of the fourteenth century, minstrels are shown playing on their instruments, while a professional dancing girl belonging to their troop performs as usual head downwards, but this time, as at Clermont, her hands rest on two swords. The accounts of the royal exchequer of England sometimes mention sums paid to passing dancers, who, no doubt, must also have performed surprising feats, for the payments are considerable. Thus, in the third year of his reign, Richard II pays to John Katerine, a dancer of Venice, six pounds thirteen shillings and fourpence for having played and danced before him.[297] [Illustration 42. FAVOURITE DANCES IN PERSIA. (_From a pencil-case._)]