"Florio, in his _Italian Dictionary_, 1598, has _passamezzo_, a _passameasure_ in dancing, a cinque pace; and although the English word is corrupt, the other contributes a part, at least, of the figure of this dance, which is said to have consisted in making several steps round the ball-room, and then _crossing it in the middle_. Brantôme calls it 'le _pazzameno_ d'Italie,' and it appears to have been more particularly used by the Venetians. It was much in vogue with us during Shakspeare's time, as well as the _pavan_; and both were imported either from France, Spain, or Italy. In a book of instructions for the lute, translated from the French by J. Alford, 1568, 4to., there are two _passameze_ tunes printed in letters according to the lute notation." The _passamezzo_ was sometimes sung as well as danced. Morley, in his _Introduction to Practicall Musicke_, 1597, has an interesting passage bearing on the point, which has been overlooked by modern writers: "There is likewise a kind of songs (which I had almost forgotten) called _Justinianas_, and are all written in the _Bergamasca_ language. A wanton and rude kinde of musicke it is, and like enough to carrie the name of some notable curtisan of the citie of _Bergama_; for no man will deny that _Justiniana_ is the name of a woman. There be also manie other kinds of songs which the Italians make; as _pastorellas_ and _passamesos_, with a dittie, and such like, which it would be both tedious and superfluous to dilate unto you in words; therefore I will leave to speak any more of them, and begin to declare unto you those kinds which they make without ditties." MR. FORBES asks, "Is the tune of the _galliard_ known?" I know at least a hundred different galliard tunes. They are distinguished by appellations which seem to indicate their being the {217} favourites of particular persons, as in these instances:--"The King of Denmark's Galliard," "The Earl of Essex's Galliard," "Sir John Souch his Galliard," "Sir Henry Noell his Galliard," &c.--See Douland's _Lachrymæ, or Seaven Tears_, 1603. The _galliard_ is a lively air in triple time: Brossard intimates that it is the same with the _Romanesca_, a favourite dance with the Italians. It is graphically described in Burton's _Anatomy of Melancholy_: "Let them take their pleasures, young men and maides flourishing in their age, fair and lovely to behold, well attired, and of comely carriage, dauncing a _Greek galliarde_, and, as their dance required, kept their time, now turning, now tracing, now apart, now altogether, now a curtesie, then a caper, &c., that it was a pleasant sight." Christopher Sympson, in his _Compendium of Practical Musick_ (ed. 1678, p. 116.), says: