Pepys, too, gives a graphic account of a ball given at Whitehall, in the year 1666, to celebrate the Queen’s birthday, on which occasion he contrived to climb up to a loft, where he obtained a view of the festive scene, which he thus describes: “It was indeed a glorious sight to see Mrs. Stuart in black and white lace, and her head and shoulders dressed with diamonds, only the Queen none (as she was in mourning for her mother), and the King in his rich vest of some rich silk and silver trimming; the Duke of York and all the other dancers wore cloth of silver. Presently, after the King was come in he took the Queen, and about fourteen more couple there were, and began the brantle. After the brantles a corant, and now and then a French dance: but that so rare, that the corants grew tiresome, and I wished it done, only Mrs. Stuart danced mighty fine; and many French dances, especially one the King called ‘the new dance,’ which was very pretty. But, upon the whole, the business of the dancing itself was not extraordinary pleasing. About twelve at night it broke up.” Indeed, Queen Catherine is said to have been childishly attached to dancing, and in some verses, entitled “The Queen’s Ball,” published in the State Poems, she is styled:-- “Ill-natured little goblin, and designed For nothing but to dance and vex mankind.” Pepys further tells us how he was admitted by his acquaintance, Lady Peterborough, into the apartments of the Duchess of York at Whitehall when the young Mary Stuart was taking her dancing lesson, which incident he thus describes: “Stepping to the Duchess of York’s side to speak to my Lady Peterborough, I did see the young Duchess, a little child in hanging sleeves, dance most finely, so as almost to ravish me, her ear is so good, taught by a Frenchman that did heretofore teach King Charles II. and all the royal family, and the Queen-mother herself, who do still dance well.” It may be added that the first introduction of the royal sisters, Mary and Anne, was their performance of a ballet, written for them by the poet Crowne, called “Calista, or the Chaste Nymph,” acted December 2, 1674. They were trained for this performance by Mrs. Betterton, the principal actress at the King’s Theatre, the ballet being remarkable for the future historical parts of the performers. The Lady Mary of York was the heroine, Calista; her sister the Lady Anne, Nyphe; Lady Harriet Wentworth performed Jupiter. The epilogue was written by Dryden, and addressed to Charles II.