In China dancing has from a remote period held a conspicuous place in Court ceremonies. At the present day it takes the form of an act of homage to the sovereign, for which performance special mandarins are appointed. This dance is performed by the greatest in the land, and at stated times an imposing sight may be witnessed at the imperial palace, when men coming from all parts of Asia render tribute to the Emperor by songs and dances. On one occasion, when the dance was at its glory in China, “the Emperor showed the appreciation he felt for his Viceroys by the number of the dances with which he received them when they came into his presence. If he was displeased with their administration, he would reprove them silently by allowing only a few dances, performed by a small number of coryphées.” It would seem, too, that emperors “did not disdain the study of the dance, or its performance in public; they generally devoted the autumn to the former, and the spring to the latter, and the feast of ancestors was the greatest occasion for the dance. In 1719 the son of the Emperor danced before his father and the whole assembled Court.” At the French Court dancing from an early period was in high repute, and the intermezzi or entremets--from which sprang dances--performances held at banquets to entertain the guests whilst waiting for the courses, can be traced back to the year 1237, when St. Louis gave a wedding feast to his brother Robert at Compiègne. It is related that at this feast a knight rode across the hall on horseback over a large tight-rope stretched above the heads of the guests.[51] With the Medicis the splendid dance entertainments were introduced into France; and we read how Catherine de’ Medicis, while plotting the massacre of St. Bartholomew, amused herself by witnessing the antics of a troupe of Italian players, called “I Gelosi,” which consisted of mimic acting varied with comic dances. It is said that Jacques Coetier, a French physician, was the only person who could curb the uneven spirit of Louis IX., which he did by making an artful use of that dread of death to which the King was subject. Thus Coetier, trading on this peculiarity, would often say to his Majesty, “I suppose one of these days you will dismiss me, as you have done many other servants; but mark my words, if you do, you will not live eight days after it.” By repeating this menace from time to time, Coetier not only kept himself in his station, but actually succeeded in persuading the King to bestow upon him valuable presents. He paid, however, considerable attention to the mind of his royal master, and to divert his attention and to amuse him during his indisposition, he would arrange to have rural dances performed under his window. Henry IV. and his great minister, Sully, were lovers of the ballet, and Louis XIII. danced on the stage with all his Court.