He gives very careful directions not only for performing the “_reverence_,” the “_simple_,” the “_double_,” the “_réprise_,” and the “_congé_,” but for performing the various movements of the _basse-dance_, the _retour_, and the _tordion_; as, for instance, when he remarks that “You begin the dance of the _tordion_, which is in triple time, just like the _basse-dance_: but it is (to give his own words) _plus legiere and concitée_.” He describes the _Pavane_ as “easy” to dance, and gives details of its performance, together with the music of that famous and lovely example, “_Belle qui tiens ma vie captive_,” the words being given in full, for four voices and _tambour_ accompaniment. The _Gaillarde_, he says, is so-called “_parce qu’il fault estre gaillard and dispos pour la dancer_,” and with much detail as to its performance explains that while danced somewhat like the tordion the latter is done “_plus doulcement and avec actions and gestes moings violents_.” He gives nearly a dozen musical examples for the _gaillarde_, one called “_La traditors my fa morire_”; another “_Anthoinette_”; another, with the charming title “_Baisons nous belle_”; another, “_Si j’ayme ou non_.” Capriol, by the way, remarks _apropos_ after the second-named, that “At Orleans when we give _Aubades_ we always play on our lutes and _guiternes_ a _gaillarde_ called ‘_La Romanesque_,’” but that it seemed so hackneyed and trivial that he and his companions took to “_Anthoinette_” as being livelier and having a better rhythm. The _Gaillarde_ was in triple time, and was made up of five steps (or four steps and a leap) and one “position”; the term _cinq pas_ also being alternatively applied to it, hence the Shakespearean “cinque-pace” and “sink-a-pace.” The _Volte_, from which is derived the modern valse, was described by Arbeau as “a species of _gaillarde_ familiar to the Provençals,” danced, like the _tordion_, in triple time, and consisting of two steps and a leap. The _Volte_, or _Volta_, as it was as often called, was popular in England, as was the _Gaillarde_, and references to it are found in Shakespeare (_Troilus and Cressida_) and in the one really great work on the Dance in English literature, namely, Sir John Davies’ richly imaginative and finely musical poem, _Orchestra, or a Poeme on Daunciny_, which was published in 1596, only eight years after Arbeau’s _Orchésographie_. The _Courante_, Arbeau describes as very different from the _Volte_. It is also (in contrast to the _Pavanes_ and _Basse-dances_) a _danse sautée_, but in twelve time, with running steps, requiring from time to time not the quick, light leaping of a _volte_, but the sort of slow soaring for which Vestris was famous in the eighteenth century and Volinin and Bohn can perform so superbly to-day.