Much as the church fathers fought dancing in other countries, they had to admit it in Spain. It is said that the choir-boys of Seville Cathedral executed _danzas_ during a part of the religious processions in mediæval Spain, and that this practice was authorized in 1439 by a Bull of Pope Eugenius IV. Of these choir-boy dancers Baron Davillier writes: ‘They are easily to be recognized in the streets of Seville by their red caps, their red cloaks adorned with red neckties, their black stockings, and shoes with rosettes and metal buttons. The hat (worn during the dance), slightly conical in shape, is turned up on one side, and fastened with a bow of white velvet, from which rises a tuft of blue and white feathers. The most characteristic feature of the costume is the _golilla_, a sort of lace ruff, starched and pleated, which encircles the neck. Lace cuffs, slashed trunk-hose or _galzoncillo_ blue silk stockings and white shoes with rosettes, complete the costume of which Doré made a sketch when he saw it in Seville Cathedral, on the _octave_ of the Conception. The dance of the boys attracts as many spectators to Seville as the ceremonies of Holy Week, and the immense cathedral is full to overflowing on the days when they are to figure in a function.’ Vuillier writes of another occasion of the Spanish temple dances: ‘One of these festivals is celebrated on the 15th of August, the day of the Assumption of the Virgin Mary, the other on the following day, the feast of the patron of the village of Alaro. On these occasions a body of dancers called _Els Cosiers_ play the principal part. It consists of six boys dressed in white, with ribbons of many colors, wearing on their heads caps trimmed with flowers. One of them, _La Dama_, disguised as a woman, carries a fan in one hand and a handkerchief in the other. Two others are dressed as demons with horns and cloven feet. The party is followed by some musicians playing on the _cheremias_, the _tamborino_, and the _fabiol_. After vespers the _Cosiers_ join the procession as it leaves the church. Three of them take up positions on either side of the Virgin, who is preceded by a demon; every few yards they perform steps. Each demon is armed with a flexible rod with which he keeps off the crowd. The procession stops in all the squares and principal places, and there the _Cosiers_ perform one of their dances to the sound of the _tamborino_ and the _fabiol_. When the procession returns to the church they dance together round the statue of the Virgin.’