Of a very primitive but unique nature were the mediæval strolling ballets of Spain and Italy. Some old writers assert that they originated in Italy and passed later into Spain, but others tell the contrary. Later the Portuguese organized a strolling ballet in adoration of St. Carlos. Castil-Blaze writes of a strolling ballet that was instituted by the King René of Provence, in 1462, called the _Lou Gue_. This consisted of allegorical scenes of the Bible and was danced in the style of Roman mythological pantomimes. Most of the conspicuous characters of the Bible and history were enacted in this ballet. The procession of the ballet went through a city to the square of a garden before some cathedral or castle. Fame headed the march, blowing a trumpet and carrying a gorgeous shield on a winged horse. He was followed by the rest of the company in various comic and spectacular costumes. There were the Duke of Urbino, King Herod, Fauns, Dryads, and Apostles, and finally the Jews, dancing round a Golden Calf. ‘King René wrote this religious ballet in all its details,’ writes Castil-Blaze. ‘Decorations, dance music, marches, all were of his invention, and his music has always been faithfully preserved and performed. The air of _Lou Gue_ has some curious modulations; the minuet of the Queen of Sheba, the march of the Prince of Love, upon which so many _noëls_ have been founded, and, above all the _Veie de Noue_, are full of originality. But the wrestler’s melody is good René’s masterpiece, if it be true that he is its author, as tradition affirms. This classic air has a pleasing melody with gracefully written harmonies; the strolling minstrels of Provence play it on their flutes to a rhythmical drum accompaniment, walking round the arena where the wrestlers are competing.’ Some queer religious pantomimes came into vogue in France about the twelfth century, and of these the torch dances, executed on the first Sunday in Lent, enjoyed the greatest popularity; but they were all suppressed by the clergy and later became degenerate. In Paris the clergy sold dancing indulgences to the rich patricians for a considerable sum of money. The high society was taught to despise dancing as an amusement unworthy of its position. It remained only a popular diversion among the middle class. The theatrical ballets and strolling pantomimes disappeared altogether. The theatre was declared by the clergy a Pagan institution and every art connected with the stage of infernal origin. But, strange to say, mediæval stage dancing was first introduced by women. Men appeared only as spectators of such performances. Thus we read in a ballad of the twelfth century that the _damosels_ arranged a grand ball and the knights came to look on.