Chapter 19

The work "On the Manner of playing with Dice," has handed down to us the technical terms used in these games, which varied as much in practice as in name. They sometimes played with three dice, sometimes with six; different games were also in fashion, and in some the cast of the dice alone decided. The games of cards were also most numerous, but it is not our intention to give the origin of them here. It is sufficient to name a few of the most popular ones in France, which were, Flux, Prime, Sequence, Triomphe, Piquet, Trente-et-un, Passe-dix, Condemnade, Lansquenet, Marriage, Gay, or J'ai, Malcontent, Hère, &c. (Figs. 179 and 180). All these games, which were as much forbidden as dice, were played in taverns as well as at court; and, just as there were loaded dice, so were there also false cards, prepared by rogues for cheating. The greater number of the games of cards formerly did not require the least skill on the part of the players, chance alone deciding. The game of _Tables_, however, required skill and calculation, for under this head were comprised all the games which were played on a board, and particularly chess, draughts, and backgammon. The invention of the game of chess has been attributed to the Assyrians, and there can be no doubt but that it came from the East, and reached Gaul about the beginning of the ninth century, although it was not extensively known till about the twelfth. The annals of chivalry continually speak of the barons playing at these games, and especially at chess. Historians also mention chess, and show that it was played with the same zest in the camp of the Saracens as in that of the Crusaders. We must not be surprised if chess shared the prohibition laid upon dice, for those who were ignorant of its ingenious combinations ranked it amongst games of chance. The Council of Paris, in 1212, therefore condemned chess for the same reasons as dice, and it was specially forbidden to church people, who had begun to make it their habitual pastime. The royal edict of 1254 was equally unjust with regard to this game. "We strictly forbid," says Louis IX., "any person to play at dice, tables, or chess." This pious king set himself against these games, which he looked upon as inventions of the devil. After the fatal day of Mansorah, in 1249, the King, who was still in Egypt with the remnants of his army, asked what his brother, the Comte d'Anjou, was doing. "He was told," says Joinville, "that he was playing at tables with his Royal Highness Gaultier de Nemours. The King was highly incensed against his brother, and, though most feeble from the effects of his illness, went to him, and taking the dice and the tables, had them thrown into the sea." Nevertheless Louis IX. received as a present from the _Vieux de la Montagne_, chief of the Ismalians, a chessboard made of gold and rock crystal, the pieces being of precious metals beautifully worked. It has been asserted, but incorrectly, that this chessboard was the one preserved in the Musée de Cluny, after having long formed part of the treasures of the Kings of France.

Amongst the games comprised under the name of _tables_, it is sufficient to mention that of draughts, which was formerly played with dice and with the same men as were used for chess; also the game of _honchet_, or _jonchées_, that is, bones or spillikins, games which required pieces or men in the same way as chess, but which required more quickness of hand than of intelligence; and _épingles_, or push-pin, which was played in a similar manner to the _honchets_, and was the great amusement of the small pages in the houses of the nobility. When they had not épingles, honchets, or draughtsmen to play with, they used their fingers instead, and played a game which is still most popular amongst the Italian people, called the _morra_, and which was as much in vogue with the ancient Romans as it is among the modern Italians. It consisted of suddenly raising as many fingers as had been shown by one's adversary, and gave rise to a great amount of amusement among the players and lookers-on. The games played by girls were, of course, different from those in use among boys. The latter played at marbles, _luettes_, peg or humming tops, quoits, _fouquet, merelles_, and a number of other games, many of which are now unknown. The girls, it is almost needless to say, from the earliest times played with dolls. _Briche_, a game in which a brick and a small stick was used, were also a favourite. _Martiaus_, or small quoits, wolf or fox, blind man's buff, hide and seek, quoits, &c., were all girls' games. The greater part of these amusements were enlivened by a chorus, which all the girls sang together, or by dialogues sung or chanted in unison.

If children had their games, which for many generations continued comparatively unchanged, so the dames and the young ladies had theirs, consisting of gallantry and politeness, which only disappeared with those harmless assemblies in which the two sexes vied with each other in urbanity, friendly roguishness, and wit. It would require long antiquarian researches to discover the origin and mode of playing many of these pastimes, such as _des oes, des trois ânes, des accords bigarrés, du jardin madame, de la fricade, du feiseau, de la mick_, and a number of others which are named but not described in the records of the times. The game _à l'oreille,_ the invention of which is attributed to the troubadour Guillaume Adhémar, the _jeu des Valentines,_ or the game of lovers, and the numerous games of forfeits, which have come down to us from the Courts of Love of the Middle Ages, we find to be somewhat deprived of their original simplicity in the way they are now played in country-houses in the winter and at village festivals in the summer. But the Courts of Love are no longer in existence gravely to superintend all these diversions (Fig. 181).

Amongst the amusements which time has not obliterated, but which, on the contrary, seem destined to be of longer duration than monuments of stone and brass, we must name dancing, which was certainly one of the principal amusements of society, and which has come down to us through all religions, all customs, all people, and all ages, preserving at the same time much of its original character. Dancing appears, at each period of the world's history, to have been alternately religions and profane, lively and solemn, frivolous and severe. Though dancing was as common an amusement formerly as it is now, there was this essential difference between the two periods, namely, that certain people, such as the Romans, were very fond of seeing dancing, but did not join in it themselves. Tiberius drove the dancers out of Rome, and Domitian dismissed certain senators from their seats in the senate who had degraded themselves by dancing; and there seems to be no doubt that the Romans, from the conquest of Julius Caesar, did not themselves patronise the art. There were a number of professional dancers in Gaul, as well as in the other provinces of the Roman Empire, who were hired to dance at feasts, and who endeavoured to do their best to make their art as popular as possible. The lightheartedness of the Gauls, their natural gaiety, their love for violent exercise and for pleasures of all sorts, made them delight in dancing, and indulge in it with great energy; and thus, notwithstanding the repugnance of the Roman aristocracy and the prohibitions and anathemas of councils and synods, dancing has always been one of the favourite pastimes of the Gauls and the French.

Leuce Carin, a writer of doubtful authority, states that in the early history of Christianity the faithful danced, or rather stamped, in measured time during religions ceremonials, gesticulating and distorting themselves. This is, however, a mistake. The only thing approaching to it was the slight trace of the ancient Pagan dances which remained in the feast of the first Sunday in Lent, and which probably belonged to the religious ceremonies of the Druids. At nightfall fires were lighted in public places, and numbers of people danced madly round them. Rioting and disorderly conduct often resulted from this popular feast, and the magistrates were obliged to interfere in order to suppress it. The church, too, did not close her eyes to the abuses which this feast engendered, although episcopal admonitions were not always listened to (Fig. 182). We see, in the records of one of the most recent Councils of Narbonne, that the custom of dancing in the churches and in the cemeteries on certain feasts had not been abolished in some parts of the Languedoc at the end of the sixteenth century.

Dancing was at all times forbidden by the Catholic Church on account of its tendency to corrupt the morals, and for centuries ecclesiastical authority was strenuously opposed to it; but, on the other hand, it could not complain of want of encouragement from the civil power. When King Childebert, in 554, forbade all dances in his domains, he was only induced to do so by the influence of the bishops. We have but little information respecting the dances of this period, and it would be impossible accurately to determine as to the justice of their being forbidden. They were certainly no longer those war-dances which the Franks had brought with them, and which antiquarians have mentioned under the name of _Pyrrhichienne_ dances. In any case, war-dances reappeared at the commencement of chivalry; for, when a new knight was elected, all the knights in full armour performed evolutions, either on foot or on horseback, to the sound of military music, and the populace danced round them. It has been said that this was the origin of court ballets, and La Colombière, in his "Théâtre d'Honneur et de Chevalerie," relates that this ancient dance of the knights was kept up by the Spaniards, who called it the _Moresque_.

The Middle Ages was the great epoch for dancing, especially in France. There were an endless number of dancing festivals, and, from reading the old poets and romancers, one might imagine that the French had never anything better to do than to dance, and that at all hours of the day and night. A curious argument in favour of the practical utility of dancing is suggested by Jean Tabourot in his "Orchésographie," published at Langres in 1588, under the name of Thoinot Arbeau. He says, "Dancing is practised in order to see whether lovers are healthy and suitable for one another: at the end of a dance the gentlemen are permitted to kiss their mistresses, in order that they may ascertain if they have an agreeable breath. In this matter, besides many other good results which follow from dancing, it becomes necessary for the good governing of society." Such was the doctrine of the Courts of Love, which stoutly took up the defence of dancing against the clergy. In those days, as soon as the two sexes were assembled in sufficient numbers, before or after the feasts, the balls began, and men and women took each other by the hand and commenced the performance in regular steps (Fig. 183). The author of the poem of Provence, called "Flamença," thus allegorically describes these amusements: "Youth and Gaiety opened the ball, accompanied by their sister Bravery; Cowardice, confused, went of her own accord and hid herself." The troubadours mention a great number of dances, without describing them; no doubt they were so familiar that they thought a description of them needless. They often speak of the _danse au virlet_, a kind of round dance, during the performance of which each person in turn sang a verse, the chorus being repeated by all. In the code of the Courts of Love, entitled "Arresta Amorum," that is, the decrees of love, the _pas de Brabant_ is mentioned, in which each gentleman bent his knee before his lady; and also the _danse au chapelet_, at the end of which each dancer kissed his lady. Romances of chivalry frequently mention that knights used to dance with the dames and young ladies without taking off their helmets and coats of mail. Although this costume was hardly fitted for the purpose, we find, in the romance of "Perceforet," that, after a repast, whilst the tables were being removed, everything was prepared for a ball, and that although the knights made no change in their accoutrements, yet the ladies went and made fresh toilettes. "Then," says the old novelist, "the young knights and the young ladies began to play their instruments and to have the dance." From this custom may be traced the origin of the ancient Gallic proverb, "_Après la panse vient la danse_" ("After the feast comes the dance"). Sometimes a minstrel sang songs to the accompaniment of the harp, and the young ladies danced in couples and repeated at intervals the minstrel's songs. Sometimes the torch-dance was performed; in this each performer bore in his hand a long lighted taper, and endeavoured to prevent his neighbours from blowing it out, which each one tried to do if possible (Fig. 184). This dance, which was in use up to the end of the sixteenth century at court, was generally reserved for weddings.

Dancing lost much of its simplicity and harmlessness when masquerades were introduced, these being the first examples of the ballet. These masquerades, which soon after their introduction became passionately indulged in at court under Charles VI., were, at first, only allowed during Carnival, and on particular occasions called _Charivaris_, and they were usually made the pretext for the practice of the most licentious follies. These masquerades had a most unfortunate inauguration by the catastrophe which rendered the madness of Charles VI. incurable, and which is described in history under the name of the _Burning Ballet_. It was on the 29th of January, 1393, that this ballet made famous the festival held in the Royal Palace of St. Paul in Paris, on the occasion of the marriage of one of the maids of honour of Queen Isabel of Bavaria with a gentleman of Vermandois. The bride was a widow, and the second nuptials were deemed a fitting occasion for the Charivaris.

A gentleman from Normandy, named Hugonin de Grensay, thought he could create a sensation by having a dance of wild men to please the ladies. "He admitted to his plot," says Froissart, "the king and four of the principal nobles of the court. These all had themselves sewn up in close-fitting linen garments covered with resin on which a quantity of tow was glued, and in this guise they appeared in the middle of the ball. The king was alone, but the other four were chained together. They jumped about like madmen, uttered wild cries, and made all sorts of eccentric gestures. No one knew who these hideous objects were, but the Duke of Orleans determined to find out, so he took a candle and imprudently approached too near one of the men. The tow caught fire, and the flames enveloped him and the other three who were chained to him in a moment." "They were burning for nearly an hour like torches," says a chronicler. "The king had the good fortune to escape the peril, because the Duchesse de Berry, his aunt, recognised him, and had the presence of mind to envelop him in her train" (Fig. 185). Such a calamity, one would have thought, might have been sufficient to disgust people with masquerades, but they were none the less in favour at court for many years afterwards; and, two centuries later, the author of the "Orchésographie" thus writes on the subject: "Kings and princes give dances and masquerades for amusement and in order to afford a joyful welcome to foreign nobles; we also practise the same amusements on the celebration of marriages." In no country in the world was dancing practised with more grace and elegance than in France. Foreign dances of every kind were introduced, and, after being remodelled and brought to as great perfection as possible, they were often returned to the countries from which they had been imported under almost a new character.

In 1548, the dances of the Béarnais, which were much admired at the court of the Comtes de Foix, especially those called the _danse mauresque_ and the _danse des sauvages_, were introduced at the court of France, and excited great merriment. So popular did they become, that with a little modification they soon were considered essentially French. The German dances, which were distinguished by the rapidity of their movements, were also thoroughly established at the court of France. Italian, Milanese, Spanish, and Piedmontese dances were in fashion in France before the expedition of Charles VIII. into Italy: and when this king, followed by his youthful nobility, passed over the mountains to march to the conquest of Naples, he found everywhere in the towns that welcomed him, and in which balls and masquerades were given in honour of his visit, the dance _à la mode de France_, which consisted of a sort of medley of the dances of all countries. Some hundreds of these dances have been enumerated in the fifth book of the "Pantagruel" of Rabelais, and in various humorous works of those who succeeded him. They owed their success to the singing with which they were generally accompanied, or to the postures, pantomimes, or drolleries with which they were supplemented for the amusement of the spectators. A few, and amongst others that of the _five steps_ and that of the _three faces_, are mentioned in the "History of the Queen of Navarre."

Dances were divided into two distinct classes--_danses basses_, or common and regular dances, which did not admit of jumping, violent movements, or extraordinary contortions--and the _danses par haut_, which were irregular, and comprised all sorts of antics and buffoonery. The regular French dance was a _basse_ dance, called the _gaillarde_; it was accompanied by the sound of the hautbois and tambourine, and originally it was danced with great form and state. This is the dance which Jean Tabouret has described; it began with the two performers standing opposite to each other, advancing, bowing, and retiring. "These advancings and retirings were done in steps to the time of the music, and continued until the instrumental accompaniment stopped; then the gentleman made his bow to the lady, took her by the hand, thanked her, and led her to her seat." The _tourdion_ was similar to the _gaillarde_, only faster, and was accompanied with more action. Each province of France had its national dance, such as the _bourrée_ of Auvergne, the _trioris_ of Brittany, the _branles_ of Poitou, and the _valses_ of Lorraine, which constituted a very agreeable pastime, and one in which the French excelled all other nations. This art, "so ancient, so honourable, and so profitable," to use the words of Jean Tabourot, was long in esteem in the highest social circles, and the old men liked to display their agility, and the dames and young ladies to find a temperate exercise calculated to contribute to their health as well as to their amusement.

The sixteenth century was the great era of dancing in all the courts of Europe; but under the Valois, the art had more charm and prestige at the court of France than anywhere else. The Queen-mother, Catherine, surrounded by a crowd of pretty young ladies, who composed what she called her _flying squadron_, presided at these exciting dances. A certain Balthazar de Beaujoyeux was master of her ballets, and they danced at the Castle of Blois the night before the Duc de Guise was assassinated under the eyes of Henry III., just as they had danced at the Château of the Tuileries the day after St. Bartholomew's Day.

Commerce.

State of Commerce after the Fall of the Roman. Empire.--Its Revival under the Frankish Kings.--Its Prosperity under Charlemagne.--Its Decline down to the Time of the Crusaders.--The Levant Trade of the East.--Flourishing State of the Towns of Provence and Languedoc.--Establishment of Fairs.--Fairs of Landit, Champagne, Beaucaire, and Lyons.--Weights and Measures.--Commercial Flanders. Laws of Maritime Commerce.--Consular Laws.--Banks and Bills of Exchange.--French. Settlements on the Coast of Africa.--Consequences of the Discovery of America.

"Commerce in the Middle Ages," says M. Charles Grandmaison, "differed but little from that of a more remote period. It was essentially a local and limited traffic, rather inland than maritime, for long and perilous sea voyages only commenced towards the end of the fifteenth century, or about the time when Columbus discovered America."

On the fall of the Roman Empire, commerce was rendered insecure, and, indeed, it was almost completely put a stop to by the barbarian invasions, and all facility of communication between different nations, and even between towns of the same country, was interrupted. In those times of social confusion, there were periods of such poverty and distress, that for want of money commerce was reduced to the simple exchange of the positive necessaries of life. When order was a little restored, and society and the minds of people became more composed, we see commerce recovering its position; and France was, perhaps, the first country in Europe in which this happy change took place. Those famous cities of Gaul, which ancient authors describe to us as so rich and so industrious, quickly recovered their former prosperity, and the friendly relations which were established between the kings of the Franks and the Eastern Empire encouraged the Gallic cities in cultivating a commerce, which was at that time the most important and most extensive in the world.