5.50 DANEBURY HILI

dance, which, among all nations, in the first stages ofcivilisation, is used as an expression of excited feeling.The operation of the principle of imitation, which ledto the invention of the drama, gave birth also fo theimitative dance—the pantomime. Dancing, in thecourse of time, took the character of an art. Gracebecame one of its chief objects, and it was much cul-tivated as an elegant amusement in the intercourse ofsociety, and an elegant spectacle in public entertain-ments. Its ancient character, however, of an expres-sion of religious or patriotic feeling, gradually declined,as the progress of refinement and civilisation producedits invariable effect of restraining the full expressionof the feelings and emotions. This circumstance,added to the chastened and didactic character of theChristian religion, probably prevented the dance frombeing admitted among the rites of the Christianchurch; but it has generally been cultivated amongChristians, as an agreeable amusement and elegantexhibition. As an amusement of social assemblages,the dance has sunk much below the character of anart. The polite assemblies of the present day aretoo much crowded to leave room for graceful dancing,and, in England and the United States of America,one kind of dance, being kept up during a wholeevenings, of course tends to produce tediousness.But national dances, as those of the Bohemian, Polish,Hungarian, Italian, and Spanish peasantry, still retainthe expression of joyous feeling, and often exhibit muchimitative power.

There is reason to suppose that the dance had aplace among the religious rites of the Jews; to whatextent, however, is not known, and some personsdeny the fact altogether; but it appears prettyevident that this doubt is unfounded, and its admis-sion may be easily explained by the origin which wehave ascribed to dancing in general. With theGreeks and Romans regulated movements, quick orslow, were introduced in most religious celebrations.The Greeks, developing the element of the beautifulin every branch of art, were also masters in the re-ligious dance. In the exhibitions of the theatre, theyunited the dance with many other performances, andthe dances of the ancients which commemorated theadventures of Achilles, Alexander, the loves of Venusand Mars, &c., are to be understood as pantomimicperformances. From the Romans, the dance wastransmitted to the national theatre of the Italians.As early as the sixteenth century, several Italians(Rinaldo and Fabricius Corso, &c.) wrote on danc-ing. There exists at present two different schools—the Italian and French. That of the latter, who maybe called, by way of eminence, the graceful nation, isthe more perfect.

Public or theatrical dances, in which males andfemales were blended together, appear to have beencommenced in France towards the close of the seven-teenth century. Prior to that time we find the femalecharacters in their ballet filled by boys attired aswomen; and it is somewhat singular that the prin-cess of Conti should have been the first in the list offemale performers. Such, however, is the fact, andthe singular exhibition of a princess of the blood-royal in France appearing before the public as adramatic performer occurred Jan. 21, 1681. Sincethat time dancing appears to have formed one of theprincipal recreations of the French people.

The almas or dancing girls of the East displaymore of the pantomimic grace than is generally found

,-DANNENBERG.in the professional dancers of Europe. In q le engraving beneath we give a group of Persian dancers'who employ a species of Castanet, single and double*pipe, and tambour.

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The eastern alma, like the French and Germanwaltzer, appears more anxious to produce voluptuousthan refined sensations, and it is probable that thecause of morality has suffered deeply from this speciesof miscalled rational amusement. Music, the mostbeautiful—the most delightful of recreations, is heremade the pretext for license and immorality; andthat, which in the hands of the royal psalmist was inreality but an outpouring of grateful emotions andthanksgiving to the Deity, is generally in the handsof the professional dancer but a new means of de-praving the heart, and undermining the principles ofmoral rectitude.

Danebury Hill, in Hampshire. A long elevatedridge, running nearly east and west, and terminatingabruptly in a point or head, on which there is a cir-cular intrenchment, enclosing an extensive area, withhigh ramparts. The entrance is by a winding course,protected by banks, and very strong intrenchments.The ditch on the east and north sides, where theground is most abrupt and steep, is single; on thewest and south-west, where the ground is more level,there is an outer-work at a little distance. On thenorth-west of this camp are several barrows, one ofthe most remarkable is called Canute’s tumulus.

Daniele, St. A large town in the Venetianterritory. It is built on an eminence which com-mands an extensive view of the surrounding country.This town has a population of 1700 persons, andis twelve miles W. N. W. of Udina. Lou. 13° F42"E„ lat. 40° 9' 1" N.

Dannemora. The name of one of the most cele-brated iron mines in Sweden. This mine is mostromantically situated on a hill a little elevated abovethe surrounding country. It is about two miles inlength, and half a mile in breadth, and it is almostsurrounded by lakes. The iron ore occupies a ( en-large vein, which runs in a north-west and south-eastdirection. This mine was at first the property of theking of Sweden, who consigned it to the archbishopof Upsalaas a part of his revenue. It now, however,belongs to several private individuals, who work itseparately each on his own account.

Dannenberg. A town in Hanover. It is builton the bank of the river Jetzel, and contains between1400 and 1500 inhabitants. It is thirty-six miles