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The Pirrhic dance differs not much from Plato's military dance. The invention of it is most generally attributed to Pirrhus, son of Achilles; at least this opinion is countenanced by Lucian, in his treatise upon dancing; though it is most probably derived from the Memphitic dance of Egypt. The manner of it was to dance armed to the sound of instruments.
It was celebrated, in commemoration of a victory obtained over the Latians, the news of which was said to have been brought by Castor and Pollux, in person. This festival, was, at first, consecrated to Jupiter, Juno, and Minerva. But it was afterwards made more general, and celebrated in honor of all the Gods. This procession was in the month of September. It began at the temple of Jupiter Capitolinus, proceeded to the Forum Romanum, from thence to the Velabrum, and afterwards to the Grand Circus. You have in Onuphrius Panvinius, the order of this procession at large, of which the directors were the chief magistrates of the city: the sons of the nobility leading the van. Those of the Equestrian order, whose fathers were worth a hundred and fifty thousand sesterces, followed on horseback. It would be here foreign from my purpose to give the whole description of this procession, and of those who composed it. It is sufficient to observe, that processional dancing constituted a considerable part of it. The Pirrhic dance, executed to a martial air, called the Proceleumaticus, employed the men of arms. These were followed by persons who danced and leaped, in the manner of Satirs, some of them in the dress ascribed to Silenus, attended by performers on instruments adapted to that character of dance. These made the comic part of the procession, and the persons representing Satirs, took care to divert the people by leaps, by a display of agility, and by odd uncouth attitudes, such as were in the character they had assumed. There were also in another part of the procession twelve Salii, or priests of Mars, so called from their making sacred dances in honor of that God, the most considerable part of their worship; these were headed by their master or Præsul, the leader of the dance, a
Considering withal that the Romans, in their most solemn processions, as in that called the Pompa, which I have before mentioned, in which not only the Pirrhic dance was processionally executed, but other dances, in masquerade, by men who, in their habits, by leaping and by feats of agility, represented satirs, the Sileni, and Fauni, and were attended by minstrels playing on the flute and guitar; besides which, there were Salian priests, and Salian virgins, who followed, in their order, and executed their respective religious dances; it may bear a question whether not an unpleasing use might not be made, on the theatres, of processional dances properly introduced, and connected, especially in the burlesque way. In every country, and particularly in this, processions are esteemed an agreeable amusement to the eye; and certainly they must receive more life and animation from a proper intermixture of dances, than what a mere solemn march can represent, where there is nothing to amuse but a long train of personages in various habits, walking in parade. I
They have also their kind of Pirrhic dances, which they execute by mock-skirmishing in cadence, and striking on their targets with their cutlasses.
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