Prom the faded background of times long passed these vivid groups start forth; gorgeous carpets from Persia lie at their feet, filigreed furniture from Constantinople stands around; all is marked by the sumptuous prodigality of the Magnates who drew, in ruby goblets embossed with medallions, wine from the fountains of Tokay, and shoed their fleet Arabian steeds with silver, who surmounted all their escutcheons with the same crown which the fate of an election might render a royal one, and which, causing them to despise all other titles, was alone worn as INSIGNE of their glorious equality.
Those who have seen the Polonaise danced even as late as the beginning of the present century, declare that its style has changed so much, that it is now almost impossible to divine its primitive character.

As very few national dances have succeeded in preserving their racy originality, we may imagine, when we take into consideration the changes which have occurred, to what a degree this has degenerated.

The Polonaise is without rapid movements, without any true steps in the artistic sense of the word, intended rather for display than for the exhibition of seductive grace; so we may readily conceive it must lose all its haughty importance, its pompous self-sufficiency, when the dancers are deprived of the accessories necessary to enable them to animate its simple form by dignified, yet vivid gestures, by appropriate and expressive pantomime, and when the costume peculiarly fitted for it is no longer worn.

It has indeed become decidedly monotonous, a mere circulating promenade, exciting but little interest.

Unless we could see it danced by some of the old regime who still wear the ancient costume, or listen to their animated descriptions of it, we can form no conception of the numerous incidents, the scenic pantomime, which once rendered it so effective.