The pavane ( ; , padovana; ) is a slow processional dance common in Europe during the 16th century (Renaissance). The pavane, the earliest-known music for which was published in Venice by Ottaviano Petrucci, in Joan Ambrosio Dalza's Intabolatura de lauto libro quarto in 1508, is a sedate and dignified couple dance, similar to the 15th-century basse danse. The music which accompanied it appears originally to have been fast or moderately fast but, like many other dances, became slower over time . Origin of term The word pavane is most probably derived from Italian [danza] padovana , , meaning "[dance] typical of Padua" (similar to Bergamask, "dance from Bergamo"); pavan is an old Northern Italian form for the modern Italian adjective padovano (= from Padua). This origin is consistent with the equivalent form, Paduana. An alternative explanation is that it derives from the Spanish pavón meaning peacock . Although the dance is often associated with Spain , it was "almost certainly of Italian origin" . History The decorous sweep of the pavane suited the new more sober Spanish-influenced courtly manners of 16th-century Italy. It appears in dance manuals in England, France, and Italy. The pavane's popularity was from roughly 1530 to 1676 , though, as a dance, it was already dying out by the late 16th century . As a musical form, the pavan survived long after the dance itself was abandoned, and well into the Baroque period, when it finally gave way to the allemande/courante sequence . Music Slow duple metre ( or ) by the late 16th century, though there is evidence that it was still a fast dance as late as the mid-16th century, and there are also examples of triple-time pavans from Spain, Italy, and England . Two strains of eight, twelve, or sixteen bars each. Accent generally comes on the third beat with a secondary accent on the 1st beat though some pavanes place the accent on the first beat with the secondary accent falling on the third. Generally follows the form of A–A′–B–B′–C–C′. It generally uses counterpoint or homophonic accompaniment. Often accompanied by a tabor according to in a rhythmic pattern of minim–crotchet–crotchet (––) or similar. This dance was generally paired with the Galliard. Usually no florid or running passages in instrumental ensemble settings, but pavans for solo instruments usually included written-out repeat sections with variations . Dance In Thoinot Arbeau's French dance manual,