dances, and medieval and renaissance iconography showing people dancing in chains and circles, there is no connection between these early dances and the recent folk Farandole: Arbeau, the most well-known source for renaissance chain and circle dances such as the branle, does not contain any dance with Farandole-specific steps and figures. The term "Farandole" is not found in dictionaries of Old French or of Old Occitan "farandoulo", and the earliest appearance in the French form farandoule (as being derived from Occitan) is in 1776. Its earliest appearance in English is even younger, 1876. Consequently, the medieval dance researcher Robert Mullally concludes that there is no evidence that the modern folk Farandole resembles any kind of medieval dance. The Farandole has occasionally been used for less innocent purposes than that of a mere dance: in 1815 General Jean-Pierre Ramel (the younger) was murdered at Toulouse by the infuriated populace, who made use of their national dance to surround and butcher him. In classical music Charles Gounod used a Farandole, set in front of the Arles Amphitheatre, to open the second act of his opera Mireille (1864). Georges Bizet features the Farandole as the fourth and concluding movement of his second L'Arlésienne suite (1872). However, the dance is not suited for the purposes of the ballet. In Tchaikovsky's The Sleeping Beauty ballet (1890), the dames propose a Farandole in the fourth scene of the second act. There is a Farandole in Camille Saint-Saëns' opera Les Barbares (1901), and a Farandole is present in the classical saxophone piece Tableaux de Provence (1958) by Paule Maurice, the first movement of five. In popular culture In the 1940 Abbott and Costello film, "A Night in the Tropics," the movie ends with the singing and dancing of "The Farandola." In 1969, a band by the name of "Love Sculpture" had an album entitled Forms & Feelings. One of the songs was "Farandole" by Georges Bizet. Bob James on his album "Two" performed Bizet's Farandole in a jazz funk style. Released in 1975, the album charted at number two on the Jazz Album Charts. During his time as a member of the 1980s metal band Talas, Billy Sheehan performed another rock cover of Bizet's "The Farandole", which was subsequently covered, in a similar manner by Dream Theater. In Madeleine L'Engle's A Wind in the Door, the Farandolae are fictional organelles of mitochondria, which have a similar endosymbiotic