late 16th century in England the branle was mentioned by Shakespeare (Love's Labour's Lost, 3. 1. 7: "Will you win your love with a French brawl?"). In the 17th century it was danced at the courts of Louis XIV of France and Charles II of England, where it became "even more common than in France". There are even a few late examples in Beauchamp–Feuillet notation (invented in 1691), such as Danses nouvelles presentees au Roy (c. 1715) by Louis-Guillaume Pécour. In Italy the branle became the brando, and in Spain the bran. The Branle seems to have travelled to Scotland and survived for some time as the brail. Emmanuel Adriaenssen includes a piece called Branle Englese in his book of lute music, Pratum Musicum (1584) and Thomas Tomkins' Worster Braules is included in the Fitzwilliam Virginal Book. But of thousands of lute pieces from England only 18 were called branle, though one called "courant" is known from continental sources as a branle. Branles not choreographed by Arbeau The Branle de Montirandé appears to be related to the Haut Barrois branle, which Arbeau says was "arranged to the tune of a branle of Montierandal" (probably Montier-en-Der, near Chaumont in the Haute Marne). This is danced in duple time, and as described by Arbeau has a similar structure to the double branle. Settings for this appear in the lute anthology Le trésor d'Orphée by Anthoine Francisque (1600) and the ensemble collection Terpsichore by Michael Praetorius (1612). In John Marston's The Malcontent (1604), act 4, scene 2, the character Guerrino describes the steps of a dance called Beanchaes brawl (Bianca's branle): t'is but two singles on the left, two on the right, three doubles forward, a trauerse of six round: do this twice, three singles side, galliard tricke of twentie, curranto pace; a figure of eight, three singles broken downe, come vp, meete two doubles, fall backe, and then honour. The opening is the same as the Maltese branle described by Arbeau, but starting with "three singles side", there is an interpolation of "something presumably more athletic". The male dancer moves away from his partner before performing a "galliard trick of twenty"—apparently a number of capers or leaps in the manner of the galliard—before returning to the conventional ending. Revivals Francis Poulenc includes a Bransle de Champagne and a Bransle de Bourgogne in his Suite Française (1935). Igor Stravinsky includes a Bransle Simple,