,,the ,,dance ,historic ,illustrations of ,dancing from #ccjj ,b4,c4 to #aiaa ,a4,d4 ,,by ,,an ,,antiquary ,,london ,,john ,,bale1 ,,sons ,,danielsson1 ,,ltd4 #hc-ia1 ,,great ,,titchfield ,,street1 ,,oxford ,,street1 ,w ,respectfully dedicated to ,dr4 ,eleanor ,maxwell4 #aiaa ,,preface4 99 99 99 99 99 ,this sketch of the iconography of the dance does not pretend to be a history of the subject1 except in the most elementary way4 ,it may be taken as a summary of the history of posture2 a complete dance cannot be easily rendered in illustration4 ,the text is of the most elementary description2 to go into the subject thoroughly would involve years and volumes4 ,the descriptions of the various historic dances or music are enormous subjects2 two authors alone have given #hjj dances in four volumes4,footnote3 ,thompson's complete collection of #bjj country dances performed at ,court1 ,bath1 ,tunbridge1 and all public assemblies1 with proper figures and directions to each set for the violin1 ,german flute1 and hautboy1 #hs4 #f;d4 ,printed for ,charles and ,samuel ,thompson1 ,st4 ,paul's ,churchyard1 ,london1 where may be had the yearly dances and minuets4 ,four volumes1 each #bjj dances4 #aggj-aggc4 ,it would have been interesting if some idea of the orchesography of the ,egyptians and ,greeks could have been given2 this art of describing dances much in the manner that music is written is lost1 and the attempts to revive it have been ineffective4 ,the increasing speed of the action since the days of ,lulli would now render it almost impossible4 ,it is hoped that this work may be of some use as illustrating the costume1 position and accessories of the dance in various periods to those producing entertainments4 ,to the reader desirous of thoroughly studying the subject a bibliography is given at the end4 ,,contents4 ,,chapter ,i ,egyptian1 ,assyrian1 ,hebrew1 and ,phoenician ,dancing4 ,the ,ritual ,dance of ,egypt4 ,dancing ,examples from ,tomb of ,ur-ari-en-,ptah1 #fth ,dynasty1 ,british ,museum4 ,description of ,dancing from ,sir ,g4 ,wilkinson2 of the ,egyptian ,pipes and ,hieroglyphics of ,dancing1 c4 ,phoenician ,round ,dances1 from a ,limestone ,group found at ,cyprus1 and ,bronze ,patera from ,idalium1 ,cyprus4 ,,chapter ,,ii ,greek ,dancing4 ,bacchanalian ,dance1 by the ,ceramic ,painter ,hieron4 ,description of some ,greek ,dances1 the ,geranos1 the ,corybantium1 the ,hormos1 c4 ,dancing ,bacchante from a ,vase and from ,terra ,cotta4 ,the ,hand-in-hand1 and ,panathenaeac ,dance from ,ceramic ,ware4 ,military ,dance from ,sculpture in ,vatican1 ,greek ,dancer with ,castanets4 ,illustration of ,cymbals and ,pipes from the ,british ,museum4 ,the ,chorus4 ,greek ,dancers and ,tumblers4 ,,chapter ,,iii ,etruscan1 ,south ,italian and ,roman ,dancing4 ,illustrations from the ,grotta dei ,vasi1 the ,grotta della ,scimia1 and the ,grotta del ,triclinio1 ,corneto4 ,funeral ,dances from ,albanella1 ,capua1 c4 ,pompeii and the ,baths of ,constantino4 ,the ,dances of the ,etruscans and ,south ,italians4 ,the ,roman1 ,dance of the ,salii4 ,the ,bellicrepa4 ,the social position of ,dancing4 ,the ,chorus4 ,,chapter ,,iv ,early ,english and ,mediaeval ,dancing to the #adth ,century4 ,dancing in ,churches and ,religious ,dancing4 ,the ,gleemen's ,dance4 ,military ,dances4 ,the ,hornpipe4 ,tumbling and ,jest ,dances4 ,illustrations of ,gleemen's ,dance1 ,hornpipe1 ,sword ,dances1 ,tumbling and ,various ,comic ,dances4 ,,chapter ,v ,society ,dancing1 the #aeth to #ahth ,centuries4 ,out-of-door ,dances4 ,chamber ,dancing4 ,comic ,dances4 ,the ,ball4 ,illustrations from ,italian #aeth ,century1 ,german #aeth and #afth ,centuries1 ,french #aeth1 #afth1 #agth1 ,english #aeth1 #afth and #ahth ,centuries ,dancing4 ,,chapter ,,vi ,the ,modern ,theatre ,dance3 its ,origin4 ,introduced into ,france from ,italy4 ,under ,henry ,,iii41 ,,iv41 ,louis ,,xiii41 ,,xiv4 ,influence of ,cardinals ,richelieu and ,mazarin4 ,foundation of the ,academic de ,danse et de ,musique4 ,the ,court ,ballet4 ,molire4 ,corneille4 ,lalli1 c4 ,the ,theatre ,ballet4 ,the ,influence of ,noverre4 ,its introduction into and its ,present ,condition in ,england1 c4 ,illustrations of ,mlles4 de ,camargo1 ,duvernay1 ,taglioni4 ,fanny ,ellsler4 ,ferraris1 ,carlotta ,grisi4 ,adeline ,gene4 ,anna ,pavlova4 ,fdorova1 c4 ,various ,eastern ,examples4 ,illustration3 ,fig4 #a4--;,dancing to the clapping of bands4 ,egyptian1 from the tomb of ,ur-ari-en-,ptah1 #fth ,dynasty1 about #ccjj ,b4,c4 7,british ,museum47 99 99 99 99 99 ,historic ,illustrations of ,dancing4 ,,chapter ,i4 ,,egyptian1 ,,assyrian1 ,,hebrew ,,and ,,phoenician ,,dancing4 ,in this work it is not necessary to worry the reader with speculations as to the origin of dancing4 ,there are other authorities easily accessible who have written upon this theme4 ,dancing is probably one of the oldest arts4 ,as soon as man was man he without doubt began to gesticulate with face1 body1 and limbs4 ,how long it took to develop bodily gesticulation into an art no one can guess--perhaps a millennium4 ,in writing of dancing1 one will therefore include those gesticulations or movements of the body suggesting an idea1 whether it be the slow movement of marching1 or the rapid gallop1 even some of the movements that we commonly call acrobatic4 ,it is not intended here to include the more sensual movements of the ,east and the debased antique4 ,generally the antique dances were connected with a religious ritual conceived to be acceptable to the ,gods4 ,this connection between dancing and religious rites was common up to the #afth century4 ,it still continues in some countries4 ,in some of the earliest designs which have come down to us the dancers moved1 as stars1 hand in hand round an altar1 or person1 representing the sun2 either in a slow or stately method1 or with rapid trained gestures1 according to the ritual performed4 ,dancing1 music and poetry were inseparable4 ,dancing is the poetry of motion1 and its connection with music1 as the poetry of sound1 occurs at all times4 ,in our own day musical themes are marked by forms originally dance times1 as waltz time1 gavotte time1 minuet time1 etc4 ,illustration3 ,fig4 #b4--;,greek figures in a solemn dance4 ,from a vase at ,berlin4 ,amongst the earliest representations that are comprehensible1 we have certain ,egyptian paintings1 and some of these exhibit postures that evidently had even then a settled meaning1 and were a phrase in the sentences of the art4 ,not only were they settled at such an early period 7,b4,c4 #cjjj1 fig4 #a7 but they appear to have been accepted and handed down to succeeding generations 7fig4 #b71 and what is remarkable in some countries1 even to our own times4 ,the accompanying illustrations from ,egypt and ,greece exhibit what was evidently a traditional attitude4 ,the hand-in-hand dance is another of these4 ,the earliest accompaniments to dancing appear to have been the clapping of hands1 the pipes1,footnote3 ,egyptian music appears to have been of a complicated character and the double pipe or flutes were probably reeded1 as with our clarionet4 ,the left pipe had few stops and served as a sort of hautboy2 the right had many stops and was higher4 ,the single pipe1 7a7 ,the recorder in the ,british ,museum1 is a treble of #aj-a_/b in4 and is pentaphonic1 like the ,scotch scale2 the tenor 7b7 is #h-c_/d in4 long and its present pitch--,illustration3 a ,illustration3 b the guitar1 the tambourine1 the castanets1 the cymbals1 the tambour1 and sometimes in the street1 the drum4 ,the following account of ,egyptian dancing is from ,sir ,gardiner ,wilkinson's ,ancient ,egypt ,footnote3 ,vol4 i41 p4 #ejc-h43-- ,the dance consisted mostly of a succession of figures1 in which the performers endeavoured to exhibit a great variety of gesture4 ,men and women danced at the same time1 or in separate parties1 but the latter were generally preferred for their superior grace and elegance4 ,some danced to slow airs1 adapted to the style of their movement2 the attitudes they assumed frequently partook of a grace not unworthy of the ,greeks2 and some credit is due to the skill of the artist who represented the subject1 which excites additional interest from its being in one of the oldest tombs of ,thebes 7,b4,c4 #adej1 ,amenophis ,,ii474 ,others preferred a lively step1 regulated by an appropriate tune2 and men sometimes danced with great spirit1 bounding from the ground1 more in the manner of ,europeans than of ,eastern people4 ,on these occasions the music was not always composed of many instruments1 and here we find only the cylindrical maces and a woman snapping her fingers in the time1 in lieu of cymbals or castanets4 ,graceful attitudes and gesticulations were the general style of their dance1 but1 as in all other countries1 the taste of the performance varied according to the rank of the person by whom they were employed1 or their own skill1 and the dance at the house of a priest differed from that among the uncouth peasantry1 etc4 ,it was not customary for the upper orders of ,egyptians to indulge in this amusement1 either in public or private assemblies1 and none appear to have practised it but the lower ranks of society1 and those who gained their livelihood by attending festive meetings4 ,fearing lest it should corrupt the manners of a people naturally lively and fond of gaiety1 and deeming it neither a necessary part of education nor becoming a person of sober habits1 the ,egyptians forbade those of the higher classes to learn it as an amusement4 ,many of these postures resembled those of the modern ballet1 and the pirouette delighted an ,egyptian party #c1ejj years ago4 ,the dresses of the females were light and of the finest texture1 a loose flowing robe reaching to the ankles1 sometimes with a girdle4 ,in later times1 it appears more transparent and folded in narrow pleats4,footnote3 ,there is a picture of an ,egyptian gauffering machine in ,wilkinson1 vol4 i41 p4 #ahe4 ,some danced in pairs1 holding each other's hand2 others went through a succession of steps alone1 both men and women2 sometimes a man performed a solo to the sound of music or the clapping of hands4 ,a favourite figure dance was universally adopted throughout the country1 in which two partners1 who were usually men1 advanced toward each other1 or stood face to face upon one leg1 and having performed a series of movements1 retired again in opposite directions1 continuing to hold by one hand and concluding by turning each other round 7see fig4 #c74 ,that the attitude was very common is proved by its having been adopted by the hieroglyphic 7fig4 #d7 as the mode of describing 'dance4' ,illustration3 ,fig4 #c4--,the hieroglyphics describe the dance4 ,illustration3 ,fig4 #d4--;,egyptian hieroglyphic for dance4 ,many of the positions of the dance illustrated in ,gardner ,wilkinson are used at the present day4 ,the ,,assyrians probably danced as much as the other nations1 but amongst the many monuments that have been discovered there is little dancing shown1 and they were evidently more proud of their campaigns and their hunting than of their dancing4 ,a stern and strong people1 although they undoubtedly had this amusement1 we know little about it4 ,of the ,phoenicians1 their neighbours1 we have some illustrations of their dance1 which was apparently of a serious nature1 judging by the examples which we possess1 such as that 7fig4 #e7 from ,cyprus representing three figures in hooded cowls dancing around a piper4 ,it is a dance around a centre1 as is also 7fig4 #f7 that from ,idalium in ,cyprus4 ,the latter is engraved around a bronze bowl and is evidently a planet and sun dance before a goddess1 in a temple2 the sun being the central object around which they dance1 accompanied by the double pipes1 the harp1 and tabour4 ,the ,egyptian origin of the devotion is apparent in the details1 especially in the lotus-smelling goddess 7marked ,a on fig4 #f7 who holds the flower in the manner shown in an ,egyptian painting in the ,british ,museum 7fig4 #g74 ,illustration3 ,fig4 #e4--;,cyprian limestone group of ,phoenician dancers1 about #f-a_/b in4 high4 ,there is a somewhat similar group1 also from ,cyprus1 in the ,british ,museum4 ,the dress1 a hooded cowl1 appears to be of great antiquity4 ,from the ,phoenicians we have illustrated examples1 but no record1 whereas from their neighbours the ,hebrews we have ample records in the ,scriptures1 but no illustrations4 ,it is1 however1 most probable that the dance with them had the traditional character of the nations around them or who had held them captive1 and the ,philistine dance 7fig4 #f7 may have been of the same kind as that around the golden calf 7,apis7 of the desert 7,exodus xxxii4 v4 #ai74 ,illustration3 ,fig4 #f4--,phoenician patera1 from ,idalium1 showing a religious ritual dance before a goddess in a temple round a sun emblem4 ,when they passed the ,red ,sea1 ,miriam and the maidens danced in chorus with singing and the beating of the timbrel 7tambour74 7,exodus xv4 v4 #a47 ,illustration3 ,fig4 #g4--;,female figure smelling a lotus4 ,from a painting in the ,british ,museum4 ,king ,david not only danced before the ark 7#b ,samuel vi4 v4 #af71 but mentions dancing in the #adith and #aejth ,psalm4 ,certain historians also tell us that they had dancing in their ritual of the seasons4 ,their dancing seems to have been associated with joy1 as we read of a time to mourn and a time to dance2 we find 7,eccles4 iii4 v4 #d7 they had also the pipes3 ,we have piped to you and you have not danced 7,matthew xi4 v4 #ag74 ,these dances were evidently executed by the peoples themselves1 and not by public performers4 ,illustration3 ,fig4 #h4--;,dance of ,bacchantes1 painted by the ceramic painter1 ,hieron4 7,british ,museum17 ,,chapter ,,ii4 ,,dancing ,,with ,,the ,,greeks4 ,with the ,greeks1 dancing certainly was primarily part of a religious rite2 with music it formed the lyric art4 ,the term1 however1 with them included all those actions of the body and limbs1 and all expressions and actions of the features and head which suggest ideas2 marching1 acrobatic performances1 and mimetic action all came into the term4 ,according to the historians1 the ,greeks attributed dancing to their deities3 ,homer makes ,apollo orchestes1 or the dancer2 and amongst the early dances is that in his honour called the ,hyporchema4 ,their dances may be divided into sections somewhat thus3 7#a7 those of a religious species1 7#b7 those of a gymnastic nature1 7#c7 those of a mimetic character1 7#d7 those of the theatre1 such as the chorus1 7#e7 those partly social1 partly religious dances1 such as the hymeneal1 and 7#f7 chamber dances4 ,grown up men and women did not dance together1 but the youth of both sexes joined in the ,horm7os or chain dance and the ,g7er7an7os1 or crane 7see fig4 #aa74 ,illustration3 ,fig4 #i4--;,dancing ,bacchante4 ,from a vase in the ,british ,museum4 ,illustration3 ,fig4 #aj4--;,greek terra cotta dancing girl1 about #cej ,b4,c4 7,british ,museum47 ,according to some authorities1 one of the most primitive of the first class1 attributed to ,phrygian origin1 was the ,aloenes1 danced to the ,phrygian flute by the priests of ,cybele in honour of her daughter ,ceres4 ,the dances ultimately celebrated in her cult were numerous3 such as the ,anthema1 the ,bookolos1 the ,epicredros1 and many others1 some rustic for labourers1 others of shepherds1 etc4 ,every locality seems to have had a dance of its own4 ,dances in honour of ,venus were common1 she was the patroness of proper and decent dancing2 on the contrary1 those in honour of ,dionysius or ,bacchus degenerated into revelry and obscenity4 ,the ,epilenios danced when the grapes were pressed1 and imitated the gathering and pressing4 ,the ,anteisterios danced when the wine was vatted 7figs4 #h1 #i1 #aj71 and the ,bahilicos1 danced to the sistrus1 cymbals1 and tambour1 often degenerated into orgies4 ,illustration3 ,fig4 #aa4--,the ,g7er7an7os from a vase in the ,museo ,borbonico1 ,naples4 ,illustration3 ,fig4 #ab4--,panathenaeac dance1 about the #dth century ,b4,c4 ,illustration3 ,fig4 #ac4--;,a military dance1 supposed to be the ,corybantum4 ,from a ,greek bas-relief in the ,vatican ,museum4 ,the ,g7er7an7os1 originally from ,delos1 is said to have been originated by ,theseus in memory of his escape from the labyrinth of ,crete 7fig4 #ab74 ,it was a hand-in-hand dance alternately of males and females4 ,the dance was led by the representative of ,theseus playing the lyre4 ,illustration3 ,fig4 #ad4--;,greek dancer with castanets4 7,british ,museum47 ,see also ,castanet dance by ,myron1 fig4 #fc;a4 ,of the second class1 the gymnastic1 the most important were military dances1 the invention of which was attributed to ,minerva2 of these the ,corybantum was the most remarkable4 ,it was of ,phrygian origin and of a mixed religious1 military1 and mimetic character2 the performers were armed1 and bounded about1 springing and clashing their arms and shields to imitate the ,corybantes endeavouring to stifle the cries of the infant ,zeus1 in ,crete4 ,the ,pyrrhic 7fig4 #ac71 a war dance of ,doric origin1 was a rapid dance to the double flute1 and made to resemble an action in battle2 the ,hoplites of ,homer is thought to have been of this kind4 ,the ,dorians were very partial to this dance and considered their success in battle due to the celerity and training of the dance4 ,in subsequent periods it was imitated by female dancers and as a pas seul4 ,it was also performed in the ,panathenaea by ,ephebi at the expense of the ,choragus1 but this was probably only a mimetic performance and not warlike4 ,illustration3 ,fig4 #ae4--;,cymbals 7about #d in47 and double flute4 7,british ,museum47 ,there were many other heroic military dances in honour of ,hercules1 ,theseus1 etc4 ,the chorus1 composed of singers and dancers1 formed part of the drama1 which included the recitation of some poetic composition1 and included gesticulative and mimetic action as well as dancing and singing4 ,the ,dorians were especially fond of this2 their poetry was generally choral1 and the ,doric forms were preserved by the ,athenians in the choral compositions of their drama4 ,the tragic dance1 ,emmelia1 was solemn2 whilst that in comedy1 ,cordax1 was frivolous1 and the siccinis1 or dance of ,satyrs1 was often obscene4 ,they danced to the music of the pipes1 the tambour1 the harp1 castanets1 cymbals1 etc4 7figs4 #ad1 #ae1 #af74 ,illustration3 ,fig4 #af4--;,greek dancers4 ,from a vase in the ,hamilton ,collection4 ,illustration3 ,fig4 #ag4--;,bacchanalian dancer4 ,vase from ,nocera1 ,museum1 ,naples4 ,in the rites of ,dionysius the chorus was fifty and the cithara was used instead of the flute4 ,from the time of ,sophocles it was fifteen1 and always had a professed trainer4 ,the choric question is1 however1 a subject in itself1 and cannot be fairly dealt with here4 ,the social dances1 and those in honour of the seasons1 fire and water1 were numerous and generally local2 whilst the chamber dances1 professional dancing1 the throwing of the ,kotabos1 and such-like1 must be left to the reader's further study of the authors mentioned in the bibliography at the end of the work4 ,illustration3 ,fig4 #ah4--;,greek dancers and tumblers4 ,it may astonish the reader to know that the funambulist or rope-dancer was very expert with the ,greeks1 as also was the acrobat between knives and swords4 ,animals were also taught to dance on ropes1 even elephants4 ,the important religious and other dances were not generally composed of professionals4 ,the greatest men were not above showing their sentiments by dancing4 ,sophocles danced after ,salamis1 and ,epaminondas was an expert dancer4 ,there were dancers of all grades1 from the distinguished to the moderate4 ,distinguished persons even married into excellent positions1 if they did not already occupy them by birth4 ,philip of ,macedon married ,larissa1 a dancer1 and the dancer ,aristodemus was ambassador to his ,court4 ,these dancers must not be confounded with those hired to dance at feasts1 etc4 7figs4 #i1 #ad and #ah74 ,illustration3 ,fig4 #ai4--;,etruscan bronze dancer with eyes of diamonds1 found at ,verona4 ,now in the ,british ,museum4 ,,chapter ,,iii4 ,,etruscan-,,south ,,italian1 ,,roman ,,dancing1 ,,etc4 ,one of the most important nations of antiquity was the ,etruscan1 inhabiting1 according to some authorities1 a dominion from ,lombardy to the ,alps1 and from the ,mediterranean to the ,adriatic4 ,etruria gave a dynasty to ,rome in ,servius ,tullius1 who originally was ,masterna1 an ,etruscan4 ,illustration3 ,fig4 #bj4--;,etruscan dancer4 ,from a painting in the ,grotta dei ,vasi dipinti--,corneto4 ,it is1 however1 with the dancing that we are dealing4 ,there is little doubt that they were dancers in every sense2 there are many ancient sepulchres in ,etruria1 with dancing painted on their walls4 ,other description than that of the pictures we do not possess1 for as yet the language is a dead letter4 ,there is no doubt1 as ,gerhardt ,footnote3 ,ann4 ,institut43 #ahca1 p4 #cba4 suggests1 that they considered dancing as one of the emblems of joy in a future state1 and that the dead were received with dancing and music in their new home4 ,they danced to the music of the pipes1 the lyre1 the castanets of wood1 steel1 or brass1 as is shown in the illustrations taken from the monuments4 ,illustration3 ,fig4 #ba4--;,etruscan dancing and performances4 ,from paintings in the ,grotta della ,scimia ,corneto1 about #ejj ,b4,c4 ,that the ,phoenicians and ,greeks had at certain times immense influence on the ,etruscans is evident from their relics which we possess 7fig4 #bj74 ,a characteristic illustration of the dancer is from a painting in the tomb of the ,vasi dipinti1 ,corneto1 which1 according to ,mr4 ,dennis1 ,footnote3 ,etruria1 vol4 i41 p4 #chj4 belongs to the archaic period1 and is perhaps as early as #fjj ,b4,c4 ,it exhibits a stronger ,greek influence than some of the paintings4 ,fig4 #ba1 showing a military dance to pipes1 with other sports1 comes from the ,grotta della ,scimia1 also at ,corneto2 these show a more purely ,etruscan character4 ,illustration3 ,fig4 #bb4--;,etruscan ,dancing4 ,from the ,grotta del ,triclinio4--,corneto4 ,the pretty dancing scene from the ,grotta del ,triclinio at ,corneto is taken from a full-sized copy in the ,british ,museum1 and is of the greatest interest4 ,it is considered to be of the ,greco-,etruscan period1 and later than the previous examples 7fig4 #bb74 ,there is a peculiarity in the attitude of the hands1 and of the fingers being kept flat and close together2 it is not a little curious that the modern ,japanese dance1 as exhibited by ,mme4 ,sadi ,yacca1 has this peculiarity1 whether the result of ancient tradition or of modern revival1 the writer cannot say4 ,almost as interesting as the ,etruscan are the illustrations of dancing found in the painted tombs of the ,campagna and ,southern ,italy1 once part of ,magna ,grecia2 the figure of a funeral dance1 with the double pipe accompaniments1 from a painted tomb near ,albanella 7fig4 #bc7 may be as late as #cjj ,b4,c41 and those in figs4 #bd1 #be from a tomb near ,capua are probably of about the same period4 ,these ,samnite dances appear essentially different from the ,etruscan2 although both ,greek and ,etruscan influence are very evident1 they are more solemn and stately4 ,this may1 however1 arise from a different national custom4 ,that the ,etruscan1 ,sabellian1 ,oscan1 ,samnite1 and other national dances of the country had some influence on the art in ,rome is highly probable1 but the paucity of early ,roman examples renders the evidence difficult4 ,illustration3 ,fig4 #bc4--;,funeral dance in the obsequies of a female4 ,from a painted tomb near ,albanella4 ,rome as a conquering imperial power represented nearly the whole world of its day1 and its dances accordingly were most numerous4 ,amongst the illustrations already given we have many that were preserved in ,rome4 ,in the beginning of its existence as a power only religious dances were practised1 and many of these were of ,etruscan origin1 such as the ,lupercalia1 the ,ambarvalia1 c4 ,in the former the dancers were demi-nude1 and probably originally shepherds2 the latter was a serious dancing procession through fields and villages4 ,illustration3 ,fig4 #bd4--;,funeral dance4 ,from ,capua4 ,a great dance of a severe kind was executed by the ,salii1 priests of ,mars1 an ecclesiastical corporation of twelve chosen patricians4 ,in their procession and dance1 on ,march #a1 and succeeding days1 carrying the ,ancilia1 they sang songs and hymns1 and afterwards retired to a great banquet in the ,temple of ,mars4 ,that the practice was originally ,etruscan may be gathered from the circumstance that on a gem showing the armed priests carrying the shields there are ,etruscan letters4 ,there were also an order of female ,salii4 ,another military dance was the ,saltatio bellicrepa1 said to have been instituted by ,romulus in commemoration of the ,rape of the ,sabines4 ,the ,pyrrhic dance 7fig4 #ac7 was also introduced into ,rome by ,julius ,caesar1 and was danced by the children of the leading men of ,asia and ,bithynia4 ,as1 however1 the ,state increased in power by conquest1 it absorbed with other countries other habits1 and the art degenerated often1 like that of ,greece and ,etruria1 into a vehicle for orgies1 when they brought to ,rome with their ,asiatic captives even more licentious practices and dances4 ,illustration3 ,fig4 #be4--;,funeral dance from the same tomb4 ,as ,rome1 which never rose to the intellectual and imaginative state of ,greece in her best period1 represented wealth1 commerce1 and conquest1 in a greater degree1 so were her arts1 and with these the lyric4 ,in her best state her nobles danced1 ,appius ,claudius excelled1 and ,sallust tells us that ,sempronia psaltere saltare elegantius2 so that in those days ladies played and danced1 but no ,roman citizen danced except in the religious dances4 ,they carried mimetic dances to a very perfect character in the time of ,augustus under the term of ,musica muta4 ,after the second ,punic war1 as ,greek habits made their way into ,italy1 it became a fashion for the young to learn to dance4 ,the education in dancing and gesture were important in the actor1 as masks prevented any display of feature4 ,the position of the actor was never recognized professionally1 and was considered infamia4 ,but the change came1 which caused ,cicero to say no one danced when sober4 ,eventually the performers of lower class occupied the dancing platform1 and ,herculaneum and ,pompeii have shown us the results4 ,illustration3 ,fig4 #bf4--;,bacchante leading the ,dionysian bull to the altar4 ,bas-relief in the ,vatican4 ,in the theatre the method of the ,roman chorus differed from that of the ,greeks4 ,in the latter the orchestra or place for the dancing and chorus was about #ab ft4 below the stage1 with steps to ascend when these were required2 in the former the chorus was not used in comedy1 and having no orchestra was in tragedies placed upon the stage4 ,the getting together of the chorus was a public service1 or liturgia1 and in the early days of ,grecian prosperity was provided by the choregus4 ,tiberius by a decree abolished the ,saturnalia1 and exiled the dancing teachers1 but the many acts of the ,senate to secure a better standard were useless against the foreign inhabitants of the ,empire accustomed to sensuality and licence4 ,illustration3 ,fig4 #bg--;,bacchante4 ,from a fresco1 ,pompeii1 #ast century ,b4,c4 ,illustration3 ,fig4 #bh4--;,dancer4 ,from a fresco in the ,baths of ,constantine1 #dth century ,a4,d4 ,perhaps the encouragement of the more brutal combats of the ,coliseum did something to suppress the more delicate arts1 but historians have told us1 and it is common knowledge1 what became of the great ,empire1 and the lyric with other arts were destroyed by licentious preferences4 ,,chapter ,,iv4 ,,the ,,early ,,english ,,and ,,mediaeval ,,dance ,,to ,,the ,,fourteenth ,,century4 ,the last illustration from the ,baths of ,constantine brought us into the ,christian era1 although that example was not of ,christian sentiment or art4 ,it is possible that the dance of ,salome with its diabolical reward may have prejudiced the ,apostolic era1 for we find no example of dancing1 as exhibiting joy1 in ,christian ,art of that period4 ,the dance before ,herod is historical proof that the higher classes of ,hebrews danced for amusement4 ,as soon1 however1 as ,christianity became enthroned1 and a settled society1 we read of religious dances as exhibiting joy1 even in the churches4 ,tertullian tells us that they danced to the singing of hymns and canticles4 ,these dances were solemn and graceful to the old tones2 and continued1 notwithstanding many prohibitions such as those of ,pope ,zacharias 7a ,syrian7 in ,a4,d4 #gdd4 ,the dancing at ,easter in the ,cathedral at ,paris was prohibited by ,archbishop ,odo in the #abth century1 but notwithstanding the antagonism of the ,fathers1 the dances were only partially suppressed4 ,they were common on religious festivals in ,spain and ,portugal up to the seventeenth century and in some localities continue even to our own time4 ,when ,s4 ,charles ,borromeo was canonized in #afaj1 the ,portuguese1 who had him as patron1 made a procession of four chariots of dancers2 one to ,renown1 another to the ,city of ,milan1 one to represent ,portugal and a fourth to represent the ,church4 ,in ,seville at certain periods1 and in the ,balearic ,isles1 they still dance in religious ceremonies4 ,we know that religious dancing has continually been performed as an accessory to prayer1 and is still so used by the ,mahommedans1 the ,american ,indians and the ,bedos of ,india1 who dance into an ecstasy4 ,illustration3 ,fig4 #bi4--;,gleemen's dance1 #ith century4 ,from ,cleopatra1 ,cotton ,,ms4 ,c4 viii41 ,british ,museum4 ,it is probable that this sort of mania marked the dancing in ,europe which was suppressed by ,pope and ,bishop4 ,this choreomania marked a ,flemish sect in #acgd who danced in honour of ,st4 ,john1 and it was so furious that the disease called ,st4 ,vitus' dance takes its name from this performance4 ,christmas carols were originally choric4 ,the performers danced and sang in a circle4 ,the illustration 7fig4 #dc7 of a dance of angels and religious shows us that ,fra ,angelico thought the practice joyful2 this dance is almost a counterpart of that amongst the ,greeks 7fig4 #aa74 ,the other dance1 by ,sandro ,botticelli 7fig4 #dd71 is taken from his celebrated ,nativity in the ,national ,gallery4 ,although we have records of performances in churches1 no illustrations of an early date have come to the knowledge of the writer4 ,illustration3 ,fig4 #cj4--;,dancing to horn and pipe4 ,from an ,anglo-,saxon ,,ms4 ,that the original inhabitants of ,britain danced--that the ,picts1 ,danes1 ,saxons and ,romans danced may be taken for granted1 but there seems little doubt that our earliest illustrations of dancing were of the ,roman tradition4 ,we find the attitude1 the instruments and the clapping of hands1 all of the same undoubted classic character4 ,tacitus informs us that the ,teutonic youths danced1 with swords and spears1 and ,olaus ,magnus that the ,goths1 c41 had military dances3 still the military dances in ,english ,,mss4 7figs4 #ca1 #cb7 seem more like those of a ,pyrrhic character1 which ,julius ,caesar1 the conqueror of ,england1 introduced into ,rome4 ,the illustration 7fig4 #bi7 of what is probably a ,saxon gleemen's dance shows us the kind of amusement they afforded and how they followed classic usages4 ,illustration3 ,fig4 #ca4--;,anglo-,saxon sword dance4 ,from the ,,ms4 ,cleopatra1 ,c4 viii41 ,british ,museum4 ,the gleemen were reciters1 singers and dancers2 and the lower orders were tumblers1 sleight-of-hand men and general entertainers4 ,what may have been the origin of our hornpipe is illustrated in fig4 #cj1 where the figures dance to the sound of the horn in much the same attitudes as in the modern hornpipe1 with a curious resemblance to the position in some ,muscovite dances4 ,illustration3 ,fig4 #cb4--,sword dance to bagpipes1 #adth century4 ,from #b ,b vii41 ,royal ,,ms41 ,british ,museum4 ,the ,norman minstrel1 successor of the gleeman1 used the double-pipe1 the harp1 the viol1 trumpets1 the horn and a small flat drum1 and it is not unlikely that from ,sicily and their ,south ,italian possessions the ,normans introduced classic ideas4 ,piers the ,plowman used words of ,norman extraction for them1 as he speaks of their ,saylen and ,saut4 ,the minstrel and harpist does not appear to have danced very much1 but to have left this to the joculator1 and dancing and tumbling and even acrobatic women and dancers appear to have become common before the time of ,chaucer's ,tomblesteres4 ,illustration3 ,fig4 #cc4--;,herodias tumbling4 ,from a ,,ms4 end of #acth century 7,addl4 #ah1gai1 f4 #bec;b71 ,british ,museum4 ,that this tumbling and dancing was common in the thirteenth century is shown by the illustration from the sculpture at ,rouen ,cathedral 7fig4 #cd71 the illustrations from a ,,ms4 in the ,british ,museum 7fig4 #cc7 of ,herodias tumbling and of a design in glass in ,lincoln1 and other instances at ,ely2 ,idsworth ,church1 ,hants2 ,ponc1 ,france1 and elsewhere4 ,it is suggested that the camp followers of the ,crusaders brought back certain dances and amongst these some of an acrobatic nature1 and many that were reprehensible1 which brought down the anger of the ,clergy4 ,illustration3 ,fig4 #cd4--;,a tumbler1 as caryatid4 ,rouen ,cathedral1 #acth century4 ,in the fourteenth century1 from a celebrated ,,ms4 7#b ,b4 vii47 in the ,british ,museum and other cognate sources we get a fair insight of the amusement afforded by these dancers and joculators4 ,in the illustration 7fig4 #ce7 we get ,a and ,c tumblers1 male and female2 ,d1 a woman and bear dance2 and ,e1 a dance of fools to the organ and bagpipe4 ,it will be observed that they have bells on their caps1 and it must have required much skill and practice to sound their various toned bells to the music as they danced4 ,this dance of fools may have suggested or became eventually merged into the ,morris ,dance 7fig4 #ej7 of which some account with other illustrations of ,comic ,dances will be given hereafter4 ,the man dancing and playing the pipes with a woman on his shoulder 7fig4 #cf71 the stilt dancer with a curious instrument 7,c71 and the woman jumping through a hoop1 give us other illustrations of fourteenth century amusements4 ,illustration3 ,fig4 #ce4--adth century dancers4 ,a and ,c are tumblers2 ,b1 tumbling and balancing to the tambour2 ,d1 a woman dancing around a whipped bear2 ,e1 jesters dancing4 ,illustration3 ,fig4 #cf4--;,a1 man dancing and playing pipes1 carrying a woman2 ,b1 jumping through a hoop2 ,c1 a stilt dance4 #adth century4 ,,chapter ,v4 ,,society ,,dancing ,,from ,,the ,,fifteenth ,,century4 ,illustration3 ,fig4 #cg4--;,italian dance4 ,from an engraving1 end of #aeth century1 attributed to ,baccio ,baldini4 ,concerning the dance as a means of social intercourse1 it does not appear to have been formulated as an accomplishment until late in the thirteenth century1 and at a later date was cultivated as a means of teaching what we call deportment1 until it became almost a necessity with the classes1 as is shown by the literature of that period4 ,the various social dances1 such as the ,volte1 the ,jig and the ,galliard1 although in early periods1 not so numerous1 required a certain training and agility4 ,these1 however1 soon became complicated with many social and local variations1 the characteristics of which are a study in themselves4 ,the dances 7figs4 #cg and #ch7 in a field of sports1 from an ,italian engraving of the fifteenth century1 show us nothing new2 indeed1 with different costumes it is very like what we have from ,egypt 7fig4 #c71 only a different phase of the action1 and the attitude of this old dance is repeated even to our own time4 ,illustration3 ,fig4 #ch4--;,italian dancing1 the end of the #aeth century4 ,in the ,chamber dance by ,martin ,zasinger 7fig4 #ci71 of the fifteenth century1 no figures are in action1 but we see an arrangement of the guests and musicians1 from which it is evident that the ,chamber dance as a social function had progressed and that the ,bal par1 etc41 was here in embryo4 ,the flute and viol are evidently opening the function and the trumpets and other portions of the orchestra on the other side waiting to come in4 ,illustration3 ,fig4 #ci4--;,chamber dance1 #aeth century4 ,from a drawing by ,martin ,zasinger4 ,the stately out-door function1 in a pleasure garden1 from the ,roman de la ,rose 7fig4 #dj7 illustrates but one portion of the feature of a dance1 another of which is described in ,chaucer's translation3 ,they threw y fere ,ther mouthes so that through their play ,it seemed as they kyste alway4 ,fancy dress and comic dances have handed down the same characteristics almost to our own time4 ,the ,wildeman costume dance 7fig4 #da7 is interesting in many respects1 it not only shows us the dance1 but the costume and general method of the ,chamber4 ,illustration3 ,fig4 #dj4--;,dancing in a pleasure garden1 end of the #aeth century4 ,french1 from the ,roman de la ,rose1 in the ,british ,museum4 ,the fifteenth century comic dancers in a fte champtre 7fig4 #db7 and those of the seventeenth century by ,callot 7fig4 #eb7 are good examples of this entertainment--in the background of the latter a minuet seems to be in progress4 ,the ,morris dance 7fig4 #ej7 shows us the development that had taken place since the fourteenth century4 ,illustration3 ,fig4 #da4--;,fancy dress dance of ,wildemen of the #aeth century4 ,from ,,ms4 #dcgi ,harl1 ,british ,museum4 ,illustration3 ,fig4 #db4--;,comic dance to pipe and tabor1 end of #aeth century4 ,from pen drawing in the ,mediaeval ,house ,book in the ,castle of ,wolfegg1 by the ,master of the ,amsterdam ,cabinet4 ,illustration3 ,fig4 #dc4--;,a dance of ,angels and ,saints at the entrance to ,heaven4 ,fra ,angelico4 ,illustration3 ,fig4 #dd4--;,dancing angels4 ,from a ,nativity by ,sandro ,botticelli circa #aejj ,a4,d4 ,illustration3 ,fig4 #de4--;,albert ,drer1 #aead ,a4,d4 ,illustration3 ,fig4 #df4--;,albert ,drer4 ,allusion has already been made to the beautiful paintings of ,botticelli and ,fra ,angelico1 which tell us of ,italian choral dances of their period2 these do not belong to social functions1 but are certainly illustrative of the custom of their day4 ,albert ,drer 7figs4 #de1 #df7 has given us illustrations of the field dances of his period1 but both these dances and those drawn by ,sebald ,beham 7fig4 #dg7 are coarse1 and contrast unfavourably with the ,italian1 although the action is vigorous and robust4 ,illustration3 ,fig4 #dg4--,scenes from dances4 ,german1 dated #aedf1 by ,hans ,sebald ,beham4 ,the military dance of ,dames and ,knights of ,armour1 by ,hans ,burgkmair1 on the other hand1 appears stately and dignified 7fig4 #dh74 ,this may illustrate the difference between chamber and garden or field dancing4 ,illustration3 ,fig4 #dh4--;,a torchlight military dance of the early #afth century4 ,from a picture by ,hans ,burgkmair4 ,at the end of the sixteenth century we get a work on dancing which shows us completely its position as a social art in that day4 ,it is the ,orchsographie of ,thoinot ,arbeau 7,jean ,tabouret1 ,canon of ,langres1 in #aehh71 from which comes the illustration of the ,galliarde 7fig4 #di7 and to which ,i would refer the reader for all the information he desires concerning this period4 ,in this work much stress is laid on the value of learning to dance from many points of view--development of strength1 manner1 habits and courtesy1 etc4 ,alas6 we know now that all these external habits can be acquired and leave the natural man beneath4 ,illustration3 ,fig4 #di4--,la ,galliarde4 ,from the ,orchsographie of ,thoinot ,arbeau 7,jean ,tabourot71 ,langres1 #aehh4 ,desirable1 therefore1 as good manners and such like are1 they do not fulfil all the requirements that the worthy ,canon wished to be involved by them4 ,footnote3 ,the advice which he gives is valuable from its bearing on the customs of the #afth century4 ,it even has great historical value1 indicating the influence dancing has had on good manners4 ,that the history of dancing is the history of manners may be too much insisted upon4 ,for these reasons we insert these little known passages4 ,the first has reference to the right way of proceeding at a ball4 ,having entered the place where the company is gathered for the dance1 choose a good young lady 7honneste damoiselle7 and raising your hat or bonnet with your right hand you will conduct her to the ball with your left4 ,she1 wise and well trained1 will tender her left and rise to follow you4 ,then in the sight of all you conduct her to the end of the room1 and you will request the players of instruments to strike up a 'basse danse'2 because otherwise through inadvertance they might strike up some other kind of dance4 ,and when they commence to play you must commence to dance4 ,and be careful1 that they understand1 in your asking for a 'basse danse1' you desire a regular and usual one4 ,nevertheless1 if the air of one song on which the 'basse danse' is formed pleases you more than another you can give the beginning of the strain to them4 ,capriol3--,if the lady refuses1 ,i shall feel very ashamed4 ,arbeau3--,a well-trained lady never refuses him who so honours her as to lead her to the dance4 ,capriol3--,i think so too1 but in the meantime the shame of the refusal remains with me4 ,arbeau3--,if you feel sure of another lady's graciousness1 take her and leave aside this graceless one1 asking her to excuse you for having been importunate2 nevertheless1 there are those who would not bear it so patiently4 ,but it is better to speak thus than with bitterness1 because in so doing you acquire a reputation for being gentle and humane1 and to her will fall the character of a 'glorieuse' unworthy of the attention paid her4 ,when the instrument player has ceased continues our good ,canon make a deep bow by way of taking leave of the young lady and conduct her gently to the place whence you took her1 whilst thanking her for the honour she has done you4 ,another extract is not wanting in flavour3 ,hold the head and body straight1 have a countenance of assurance1 spit and cough little1 and if necessity compels you1 turn your face the other side and use a beautiful white handkerchief4 ,talk graciously1 in gentle and honest speech1 neither letting your hands hang as if dead or too full of gesticulation4 ,be dressed cleanly and neatly 'avec la chausse bien tire et ,pescarpin propre4' ,and bear in mind these particulars4 ,we have have seen from the fourteenth century 7figs4 #ce ,c1 #cf ,a1 #df7 how common the bagpipe was in out-of-door dances2 in the illustrations from ,drer 7fig4 #df7 and in fig4 #ec from ,holtzer it has developed1 and has two accessory pipes1 besides that played by the mouth1 and the player is accompanied by a sort of clarionet4 ,this also appears to be the only accompaniment of the ,trio 7fig4 #eh74 ,illustration3 ,fig4 #ej4--,morris dancers4 ,from a window that was in the possession of ,george ,tollett1 ,esq41 ,birtley1 ,staffordshire1 #afth century4 ,illustration3 ,fig4 #ea4--;,court dance4 ,from a drawing by ,callot1 #afce ,a4,d4 ,in the sixteenth century certain ,spanish dances were introduced into ,france1 such as la ,pavane1 which was accompanied by hautboys and sackbuts4 ,illustration3 ,fig4 #eb4--;,comic dancers4 ,by ,callot1 from the act entitled ,balli di ,sfessama1 #afji ,a4,d4 ,illustration3 ,fig4 #ec4--;,country dance4 ,from a drawing by ,john ,evangelist ,holtzer1 #agth century4 ,illustration3 ,fig4 #ed4--;,a ball-room dance1 ,le ,bal ,par1 of the #ahth century4 ,from ,august de l',aubin4 ,illustration3 ,fig4 #ee4--;,a dance in the #ahth century4 ,from a painting by ,hogarth4 ,there were1 however1 various other dances of a number too considerable to describe here1 also introduced4 ,the dance of the eighteenth century from ,derby ware 7fig4 #ei7 seems to be but a continuation in action of those of the sixteenth century1 as out-of-door performances4 ,illustration3 ,fig4 #ef4--;,caricature of a dancing master4 ,hogarth4 ,we have now arrived at the modern style of ball1 so beloved by many of the ,french ,monarchs4 ,henry ,,iv4 and ,napoleon were fond of giving these in grand style1 and in some sort of grand style they persist even as a great social function to our own time4 ,the ,court balls of ,louis ,,xiii4 and ,,xiv4 at ,versailles were really gorgeous ballets1 and their grandeur was astonishing2 this custom was continued under the succeeding monarchs4 ,an illustration of one in the eighteenth century by ,august de l',aubin 7fig4 #ed7 sufficiently shows their character4 ,there is nothing new in the postures illustrated1 which may have originated thousands of years ago4 ,as illustrating the popular ball of the period1 the design by ,hogarth 7fig4 #ee7 is an excellent contrast4 ,the contredanse represented was originally the old country dance exported to ,france and returned with certain arrangements added4 ,this is a topic we need not pursue farther1 as almost every reader knows what social dancing now is4 ,illustration3 ,fig4 #eg4--,spring dancing away from winter4 ,from a drawing by ,watteau4 ,illustration3 ,fig4 #eh4--,the ,misses ,gunning dancing4 ,end of the #ahth century1 from a print by ,bunbury1 engraved by ,bartolozzi4 ,illustration3 ,fig4 #ei4--;,dancing4 ,close of the #ahth century4 ,from ,derby ware4 ,illustration3 ,fig4 #fj4--,spanish dance in the ,hall of ,saragoza1 #aith century4 ,,chapter ,,vi4 ,,the ,,modern ,,theatre ,,dance4 ,although the theatrical ballet dance is comparatively modern1 the elements of its formation are of the greatest antiquity2 the chorus of dancers and the performances of the men in the ,egyptian chapters represent without much doubt public dancing performances4 ,we get singing1 dancing1 mimicry and pantomime in the early stages of ,greek art1 and the development of the dance rhythm in music is equally ancient4 ,the ,alexandrine ,pantomime1 introduced into ,rome about #cj ,b4,c4 by ,bathillus and ,pylades1 appears to have been an entertainment approaching the ballet4 ,in the middle ages there were the mysteries and masks2 the latter were frequent in ,england1 and are introduced by ,shakespere in ,henry ,,viii4 ,in ,italy there appears to have been a kind of ballet in the #adth century1 and from ,italy1 under the influence of ,catharine de' ,medici1 came the ballet4 ,balthasar di ,beaujoyeulx produced the first recorded ballet in ,france1 in the ,italian style1 in #aehb4 ,this was1 however1 essentially a ,court ballet4 ,the theatre ballet apparently arose out of these ,court ballets4 ,henry ,,iii4 and ,henry ,,iv41 the latter especially1 were very fond of these entertainments1 and many ,italians were brought to ,france to assist in them4 ,pompeo ,diabono1 a ,savoyard1 was brought to ,paris in #aeed to regulate the ,court ballets4 ,at a later date came ,rinuccini1 the poet1 a ,florentine1 as was probably ,caccini1 the musician4 ,they had composed and produced the little operetta of ,daphne1 which had been performed in ,florence in #aeig4 ,under these last-mentioned masters the ballet in ,france took somewhat of its present form4 ,this passion for ,court ballets continued under ,louis ,,xiii4 and ,louis ,,xiv4 ,illustration3 ,fig4 #fa4--,mlle4 de ,camargo4 ,after a painting by ,lancret1 about #agdj ,a4,d4 ,louis ,,xiii4 as a youth danced in one of the ballets at ,st4 ,germain1 it is said at the desire of ,richelieu1 who was an expert in spectacle4 ,it appears that he was encouraged in these amusements to remedy fits of melancholy4 ,louis ,,xiv41 at seven1 danced in a masquerade1 and afterwards not only danced in the ballet of ,cassandra1 in #afea1 but did all he could to raise the condition of the dance and encourage dancing and music4 ,his influence1 combined with that of ,cardinal ,richelieu1 raised the ballet from gross and trivial styles to a dignity worthy of music1 poetry and dancing4 ,his uncle1 ,gaston of ,orleans1 still patronized the grosser style1 but it became eclipsed by the better4 ,lulli composed music to the words of ,molire and other celebrities2 amongst notable works then produced was the ,andromeda of ,corneille1 a tragedy1 with hymns and dances1 executed in #afej1 at the ,petit ,bourbon4 ,illustration3 ,fig4 #fb4--,pauline ,duvernay at ,covent ,garden1 #ahcc-ahch4 ,the foundation of the theatrical ballet was1 however1 at the instigation of ,mazarin1 to prevent a lowering of tone in the establishment of the ,acadmie de ,danse under thirteen ,academicians in #affa4 ,this appears to have been merged into the ,acadmie ,royale de ,musique et de ,danse in #affi1 which provided a proper training for dbutants1 under ,,mm4 ,perrin and ,cambert1 whilst ,beauchamp1 the master of the ,court ballets1 had charge of the dancing4 ,the first opera-ballet1 the ,pomona of ,perrin and ,cambert1 was produced in #afga4 ,to this succeeded many works of ,lulli1 to whom is attributed the increased speed in dance music and dancing1 that of the ,court ballets having been slow and stately4 ,illustration3 ,fig4 #fc4--,mlle4 ,fanny ,ellsler4 ,from a lithograph by ,a4 ,lacaucbie4 ,the great production of the period appears to have been the ,triumph of ,love in #afha1 with twenty scenes and seven hundred performers2 amongst these were many of the nobility1 and some excellent ballerine1 such as ,pesaut1 ,carr1 ,leclerc1 and ,lafontaine4 ,a detailed history of the ballet is1 however1 impossible here1 and we must proceed to touch only on salient points4 ,it passed from the ,court to the theatre about #afhj and had two characteristics1 one with feminine dancers1 the other without4 ,illustration3 ,fig4 #fc;a4--,dancing satyr playing castanets1 by ,myron1 in the ,vatican ,museum4 ,the action is entirely suggestive of that of ,fanny ,ellsler1 and might be evidence of the antiquity of the ,spanish tradition4 ,it is not a little curious that wearing the mask1 a revival of the antique1 was practised in some of these ballets4 ,the history of the opera-ballet of those days gives to us many celebrated names of musicians1 such as ,destouches1 who gave new verve to ballet music1 and ,rameau4 ,jean ,georges ,noverre abolished the singing and established the five-act ballet on its own footing in #aggf4 ,in this it appears he had partly the advice of ,garrick1 whom he met in ,london4 ,the names of the celebrated dancers are numerous1 such as ,pcourt1 ,blaudy 7who taught ,mlle4 ,camargo71 ,laval1 ,vestris1 ,germain1 ,prevost1 ,lafontaine1 and ,camargo 7fig4 #fa71 of the #ahth century2 ,taglioni1 ,grisi1 ,duvernay1 ,cerito1 ,ellsler1 etc41 of the #aith century1 to those of our own day4 ,a fair notice of all of these would be a work in itself4 ,illustration3 ,fig4 #fd4--,mlle4 ,taglioni4 ,from a lithograph of the period4 ,the introduction of the ballet into ,england was as late as #agcd1 when the ,french dancers1 ,mlle4 ,sall1 the rival of ,mlle4 ,camargo1 and ,mlle4 de ,subligny made a great success at ,covent ,garden in ,ariadne and ,galatea1 and ,mlle4 ,salle danced in her own choregraphic invention of ,pygmalion1 since which time it has been popular in ,england1 when those of the first class can be obtained4 ,there are1 however1 some interesting and romantic circumstances connected with the ballet in ,london in the last century1 which it will not be out of place to record here4 ,amongst the dancers of the last century of considerable celebrity were two already mentioned1 ,mlles4 ,duvernay 7fig4 #fb7 and ,taglioni 7fig4 #fd71 whose names are recorded in the classic verse of ,ingoldsby4 ,malibran's dead1 ,duvernay's fled2 ,taglioni has not yet arrived in her stead4 ,illustration3 ,fig4 #fe4--,pas de ,trois by ,mlles4 ,ferraris1 ,taglioni1 and ,carlotta ,grisi4 ,mlle4 ,duvernay was a ,parisian1 and commenced her study under ,barrez1 but subsequently was under ,vestris and ,taglioni1 the father of the celebrity mentioned in the verse4 ,illustration3 ,fig4 #ff4--,mlle4 ,adeline ,gene1 #aijf4 ,photo1 ,ellis and ,walery4 ,duran hangs over the mantelpiece of the refectory of the presbytery4 ,illustration3 ,fig4 #fg4--,mlle4 ,anna ,pavlova1 #aiaj4 ,from a photo by ,foulsham and ,banfield4 ,having made a great ,parisian reputation1 she came to ,london in #ahcc1 and from that date until #ahcg held the town1 when she married ,mr4 ,stephens ,lyne ,stephens1 ,m4,p41 a gentleman of considerable wealth1 but was left a childless widow in #ahfa1 and retired to her estate at ,lyneford ,hall1 ,norfolk1 living in retirement and spending her time in good works4 ,she is said to have spent #ajj1jjj in charities and churches1 and that at ,cambridge1 dedicated to the ,english martyrs1 was founded1 completed1 and endowed by her4 ,she led a blameless and worthy life1 and died in #ahid4 ,her portrait by ,mlle4 ,taglioni 7fig4 #fd71 her co-celebrity1 married ,count ,gilbert de ,voisins1 a ,french nobleman1 in #ahdg1 and with her marriage came an ample fortune2 unfortunately the bulk of this fortune was lost in the ,franco-,german war4 ,with the courage of her character the ,countess returned to ,london and gave lessons in dancing1 etc41 in which she was sufficiently successful to obtain a fair living4 ,she died in #ahhd at #hj years of age4 ,of the other celebrities of the period--,carlotta ,grisi1 ,ferraris 7fig4 #fe71 and ,fanny ,ellsler 7fig4 #fc7--some illustrations are given2 besides these were ,fanny ,cerito1 ,lucile ,grahn1 a ,dane1 and some others of lesser notoriety performing in ,london at this great period of the ballet4 ,illustration3 ,fig4 #fh4--,mlle4 ,sophie ,fdorova4 ,the recent encouragement of the classic ballet has introduced us to some exquisite dancers3 amongst these are ,mlle4 ,adeline ,gene 7fig4 #ff7 and ,mlle4 ,anna ,pavlova 7fig4 #fg72 the latter1 with ,m4 ,mordkin and a corps of splendid dancers1 are from ,russia1 from whence also comes the important troupe now at the ,alhambra with ,mlle4 ,geltzer and other excellent dancers4 ,the celebrated company at ,covent ,garden1 and ,lydia ,kyasht at the ,empire1 are also ,russian4 ,it is not surprising that we get excellent dancing from ,russia2 the school formed by ,peter the ,great about #afih has been under ,state patronage ever since4 ,notices of all the important dancers from ,italy1 ,spain1 ,paris1 or elsewhere1 performing in ,england in recent years1 would occupy considerable space1 and the reader can easily obtain information concerning them elsewhere4 ,that the technique and speed of the classic dance has considerably increased is historically certain1 and we must hope that this speed will not sacrifice graceful movement4 ,moreover1 technique alone will not make the complete fine-artist3 some invention is involved4 ,unfortunately1 some modern attempts at invention seem crude and sensational1 whilst lacking the exquisite technique desirable in all exhibitions of finished art4 ,before concluding it is almost imperative to say something about the naked foot dancers1 followers of ,isidora ,duncan4 ,some critics and a certain public have welcomed them2 but is it not sham antique8 ,it does not remind one of the really classic4 ,moreover1 the naked foot should be of antique beauty1 which in most of these cases it is not4 ,advertisements tell us that these dance are interpretations of classic music--,chopin1 ,weber1 ,brahms1 etc42 they are not really interpretations1 but distractions6 ,we can hardly imagine that these composers intended their work for actual dancing4 ,one can listen and be entranced2 one sees the dancer's interpretations or translations and the music is degraded to a series of sham classic postures4 ,the idea that running about the stage in diaphanous costumes1 with conventional mimicry and arm action1 is classic or beautiful is a mistake2 the term aesthetic may cover1 but not redeem it4 ,there is not even the art of the ordinary ballet-dancer discernible in these proceedings4 ,on another plane are such as the ballets in ,don ,giovanni and ,faust4 ,mozart and ,gounod wrote these with a full knowledge of the method of interpretation and the persons who had been trained for that purpose--the performers fit the music and it fits them4 ,this opera-ballet is also more in accordance with tradition before the time of ,noverre4 ,neither do the popular and curious exhibitions of ,loie ,fuller strike one as having a classic character1 or future1 of any consideration1 pretty as they may be4 ,the operetta or musical comedy has given us some excellent art1 especially at the end of the #aith century1 when ,sylvia ,gray1 ,kate ,vaughan1 ,letty ,lind1 ,topsy ,sinden1 and others of like mtier gave us skirt and drapery dancing4 ,this introduces us to the question of costume4 ,that commonly used by the prima ballerina is certainly not graceful2 it was apparently introduced about #ahcj1 presumably to show the action and finished method of the lower extremities4 ,if ,fanny ,ellsler and ,duvernay could excel without this ugly contrivance1 why is it necessary for others8 ,at the same time it is better than indifferent imitations of the ,greek1 or a return to the debased characteristics of ,pompeiian art1 in which the effect of the classic and fine character of the material are rendered in a sort of transparent muslin4 ,with these notices the author's object in this sketch is completed4 ,of the bal-masqu garden dances1 public balls and such-like1 he has no intention to treat2 they are not classic dancing nor art1 with the exception perhaps of the ,scottish reels4 ,nor is he interested in the dancing of savage tribes1 nor in that of the ,east1 although some few illustrations are given to illustrate traditions3 for example1 the use of the pipe and tabor in ,patagonia1 the dancer from ,japan1 winged1 like that in the ,roman de la ,rose 7fig4 #dj71 and the religious dance of ,tibet1 showing the survival of the religious dance in some countries4 ,in ,mrs4 ,groves' book on dancing there is an excellent chapter on the ,ritual dance as now practised1 to which the reader can refer4 ,illustration3 ,fig4 #fi4--;,japanese ,court ,dance4 ,illustration3 ,fig4 #gj4--;,indian dancing-girl4 ,illustration3 ,fig4 #ga4--,patagonian dancers to fife and tabor4 ,illustration3 ,fig4 #gb4--,tibetan religious dancing procession1 #aijh ,a4,d4 ,,bibliography4 ,baron1 ,a4 ,lettres et ,entretiens sur la ,danse4 ,paris1 #ahbe4 ,emmanuel1 ,m4 ,la ,danse grecque antique4 #ahif4 ,mnestrier1 ,pre4 ,des ,ballets anciens et modernes4 #afhb4 ,bonnet4 ,histoire gnrale de la ,danse sacre et profane4 #agbc4 ,cahusac4 ,la ,danse ancienne et moderne4 #aged4 ,noverre4 ,lettres sur les ,ballets4 #agfj4 ,charbonnel1 ,r4 ,la ,danse de ,lettres1 c4 #ahjg4 ,pougin1 ,a4 ,dict4 ,hist1 du ,thtre4 #ahhe4 ,aulnaye1 ,de l'4 ,de la ,saltation thtrale4 #aghi4 ,olaus ,magnus4 ,gent4 ,septentr41 ,hy41 ,book ,,iii41 ,chap4 ,,vii4 ,see ,bourne's ,vulgar ,antiqs41 p4 #age4 ,abbeau-,thoinot 7,canon ,jean ,tabourot74 ,orchsographie4 #afdc4 ,strutt's ,sports and ,pastimes4 ,london1 #ahja4 ,thomson1 ,chas4 and ,samuel4 ,collection of #hjj ,dances4 #d vols4 #aggj-aggc4 ,playford's ,dancing ,master4 #bnd ed4 #afeb4 ,wilkinson1 ,sir ,g4 ,ancient ,egyptians4 #c vols4 ,london4 ,dennis4 ,etruria4 #b vols4 ,london4 ,compan4 ,dictionnaire de la ,danse4 #ahjb4 ,blasis1 ,c4 ,trait de la ,danse4 ,milan1 #ahcj4 ---4 ,code of ,terpsichore4 ,london1 #ahbc4 ,vuillier1 ,g4 ,la ,danse travers les ,ages4 ,menil1 ,f4 de4 ,histoire de la ,danse travers les ,ages4 ,fonta ,laure1 ,mme4 ,notice sur les ,danses du xvi4 sicle4 ,guihelmi4 ,hebraie ,pisauriensis1 de practica seu arte trepudis1 c4 #adfc4 ,,ms4 ,bib4 ,nation4 ,domini1 ,johan4 ,pisauriensis1 ditto4 ,,ms4 ,bib4 ,nation4 #adfc4 ,caroso1 ,f4 ,il ,ballarino4 #aeha4 ,cesare ,negri4 ,nuovo ,invenzioni di ,balli4 #afjd4 ,vestris1 ,d4 ,les ,danses autrefois4 #ahhg4 ,desrat1 ,g4 ,dictionnaire de la ,danse4 ,paris1 #ahie4 ,rameau1 ,p4 ,le ,matre danser4 ,magny4 ,principes de ,chorgraphie4 ,paris1 #agfe4 ---4 ,nouveau ,guide de la ,danse4 #ahhh4 ,gawlikowski1 ,p4 ,guide complet de la ,danse4 #aheh4 ,angiolini4 ,discuzzioni sulla dansa pantomima4 #agfj4 ,saint ,lon4 ,de l'etat actuel de la danse4 ,lisbon1 #ahef4 ,giraudet1 ,e4 ,trait de la danse1 #ahij4 ---4 ,nouveau ,guide1 #ahhh4 ,grove1 ,mrs4 ,lilly4 ,history of ,dancing4 ,london1 #ahij4 ,skalkovsky-,pleshcheev4 ,nash ,balet 7our ,ballet74 #ahii4 ,a ,history of the ,russian ,ballet1 in ,russian4