THE DANCE Historic Illustrations of Dancing from 3300 B.C. to 1911 A.D.

BY AN ANTIQUARY LONDON JOHN BALE, SONS & DANIELSSON, LTD. 83-91, GREAT TITCHFIELD STREET, OXFORD STREET, W Respectfully dedicated to Dr. Eleanor Maxwell. 1911

CONTENTS. PREFACE CHAPTER I Egyptian, Assyrian, Hebrew and Phoenician Dancing. CHAPTER II Dancing with the Greeks. CHAPTER III Etr scan!"o th Ita#ian, Ro$an Dancing, etc. CHAPTER I% The &Ear#y Eng#ish& and &'ediae(a#& dance to the )o rteenth cent ry. CHAPTER % "ociety dancing )ro$ the )i)teenth cent ry. CHAPTER %I The 'odern Theatre Dance. *I*+I,GRAPH+I"T ,F I++."TRATI,/"

PREFACE. This sketch o) the iconography o) the dance does not pretend to be a history o) the s b0ect, e1cept in the $ost e#e$entary way. It $ay be taken as a s $$ary o) the history o) post re2 a co$p#ete dance cannot be easi#y rendered in i## stration. The te1t is o) the $ost e#e$entary description2 to go into the s b0ect thoro gh#y wo #d in(o#(e years and (o# $es. The descriptions o) the (ario s historic dances or $ sic are enor$o s s b0ects2 two a thors a#one ha(e gi(en 344 dances in )o r (o# $es.567 It wo #d ha(e been interesting i) so$e idea o) the orchesography o) the Egyptians and Greeks co #d ha(e been gi(en2 this art o) describing dances $ ch in the $anner that $ sic is written is #ost, and the atte$pts to re(i(e it ha(e been ine))ecti(e. The increasing speed o) the action since the days o) + ##i wo #d now render it a#$ost i$possib#e. It is hoped that this work $ay be o) so$e se as i## strating the cost $e, position and accessories o) the dance in (ario s periods to those prod cing entertain$ents. To the reader desiro s o) thoro gh#y st dying the s b0ect a bib#iography is gi(en at the end. FOOTNOTES F !" !# 18 Tho$pson9s co$p#ete co##ection o) :44 co ntry dances per)or$ed at Co rt, *ath, T nbridge, and a## p b#ic asse$b#ies, with proper )ig res and directions to each set )or the (io#in, Ger$an )# te, and ha tboy, 3s. ;d. Printed )or Char#es and "a$ e# Tho$pson, "t. Pa #9s Ch rchyard, +ondon, where $ay be had the year#y dances and $in ets. Fo r (o# $es, each :44 dances. 6<<4!6<<=.

H$%! &$' I(()%!&*!$ "% + D*"'$",.

F$,. 18 Dancing to the c#apping o) bands. Egyptian, )ro$ the to$b o) .r!ari!en!Ptah, ;th Dynasty, abo t ==44 *.C. >*ritish ' se $.? CHAPTER I. Egyptian, Assyrian, Hebrew, and Phoenician Dancing. The Ritual Dance of Egypt. Dancing Exa ples fro To b of !r"ari"en"Ptah, #th Dynasty, $ritish Museu . Description of Dancing fro %ir &. 'il(inson) of the Egyptian Pipes and Hieroglyphics of Dancing, *c. Phoenician Round Dances, fro a +i estone &roup found at ,yprus, and $ron-e Patera fro .daliu , ,yprus. In this work it is not necessary to worry the reader with spec #ations as to the origin o) dancing. There are other a thorities easi#y accessib#e who ha(e written pon this the$e. Dancing is probab#y one o) the o#dest arts. As soon as $an was $an he witho t do bt began to gestic #ate with )ace, body, and #i$bs. How #ong it took to de(e#op bodi#y gestic #ation into an art no one can g ess@perhaps a $i##enni $. In writing o) dancing, one wi## there)ore inc# de those gestic #ations or $o(e$ents o) the body s ggesting an idea, whether it be the s#ow $o(e$ent o) $arching, or the rapid ga##op, e(en so$e o) the $o(e$ents that we co$$on#y ca## acrobatic. It is not intended here to inc# de the $ore sens a# $o(e$ents o) the East and the debased antiA e. Genera##y the antiA e dances were connected with a re#igio s rit a# concei(ed to be acceptab#e to the Gods. This connection between dancing and re#igio s rites was co$$on p to the 6;th cent ry. It sti## contin es in so$e co ntries. In so$e o) the ear#iest designs which ha(e co$e down to s the dancers $o(ed, as stars, hand in hand ro nd an a#tar, or person, representing the s n2 either in a s#ow or state#y $ethod, or with rapid trained gest res, according to the rit a# per)or$ed. Dancing, $ sic and poetry were inseparab#e. Dancing is the poetry o) $otion, and its connection with $ sic, as the poetry o) so nd, occ rs at a## ti$es. In o r own day $ sica# the$es are $arked by )or$s origina##y dance ti$es, as wa#tB ti$e, ga(otte ti$e, $in et ti$e, etc.

F$,. -8 Greek )ig res in a so#e$n dance. Fro$ a (ase at *er#in. The ear#iest acco$pani$ents to dancing appear to ha(e been the c#apping o) hands, the

A$ongst the ear#iest representations that are co$prehensib#e, we ha(e certain Egyptian paintings, and so$e o) these e1hibit post res that e(ident#y had e(en then a sett#ed $eaning, and were a phrase in the sentences o) the art. /ot on#y were they sett#ed at s ch an ear#y period >*.C. =444, )ig. 6? b t they appear to ha(e been accepted and handed down to s cceeding generations >)ig. :?, and what is re$arkab#e in so$e co ntries, e(en to o r own ti$es. The acco$panying i## strations )ro$ Egypt and Greece e1hibit what was e(ident#y a traditiona# attit de. The hand!in!hand dance is another o) these.

F$,. 38 The hierog#yphics describe the dance. pipes,567 the g itar, the ta$bo rine, the castanets, the cy$ba#s, the ta$bo r, and so$eti$es in the street, the dr $. The )o##owing acco nt o) Egyptian dancing is )ro$ "ir Gardiner Ci#kinson9s &Ancient Egypt&5:78@ &The dance consisted $ost#y o) a s ccession o) )ig res, in which the per)or$ers endea(o red to e1hibit a great (ariety o) gest re. 'en and wo$en danced at the sa$e ti$e, or in separate parties, b t the #atter were genera##y pre)erred )or their s perior grace and e#egance. "o$e danced to s#ow airs, adapted to the sty#e o) their $o(e$ent2 the attit des they ass $ed )reA ent#y partook o) a grace not nworthy o) the Greeks2 and so$e credit is d e to the ski## o) the artist who represented the s b0ect, which e1cites additiona# interest )ro$ its being in one o) the o#dest to$bs o) Thebes >*.C. 6DE4, A$enophis II.?. ,thers pre)erred a #i(e#y step, reg #ated by an appropriate t ne2 and $en so$eti$es danced with great spirit, bo nding )ro$ the gro nd, $ore in the $anner o) E ropeans than o) Eastern peop#e. ,n these occasions the $ sic was not

a#ways co$posed o) $any instr $ents, and here we )ind on#y the cy#indrica# $aces and a wo$an snapping her )ingers in the ti$e, in #ie o) cy$ba#s or castanets. &Grace) # attit des and gestic #ations were the genera# sty#e o) their dance, b t, as in a## other co ntries, the taste o) the per)or$ance (aried according to the rank o) the person by who$ they were e$p#oyed, or their own ski##, and the dance at the ho se o) a priest di))ered )ro$ that a$ong the nco th peasantry, etc. &It was not c sto$ary )or the pper orders o) Egyptians to ind #ge in this a$ se$ent, either in p b#ic or pri(ate asse$b#ies, and none appear to ha(e practised it b t the #ower ranks o) society, and those who gained their #i(e#ihood by attending )esti(e $eetings. &Fearing #est it sho #d corr pt the $anners o) a peop#e nat ra##y #i(e#y and )ond o) gaiety, and dee$ing it neither a necessary part o) ed cation nor beco$ing a person o) sober habits, the Egyptians )orbade those o) the higher c#asses to #earn it as an a$ se$ent. &'any o) these post res rese$b#ed those o) the $odern ba##et, and the piro ette de#ighted an Egyptian party =,E44 years ago. &The dresses o) the )e$a#es were #ight and o) the )inest te1t re, a #oose )#owing robe reaching to the ank#es, so$eti$es with a gird#e.

F$,. .8 Egyptian hierog#yphic )or &dance.& &In #ater ti$es, it appears $ore transparent and )o#ded in narrow p#eats.5=7 "o$e danced in pairs, ho#ding each other9s hand2 others went thro gh a s ccession o) steps a#one, both $en and wo$en2 so$eti$es a $an per)or$ed a so#o to the so nd o) $ sic or the c#apping o) hands. &A )a(o rite )ig re dance was ni(ersa##y adopted thro gho t the co ntry, in which two partners, who were s a##y $en, ad(anced toward each other, or stood )ace to )ace pon one #eg, and ha(ing per)or$ed a series o) $o(e$ents, retired again in opposite directions, contin ing to ho#d by one hand and conc# ding by t rning each other ro nd >see )ig. =?. That the attit de was (ery co$$on is pro(ed by its ha(ing been adopted by the hierog#yphic >)ig. D? as the $ode o) describing 9dance.9& 'any o) the positions o) the dance i## strated in Gardner Ci#kinson are sed at the present day.

The A""-RIA/" probab#y danced as $ ch as the other nations, b t a$ongst the $any $on $ents that ha(e been disco(ered there is #itt#e dancing shown, and they were e(ident#y $ore pro d o) their ca$paigns and their h nting than o) their dancing. A stern and strong peop#e, a#tho gh they ndo bted#y had this a$ se$ent, we know #itt#e abo t it. ,) the Phoenicians, their neighbo rs, we ha(e so$e i## strations o) their dance, which was apparent#y o) a F$,. /8 Cyprian #i$estone gro p serio s nat re, 0 dging by the e1a$p#es which we o) Phoenician dancers, abo t possess, s ch as that >)ig. E? )ro$ Cypr s representing ;G in. high. There is a three )ig res in hooded cow#s dancing aro nd a piper. so$ewhat si$i#ar gro p, a#so It is a dance aro nd a centre, as is a#so >)ig. ;? that )ro$ Cypr s, in the *ritish )ro$ Ida#i $ in Cypr s. The #atter is engra(ed aro nd ' se $. The dress, a hooded a bronBe bow# and is e(ident#y a p#anet and s n dance cow#, appears to be o) great be)ore a goddess, in a te$p#e2 the s n being the centra# antiA ity. ob0ect aro nd which they dance, acco$panied by the do b#e pipes, the harp, and tabo r. The Egyptian origin o) the de(otion is apparent in the detai#s, especia##y in the #ot s! s$e##ing goddess >$arked A on )ig. ;? who ho#ds the )#ower in the $anner shown in an Egyptian painting in the *ritish ' se $ >)ig. <?. Fro$ the Phoenicians we ha(e i## strated e1a$p#es, b t no record, whereas )ro$ their neighbo rs the Hebrews we ha(e a$p#e records in the "cript res, b t no i## strations. It is, howe(er, $ost probab#e that the dance with the$ had the traditiona# character o) the nations aro nd the$ or who had he#d the$ capti(e, and the Phi#istine dance >)ig. ;? $ay ha(e been o) the sa$e kind as that aro nd the go#den ca#) >Apis? o) the desert >E1od s 111ii. (. 6F?.

F$,. 08 Phoenician patera, )ro$ Ida#i $, showing a re#igio s rit a# dance be)ore a goddess in a te$p#e ro nd a s n e$b#e$. Chen they passed the Red "ea, 'iria$ and the $aidens danced in chor s with singing and the beating o) the ti$bre# >ta$bo r?. >E1od s 1(. (. 6.?

Hing Da(id not on#y danced be)ore the ark >: "a$ e# (i. (. 6;?, b t $entions dancing in the 6DFth and 6E4th Psa#$. Certain historians a#so te## s that they had dancing in their rit a# o) the seasons. Their dancing see$s to ha(e been associated with 0oy, as we read o) &a ti$e to $o rn and a ti$e to dance&2 we )ind >Ecc#es. iii. (. D? they had a#so the pipes8 &Ce ha(e piped to yo and yo ha(e not danced& >'atthew 1i. F$,. 18 Fe$a#e )ig re (. 6<?. These dances were e(ident#y e1ec ted by the peop#es s$e##ing a #ot s. Fro$ a the$se#(es, and not by p b#ic per)or$ers. painting in the *ritish ' se $.

F$,. 88 Dance o) *acchantes, painted by the cera$ic painter, Hieron. >*ritish ' se $.? FOOTNOTES F !" !# 18 Egyptian $ sic appears to ha(e been o) a co$p#icated character and the do b#e pipe or )# tes were probab#y reeded, as with o r c#arionet. The #e)t pipe had )ew stops and ser(ed as a sort o) ha tboy2 the right had $any stops and was higher. The sing#e pipe, >a? &The recorder& in the *ritish ' se $, is a treb#e o) 64!6I: in. and is pentaphonic, #ike the "cotch sca#e2 the tenor >b? is 3!=ID in. #ong and its present pitch@

F !" !# -8 %o#. i., p. E4=!3. F !" !# 38 There is a pict re o) an Egyptian ga ))ering $achine in Ci#kinson, (o#. i., p. 63E. CHAPTER II. &ree( Dancing. $acchanalian Dance, by the ,era ic Painter Hieron. Description of so e &ree( Dances, the &/r0n1s, the ,orybantiu , the Hor os, *c. Dancing $acchante fro a 2ase and fro Terra ,otta. The Hand"in"hand, and Panathenaeac Dance fro ,era ic 'are. Military Dance fro %culpture in 2atican, &ree( Dancer with ,astanets. .llustration of ,y bals and Pipes fro the $ritish Museu . The ,horus. &ree( Dancers and Tu blers.

Cith the Greeks, dancing certain#y was pri$ari#y part o) a re#igio s rite2 with $ sic it )or$ed the #yric art. The ter$, howe(er, with the$ inc# ded a## those actions o) the body and #i$bs, and a## e1pressions and actions o) the )eat res and head which s ggest ideas2 $arching, acrobatic per)or$ances, and $i$etic action a## ca$e into the ter$.

F$,. 98 Dancing *acchante. Fro$ a (ase in the *ritish ' se $.

F$,. 128 Greek terra cotta dancing gir#, abo t =E4 *.C. >*ritish ' se $.? According to the historians, the Greeks attrib ted dancing to their deities8 Ho$er $akes Apo##o orchestes, or the dancer2 and a$ongst the ear#y dances is that in his hono r ca##ed the Hyporche a. Their dances $ay be di(ided into sections so$ewhat th s8 >6? those o) a re#igio s species, >:? those o) a gy$nastic nat re, >=? those o) a $i$etic character, >D? those o) the theatre, s ch as the chor s, >E? those part#y socia#, part#y re#igio s dances, s ch as the hy$enea#, and >;? cha$ber dances. Grown p $en and wo$en did not dance together, b t the yo th o) both se1es 0oined in the Hor 1s or chain dance and the &/r0n1s, or crane >see )ig. 66?.

F$,. 118 The GJrKnLs )ro$ a (ase in the ' seo *orbonico, /ap#es. According to so$e a thorities, one o) the $ost pri$iti(e o) the )irst c#ass, attrib ted to Phrygian origin, was the Aloenes, danced to the Phrygian )# te by the priests o) Cybe#e in hono r o) her da ghter Ceres. The dances #ti$ate#y ce#ebrated in her c #t were n $ero s8 s ch as the Anthe a, the $oo(olos, the Epicredros, and $any others, so$e r stic )or #abo rers, others o) shepherds, etc. E(ery #oca#ity see$s to ha(e had a dance o) its own. Dances in hono r o) %en s were co$$on, she was the patroness o) proper and decent dancing2 on the contrary, those in hono r o) Dionysi s or *acch s degenerated into re(e#ry and obscenity. The Epilenios danced when the grapes were pressed, and i$itated the gathering and pressing. The Anteisterios danced when the wine was (atted >)igs. 3, F, 64?, and the $ahilicos, danced to the sistr s, cy$ba#s, and ta$bo r, o)ten degenerated into orgies.

F$,. 1-8 Panathenaeac dance, abo t the Dth cent ry *.C. The &/r0n1s, origina##y )ro$ De#os, is said to ha(e been originated by These s in $e$ory o) his escape )ro$ the #abyrinth o) Crete >)ig. 6:?. It was a hand!in!hand dance a#ternate#y o) $a#es and )e$a#es. The dance was #ed by the representati(e o) These s p#aying the #yre.

F$,. 138 A $i#itary dance, s pposed to be the ,orybantu . Fro$ a Greek bas!re#ie) in the %atican ' se $. ,) the second c#ass, the gy$nastic, the $ost i$portant were $i#itary dances, the in(ention o) which was attrib ted to 'iner(a2 o) these the ,orybantu was the $ost re$arkab#e. It was o) Phrygian origin and o) a $i1ed re#igio s, $i#itary, and $i$etic character2 the per)or$ers were ar$ed, and bo nded abo t, springing and c#ashing their ar$s and shie#ds to i$itate the Corybantes endea(o ring to sti)#e the cries o) the in)ant Me s, in Crete. The Pyrrhic >)ig. 6=?, a war dance o) Doric origin, was a rapid dance to the do b#e )# te, and $ade to rese$b#e an action in batt#e2 the Hoplites o) Ho$er is tho ght to ha(e been o) this kind. The Dorians were (ery partia# to this dance and considered their s ccess in batt#e d e to the ce#erity and training o) the dance. In s bseA ent periods it was i$itated by )e$a#e dancers and as a pas seul. It was a#so per)or$ed in the Panathenaea by Ephebi at the e1pense o) the Chorag s, b t this was probab#y on#y a $i$etic per)or$ance and not war#ike. There were $any other heroic $i#itary dances in hono r o) Herc #es, These s, etc.

F$,. 1.8 Greek dancer with castanets. >*ritish ' se $.? "ee a#so Castanet dance by 'yron, )ig. ;=a. The chor s, co$posed o) singers and dancers, )or$ed part o) the dra$a, which inc# ded the recitation o) so$e poetic co$position, and inc# ded gestic #ati(e and $i$etic action as we## as dancing and singing. The Dorians were especia##y )ond o) this2 their poetry

F$,. 1/8 Cy$ba#s >abo t D in.? and do b#e )# te. >*ritish ' se $.?

was genera##y chora#, and the Doric )or$s were preser(ed by the Athenians in the chora# co$positions o) their dra$a. The tragic dance, E elia, was so#e$n2 whi#st that in co$edy, ,ordax, was )ri(o#o s, and the siccinis, or dance o) "atyrs, was o)ten obscene. They danced to the $ sic o) the pipes, the ta$bo r, the harp, castanets, cy$ba#s, etc. >)igs. 6D, 6E, 6;?.

F$,. 108 Greek dancers. Fro$ a (ase in the Ha$i#ton Co##ection. In the rites o) Dionysi s the chor s was )i)ty and the cithara was sed instead o) the )# te. Fro$ the ti$e o) "ophoc#es it was )i)teen, and a#ways had a pro)essed trainer. The choric A estion is, howe(er, a s b0ect in itse#), and cannot be )air#y dea#t with here.

F$,. 188 Greek dancers and t $b#ers.

F$,. 118 *acchana#ian dancer. %ase )ro$ /ocera, ' se $, /ap#es. The socia# dances, and those in hono r o) the seasons, )ire and water, were n $ero s and genera##y #oca#2 whi#st the cha$ber dances, pro)essiona# dancing, the throwing o) the 3otabos, and s ch!#ike, $ st be #e)t to the reader9s ) rther st dy o) the a thors $entioned in the bib#iography at the end o) the work. It $ay astonish the reader to know that the ) na$b #ist or rope!dancer was (ery e1pert with the Greeks, as a#so was the acrobat between kni(es and swords. Ani$a#s were a#so ta ght to dance on ropes, e(en e#ephants. The i$portant re#igio s and other dances were not genera##y co$posed o) pro)essiona#s. The greatest $en were not abo(e showing their senti$ents by dancing. "ophoc#es danced a)ter "a#a$is, and Epa$inondas was an e1pert dancer. There were dancers o) a## grades, )ro$ the disting ished to the $oderate. Disting ished persons e(en $arried into e1ce##ent positions, i) they did not a#ready occ py the$ by birth. Phi#ip o) 'acedon $arried +arissa, a dancer, and the dancer Aristode$ s was a$bassador to his Co rt.

F$,. 198 Etr scan bronBe dancer with eyes o) dia$onds, )o nd at %erona. /ow in the *ritish ' se $. These dancers $ st not be con)o nded with those hired to dance at )easts, etc. >)igs. F, 6D and 63?. CHAPTER III. Etruscan, %outh .talian and Ro an Dancing. .llustrations fro the &rotta dei 2asi, the &rotta della %ci ia, and the &rotta del Triclinio, ,orneto. 4uneral Dances fro Albanella, ,apua, *c. Po peii and the $aths of ,onstantino. The Dances of the Etruscans and %outh .talians. The Ro an, Dance of the %alii. The $ellicrepa. The social position of Dancing. The ,horus. ,ne o) the $ost i$portant nations o) antiA ity was the Etr scan, inhabiting, according to so$e a thorities, a do$inion )ro$ +o$bardy to the A#ps, and )ro$ the 'editerranean to the Adriatic. Etr ria ga(e a dynasty to Ro$e in "er(i s T ##i s, who origina##y was 'asterna, an Etr scan. It is, howe(er, with the dancing that we are dea#ing. There is #itt#e do bt that they were dancers in e(ery sense2 there are $any ancient sep #chres in Etr ria, with dancing painted on their wa##s. ,ther description than that o) the pict res we do not possess, )or as yet the #ang age is a dead #etter. There is no do bt, as Gerhardt 567 s ggests, that they considered dancing as one o) the e$b#e$s o) 0oy in a ) t re state, and F$,. -28 Etr scan dancer. Fro$ a painting in the that the dead were recei(ed with Grotta dei %asi dipinti@Corneto. dancing and $ sic in their new ho$e. They danced to the $ sic o) the pipes, the #yre, the castanets o) wood, stee#, or brass, as is shown in the i## strations taken )ro$ the $on $ents.

That the Phoenicians and Greeks had at certain ti$es i$$ense in)# ence on the Etr scans is e(ident )ro$ their re#ics which we possess >)ig. :4?. F$,. -18 Etr scan dancing and per)or$ances. Fro$ paintings in the Grotta de##a "ci$ia Corneto, abo t E44 *.C. A characteristic i## stration o) the dancer is )ro$ a painting in the to$b o) the 2asi dipinti, Corneto, which, according to 'r. Dennis, 5:7 be#ongs to the archaic period, and is perhaps as ear#y as ;44 *.C. It e1hibits a stronger Greek in)# ence than so$e o) the paintings. Fig. :6, showing a $i#itary dance to pipes, with other sports, co$es )ro$ the &rotta della %ci ia, a#so at Corneto2 these show a $ore p re#y Etr scan character. The pretty dancing scene )ro$ the &rotta del Triclinio at Corneto is taken )ro$ a ) ##! siBed copy in the *ritish ' se $, and is o) the greatest interest. It is considered to be o) the Greco!Etr scan period, and #ater than the pre(io s e1a$p#es >)ig. ::?. F$,. --8 Etr scan Dancing. Fro$ the Grotta de# Tric#inio.@Corneto. There is a pec #iarity in the attit de o) the hands, and o) the )ingers being kept )#at and c#ose together2 it is not a #itt#e c rio s that the $odern Napanese dance, as e1hibited by '$e. "adi -acca, has this pec #iarity, whether the res #t o) ancient tradition or o) $odern re(i(a#, the writer cannot say. A#$ost as interesting as the Etr scan are the i## strations o) dancing )o nd in the painted to$bs o) the Ca$pagna and "o thern Ita#y, once part o) &'agna Grecia&2 the )ig re o) a ) nera# dance, with the do b#e pipe acco$pani$ents, )ro$ a painted to$b near A#bane##a >)ig. :=? $ay be as #ate as =44 *.C., and those in )igs. :D, :E )ro$ a to$b near Cap a are probab#y o) abo t the sa$e period. These "a$nite dances appear essentia##y di))erent )ro$ the Etr scan2 a#tho gh both Greek and Etr scan in)# ence are (ery e(ident, they are $ore so#e$n and state#y. This $ay, howe(er, arise )ro$ a di))erent nationa# c sto$. That the Etr scan, "abe##ian, ,scan, "a$nite, and other nationa# dances o) the co ntry had so$e in)# ence on the art in Ro$e is high#y probab#e, b t the pa city o) ear#y Ro$an e1a$p#es renders the e(idence di))ic #t.

F$,. -38 F nera# dance in the obseA ies o) a )e$a#e. Fro$ a painted to$b near A#bane##a. Ro$e as a conA ering i$peria# power represented near#y the who#e wor#d o) its day, and its dances according#y were $ost n $ero s. A$ongst the i## strations a#ready gi(en we ha(e $any that were preser(ed in Ro$e. In the beginning o) its e1istence as a power on#y re#igio s dances were practised, and $any o) these were o) Etr scan origin, s ch as the + perca#ia, the A$bar(a#ia, Oc. In the )or$er the dancers were de$i!n de, and probab#y origina##y shepherds2 the #atter was a serio s dancing procession thro gh )ie#ds and (i##ages. A great dance o) a se(ere kind was e1ec ted by the "a#ii, priests o) 'ars, an ecc#esiastica# corporation o) twe#(e chosen patricians. In their procession and dance, on 'arch 6, and s cceeding days, carrying the Anci#ia, they sang songs and hy$ns, and a)terwards retired to a great banA et in the Te$p#e o) 'ars. That the practice was origina##y Etr scan $ay be F$,. -.8 F nera# dance. Fro$ Cap a.

F$,. -/8 F nera# dance )ro$ the sa$e to$b. gathered )ro$ the circ $stance that on a ge$ showing the ar$ed priests carrying the shie#ds there are Etr scan #etters. There were a#so an order o) )e$a#e "a#ii. Another $i#itary dance was the %altatio bellicrepa, said to ha(e been instit ted by Ro$ # s in co$$e$oration o) the Rape o) the "abines. The Pyrrhic dance >)ig. 6=? was a#so introd ced into Ro$e by N #i s Caesar, and was danced by the chi#dren o) the #eading $en o) Asia and *ithynia. As, howe(er, the "tate increased in power by conA est, it absorbed with other co ntries other habits, and the art degenerated o)ten, #ike that o) Greece and Etr ria, into a (ehic#e

)or orgies, when they bro ght to Ro$e with their Asiatic capti(es e(en $ore #icentio s practices and dances. As Ro$e, which ne(er rose to the inte##ect a# and i$aginati(e state o) Greece in her best period, represented wea#th, co$$erce, and conA est, in a greater degree, so were her arts, and with these the #yric. In her best state her nob#es danced, Appi s C#a di s e1ce##ed, and "a## st te##s s that "e$pronia &psa#tere sa#tare e#eganti s&2 so that in those days #adies p#ayed and danced, b t no Ro$an citiBen danced e1cept in the re#igio s dances. They carried $i$etic dances to a (ery per)ect character in the ti$e o) A g st s nder the ter$ o) Musica uta. A)ter the second P nic war, as Greek habits $ade their way into Ita#y, it beca$e a )ashion )or the yo ng to #earn to dance. The ed cation in dancing and gest re were i$portant in the actor, as $asks pre(ented any disp#ay o) )eat re. The position o) the actor was ne(er recogniBed pro)essiona##y, and was considered infa ia. * t the change ca$e, which ca sed Cicero to say &no one danced when sober.& E(ent a##y the per)or$ers o) #ower c#ass occ pied the dancing p#at)or$, and Herc #ane $ and Po$peii ha(e shown s the res #ts.

F$,. -08 *acchante #eading the Dionysian b ## to the a#tar. *as!re#ie) in the %atican. In the theatre the $ethod o) the Ro$an chor s di))ered )ro$ that o) the Greeks. In the #atter the orchestra or p#ace )or the dancing and chor s was abo t 6: )t. be#ow the stage,

F$,. -18 *acchante. Fro$ a )resco, Po$peii, 6st cent ry *.C. with steps to ascend when these were reA ired2 in the )or$er the chor s was not sed in co$edy, and ha(ing no orchestra was in tragedies p#aced pon the stage. The getting together o) the chor s was a p b#ic ser(ice, or #it rgia, and in the ear#y days o) Grecian prosperity was pro(ided by the choreg s. Tiberi s by a decree abo#ished the "at rna#ia, and e1i#ed the dancing teachers, b t the $any acts o) the "enate to sec re a better standard were se#ess against the )oreign inhabitants o) the E$pire acc sto$ed to sens a#ity and #icence. Perhaps the enco rage$ent o) the $ore br ta# co$bats o) the Co#ise $ did so$ething to s ppress the $ore de#icate arts, b t historians ha(e to#d s, and it is co$$on

know#edge, what beca$e o) the great E$pire, and the #yric with other arts were destroyed by #icentio s pre)erences.

FOOTNOTES F !" !# 18 &Ann. Instit t.&8 63=6, p. =:6. F !" !# -8&Etr ria,& (o#. i., p. =34.

F$,. -88 Dancer. Fro$ a )resco in the *aths o) Constantine, Dth cent ry A.D. CHAPTER I3. Early English and Mediae5al Dancing to the 67th ,entury. Dancing in ,hurches and Religious Dancing. The &lee en8s Dance. Military Dances. The Hornpipe. Tu bling and 9est Dances. .llustrations of &lee en8s Dance, Hornpipe, %word Dances, Tu bling and 2arious ,o ic Dances. The #ast i## stration )ro$ the *aths o) Constantine bro ght s into the Christian era, a#tho gh that e1a$p#e was not o) Christian senti$ent or art. It is possib#e that the dance o) "a#o$e with its diabo#ica# reward $ay ha(e pre0 diced the Aposto#ic era, )or we )ind no e1a$p#e o) dancing, as e1hibiting 0oy, in Christian Art o) that period. The dance be)ore Herod is historica# proo) that the higher c#asses o) Hebrews danced )or a$ se$ent.

As soon, howe(er, as Christianity beca$e enthroned, and a sett#ed society, we read o) re#igio s dances as e1hibiting 0oy, e(en in the ch rches. Tert ##ian te##s s that they danced to the singing o) hy$ns and cantic#es. These dances were so#e$n and grace) # to the o#d tones2 and contin ed, notwithstanding $any prohibitions s ch as those o) Pope Macharias >a "yrian? in A.D. <DD. The dancing at Easter in the Cathedra# at Paris was prohibited by Archbishop ,do in the 6:th cent ry, b t notwithstanding the antagonis$ o) the Fathers, the dances were on#y partia##y s ppressed. They were co$$on on re#igio s )esti(a#s in "pain and Port ga# p to the se(enteenth cent ry and in so$e #oca#ities contin e e(en to o r own ti$e. Chen ". Char#es *orro$eo was canoniBed in 6;64, the Port g ese, who had hi$ as patron, $ade a procession o) )o r chariots o) dancers2 one to Renown, another to the City o) 'i#an, one to represent Port ga# and a )o rth to represent the Ch rch. In "e(i##e at certain periods, and in the *a#earic Is#es, they sti## dance in re#igio s cere$onies. Ce know that re#igio s dancing has contin a##y been per)or$ed as an accessory to prayer, and is sti## so sed by the 'aho$$edans, the A$erican Indians and the *edos o) India, who dance into an ecstasy. It is probab#e that this sort o) $ania $arked the dancing in E rope which was s ppressed by Pope and *ishop. This choreo ania $arked a F#e$ish sect in 6=<D who danced in hono r o) "t. Nohn, and it was so ) rio s that the disease ca##ed "t. %it s9 dance takes its na$e )ro$ this per)or$ance. F$,. -98 G#ee$en9s dance, Fth cent ry. Fro$ C#eopatra, Cotton '". C. (iii., *ritish ' se $. Christ$as caro#s were origina##y choric. The per)or$ers danced and sang in a circ#e. The i## stration >)ig. D=? o) a dance o) ange#s and re#igio s shows s that Fra Ange#ico tho ght the practice 0oy) #2 this dance is a#$ost a co nterpart o) that a$ongst the Greeks >)ig. 66?. The other dance, by "andro *ottice##i >)ig. DD?, is taken )ro$ his ce#ebrated &/ati(ity& in the /ationa# Ga##ery. A#tho gh we ha(e records o) per)or$ances in ch rches, no i## strations o) an ear#y date ha(e co$e to the know#edge o) the writer.

That the origina# inhabitants o) *ritain danced@that the Picts, Danes, "a1ons and Ro$ans danced $ay be taken )or granted, b t there see$s #itt#e do bt that o r ear#iest i## strations o) dancing were o) the Ro$an tradition. Ce )ind the attit de, the instr $ents and the c#apping o) hands, a## o) the sa$e ndo bted c#assic character. Tacit s in)or$s s that the Te tonic yo ths danced, with swords and spears, and F$,. 328 Dancing to horn and pipe. Fro$ an ,#a s 'agn s that the Goths, Oc., had Ang#o!"a1on '". $i#itary dances8 sti## the $i#itary dances in Eng#ish '"". >)igs. =6, =:? see$ $ore #ike those o) a Pyrrhic character, which N #i s Caesar, the conA eror o) Eng#and, introd ced into Ro$e. The i## stration >)ig. :F? o) what is probab#y a "a1on g#ee$en9s dance shows s the kind o) a$ se$ent they a))orded and how they )o##owed c#assic sages.

F$,. 318 Ang#o!"a1on sword dance. Fro$ the '". C#eopatra, C. (iii., *ritish ' se $. The g#ee$en were reciters, singers and dancers2 and the #ower orders were t $b#ers, s#eight!o)!hand $en and genera# entertainers. Chat $ay ha(e been the origin o) o r hornpipe is i## strated in )ig. =4, where the )ig res dance to the so nd o) the horn in $ ch the sa$e attit des as in the $odern hornpipe, with a c rio s rese$b#ance to the position in so$e ' sco(ite dances.

The /or$an $instre#, s ccessor o) the g#ee$an, sed the do b#e!pipe, the harp, the (io#, tr $pets, the horn and a s$a## )#at dr $, and it is not n#ike#y that )ro$ "ici#y and their "o th Ita#ian possessions the /or$ans introd ced F$,. 3-8 "word dance to bagpipes, 6Dth cent ry. c#assic ideas. Fro$ : * (ii., Roya# '"., *ritish ' se $. Piers the P#ow$an sed words o) /or$an e1traction )or the$, as he speaks o) their &"ay#en and "a tP.& The $instre# and harpist does not appear to ha(e danced (ery $ ch, b t to ha(e #e)t this to the 0oc #ator, and dancing and t $b#ing and e(en acrobatic wo$en and dancers appear to ha(e beco$e co$$on be)ore the ti$e o) Cha cer9s &To$b#esteres.& That this t $b#ing and dancing was co$$on in the thirteenth cent ry is shown by the i## stration )ro$ the sc #pt re at Ro en Cathedra# >)ig. =D?, the i## strations )ro$ a '". in the *ritish ' se $ >)ig. ==? o) Herodias t $b#ing and o) a design in g#ass in +inco#n, and other instances at E#y2 Idsworth Ch rch, Hants2 PoncP, France, and e#sewhere. It is s ggested that the ca$p )o##owers o) the Cr saders bro ght back certain dances and a$ongst these so$e o) an acrobatic nat re, and $any that were reprehensib#e, which bro ght down the anger o) the C#ergy. F$,. 338 Herodias t $b#ing. Fro$ a '". end o) 6=th cent ry >Add#. 63,<6F, ). :E=b?, *ritish ' se $. In the )o rteenth cent ry, )ro$ a ce#ebrated '". >: *. (ii.? in the *ritish ' se $ and other cognate so rces we get a )air insight o) the a$ se$ent a))orded by these dancers and 0oc #ators. In the i## stration >)ig. =E? we get A and C t $b#ers, $a#e and )e$a#e2 D, a wo$an and bear dance2 and E, a dance o) )oo#s to the organ and bagpipe. It wi## be obser(ed that they ha(e be##s on their caps, and it $ st ha(e reA ired $ ch ski## and practice to so nd their (ario s toned be##s to the $ sic as they danced. This dance o) )oo#s $ay ha(e s ggested or beca$e e(ent a##y $erged into the &'orris Dance& >)ig. E4? o) which so$e acco nt with other F$,. 3.8 A t $b#er, as i## strations o) &Co$ic Dances& wi## be gi(en herea)ter. The caryatid. Ro en $an dancing and p#aying the pipes with a wo$an on his Cathedra#, 6=th cent ry. sho #der >)ig. =;?, the sti#t dancer with a c rio s instr $ent >C?, and the wo$an 0 $ping thro gh a hoop, gi(e s other i## strations o) )o rteenth cent ry a$ se$ents.

F$,. 3/8 6Dth cent ry dancers. A and C are t $b#ers2 *, t $b#ing and ba#ancing to the ta$bo r2 D, a wo$an dancing aro nd a whipped bear2 E, 0esters dancing.

F$,. 308 A, $an dancing and p#aying pipes, carrying a wo$an2 *, 0 $ping thro gh a hoop2 C, a sti#t dance. 6Dth cent ry. CHAPTER 3. %ociety Dancing, the 6:th to 6;th ,enturies. <ut"of"door Dances. ,ha ber Dancing. ,o ic Dances. The $all. .llustrations fro .talian 6:th ,entury, &er an 6:th and 6#th ,enturies, 4rench 6:th, 6#th, 6=th, English 6:th, 6#th and 6;th ,enturies Dancing.

Concerning the dance as a

F$,. 318 Ita#ian dance. Fro$ an engra(ing, end o) 6Eth cent ry, attrib ted to *accio *a#dini.

F$,. 388 Ita#ian dancing, the end o) the 6Eth cent ry.

$eans o) socia# interco rse, it does not appear to ha(e been )or$ #ated as an acco$p#ish$ent nti# #ate in the thirteenth cent ry, and at a #ater date was c #ti(ated as a $eans o) teaching what we ca## deport$ent, nti# it beca$e a#$ost a necessity with the c#asses, as is shown by the #iterat re o) that period. The (ario s socia# dances, s ch as the %o#te, the Nig and the Ga##iard, a#tho gh in ear#y periods, not so n $ero s, reA ired a certain training and agi#ity. These, howe(er, soon beca$e co$p#icated with $any socia# and #oca# (ariations, the characteristics o) which are a st dy in the$se#(es. The dances >)igs. =< and =3? in a )ie#d o) sports, )ro$ an Ita#ian engra(ing o) the )i)teenth cent ry, show s nothing new2 indeed, with di))erent cost $es it is (ery #ike what we ha(e )ro$ Egypt >)ig. =?, on#y a di))erent phase o) the action, and the attit de o) this o#d dance is repeated e(en to o r own ti$e.

F$,. 398 Cha$ber dance, 6Eth cent ry. Fro$ a drawing by 'artin Masinger.

F$,. .28 Dancing in a &p#eas re garden,& end o) the 6Eth cent ry. French, )ro$ the &Ro$an de #a Rose,& in the *ritish ' se $.

In the Cha$ber dance by 'artin Masinger >)ig. =F?, o) the )i)teenth cent ry, no )ig res are in action, b t we see an arrange$ent o) the g ests and $ sicians, )ro$ which it is e(ident that the Cha$ber dance as a socia# ) nction had progressed and that the &*a# parP,& etc., was here in e$bryo. The )# te and (io# are e(ident#y opening the ) nction and the tr $pets and other portions o) the orchestra on the other side waiting to co$e in. The state#y o t!door ) nction, in a p#eas re garden, )ro$ the &Ro$an de #a Rose& >)ig. D4? i## strates b t one portion o) the )eat re o) a dance, another o) which is described in Cha cer9s trans#ation8 &They threw y )ere Ther $o thes so that thro gh their p#ay It see$ed as they kyste a#way.&

F$,. .18 Fancy dress dance o) Ci#de$en o) the 6Eth cent ry. Fro$ '". D=<F Har#, *ritish ' se $.

F$,. .-8 Co$ic dance to pipe and tabor, end o) 6Eth cent ry. Fro$ pen drawing in the 'ediae(a# Ho se *ook in the Cast#e o) Co#)egg, by the 'aster o) the A$sterda$ Cabinet.

Fancy dress and co$ic dances ha(e handed down the sa$e characteristics a#$ost to o r own ti$e. The Ci#de$an cost $e dance >)ig. D6? is interesting in $any respects, it not on#y shows s the dance, b t the cost $e and genera# $ethod o) the Cha$ber.

The )i)teenth cent ry co$ic dancers in a f>te cha p?tre >)ig. D:? and those o) the se(enteenth cent ry by Ca##ot >)ig. E:? are good e1a$p#es o) this entertain$ent@in the backgro nd o) the #atter a $in et see$s to be in progress. The 'orris dance >)ig. E4? shows s the de(e#op$ent that had taken p#ace since the )o rteenth cent ry.

F$,. .38 A dance o) Ange#s and "aints at the entrance to Hea(en. Fra Ange#ico.

F$,. ..8 Dancing ange#s. Fro$ a &/ati(ity& by "andro *ottice##i circa 6E44 A.D.

F$,. ./8 A#bert DQrer, 6E6D A.D. F$,. .08 A#bert DQrer. A## sion has a#ready been $ade to the bea ti) # paintings o) *ottice##i and Fra Ange#ico, which te## s o) Ita#ian chora# dances o) their period2 these do not be#ong to socia# ) nctions, b t are certain#y i## strati(e o) the c sto$ o) their day. A#bert DQrer >)igs. DE, D;? has gi(en s i## strations o) the )ie#d dances o) his period, b t both these dances and those drawn by "eba#d *eha$ >)ig. D<? are coarse, and contrast n)a(o rab#y with the Ita#ian, a#tho gh the action is (igoro s and rob st.

F$,. .18 "cenes )ro$ dances. Ger$an, dated 6ED;, by Hans "eba#d *eha$. The $i#itary dance o) Da$es and Hnights o) Ar$o r, by Hans * rgk$air, on the other hand, appears state#y and digni)ied >)ig. D3?. This $ay i## strate the di))erence between cha$ber and garden or )ie#d dancing.

F$,. .88 A torch#ight $i#itary dance o) the ear#y 6;th cent ry. Fro$ a pict re by Hans * rgk$air. At the end o) the si1teenth cent ry we get a work on dancing which shows s co$p#ete#y its position as a socia# art in that day. It is the &,rchPsographie& o) Thoinot Arbea >Nean Tabo ret, Canon o) +angres, in 6E33?, )ro$ which co$es the i## stration o) the &Ga##iarde& >)ig. DF? and to which I wo #d re)er the reader )or a## the in)or$ation he desires concerning this period. In this work $ ch stress is #aid on the (a# e o) #earning to dance )ro$ $any points o) (iew@de(e#op$ent o) strength, $anner, habits and co rtesy, etc. A#asR we know now that a## these e1terna# habits can be acA ired and #ea(e the &nat ra# $an& beneath.

F$,. .98 +a &alliarde. Fro$ the &,rchPsographie& o) Thoinot Arbea >Nean Tabo rot?, +angres, 6E33. Desirab#e, there)ore, as good $anners and s ch #ike are, they do not ) #)i# a## the reA ire$ents that the worthy Canon wished to be in(o#(ed by the$.567 Ce ha(e ha(e seen )ro$ the )o rteenth cent ry >)igs. =E C, =; A, D;? how co$$on the bagpipe was in o t!o)!door dances2 in the i## strations )ro$ DQrer >)ig. D;? and in )ig. E= )ro$ Ho#tBer it has de(e#oped, and has two accessory pipes, besides that p#ayed by the $o th, and the p#ayer is acco$panied by a sort o) c#arionet. This a#so appears to be the on#y acco$pani$ent o) the Trio >)ig. E3?.

F$,. /18 Co rt dance. Fro$ a drawing by Ca##ot, 6;=E A.D. F$,. /28 'orris dancers. Fro$ a window that was in the possession o) George To##ett, EsA., *irt#ey, "ta))ordshire, 6;th cent ry. In the si1teenth cent ry certain "panish dances were introd ced into France, s ch as #a Pa(ane, which was acco$panied by ha tboys and sackb ts.

F$,. /-8 Co$ic dancers. *y Ca##ot, )ro$ the act entit#ed &*a##i di ")essa$a,& 6;4F A.D.

F$,. /38 Co ntry dance. Fro$ a drawing by Nohn E(ange#ist Ho#tBer, 6<th cent ry.

F$,. /.8 A ba##!roo$ dance, +e $al Par?, o) the 63th cent ry. Fro$ A g st de #9A bin.

F$,. //8 A dance in the 63th cent ry. Fro$ a painting by Hogarth.

There were, howe(er, (ario s other dances o) a n $ber too considerab#e to describe here, a#so introd ced. The dance o) the eighteenth cent ry )ro$ Derby ware >)ig. EF? see$s to be b t a contin ation in action o) those o) the si1teenth cent ry, as o t!o)!door per)or$ances.

Ce ha(e now arri(ed at the $odern sty#e o) ba##, so be#o(ed by $any o) the French 'onarchs. Henry I%. and /apo#eon were )ond o) gi(ing these in grand sty#e, and in so$e sort o) grand sty#e they persist e(en as a great socia# ) nction to o r own ti$e. The Co rt ba##s o) +o is SIII. and SI%. at %ersai##es were rea##y gorgeo s ba##ets, and their grande r was astonishing2 this c sto$ was contin ed nder the s cceeding $onarchs. An i## stration o) one in the eighteenth cent ry by A g st de #9A bin >)ig. ED? s ))icient#y shows their character. There is nothing new in the post res i## strated, which $ay ha(e originated tho sands o) years ago. As i## strating the pop #ar ba## o) the period, the design by Hogarth >)ig. EE? is an e1ce##ent contrast. The contredanse represented was origina##y the o#d co ntry dance e1ported to France and ret rned with certain arrange$ents added. This is a topic we need not p rs e )arther, as a#$ost e(ery reader knows what socia# dancing now is. F$,. /08 Caricat re o) a dancing $aster. Hogarth.

F$,. /18 "pring dancing away )ro$ winter. Fro$ a drawing by Cattea .

F$,. /88 The 'isses G nning dancing. End o) the 63th cent ry, )ro$ a print by * nb ry, engra(ed by *arto#oBBi.

F$,. /98 Dancing. C#ose o) the 63th cent ry. Fro$ Derby ware.

F$,. 028 "panish dance in the Ha## o) "aragoBa, 6Fth cent ry.

FOOTNOTES F !" !# 18 The ad(ice which he gi(es is (a# ab#e )ro$ its bearing on the c sto$s o) the 6;th cent ry. It e(en has great historica# (a# e, indicating the in)# ence dancing has had on good $anners. That the history o) dancing is the history o) $anners $ay be too $ ch insisted pon. For these reasons we insert these #itt#e known passages. The )irst has re)erence to the right way o) proceeding at a ba##. &Ha(ing entered the p#ace where the co$pany is gathered )or the dance, choose a good yo ng #ady >honneste da$oise##e? and raising yo r hat or bonnet with yo r right hand yo wi## cond ct her to the ba## with yo r #e)t. "he, wise and we## trained, wi## tender her #e)t and rise to )o##ow yo . Then in the sight o) a## yo cond ct her to the end o) the roo$, and yo wi## reA est the p#ayers o) instr $ents to strike p a 9basse danse92 beca se otherwise thro gh inad(ertance they $ight strike p so$e other kind o) dance. And when they co$$ence to p#ay yo $ st co$$ence to dance. And be care) #, that they nderstand, in yo r asking )or a 9basse danse,9 yo desire a reg #ar and s a# one. /e(erthe#ess, i) the air o) one song on whichT the 9basse danse9 is )or$ed p#eases yo $ore than another yo can gi(e the beginning o) the strain to the$.& &,apriol8@I) the #ady re) ses, I sha## )ee# (ery asha$ed. &Arbeau8@A we##!trained #ady ne(er re) ses hi$ who so hono rs her as to #ead her to the dance. &,apriol8@I think so too, b t in the $eanti$e the sha$e o) the re) sa# re$ains with $e. &Arbeau8@I) yo )ee# s re o) another #ady9s gracio sness, take her and #ea(e aside this grace#ess one, asking her to e1c se yo )or ha(ing been i$port nate2 ne(erthe#ess, there are those who wo #d not bear it so patient#y. * t it is better to speak th s than with bitterness, beca se in so doing yo acA ire a rep tation )or being gent#e and h $ane, and to her wi## )a## the character o) a 9g#orie se9 nworthy o) the attention paid her.& &Chen the instr $ent p#ayer has ceased& contin es o r good Canon &$ake a deep bow by way o) taking #ea(e o) the yo ng #ady and cond ct her gent#y to the p#ace whence yo took her, whi#st thanking her )or the hono r she has done yo .& Another e1tract is not wanting in )#a(o r8 &Ho#d the head and body straight, ha(e a co ntenance o) ass rance, spit and co gh #itt#e, and i) necessity co$pe#s yo , t rn yo r )ace the other side and se a bea ti) # white handkerchie). Ta#k gracio s#y, in gent#e and honest

speech, neither #etting yo r hands hang as i) dead or too ) ## o) gestic #ation. *e dressed c#ean#y and neat#y 9a(ec #a cha sse bien tirPe et Pescarpin propre.9 &And bear in $ind these partic #ars.& CHAPTER 3I. The Modern Theatre Dance@ its <rigin. .ntroduced into 4rance fro .taly. !nder Henry ...., .2., +ouis A...., A.2. .nfluence of ,ardinals Richelieu and Ma-arin. 4oundation of the Acade ic de Danse et de MusiBue. The ,ourt $allet. MoliCre. ,orneille. +alli, *c. The Theatre $allet. The .nfluence of Do5erre. .ts introduction into and its Present ,ondition in England, *c. .llustrations of Mlles. de ,a argo, Du5ernay, Taglioni. 4anny Ellsler. 4erraris, ,arlotta &risi. Adeline &en?e. Anna Pa5lo5a. 4?doro5a, *c. 2arious Eastern Exa ples. A#tho gh the theatrica# ba##et dance is co$parati(e#y $odern, the e#e$ents o) its )or$ation are o) the greatest antiA ity2 the chor s o) dancers and the per)or$ances o) the $en in the Egyptian chapters represent witho t $ ch do bt p b#ic dancing per)or$ances. Ce get singing, dancing, $i$icry and panto$i$e in the ear#y stages o) Greek art, and the de(e#op$ent o) the dance rhyth$ in $ sic is eA a##y ancient. The A#e1andrine Panto$i$e, introd ced into Ro$e abo t =4 *.C. by *athi## s and Py#ades, appears to ha(e been an entertain$ent approaching the ba##et. In the $idd#e ages there were the $ysteries and &$asks&2 the #atter were )reA ent in Eng#and, and are introd ced by "hakespere in &Henry %III.& In Ita#y there appears to ha(e been a kind o) ba##et in the 6Dth cent ry, and )ro$ Ita#y, nder the in)# ence o) Catharine de9 'edici, ca$e the ba##et. *a#thasar di *ea 0oye #1 prod ced the )irst recorded ba##et in France, in the Ita#ian sty#e, in 6E3:. This was, howe(er, essentia##y a Co rt ba##et. The theatre ba##et apparent#y arose o t o) these Co rt ba##ets. Henry III. and Henry I%., the #atter especia##y, were (ery )ond o) these entertain$ents, and $any Ita#ians were bro ght to France to assist in the$. Po$peo Diabono, a "a(oyard, was bro ght to Paris in 6EED to reg #ate the Co rt ba##ets. At a #ater date ca$e Rin ccini, the poet, a F#orentine, as was probab#y Caccini, the $ sician. They had co$posed and prod ced the #itt#e operetta o) &Daphne,& which had been per)or$ed in F#orence in 6EF<. .nder these #ast!$entioned $asters the ba##et in France took so$ewhat o) its present )or$. This passion )or Co rt ba##ets contin ed nder +o is SIII. and +o is SI%. +o is SIII. as a yo th danced in one o) the ba##ets at "t. Ger$ain, it is said at the desire o) Riche#ie , who was an e1pert in spectac#e. It appears that he was enco raged in these a$ se$ents to re$edy )its o) $e#ancho#y. +o is SI%., at se(en, danced in a $asA erade, and a)terwards not on#y danced in the ba##et o) &Cassandra,& in 6;E6, b t did a## he co #d to raise the condition o) the dance and enco rage dancing and $ sic. His in)# ence, co$bined with that o) Cardina# Riche#ie , raised the ba##et )ro$ gross and tri(ia# sty#es to a dignity worthy o) $ sic, poetry and dancing. His nc#e, Gaston o) ,r#eans, sti## patroniBed the grosser sty#e, b t it beca$e ec#ipsed by the better. + ##i co$posed $ sic to the words o) 'o#iUre and other ce#ebrities2 a$ongst notab#e works then prod ced was the &Andro$eda& o) Cornei##e, a tragedy, with hy$ns and dances, e1ec ted in 6;E4, at the Petit *o rbon. The )o ndation o) the theatrica# ba##et was, howe(er, at the instigation o) 'aBarin, to pre(ent a #owering o) tone in the estab#ish$ent o) the Acad? ie de Danse nder thirteen Acade$icians in 6;;6. This appears to ha(e been $erged into the Acad? ie Royale de MusiBue et de Danse in 6;;F, which pro(ided a proper training )or dPb tants, nder

''. Perrin and Ca$bert, whi#st *ea cha$p, the $aster o) the Co rt ba##ets, had charge o) the dancing. The )irst opera!ba##et, the &Po$ona& o) Perrin and Ca$bert, was prod ced in 6;<6. To this s cceeded $any works o) + ##i, to who$ is attrib ted the increased speed in dance $ sic and dancing, that o) the Co rt ba##ets ha(ing been s#ow and state#y. The great prod ction o) the period appears to ha(e been the &Tri $ph o) +o(e& in 6;36, with twenty scenes and se(en h ndred per)or$ers2 a$ongst these were $any o) the nobi#ity, and so$e e1ce##ent ballerine, s ch as Pesa t, CarrP, +ec#erc, and +a)ontaine. A detai#ed history o) the ba##et is, howe(er, i$possib#e here, and we $ st proceed to to ch on#y on sa#ient points. It passed )ro$ the Co rt to the theatre abo t 6;34 and had two characteristics, one with )e$inine dancers, the other witho t.

F$,. 018 '##e. de Ca$argo. A)ter a painting by +ancret, abo t 6<D4 A.D. It is not a #itt#e c rio s that wearing the $ask, a re(i(a# o) the antiA e, was practised in so$e o) these ba##ets. The history o) the opera!ba##et o) those days gi(es to s $any ce#ebrated na$es o) $ sicians, s ch as Desto ches, who ga(e new &(er(e& to ba##et $ sic, and Ra$ea . Nean Georges /o(erre abo#ished the singing and estab#ished the )i(e!act ba##et on its own )ooting in 6<<;. In this it appears he had part#y the ad(ice o) Garrick, who$ he $et in +ondon. The na$es o) the ce#ebrated dancers are n $ero s, s ch as PPco rt, *#a dy >who ta ght '##e. Ca$argo?, +a(a#, %estris, Ger$ain, Pre(ost, +a)ontaine, and Ca$argo >)ig. ;6?, o) the 63th cent ry2 Tag#ioni, Grisi, D (ernay, Cerito, E##s#er, etc., o) the 6Fth cent ry, to those o) o r own day. A )air notice o) a## o) these wo #d be a work in itse#).

F$,. 0-8 Pa #ine D (ernay at Co(ent Garden, 63==! 63=3.

F$,. 038 '##e. Fanny E##s#er. Fro$ a #ithograph by A. +aca cbie.

F$,. 03*8 Dancing satyr p#aying castanets, by 'yron, in the %atican ' se $. The action is entire#y s ggesti(e o) that o) Fanny E##s#er, and $ight be e(idence o) the antiA ity o) the "panish tradition.

The introd ction o) the ba##et into Eng#and was as #ate as 6<=D, when the French dancers, '##e. "a##P, the ri(a# o) '##e. Ca$argo, and '##e. de " b#igny $ade a great s ccess at Co(ent Garden in &Ariadne and Ga#atea,& and '##e. "a##e danced in her own choregraphic in(ention o) &Pyg$a#ion,& since which ti$e it has been pop #ar in Eng#and, when those o) the )irst c#ass can be obtained. There are, howe(er, so$e interesting and ro$antic circ $stances connected with the ba##et in +ondon in the #ast cent ry, which it wi## not be o t o) p#ace to record here. A$ongst the dancers o) the #ast cent ry o) considerab#e ce#ebrity were two a#ready $entioned, '##es. D (ernay >)ig. ;:? and Tag#ioni >)ig. ;D?, whose na$es are recorded in the c#assic (erse o) &Ingo#dsby.&

F$,. 0.8 '##e. Tag#ioni. Fro$ a #ithograph o)

F$,. 0/8 Pas de Trois by '##es. Ferraris, Tag#ioni, and Car#otta Grisi.

the period. &'a#ibran9s dead, D (ernay9s )#ed2 Tag#ioni has not yet arri(ed in her stead.& '##e. D (ernay was a Parisian, and co$$enced her st dy nder *arreB, b t s bseA ent#y was nder %estris and Tag#ioni, the )ather o) the ce#ebrity $entioned in the (erse. D ran hangs o(er the $ante#piece o) the re)ectory o) the presbytery. Ha(ing $ade a great Parisian rep tation, she ca$e to +ondon in 63==, and )ro$ that date nti# 63=< he#d the town, when she $arried 'r. "tephens +yne "tephens, '.P., a gent#e$an o) considerab#e wea#th, b t was #e)t a chi#d#ess widow in 63;6, and retired to her estate at +yne)ord Ha##, /or)o#k, #i(ing in retire$ent and spending her ti$e in good works. "he is said to ha(e spent V644,444 in charities and ch rches, and that at Ca$bridge, dedicated to the Eng#ish $artyrs, was )o nded, co$p#eted, and endowed by her. "he #ed a b#a$e#ess and worthy #i)e, and died in 63FD. Her portrait by '##e. Tag#ioni >)ig. ;D?, her co!ce#ebrity, $arried Co nt Gi#bert de %oisins, a French nob#e$an, in 63D<, and with her $arriage ca$e an a$p#e )ort ne2 n)ort nate#y the b #k o) this )ort ne was #ost in the Franco!Ger$an war. Cith the co rage o) her character the Co ntess ret rned to +ondon and ga(e #essons in dancing, etc., in which she was s ))icient#y s ccess) # to obtain a )air #i(ing. "he died in 633D at 34 years o) age. ,) the other ce#ebrities o) the period@Car#otta Grisi, Ferraris >)ig. ;E?, and Fanny E##s#er >)ig. ;=?@so$e i## strations are gi(en2 besides these were Fanny Cerito, + ci#e Grahn, a Dane, and so$e others o) #esser notoriety per)or$ing in +ondon at this great period o) the ba##et.

F$,. 008 '##e. Ade#ine GenPe, 6F4;. Photo, E##is and Ca#ery.

F$,. 018 '##e. Anna Pa(#o(a, 6F64. Fro$ a photo by Fo #sha$ and *an)ie#d.

F$,. 088 '##e. FPdoro(a.

"ophie

The recent enco rage$ent o) the c#assic ba##et has introd ced s to so$e e1A isite dancers8 a$ongst these are '##e. Ade#ine GenPe >)ig. ;;? and '##e. Anna Pa(#o(a >)ig. ;<?2 the #atter, with '. 'ordkin and a corps o) sp#endid dancers, are )ro$ R ssia, )ro$ whence a#so co$es the i$portant tro pe now at the A#ha$bra with '##e. Ge#tBer and other e1ce##ent dancers. The ce#ebrated co$pany at Co(ent Garden, and +ydia Hyasht at

the E$pire, are a#so R ssian. It is not s rprising that we get e1ce##ent dancing )ro$ R ssia2 the schoo# The recent enco rage$ent o) the c#assic ba##et has introd ced s to so$e e1A isite dancers8 a$ongst these are '##e. Ade#ine GenPe >)ig. ;;? and '##e. Anna Pa(#o(a >)ig. ;<?2 the #atter, with '. 'ordkin and a corps o) sp#endid dancers, are )ro$ R ssia, )ro$ whence a#so co$es the i$portant tro pe now at the A#ha$bra with '##e. Ge#tBer and other e1ce##ent dancers. The ce#ebrated co$pany at Co(ent Garden, and +ydia Hyasht at the E$pire, are a#so R ssian. It is not s rprising that we get e1ce##ent dancing )ro$ R ssia2 the schoo# )or$ed by Peter the Great abo t 6;F3 has been nder "tate patronage e(er since. /otices o) a## the i$portant dancers )ro$ Ita#y, "pain, Paris, or e#sewhere, per)or$ing in Eng#and in recent years, wo #d occ py considerab#e space, and the reader can easi#y obtain in)or$ation concerning the$ e#sewhere. That the techniA e and speed o) the c#assic dance has considerab#y increased is historica##y certain, and we $ st hope that this speed wi## not sacri)ice grace) # $o(e$ent. 'oreo(er, techniA e a#one wi## not $ake the co$p#ete )ine!artist8 so$e in(ention is in(o#(ed. .n)ort nate#y, so$e $odern atte$pts at in(ention see$ cr de and sensationa#, whi#st #acking the e1A isite techniA e desirab#e in a## e1hibitions o) )inished art. *e)ore conc# ding it is a#$ost i$perati(e to say so$ething abo t the naked )oot dancers, )o##owers o) Isidora D ncan. "o$e critics and a certain p b#ic ha(e we#co$ed the$2 b t is it not &sha$ antiA e&W It does not re$ind one o) the rea##y c#assic. 'oreo(er, the naked )oot sho #d be o) antiA e bea ty, which in $ost o) these cases it is not. Ad(ertise$ents te## s that these dance are interpretations o) c#assic $ sic@ Chopin, Ceber, *rah$s, etc.2 they are not rea##y interpretations, b t distractionsR Ce can hard#y i$agine that these co$posers intended their work )or act a# dancing. ,ne can #isten and be entranced2 one sees the dancer9s &interpretations& or &trans#ations& and the $ sic is degraded to a series o) sha$ c#assic post res. The idea that r nning abo t the stage in diaphano s cost $es, with con(entiona# $i$icry and ar$ action, is c#assic or bea ti) # is a $istake2 the ter$ aesthetic $ay co(er, b t not redee$ it. There is not e(en the art o) the ordinary ba##et!dancer discernib#e in these proceedings. ,n another p#ane are s ch as the ba##ets in &Don Gio(anni& and &Fa st.& 'oBart and Go nod wrote these with a ) ## know#edge o) the $ethod o) interpretation and the persons who had been trained )or that p rpose@the per)or$ers )it the $ sic and it )its the$. This opera!ba##et is a#so $ore in accordance with tradition be)ore the ti$e o) /o(erre. /either do the &pop #ar& and c rio s e1hibitions o) +oie F ##er strike one as ha(ing a c#assic character, or ) t re, o) any consideration, pretty as they $ay be. The operetta or $ sica# co$edy has gi(en s so$e e1ce##ent art, especia##y at the end o) the 6Fth cent ry, when "y#(ia Gray, Hate %a ghan, +etty +ind, Topsy "inden, and others o) #ike ?tier ga(e s skirt and drapery dancing. This introd ces s to the A estion o) cost $e. That co$$on#y sed by the pri a ballerina is certain#y not grace) #2 it was apparent#y introd ced abo t 63=4, pres $ab#y to show the action and )inished $ethod o) the #ower e1tre$ities. I) Fanny E##s#er and D (ernay co #d e1ce# witho t this g#y contri(ance, why is it necessary )or othersW At the sa$e ti$e it is better than indi))erent i$itations o) the Greek, or a ret rn to the debased characteristics o) Po$peiian art, in which the e))ect o) the c#assic and )ine character o) the $ateria# are rendered in a sort o) transparent $ s#in. Cith these notices the a thor9s ob0ect in this sketch is co$p#eted. ,) the bal" asBu? garden dances, p b#ic ba##s and s ch!#ike, he has no intention to treat2 they are not

c#assic dancing nor &art,& with the e1ception perhaps o) the "cottish ree#s. /or is he interested in the dancing o) sa(age tribes, nor in that o) the East, a#tho gh so$e )ew i## strations are gi(en to i## strate traditions8 )or e1a$p#e, the se o) the pipe and tabor in Patagonia, the dancer )ro$ Napan, winged, #ike that in the &Ro$an de #a Rose& >)ig. D4?, and the re#igio s dance o) Tibet, showing the s r(i(a# o) the re#igio s dance in so$e co ntries. In 'rs. Gro(es9 book on dancing there is an e1ce##ent chapter on the Rit a# dance as now practised, to which the reader can re)er.

F$,. 098 Napanese Co rt Dance.

F$,. 128 Indian dancing! gir#.

F$,. 118 Patagonian dancers to )i)e and tabor. BIBLIOGRAPHY.

F$,. 1-8 Tibetan re#igio s dancing procession, 6F43 a.d.

B*& ", A. &+ettres et Entretiens s r #a Danse.& Paris, 63:E. E44*")#(, 5. &+a Danse grecA e antiA e.& 63F;. 56"#%!&$#&, P7&#. &Des *a##ets anciens et $odernes.& 6;3:.

B ""#!. &Histoire gPnPra#e de #a Danse sacrPe et pro)ane.& 6<:=. C*8)%*'. &+a Danse ancienne et $oderne.& 6<ED. N 9#&&#. &+ettres s r #es *a##ets.& 6<;4. C8*&: ""#(, R. &+a Danse de +ettres, Oc.& 634<. P ),$", A. Dict. Hist, d ThPXtre. 633E. A)("*;#, D# (<. &De #a "a#tation thPXtra#e.& 6<3F. O(*)% 5*,")%. Gent. "eptentr., Hy., *ook III., Chap. %II. "ee *o rne9s &% #gar AntiAs.,& p. 6<E. A::#*)-T8 $" ! =C*" " J#*" T*: )& !>. &,rchPsographie.& 6;D=. S!&)!!. &"ports and Pasti$es.& +ondon, 6346. T8 4% ", C8*%. *"? S*4)#(. Co##ection o) 344 Dances. D (o#s. 6<<4!6<<=. P(*;+ &?. &Dancing 'aster.& :nd ed. 6;E:. W$(@$"% ", S$& G. &Ancient Egyptians.& = (o#s. +ondon. D#""$%. &Etr ria.& : (o#s. +ondon. C 4A*". &Dictionnaire de #a Danse.& 634:. B(*%$%, C. &TraitP de #a Danse.& 'i#an, 63=4. ---. &Code o) Terpsichore.& +ondon, 63:=. 3)$(($#&, G. &+a Danse Y tra(ers #es Ages.& 5#"$(, F. ?#. &Histoire de #a Danse Y tra(ers #es Ages.& F "!* L*)&#, 54#. &/otice s r #es Danses d 1(i. siUc#e.& G)$8#(4$. &Hebraie Pisa riensis, de practica seu arte trepudis, *c.& 6D;=. '". *ib. /ation. D 4$"$, J 8*". &Pisa riensis,& ditto. '". *ib. /ation. 6D;=. C*& % , F. &I# *a##arino.& 6E36. C#%*&# N#,&$. &/ o(o In(enBioni di *a##i.& 6;4D. 3#%!&$%, D. &+es Danses a tre)ois.& 633<. D#%&*!, G. &Dictionnaire de #a Danse.& Paris, 63FE. R*4#*), P. &+e 'aZtre Y danser.& 5*,";. &Principes de ChorPgraphie.& Paris, 6<;E. ---. &/o (ea G ide de #a Danse.& 6333. G*B($@ B%@$, P. &G ide co$p#et de #a Danse.& 63E3. A",$ ($"$. &Disc BBioni s ##a dansa panto$i$a.& 6<;4. S*$"! L6 ". &De #9etat act e# de #a danse.& +isbon, 63E;. G$&*)?#!, E. TraitP de #a danse, 63F4. ---. /o (ea G ide, 6333. G& 9#, 5&%. L$((;. &History o) Dancing.& +ondon, 63F4. S@*(@ 9%@;-P(#%8'8##9. &/ash *a#et& >o r *a##et?. 63FF. A History o) the R ssian *a##et, in R ssian. LIST OF ILLUSTRATIONS. F$,. 18 Dancing to the c#apping o) bands. Egyptian, )ro$ the to$b o) .r!ari!en!Ptah, ;th Dynasty, abo t ==44 *.C. >*ritish ' se $.? F$,. -8 Greek Fig res in a so#e$n dance. Fro$ a (ase at *er#in. F$,. 38 The hierog#yphics describe the dance. F$,. .8 Egyptian hierog#yphic )or &dance.& F$,. /8 Cyprian #i$estone gro p o) Phoenician dancers, abo t ;G in. high. There is a so$ewhat si$i#ar gro p, a#so )ro$ Cypr s, in the *ritish ' se $. The dress, a hooded cow#, appears to be o) great antiA ity. F$,. 08 Phoenician patera, )ro$ Ida#i $, showing a re#igio s rit a# dance be)ore a goddess in a te$p#e ro nd a s n e$b#e$.

F$,. 18 Fe$a#e Fig re s$e##ing a #ot s. Fro$ a painting in the *ritish ' se $. F$,. 88 Dance o) *acchantes, painted by the cera$ic painter, Hieron. >*ritish ' se $.? F$,. 98 Dancing *acchante. Fro$ a (ase in the *ritish ' se $. F$,. 128 Greek terra cotta dancing gir#, abo t =E4 *.C. >*ritish ' se $.? F$,. 118 The GO[:3=2rO[:EF2nO[==E2s )ro$ a (ase in the ' seo *orbonico, /ap#es. F$,. 1-8 Panathenaeac dance, abo t the Dth cent ry *.C. F$,. 138 A $i#itary dance, s pposed to be the ,orybantu . Fro$ a Greek bas!re#ie) in the %atican ' se $. F$,. 1.8 Greek dancer with castanets. >*ritish ' se $.? "ee a#so Castanet dance by 'yron, Fig. ;=a. F$,. 1/8 Cy$ba#s >abo t D in.? and do b#e )# te. >*ritish ' se $.? F$,. 108 Greek dancers. Fro$ a (ase in the Ha$i#ton Co##ection. F$,. 118 *acchana#ian dancer. %ase )ro$ /ocera, ' se $, /ap#es. F$,. 188 Greek dancers and t $b#ers. F$,. 198 Etr scan bronBe dancer with eyes o) dia$onds, )o nd at %erona. /ow in the *ritish ' se $. F$,. -28 Etr scan dancer. Fro$ a painting in the Grotta dei %asi dipinti@Corneto. F$,. -18 Etr scan dancing and per)or$ances. Fro$ paintings in the Grotta de##a "ci$ia Corneto, abo t E44 *.C. F$,. --8 Etr scan Dancing. Fro$ the Grotta de# Tric#inio.@Corneto. F$,. -38 F nera# dance in the obseA ies o) a )e$a#e. Fro$ a painted to$b near A#bane##a. F$,. -.8 F nera# dance. Fro$ Cap a. F$,. -/8 F nera# dance )ro$ the sa$e to$b. F$,. -08 *acchante #eading the Dionysian b ## to the a#tar. *as!re#ie) in the %atican. F$,. -18 *acchante. Fro$ a )resco, Po$peii, 6st cent ry *.C. F$,. -88 Dancer. Fro$ a )resco in the *aths o) Constantine, Dth cent ry A.D. F$,. -98 G#ee$en9s dance, Fth cent ry. Fro$ C#eopatra, Cotton '". C. (iii., *ritish ' se $. F$,. 328 Dancing to horn and pipe. Fro$ an Ang#o!"a1on '". F$,. 318 Ang#o!"a1on sword dance. Fro$ the '". C#eopatra, C. (iii., *ritish ' se $. F$,. 3-8 "word dance to bagpipes, 6Dth cent ry. Fro$ : * (ii., Roya# '"., *ritish ' se $. F$,. 338 Herodias t $b#ing. Fro$ a '". end o) 6=th cent ry >Add#. 63,<6F, ). :E=b?, *ritish ' se $. F$,. 3.8 A t $b#er, as caryatid. Ro en Cathedra#, 6=th cent ry. F$,. 3/8 6Dth cent ry dancers. A and C are t $b#ers2 *, t $b#ing and ba#ancing to the ta$bo r2 D, a wo$an dancing aro nd a whipped bear2 E, 0esters dancing. F$,. 308 A, $an dancing and p#aying pipes, carrying a wo$an2 *, 0 $ping thro gh a hoop2 C, a sti#t dance. 6Dth cent ry. F$,. 318 Ita#ian dance. Fro$ an engra(ing, end o) 6Eth cent ry, attrib ted to *accio *a#dini. F$,. 388 Ita#ian dancing, the end o) the 6Eth cent ry. F$,. 398 Cha$ber dance, 6Eth cent ry. Fro$ a drawing by 'artin Masinger. F$,. .28 Dancing in a &p#eas re garden,& end o) the 6Eth cent ry. French, )ro$ the &Ro$an de #a Rose,& in the *ritish ' se $. F$,. .18 Fancy dress dance o) Ci#de$en o) the 6Eth cent ry. Fro$ '". D=<F Har#, *ritish ' se $.

F$,. .-8 Co$ic dance to pipe and tabor, end o) 6Eth cent ry. Fro$ pen drawing in the 'ediae(a# Ho se *ook in the Cast#e o) Co#)egg, by the 'aster o) the A$sterda$ Cabinet. F$,. .38 A dance o) Ange#s and "aints. F$,. ..8 Dancing ange#s. Fro$ a 9/ati(ity9 by "andro *ottice##i, circa 6E44 A.D. F$,. ./8 A#bert DQrer, 6E6D A.D. F$,. .08 A#bert DQrer. F$,. .18 "cenes )ro$ dances. Ger$an, dated 6ED;, by Hans "eba#d *eha$. F$,. .88 A torch#ight $i#itary dance o) the ear#y 6;th cent ry. Fro$ a pict re by Hans * rgk$air. F$,. .98 +a &alliarde. Fro$ the &,rchPsographie& o) Thoinot Arbea >Nean Tabo rot?, +angres, 6E33. F$,. /28 'orris dancers. Fro$ a window that was in the possession o) George To##ett, EsA., *irt#ey, "ta))ordshire, 6;th cent ry. F$,. /18 Co rt dance. Fro$ a drawing by Ca##ot, 6;=E A.D. F$,. /-8 Co$ic dancers. *y Ca##ot, )ro$ the act entit#ed &*a##i di ")essa$a,& 6;4F A.D. F$,. /38 Co ntry dance. Fro$ a drawing by Nohn E(ange#ist Ho#tBer, 6<th cent ry. F$,. /.8 A ba##!roo$ dance, +e $al Par?, o) the 63th cent ry. Fro$ A g st de #9A bin. F$,. //8 A dance in the 63th cent ry. Fro$ a painting by Hogarth. F$,. /08 Caricat re o) a dancing $aster. Hogarth. F$,. /18 "pring dancing away )ro$ winter. Fro$ a drawing by Cattea . F$,. /88 The 'isses G nning dancing. End o) the 63th cent ry, )ro$ a print by * nb ry, engra(ed by *arto#oBBi. F$,. /98 Dancing. C#ose o) the 63th cent ry. Fro$ Derby ware. F$,. 028 "panish dance in the Ha## o) "aragoBa, 6Fth cent ry. F$,. 018 '##e. de Ca$argo. A)ter a painting by +ancret, abo t 6<D4 A.D. F$,. 0-8 Pa #ine D (ernay at Co(ent Garden, 63==!63=3. F$,. 038 '##e. Fanny E##s#er. Fro$ a #ithograph by A. +aca cbie. F$,. 03*8 Dancing satyr p#aying castanets, by 'yron, in the %atican ' se $. The action is entire#y s ggesti(e o) that o) Fanny E##s#er, and $ight be e(idence o) the antiA ity o) the "panish tradition. F$,. 0.8 '##e. Tag#ioni. Fro$ a #ithograph o) the period. F$,. 0/8 Pas de Trois by '##es. Ferraris, Tag#ioni, and Car#otta Grisi. F$,. 008 '##e. Ade#ine GenPe, 6F4;. Photo, E##is and Ca#ery. F$,. 018 '##e. Anna Pa(#o(a, 6F64. Fro$ a photo by Fo #sha$ and *an)ie#d. F$,. 088 '##e. "ophie FPdoro(a. F$,. 098 Napanese Co rt Dance. F$,. 128 Indian dancing!gir#. F$,. 118 Patagonian dancers to )i)e and tabor. F$,. 1-8 Tibetan re#igio s dancing procession, 6F43 a.d. End o) Pro0ect G tenberg9s The Dance >by An AntiA ary?, by Anony$o s TTT E/D ,F THI" PR,NECT G.TE/*ERG E*,,H THE DA/CE >*- A/ A/TI\.AR-? TTT TTTTT This )i#e sho #d be na$ed 6<:3F!h.ht$ or 6<:3F!h.Bip TTTTT This and a## associated )i#es o) (ario s )or$ats wi## be )o nd in8 http8IIwww.g tenberg.orgI6I<I:I3I6<:3FI Prod ced by *en Co rtney, "andy *rown, and the Distrib ted

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