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+The Project Gutenberg EBook of The Dance (by An Antiquary), by Anonymous
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Dance (by An Antiquary)
+       Historic Illustrations of Dancing from 3300 B.C. to 1911 A.D.
+
+Author: Anonymous
+
+Release Date: December 12, 2005 [EBook #17289]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE (BY AN ANTIQUARY) ***
+
+
+
+
+Produced by Ben Courtney, Sandy Brown, and the Distributed
+Proofreaders team
+
+
+
+
+
+
+                  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
+
+
+
+
+PREFACE.
+
+       *       *       *       *       *
+
+This sketch of the iconography of the dance does not pretend to be a
+history of the subject, except in the most elementary way. It may be
+taken as a summary of the history of posture; a complete dance cannot
+be easily rendered in illustration.
+
+The text is of the most elementary description; to go into the subject
+thoroughly would involve years and volumes. The descriptions of the
+various historic dances or music are enormous subjects; two authors
+alone have given 800 dances in four volumes.[Footnote: Thompson's
+complete collection of 200 country dances performed at Court, Bath,
+Tunbridge, and all public assemblies, with proper figures and
+directions to each set for the violin, German flute, and hautboy, 8s.
+6d. Printed for Charles and Samuel Thompson, St. Paul's Churchyard,
+London, where may be had the yearly dances and minuets. Four volumes,
+each 200 dances. 1770-1773.]
+
+It would have been interesting if some idea of the orchesography of
+the Egyptians and Greeks could have been given; this art of describing
+dances much in the manner that music is written is lost, and the
+attempts to revive it have been ineffective. The increasing speed of
+the action since the days of Lulli would now render it almost
+impossible.
+
+It is hoped that this work may be of some use as illustrating the
+costume, position and accessories of the dance in various periods to
+those producing entertainments.
+
+To the reader desirous of thoroughly studying the subject a
+bibliography is given at the end.
+
+
+
+
+CONTENTS.
+
+
+CHAPTER I
+
+Egyptian, Assyrian, Hebrew, and Phoenician Dancing. The Ritual Dance
+of Egypt. Dancing Examples from Tomb of Ur-ari-en-Ptah, 6th Dynasty,
+British Museum. Description of Dancing from Sir G. Wilkinson; of the
+Egyptian Pipes and Hieroglyphics of Dancing, &c. Phoenician Round
+Dances, from a Limestone Group found at Cyprus, and Bronze Patera from
+Idalium, Cyprus.
+
+
+CHAPTER II
+
+Greek Dancing. Bacchanalian Dance, by the Ceramic Painter Hieron.
+Description of some Greek Dances, the Geranos, the Corybantium, the
+Hormos, &c. Dancing Bacchante from a Vase and from Terra Cotta. The
+Hand-in-hand, and Panathenaeac Dance from Ceramic Ware. Military Dance
+from Sculpture in Vatican, Greek Dancer with Castanets. Illustration
+of Cymbals and Pipes from the British Museum. The Chorus. Greek
+Dancers and Tumblers.
+
+
+CHAPTER III
+
+Etruscan, South Italian and Roman Dancing. Illustrations from the
+Grotta dei Vasi, the Grotta della Scimia, and the Grotta del
+Triclinio, Corneto. Funeral Dances from Albanella, Capua, &c. Pompeii
+and the Baths of Constantino. The Dances of the Etruscans and South
+Italians. The Roman, Dance of the Salii. The Bellicrepa. The social
+position of Dancing. The Chorus.
+
+
+CHAPTER IV
+
+Early English and Mediaeval Dancing to the 14th Century. Dancing in
+Churches and Religious Dancing. The Gleemen's Dance. Military Dances.
+The Hornpipe. Tumbling and Jest Dances. Illustrations of Gleemen's
+Dance, Hornpipe, Sword Dances, Tumbling and Various Comic Dances.
+
+
+CHAPTER V
+
+Society Dancing, the 15th to 18th Centuries. Out-of-door Dances.
+Chamber Dancing. Comic Dances. The Ball. Illustrations from Italian
+15th Century, German 15th and 16th Centuries, French 15th, 16th, 17th,
+English 15th, 16th and 18th Centuries Dancing.
+
+
+CHAPTER VI
+
+The Modern Theatre Dance: its Origin. Introduced into France from
+Italy. Under Henry III., IV., Louis XIII., XIV. Influence of Cardinals
+Richelieu and Mazarin. Foundation of the Academic de Danse et de
+Musique. The Court Ballet. Molière. Corneille. Lalli, &c. The Theatre
+Ballet. The Influence of Noverre. Its introduction into and its
+Present Condition in England, &c. Illustrations of Mlles. de Camargo,
+Duvernay, Taglioni. Fanny Ellsler. Ferraris, Carlotta Grisi. Adeline
+Genée. Anna Pavlova. Fédorova, &c. Various Eastern Examples.
+
+[Illustration: Fig. 1.--Dancing to the clapping of bands. Egyptian,
+from the tomb of Ur-ari-en-Ptah, 6th Dynasty, about 3300 B.C. (British
+Museum.)]
+
+       *       *       *       *       *
+
+Historic Illustrations of Dancing.
+
+
+
+
+CHAPTER I.
+
+
+EGYPTIAN, ASSYRIAN, HEBREW AND PHOENICIAN DANCING.
+
+In this work it is not necessary to worry the reader with speculations
+as to the origin of dancing. There are other authorities easily
+accessible who have written upon this theme.
+
+Dancing is probably one of the oldest arts. As soon as man was man he
+without doubt began to gesticulate with face, body, and limbs. How
+long it took to develop bodily gesticulation into an art no one can
+guess--perhaps a millennium.
+
+In writing of dancing, one will therefore include those gesticulations
+or movements of the body suggesting an idea, whether it be the slow
+movement of marching, or the rapid gallop, even some of the movements
+that we commonly call acrobatic. It is not intended here to include
+the more sensual movements of the East and the debased antique.
+
+Generally the antique dances were connected with a religious ritual
+conceived to be acceptable to the Gods. This connection between
+dancing and religious rites was common up to the 16th century. It
+still continues in some countries.
+
+In some of the earliest designs which have come down to us the dancers
+moved, as stars, hand in hand round an altar, or person, representing
+the sun; either in a slow or stately method, or with rapid trained
+gestures, according to the ritual performed.
+
+Dancing, music and poetry were inseparable. Dancing is the poetry of
+motion, and its connection with music, as the poetry of sound, occurs
+at all times. In our own day musical themes are marked by forms
+originally dance times, as waltz time, gavotte time, minuet time, etc.
+
+[Illustration: Fig. 2.--Greek figures in a solemn dance. From a vase
+at Berlin.]
+
+Amongst the earliest representations that are comprehensible, we have
+certain Egyptian paintings, and some of these exhibit postures that
+evidently had even then a settled meaning, and were a phrase in the
+sentences of the art. Not only were they settled at such an early
+period (B.C. 3000, fig. 1) but they appear to have been accepted and
+handed down to succeeding generations (fig. 2), and what is remarkable
+in some countries, even to our own times. The accompanying
+illustrations from Egypt and Greece exhibit what was evidently a
+traditional attitude. The hand-in-hand dance is another of these.
+
+The earliest accompaniments to dancing appear to have been the
+clapping of hands, the pipes,[Footnote: Egyptian music appears to
+have been of a complicated character and the double pipe or flutes
+were probably reeded, as with our clarionet. The left pipe had few
+stops and served as a sort of hautboy; the right had many stops and
+was higher. The single pipe, (a) "The recorder" in the British Museum,
+is a treble of 10-1/2 in. and is pentaphonic, like the Scotch scale;
+the tenor (b) is 8-3/4 in. long and its present pitch--[Illustration:
+a] [Illustration: b] the guitar, the tambourine, the castanets, the
+cymbals, the tambour, and sometimes in the street, the drum.
+
+The following account of Egyptian dancing is from Sir Gardiner
+Wilkinson's "Ancient Egypt" [Footnote: Vol. i., p. 503-8.]:--
+
+"The dance consisted mostly of a succession of figures, in which the
+performers endeavoured to exhibit a great variety of gesture. Men and
+women danced at the same time, or in separate parties, but the latter
+were generally preferred for their superior grace and elegance. Some
+danced to slow airs, adapted to the style of their movement; the
+attitudes they assumed frequently partook of a grace not unworthy of
+the Greeks; and some credit is due to the skill of the artist who
+represented the subject, which excites additional interest from its
+being in one of the oldest tombs of Thebes (B.C. 1450, Amenophis II.).
+Others preferred a lively step, regulated by an appropriate tune; and
+men sometimes danced with great spirit, bounding from the ground,
+more in the manner of Europeans than of Eastern people. On these
+occasions the music was not always composed of many instruments, and
+here we find only the cylindrical maces and a woman snapping her
+fingers in the time, in lieu of cymbals or castanets.
+
+"Graceful attitudes and gesticulations were the general style of their
+dance, but, as in all other countries, the taste of the performance
+varied according to the rank of the person by whom they were employed,
+or their own skill, and the dance at the house of a priest differed
+from that among the uncouth peasantry, etc.
+
+"It was not customary for the upper orders of Egyptians to indulge in
+this amusement, either in public or private assemblies, and none
+appear to have practised it but the lower ranks of society, and those
+who gained their livelihood by attending festive meetings.
+
+"Fearing lest it should corrupt the manners of a people naturally
+lively and fond of gaiety, and deeming it neither a necessary part of
+education nor becoming a person of sober habits, the Egyptians forbade
+those of the higher classes to learn it as an amusement.
+
+"Many of these postures resembled those of the modern ballet, and the
+pirouette delighted an Egyptian party 3,500 years ago.
+
+"The dresses of the females were light and of the finest texture, a
+loose flowing robe reaching to the ankles, sometimes with a girdle.
+
+"In later times, it appears more transparent and folded in narrow
+pleats.[Footnote: There is a picture of an Egyptian gauffering machine
+in Wilkinson, vol. i., p. 185.] Some danced in pairs, holding each
+other's hand; others went through a succession of steps alone, both
+men and women; sometimes a man performed a solo to the sound of music
+or the clapping of hands.
+
+"A favourite figure dance was universally adopted throughout the
+country, in which two partners, who were usually men, advanced toward
+each other, or stood face to face upon one leg, and having performed a
+series of movements, retired again in opposite directions, continuing
+to hold by one hand and concluding by turning each other round (see
+fig. 3). That the attitude was very common is proved by its having
+been adopted by the hieroglyphic (fig. 4) as the mode of describing
+'dance.'"
+
+[Illustration: Fig. 3.--The hieroglyphics describe the dance.]
+
+[Illustration: Fig. 4.--Egyptian hieroglyphic for "dance."]
+
+Many of the positions of the dance illustrated in Gardner Wilkinson
+are used at the present day.
+
+The ASSYRIANS probably danced as much as the other nations, but
+amongst the many monuments that have been discovered there is little
+dancing shown, and they were evidently more proud of their campaigns
+and their hunting than of their dancing. A stern and strong people,
+although they undoubtedly had this amusement, we know little about it.
+Of the Phoenicians, their neighbours, we have some illustrations of
+their dance, which was apparently of a serious nature, judging by the
+examples which we possess, such as that (fig. 5) from Cyprus
+representing three figures in hooded cowls dancing around a piper. It
+is a dance around a centre, as is also (fig. 6) that from Idalium in
+Cyprus. The latter is engraved around a bronze bowl and is evidently a
+planet and sun dance before a goddess, in a temple; the sun being the
+central object around which they dance, accompanied by the double
+pipes, the harp, and tabour. The Egyptian origin of the devotion is
+apparent in the details, especially in the lotus-smelling goddess
+(marked A on fig. 6) who holds the flower in the manner shown in an
+Egyptian painting in the British Museum (fig. 7).
+
+[Illustration: Fig. 5.--Cyprian limestone group of Phoenician dancers,
+about 6-1/2 in. high. There is a somewhat similar group, also from
+Cyprus, in the British Museum. The dress, a hooded cowl, appears to be
+of great antiquity.]
+
+From the Phoenicians we have illustrated examples, but no record,
+whereas from their neighbours the Hebrews we have ample records in the
+Scriptures, but no illustrations. It is, however, most probable that
+the dance with them had the traditional character of the nations
+around them or who had held them captive, and the Philistine dance
+(fig. 6) may have been of the same kind as that around the golden calf
+(Apis) of the desert (Exodus xxxii. v. 19).
+
+[Illustration: Fig. 6.--Phoenician patera, from Idalium, showing a
+religious ritual dance before a goddess in a temple round a sun
+emblem.]
+
+When they passed the Red Sea, Miriam and the maidens danced in chorus
+with singing and the beating of the timbrel (tambour). (Exodus xv. v.
+1.)
+
+[Illustration: Fig. 7.--Female figure smelling a lotus. From a
+painting in the British Museum.]
+
+King David not only danced before the ark (2 Samuel vi. v. 16), but
+mentions dancing in the 149th and 150th Psalm. Certain historians also
+tell us that they had dancing in their ritual of the seasons. Their
+dancing seems to have been associated with joy, as we read of "a time
+to mourn and a time to dance"; we find (Eccles. iii. v. 4) they had
+also the pipes: "We have piped to you and you have not danced"
+(Matthew xi. v. 17). These dances were evidently executed by the
+peoples themselves, and not by public performers.
+
+[Illustration: Fig. 8.--Dance of Bacchantes, painted by the ceramic
+painter, Hieron. (British Museum,)]
+
+
+
+
+CHAPTER II.
+
+
+DANCING WITH THE GREEKS.
+
+With the Greeks, dancing certainly was primarily part of a religious
+rite; with music it formed the lyric art. The term, however, with them
+included all those actions of the body and limbs, and all expressions
+and actions of the features and head which suggest ideas; marching,
+acrobatic performances, and mimetic action all came into the term.
+
+According to the historians, the Greeks attributed dancing to their
+deities: Homer makes Apollo _orchestes_, or the dancer; and amongst
+the early dances is that in his honour called the _Hyporchema_. Their
+dances may be divided into sections somewhat thus: (1) those of a
+religious species, (2) those of a gymnastic nature, (3) those of a
+mimetic character, (4) those of the theatre, such as the chorus, (5)
+those partly social, partly religious dances, such as the hymeneal,
+and (6) chamber dances.
+
+Grown up men and women did not dance together, but the youth of both
+sexes joined in the _Horm[)o]s_ or chain dance and the
+_G[)e]r[)a]n[)o]s_, or crane (see fig. 11).
+
+[Illustration: Fig. 9.--Dancing Bacchante. From a vase in the British
+Museum.]
+
+[Illustration: Fig. 10.--Greek terra cotta dancing girl, about 350
+B.C. (British Museum.)]
+
+According to some authorities, one of the most primitive of the first
+class, attributed to Phrygian origin, was the _Aloenes_, danced to the
+Phrygian flute by the priests of Cybele in honour of her daughter
+Ceres. The dances ultimately celebrated in her cult were numerous:
+such as the _Anthema_, the _Bookolos_, the _Epicredros_, and many
+others, some rustic for labourers, others of shepherds, etc. Every
+locality seems to have had a dance of its own. Dances in honour of
+Venus were common, she was the patroness of proper and decent dancing;
+on the contrary, those in honour of Dionysius or Bacchus degenerated
+into revelry and obscenity. The _Epilenios_ danced when the grapes
+were pressed, and imitated the gathering and pressing. The
+_Anteisterios_ danced when the wine was vatted (figs. 8, 9, 10), and
+the _Bahilicos_, danced to the sistrus, cymbals, and tambour, often
+degenerated into orgies.
+
+[Illustration: Fig. 11.--The G[)e]r[)a]n[)o]s from
+a vase in the Museo Borbonico, Naples.]
+
+[Illustration: Fig. 12.--Panathenaeac dance, about
+the 4th century B.C.]
+
+[Illustration: Fig. 13.--A military dance, supposed
+to be the _Corybantum_. From a Greek bas-relief in the Vatican
+Museum.]
+
+The _G[)e]r[)a]n[)o]s_, originally from Delos, is said to have been
+originated by Theseus in memory of his escape from the labyrinth of
+Crete (fig. 12). It was a hand-in-hand dance alternately of males and
+females. The dance was led by the representative of Theseus playing
+the lyre.
+
+[Illustration: Fig. 14.--Greek dancer with castanets. (British
+Museum.) See also Castanet dance by Myron, fig. 63a.]
+
+Of the second class, the gymnastic, the most important were military
+dances, the invention of which was attributed to Minerva; of these the
+_Corybantum_ was the most remarkable. It was of Phrygian origin and of
+a mixed religious, military, and mimetic character; the performers
+were armed, and bounded about, springing and clashing their arms and
+shields to imitate the Corybantes endeavouring to stifle the cries of
+the infant Zeus, in Crete. The Pyrrhic (fig. 13), a war dance of Doric
+origin, was a rapid dance to the double flute, and made to resemble
+an action in battle; the _Hoplites_ of Homer is thought to have been
+of this kind. The Dorians were very partial to this dance and
+considered their success in battle due to the celerity and training of
+the dance. In subsequent periods it was imitated by female dancers and
+as a _pas seul_. It was also performed in the Panathenaea by Ephebi at
+the expense of the Choragus, but this was probably only a mimetic
+performance and not warlike.
+
+[Illustration: Fig. 15.--Cymbals (about 4 in.) and double flute.
+(British Museum.)]
+
+There were many other heroic military dances in honour of Hercules,
+Theseus, etc.
+
+The chorus, composed of singers and dancers, formed part of the drama,
+which included the recitation of some poetic composition, and included
+gesticulative and mimetic action as well as dancing and singing. The
+Dorians were especially fond of this; their poetry was generally
+choral, and the Doric forms were preserved by the Athenians in the
+choral compositions of their drama.
+
+The tragic dance, _Emmelia_, was solemn; whilst that in comedy,
+_Cordax_, was frivolous, and the _siccinis_, or dance of Satyrs, was
+often obscene. They danced to the music of the pipes, the tambour, the
+harp, castanets, cymbals, etc. (figs. 14, 15, 16).
+
+[Illustration: Fig. 16.--Greek dancers. From a vase in the Hamilton
+Collection.] [Illustration: Fig. 17.--Bacchanalian dancer. Vase from
+Nocera, Museum, Naples.]
+
+In the rites of Dionysius the chorus was fifty and the cithara was
+used instead of the flute. From the time of Sophocles it was fifteen,
+and always had a professed trainer. The choric question is, however, a
+subject in itself, and cannot be fairly dealt with here.  The social
+dances, and those in honour of the seasons, fire and water, were
+numerous and generally local; whilst the chamber dances, professional
+dancing, the throwing of the _Kotabos_, and such-like, must be left to
+the reader's further study of the authors mentioned in the
+bibliography at the end of the work.
+
+[Illustration: Fig. 18.--Greek dancers and tumblers.]
+
+It may astonish the reader to know that the funambulist or rope-dancer
+was very expert with the Greeks, as also was the acrobat between
+knives and swords. Animals were also taught to dance on ropes, even
+elephants.
+
+The important religious and other dances were not generally composed
+of professionals. The greatest men were not above showing their
+sentiments by dancing. Sophocles danced after Salamis, and Epaminondas
+was an expert dancer. There were dancers of all grades, from the
+distinguished to the moderate. Distinguished persons even married into
+excellent positions, if they did not already occupy them by birth.
+Philip of Macedon married Larissa, a dancer, and the dancer
+Aristodemus was ambassador to his Court. These dancers must not be
+confounded with those hired to dance at feasts, etc. (figs. 9, 14 and
+18).  [Illustration: Fig. 19.--Etruscan bronze dancer with eyes of
+diamonds, found at Verona. Now in the British Museum.]
+
+
+
+
+CHAPTER III.
+
+
+ETRUSCAN-SOUTH ITALIAN, ROMAN DANCING, ETC.
+
+One of the most important nations of antiquity was the Etruscan,
+inhabiting, according to some authorities, a dominion from Lombardy to
+the Alps, and from the Mediterranean to the Adriatic.
+
+Etruria gave a dynasty to Rome in Servius Tullius, who originally was
+Masterna, an Etruscan.
+
+[Illustration: Fig. 20.--Etruscan dancer. From a painting in the
+Grotta dei Vasi dipinti--Corneto.]
+
+It is, however, with the dancing that we are dealing. There is little
+doubt that they were dancers in every sense; there are many ancient
+sepulchres in Etruria, with dancing painted on their walls. Other
+description than that of the pictures we do not possess, for as yet
+the language is a dead letter. There is no doubt, as Gerhardt
+[Footnote: "Ann. Institut.": 1831, p. 321.] suggests, that they
+considered dancing as one of the emblems of joy in a future state,
+and that the dead were received with dancing and music in their new
+home. They danced to the music of the pipes, the lyre, the castanets
+of wood, steel, or brass, as is shown in the illustrations taken from
+the monuments.
+
+[Illustration: Fig. 21.--Etruscan dancing and performances. From
+paintings in the Grotta della Scimia Corneto, about 500 B.C.]
+
+That the Phoenicians and Greeks had at certain times immense influence
+on the Etruscans is evident from their relics which we possess (fig.
+20).
+
+A characteristic illustration of the dancer is from a painting in the
+tomb of the _Vasi dipinti_, Corneto, which, according to Mr. Dennis,
+[Footnote: "Etruria," vol. i., p. 380.] belongs to the archaic period,
+and is perhaps as early as 600 B.C. It exhibits a stronger Greek
+influence than some of the paintings. Fig. 21, showing a military
+dance to pipes, with other sports, comes from the _Grotta della
+Scimia_, also at Corneto; these show a more purely Etruscan character.
+
+[Illustration: Fig. 22.--Etruscan Dancing. From the Grotta del
+Triclinio.--Corneto.]
+
+The pretty dancing scene from the _Grotta del Triclinio_ at Corneto
+is taken from a full-sized copy in the British Museum, and is of the
+greatest interest. It is considered to be of the Greco-Etruscan
+period, and later than the previous examples (fig. 22).
+
+There is a peculiarity in the attitude of the hands, and of the
+fingers being kept flat and close together; it is not a little curious
+that the modern Japanese dance, as exhibited by Mme. Sadi Yacca, has
+this peculiarity, whether the result of ancient tradition or of modern
+revival, the writer cannot say.
+
+Almost as interesting as the Etruscan are the illustrations of dancing
+found in the painted tombs of the Campagna and Southern Italy, once
+part of "Magna Grecia"; the figure of a funeral dance, with the double
+pipe accompaniments, from a painted tomb near Albanella (fig. 23) may
+be as late as 300 B.C., and those in figs. 24, 25 from a tomb near
+Capua are probably of about the same period. These Samnite dances
+appear essentially different from the Etruscan; although both Greek
+and Etruscan influence are very evident, they are more solemn and
+stately. This may, however, arise from a different national custom.
+
+That the Etruscan, Sabellian, Oscan, Samnite, and other national
+dances of the country had some influence on the art in Rome is highly
+probable, but the paucity of early Roman examples renders the evidence
+difficult.
+
+[Illustration: Fig. 23.--Funeral dance in the obsequies of a female.
+From a painted tomb near Albanella.]
+
+Rome as a conquering imperial power represented nearly the whole world
+of its day, and its dances accordingly were most numerous. Amongst the
+illustrations already given we have many that were preserved in Rome.
+In the beginning of its existence as a power only religious dances
+were practised, and many of these were of Etruscan origin, such as the
+Lupercalia, the Ambarvalia, &c. In the former the dancers were
+demi-nude, and probably originally shepherds; the latter was a serious
+dancing procession through fields and villages.  [Illustration: Fig.
+24.--Funeral dance. From Capua.]
+
+A great dance of a severe kind was executed by the Salii, priests of
+Mars, an ecclesiastical corporation of twelve chosen patricians. In
+their procession and dance, on March 1, and succeeding days, carrying
+the Ancilia, they sang songs and hymns, and afterwards retired to a
+great banquet in the Temple of Mars. 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 letters.
+There were also an order of female Salii. Another military dance was
+the _Saltatio bellicrepa_, said to have been instituted by Romulus in
+commemoration of the Rape of the Sabines. The Pyrrhic dance (fig. 13)
+was also introduced into Rome by Julius Caesar, and was danced by the
+children of the leading men of Asia and Bithynia.
+
+As, however, the State increased in power by conquest, it absorbed
+with other countries other habits, and the art degenerated often, like
+that of Greece and Etruria, into a vehicle for orgies, when they
+brought to Rome with their Asiatic captives even more licentious
+practices and dances.
+
+[Illustration: Fig. 25.--Funeral dance from the same tomb.]
+
+As Rome, which never rose to the intellectual and imaginative state of
+Greece in her best period, represented wealth, commerce, and conquest,
+in a greater degree, so were her arts, and with these the lyric. In
+her best state her nobles danced, Appius Claudius excelled, and
+Sallust tells us that Sempronia "psaltere saltare elegantius"; so that
+in those days ladies played and danced, but no Roman citizen danced
+except in the religious dances. They carried mimetic dances to a very
+perfect character in the time of Augustus under the term of _Musica
+muta_. After the second Punic war, as Greek habits made their way into
+Italy, it became a fashion for the young to learn to dance. The
+education in dancing and gesture were important in the actor, as masks
+prevented any display of feature. The position of the actor was never
+recognized professionally, and was considered _infamia_. But the
+change came, which caused Cicero to say "no one danced when sober."
+Eventually the performers of lower class occupied the dancing
+platform, and Herculaneum and Pompeii have shown us the results.
+
+[Illustration: Fig. 26.--Bacchante leading the Dionysian bull to the
+altar. Bas-relief in the Vatican.]
+
+In the theatre the method of the Roman chorus differed from that of
+the Greeks. In the latter the orchestra or place for the dancing and
+chorus was about 12 ft. below the stage, with steps to ascend when
+these were required; in the former the chorus was not used in comedy,
+and having no orchestra was in tragedies placed upon the stage. The
+getting together of the chorus was a public service, or liturgia, and
+in the early days of Grecian prosperity was provided by the choregus.
+
+Tiberius by a decree abolished the Saturnalia, and exiled the dancing
+teachers, 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 licence.
+
+[Illustration: Fig. 27--Bacchante. From a fresco, Pompeii, 1st century
+B.C.]
+
+[Illustration: Fig. 28.--Dancer. From a fresco in the Baths of
+Constantine, 4th century A.D.]
+
+Perhaps the encouragement of the more brutal combats of the Coliseum
+did something to suppress the more delicate arts, but historians have
+told us, and it is common knowledge, what became of the great Empire,
+and the lyric with other arts were destroyed by licentious
+preferences.
+
+
+
+
+CHAPTER IV.
+
+
+THE "EARLY ENGLISH" AND "MEDIAEVAL" DANCE TO THE FOURTEENTH CENTURY.
+
+The last illustration from the Baths of Constantine brought us into
+the Christian era, although that example was not of Christian
+sentiment or art. It is possible that the dance of Salome with its
+diabolical reward may have prejudiced the Apostolic era, for we find
+no example of dancing, as exhibiting joy, in Christian Art of that
+period. The dance before Herod is historical proof that the higher
+classes of Hebrews danced for amusement.
+
+As soon, however, as Christianity became enthroned, and a settled
+society, we read of religious dances as exhibiting joy, even in the
+churches. Tertullian tells us that they danced to the singing of hymns
+and canticles. These dances were solemn and graceful to the old tones;
+and continued, notwithstanding many prohibitions such as those of Pope
+Zacharias (a Syrian) in A.D. 744. The dancing at Easter in the
+Cathedral at Paris was prohibited by Archbishop Odo in the 12th
+century, but notwithstanding the antagonism of the Fathers, the dances
+were only partially suppressed.
+
+They were common on religious festivals in Spain and Portugal up to
+the seventeenth century and in some localities continue even to our
+own time. When S. Charles Borromeo was canonized in 1610, the
+Portuguese, who had him as patron, made a procession of four chariots
+of dancers; one to Renown, another to the City of Milan, one to
+represent Portugal and a fourth to represent the Church. In Seville at
+certain periods, and in the Balearic Isles, they still dance in
+religious ceremonies.
+
+We know that religious dancing has continually been performed as an
+accessory to prayer, and is still so used by the Mahommedans, the
+American Indians and the Bedos of India, who dance into an ecstasy.
+
+[Illustration: Fig. 29.--Gleemen's dance, 9th century. From Cleopatra,
+Cotton MS. C. viii., British Museum.]
+
+It is probable that this sort of mania marked the dancing in Europe
+which was suppressed by Pope and Bishop. This _choreomania_ marked a
+Flemish sect in 1374 who danced in honour of St. John, and it was so
+furious that the disease called St. Vitus' dance takes its name from
+this performance.
+
+Christmas carols were originally choric. The performers danced and
+sang in a circle.
+
+The illustration (fig. 43) of a dance of angels and religious shows us
+that Fra Angelico thought the practice joyful; this dance is almost a
+counterpart of that amongst the Greeks (fig. 11). The other dance, by
+Sandro Botticelli (fig. 44), is taken from his celebrated "Nativity"
+in the National Gallery. Although we have records of performances in
+churches, no illustrations of an early date have come to the knowledge
+of the writer.  [Illustration: Fig. 30.--Dancing to horn and pipe.
+From an Anglo-Saxon MS.]
+
+That the original inhabitants of Britain danced--that the Picts,
+Danes, Saxons and Romans danced may be taken for granted, but there
+seems little doubt that our earliest illustrations of dancing were of
+the Roman tradition. We find the attitude, the instruments and the
+clapping of hands, all of the same undoubted classic character.
+Tacitus informs us that the Teutonic youths danced, with swords and
+spears, and Olaus Magnus that the Goths, &c., had military dances:
+still the military dances in English MSS. (figs. 31, 32) seem more
+like those of a Pyrrhic character, which Julius Caesar, the conqueror
+of England, introduced into Rome. The illustration (fig. 29) of what
+is probably a Saxon gleemen's dance shows us the kind of amusement
+they afforded and how they followed classic usages.
+
+[Illustration: Fig. 31.--Anglo-Saxon sword dance. From the MS.
+Cleopatra, C. viii., British Museum.]  The gleemen were reciters,
+singers and dancers; and the lower orders were tumblers,
+sleight-of-hand men and general entertainers. What may have been the
+origin of our hornpipe is illustrated in fig. 30, where the figures
+dance to the sound of the horn in much the same attitudes as in the
+modern hornpipe, with a curious resemblance to the position in some
+Muscovite dances.
+
+[Illustration: Fig. 32.--Sword dance to bagpipes, 14th century. From 2
+B vii., Royal MS., British Museum.]
+
+The Norman minstrel, successor of the gleeman, used the double-pipe,
+the harp, the viol, trumpets, the horn and a small flat drum, and it
+is not unlikely that from Sicily and their South Italian possessions
+the Normans introduced classic ideas.
+
+Piers the Plowman used words of Norman extraction for them, as he
+speaks of their "Saylen and Sauté."
+
+The minstrel and harpist does not appear to have danced very much, but
+to have left this to the joculator, and dancing and tumbling and even
+acrobatic women and dancers appear to have become common before the
+time of Chaucer's "Tomblesteres."
+
+[Illustration: Fig. 33.--Herodias tumbling. From a MS. end of 13th
+century (Addl. 18,719, f. 253b), British Museum.]
+
+That this tumbling and dancing was common in the thirteenth century is
+shown by the illustration from the sculpture at Rouen Cathedral (fig.
+34), the illustrations from a MS. in the British Museum (fig. 33) of
+Herodias tumbling and of a design in glass in Lincoln, and other
+instances at Ely; Idsworth Church, Hants; Poncé, France, and
+elsewhere. It is suggested that the camp followers of the Crusaders
+brought back certain dances and amongst these some of an acrobatic
+nature, and many that were reprehensible, which brought down the anger
+of the Clergy.
+
+[Illustration: Fig. 34.--A tumbler, as caryatid. Rouen Cathedral, 13th
+century.]
+
+In the fourteenth century, from a celebrated MS. (2 B. vii.) in the
+British Museum and other cognate sources we get a fair insight of the
+amusement afforded by these dancers and joculators. In the
+illustration (fig. 35) we get A and C tumblers, male and female; D, a
+woman and bear dance; and E, a dance of fools to the organ and
+bagpipe. It will be observed that they have bells on their caps, and
+it must have required much skill and practice to sound their various
+toned bells to the music as they danced. This dance of fools may have
+suggested or became eventually merged into the "Morris Dance" (fig.
+50) of which some account with other illustrations of "Comic Dances"
+will be given hereafter. The man dancing and playing the pipes with a
+woman on his shoulder (fig. 36), the stilt dancer with a curious
+instrument (C), and the woman jumping through a hoop, give us other
+illustrations of fourteenth century amusements.
+
+[Illustration: Fig. 35.--14th century dancers. A and C are tumblers;
+B, tumbling and balancing to the tambour; D, a woman dancing around a
+whipped bear; E, jesters dancing.]
+
+[Illustration: Fig. 36.--A, man dancing and playing pipes, carrying a
+woman; B, jumping through a hoop; C, a stilt dance. 14th century.]
+
+
+
+
+CHAPTER V.
+
+
+SOCIETY DANCING FROM THE FIFTEENTH CENTURY.
+
+[Illustration: Fig. 37.--Italian dance. From an engraving, end of 15th
+century, attributed to Baccio Baldini.]
+
+Concerning the dance as a means of social intercourse, it does not
+appear to have been formulated as an accomplishment until late in the
+thirteenth century, and at a later date was cultivated as a means of
+teaching what we call deportment, until it became almost a necessity
+with the classes, as is shown by the literature of that period. The
+various social dances, such as the Volte, the Jig and the Galliard,
+although in early periods, not so numerous, required a certain
+training and agility. These, however, soon became complicated with
+many social and local variations, the characteristics of which are a
+study in themselves. The dances (figs. 37 and 38) in a field of
+sports, from an Italian engraving of the fifteenth century, show us
+nothing new; indeed, with different costumes it is very like what we
+have from Egypt (fig. 3), only a different phase of the action, and
+the attitude of this old dance is repeated even to our own time.
+
+[Illustration: Fig. 38.--Italian dancing, the end of the 15th
+century.]
+
+In the Chamber dance by Martin Zasinger (fig. 39), of the fifteenth
+century, no figures are in action, but we see an arrangement of the
+guests and musicians, from which it is evident that the Chamber dance
+as a social function had progressed and that the "Bal paré," etc.,
+was here in embryo.
+
+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
+in.
+
+[Illustration: Fig. 39.--Chamber dance, 15th century. From a drawing
+by Martin Zasinger.]
+
+The stately out-door function, in a pleasure garden, from the "Roman
+de la Rose" (fig. 40) illustrates but one portion of the feature of a
+dance, another of which is described in Chaucer's translation:
+
+       "They threw y fere
+    Ther mouthes so that through their play
+    It seemed as they kyste alway."
+
+Fancy dress and comic dances have handed down the same characteristics
+almost to our own time. The Wildeman costume dance (fig. 41) is
+interesting in many respects, it not only shows us the dance, but the
+costume and general method of the Chamber.
+
+[Illustration: Fig. 40.--Dancing in a "pleasure garden," end of the
+15th century. French, from the "Roman de la Rose," in the British
+Museum.]
+
+The fifteenth century comic dancers in a _fête champétre_ (fig. 42)
+and those of the seventeenth century by Callot (fig. 52) are good
+examples of this entertainment--in the background of the latter a
+minuet seems to be in progress. The Morris dance (fig. 50) shows us
+the development that had taken place since the fourteenth century.
+
+[Illustration: Fig. 41.--Fancy dress dance of Wildemen of the 15th
+century. From MS. 4379 Harl, British Museum.]
+
+[Illustration: Fig. 42.--Comic dance to pipe and tabor, end of 15th
+century. From pen drawing in the Mediaeval House Book in the Castle of
+Wolfegg, by the Master of the Amsterdam Cabinet.]
+
+[Illustration: Fig. 43.--A dance of Angels and Saints at the entrance
+to Heaven. Fra Angelico.]
+
+[Illustration: Fig. 44.--Dancing angels. From a "Nativity" by Sandro
+Botticelli _circa_ 1500 A.D.] [Illustration: Fig. 45.--Albert Dürer,
+1514 A.D.]
+
+[Illustration: Fig. 46.--Albert Dürer.]
+
+Allusion has already been made to the beautiful paintings of
+Botticelli and Fra Angelico, which tell us of Italian choral dances of
+their period; these do not belong to social functions, but are
+certainly illustrative of the custom of their day. Albert Dürer (figs.
+45, 46) has given us illustrations of the field dances of his period,
+but both these dances and those drawn by Sebald Beham (fig. 47) are
+coarse, and contrast unfavourably with the Italian, although the
+action is vigorous and robust.
+
+[Illustration: Fig. 47.--Scenes from dances. German, dated 1546, by
+Hans Sebald Beham.]  The military dance of Dames and Knights of
+Armour, by Hans Burgkmair, on the other hand, appears stately and
+dignified (fig. 48). This may illustrate the difference between
+chamber and garden or field dancing.
+
+[Illustration: Fig. 48.--A torchlight military dance of the early 16th
+century. From a picture by Hans Burgkmair.]
+
+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 day. It is
+the "Orchésographie" of Thoinot Arbeau (Jean Tabouret, Canon of
+Langres, in 1588), from which comes the illustration of the
+"Galliarde" (fig. 49) and to which I would refer the reader for all
+the information he desires concerning this period. In this work much
+stress is laid on the value of learning to dance from many points of
+view--development of strength, manner, habits and courtesy, etc. Alas!
+we know now that all these external habits can be acquired and leave
+the "natural man" beneath.  [Illustration: Fig. 49.--_La Galliarde_.
+From the "Orchésographie" of Thoinot Arbeau (Jean Tabourot), Langres,
+1588.]
+
+Desirable, therefore, as good manners and such like are, they do not
+fulfil all the requirements that the worthy Canon wished to be
+involved by them.
+
+[Footnote: The advice which he gives is valuable
+from its bearing on the customs of the 16th century. It even has great
+historical value, indicating the influence dancing has had on good
+manners. That the history of dancing is the history of manners may be
+too much insisted upon. For these reasons we insert these little known
+passages. The first has reference to the right way of proceeding at a
+ball.
+
+   "Having entered the place where the company is gathered for the
+   dance, choose a good young lady (honneste damoiselle) and raising
+   your hat or bonnet with your right hand you will conduct her to
+   the ball with your left. She, wise and well trained, will tender
+   her left and rise to follow you. Then in the sight of all you
+   conduct her to the end of the room, and you will request the
+   players of instruments to strike up a 'basse danse'; because
+   otherwise through inadvertance they might strike up some other
+   kind of dance. And when they commence to play you must commence
+   to dance. And be careful, that they understand, in your asking
+   for a 'basse danse,' you desire a regular and usual one.
+   Nevertheless, 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 them."
+
+   "_Capriol_:--If the lady refuses, I shall feel very ashamed.
+
+   "_Arbeau_:--A well-trained lady never refuses him who so honours
+   her as to lead her to the dance.
+
+   "_Capriol_:--I think so too, but in the meantime the shame of the
+   refusal remains with me.
+
+   "_Arbeau_:--If you feel sure of another lady's graciousness, take
+   her and leave aside this graceless one, asking her to excuse you
+   for having been importunate; nevertheless, there are those who
+   would not bear it so patiently. But it is better to speak thus
+   than with bitterness, because in so doing you acquire a
+   reputation for being gentle and humane, and to her will fall the
+   character of a 'glorieuse' unworthy of the attention paid her."
+
+   "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 her, whilst
+   thanking her for the honour she has done you." Another extract is
+   not wanting in flavour: "Hold the head and body straight, have a
+   countenance of assurance, spit and cough little, and if necessity
+   compels you, turn your face the other side and use a beautiful
+   white handkerchief. Talk graciously, in gentle and honest speech,
+   neither letting your hands hang as if dead or too full of
+   gesticulation. Be dressed cleanly and neatly 'avec la chausse
+   bien tirée et Pescarpin propre.'
+
+   "And bear in mind these particulars."
+]
+
+We have have seen from the fourteenth century (figs. 35 C, 36 A, 46)
+how common the bagpipe was in out-of-door dances; in the illustrations
+from Dürer (fig. 46) and in fig. 53 from Holtzer it has developed, and
+has two accessory pipes, besides that played by the mouth, and the
+player is accompanied by a sort of clarionet. This also appears to be
+the only accompaniment of the Trio (fig. 58).  [Illustration: Fig.
+50.--Morris dancers. From a window that was in the possession of
+George Tollett, Esq., Birtley, Staffordshire, 16th century.]
+
+[Illustration: Fig. 51.--Court dance. From a drawing by Callot, 1635
+A.D.]
+
+In the sixteenth century certain Spanish dances were introduced into
+France, such as la Pavane, which was accompanied by hautboys and
+sackbuts.
+
+[Illustration: Fig. 52.--Comic dancers. By Callot, from the act
+entitled "Balli di Sfessama," 1609 A.D.]
+
+[Illustration: Fig. 53.--Country dance. From a drawing by John
+Evangelist Holtzer, 17th century.]
+
+[Illustration: Fig. 54.--A ball-room dance, _Le Bal Paré_, of the 18th
+century. From August de l'Aubin.]
+
+[Illustration: Fig. 55.--A dance in the 18th century. From a painting
+by Hogarth.]
+
+There were, however, various other dances of a number too
+considerable to describe here, also introduced. The dance of the
+eighteenth century from Derby ware (fig. 59) seems to be but a
+continuation in action of those of the sixteenth century, as
+out-of-door performances.
+
+[Illustration: Fig. 56.--Caricature of a dancing master. Hogarth.]
+
+We have now arrived at the modern style of ball, so beloved by many of
+the French Monarchs. Henry IV. and Napoleon were fond of giving these
+in grand style, and in some sort of grand style they persist even as a
+great social function to our own time. The Court balls of Louis XIII.
+and XIV. at Versailles were really gorgeous ballets, and their
+grandeur was astonishing; this custom was continued under the
+succeeding monarchs. An illustration of one in the eighteenth century
+by August de l'Aubin (fig. 54) sufficiently shows their character.
+There is nothing new in the postures illustrated, which may have
+originated thousands of years ago. As illustrating the popular ball of
+the period, the design by Hogarth (fig. 55) is an excellent contrast.
+The _contredanse_ represented was originally the old country dance
+exported to France and returned with certain arrangements added. This
+is a topic we need not pursue farther, as almost every reader knows
+what social dancing now is.
+
+[Illustration: Fig. 57.--Spring dancing away from winter. From a
+drawing by Watteau.]
+
+[Illustration: Fig. 58.--The Misses Gunning dancing. End of the 18th
+century, from a print by Bunbury, engraved by Bartolozzi.]
+
+[Illustration: Fig. 59.--Dancing. Close of the 18th century. From
+Derby ware.]
+
+[Illustration: Fig. 60.--Spanish dance in the Hall of Saragoza, 19th
+century.]
+
+
+
+
+CHAPTER VI.
+
+
+THE MODERN THEATRE DANCE.
+
+Although the theatrical ballet dance is comparatively modern, the
+elements of its formation are of the greatest antiquity; the chorus of
+dancers and the performances of the men in the Egyptian chapters
+represent without much doubt public dancing performances. We get
+singing, dancing, mimicry and pantomime in the early stages of Greek
+art, and the development of the dance rhythm in music is equally
+ancient.
+
+The Alexandrine Pantomime, introduced into Rome about 30 B.C. by
+Bathillus and Pylades, appears to have been an entertainment
+approaching the ballet.
+
+In the middle ages there were the mysteries and "masks"; the latter
+were frequent in England, and are introduced by Shakespere in "Henry
+VIII."
+
+In Italy there appears to have been a kind of ballet in the 14th
+century, and from Italy, under the influence of Catharine de' Medici,
+came the ballet. Balthasar di Beaujoyeulx produced the first recorded
+ballet in France, in the Italian style, in 1582. This was, however,
+essentially a Court ballet.
+
+The theatre ballet apparently arose out of these Court ballets. Henry
+III. and Henry IV., the latter especially, were very fond of these
+entertainments, and many Italians were brought to France to assist in
+them. Pompeo Diabono, a Savoyard, was brought to Paris in 1554 to
+regulate the Court ballets. At a later date came Rinuccini, the poet,
+a Florentine, as was probably Caccini, the musician. They had composed
+and produced the little operetta of "Daphne," which had been performed
+in Florence in 1597. Under these last-mentioned masters the ballet in
+France took somewhat of its present form. This passion for Court
+ballets continued under Louis XIII. and Louis XIV.
+
+[Illustration: Fig. 61.--Mlle. de Camargo. After a painting by
+Lancret, about 1740 A.D.]
+
+Louis XIII. as a youth danced in one of the ballets at St. Germain, it
+is said at the desire of Richelieu, who was an expert in spectacle. It
+appears that he was encouraged in these amusements to remedy fits of
+melancholy.
+
+Louis XIV., at seven, danced in a masquerade, and afterwards not only
+danced in the ballet of "Cassandra," in 1651, but did all he could to
+raise the condition of the dance and encourage dancing and music. His
+influence, combined with that of Cardinal Richelieu, raised the
+ballet from gross and trivial styles to a dignity worthy of music,
+poetry and dancing. His uncle, Gaston of Orleans, still patronized the
+grosser style, but it became eclipsed by the better. Lulli composed
+music to the words of Molière and other celebrities; amongst notable
+works then produced was the "Andromeda" of Corneille, a tragedy, with
+hymns and dances, executed in 1650, at the Petit Bourbon.
+
+[Illustration: Fig. 62.--Pauline Duvernay at Covent Garden,
+1833-1838.]
+
+The foundation of the theatrical ballet was, however, at the
+instigation of Mazarin, to prevent a lowering of tone in the
+establishment of the _Académie de Danse_ under thirteen Academicians
+in 1661. This appears to have been merged into the _Académie Royale de
+Musique et de Danse_ in 1669, which provided a proper training for
+débutants, under MM. Perrin and Cambert, whilst Beauchamp, the master
+of the Court ballets, had charge of the dancing. The first
+opera-ballet, the "Pomona" of Perrin and Cambert, was produced in
+1671. To this succeeded many works of Lulli, to whom is attributed the
+increased speed in dance music and dancing, that of the Court ballets
+having been slow and stately.
+
+[Illustration: Fig. 63.--Mlle. Fanny Ellsler. From a lithograph by A.
+Lacaucbie.]
+
+The great production of the period appears to have been the "Triumph
+of Love" in 1681, with twenty scenes and seven hundred performers;
+amongst these were many of the nobility, and some excellent
+_ballerine_, such as Pesaut, Carré, Leclerc, and Lafontaine.
+
+A detailed history of the ballet is, however, impossible here, and we
+must proceed to touch only on salient points. It passed from the
+Court to the theatre about 1680 and had two characteristics, one with
+feminine dancers, the other without.
+
+[Illustration: Fig. 63a.--Dancing satyr playing castanets, by Myron,
+in the Vatican Museum. The action is entirely suggestive of that of
+Fanny Ellsler, and might be evidence of the antiquity of the Spanish
+tradition.]
+
+It is not a little curious that wearing the mask, a revival of the
+antique, was practised in some of these ballets. The history of the
+opera-ballet of those days gives to us many celebrated names of
+musicians, such as Destouches, who gave new "verve" to ballet music,
+and Rameau. Jean Georges Noverre abolished the singing and established
+the five-act ballet on its own footing in 1776. In this it appears he
+had partly the advice of Garrick, whom he met in London. The names of
+the celebrated dancers are numerous, such as Pécourt, Blaudy (who
+taught Mlle. Camargo), Laval, Vestris, Germain, Prevost, Lafontaine,
+and Camargo (fig. 61), of the 18th century; Taglioni, Grisi, Duvernay,
+Cerito, Ellsler, etc., of the 19th century, to those of our own day. A
+fair notice of all of these would be a work in itself.
+
+[Illustration: Fig. 64.--Mlle. Taglioni. From a lithograph of the
+period.]
+
+The introduction of the ballet into England was as late as 1734, when
+the French dancers, Mlle. Sallé, the rival of Mlle. Camargo, and Mlle.
+de Subligny made a great success at Covent Garden in "Ariadne and
+Galatea," and Mlle. Salle danced in her own choregraphic invention of
+"Pygmalion," since which time it has been popular in England, when
+those of the first class can be obtained. There are, however, some
+interesting and romantic circumstances connected with the ballet in
+London in the last century, which it will not be out of place to
+record here. Amongst the dancers of the last century of considerable
+celebrity were two already mentioned, Mlles. Duvernay (fig. 62) and
+Taglioni (fig. 64), whose names are recorded in the classic verse of
+"Ingoldsby."
+
+    "Malibran's dead, Duvernay's fled;
+     Taglioni has not yet arrived in her stead."
+
+[Illustration: Fig. 65.--_Pas de Trois_ by Mlles. Ferraris, Taglioni,
+and Carlotta Grisi.]
+
+Mlle. Duvernay was a Parisian, and commenced her study under Barrez,
+but subsequently was under Vestris and Taglioni, the father of the
+celebrity mentioned in the verse.
+
+[Illustration: Fig. 66.--Mlle. Adeline Genée, 1906. Photo, Ellis and
+Walery.]
+
+Duran hangs over the mantelpiece of the refectory of the presbytery.
+
+[Illustration: Fig. 67.--Mlle. Anna Pavlova, 1910. From a photo by
+Foulsham and Banfield.]
+
+Having made a great Parisian reputation, she came to London in 1833,
+and from that date until 1837 held the town, when she married Mr.
+Stephens Lyne Stephens, M.P., a gentleman of considerable wealth, but
+was left a childless widow in 1861, and retired to her estate at
+Lyneford Hall, Norfolk, living in retirement and spending her time in
+good works. She is said to have spent £100,000 in charities and
+churches, and that at Cambridge, dedicated to the English martyrs, was
+founded, completed, and endowed by her. She led a blameless and
+worthy life, and died in 1894. Her portrait by Mlle. Taglioni (fig.
+64), her co-celebrity, married Count Gilbert de Voisins, a French
+nobleman, in 1847, and with her marriage came an ample fortune;
+unfortunately the bulk of this fortune was lost in the Franco-German
+war. With the courage of her character the Countess returned to London
+and gave lessons in dancing, etc., in which she was sufficiently
+successful to obtain a fair living. She died in 1884 at 80 years of
+age. Of the other celebrities of the period--Carlotta Grisi, Ferraris
+(fig. 65), and Fanny Ellsler (fig. 63)--some illustrations are given;
+besides these were Fanny Cerito, Lucile Grahn, a Dane, and some others
+of lesser notoriety performing in London at this great period of the
+ballet.
+
+[Illustration: Fig. 68.--Mlle. Sophie Fédorova.]
+
+The recent encouragement of the classic ballet has introduced us to
+some exquisite dancers: amongst these are Mlle. Adeline Genée (fig.
+66) and Mlle. Anna Pavlova (fig. 67); the latter, with M. Mordkin and
+a corps of splendid dancers, are from Russia, from whence also comes
+the important troupe now at the Alhambra with Mlle. Geltzer and other
+excellent dancers. The celebrated company at Covent Garden, and Lydia
+Kyasht at the Empire, are also Russian. It is not surprising that we
+get excellent dancing from Russia; the school formed by Peter the
+Great about 1698 has been under State patronage ever since.
+
+Notices of all the important dancers from Italy, Spain, Paris, or
+elsewhere, performing in England in recent years, would occupy
+considerable space, and the reader can easily obtain information
+concerning them elsewhere.
+
+That the technique and speed of the classic dance has considerably
+increased is historically certain, and we must hope that this speed
+will not sacrifice graceful movement. Moreover, technique alone will
+not make the complete fine-artist: some invention is involved.
+Unfortunately, some modern attempts at invention seem crude and
+sensational, whilst lacking the exquisite technique desirable in all
+exhibitions of finished art.
+
+Before concluding it is almost imperative to say something about the
+naked foot dancers, followers of Isidora Duncan. Some critics and a
+certain public have welcomed them; but is it not "sham antique"? It
+does not remind one of the really classic. Moreover, the naked foot
+should be of antique beauty, which in most of these cases it is not.
+Advertisements tell us that these dance are interpretations of classic
+music--Chopin, Weber, Brahms, etc.; they are not really
+interpretations, but distractions! We can hardly imagine that these
+composers intended their work for actual dancing. One can listen and
+be entranced; one sees the dancer's "interpretations" or
+"translations" and the music is degraded to a series of sham classic
+postures.
+
+The idea that running about the stage in diaphanous costumes, with
+conventional mimicry and arm action, is classic or beautiful is a
+mistake; the term aesthetic may cover, but not redeem it. There is not
+even the art of the ordinary ballet-dancer discernible in these
+proceedings.
+
+On another plane are such as the ballets in "Don Giovanni" and
+"Faust." 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 them. This
+opera-ballet is also more in accordance with tradition before the
+time of Noverre.
+
+Neither do the "popular" and curious exhibitions of Loie Fuller strike
+one as having a classic character, or future, of any consideration,
+pretty as they may be.
+
+The operetta or musical comedy has given us some excellent art,
+especially at the end of the 19th century, when Sylvia Gray, Kate
+Vaughan, Letty Lind, Topsy Sinden, and others of like _métier_ gave us
+skirt and drapery dancing.
+
+This introduces us to the question of costume. That commonly used by
+the _prima ballerina_ is certainly not graceful; it was apparently
+introduced about 1830, presumably to show the action and finished
+method of the lower extremities. If Fanny Ellsler and Duvernay could
+excel without this ugly contrivance, why is it necessary for others?
+
+At the same time it is better than indifferent imitations of the
+Greek, or a return to the debased characteristics of Pompeiian art, in
+which the effect of the classic and fine character of the material are
+rendered in a sort of transparent muslin.
+
+With these notices the author's object in this sketch is completed. Of
+the _bal-masqué_ garden dances, public balls and such-like, he has no
+intention to treat; they are not classic dancing nor "art," with the
+exception perhaps of the Scottish reels. Nor is he interested in the
+dancing of savage tribes, nor in that of the East, although some few
+illustrations are given to illustrate traditions: for example, the use
+of the pipe and tabor in Patagonia, the dancer from Japan, winged,
+like that in the "Roman de la Rose" (fig. 40), and the religious dance
+of Tibet, showing the survival of the religious dance in some
+countries. In Mrs. Groves' book on dancing there is an excellent
+chapter on the Ritual dance as now practised, to which the reader can
+refer.
+
+[Illustration: Fig. 69.--Japanese Court Dance.] [Illustration: Fig.
+70.--Indian dancing-girl.]
+
+[Illustration: Fig. 71.--Patagonian dancers to fife and tabor.]
+
+[Illustration: Fig. 72.--Tibetan religious dancing procession, 1908
+A.D.]
+
+
+
+
+BIBLIOGRAPHY.
+
+
+Baron, A. "Lettres et Entretiens sur la Danse." Paris, 1825.
+
+Emmanuel, M. "La Danse grecque antique." 1896.
+
+Ménestrier, Père. "Des Ballets anciens et modernes." 1682.
+
+Bonnet. "Histoire générale de la Danse sacrée et profane." 1723.
+
+Cahusac. "La Danse ancienne et moderne." 1754.
+
+Noverre. "Lettres sur les Ballets." 1760.
+
+Charbonnel, R. "La Danse de Lettres, &c." 1807.
+
+Pougin, A. Dict. Hist, du Théâtre. 1885.
+
+Aulnaye, De l'. "De la Saltation théâtrale." 1789.
+
+Olaus Magnus. Gent. Septentr., Hy., Book III., Chap. VII. See Bourne's
+"Vulgar Antiqs.," p. 175.
+
+Abbeau-Thoinot (Canon Jean Tabourot). "Orchésographie." 1643.
+
+Strutt's "Sports and Pastimes." London, 1801.
+
+Thomson, Chas. and Samuel. Collection of 800 Dances. 4 vols.
+1770-1773.
+
+Playford's "Dancing Master." 2nd ed. 1652.
+
+Wilkinson, Sir G. "Ancient Egyptians." 3 vols. London.
+
+Dennis. "Etruria." 2 vols. London.
+
+Compan. "Dictionnaire de la Danse." 1802.
+
+Blasis, C. "Traité de la Danse." Milan, 1830.
+
+---. "Code of Terpsichore." London, 1823.
+
+Vuillier, G. "La Danse à travers les Ages."
+
+Menil, F. de. "Histoire de la Danse à travers les Ages."
+
+Fonta Laure, Mme. "Notice sur les Danses du xvi. siècle."
+
+Guihelmi. "Hebraie Pisauriensis, _de practica seu arte trepudis, &c._"
+1463. MS. Bib. Nation.
+
+Domini, Johan. "Pisauriensis," ditto. MS. Bib. Nation. 1463.
+
+Caroso, F. "Il Ballarino." 1581.
+
+Cesare Negri. "Nuovo Invenzioni di Balli." 1604.
+
+Vestris, D. "Les Danses autrefois." 1887.
+
+Desrat, G. "Dictionnaire de la Danse." Paris, 1895.
+
+Rameau, P. "Le Maître à danser."
+
+Magny. "Principes de Chorégraphie." Paris, 1765.
+
+---. "Nouveau Guide de la Danse." 1888.
+
+Gawlikowski, P. "Guide complet de la Danse." 1858.
+
+Angiolini. "Discuzzioni sulla dansa pantomima." 1760.
+
+Saint Léon. "De l'etat actuel de la danse." Lisbon, 1856.
+
+Giraudet, E. Traité de la danse, 1890.
+
+---. Nouveau Guide, 1888.
+
+Grove, Mrs. Lilly. "History of Dancing." London, 1890.
+
+Skalkovsky-Pleshcheev. "Nash Balet" (our Ballet). 1899. A History
+of the Russian Ballet, in Russian.
+
+
+
+
+
+End of Project Gutenberg's The Dance (by An Antiquary), by Anonymous
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+
+The Project Gutenberg EBook of The Dance (by An Antiquary), by Anonymous
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Dance (by An Antiquary)
+       Historic Illustrations of Dancing from 3300 B.C. to 1911 A.D.
+
+Author: Anonymous
+
+Release Date: December 12, 2005 [EBook #17289]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE (BY AN ANTIQUARY) ***
+
+
+
+
+Produced by Ben Courtney, Sandy Brown, and the Distributed
+Proofreaders team
+
+
+
+
+
+
+</pre>
+
+<div id="cover" align="center">
+  <table summary="formatted illustrations" border="0" width="100%" cellpadding="0" cellspacing="0">
+    <tr>
+      <td width="50%" align="center"> <a href="images/011_l.jpg" target="_blank"><img border="0" src="images/011.jpg" alt="The G&#283;r&#259;n&#335;s from a vase in the Museo Borbonico, Naples." /></a>
+        <h1> THE DANCE </h1>
+        <h3> <i>Historic Illustrations<br />
+          of Dancing<br />
+          from 3300 B.C. to 1911 A.D.</i> </h3>
+        <h2> BY<br />
+          AN ANTIQUARY </h2>
+        <h6>LONDON<br />
+          JOHN BALE, SONS &amp; DANIELSSON, LTD.<br />
+          83-91, GREAT TITCHFIELD STREET, OXFORD STREET, W</h6>
+        <div align="center" class="smaller"><i>Respectfully dedicated to Dr. Eleanor
+          Maxwell.</i></div>
+        <h2>1911</h2>
+        <a href="images/012_l.jpg" target="_blank"><img border="0" src="images/012.jpg" alt="The G&#283;r&#259;n&#335;s from a vase in the Museo Borbonico, Naples." /></a>
+      </td>
+      <td width="50%" align="center"> <div id ="tableofcontents" class="contents">
+          <div class="chapheader">CONTENTS.</div>
+          <p class="contentslist"> <a id="crp" href="#cp">PREFACE</a> </p>
+          <p class="contentslist"> <a id="cr1" href="#c1">CHAPTER I</a> <br />
+            Egyptian, Assyrian, Hebrew and Phoenician Dancing. </p>
+          <p class="contentslist"> <a id="cr2" href="#c2">CHAPTER II</a> <br />
+            Dancing with the Greeks. </p>
+          <p class="contentslist"> <a id="cr3" href="#c3">CHAPTER III</a> <br />
+            Etruscan-South Italian, Roman Dancing, etc. </p>
+          <p class="contentslist"> <a id="cr4" href="#c4">CHAPTER IV</a> <br />
+            The "Early English" and "Mediaeval" dance to the fourteenth century.
+          </p>
+          <p class="contentslist"> <a id="cr5" href="#c5">CHAPTER V</a> <br />
+            Society dancing from the fifteenth century. </p>
+          <p class="contentslist"> <a id="cr6" href="#c6">CHAPTER VI</a> <br />
+            The Modern Theatre Dance. </p>
+          <p class="contentslist"> <a id="crb" href="#cb">BIBLIOGRAPHY</a> </p>
+          <p class="contentslist"> <a id="cri" href="#ci">LIST OF ILLUSTRATIONS</a>
+          </p>
+        </div></td>
+    </tr>
+  </table>
+</div>
+<div class="chapter" id="cp">
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div class="chapheader">PREFACE.</div>
+  <p> This sketch of the iconography of the dance does not pretend to be a history
+    of the subject, except in the most elementary way. It may be taken as a summary
+    of the history of posture; a complete dance cannot be easily rendered in illustration.
+  </p>
+  <p> The text is of the most elementary description; to go into the subject thoroughly
+    would involve years and volumes. The descriptions of the various historic
+    dances or music are enormous subjects; two authors alone have given 800 dances
+    in four volumes.[<a id="fm_p_1" href="#fn_p_1">1</a>] </p>
+  <p> It would have been interesting if some idea of the orchesography of the
+    Egyptians and Greeks could have been given; this art of describing dances
+    much in the manner that music is written is lost, and the attempts to revive
+    it have been ineffective. The increasing speed of the action since the days
+    of Lulli would now render it almost impossible. </p>
+  <p> It is hoped that this work may be of some use as illustrating the costume,
+    position and accessories of the dance in various periods to those producing
+    entertainments. </p>
+  <p> To the reader desirous of thoroughly studying the subject a bibliography
+    is given at the end. </p>
+  <div class="footnotes" id="cpfoots">
+    <div class="footheader">FOOTNOTES</div>
+    <p> <a id="fn_p_1" href="#fm_p_1"><b>Footnote 1</b></a>: Thompson's complete
+      collection of 200 country dances performed at Court, Bath, Tunbridge, and
+      all public assemblies, with proper figures and directions to each set for
+      the violin, German flute, and hautboy, 8s. 6d. Printed for Charles and Samuel
+      Thompson, St. Paul's Churchyard, London, where may be had the yearly dances
+      and minuets. Four volumes, each 200 dances. 1770-1773. </p>
+  </div>
+</div>
+<h2>Historic Illustrations of Dancing.</h2>
+<div class="chapter" id="c1">
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/001_l.jpg" id="fig1" target="_blank"><img border="0" src="images/001.jpg" alt="Dancing to the clapping of bands. Egyptian, from the tomb of Ur-ari-en-Ptah, 6th Dynasty, about 3300 B.C. (British Museum.)" /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 1</b>: Dancing to the clapping of bands.
+            Egyptian, from the tomb of Ur-ari-en-Ptah, 6th Dynasty, about 3300
+            B.C. (British Museum.)</div></td>
+      </tr>
+    </table>
+  </div>
+  <div class="chapheader">CHAPTER I.</div>
+  <div class="chapdescrip">Egyptian, Assyrian, Hebrew, and Phoenician Dancing.
+    The Ritual Dance of Egypt. Dancing Examples from Tomb of Ur-ari-en-Ptah, 6th
+    Dynasty, British Museum. Description of Dancing from Sir G. Wilkinson; of
+    the Egyptian Pipes and Hieroglyphics of Dancing, &amp;c. Phoenician Round
+    Dances, from a Limestone Group found at Cyprus, and Bronze Patera from Idalium,
+    Cyprus.</div>
+  <p> In this work it is not necessary to worry the reader with speculations as
+    to the origin of dancing. There are other authorities easily accessible who
+    have written upon this theme. </p>
+  <p> Dancing is probably one of the oldest arts. As soon as man was man he without
+    doubt began to gesticulate with face, body, and limbs. How long it took to
+    develop bodily gesticulation into an art no one can guess&#8212;perhaps a millennium.
+  </p>
+  <p> In writing of dancing, one will therefore include those gesticulations or
+    movements of the body suggesting an idea, whether it be the slow movement
+    of marching, or the rapid gallop, even some of the movements that we commonly
+    call acrobatic. It is not intended here to include the more sensual movements
+    of the East and the debased antique. </p>
+  <p> Generally the antique dances were connected with a religious ritual conceived
+    to be acceptable to the Gods. This connection between dancing and religious
+    rites was common up to the 16th century. It still continues in some countries.
+  </p>
+  <p> In some of the earliest designs which have come down to us the dancers moved,
+    as stars, hand in hand round an altar, or person, representing the sun; either
+    in a slow or stately method, or with rapid trained gestures, according to
+    the ritual performed. </p>
+  <p> Dancing, music and poetry were inseparable. Dancing is the poetry of motion,
+    and its connection with music, as the poetry of sound, occurs at all times.
+    In our own day musical themes are marked by forms originally dance times,
+    as waltz time, gavotte time, minuet time, etc. </p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/002_l.jpg" id="fig2" target="_blank"><img border="0" src="images/002.jpg" alt="Greek figures in a solemn dance. From a vase at Berlin." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 2</b>: Greek figures in a solemn dance.
+          From a vase at Berlin.</div></td>
+    </tr>
+  </table>
+  <p> Amongst the earliest representations that are comprehensible, we have certain
+    Egyptian paintings, and some of these exhibit postures that evidently had
+    even then a settled meaning, and were a phrase in the sentences of the art.
+    Not only were they settled at such an early period (B.C. 3000, fig. 1) but
+    they appear to have been accepted and handed down to succeeding generations
+    (fig. 2), and what is remarkable in some countries, even to our own times.
+    The accompanying illustrations from Egypt and Greece exhibit what was evidently
+    a traditional attitude. The hand-in-hand dance is another of these. </p>
+  <p> The earliest accompaniments to dancing appear to have been the clapping
+    of hands, the pipes,[<a id="fm_c1_1" href="#fn_c1_1">1</a>] the guitar, the
+    tambourine, the castanets, the cymbals, the tambour, and sometimes in the
+    street, the drum. </p>
+  <p> The following account of Egyptian dancing is from Sir Gardiner Wilkinson's
+    "Ancient Egypt"[<a id="fm_c1_2" href="#fn_c1_2">2</a>]:&#8212;</p>
+  <div class="verse">
+    <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+      <tr>
+        <td align="center"> <a href="images/003_l.jpg" id="fig3" target="_blank"><img border="0" src="images/003.jpg" alt="The hieroglyphics describe the dance." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 3</b>: The hieroglyphics describe the
+            dance.</div></td>
+      </tr>
+    </table>
+    <p>"The dance consisted mostly of a succession of figures, in which the performers
+      endeavoured to exhibit a great variety of gesture. Men and women danced
+      at the same time, or in separate parties, but the latter were generally
+      preferred for their superior grace and elegance. Some danced to slow airs,
+      adapted to the style of their movement; the attitudes they assumed frequently
+      partook of a grace not unworthy of the Greeks; and some credit is due to
+      the skill of the artist who represented the subject, which excites additional
+      interest from its being in one of the oldest tombs of Thebes (B.C. 1450,
+      Amenophis II.). Others preferred a lively step, regulated by an appropriate
+      tune; and men sometimes danced with great spirit, bounding from the ground,
+      more in the manner of Europeans than of Eastern people. On these occasions
+      the music was not always composed of many instruments, and here we find
+      only the cylindrical maces and a woman snapping her fingers in the time,
+      in lieu of cymbals or castanets. </p>
+    <p> "Graceful attitudes and gesticulations were the general style of their
+      dance, but, as in all other countries, the taste of the performance varied
+      according to the rank of the person by whom they were employed, or their
+      own skill, and the dance at the house of a priest differed from that among
+      the uncouth peasantry, etc. </p>
+    <p> "It was not customary for the upper orders of Egyptians to indulge in
+      this amusement, either in public or private assemblies, and none appear
+      to have practised it but the lower ranks of society, and those who gained
+      their livelihood by attending festive meetings. </p>
+    <p> "Fearing lest it should corrupt the manners of a people naturally lively
+      and fond of gaiety, and deeming it neither a necessary part of education
+      nor becoming a person of sober habits, the Egyptians forbade those of the
+      higher classes to learn it as an amusement. </p>
+    <p>"Many of these postures resembled those of the modern ballet, and the pirouette
+      delighted an Egyptian party 3,500 years ago. </p>
+    <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+      <tr>
+        <td align="center"> <a href="images/004_l.jpg" id="fig4" target="_blank"><img border="0" src="images/004.jpg" alt="Egyptian hieroglyphic for 'dance.'" /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 4</b>: Egyptian hieroglyphic for "dance."</div></td>
+      </tr>
+    </table>
+    <p>"The dresses of the females were light and of the finest texture, a loose
+      flowing robe reaching to the ankles, sometimes with a girdle. </p>
+    <p> "In later times, it appears more transparent and folded in narrow pleats.[<a id="fm_c1_3" href="#fn_c1_3">3</a>]
+      Some danced in pairs, holding each other's hand; others went through a succession
+      of steps alone, both men and women; sometimes a man performed a solo to
+      the sound of music or the clapping of hands. </p>
+    <p> "A favourite figure dance was universally adopted throughout the country,
+      in which two partners, who were usually men, advanced toward each other,
+      or stood face to face upon one leg, and having performed a series of movements,
+      retired again in opposite directions, continuing to hold by one hand and
+      concluding by turning each other round (see fig. 3). That the attitude was
+      very common is proved by its having been adopted by the hieroglyphic (fig.
+      4) as the mode of describing 'dance.'" </p>
+  </div>
+  <p> Many of the positions of the dance illustrated in Gardner Wilkinson are
+    used at the present day. </p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/005_l.jpg" id="fig5" target="_blank"><img border="0" src="images/005.jpg" alt="Cyprian limestone group of Phoenician dancers, about 6&frac12; in. high. There is a somewhat similar group, also from Cyprus, in the British Museum. The dress, a hooded cowl, appears to be of great antiquity." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 5</b>: Cyprian limestone group of Phoenician
+          dancers, about 6&frac12; in. high. There is a somewhat similar group,
+          also from Cyprus, in the British Museum. The dress, a hooded cowl, appears
+          to be of great antiquity.</div></td>
+    </tr>
+  </table>
+  <p>The ASSYRIANS probably danced as much as the other nations, but amongst the
+    many monuments that have been discovered there is little dancing shown, and
+    they were evidently more proud of their campaigns and their hunting than of
+    their dancing. A stern and strong people, although they undoubtedly had this
+    amusement, we know little about it. Of the Phoenicians, their neighbours,
+    we have some illustrations of their dance, which was apparently of a serious
+    nature, judging by the examples which we possess, such as that (fig. 5) from
+    Cyprus representing three figures in hooded cowls dancing around a piper.
+    It is a dance around a centre, as is also (fig. 6) that from Idalium in Cyprus.
+    The latter is engraved around a bronze bowl and is evidently a planet and
+    sun dance before a goddess, in a temple; the sun being the central object
+    around which they dance, accompanied by the double pipes, the harp, and tabour.
+    The Egyptian origin of the devotion is apparent in the details, especially
+    in the lotus-smelling goddess (marked A on fig. 6) who holds the flower in
+    the manner shown in an Egyptian painting in the British Museum (fig. 7). </p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/006_l.jpg" id="fig6" target="_blank"><img border="0" src="images/006.jpg" alt="Phoenician patera, from Idalium, showing a religious ritual dance before a goddess in a temple round a sun emblem." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 6</b>: Phoenician patera, from Idalium,
+          showing a religious ritual dance before a goddess in a temple round
+          a sun emblem.</div></td>
+    </tr>
+  </table>
+  <p>From the Phoenicians we have illustrated examples, but no record, whereas
+    from their neighbours the Hebrews we have ample records in the Scriptures,
+    but no illustrations. It is, however, most probable that the dance with them
+    had the traditional character of the nations around them or who had held them
+    captive, and the Philistine dance (fig. 6) may have been of the same kind
+    as that around the golden calf (Apis) of the desert (Exodus xxxii. v. 19).
+  </p>
+  <p> When they passed the Red Sea, Miriam and the maidens danced in chorus with
+    singing and the beating of the timbrel (tambour). (Exodus xv. v. 1.)</p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/007_l.jpg" id="fig7" target="_blank"><img border="0" src="images/007.jpg" alt="Female figure smelling a lotus. From a painting in the British Museum." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 7</b>: Female figure smelling a lotus.
+          From a painting in the British Museum.</div></td>
+    </tr>
+  </table>
+  <p> King David not only danced before the ark (2 Samuel vi. v. 16), but mentions
+    dancing in the 149th and 150th Psalm. Certain historians also tell us that
+    they had dancing in their ritual of the seasons. Their dancing seems to have
+    been associated with joy, as we read of "a time to mourn and a time to dance";
+    we find (Eccles. iii. v. 4) they had also the pipes: "We have piped to you
+    and you have not danced" (Matthew xi. v. 17). These dances were evidently
+    executed by the peoples themselves, and not by public performers. </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/008_l.jpg" id="fig8" target="_blank"><img border="0" src="images/008.jpg" alt="Dance of Bacchantes, painted by the ceramic painter, Hieron. (British Museum.)" /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 8</b>: Dance of Bacchantes, painted by
+            the ceramic painter, Hieron. (British Museum.)</div></td>
+      </tr>
+    </table>
+  </div>
+  <div class="footnotes" id="c1foots">
+    <div class="footheader">FOOTNOTES</div>
+    <p> <a id="fn_c1_1" href="#fm_c1_1"><b>Footnote 1</b></a>: Egyptian music
+      appears to have been of a complicated character and the double pipe or flutes
+      were probably reeded, as with our clarionet. The left pipe had few stops
+      and served as a sort of hautboy; the right had many stops and was higher.
+      The single pipe, (a) "The recorder" in the British Museum, is a treble of
+      10-1/2 in. and is pentaphonic, like the Scotch scale; the tenor (b) is 8-3/4
+      in. long and its present pitch&#8212;</p>
+    <div align="center"> <a href="images/notes_l.jpg" target="_blank"><img src="images/notes.jpg" alt="Tablature" border="0" /></a></div>
+    <p> <a id="fn_c1_2" href="#fm_c1_2"><b>Footnote 2</b></a>: Vol. i., p. 503-8.
+    </p>
+    <p> <a id="fn_c1_3" href="#fm_c1_3"><b>Footnote 3</b></a>: There is a picture
+      of an Egyptian gauffering machine in Wilkinson, vol. i., p. 185. </p>
+  </div>
+</div>
+<div class="chapter" id="c2">
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div class="chapheader">CHAPTER II.</div>
+  <div class="chapdescrip">Greek Dancing. Bacchanalian Dance, by the Ceramic Painter
+    Hieron. Description of some Greek Dances, the G&#283;r&#259;n&#335;s,
+    the Corybantium, the Hormos, &amp;c. Dancing Bacchante from a Vase and
+    from Terra Cotta. The Hand-in-hand, and Panathenaeac Dance from Ceramic Ware.
+    Military Dance from Sculpture in Vatican, Greek Dancer with Castanets. Illustration
+    of Cymbals and Pipes from the British Museum. The Chorus. Greek Dancers and
+    Tumblers.</div>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/009_l.jpg" id="fig9" target="_blank"><img border="0" src="images/009.jpg" alt="Dancing Bacchante. From a vase in the British Museum." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 9</b>: Dancing Bacchante. From a vase in
+          the British Museum.</div></td>
+    </tr>
+  </table>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/010_l.jpg" id="fig10" target="_blank"><img border="0" src="images/010.jpg" alt="Greek terra cotta dancing girl, about 350 B.C. (British Museum.)" /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 10</b>: Greek terra cotta dancing girl,
+          about 350 B.C. (British Museum.)</div></td>
+    </tr>
+  </table>
+  <p>With the Greeks, dancing certainly was primarily part of a religious rite;
+    with music it formed the lyric art. The term, however, with them included
+    all those actions of the body and limbs, and all expressions and actions of
+    the features and head which suggest ideas; marching, acrobatic performances,
+    and mimetic action all came into the term. </p>
+  <p>According to the historians, the Greeks attributed dancing to their deities:
+    Homer makes Apollo <i>orchestes</i>, or the dancer; and amongst the early
+    dances is that in his honour called the <i>Hyporchema</i>. Their dances may
+    be divided into sections somewhat thus: (1) those of a religious species,
+    (2) those of a gymnastic nature, (3) those of a mimetic character, (4) those
+    of the theatre, such as the chorus, (5) those partly social, partly religious
+    dances, such as the hymeneal, and (6) chamber dances. </p>
+  <p> Grown up men and women did not dance together, but the youth of both sexes
+    joined in the <i>Horm&#335;s</i> or chain dance and the <i>G&#283;r&#259;n&#335;s</i>,
+    or crane (see fig. 11). </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/011_l.jpg" id="fig11" target="_blank"><img border="0" src="images/011.jpg" alt="The G&#283;r&#259;n&#335;s from a vase in the Museo Borbonico, Naples." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 11</b>: The G&#283;r&#259;n&#335;s
+            from a vase in the Museo Borbonico, Naples.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p>According to some authorities, one of the most primitive of the first class,
+    attributed to Phrygian origin, was the <i>Aloenes</i>, danced to the Phrygian
+    flute by the priests of Cybele in honour of her daughter Ceres. The dances
+    ultimately celebrated in her cult were numerous: such as the <i>Anthema</i>,
+    the <i>Bookolos</i>, the <i>Epicredros</i>, and many others, some rustic for
+    labourers, others of shepherds, etc. Every locality seems to have had a dance
+    of its own. Dances in honour of Venus were common, she was the patroness of
+    proper and decent dancing; on the contrary, those in honour of Dionysius or
+    Bacchus degenerated into revelry and obscenity. The <i>Epilenios</i> danced
+    when the grapes were pressed, and imitated the gathering and pressing. The
+    <i>Anteisterios</i> danced when the wine was vatted (figs. 8, 9, 10), and
+    the <i>Bahilicos</i>, danced to the sistrus, cymbals, and tambour, often degenerated
+    into orgies. </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/012_l.jpg" id="fig12" target="_blank"><img border="0" src="images/012.jpg" alt="Panathenaeac dance, about the 4th century B.C." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 12</b>: Panathenaeac dance, about the
+            4th century B.C.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p> The <i>G&#283;r&#259;n&#335;s</i>, originally from Delos, is
+    said to have been originated by Theseus in memory of his escape from the labyrinth
+    of Crete (fig. 12). It was a hand-in-hand dance alternately of males and females.
+    The dance was led by the representative of Theseus playing the lyre. </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/013_l.jpg" id="fig13" target="_blank"><img border="0" src="images/013.jpg" alt="A military dance, supposed to be the Corybantum. From a Greek bas-relief in the Vatican Museum." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 13</b>: A military dance, supposed to
+            be the <i>Corybantum</i>. From a Greek bas-relief in the Vatican Museum.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p>Of the second class, the gymnastic, the most important were military dances,
+    the invention of which was attributed to Minerva; of these the <i>Corybantum</i>
+    was the most remarkable. It was of Phrygian origin and of a mixed religious,
+    military, and mimetic character; the performers were armed, and bounded about,
+    springing and clashing their arms and shields to imitate the Corybantes endeavouring
+    to stifle the cries of the infant Zeus, in Crete. The Pyrrhic (fig. 13), a
+    war dance of Doric origin, was a rapid dance to the double flute, and made
+    to resemble an action in battle; the <i>Hoplites</i> of Homer is thought to
+    have been of this kind. The Dorians were very partial to this dance and considered
+    their success in battle due to the celerity and training of the dance. In
+    subsequent periods it was imitated by female dancers and as a <i>pas seul</i>.
+    It was also performed in the Panathenaea by Ephebi at the expense of the Choragus,
+    but this was probably only a mimetic performance and not warlike. </p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/014_l.jpg" id="fig14" target="_blank"><img border="0" src="images/014.jpg" alt="Greek dancer with castanets. (British Museum.) See also Castanet dance by Myron, fig. 63a." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 14</b>: Greek dancer with castanets. (British
+          Museum.) See also Castanet dance by Myron, fig. 63a.</div></td>
+    </tr>
+  </table>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/015_l.jpg" id="fig15" target="_blank"><img border="0" src="images/015.jpg" alt="Cymbals (about 4 in.) and double flute. (British Museum.)" /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 15</b>: Cymbals (about 4 in.) and double
+          flute. (British Museum.)</div></td>
+    </tr>
+  </table>
+  <p> There were many other heroic military dances in honour of Hercules, Theseus,
+    etc. </p>
+  <p> The chorus, composed of singers and dancers, formed part of the drama, which
+    included the recitation of some poetic composition, and included gesticulative
+    and mimetic action as well as dancing and singing. The Dorians were especially
+    fond of this; their poetry was generally choral, and the Doric forms were
+    preserved by the Athenians in the choral compositions of their drama. </p>
+  <p> The tragic dance, <i>Emmelia</i>, was solemn; whilst that in comedy, <i>Cordax</i>,
+    was frivolous, and the <i>siccinis</i>, or dance of Satyrs, was often obscene.
+    They danced to the music of the pipes, the tambour, the harp, castanets, cymbals,
+    etc. (figs. 14, 15, 16). </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/016_l.jpg" id="fig16" target="_blank"><img border="0" src="images/016.jpg" alt="Greek dancers. From a vase in the Hamilton Collection." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 16</b>: Greek dancers. From a vase in
+            the Hamilton Collection.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p> In the rites of Dionysius the chorus was fifty and the cithara was used
+    instead of the flute. From the time of Sophocles it was fifteen, and always
+    had a professed trainer. The choric question is, however, a subject in itself,
+    and cannot be fairly dealt with here. </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+            <tr>
+              <td align="center"> <a href="images/017_l.jpg" id="fig17" target="_blank"><img border="0" src="images/017.jpg" alt="Bacchanalian dancer. Vase from Nocera, Museum. Naples." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 17</b>: Bacchanalian dancer. Vase
+                  from Nocera, Museum, Naples.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+            <tr>
+              <td align="center"> <a href="images/018_l.jpg" id="fig18" target="_blank"><img border="0" src="images/018.jpg" alt="Greek dancers and tumblers." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 18</b>: Greek dancers and tumblers.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <p>The social dances, and those in honour of the seasons, fire and water, were
+    numerous and generally local; whilst the chamber dances, professional dancing,
+    the throwing of the <i>Kotabos</i>, and such-like, must be left to the reader's
+    further study of the authors mentioned in the bibliography at the end of the
+    work. </p>
+  <p> It may astonish the reader to know that the funambulist or rope-dancer was
+    very expert with the Greeks, as also was the acrobat between knives and swords.
+    Animals were also taught to dance on ropes, even elephants. </p>
+  <p> The important religious and other dances were not generally composed of
+    professionals. The greatest men were not above showing their sentiments by
+    dancing. Sophocles danced after Salamis, and Epaminondas was an expert dancer.
+    There were dancers of all grades, from the distinguished to the moderate.
+    Distinguished persons even married into excellent positions, if they did not
+    already occupy them by birth. Philip of Macedon married Larissa, a dancer,
+    and the dancer Aristodemus was ambassador to his Court. These dancers must
+    not be confounded with those hired to dance at feasts, etc. (figs. 9, 14 and
+    18). </p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/019_l.jpg" id="fig19" target="_blank"><img border="0" src="images/019.jpg" alt="Etruscan bronze dancer with eyes of diamonds, found at Verona. Now in the British Museum." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 19</b>: Etruscan bronze dancer with eyes
+          of diamonds, found at Verona. Now in the British Museum.</div></td>
+    </tr>
+  </table>
+</div>
+<div class="chapter" id="c3">
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div class="chapheader">CHAPTER III.</div>
+  <div class="chapdescrip">Etruscan, South Italian and Roman Dancing. Illustrations
+    from the Grotta dei Vasi, the Grotta della Scimia, and the Grotta del Triclinio,
+    Corneto. Funeral Dances from Albanella, Capua, &amp;c. Pompeii and the Baths
+    of Constantino. The Dances of the Etruscans and South Italians. The Roman,
+    Dance of the Salii. The Bellicrepa. The social position of Dancing. The Chorus.
+  </div>
+  <p> One of the most important nations of antiquity was the Etruscan, inhabiting,
+    according to some authorities, a dominion from Lombardy to the Alps, and from
+    the Mediterranean to the Adriatic. </p>
+  <p> Etruria gave a dynasty to Rome in Servius Tullius, who originally was Masterna,
+    an Etruscan. </p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/020_l.jpg" id="fig20" target="_blank"><img border="0" src="images/020.jpg" alt="Etruscan dancer. From a painting in the Grotta dei Vasi dipinti--Corneto." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 20</b>: Etruscan dancer. From a painting
+          in the Grotta dei Vasi dipinti&#8212;Corneto.</div></td>
+    </tr>
+  </table>
+  <p> It is, however, with the dancing that we are dealing. There is little doubt
+    that they were dancers in every sense; there are many ancient sepulchres in
+    Etruria, with dancing painted on their walls. Other description than that
+    of the pictures we do not possess, for as yet the language is a dead letter.
+    There is no doubt, as Gerhardt [<a id="fm_c3_1" href="#fn_c3_1">1</a>] suggests,
+    that they considered dancing as one of the emblems of joy in a future state,
+    and that the dead were received with dancing and music in their new home.
+    They danced to the music of the pipes, the lyre, the castanets of wood, steel,
+    or brass, as is shown in the illustrations taken from the monuments. </p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/021_l.jpg" id="fig21" target="_blank"><img border="0" src="images/021.jpg" alt="Etruscan dancing and performances. From paintings in the Grotta della Scimia Corneto, about 500 B.C." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 21</b>: Etruscan dancing and performances.
+          From paintings in the Grotta della Scimia Corneto, about 500 B.C.</div></td>
+    </tr>
+  </table>
+  <p> That the Phoenicians and Greeks had at certain times immense influence on
+    the Etruscans is evident from their relics which we possess (fig. 20). </p>
+  <p> A characteristic illustration of the dancer is from a painting in the tomb
+    of the <i>Vasi dipinti</i>, Corneto, which, according to Mr. Dennis, [<a id="fm_c3_2" href="#fn_c3_2">2</a>]
+    belongs to the archaic period, and is perhaps as early as 600 B.C. It exhibits
+    a stronger Greek influence than some of the paintings. Fig. 21, showing a
+    military dance to pipes, with other sports, comes from the <i>Grotta della
+    Scimia</i>, also at Corneto; these show a more purely Etruscan character.</p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/022_l.jpg" id="fig22" target="_blank"><img border="0" src="images/022.jpg" alt="Etruscan Dancing. From the Grotta del Triclinio.--Corneto." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 22</b>: Etruscan Dancing. From the Grotta
+          del Triclinio.&#8212;Corneto.</div></td>
+    </tr>
+  </table>
+  <p>The pretty dancing scene from the <i>Grotta del Triclinio</i> at Corneto
+    is taken from a full-sized copy in the British Museum, and is of the greatest
+    interest. It is considered to be of the Greco-Etruscan period, and later than
+    the previous examples (fig. 22). </p>
+  <p> There is a peculiarity in the attitude of the hands, and of the fingers
+    being kept flat and close together; it is not a little curious that the modern
+    Japanese dance, as exhibited by Mme. Sadi Yacca, has this peculiarity, whether
+    the result of ancient tradition or of modern revival, the writer cannot say.
+  </p>
+  <p> Almost as interesting as the Etruscan are the illustrations of dancing found
+    in the painted tombs of the Campagna and Southern Italy, once part of "Magna
+    Grecia"; the figure of a funeral dance, with the double pipe accompaniments,
+    from a painted tomb near Albanella (fig. 23) may be as late as 300 B.C., and
+    those in figs. 24, 25 from a tomb near Capua are probably of about the same
+    period. These Samnite dances appear essentially different from the Etruscan;
+    although both Greek and Etruscan influence are very evident, they are more
+    solemn and stately. This may, however, arise from a different national custom.
+  </p>
+  <p> That the Etruscan, Sabellian, Oscan, Samnite, and other national dances
+    of the country had some influence on the art in Rome is highly probable, but
+    the paucity of early Roman examples renders the evidence difficult. </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/023_l.jpg" id="fig23" target="_blank"><img border="0" src="images/023.jpg" alt="Funeral dance in the obsequies of a female. From a painted tomb near Albanella." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 23</b>: Funeral dance in the obsequies
+            of a female. From a painted tomb near Albanella.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p> Rome as a conquering imperial power represented nearly the whole world of
+    its day, and its dances accordingly were most numerous. Amongst the illustrations
+    already given we have many that were preserved in Rome. In the beginning of
+    its existence as a power only religious dances were practised, and many of
+    these were of Etruscan origin, such as the Lupercalia, the Ambarvalia, &amp;c.
+    In the former the dancers were demi-nude, and probably originally shepherds;
+    the latter was a serious dancing procession through fields and villages. </p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/024_l.jpg" id="fig24" target="_blank"><img border="0" src="images/024.jpg" alt="Funeral dance. From Capua." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 24</b>: Funeral dance. From Capua.</div></td>
+    </tr>
+  </table>
+  <p> A great dance of a severe kind was executed by the Salii, priests of Mars,
+    an ecclesiastical corporation of twelve chosen patricians. In their procession
+    and dance, on March 1, and succeeding days, carrying the Ancilia, they sang
+    songs and hymns, and afterwards retired to a great banquet in the Temple of
+    Mars. 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
+    letters. There were also an order of female Salii. Another military dance
+    was the <i>Saltatio bellicrepa</i>, said to have been instituted by Romulus
+    in commemoration of the Rape of the Sabines. </p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/025_l.jpg" id="fig25" target="_blank"><img border="0" src="images/025.jpg" alt="Funeral dance from the same tomb." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 25</b>: Funeral dance from the same tomb.</div></td>
+    </tr>
+  </table>
+  <p>The Pyrrhic dance (fig. 13) was also introduced into Rome by Julius Caesar,
+    and was danced by the children of the leading men of Asia and Bithynia. </p>
+  <p> As, however, the State increased in power by conquest, it absorbed with
+    other countries other habits, and the art degenerated often, like that of
+    Greece and Etruria, into a vehicle for orgies, when they brought to Rome with
+    their Asiatic captives even more licentious practices and dances. </p>
+  <p> As Rome, which never rose to the intellectual and imaginative state of Greece
+    in her best period, represented wealth, commerce, and conquest, in a greater
+    degree, so were her arts, and with these the lyric. In her best state her
+    nobles danced, Appius Claudius excelled, and Sallust tells us that Sempronia
+    "psaltere saltare elegantius"; so that in those days ladies played and danced,
+    but no Roman citizen danced except in the religious dances. They carried mimetic
+    dances to a very perfect character in the time of Augustus under the term
+    of <i>Musica muta</i>. After the second Punic war, as Greek habits made their
+    way into Italy, it became a fashion for the young to learn to dance. The education
+    in dancing and gesture were important in the actor, as masks prevented any
+    display of feature. The position of the actor was never recognized professionally,
+    and was considered <i>infamia</i>. But the change came, which caused Cicero
+    to say "no one danced when sober." Eventually the performers of lower class
+    occupied the dancing platform, and Herculaneum and Pompeii have shown us the
+    results. </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/026_l.jpg" id="fig26" target="_blank"><img border="0" src="images/026.jpg" alt="Bacchante leading the Dionysian bull to the altar. Bas-relief in the Vatican." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 26</b>: Bacchante leading the Dionysian
+            bull to the altar. Bas-relief in the Vatican.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p> In the theatre the method of the Roman chorus differed from that of the
+    Greeks. In the latter the orchestra or place for the dancing and chorus was
+    about 12 ft. below the stage, with steps to ascend when these were required;
+    in the former the chorus was not used in comedy, and having no orchestra was
+    in tragedies placed upon the stage. The getting together of the chorus was
+    a public service, or liturgia, and in the early days of Grecian prosperity
+    was provided by the choregus. </p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/027_l.jpg" id="fig27" target="_blank"><img border="0" src="images/027.jpg" alt="Bacchante. From a fresco, Pompeii, 1st century B.C." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 27</b>: Bacchante. From a fresco, Pompeii,
+          1st century B.C.</div></td>
+    </tr>
+  </table>
+  <p>Tiberius by a decree abolished the Saturnalia, and exiled the dancing teachers,
+    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 licence.
+  </p>
+  <p>Perhaps the encouragement of the more brutal combats of the Coliseum did
+    something to suppress the more delicate arts, but historians have told us,
+    and it is common knowledge, what became of the great Empire, and the lyric
+    with other arts were destroyed by licentious preferences. </p>
+  <br />
+  <br />
+  <br />
+  <div align="center"> <a href="images/chapdec1_l.jpg"><img src="images/chapdec1.jpg" border="0" alt="chapterfooter" /></a>
+  </div>
+  <div class="footnotes" id="c3foots">
+    <div class="footheader">FOOTNOTES</div>
+    <p> <a id="fn_c3_1" href="#fm_c3_1"><b>Footnote 1</b></a>: "Ann. Institut.":
+      1831, p. 321. </p>
+    <p> <a id="fn_c3_2" href="#fm_c3_2"><b>Footnote 2</b></a>:"Etruria," vol.
+      i., p. 380. </p>
+  </div>
+</div>
+<div class="chapter" id="c4">
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/028_l.jpg" id="fig28" target="_blank"><img border="0" src="images/028.jpg" alt="Dancer. From a fresco in the Baths of Constantine, 4th century A.D." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 28</b>: Dancer. From a fresco in the Baths
+          of Constantine, 4th century A.D.</div></td>
+    </tr>
+  </table>
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div class="chapheader">CHAPTER IV.</div>
+  <div class="chapdescrip">Early English and Mediaeval Dancing to the 14th Century.
+    Dancing in Churches and Religious Dancing. The Gleemen's Dance. Military Dances.
+    The Hornpipe. Tumbling and Jest Dances. Illustrations of Gleemen's Dance,
+    Hornpipe, Sword Dances, Tumbling and Various Comic Dances.</div>
+  <p> The last illustration from the Baths of Constantine brought us into the
+    Christian era, although that example was not of Christian sentiment or art.
+    It is possible that the dance of Salome with its diabolical reward may have
+    prejudiced the Apostolic era, for we find no example of dancing, as exhibiting
+    joy, in Christian Art of that period. The dance before Herod is historical
+    proof that the higher classes of Hebrews danced for amusement. </p>
+  <p> As soon, however, as Christianity became enthroned, and a settled society,
+    we read of religious dances as exhibiting joy, even in the churches. Tertullian
+    tells us that they danced to the singing of hymns and canticles. These dances
+    were solemn and graceful to the old tones; and continued, notwithstanding
+    many prohibitions such as those of Pope Zacharias (a Syrian) in A.D. 744.
+    The dancing at Easter in the Cathedral at Paris was prohibited by Archbishop
+    Odo in the 12th century, but notwithstanding the antagonism of the Fathers,
+    the dances were only partially suppressed. </p>
+  <p> They were common on religious festivals in Spain and Portugal up to the
+    seventeenth century and in some localities continue even to our own time.
+    When S. Charles Borromeo was canonized in 1610, the Portuguese, who had him
+    as patron, made a procession of four chariots of dancers; one to Renown, another
+    to the City of Milan, one to represent Portugal and a fourth to represent
+    the Church. In Seville at certain periods, and in the Balearic Isles, they
+    still dance in religious ceremonies. </p>
+  <p> We know that religious dancing has continually been performed as an accessory
+    to prayer, and is still so used by the Mahommedans, the American Indians and
+    the Bedos of India, who dance into an ecstasy. </p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/029_l.jpg" id="fig29" target="_blank"><img border="0" src="images/029.jpg" alt="Gleemen's dance, 9th century. From Cleopatra, Cotton MS. C. viii., British Museum." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 29</b>: Gleemen's dance, 9th century. From
+          Cleopatra, Cotton MS. C. viii., British Museum.</div></td>
+    </tr>
+  </table>
+  <p> It is probable that this sort of mania marked the dancing in Europe which
+    was suppressed by Pope and Bishop. This <i>choreomania</i> marked a Flemish
+    sect in 1374 who danced in honour of St. John, and it was so furious that
+    the disease called St. Vitus' dance takes its name from this performance.
+  </p>
+  <p> Christmas carols were originally choric. The performers danced and sang
+    in a circle. </p>
+  <p> The illustration (fig. 43) of a dance of angels and religious shows us that
+    Fra Angelico thought the practice joyful; this dance is almost a counterpart
+    of that amongst the Greeks (fig. 11). The other dance, by Sandro Botticelli
+    (fig. 44), is taken from his celebrated "Nativity" in the National Gallery.
+    Although we have records of performances in churches, no illustrations of
+    an early date have come to the knowledge of the writer. </p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/030_l.jpg" id="fig30" target="_blank"><img border="0" src="images/030.jpg" alt="Dancing to horn and pipe. From an Anglo-Saxon MS." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 30</b>: Dancing to horn and pipe. From
+          an Anglo-Saxon MS.</div></td>
+    </tr>
+  </table>
+  <p> That the original inhabitants of Britain danced&#8212;that the Picts, Danes,
+    Saxons and Romans danced may be taken for granted, but there seems little
+    doubt that our earliest illustrations of dancing were of the Roman tradition.
+    We find the attitude, the instruments and the clapping of hands, all of the
+    same undoubted classic character. Tacitus informs us that the Teutonic youths
+    danced, with swords and spears, and Olaus Magnus that the Goths, &amp;c.,
+    had military dances: still the military dances in English MSS. (figs. 31,
+    32) seem more like those of a Pyrrhic character, which Julius Caesar, the
+    conqueror of England, introduced into Rome. The illustration (fig. 29) of
+    what is probably a Saxon gleemen's dance shows us the kind of amusement they
+    afforded and how they followed classic usages. </p>
+  <div align="center">
+    <table summary="formatted illustrations" border="0" cellspacing="4" class="illtable">
+      <tr>
+        <td align="center"> <a href="images/031_l.jpg" id="fig31" target="_blank"><img border="0" src="images/031.jpg" alt="Anglo-Saxon sword dance. From the MS. Cleopatra, C. viii., British Museum." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 31</b>: Anglo-Saxon sword dance. From
+            the MS. Cleopatra, C. viii., British Museum.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p> The gleemen were reciters, singers and dancers; and the lower orders were
+    tumblers, sleight-of-hand men and general entertainers. What may have been
+    the origin of our hornpipe is illustrated in fig. 30, where the figures dance
+    to the sound of the horn in much the same attitudes as in the modern hornpipe,
+    with a curious resemblance to the position in some Muscovite dances. </p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/032_l.jpg" id="fig32" target="_blank"><img border="0" src="images/032.jpg" alt="Sword dance to bagpipes, 14th century. From 2 B vii., Royal MS., British Museum." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 32</b>: Sword dance to bagpipes, 14th century.
+          From 2 B vii., Royal MS., British Museum.</div></td>
+    </tr>
+  </table>
+  <p> The Norman minstrel, successor of the gleeman, used the double-pipe, the
+    harp, the viol, trumpets, the horn and a small flat drum, and it is not unlikely
+    that from Sicily and their South Italian possessions the Normans introduced
+    classic ideas. </p>
+  <p> Piers the Plowman used words of Norman extraction for them, as he speaks
+    of their "Saylen and Saut&eacute;." </p>
+  <p> The minstrel and harpist does not appear to have danced very much, but to
+    have left this to the joculator, and dancing and tumbling and even acrobatic
+    women and dancers appear to have become common before the time of Chaucer's
+    "Tomblesteres." </p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/033_l.jpg" id="fig33" target="_blank"><img border="0" src="images/033.jpg" alt="Herodias tumbling. From a MS. end of 13th century (Addl. 18,719, f. 253b), British Museum." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 33</b>: Herodias tumbling. From a MS. end
+          of 13th century (Addl. 18,719, f. 253b), British Museum.</div></td>
+    </tr>
+  </table>
+  <p> That this tumbling and dancing was common in the thirteenth century is shown
+    by the illustration from the sculpture at Rouen Cathedral (fig. 34), the illustrations
+    from a MS. in the British Museum (fig. 33) of Herodias tumbling and of a design
+    in glass in Lincoln, and other instances at Ely; Idsworth Church, Hants; Ponc&eacute;,
+    France, and elsewhere. It is suggested that the camp followers of the Crusaders
+    brought back certain dances and amongst these some of an acrobatic nature,
+    and many that were reprehensible, which brought down the anger of the Clergy.
+  </p>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/034_l.jpg" id="fig34" target="_blank"><img border="0" src="images/034.jpg" alt="A tumbler, as caryatid. Rouen Cathedral, 13th century." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 34</b>: A tumbler, as caryatid. Rouen Cathedral,
+          13th century.</div></td>
+    </tr>
+  </table>
+  <p> In the fourteenth century, from a celebrated MS. (2 B. vii.) in the British
+    Museum and other cognate sources we get a fair insight of the amusement afforded
+    by these dancers and joculators. In the illustration (fig. 35) we get A and
+    C tumblers, male and female; D, a woman and bear dance; and E, a dance of
+    fools to the organ and bagpipe. It will be observed that they have bells on
+    their caps, and it must have required much skill and practice to sound their
+    various toned bells to the music as they danced. This dance of fools may have
+    suggested or became eventually merged into the "Morris Dance" (fig. 50) of
+    which some account with other illustrations of "Comic Dances" will be given
+    hereafter. The man dancing and playing the pipes with a woman on his shoulder
+    (fig. 36), the stilt dancer with a curious instrument (C), and the woman jumping
+    through a hoop, give us other illustrations of fourteenth century amusements.
+  </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="0" cellpadding="0">
+      <tr>
+        <td><table summary="formatted illustrations" border="0" cellspacing="4" class="illtable">
+            <tr>
+              <td align="center"> <a href="images/035_l.jpg" id="fig35" target="_blank"><img border="0" src="images/035.jpg" alt="14th century dancers. A and C are tumblers; B, tumbling and balancing to the tambour; D, a woman dancing around a whipped bear; E, jesters dancing." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 35</b>: 14th century dancers. A
+                  and C are tumblers; B, tumbling and balancing to the tambour;
+                  D, a woman dancing around a whipped bear; E, jesters dancing.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+      <tr>
+        <td><table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/036_l.jpg" id="fig36" target="_blank"><img border="0" src="images/036.jpg" alt="A, man dancing and playing pipes, carrying a woman; B, jumping through a hoop; C, a stilt dance. 14th century." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 36</b>: A, man dancing and playing
+                  pipes, carrying a woman; B, jumping through a hoop; C, a stilt
+                  dance. 14th century.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+</div>
+<div class="chapter" id="c5">
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div class="chapheader">CHAPTER V.</div>
+  <div class="chapdescrip">Society Dancing, the 15th to 18th Centuries. Out-of-door
+    Dances. Chamber Dancing. Comic Dances. The Ball. Illustrations from Italian
+    15th Century, German 15th and 16th Centuries, French 15th, 16th, 17th, English
+    15th, 16th and 18th Centuries Dancing.</div>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/037_l.jpg" id="fig37" target="_blank"><img border="0" src="images/037.jpg" alt="Italian dance. From an engraving, end of 15th century, attributed to Baccio Baldini." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 37</b>: Italian dance. From an engraving,
+          end of 15th century, attributed to Baccio Baldini.</div></td>
+    </tr>
+  </table>
+  <table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/038_l.jpg" id="fig38" target="_blank"><img border="0" src="images/038.jpg" alt="Italian dancing, the end of the 15th century." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 38</b>: Italian dancing, the end of the
+          15th century.</div></td>
+    </tr>
+  </table>
+  <p> Concerning the dance as a means of social intercourse, it does not appear
+    to have been formulated as an accomplishment until late in the thirteenth
+    century, and at a later date was cultivated as a means of teaching what we
+    call deportment, until it became almost a necessity with the classes, as is
+    shown by the literature of that period. The various social dances, such as
+    the Volte, the Jig and the Galliard, although in early periods, not so numerous,
+    required a certain training and agility. These, however, soon became complicated
+    with many social and local variations, the characteristics of which are a
+    study in themselves. The dances (figs. 37 and 38) in a field of sports, from
+    an Italian engraving of the fifteenth century, show us nothing new; indeed,
+    with different costumes it is very like what we have from Egypt (fig. 3),
+    only a different phase of the action, and the attitude of this old dance is
+    repeated even to our own time. </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td valign="middle"><table summary="formatted illustrations" border="0" cellspacing="4" class="illtable">
+            <tr>
+              <td align="center"> <a href="images/039_l.jpg" id="fig39" target="_blank"><img border="0" src="images/039.jpg" alt="Chamber dance, 15th century. From a drawing by Martin Zasinger." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 39</b>: Chamber dance, 15th century.
+                  From a drawing by Martin Zasinger.</div></td>
+            </tr>
+          </table></td>
+        <td valign="middle"><table summary="formatted illustrations" border="0" align="right" cellspacing="4" class="illtable">
+            <tr>
+              <td align="center"> <a href="images/040_l.jpg" id="fig40" target="_blank"><img border="0" src="images/040.jpg" alt="Dancing in a 'pleasure
+                  garden,' end of the 15th century. French, from the 'Roman de
+                  la Rose,' in the British Museum." /></a> </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 40</b>: Dancing in a "pleasure
+                  garden," end of the 15th century. French, from the "Roman de
+                  la Rose," in the British Museum.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <p>In the Chamber dance by Martin Zasinger (fig. 39), of the fifteenth century,
+    no figures are in action, but we see an arrangement of the guests and musicians,
+    from which it is evident that the Chamber dance as a social function had progressed
+    and that the "Bal par&eacute;," etc., was here in embryo. </p>
+  <p> 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 in. </p>
+  <p>The stately out-door function, in a pleasure garden, from the "Roman de la
+    Rose" (fig. 40) illustrates but one portion of the feature of a dance, another
+    of which is described in Chaucer's translation: </p>
+  <div class="verse">
+    <p>&nbsp;&nbsp;&nbsp;"They threw y fere<br />
+      Ther mouthes so that through their play<br />
+      It seemed as they kyste alway." </p>
+  </div>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td valign="middle"><table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/041_l.jpg" id="fig41" target="_blank"><img border="0" src="images/041.jpg" alt="Fancy dress dance of Wildemen of the 15th century. From MS. 4379 Harl, British Museum." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 41</b>: Fancy dress dance of Wildemen
+                  of the 15th century. From MS. 4379 Harl, British Museum.</div></td>
+            </tr>
+          </table></td>
+        <td valign="middle"><table summary="formatted illustrations" border="0" cellspacing="4" class="illtable">
+            <tr>
+              <td align="center"> <a href="images/042_l.jpg" id="fig42" target="_blank"><img border="0" src="images/042.jpg" alt="Comic dance to pipe and tabor, end of 15th century. From pen drawing in the Mediaeval House Book in the Castle of Wolfegg, by the Master of the Amsterdam Cabinet." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 42</b>: Comic dance to pipe and
+                  tabor, end of 15th century. From pen drawing in the Mediaeval
+                  House Book in the Castle of Wolfegg, by the Master of the Amsterdam
+                  Cabinet.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <p> Fancy dress and comic dances have handed down the same characteristics almost
+    to our own time. The Wildeman costume dance (fig. 41) is interesting in many
+    respects, it not only shows us the dance, but the costume and general method
+    of the Chamber. </p>
+  <p> The fifteenth century comic dancers in a <i>f&ecirc;te champ&eacute;tre</i>
+    (fig. 42) and those of the seventeenth century by Callot (fig. 52) are good
+    examples of this entertainment&#8212;in the background of the latter a minuet seems
+    to be in progress. The Morris dance (fig. 50) shows us the development that
+    had taken place since the fourteenth century. </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td> <a href="images/043_l.jpg" id="fig43" target="_blank"><img border="0" src="images/043.jpg" alt="A dance of Angels and Saints at the entrance to Heaven. Fra Angelico." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 43</b>: A dance of Angels and Saints
+                  at the entrance to Heaven. Fra Angelico.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"><table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/044_l.jpg" id="fig44" target="_blank"><img border="0" src="images/044.jpg" alt="Dancing angels. From a 'Nativity' by Sandro Botticelli, circa 1500 A.D." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 44</b>: Dancing angels. From a
+                  "Nativity" by Sandro Botticelli <i>circa</i> 1500 A.D.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+      <tr>
+        <td><table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/045_l.jpg" id="fig45" target="_blank"><img border="0" src="images/045.jpg" alt="Albert D&uuml;rer, 1514 A.D." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 45</b>: Albert D&uuml;rer, 1514
+                  A.D.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/046_l.jpg" id="fig46" target="_blank"><img border="0" src="images/046.jpg" alt="Albert D&uuml;rer." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 46</b>: Albert D&uuml;rer.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <p> Allusion has already been made to the beautiful paintings of Botticelli
+    and Fra Angelico, which tell us of Italian choral dances of their period;
+    these do not belong to social functions, but are certainly illustrative of
+    the custom of their day. Albert D&uuml;rer (figs. 45, 46) has given us illustrations
+    of the field dances of his period, but both these dances and those drawn by
+    Sebald Beham (fig. 47) are coarse, and contrast unfavourably with the Italian,
+    although the action is vigorous and robust. </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/047_l.jpg" id="fig47" target="_blank"><img border="0" src="images/047.jpg" alt="Scenes from dances. German, dated 1546, by Hans Sebald Beham." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 47</b>: Scenes from dances. German, dated
+            1546, by Hans Sebald Beham.</div></td>
+      </tr>
+    </table>
+  </div>
+  The military dance of Dames and Knights of Armour, by Hans Burgkmair, on the
+  other hand, appears stately and dignified (fig. 48). This may illustrate the
+  difference between chamber and garden or field dancing.
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/048_l.jpg" id="fig48" target="_blank"><img border="0" src="images/048.jpg" alt="A torchlight military dance of the early 16th century. From a picture by Hans Burgkmair." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 48</b>: A torchlight military dance of
+            the early 16th century. From a picture by Hans Burgkmair.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p> 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 day. It is the "Orch&eacute;sographie"
+    of Thoinot Arbeau (Jean Tabouret, Canon of Langres, in 1588), from which comes
+    the illustration of the "Galliarde" (fig. 49) and to which I would refer the
+    reader for all the information he desires concerning this period. In this
+    work much stress is laid on the value of learning to dance from many points
+    of view&#8212;development of strength, manner, habits and courtesy, etc. Alas!
+    we know now that all these external habits can be acquired and leave the "natural
+    man" beneath. </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/049_l.jpg" id="fig49" target="_blank"><img border="0" src="images/049.jpg" alt="La Galliarde. From the &quot;Orch&eacute;sographie&quot; of Thoinot Arbeau (Jean Tabourot), Langres, 1588." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 49</b>: <i>La Galliarde</i>. From the
+            "Orch&eacute;sographie" of Thoinot Arbeau (Jean Tabourot), Langres,
+            1588.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p> Desirable, therefore, as good manners and such like are, they do not fulfil
+    all the requirements that the worthy Canon wished to be involved by them.[<a id="fm_c5_1" href="#fn_c5_1">1</a>]
+  </p>
+  <p> We have have seen from the fourteenth century (figs. 35 C, 36 A, 46) how
+    common the bagpipe was in out-of-door dances; in the illustrations from D&uuml;rer
+    (fig. 46) and in fig. 53 from Holtzer it has developed, and has two accessory
+    pipes, besides that played by the mouth, and the player is accompanied by
+    a sort of clarionet. This also appears to be the only accompaniment of the
+    Trio (fig. 58). </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/050_l.jpg" id="fig50" target="_blank"><img border="0" src="images/050.jpg" alt="Morris dancers. From a window that was in the possession of George Tollett, Esq., Birtley, Staffordshire, 16th century." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 50</b>: Morris dancers. From a
+                  window that was in the possession of George Tollett, Esq., Birtley,
+                  Staffordshire, 16th century.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/051_l.jpg" id="fig51" target="_blank"><img border="0" src="images/051.jpg" alt="Court dance. From a drawing by Callot, 1635 A.D." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 51</b>: Court dance. From a drawing
+                  by Callot, 1635 A.D.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <p> In the sixteenth century certain Spanish dances were introduced into France,
+    such as la Pavane, which was accompanied by hautboys and sackbuts. </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/052_l.jpg" id="fig52" target="_blank"><img border="0" src="images/052.jpg" alt="Comic dancers. By Callot, from the act entitled &quot;Balli di Sfessama,&quot; 1609 A.D." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 52</b>: Comic dancers. By Callot,
+                  from the act entitled "Balli di Sfessama," 1609 A.D.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/053_l.jpg" id="fig53" target="_blank"><img border="0" src="images/053.jpg" alt="Country dance. From a drawing by John Evangelist Holtzer, 17th century." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 53</b>: Country dance. From a drawing
+                  by John Evangelist Holtzer, 17th century.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+      <tr>
+        <td> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/054_l.jpg" id="fig54" target="_blank"><img border="0" src="images/054.jpg" alt="A ball-room dance, Le Bal Par&eacute;, of the 18th century. From August de l'Aubin." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 54</b>: A ball-room dance, <i>Le
+                  Bal Par&eacute;</i>, of the 18th century. From August de l'Aubin.</div></td>
+            </tr>
+          </table></td>
+        <td> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/055_l.jpg" id="fig55" target="_blank"><img border="0" src="images/055.jpg" alt="A dance in the 18th century. From a painting by Hogarth." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 55</b>: A dance in the 18th century.
+                  From a painting by Hogarth.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <p> There were, however, various other dances of a number too considerable to
+    describe here, also introduced. The dance of the eighteenth century from Derby
+    ware (fig. 59) seems to be but a continuation in action of those of the sixteenth
+    century, as out-of-door performances. </p>
+  <table summary="formatted illustrations" border="0" align="left" cellspacing="4" class="illtable">
+    <tr>
+      <td align="center"> <a href="images/056_l.jpg" id="fig56" target="_blank"><img border="0" src="images/056.jpg" alt="Caricature of a dancing master. Hogarth." /></a>
+      </td>
+    </tr>
+    <tr>
+      <td><div class="caption"><b>Fig. 56</b>: Caricature of a dancing master.
+          Hogarth.</div></td>
+    </tr>
+  </table>
+  <p> We have now arrived at the modern style of ball, so beloved by many of the
+    French Monarchs. Henry IV. and Napoleon were fond of giving these in grand
+    style, and in some sort of grand style they persist even as a great social
+    function to our own time. The Court balls of Louis XIII. and XIV. at Versailles
+    were really gorgeous ballets, and their grandeur was astonishing; this custom
+    was continued under the succeeding monarchs. An illustration of one in the
+    eighteenth century by August de l'Aubin (fig. 54) sufficiently shows their
+    character. There is nothing new in the postures illustrated, which may have
+    originated thousands of years ago. As illustrating the popular ball of the
+    period, the design by Hogarth (fig. 55) is an excellent contrast. The <i>contredanse</i>
+    represented was originally the old country dance exported to France and returned
+    with certain arrangements added. This is a topic we need not pursue farther,
+    as almost every reader knows what social dancing now is. </p>
+  <div align="center"> <a href="images/chapdec2_l.jpg" target="_blank"><img src="images/chapdec2.jpg" alt="chapterfooter" border="0" /></a>
+  </div>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/057_l.jpg" id="fig57" target="_blank"><img border="0" src="images/057.jpg" alt="Spring dancing away from winter. From a drawing by Watteau." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 57</b>: Spring dancing away from
+                  winter. From a drawing by Watteau.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/058_l.jpg" id="fig58" target="_blank"><img border="0" src="images/058.jpg" alt="The Misses Gunning dancing. End of the 18th century, from a print by Bunbury, engraved by Bartolozzi." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 58</b>: The Misses Gunning dancing.
+                  End of the 18th century, from a print by Bunbury, engraved by
+                  Bartolozzi.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/059_l.jpg" id="fig59" target="_blank"><img border="0" src="images/059.jpg" alt="Dancing. Close of the 18th century. From Derby ware." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 59</b>: Dancing. Close of the 18th
+                  century. From Derby ware.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/060_l.jpg" id="fig60" target="_blank"><img border="0" src="images/060.jpg" alt="Spanish dance in the Hall of Saragoza, 19th century." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 60</b>: Spanish dance in the Hall
+                  of Saragoza, 19th century.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <div class="footnotes" id="c5foots">
+    <div class="footheader">FOOTNOTES</div>
+    <p> <a id="fn_c5_1" href="#fm_c5_1"><b>Footnote 1</b></a>: The advice which
+      he gives is valuable from its bearing on the customs of the 16th century.
+      It even has great historical value, indicating the influence dancing has
+      had on good manners. That the history of dancing is the history of manners
+      may be too much insisted upon. For these reasons we insert these little
+      known passages. The first has reference to the right way of proceeding at
+      a ball. </p>
+    <p> "Having entered the place where the company is gathered for the dance,
+      choose a good young lady (honneste damoiselle) and raising your hat or bonnet
+      with your right hand you will conduct her to the ball with your left. She,
+      wise and well trained, will tender her left and rise to follow you. Then
+      in the sight of all you conduct her to the end of the room, and you will
+      request the players of instruments to strike up a 'basse danse'; because
+      otherwise through inadvertance they might strike up some other kind of dance.
+      And when they commence to play you must commence to dance. And be careful,
+      that they understand, in your asking for a 'basse danse,' you desire a regular
+      and usual one. Nevertheless, 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 them." </p>
+    <p> "<i>Capriol</i>:&#8212;If the lady refuses, I shall feel very ashamed. </p>
+    <p> "<i>Arbeau</i>:&#8212;A well-trained lady never refuses him who so honours
+      her as to lead her to the dance. </p>
+    <p> "<i>Capriol</i>:&#8212;I think so too, but in the meantime the shame of the
+      refusal remains with me. </p>
+    <p> "<i>Arbeau</i>:&#8212;If you feel sure of another lady's graciousness, take
+      her and leave aside this graceless one, asking her to excuse you for having
+      been importunate; nevertheless, there are those who would not bear it so
+      patiently. But it is better to speak thus than with bitterness, because
+      in so doing you acquire a reputation for being gentle and humane, and to
+      her will fall the character of a 'glorieuse' unworthy of the attention paid
+      her." </p>
+    <p> "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 her, whilst thanking her for the honour she
+      has done you." Another extract is not wanting in flavour: "Hold the head
+      and body straight, have a countenance of assurance, spit and cough little,
+      and if necessity compels you, turn your face the other side and use a beautiful
+      white handkerchief. Talk graciously, in gentle and honest speech, neither
+      letting your hands hang as if dead or too full of gesticulation. Be dressed
+      cleanly and neatly 'avec la chausse bien tir&eacute;e et Pescarpin propre.'
+    </p>
+    <p> "And bear in mind these particulars." </p>
+  </div>
+</div>
+<div class="chapter" id="c6">
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div class="chapheader">CHAPTER VI.</div>
+  <div class="chapdescrip">The Modern Theatre Dance: its Origin. Introduced into
+    France from Italy. Under Henry III., IV., Louis XIII., XIV. Influence of Cardinals
+    Richelieu and Mazarin. Foundation of the Academic de Danse et de Musique.
+    The Court Ballet. Moli&egrave;re. Corneille. Lalli, &amp;c. The Theatre Ballet.
+    The Influence of Noverre. Its introduction into and its Present Condition
+    in England, &amp;c. Illustrations of Mlles. de Camargo, Duvernay, Taglioni.
+    Fanny Ellsler. Ferraris, Carlotta Grisi. Adeline Gen&eacute;e. Anna Pavlova.
+    F&eacute;dorova, &amp;c. Various Eastern Examples.</div>
+  <p> Although the theatrical ballet dance is comparatively modern, the elements
+    of its formation are of the greatest antiquity; the chorus of dancers and
+    the performances of the men in the Egyptian chapters represent without much
+    doubt public dancing performances. We get singing, dancing, mimicry and pantomime
+    in the early stages of Greek art, and the development of the dance rhythm
+    in music is equally ancient. </p>
+  <p> The Alexandrine Pantomime, introduced into Rome about 30 B.C. by Bathillus
+    and Pylades, appears to have been an entertainment approaching the ballet.
+  </p>
+  <p> In the middle ages there were the mysteries and "masks"; the latter were
+    frequent in England, and are introduced by Shakespere in "Henry VIII." </p>
+  <p> In Italy there appears to have been a kind of ballet in the 14th century,
+    and from Italy, under the influence of Catharine de' Medici, came the ballet.
+    Balthasar di Beaujoyeulx produced the first recorded ballet in France, in
+    the Italian style, in 1582. This was, however, essentially a Court ballet.
+  </p>
+  <p> The theatre ballet apparently arose out of these Court ballets. Henry III.
+    and Henry IV., the latter especially, were very fond of these entertainments,
+    and many Italians were brought to France to assist in them. Pompeo Diabono,
+    a Savoyard, was brought to Paris in 1554 to regulate the Court ballets. At
+    a later date came Rinuccini, the poet, a Florentine, as was probably Caccini,
+    the musician. They had composed and produced the little operetta of "Daphne,"
+    which had been performed in Florence in 1597. Under these last-mentioned masters
+    the ballet in France took somewhat of its present form. This passion for Court
+    ballets continued under Louis XIII. and Louis XIV. </p>
+  <p> Louis XIII. as a youth danced in one of the ballets at St. Germain, it is
+    said at the desire of Richelieu, who was an expert in spectacle. It appears
+    that he was encouraged in these amusements to remedy fits of melancholy. </p>
+  <p> Louis XIV., at seven, danced in a masquerade, and afterwards not only danced
+    in the ballet of "Cassandra," in 1651, but did all he could to raise the condition
+    of the dance and encourage dancing and music. His influence, combined with
+    that of Cardinal Richelieu, raised the ballet from gross and trivial styles
+    to a dignity worthy of music, poetry and dancing. His uncle, Gaston of Orleans,
+    still patronized the grosser style, but it became eclipsed by the better.
+    Lulli composed music to the words of Moli&egrave;re and other celebrities;
+    amongst notable works then produced was the "Andromeda" of Corneille, a tragedy,
+    with hymns and dances, executed in 1650, at the Petit Bourbon. </p>
+  <p> The foundation of the theatrical ballet was, however, at the instigation
+    of Mazarin, to prevent a lowering of tone in the establishment of the <i>Acad&eacute;mie
+    de Danse</i> under thirteen Academicians in 1661. This appears to have been
+    merged into the <i>Acad&eacute;mie Royale de Musique et de Danse</i> in 1669,
+    which provided a proper training for d&eacute;butants, under MM. Perrin and
+    Cambert, whilst Beauchamp, the master of the Court ballets, had charge of
+    the dancing. The first opera-ballet, the "Pomona" of Perrin and Cambert, was
+    produced in 1671. To this succeeded many works of Lulli, to whom is attributed
+    the increased speed in dance music and dancing, that of the Court ballets
+    having been slow and stately. </p>
+  <p> The great production of the period appears to have been the "Triumph of
+    Love" in 1681, with twenty scenes and seven hundred performers; amongst these
+    were many of the nobility, and some excellent <i>ballerine</i>, such as Pesaut,
+    Carr&eacute;, Leclerc, and Lafontaine. </p>
+  <p> A detailed history of the ballet is, however, impossible here, and we must
+    proceed to touch only on salient points. It passed from the Court to the theatre
+    about 1680 and had two characteristics, one with feminine dancers, the other
+    without. </p>
+  <div align="center">
+    <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+      <tr>
+        <td align="center"> <a href="images/061_l.jpg" id="fig61" target="_blank"><img border="0" src="images/061.jpg" alt="Mlle. de Camargo. After a painting by Lancret, about 1740 A.D." /></a>
+        </td>
+      </tr>
+      <tr>
+        <td><div class="caption"><b>Fig. 61</b>: Mlle. de Camargo. After a painting
+            by Lancret, about 1740 A.D.</div></td>
+      </tr>
+    </table>
+  </div>
+  <p> It is not a little curious that wearing the mask, a revival of the antique,
+    was practised in some of these ballets. The history of the opera-ballet of
+    those days gives to us many celebrated names of musicians, such as Destouches,
+    who gave new "verve" to ballet music, and Rameau. Jean Georges Noverre abolished
+    the singing and established the five-act ballet on its own footing in 1776.
+    In this it appears he had partly the advice of Garrick, whom he met in London.
+    The names of the celebrated dancers are numerous, such as P&eacute;court,
+    Blaudy (who taught Mlle. Camargo), Laval, Vestris, Germain, Prevost, Lafontaine,
+    and Camargo (fig. 61), of the 18th century; Taglioni, Grisi, Duvernay, Cerito,
+    Ellsler, etc., of the 19th century, to those of our own day. A fair notice
+    of all of these would be a work in itself. </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center" valign="top"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/062_l.jpg" id="fig62" target="_blank"><img border="0" src="images/062.jpg" alt="Pauline Duvernay at Covent Garden, 1833-1838." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 62</b>: Pauline Duvernay at Covent
+                  Garden, 1833-1838.</div></td>
+            </tr>
+          </table></td>
+        <td align="center" valign="top"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/063_l.jpg" id="fig63" target="_blank"><img border="0" src="images/063.jpg" alt="Mlle. Fanny Ellsler. From a lithograph by A. Lacaucbie." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 63</b>: Mlle. Fanny Ellsler. From
+                  a lithograph by A. Lacaucbie.</div></td>
+            </tr>
+          </table></td>
+        <td align="center" valign="top"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/063a_l.jpg" id="fig63a" target="_blank"><img src="images/063a.jpg" alt="Dancing satyr playing castanets, by Myron, in the Vatican Museum. The action is entirely suggestive of that of Fanny Ellsler, and might be evidence of the antiquity of the Spanish tradition." width="175" height="266" border="0" /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 63a</b>: Dancing satyr playing
+                  castanets, by Myron, in the Vatican Museum. The action is entirely
+                  suggestive of that of Fanny Ellsler, and might be evidence of
+                  the antiquity of the Spanish tradition.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <p> The introduction of the ballet into England was as late as 1734, when the
+    French dancers, Mlle. Sall&eacute;, the rival of Mlle. Camargo, and Mlle.
+    de Subligny made a great success at Covent Garden in "Ariadne and Galatea,"
+    and Mlle. Salle danced in her own choregraphic invention of "Pygmalion," since
+    which time it has been popular in England, when those of the first class can
+    be obtained. There are, however, some interesting and romantic circumstances
+    connected with the ballet in London in the last century, which it will not
+    be out of place to record here. Amongst the dancers of the last century of
+    considerable celebrity were two already mentioned, Mlles. Duvernay (fig. 62)
+    and Taglioni (fig. 64), whose names are recorded in the classic verse of "Ingoldsby."
+  </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/064_l.jpg" id="fig64" target="_blank"><img border="0" src="images/064.jpg" alt="Mlle. Taglioni. From a lithograph of the period." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 64</b>: Mlle. Taglioni. From a
+                  lithograph of the period.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/065_l.jpg" id="fig65" target="_blank"><img border="0" src="images/065.jpg" alt="Pas de Trois by Mlles. Ferraris, Taglioni, and Carlotta Grisi." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 65</b>: <i>Pas de Trois</i> by
+                  Mlles. Ferraris, Taglioni, and Carlotta Grisi.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <div class="verse"> "Malibran's dead, Duvernay's fled;<br />
+    Taglioni has not yet arrived in her stead." </div>
+  <p> Mlle. Duvernay was a Parisian, and commenced her study under Barrez, but
+    subsequently was under Vestris and Taglioni, the father of the celebrity mentioned
+    in the verse. </p>
+  <p> Duran hangs over the mantelpiece of the refectory of the presbytery. </p>
+  <p> Having made a great Parisian reputation, she came to London in 1833, and
+    from that date until 1837 held the town, when she married Mr. Stephens Lyne
+    Stephens, M.P., a gentleman of considerable wealth, but was left a childless
+    widow in 1861, and retired to her estate at Lyneford Hall, Norfolk, living
+    in retirement and spending her time in good works. She is said to have spent
+    &pound;100,000 in charities and churches, and that at Cambridge, dedicated
+    to the English martyrs, was founded, completed, and endowed by her. She led
+    a blameless and worthy life, and died in 1894. Her portrait by Mlle. Taglioni
+    (fig. 64), her co-celebrity, married Count Gilbert de Voisins, a French nobleman,
+    in 1847, and with her marriage came an ample fortune; unfortunately the bulk
+    of this fortune was lost in the Franco-German war. With the courage of her
+    character the Countess returned to London and gave lessons in dancing, etc.,
+    in which she was sufficiently successful to obtain a fair living. She died
+    in 1884 at 80 years of age. Of the other celebrities of the period&#8212;Carlotta
+    Grisi, Ferraris (fig. 65), and Fanny Ellsler (fig. 63)&#8212;some illustrations
+    are given; besides these were Fanny Cerito, Lucile Grahn, a Dane, and some
+    others of lesser notoriety performing in London at this great period of the
+    ballet. </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center" valign="top"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/066_l.jpg" id="fig66" target="_blank"><img border="0" src="images/066.jpg" alt="Mlle. Adeline Gen&eacute;e, 1906. Photo, Ellis and Walery." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 66</b>: Mlle. Adeline Gen&eacute;e,
+                  1906. Photo, Ellis and Walery.</div></td>
+            </tr>
+          </table></td>
+        <td align="center" valign="top"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/067_l.jpg" id="fig67" target="_blank"><img border="0" src="images/067.jpg" alt="Mlle. Anna Pavlova, 1910. From a photo by Foulsham and Banfield." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 67</b>: Mlle. Anna Pavlova, 1910.
+                  From a photo by Foulsham and Banfield.</div></td>
+            </tr>
+          </table></td>
+        <td align="center" valign="top"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/068_l.jpg" id="fig68" target="_blank"><img border="0" src="images/068.jpg" alt="Mlle. Sophie F&eacute;dorova." /></a></td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 68</b>: Mlle. Sophie F&eacute;dorova.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+  <p> The recent encouragement of the classic ballet has introduced us to some
+    exquisite dancers: amongst these are Mlle. Adeline Gen&eacute;e (fig. 66)
+    and Mlle. Anna Pavlova (fig. 67); the latter, with M. Mordkin and a corps
+    of splendid dancers, are from Russia, from whence also comes the important
+    troupe now at the Alhambra with Mlle. Geltzer and other excellent dancers.
+    The celebrated company at Covent Garden, and Lydia Kyasht at the Empire, are
+    also Russian. It is not surprising that we get excellent dancing from Russia;
+    the school The recent encouragement of the classic ballet has introduced us
+    to some exquisite dancers: amongst these are Mlle. Adeline Gen&eacute;e (fig.
+    66) and Mlle. Anna Pavlova (fig. 67); the latter, with M. Mordkin and a corps
+    of splendid dancers, are from Russia, from whence also comes the important
+    troupe now at the Alhambra with Mlle. Geltzer and other excellent dancers.
+    The celebrated company at Covent Garden, and Lydia Kyasht at the Empire, are
+    also Russian. It is not surprising that we get excellent dancing from Russia;
+    the school formed by Peter the Great about 1698 has been under State patronage
+    ever since. </p>
+  <p> Notices of all the important dancers from Italy, Spain, Paris, or elsewhere,
+    performing in England in recent years, would occupy considerable space, and
+    the reader can easily obtain information concerning them elsewhere. </p>
+  <p> That the technique and speed of the classic dance has considerably increased
+    is historically certain, and we must hope that this speed will not sacrifice
+    graceful movement. Moreover, technique alone will not make the complete fine-artist:
+    some invention is involved. Unfortunately, some modern attempts at invention
+    seem crude and sensational, whilst lacking the exquisite technique desirable
+    in all exhibitions of finished art. </p>
+  <p> Before concluding it is almost imperative to say something about the naked
+    foot dancers, followers of Isidora Duncan. Some critics and a certain public
+    have welcomed them; but is it not "sham antique"? It does not remind one of
+    the really classic. Moreover, the naked foot should be of antique beauty,
+    which in most of these cases it is not. Advertisements tell us that these
+    dance are interpretations of classic music&#8212;Chopin, Weber, Brahms, etc.; they
+    are not really interpretations, but distractions! We can hardly imagine that
+    these composers intended their work for actual dancing. One can listen and
+    be entranced; one sees the dancer's "interpretations" or "translations" and
+    the music is degraded to a series of sham classic postures. </p>
+  <p> The idea that running about the stage in diaphanous costumes, with conventional
+    mimicry and arm action, is classic or beautiful is a mistake; the term aesthetic
+    may cover, but not redeem it. There is not even the art of the ordinary ballet-dancer
+    discernible in these proceedings. </p>
+  <p> On another plane are such as the ballets in "Don Giovanni" and "Faust."
+    Mozart and Gounod wrote these with a full knowledge of the method of interpretation
+    and the persons who had been trained for that purpose&#8212;the performers fit
+    the music and it fits them. This opera-ballet is also more in accordance with
+    tradition before the time of Noverre. </p>
+  <p> Neither do the "popular" and curious exhibitions of Loie Fuller strike one
+    as having a classic character, or future, of any consideration, pretty as
+    they may be. </p>
+  <p> The operetta or musical comedy has given us some excellent art, especially
+    at the end of the 19th century, when Sylvia Gray, Kate Vaughan, Letty Lind,
+    Topsy Sinden, and others of like <i>m&eacute;tier</i> gave us skirt and drapery
+    dancing. </p>
+  <p> This introduces us to the question of costume. That commonly used by the
+    <i>prima ballerina</i> is certainly not graceful; it was apparently introduced
+    about 1830, presumably to show the action and finished method of the lower
+    extremities. If Fanny Ellsler and Duvernay could excel without this ugly contrivance,
+    why is it necessary for others? </p>
+  <p> At the same time it is better than indifferent imitations of the Greek,
+    or a return to the debased characteristics of Pompeiian art, in which the
+    effect of the classic and fine character of the material are rendered in a
+    sort of transparent muslin. </p>
+  <p> With these notices the author's object in this sketch is completed. Of the
+    <i>bal-masqu&eacute;</i> garden dances, public balls and such-like, he has
+    no intention to treat; they are not classic dancing nor "art," with the exception
+    perhaps of the Scottish reels. Nor is he interested in the dancing of savage
+    tribes, nor in that of the East, although some few illustrations are given
+    to illustrate traditions: for example, the use of the pipe and tabor in Patagonia,
+    the dancer from Japan, winged, like that in the "Roman de la Rose" (fig. 40),
+    and the religious dance of Tibet, showing the survival of the religious dance
+    in some countries. In Mrs. Groves' book on dancing there is an excellent chapter
+    on the Ritual dance as now practised, to which the reader can refer. </p>
+  <div align="center">
+    <table summary="formatted illustrations" width="50" border="0" cellspacing="20" cellpadding="0">
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/069_l.jpg" id="fig69" target="_blank"><img border="0" src="images/069.jpg" alt="Japanese Court Dance." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 69</b>: Japanese Court Dance.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/070_l.jpg" id="fig70" target="_blank"><img border="0" src="images/070.jpg" alt="Indian dancing-girl." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 70</b>: Indian dancing-girl.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+      <tr>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/071_l.jpg" id="fig71" target="_blank"><img border="0" src="images/071.jpg" alt="Patagonian dancers to fife and tabor." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 71</b>: Patagonian dancers to fife
+                  and tabor.</div></td>
+            </tr>
+          </table></td>
+        <td align="center"> <table summary="formatted illustrations" class="illtable" border="0" cellspacing="4">
+            <tr>
+              <td align="center"> <a href="images/072_l.jpg" id="fig72" target="_blank"><img border="0" src="images/072.jpg" alt="Tibetan religious dancing procession, 1908 a.d." /></a>
+              </td>
+            </tr>
+            <tr>
+              <td><div class="caption"><b>Fig. 72</b>: Tibetan religious dancing
+                  procession, 1908 a.d.</div></td>
+            </tr>
+          </table></td>
+      </tr>
+    </table>
+  </div>
+</div>
+<div class="chapter" id="bibliography">
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div class="chapheader"><a id="cb" href="#crb">BIBLIOGRAPHY.</a></div>
+  <br />
+  <p> <span class="author">Baron, A</span>. "Lettres et Entretiens sur la Danse."
+    Paris, 1825. </p>
+  <p> <span class="author">Emmanuel, M</span>. "La Danse grecque antique." 1896.
+  </p>
+  <p> <span class="author">M&eacute;nestrier, P&egrave;re</span>. "Des Ballets
+    anciens et modernes." 1682. </p>
+  <p> <span class="author">Bonnet</span>. "Histoire g&eacute;n&eacute;rale de
+    la Danse sacr&eacute;e et profane." 1723. </p>
+  <p> <span class="author">Cahusac</span>. "La Danse ancienne et moderne." 1754.
+  </p>
+  <p> <span class="author">Noverre</span>. "Lettres sur les Ballets." 1760. </p>
+  <p> <span class="author">Charbonnel, R</span>. "La Danse de Lettres, &amp;c."
+    1807. </p>
+  <p> <span class="author">Pougin, A</span>. Dict. Hist, du Th&eacute;&acirc;tre.
+    1885. </p>
+  <p> <span class="author">Aulnaye, De l'</span>. "De la Saltation th&eacute;&acirc;trale."
+    1789. </p>
+  <p> <span class="author">Olaus Magnus</span>. Gent. Septentr., Hy., Book III.,
+    Chap. VII. See Bourne's "Vulgar Antiqs.," p. 175. </p>
+  <p> <span class="author">Abbeau-Thoinot (Canon Jean Tabourot)</span>. "Orch&eacute;sographie."
+    1643. </p>
+  <p> <span class="author">Strutt</span>. "Sports and Pastimes." London, 1801.
+  </p>
+  <p> <span class="author">Thomson, Chas. and Samuel</span>. Collection of 800
+    Dances. 4 vols. 1770-1773. </p>
+  <p> <span class="author">Playford</span>. "Dancing Master." 2nd ed. 1652. </p>
+  <p> <span class="author">Wilkinson, Sir G</span>. "Ancient Egyptians." 3 vols.
+    London. </p>
+  <p> <span class="author">Dennis</span>. "Etruria." 2 vols. London. </p>
+  <p> <span class="author">Compan</span>. "Dictionnaire de la Danse." 1802. </p>
+  <p> <span class="author">Blasis, C</span>. "Trait&eacute; de la Danse." Milan,
+    1830. </p>
+  <p> <span class="author">---</span>. "Code of Terpsichore." London, 1823. </p>
+  <p> <span class="author">Vuillier, G</span>. "La Danse &agrave; travers les
+    Ages." </p>
+  <p> <span class="author">Menil, F. de</span>. "Histoire de la Danse &agrave;
+    travers les Ages." </p>
+  <p> <span class="author">Fonta Laure, Mme</span>. "Notice sur les Danses du
+    xvi. si&egrave;cle." </p>
+  <p> <span class="author">Guihelmi</span>. "Hebraie Pisauriensis, <i>de practica
+    seu arte trepudis, &amp;c.</i>" 1463. MS. Bib. Nation. </p>
+  <p> <span class="author">Domini, Johan</span>. "Pisauriensis," ditto. MS. Bib.
+    Nation. 1463. </p>
+  <p> <span class="author">Caroso, F</span>. "Il Ballarino." 1581. </p>
+  <p> <span class="author">Cesare Negri</span>. "Nuovo Invenzioni di Balli." 1604.
+  </p>
+  <p> <span class="author">Vestris, D</span>. "Les Danses autrefois." 1887. </p>
+  <p> <span class="author">Desrat, G</span>. "Dictionnaire de la Danse." Paris,
+    1895. </p>
+  <p> <span class="author">Rameau, P</span>. "Le Ma&icirc;tre &agrave; danser."
+  </p>
+  <p> <span class="author">Magny</span>. "Principes de Chor&eacute;graphie." Paris,
+    1765. </p>
+  <p> <span class="author">---</span>. "Nouveau Guide de la Danse." 1888. </p>
+  <p> <span class="author">Gawlikowski, P</span>. "Guide complet de la Danse."
+    1858. </p>
+  <p> <span class="author">Angiolini</span>. "Discuzzioni sulla dansa pantomima."
+    1760. </p>
+  <p> <span class="author">Saint L&eacute;on</span>. "De l'etat actuel de la danse."
+    Lisbon, 1856. </p>
+  <p> <span class="author">Giraudet, E</span>. Trait&eacute; de la danse, 1890.
+  </p>
+  <p> <span class="author">---</span>. Nouveau Guide, 1888. </p>
+  <p> <span class="author">Grove, Mrs. Lilly</span>. "History of Dancing." London,
+    1890. </p>
+  <p> <span class="author">Skalkovsky-Pleshcheev</span>. "Nash Balet" (our Ballet).
+    1899. A History of the Russian Ballet, in Russian. </p>
+</div>
+<div class="chapter" id="listofillustrations">
+  <div align="center"> <img src="images/divider.gif" alt="divider" class="chapterdivider" />
+  </div>
+  <div class="chapheader"><a id="ci" href="#cri">LIST OF ILLUSTRATIONS.</a></div>
+  <p>
+  <a href="#fig1"><b>Fig. 1</b></a>: Dancing to the clapping of bands. Egyptian, from the tomb of Ur-ari-en-Ptah, 6th Dynasty, about 3300 B.C. (British Museum.)
+  </p>
+  <p><a href="#fig2"><b>Fig. 2</b></a>: Greek Figures in a solemn dance. From a vase at Berlin.
+  </p>
+  <p><a href="#fig3"><b>Fig. 3</b></a>: The hieroglyphics describe the dance.
+  </p>
+  <p><a href="#fig4"><b>Fig. 4</b></a>: Egyptian hieroglyphic for "dance."
+  </p>
+  <p><a href="#fig5"><b>Fig. 5</b></a>: Cyprian limestone group of Phoenician dancers, about 6&frac12; in. high. There is a somewhat similar group, also from Cyprus, in the British Museum. The dress, a hooded cowl, appears to be of great antiquity.
+  </p>
+  <p><a href="#fig6"><b>Fig. 6</b></a>: Phoenician patera, from Idalium, showing a religious ritual dance before a goddess in a temple round a sun emblem.
+  </p>
+  <p><a href="#fig7"><b>Fig. 7</b></a>: Female Figure smelling a lotus. From a painting in the British Museum.
+  </p>
+  <p><a href="#fig8"><b>Fig. 8</b></a>: Dance of Bacchantes, painted by the ceramic painter, Hieron. (British Museum.)
+  </p>
+  <p><a href="#fig9"><b>Fig. 9</b></a>: Dancing Bacchante. From a vase in the British Museum.
+  </p>
+  <p><a href="#fig10"><b>Fig. 10</b></a>: Greek terra cotta dancing girl, about 350 B.C. (British Museum.)
+  </p>
+  <p><a href="#fig11"><b>Fig. 11</b></a>: The G&amp;#283;r&amp;#259;n&amp;#335;s from a vase in the Museo Borbonico, Naples.
+  </p>
+  <p><a href="#fig12"><b>Fig. 12</b></a>: Panathenaeac dance, about the 4th century B.C.
+  </p>
+  <p><a href="#fig13"><b>Fig. 13</b></a>: A military dance, supposed to be the <i>Corybantum</i>. From a Greek bas-relief in the Vatican Museum.
+  </p>
+  <p><a href="#fig14"><b>Fig. 14</b></a>: Greek dancer with castanets. (British Museum.) See also Castanet dance by Myron, Fig. 63a.
+  </p>
+  <p><a href="#fig15"><b>Fig. 15</b></a>: Cymbals (about 4 in.) and double flute. (British Museum.)
+  </p>
+  <p><a href="#fig16"><b>Fig. 16</b></a>: Greek dancers. From a vase in the Hamilton Collection.
+  </p>
+  <p><a href="#fig17"><b>Fig. 17</b></a>: Bacchanalian dancer. Vase from Nocera, Museum, Naples.
+  </p>
+  <p><a href="#fig18"><b>Fig. 18</b></a>: Greek dancers and tumblers.
+  </p>
+  <p><a href="#fig19"><b>Fig. 19</b></a>: Etruscan bronze dancer with eyes of diamonds, found at Verona. Now in the British Museum.
+  </p>
+  <p><a href="#fig20"><b>Fig. 20</b></a>: Etruscan dancer. From a painting in the Grotta dei Vasi dipinti&#8212;Corneto.
+  </p>
+  <p><a href="#fig21"><b>Fig. 21</b></a>: Etruscan dancing and performances. From paintings in the Grotta della Scimia Corneto, about 500 B.C.
+  </p>
+  <p><a href="#fig22"><b>Fig. 22</b></a>: Etruscan Dancing. From the Grotta del Triclinio.&#8212;Corneto.
+  </p>
+  <p><a href="#fig23"><b>Fig. 23</b></a>: Funeral dance in the obsequies of a female. From a painted tomb near Albanella.
+  </p>
+  <p><a href="#fig24"><b>Fig. 24</b></a>: Funeral dance. From Capua.
+  </p>
+  <p><a href="#fig25"><b>Fig. 25</b></a>: Funeral dance from the same tomb.
+  </p>
+  <p><a href="#fig26"><b>Fig. 26</b></a>: Bacchante leading the Dionysian bull to the altar. Bas-relief in the Vatican.
+  </p>
+  <p><a href="#fig27"><b>Fig. 27</b></a>: Bacchante. From a fresco, Pompeii, 1st century B.C.
+  </p>
+  <p><a href="#fig28"><b>Fig. 28</b></a>: Dancer. From a fresco in the Baths of Constantine, 4th century A.D.
+  </p>
+  <p><a href="#fig29"><b>Fig. 29</b></a>: Gleemen's dance, 9th century. From Cleopatra, Cotton MS. C. viii., British Museum.
+  </p>
+  <p><a href="#fig30"><b>Fig. 30</b></a>: Dancing to horn and pipe. From an Anglo-Saxon MS.
+  </p>
+  <p><a href="#fig31"><b>Fig. 31</b></a>: Anglo-Saxon sword dance. From the MS. Cleopatra, C. viii., British Museum.
+  </p>
+  <p><a href="#fig32"><b>Fig. 32</b></a>: Sword dance to bagpipes, 14th century. From 2 B vii., Royal MS., British Museum.
+  </p>
+  <p><a href="#fig33"><b>Fig. 33</b></a>: Herodias tumbling. From a MS. end of 13th century (Addl. 18,719, f. 253b), British Museum.
+  </p>
+  <p><a href="#fig34"><b>Fig. 34</b></a>: A tumbler, as caryatid. Rouen Cathedral, 13th century.
+  </p>
+  <p><a href="#fig35"><b>Fig. 35</b></a>: 14th century dancers. A and C are tumblers; B, tumbling and balancing to the tambour; D, a woman dancing around a whipped bear; E, jesters dancing.
+  </p>
+  <p><a href="#fig36"><b>Fig. 36</b></a>: A, man dancing and playing pipes, carrying a woman; B, jumping through a hoop; C, a stilt dance. 14th century.
+  </p>
+  <p><a href="#fig37"><b>Fig. 37</b></a>: Italian dance. From an engraving, end of 15th century, attributed to Baccio Baldini.
+  </p>
+  <p><a href="#fig38"><b>Fig. 38</b></a>: Italian dancing, the end of the 15th century.
+  </p>
+  <p><a href="#fig39"><b>Fig. 39</b></a>: Chamber dance, 15th century. From a drawing by Martin Zasinger.
+  </p>
+  <p><a href="#fig40"><b>Fig. 40</b></a>: Dancing in a "pleasure garden," end of the 15th century. French, from the "Roman de la Rose," in the British Museum.
+  </p>
+  <p><a href="#fig41"><b>Fig. 41</b></a>: Fancy dress dance of Wildemen of the 15th century. From MS. 4379 Harl, British Museum.
+  </p>
+  <p><a href="#fig42"><b>Fig. 42</b></a>: Comic dance to pipe and tabor, end of 15th century. From pen drawing in the Mediaeval House Book in the Castle of Wolfegg, by the Master of the Amsterdam Cabinet.
+  </p>
+  <p><a href="#fig43"><b>Fig. 43</b></a>: A dance of Angels and Saints.
+  </p>
+  <p><a href="#fig44"><b>Fig. 44</b></a>: Dancing angels. From a 'Nativity' by Sandro Botticelli, circa 1500 A.D.
+  </p>
+  <p><a href="#fig45"><b>Fig. 45</b></a>: Albert D&uuml;rer, 1514 A.D.
+  </p>
+  <p><a href="#fig46"><b>Fig. 46</b></a>: Albert D&uuml;rer.
+  </p>
+  <p><a href="#fig47"><b>Fig. 47</b></a>: Scenes from dances. German, dated 1546, by Hans Sebald Beham.
+  </p>
+  <p><a href="#fig48"><b>Fig. 48</b></a>: A torchlight military dance of the early 16th century. From a picture by Hans Burgkmair.
+  </p>
+  <p><a href="#fig49"><b>Fig. 49</b></a>: <i>La Galliarde</i>. From the "Orch&eacute;sographie" of Thoinot Arbeau (Jean Tabourot), Langres, 1588.
+  </p>
+  <p><a href="#fig50"><b>Fig. 50</b></a>: Morris dancers. From a window that was in the possession of George Tollett, Esq., Birtley, Staffordshire, 16th century.
+  </p>
+  <p><a href="#fig51"><b>Fig. 51</b></a>: Court dance. From a drawing by Callot, 1635 A.D.
+  </p>
+  <p><a href="#fig52"><b>Fig. 52</b></a>: Comic dancers. By Callot, from the act entitled "Balli di Sfessama," 1609 A.D.
+  </p>
+  <p><a href="#fig53"><b>Fig. 53</b></a>: Country dance. From a drawing by John Evangelist Holtzer, 17th century.
+  </p>
+  <p><a href="#fig54"><b>Fig. 54</b></a>: A ball-room dance, <i>Le Bal Par&eacute;</i>, of the 18th century. From August de l'Aubin.
+  </p>
+  <p><a href="#fig55"><b>Fig. 55</b></a>: A dance in the 18th century. From a painting by Hogarth.
+  </p>
+  <p><a href="#fig56"><b>Fig. 56</b></a>: Caricature of a dancing master. Hogarth.
+  </p>
+  <p><a href="#fig57"><b>Fig. 57</b></a>: Spring dancing away from winter. From a drawing by Watteau.
+  </p>
+  <p><a href="#fig58"><b>Fig. 58</b></a>: The Misses Gunning dancing. End of the 18th century, from a print by Bunbury, engraved by Bartolozzi.
+  </p>
+  <p><a href="#fig59"><b>Fig. 59</b></a>: Dancing. Close of the 18th century. From Derby ware.
+  </p>
+  <p><a href="#fig60"><b>Fig. 60</b></a>: Spanish dance in the Hall of Saragoza, 19th century.
+  </p>
+  <p><a href="#fig61"><b>Fig. 61</b></a>: Mlle. de Camargo. After a painting by Lancret, about 1740 A.D.
+  </p>
+  <p><a href="#fig62"><b>Fig. 62</b></a>: Pauline Duvernay at Covent Garden, 1833-1838.
+  </p>
+  <p><a href="#fig63"><b>Fig. 63</b></a>: Mlle. Fanny Ellsler. From a lithograph by A. Lacaucbie.
+  </p>
+  <p><a href="#fig63a"><b>Fig. 63a</b></a>: Dancing satyr playing castanets, by Myron, in the Vatican Museum. The action is entirely suggestive of that of Fanny Ellsler, and might be evidence of the antiquity of the Spanish tradition.
+  </p>
+  <p><a href="#fig64"><b>Fig. 64</b></a>: Mlle. Taglioni. From a lithograph of the period.
+  </p>
+  <p><a href="#fig65"><b>Fig. 65</b></a>: <i>Pas de Trois</i> by Mlles. Ferraris, Taglioni, and Carlotta Grisi.
+  </p>
+  <p><a href="#fig66"><b>Fig. 66</b></a>: Mlle. Adeline Gen&eacute;e, 1906. Photo, Ellis and Walery.
+  </p>
+  <p><a href="#fig67"><b>Fig. 67</b></a>: Mlle. Anna Pavlova, 1910. From a photo by Foulsham and Banfield.
+  </p>
+  <p><a href="#fig68"><b>Fig. 68</b></a>: Mlle. Sophie F&eacute;dorova.
+  </p>
+  <p><a href="#fig69"><b>Fig. 69</b></a>: Japanese Court Dance.
+  </p>
+  <p><a href="#fig70"><b>Fig. 70</b></a>: Indian dancing-girl.
+  </p>
+  <p><a href="#fig71"><b>Fig. 71</b></a>: Patagonian dancers to fife and tabor.
+  </p>
+  <p><a href="#fig72"><b>Fig. 72</b></a>: Tibetan religious dancing procession, 1908 a.d.
+</p>
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Dance (by An Antiquary), by Anonymous
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+</body>
+</html>
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+The Project Gutenberg EBook of The Dance (by An Antiquary), by Anonymous
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Dance (by An Antiquary)
+       Historic Illustrations of Dancing from 3300 B.C. to 1911 A.D.
+
+Author: Anonymous
+
+Release Date: December 12, 2005 [EBook #17289]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE (BY AN ANTIQUARY) ***
+
+
+
+
+Produced by Ben Courtney, Sandy Brown, and the Distributed
+Proofreaders team
+
+
+
+
+
+
+                  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
+
+
+
+
+PREFACE.
+
+       *       *       *       *       *
+
+This sketch of the iconography of the dance does not pretend to be a
+history of the subject, except in the most elementary way. It may be
+taken as a summary of the history of posture; a complete dance cannot
+be easily rendered in illustration.
+
+The text is of the most elementary description; to go into the subject
+thoroughly would involve years and volumes. The descriptions of the
+various historic dances or music are enormous subjects; two authors
+alone have given 800 dances in four volumes.[Footnote: Thompson's
+complete collection of 200 country dances performed at Court, Bath,
+Tunbridge, and all public assemblies, with proper figures and
+directions to each set for the violin, German flute, and hautboy, 8s.
+6d. Printed for Charles and Samuel Thompson, St. Paul's Churchyard,
+London, where may be had the yearly dances and minuets. Four volumes,
+each 200 dances. 1770-1773.]
+
+It would have been interesting if some idea of the orchesography of
+the Egyptians and Greeks could have been given; this art of describing
+dances much in the manner that music is written is lost, and the
+attempts to revive it have been ineffective. The increasing speed of
+the action since the days of Lulli would now render it almost
+impossible.
+
+It is hoped that this work may be of some use as illustrating the
+costume, position and accessories of the dance in various periods to
+those producing entertainments.
+
+To the reader desirous of thoroughly studying the subject a
+bibliography is given at the end.
+
+
+
+
+CONTENTS.
+
+
+CHAPTER I
+
+Egyptian, Assyrian, Hebrew, and Phoenician Dancing. The Ritual Dance
+of Egypt. Dancing Examples from Tomb of Ur-ari-en-Ptah, 6th Dynasty,
+British Museum. Description of Dancing from Sir G. Wilkinson; of the
+Egyptian Pipes and Hieroglyphics of Dancing, &c. Phoenician Round
+Dances, from a Limestone Group found at Cyprus, and Bronze Patera from
+Idalium, Cyprus.
+
+
+CHAPTER II
+
+Greek Dancing. Bacchanalian Dance, by the Ceramic Painter Hieron.
+Description of some Greek Dances, the Geranos, the Corybantium, the
+Hormos, &c. Dancing Bacchante from a Vase and from Terra Cotta. The
+Hand-in-hand, and Panathenaeac Dance from Ceramic Ware. Military Dance
+from Sculpture in Vatican, Greek Dancer with Castanets. Illustration
+of Cymbals and Pipes from the British Museum. The Chorus. Greek
+Dancers and Tumblers.
+
+
+CHAPTER III
+
+Etruscan, South Italian and Roman Dancing. Illustrations from the
+Grotta dei Vasi, the Grotta della Scimia, and the Grotta del
+Triclinio, Corneto. Funeral Dances from Albanella, Capua, &c. Pompeii
+and the Baths of Constantino. The Dances of the Etruscans and South
+Italians. The Roman, Dance of the Salii. The Bellicrepa. The social
+position of Dancing. The Chorus.
+
+
+CHAPTER IV
+
+Early English and Mediaeval Dancing to the 14th Century. Dancing in
+Churches and Religious Dancing. The Gleemen's Dance. Military Dances.
+The Hornpipe. Tumbling and Jest Dances. Illustrations of Gleemen's
+Dance, Hornpipe, Sword Dances, Tumbling and Various Comic Dances.
+
+
+CHAPTER V
+
+Society Dancing, the 15th to 18th Centuries. Out-of-door Dances.
+Chamber Dancing. Comic Dances. The Ball. Illustrations from Italian
+15th Century, German 15th and 16th Centuries, French 15th, 16th, 17th,
+English 15th, 16th and 18th Centuries Dancing.
+
+
+CHAPTER VI
+
+The Modern Theatre Dance: its Origin. Introduced into France from
+Italy. Under Henry III., IV., Louis XIII., XIV. Influence of Cardinals
+Richelieu and Mazarin. Foundation of the Academic de Danse et de
+Musique. The Court Ballet. Moliere. Corneille. Lalli, &c. The Theatre
+Ballet. The Influence of Noverre. Its introduction into and its
+Present Condition in England, &c. Illustrations of Mlles. de Camargo,
+Duvernay, Taglioni. Fanny Ellsler. Ferraris, Carlotta Grisi. Adeline
+Genee. Anna Pavlova. Fedorova, &c. Various Eastern Examples.
+
+[Illustration: Fig. 1.--Dancing to the clapping of bands. Egyptian,
+from the tomb of Ur-ari-en-Ptah, 6th Dynasty, about 3300 B.C. (British
+Museum.)]
+
+       *       *       *       *       *
+
+Historic Illustrations of Dancing.
+
+
+
+
+CHAPTER I.
+
+
+EGYPTIAN, ASSYRIAN, HEBREW AND PHOENICIAN DANCING.
+
+In this work it is not necessary to worry the reader with speculations
+as to the origin of dancing. There are other authorities easily
+accessible who have written upon this theme.
+
+Dancing is probably one of the oldest arts. As soon as man was man he
+without doubt began to gesticulate with face, body, and limbs. How
+long it took to develop bodily gesticulation into an art no one can
+guess--perhaps a millennium.
+
+In writing of dancing, one will therefore include those gesticulations
+or movements of the body suggesting an idea, whether it be the slow
+movement of marching, or the rapid gallop, even some of the movements
+that we commonly call acrobatic. It is not intended here to include
+the more sensual movements of the East and the debased antique.
+
+Generally the antique dances were connected with a religious ritual
+conceived to be acceptable to the Gods. This connection between
+dancing and religious rites was common up to the 16th century. It
+still continues in some countries.
+
+In some of the earliest designs which have come down to us the dancers
+moved, as stars, hand in hand round an altar, or person, representing
+the sun; either in a slow or stately method, or with rapid trained
+gestures, according to the ritual performed.
+
+Dancing, music and poetry were inseparable. Dancing is the poetry of
+motion, and its connection with music, as the poetry of sound, occurs
+at all times. In our own day musical themes are marked by forms
+originally dance times, as waltz time, gavotte time, minuet time, etc.
+
+[Illustration: Fig. 2.--Greek figures in a solemn dance. From a vase
+at Berlin.]
+
+Amongst the earliest representations that are comprehensible, we have
+certain Egyptian paintings, and some of these exhibit postures that
+evidently had even then a settled meaning, and were a phrase in the
+sentences of the art. Not only were they settled at such an early
+period (B.C. 3000, fig. 1) but they appear to have been accepted and
+handed down to succeeding generations (fig. 2), and what is remarkable
+in some countries, even to our own times. The accompanying
+illustrations from Egypt and Greece exhibit what was evidently a
+traditional attitude. The hand-in-hand dance is another of these.
+
+The earliest accompaniments to dancing appear to have been the
+clapping of hands, the pipes,[Footnote: Egyptian music appears to
+have been of a complicated character and the double pipe or flutes
+were probably reeded, as with our clarionet. The left pipe had few
+stops and served as a sort of hautboy; the right had many stops and
+was higher. The single pipe, (a) "The recorder" in the British Museum,
+is a treble of 10-1/2 in. and is pentaphonic, like the Scotch scale;
+the tenor (b) is 8-3/4 in. long and its present pitch--[Illustration:
+a] [Illustration: b] the guitar, the tambourine, the castanets, the
+cymbals, the tambour, and sometimes in the street, the drum.
+
+The following account of Egyptian dancing is from Sir Gardiner
+Wilkinson's "Ancient Egypt" [Footnote: Vol. i., p. 503-8.]:--
+
+"The dance consisted mostly of a succession of figures, in which the
+performers endeavoured to exhibit a great variety of gesture. Men and
+women danced at the same time, or in separate parties, but the latter
+were generally preferred for their superior grace and elegance. Some
+danced to slow airs, adapted to the style of their movement; the
+attitudes they assumed frequently partook of a grace not unworthy of
+the Greeks; and some credit is due to the skill of the artist who
+represented the subject, which excites additional interest from its
+being in one of the oldest tombs of Thebes (B.C. 1450, Amenophis II.).
+Others preferred a lively step, regulated by an appropriate tune; and
+men sometimes danced with great spirit, bounding from the ground,
+more in the manner of Europeans than of Eastern people. On these
+occasions the music was not always composed of many instruments, and
+here we find only the cylindrical maces and a woman snapping her
+fingers in the time, in lieu of cymbals or castanets.
+
+"Graceful attitudes and gesticulations were the general style of their
+dance, but, as in all other countries, the taste of the performance
+varied according to the rank of the person by whom they were employed,
+or their own skill, and the dance at the house of a priest differed
+from that among the uncouth peasantry, etc.
+
+"It was not customary for the upper orders of Egyptians to indulge in
+this amusement, either in public or private assemblies, and none
+appear to have practised it but the lower ranks of society, and those
+who gained their livelihood by attending festive meetings.
+
+"Fearing lest it should corrupt the manners of a people naturally
+lively and fond of gaiety, and deeming it neither a necessary part of
+education nor becoming a person of sober habits, the Egyptians forbade
+those of the higher classes to learn it as an amusement.
+
+"Many of these postures resembled those of the modern ballet, and the
+pirouette delighted an Egyptian party 3,500 years ago.
+
+"The dresses of the females were light and of the finest texture, a
+loose flowing robe reaching to the ankles, sometimes with a girdle.
+
+"In later times, it appears more transparent and folded in narrow
+pleats.[Footnote: There is a picture of an Egyptian gauffering machine
+in Wilkinson, vol. i., p. 185.] Some danced in pairs, holding each
+other's hand; others went through a succession of steps alone, both
+men and women; sometimes a man performed a solo to the sound of music
+or the clapping of hands.
+
+"A favourite figure dance was universally adopted throughout the
+country, in which two partners, who were usually men, advanced toward
+each other, or stood face to face upon one leg, and having performed a
+series of movements, retired again in opposite directions, continuing
+to hold by one hand and concluding by turning each other round (see
+fig. 3). That the attitude was very common is proved by its having
+been adopted by the hieroglyphic (fig. 4) as the mode of describing
+'dance.'"
+
+[Illustration: Fig. 3.--The hieroglyphics describe the dance.]
+
+[Illustration: Fig. 4.--Egyptian hieroglyphic for "dance."]
+
+Many of the positions of the dance illustrated in Gardner Wilkinson
+are used at the present day.
+
+The ASSYRIANS probably danced as much as the other nations, but
+amongst the many monuments that have been discovered there is little
+dancing shown, and they were evidently more proud of their campaigns
+and their hunting than of their dancing. A stern and strong people,
+although they undoubtedly had this amusement, we know little about it.
+Of the Phoenicians, their neighbours, we have some illustrations of
+their dance, which was apparently of a serious nature, judging by the
+examples which we possess, such as that (fig. 5) from Cyprus
+representing three figures in hooded cowls dancing around a piper. It
+is a dance around a centre, as is also (fig. 6) that from Idalium in
+Cyprus. The latter is engraved around a bronze bowl and is evidently a
+planet and sun dance before a goddess, in a temple; the sun being the
+central object around which they dance, accompanied by the double
+pipes, the harp, and tabour. The Egyptian origin of the devotion is
+apparent in the details, especially in the lotus-smelling goddess
+(marked A on fig. 6) who holds the flower in the manner shown in an
+Egyptian painting in the British Museum (fig. 7).
+
+[Illustration: Fig. 5.--Cyprian limestone group of Phoenician dancers,
+about 6-1/2 in. high. There is a somewhat similar group, also from
+Cyprus, in the British Museum. The dress, a hooded cowl, appears to be
+of great antiquity.]
+
+From the Phoenicians we have illustrated examples, but no record,
+whereas from their neighbours the Hebrews we have ample records in the
+Scriptures, but no illustrations. It is, however, most probable that
+the dance with them had the traditional character of the nations
+around them or who had held them captive, and the Philistine dance
+(fig. 6) may have been of the same kind as that around the golden calf
+(Apis) of the desert (Exodus xxxii. v. 19).
+
+[Illustration: Fig. 6.--Phoenician patera, from Idalium, showing a
+religious ritual dance before a goddess in a temple round a sun
+emblem.]
+
+When they passed the Red Sea, Miriam and the maidens danced in chorus
+with singing and the beating of the timbrel (tambour). (Exodus xv. v.
+1.)
+
+[Illustration: Fig. 7.--Female figure smelling a lotus. From a
+painting in the British Museum.]
+
+King David not only danced before the ark (2 Samuel vi. v. 16), but
+mentions dancing in the 149th and 150th Psalm. Certain historians also
+tell us that they had dancing in their ritual of the seasons. Their
+dancing seems to have been associated with joy, as we read of "a time
+to mourn and a time to dance"; we find (Eccles. iii. v. 4) they had
+also the pipes: "We have piped to you and you have not danced"
+(Matthew xi. v. 17). These dances were evidently executed by the
+peoples themselves, and not by public performers.
+
+[Illustration: Fig. 8.--Dance of Bacchantes, painted by the ceramic
+painter, Hieron. (British Museum,)]
+
+
+
+
+CHAPTER II.
+
+
+DANCING WITH THE GREEKS.
+
+With the Greeks, dancing certainly was primarily part of a religious
+rite; with music it formed the lyric art. The term, however, with them
+included all those actions of the body and limbs, and all expressions
+and actions of the features and head which suggest ideas; marching,
+acrobatic performances, and mimetic action all came into the term.
+
+According to the historians, the Greeks attributed dancing to their
+deities: Homer makes Apollo _orchestes_, or the dancer; and amongst
+the early dances is that in his honour called the _Hyporchema_. Their
+dances may be divided into sections somewhat thus: (1) those of a
+religious species, (2) those of a gymnastic nature, (3) those of a
+mimetic character, (4) those of the theatre, such as the chorus, (5)
+those partly social, partly religious dances, such as the hymeneal,
+and (6) chamber dances.
+
+Grown up men and women did not dance together, but the youth of both
+sexes joined in the _Horm[)o]s_ or chain dance and the
+_G[)e]r[)a]n[)o]s_, or crane (see fig. 11).
+
+[Illustration: Fig. 9.--Dancing Bacchante. From a vase in the British
+Museum.]
+
+[Illustration: Fig. 10.--Greek terra cotta dancing girl, about 350
+B.C. (British Museum.)]
+
+According to some authorities, one of the most primitive of the first
+class, attributed to Phrygian origin, was the _Aloenes_, danced to the
+Phrygian flute by the priests of Cybele in honour of her daughter
+Ceres. The dances ultimately celebrated in her cult were numerous:
+such as the _Anthema_, the _Bookolos_, the _Epicredros_, and many
+others, some rustic for labourers, others of shepherds, etc. Every
+locality seems to have had a dance of its own. Dances in honour of
+Venus were common, she was the patroness of proper and decent dancing;
+on the contrary, those in honour of Dionysius or Bacchus degenerated
+into revelry and obscenity. The _Epilenios_ danced when the grapes
+were pressed, and imitated the gathering and pressing. The
+_Anteisterios_ danced when the wine was vatted (figs. 8, 9, 10), and
+the _Bahilicos_, danced to the sistrus, cymbals, and tambour, often
+degenerated into orgies.
+
+[Illustration: Fig. 11.--The G[)e]r[)a]n[)o]s from
+a vase in the Museo Borbonico, Naples.]
+
+[Illustration: Fig. 12.--Panathenaeac dance, about
+the 4th century B.C.]
+
+[Illustration: Fig. 13.--A military dance, supposed
+to be the _Corybantum_. From a Greek bas-relief in the Vatican
+Museum.]
+
+The _G[)e]r[)a]n[)o]s_, originally from Delos, is said to have been
+originated by Theseus in memory of his escape from the labyrinth of
+Crete (fig. 12). It was a hand-in-hand dance alternately of males and
+females. The dance was led by the representative of Theseus playing
+the lyre.
+
+[Illustration: Fig. 14.--Greek dancer with castanets. (British
+Museum.) See also Castanet dance by Myron, fig. 63a.]
+
+Of the second class, the gymnastic, the most important were military
+dances, the invention of which was attributed to Minerva; of these the
+_Corybantum_ was the most remarkable. It was of Phrygian origin and of
+a mixed religious, military, and mimetic character; the performers
+were armed, and bounded about, springing and clashing their arms and
+shields to imitate the Corybantes endeavouring to stifle the cries of
+the infant Zeus, in Crete. The Pyrrhic (fig. 13), a war dance of Doric
+origin, was a rapid dance to the double flute, and made to resemble
+an action in battle; the _Hoplites_ of Homer is thought to have been
+of this kind. The Dorians were very partial to this dance and
+considered their success in battle due to the celerity and training of
+the dance. In subsequent periods it was imitated by female dancers and
+as a _pas seul_. It was also performed in the Panathenaea by Ephebi at
+the expense of the Choragus, but this was probably only a mimetic
+performance and not warlike.
+
+[Illustration: Fig. 15.--Cymbals (about 4 in.) and double flute.
+(British Museum.)]
+
+There were many other heroic military dances in honour of Hercules,
+Theseus, etc.
+
+The chorus, composed of singers and dancers, formed part of the drama,
+which included the recitation of some poetic composition, and included
+gesticulative and mimetic action as well as dancing and singing. The
+Dorians were especially fond of this; their poetry was generally
+choral, and the Doric forms were preserved by the Athenians in the
+choral compositions of their drama.
+
+The tragic dance, _Emmelia_, was solemn; whilst that in comedy,
+_Cordax_, was frivolous, and the _siccinis_, or dance of Satyrs, was
+often obscene. They danced to the music of the pipes, the tambour, the
+harp, castanets, cymbals, etc. (figs. 14, 15, 16).
+
+[Illustration: Fig. 16.--Greek dancers. From a vase in the Hamilton
+Collection.] [Illustration: Fig. 17.--Bacchanalian dancer. Vase from
+Nocera, Museum, Naples.]
+
+In the rites of Dionysius the chorus was fifty and the cithara was
+used instead of the flute. From the time of Sophocles it was fifteen,
+and always had a professed trainer. The choric question is, however, a
+subject in itself, and cannot be fairly dealt with here.  The social
+dances, and those in honour of the seasons, fire and water, were
+numerous and generally local; whilst the chamber dances, professional
+dancing, the throwing of the _Kotabos_, and such-like, must be left to
+the reader's further study of the authors mentioned in the
+bibliography at the end of the work.
+
+[Illustration: Fig. 18.--Greek dancers and tumblers.]
+
+It may astonish the reader to know that the funambulist or rope-dancer
+was very expert with the Greeks, as also was the acrobat between
+knives and swords. Animals were also taught to dance on ropes, even
+elephants.
+
+The important religious and other dances were not generally composed
+of professionals. The greatest men were not above showing their
+sentiments by dancing. Sophocles danced after Salamis, and Epaminondas
+was an expert dancer. There were dancers of all grades, from the
+distinguished to the moderate. Distinguished persons even married into
+excellent positions, if they did not already occupy them by birth.
+Philip of Macedon married Larissa, a dancer, and the dancer
+Aristodemus was ambassador to his Court. These dancers must not be
+confounded with those hired to dance at feasts, etc. (figs. 9, 14 and
+18).  [Illustration: Fig. 19.--Etruscan bronze dancer with eyes of
+diamonds, found at Verona. Now in the British Museum.]
+
+
+
+
+CHAPTER III.
+
+
+ETRUSCAN-SOUTH ITALIAN, ROMAN DANCING, ETC.
+
+One of the most important nations of antiquity was the Etruscan,
+inhabiting, according to some authorities, a dominion from Lombardy to
+the Alps, and from the Mediterranean to the Adriatic.
+
+Etruria gave a dynasty to Rome in Servius Tullius, who originally was
+Masterna, an Etruscan.
+
+[Illustration: Fig. 20.--Etruscan dancer. From a painting in the
+Grotta dei Vasi dipinti--Corneto.]
+
+It is, however, with the dancing that we are dealing. There is little
+doubt that they were dancers in every sense; there are many ancient
+sepulchres in Etruria, with dancing painted on their walls. Other
+description than that of the pictures we do not possess, for as yet
+the language is a dead letter. There is no doubt, as Gerhardt
+[Footnote: "Ann. Institut.": 1831, p. 321.] suggests, that they
+considered dancing as one of the emblems of joy in a future state,
+and that the dead were received with dancing and music in their new
+home. They danced to the music of the pipes, the lyre, the castanets
+of wood, steel, or brass, as is shown in the illustrations taken from
+the monuments.
+
+[Illustration: Fig. 21.--Etruscan dancing and performances. From
+paintings in the Grotta della Scimia Corneto, about 500 B.C.]
+
+That the Phoenicians and Greeks had at certain times immense influence
+on the Etruscans is evident from their relics which we possess (fig.
+20).
+
+A characteristic illustration of the dancer is from a painting in the
+tomb of the _Vasi dipinti_, Corneto, which, according to Mr. Dennis,
+[Footnote: "Etruria," vol. i., p. 380.] belongs to the archaic period,
+and is perhaps as early as 600 B.C. It exhibits a stronger Greek
+influence than some of the paintings. Fig. 21, showing a military
+dance to pipes, with other sports, comes from the _Grotta della
+Scimia_, also at Corneto; these show a more purely Etruscan character.
+
+[Illustration: Fig. 22.--Etruscan Dancing. From the Grotta del
+Triclinio.--Corneto.]
+
+The pretty dancing scene from the _Grotta del Triclinio_ at Corneto
+is taken from a full-sized copy in the British Museum, and is of the
+greatest interest. It is considered to be of the Greco-Etruscan
+period, and later than the previous examples (fig. 22).
+
+There is a peculiarity in the attitude of the hands, and of the
+fingers being kept flat and close together; it is not a little curious
+that the modern Japanese dance, as exhibited by Mme. Sadi Yacca, has
+this peculiarity, whether the result of ancient tradition or of modern
+revival, the writer cannot say.
+
+Almost as interesting as the Etruscan are the illustrations of dancing
+found in the painted tombs of the Campagna and Southern Italy, once
+part of "Magna Grecia"; the figure of a funeral dance, with the double
+pipe accompaniments, from a painted tomb near Albanella (fig. 23) may
+be as late as 300 B.C., and those in figs. 24, 25 from a tomb near
+Capua are probably of about the same period. These Samnite dances
+appear essentially different from the Etruscan; although both Greek
+and Etruscan influence are very evident, they are more solemn and
+stately. This may, however, arise from a different national custom.
+
+That the Etruscan, Sabellian, Oscan, Samnite, and other national
+dances of the country had some influence on the art in Rome is highly
+probable, but the paucity of early Roman examples renders the evidence
+difficult.
+
+[Illustration: Fig. 23.--Funeral dance in the obsequies of a female.
+From a painted tomb near Albanella.]
+
+Rome as a conquering imperial power represented nearly the whole world
+of its day, and its dances accordingly were most numerous. Amongst the
+illustrations already given we have many that were preserved in Rome.
+In the beginning of its existence as a power only religious dances
+were practised, and many of these were of Etruscan origin, such as the
+Lupercalia, the Ambarvalia, &c. In the former the dancers were
+demi-nude, and probably originally shepherds; the latter was a serious
+dancing procession through fields and villages.  [Illustration: Fig.
+24.--Funeral dance. From Capua.]
+
+A great dance of a severe kind was executed by the Salii, priests of
+Mars, an ecclesiastical corporation of twelve chosen patricians. In
+their procession and dance, on March 1, and succeeding days, carrying
+the Ancilia, they sang songs and hymns, and afterwards retired to a
+great banquet in the Temple of Mars. 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 letters.
+There were also an order of female Salii. Another military dance was
+the _Saltatio bellicrepa_, said to have been instituted by Romulus in
+commemoration of the Rape of the Sabines. The Pyrrhic dance (fig. 13)
+was also introduced into Rome by Julius Caesar, and was danced by the
+children of the leading men of Asia and Bithynia.
+
+As, however, the State increased in power by conquest, it absorbed
+with other countries other habits, and the art degenerated often, like
+that of Greece and Etruria, into a vehicle for orgies, when they
+brought to Rome with their Asiatic captives even more licentious
+practices and dances.
+
+[Illustration: Fig. 25.--Funeral dance from the same tomb.]
+
+As Rome, which never rose to the intellectual and imaginative state of
+Greece in her best period, represented wealth, commerce, and conquest,
+in a greater degree, so were her arts, and with these the lyric. In
+her best state her nobles danced, Appius Claudius excelled, and
+Sallust tells us that Sempronia "psaltere saltare elegantius"; so that
+in those days ladies played and danced, but no Roman citizen danced
+except in the religious dances. They carried mimetic dances to a very
+perfect character in the time of Augustus under the term of _Musica
+muta_. After the second Punic war, as Greek habits made their way into
+Italy, it became a fashion for the young to learn to dance. The
+education in dancing and gesture were important in the actor, as masks
+prevented any display of feature. The position of the actor was never
+recognized professionally, and was considered _infamia_. But the
+change came, which caused Cicero to say "no one danced when sober."
+Eventually the performers of lower class occupied the dancing
+platform, and Herculaneum and Pompeii have shown us the results.
+
+[Illustration: Fig. 26.--Bacchante leading the Dionysian bull to the
+altar. Bas-relief in the Vatican.]
+
+In the theatre the method of the Roman chorus differed from that of
+the Greeks. In the latter the orchestra or place for the dancing and
+chorus was about 12 ft. below the stage, with steps to ascend when
+these were required; in the former the chorus was not used in comedy,
+and having no orchestra was in tragedies placed upon the stage. The
+getting together of the chorus was a public service, or liturgia, and
+in the early days of Grecian prosperity was provided by the choregus.
+
+Tiberius by a decree abolished the Saturnalia, and exiled the dancing
+teachers, 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 licence.
+
+[Illustration: Fig. 27--Bacchante. From a fresco, Pompeii, 1st century
+B.C.]
+
+[Illustration: Fig. 28.--Dancer. From a fresco in the Baths of
+Constantine, 4th century A.D.]
+
+Perhaps the encouragement of the more brutal combats of the Coliseum
+did something to suppress the more delicate arts, but historians have
+told us, and it is common knowledge, what became of the great Empire,
+and the lyric with other arts were destroyed by licentious
+preferences.
+
+
+
+
+CHAPTER IV.
+
+
+THE "EARLY ENGLISH" AND "MEDIAEVAL" DANCE TO THE FOURTEENTH CENTURY.
+
+The last illustration from the Baths of Constantine brought us into
+the Christian era, although that example was not of Christian
+sentiment or art. It is possible that the dance of Salome with its
+diabolical reward may have prejudiced the Apostolic era, for we find
+no example of dancing, as exhibiting joy, in Christian Art of that
+period. The dance before Herod is historical proof that the higher
+classes of Hebrews danced for amusement.
+
+As soon, however, as Christianity became enthroned, and a settled
+society, we read of religious dances as exhibiting joy, even in the
+churches. Tertullian tells us that they danced to the singing of hymns
+and canticles. These dances were solemn and graceful to the old tones;
+and continued, notwithstanding many prohibitions such as those of Pope
+Zacharias (a Syrian) in A.D. 744. The dancing at Easter in the
+Cathedral at Paris was prohibited by Archbishop Odo in the 12th
+century, but notwithstanding the antagonism of the Fathers, the dances
+were only partially suppressed.
+
+They were common on religious festivals in Spain and Portugal up to
+the seventeenth century and in some localities continue even to our
+own time. When S. Charles Borromeo was canonized in 1610, the
+Portuguese, who had him as patron, made a procession of four chariots
+of dancers; one to Renown, another to the City of Milan, one to
+represent Portugal and a fourth to represent the Church. In Seville at
+certain periods, and in the Balearic Isles, they still dance in
+religious ceremonies.
+
+We know that religious dancing has continually been performed as an
+accessory to prayer, and is still so used by the Mahommedans, the
+American Indians and the Bedos of India, who dance into an ecstasy.
+
+[Illustration: Fig. 29.--Gleemen's dance, 9th century. From Cleopatra,
+Cotton MS. C. viii., British Museum.]
+
+It is probable that this sort of mania marked the dancing in Europe
+which was suppressed by Pope and Bishop. This _choreomania_ marked a
+Flemish sect in 1374 who danced in honour of St. John, and it was so
+furious that the disease called St. Vitus' dance takes its name from
+this performance.
+
+Christmas carols were originally choric. The performers danced and
+sang in a circle.
+
+The illustration (fig. 43) of a dance of angels and religious shows us
+that Fra Angelico thought the practice joyful; this dance is almost a
+counterpart of that amongst the Greeks (fig. 11). The other dance, by
+Sandro Botticelli (fig. 44), is taken from his celebrated "Nativity"
+in the National Gallery. Although we have records of performances in
+churches, no illustrations of an early date have come to the knowledge
+of the writer.  [Illustration: Fig. 30.--Dancing to horn and pipe.
+From an Anglo-Saxon MS.]
+
+That the original inhabitants of Britain danced--that the Picts,
+Danes, Saxons and Romans danced may be taken for granted, but there
+seems little doubt that our earliest illustrations of dancing were of
+the Roman tradition. We find the attitude, the instruments and the
+clapping of hands, all of the same undoubted classic character.
+Tacitus informs us that the Teutonic youths danced, with swords and
+spears, and Olaus Magnus that the Goths, &c., had military dances:
+still the military dances in English MSS. (figs. 31, 32) seem more
+like those of a Pyrrhic character, which Julius Caesar, the conqueror
+of England, introduced into Rome. The illustration (fig. 29) of what
+is probably a Saxon gleemen's dance shows us the kind of amusement
+they afforded and how they followed classic usages.
+
+[Illustration: Fig. 31.--Anglo-Saxon sword dance. From the MS.
+Cleopatra, C. viii., British Museum.]  The gleemen were reciters,
+singers and dancers; and the lower orders were tumblers,
+sleight-of-hand men and general entertainers. What may have been the
+origin of our hornpipe is illustrated in fig. 30, where the figures
+dance to the sound of the horn in much the same attitudes as in the
+modern hornpipe, with a curious resemblance to the position in some
+Muscovite dances.
+
+[Illustration: Fig. 32.--Sword dance to bagpipes, 14th century. From 2
+B vii., Royal MS., British Museum.]
+
+The Norman minstrel, successor of the gleeman, used the double-pipe,
+the harp, the viol, trumpets, the horn and a small flat drum, and it
+is not unlikely that from Sicily and their South Italian possessions
+the Normans introduced classic ideas.
+
+Piers the Plowman used words of Norman extraction for them, as he
+speaks of their "Saylen and Saute."
+
+The minstrel and harpist does not appear to have danced very much, but
+to have left this to the joculator, and dancing and tumbling and even
+acrobatic women and dancers appear to have become common before the
+time of Chaucer's "Tomblesteres."
+
+[Illustration: Fig. 33.--Herodias tumbling. From a MS. end of 13th
+century (Addl. 18,719, f. 253b), British Museum.]
+
+That this tumbling and dancing was common in the thirteenth century is
+shown by the illustration from the sculpture at Rouen Cathedral (fig.
+34), the illustrations from a MS. in the British Museum (fig. 33) of
+Herodias tumbling and of a design in glass in Lincoln, and other
+instances at Ely; Idsworth Church, Hants; Ponce, France, and
+elsewhere. It is suggested that the camp followers of the Crusaders
+brought back certain dances and amongst these some of an acrobatic
+nature, and many that were reprehensible, which brought down the anger
+of the Clergy.
+
+[Illustration: Fig. 34.--A tumbler, as caryatid. Rouen Cathedral, 13th
+century.]
+
+In the fourteenth century, from a celebrated MS. (2 B. vii.) in the
+British Museum and other cognate sources we get a fair insight of the
+amusement afforded by these dancers and joculators. In the
+illustration (fig. 35) we get A and C tumblers, male and female; D, a
+woman and bear dance; and E, a dance of fools to the organ and
+bagpipe. It will be observed that they have bells on their caps, and
+it must have required much skill and practice to sound their various
+toned bells to the music as they danced. This dance of fools may have
+suggested or became eventually merged into the "Morris Dance" (fig.
+50) of which some account with other illustrations of "Comic Dances"
+will be given hereafter. The man dancing and playing the pipes with a
+woman on his shoulder (fig. 36), the stilt dancer with a curious
+instrument (C), and the woman jumping through a hoop, give us other
+illustrations of fourteenth century amusements.
+
+[Illustration: Fig. 35.--14th century dancers. A and C are tumblers;
+B, tumbling and balancing to the tambour; D, a woman dancing around a
+whipped bear; E, jesters dancing.]
+
+[Illustration: Fig. 36.--A, man dancing and playing pipes, carrying a
+woman; B, jumping through a hoop; C, a stilt dance. 14th century.]
+
+
+
+
+CHAPTER V.
+
+
+SOCIETY DANCING FROM THE FIFTEENTH CENTURY.
+
+[Illustration: Fig. 37.--Italian dance. From an engraving, end of 15th
+century, attributed to Baccio Baldini.]
+
+Concerning the dance as a means of social intercourse, it does not
+appear to have been formulated as an accomplishment until late in the
+thirteenth century, and at a later date was cultivated as a means of
+teaching what we call deportment, until it became almost a necessity
+with the classes, as is shown by the literature of that period. The
+various social dances, such as the Volte, the Jig and the Galliard,
+although in early periods, not so numerous, required a certain
+training and agility. These, however, soon became complicated with
+many social and local variations, the characteristics of which are a
+study in themselves. The dances (figs. 37 and 38) in a field of
+sports, from an Italian engraving of the fifteenth century, show us
+nothing new; indeed, with different costumes it is very like what we
+have from Egypt (fig. 3), only a different phase of the action, and
+the attitude of this old dance is repeated even to our own time.
+
+[Illustration: Fig. 38.--Italian dancing, the end of the 15th
+century.]
+
+In the Chamber dance by Martin Zasinger (fig. 39), of the fifteenth
+century, no figures are in action, but we see an arrangement of the
+guests and musicians, from which it is evident that the Chamber dance
+as a social function had progressed and that the "Bal pare," etc.,
+was here in embryo.
+
+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
+in.
+
+[Illustration: Fig. 39.--Chamber dance, 15th century. From a drawing
+by Martin Zasinger.]
+
+The stately out-door function, in a pleasure garden, from the "Roman
+de la Rose" (fig. 40) illustrates but one portion of the feature of a
+dance, another of which is described in Chaucer's translation:
+
+       "They threw y fere
+    Ther mouthes so that through their play
+    It seemed as they kyste alway."
+
+Fancy dress and comic dances have handed down the same characteristics
+almost to our own time. The Wildeman costume dance (fig. 41) is
+interesting in many respects, it not only shows us the dance, but the
+costume and general method of the Chamber.
+
+[Illustration: Fig. 40.--Dancing in a "pleasure garden," end of the
+15th century. French, from the "Roman de la Rose," in the British
+Museum.]
+
+The fifteenth century comic dancers in a _fete champetre_ (fig. 42)
+and those of the seventeenth century by Callot (fig. 52) are good
+examples of this entertainment--in the background of the latter a
+minuet seems to be in progress. The Morris dance (fig. 50) shows us
+the development that had taken place since the fourteenth century.
+
+[Illustration: Fig. 41.--Fancy dress dance of Wildemen of the 15th
+century. From MS. 4379 Harl, British Museum.]
+
+[Illustration: Fig. 42.--Comic dance to pipe and tabor, end of 15th
+century. From pen drawing in the Mediaeval House Book in the Castle of
+Wolfegg, by the Master of the Amsterdam Cabinet.]
+
+[Illustration: Fig. 43.--A dance of Angels and Saints at the entrance
+to Heaven. Fra Angelico.]
+
+[Illustration: Fig. 44.--Dancing angels. From a "Nativity" by Sandro
+Botticelli _circa_ 1500 A.D.] [Illustration: Fig. 45.--Albert Duerer,
+1514 A.D.]
+
+[Illustration: Fig. 46.--Albert Duerer.]
+
+Allusion has already been made to the beautiful paintings of
+Botticelli and Fra Angelico, which tell us of Italian choral dances of
+their period; these do not belong to social functions, but are
+certainly illustrative of the custom of their day. Albert Duerer (figs.
+45, 46) has given us illustrations of the field dances of his period,
+but both these dances and those drawn by Sebald Beham (fig. 47) are
+coarse, and contrast unfavourably with the Italian, although the
+action is vigorous and robust.
+
+[Illustration: Fig. 47.--Scenes from dances. German, dated 1546, by
+Hans Sebald Beham.]  The military dance of Dames and Knights of
+Armour, by Hans Burgkmair, on the other hand, appears stately and
+dignified (fig. 48). This may illustrate the difference between
+chamber and garden or field dancing.
+
+[Illustration: Fig. 48.--A torchlight military dance of the early 16th
+century. From a picture by Hans Burgkmair.]
+
+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 day. It is
+the "Orchesographie" of Thoinot Arbeau (Jean Tabouret, Canon of
+Langres, in 1588), from which comes the illustration of the
+"Galliarde" (fig. 49) and to which I would refer the reader for all
+the information he desires concerning this period. In this work much
+stress is laid on the value of learning to dance from many points of
+view--development of strength, manner, habits and courtesy, etc. Alas!
+we know now that all these external habits can be acquired and leave
+the "natural man" beneath.  [Illustration: Fig. 49.--_La Galliarde_.
+From the "Orchesographie" of Thoinot Arbeau (Jean Tabourot), Langres,
+1588.]
+
+Desirable, therefore, as good manners and such like are, they do not
+fulfil all the requirements that the worthy Canon wished to be
+involved by them.
+
+[Footnote: The advice which he gives is valuable
+from its bearing on the customs of the 16th century. It even has great
+historical value, indicating the influence dancing has had on good
+manners. That the history of dancing is the history of manners may be
+too much insisted upon. For these reasons we insert these little known
+passages. The first has reference to the right way of proceeding at a
+ball.
+
+   "Having entered the place where the company is gathered for the
+   dance, choose a good young lady (honneste damoiselle) and raising
+   your hat or bonnet with your right hand you will conduct her to
+   the ball with your left. She, wise and well trained, will tender
+   her left and rise to follow you. Then in the sight of all you
+   conduct her to the end of the room, and you will request the
+   players of instruments to strike up a 'basse danse'; because
+   otherwise through inadvertance they might strike up some other
+   kind of dance. And when they commence to play you must commence
+   to dance. And be careful, that they understand, in your asking
+   for a 'basse danse,' you desire a regular and usual one.
+   Nevertheless, 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 them."
+
+   "_Capriol_:--If the lady refuses, I shall feel very ashamed.
+
+   "_Arbeau_:--A well-trained lady never refuses him who so honours
+   her as to lead her to the dance.
+
+   "_Capriol_:--I think so too, but in the meantime the shame of the
+   refusal remains with me.
+
+   "_Arbeau_:--If you feel sure of another lady's graciousness, take
+   her and leave aside this graceless one, asking her to excuse you
+   for having been importunate; nevertheless, there are those who
+   would not bear it so patiently. But it is better to speak thus
+   than with bitterness, because in so doing you acquire a
+   reputation for being gentle and humane, and to her will fall the
+   character of a 'glorieuse' unworthy of the attention paid her."
+
+   "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 her, whilst
+   thanking her for the honour she has done you." Another extract is
+   not wanting in flavour: "Hold the head and body straight, have a
+   countenance of assurance, spit and cough little, and if necessity
+   compels you, turn your face the other side and use a beautiful
+   white handkerchief. Talk graciously, in gentle and honest speech,
+   neither letting your hands hang as if dead or too full of
+   gesticulation. Be dressed cleanly and neatly 'avec la chausse
+   bien tiree et Pescarpin propre.'
+
+   "And bear in mind these particulars."
+]
+
+We have have seen from the fourteenth century (figs. 35 C, 36 A, 46)
+how common the bagpipe was in out-of-door dances; in the illustrations
+from Duerer (fig. 46) and in fig. 53 from Holtzer it has developed, and
+has two accessory pipes, besides that played by the mouth, and the
+player is accompanied by a sort of clarionet. This also appears to be
+the only accompaniment of the Trio (fig. 58).  [Illustration: Fig.
+50.--Morris dancers. From a window that was in the possession of
+George Tollett, Esq., Birtley, Staffordshire, 16th century.]
+
+[Illustration: Fig. 51.--Court dance. From a drawing by Callot, 1635
+A.D.]
+
+In the sixteenth century certain Spanish dances were introduced into
+France, such as la Pavane, which was accompanied by hautboys and
+sackbuts.
+
+[Illustration: Fig. 52.--Comic dancers. By Callot, from the act
+entitled "Balli di Sfessama," 1609 A.D.]
+
+[Illustration: Fig. 53.--Country dance. From a drawing by John
+Evangelist Holtzer, 17th century.]
+
+[Illustration: Fig. 54.--A ball-room dance, _Le Bal Pare_, of the 18th
+century. From August de l'Aubin.]
+
+[Illustration: Fig. 55.--A dance in the 18th century. From a painting
+by Hogarth.]
+
+There were, however, various other dances of a number too
+considerable to describe here, also introduced. The dance of the
+eighteenth century from Derby ware (fig. 59) seems to be but a
+continuation in action of those of the sixteenth century, as
+out-of-door performances.
+
+[Illustration: Fig. 56.--Caricature of a dancing master. Hogarth.]
+
+We have now arrived at the modern style of ball, so beloved by many of
+the French Monarchs. Henry IV. and Napoleon were fond of giving these
+in grand style, and in some sort of grand style they persist even as a
+great social function to our own time. The Court balls of Louis XIII.
+and XIV. at Versailles were really gorgeous ballets, and their
+grandeur was astonishing; this custom was continued under the
+succeeding monarchs. An illustration of one in the eighteenth century
+by August de l'Aubin (fig. 54) sufficiently shows their character.
+There is nothing new in the postures illustrated, which may have
+originated thousands of years ago. As illustrating the popular ball of
+the period, the design by Hogarth (fig. 55) is an excellent contrast.
+The _contredanse_ represented was originally the old country dance
+exported to France and returned with certain arrangements added. This
+is a topic we need not pursue farther, as almost every reader knows
+what social dancing now is.
+
+[Illustration: Fig. 57.--Spring dancing away from winter. From a
+drawing by Watteau.]
+
+[Illustration: Fig. 58.--The Misses Gunning dancing. End of the 18th
+century, from a print by Bunbury, engraved by Bartolozzi.]
+
+[Illustration: Fig. 59.--Dancing. Close of the 18th century. From
+Derby ware.]
+
+[Illustration: Fig. 60.--Spanish dance in the Hall of Saragoza, 19th
+century.]
+
+
+
+
+CHAPTER VI.
+
+
+THE MODERN THEATRE DANCE.
+
+Although the theatrical ballet dance is comparatively modern, the
+elements of its formation are of the greatest antiquity; the chorus of
+dancers and the performances of the men in the Egyptian chapters
+represent without much doubt public dancing performances. We get
+singing, dancing, mimicry and pantomime in the early stages of Greek
+art, and the development of the dance rhythm in music is equally
+ancient.
+
+The Alexandrine Pantomime, introduced into Rome about 30 B.C. by
+Bathillus and Pylades, appears to have been an entertainment
+approaching the ballet.
+
+In the middle ages there were the mysteries and "masks"; the latter
+were frequent in England, and are introduced by Shakespere in "Henry
+VIII."
+
+In Italy there appears to have been a kind of ballet in the 14th
+century, and from Italy, under the influence of Catharine de' Medici,
+came the ballet. Balthasar di Beaujoyeulx produced the first recorded
+ballet in France, in the Italian style, in 1582. This was, however,
+essentially a Court ballet.
+
+The theatre ballet apparently arose out of these Court ballets. Henry
+III. and Henry IV., the latter especially, were very fond of these
+entertainments, and many Italians were brought to France to assist in
+them. Pompeo Diabono, a Savoyard, was brought to Paris in 1554 to
+regulate the Court ballets. At a later date came Rinuccini, the poet,
+a Florentine, as was probably Caccini, the musician. They had composed
+and produced the little operetta of "Daphne," which had been performed
+in Florence in 1597. Under these last-mentioned masters the ballet in
+France took somewhat of its present form. This passion for Court
+ballets continued under Louis XIII. and Louis XIV.
+
+[Illustration: Fig. 61.--Mlle. de Camargo. After a painting by
+Lancret, about 1740 A.D.]
+
+Louis XIII. as a youth danced in one of the ballets at St. Germain, it
+is said at the desire of Richelieu, who was an expert in spectacle. It
+appears that he was encouraged in these amusements to remedy fits of
+melancholy.
+
+Louis XIV., at seven, danced in a masquerade, and afterwards not only
+danced in the ballet of "Cassandra," in 1651, but did all he could to
+raise the condition of the dance and encourage dancing and music. His
+influence, combined with that of Cardinal Richelieu, raised the
+ballet from gross and trivial styles to a dignity worthy of music,
+poetry and dancing. His uncle, Gaston of Orleans, still patronized the
+grosser style, but it became eclipsed by the better. Lulli composed
+music to the words of Moliere and other celebrities; amongst notable
+works then produced was the "Andromeda" of Corneille, a tragedy, with
+hymns and dances, executed in 1650, at the Petit Bourbon.
+
+[Illustration: Fig. 62.--Pauline Duvernay at Covent Garden,
+1833-1838.]
+
+The foundation of the theatrical ballet was, however, at the
+instigation of Mazarin, to prevent a lowering of tone in the
+establishment of the _Academie de Danse_ under thirteen Academicians
+in 1661. This appears to have been merged into the _Academie Royale de
+Musique et de Danse_ in 1669, which provided a proper training for
+debutants, under MM. Perrin and Cambert, whilst Beauchamp, the master
+of the Court ballets, had charge of the dancing. The first
+opera-ballet, the "Pomona" of Perrin and Cambert, was produced in
+1671. To this succeeded many works of Lulli, to whom is attributed the
+increased speed in dance music and dancing, that of the Court ballets
+having been slow and stately.
+
+[Illustration: Fig. 63.--Mlle. Fanny Ellsler. From a lithograph by A.
+Lacaucbie.]
+
+The great production of the period appears to have been the "Triumph
+of Love" in 1681, with twenty scenes and seven hundred performers;
+amongst these were many of the nobility, and some excellent
+_ballerine_, such as Pesaut, Carre, Leclerc, and Lafontaine.
+
+A detailed history of the ballet is, however, impossible here, and we
+must proceed to touch only on salient points. It passed from the
+Court to the theatre about 1680 and had two characteristics, one with
+feminine dancers, the other without.
+
+[Illustration: Fig. 63a.--Dancing satyr playing castanets, by Myron,
+in the Vatican Museum. The action is entirely suggestive of that of
+Fanny Ellsler, and might be evidence of the antiquity of the Spanish
+tradition.]
+
+It is not a little curious that wearing the mask, a revival of the
+antique, was practised in some of these ballets. The history of the
+opera-ballet of those days gives to us many celebrated names of
+musicians, such as Destouches, who gave new "verve" to ballet music,
+and Rameau. Jean Georges Noverre abolished the singing and established
+the five-act ballet on its own footing in 1776. In this it appears he
+had partly the advice of Garrick, whom he met in London. The names of
+the celebrated dancers are numerous, such as Pecourt, Blaudy (who
+taught Mlle. Camargo), Laval, Vestris, Germain, Prevost, Lafontaine,
+and Camargo (fig. 61), of the 18th century; Taglioni, Grisi, Duvernay,
+Cerito, Ellsler, etc., of the 19th century, to those of our own day. A
+fair notice of all of these would be a work in itself.
+
+[Illustration: Fig. 64.--Mlle. Taglioni. From a lithograph of the
+period.]
+
+The introduction of the ballet into England was as late as 1734, when
+the French dancers, Mlle. Salle, the rival of Mlle. Camargo, and Mlle.
+de Subligny made a great success at Covent Garden in "Ariadne and
+Galatea," and Mlle. Salle danced in her own choregraphic invention of
+"Pygmalion," since which time it has been popular in England, when
+those of the first class can be obtained. There are, however, some
+interesting and romantic circumstances connected with the ballet in
+London in the last century, which it will not be out of place to
+record here. Amongst the dancers of the last century of considerable
+celebrity were two already mentioned, Mlles. Duvernay (fig. 62) and
+Taglioni (fig. 64), whose names are recorded in the classic verse of
+"Ingoldsby."
+
+    "Malibran's dead, Duvernay's fled;
+     Taglioni has not yet arrived in her stead."
+
+[Illustration: Fig. 65.--_Pas de Trois_ by Mlles. Ferraris, Taglioni,
+and Carlotta Grisi.]
+
+Mlle. Duvernay was a Parisian, and commenced her study under Barrez,
+but subsequently was under Vestris and Taglioni, the father of the
+celebrity mentioned in the verse.
+
+[Illustration: Fig. 66.--Mlle. Adeline Genee, 1906. Photo, Ellis and
+Walery.]
+
+Duran hangs over the mantelpiece of the refectory of the presbytery.
+
+[Illustration: Fig. 67.--Mlle. Anna Pavlova, 1910. From a photo by
+Foulsham and Banfield.]
+
+Having made a great Parisian reputation, she came to London in 1833,
+and from that date until 1837 held the town, when she married Mr.
+Stephens Lyne Stephens, M.P., a gentleman of considerable wealth, but
+was left a childless widow in 1861, and retired to her estate at
+Lyneford Hall, Norfolk, living in retirement and spending her time in
+good works. She is said to have spent L100,000 in charities and
+churches, and that at Cambridge, dedicated to the English martyrs, was
+founded, completed, and endowed by her. She led a blameless and
+worthy life, and died in 1894. Her portrait by Mlle. Taglioni (fig.
+64), her co-celebrity, married Count Gilbert de Voisins, a French
+nobleman, in 1847, and with her marriage came an ample fortune;
+unfortunately the bulk of this fortune was lost in the Franco-German
+war. With the courage of her character the Countess returned to London
+and gave lessons in dancing, etc., in which she was sufficiently
+successful to obtain a fair living. She died in 1884 at 80 years of
+age. Of the other celebrities of the period--Carlotta Grisi, Ferraris
+(fig. 65), and Fanny Ellsler (fig. 63)--some illustrations are given;
+besides these were Fanny Cerito, Lucile Grahn, a Dane, and some others
+of lesser notoriety performing in London at this great period of the
+ballet.
+
+[Illustration: Fig. 68.--Mlle. Sophie Fedorova.]
+
+The recent encouragement of the classic ballet has introduced us to
+some exquisite dancers: amongst these are Mlle. Adeline Genee (fig.
+66) and Mlle. Anna Pavlova (fig. 67); the latter, with M. Mordkin and
+a corps of splendid dancers, are from Russia, from whence also comes
+the important troupe now at the Alhambra with Mlle. Geltzer and other
+excellent dancers. The celebrated company at Covent Garden, and Lydia
+Kyasht at the Empire, are also Russian. It is not surprising that we
+get excellent dancing from Russia; the school formed by Peter the
+Great about 1698 has been under State patronage ever since.
+
+Notices of all the important dancers from Italy, Spain, Paris, or
+elsewhere, performing in England in recent years, would occupy
+considerable space, and the reader can easily obtain information
+concerning them elsewhere.
+
+That the technique and speed of the classic dance has considerably
+increased is historically certain, and we must hope that this speed
+will not sacrifice graceful movement. Moreover, technique alone will
+not make the complete fine-artist: some invention is involved.
+Unfortunately, some modern attempts at invention seem crude and
+sensational, whilst lacking the exquisite technique desirable in all
+exhibitions of finished art.
+
+Before concluding it is almost imperative to say something about the
+naked foot dancers, followers of Isidora Duncan. Some critics and a
+certain public have welcomed them; but is it not "sham antique"? It
+does not remind one of the really classic. Moreover, the naked foot
+should be of antique beauty, which in most of these cases it is not.
+Advertisements tell us that these dance are interpretations of classic
+music--Chopin, Weber, Brahms, etc.; they are not really
+interpretations, but distractions! We can hardly imagine that these
+composers intended their work for actual dancing. One can listen and
+be entranced; one sees the dancer's "interpretations" or
+"translations" and the music is degraded to a series of sham classic
+postures.
+
+The idea that running about the stage in diaphanous costumes, with
+conventional mimicry and arm action, is classic or beautiful is a
+mistake; the term aesthetic may cover, but not redeem it. There is not
+even the art of the ordinary ballet-dancer discernible in these
+proceedings.
+
+On another plane are such as the ballets in "Don Giovanni" and
+"Faust." 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 them. This
+opera-ballet is also more in accordance with tradition before the
+time of Noverre.
+
+Neither do the "popular" and curious exhibitions of Loie Fuller strike
+one as having a classic character, or future, of any consideration,
+pretty as they may be.
+
+The operetta or musical comedy has given us some excellent art,
+especially at the end of the 19th century, when Sylvia Gray, Kate
+Vaughan, Letty Lind, Topsy Sinden, and others of like _metier_ gave us
+skirt and drapery dancing.
+
+This introduces us to the question of costume. That commonly used by
+the _prima ballerina_ is certainly not graceful; it was apparently
+introduced about 1830, presumably to show the action and finished
+method of the lower extremities. If Fanny Ellsler and Duvernay could
+excel without this ugly contrivance, why is it necessary for others?
+
+At the same time it is better than indifferent imitations of the
+Greek, or a return to the debased characteristics of Pompeiian art, in
+which the effect of the classic and fine character of the material are
+rendered in a sort of transparent muslin.
+
+With these notices the author's object in this sketch is completed. Of
+the _bal-masque_ garden dances, public balls and such-like, he has no
+intention to treat; they are not classic dancing nor "art," with the
+exception perhaps of the Scottish reels. Nor is he interested in the
+dancing of savage tribes, nor in that of the East, although some few
+illustrations are given to illustrate traditions: for example, the use
+of the pipe and tabor in Patagonia, the dancer from Japan, winged,
+like that in the "Roman de la Rose" (fig. 40), and the religious dance
+of Tibet, showing the survival of the religious dance in some
+countries. In Mrs. Groves' book on dancing there is an excellent
+chapter on the Ritual dance as now practised, to which the reader can
+refer.
+
+[Illustration: Fig. 69.--Japanese Court Dance.] [Illustration: Fig.
+70.--Indian dancing-girl.]
+
+[Illustration: Fig. 71.--Patagonian dancers to fife and tabor.]
+
+[Illustration: Fig. 72.--Tibetan religious dancing procession, 1908
+A.D.]
+
+
+
+
+BIBLIOGRAPHY.
+
+
+Baron, A. "Lettres et Entretiens sur la Danse." Paris, 1825.
+
+Emmanuel, M. "La Danse grecque antique." 1896.
+
+Menestrier, Pere. "Des Ballets anciens et modernes." 1682.
+
+Bonnet. "Histoire generale de la Danse sacree et profane." 1723.
+
+Cahusac. "La Danse ancienne et moderne." 1754.
+
+Noverre. "Lettres sur les Ballets." 1760.
+
+Charbonnel, R. "La Danse de Lettres, &c." 1807.
+
+Pougin, A. Dict. Hist, du Theatre. 1885.
+
+Aulnaye, De l'. "De la Saltation theatrale." 1789.
+
+Olaus Magnus. Gent. Septentr., Hy., Book III., Chap. VII. See Bourne's
+"Vulgar Antiqs.," p. 175.
+
+Abbeau-Thoinot (Canon Jean Tabourot). "Orchesographie." 1643.
+
+Strutt's "Sports and Pastimes." London, 1801.
+
+Thomson, Chas. and Samuel. Collection of 800 Dances. 4 vols.
+1770-1773.
+
+Playford's "Dancing Master." 2nd ed. 1652.
+
+Wilkinson, Sir G. "Ancient Egyptians." 3 vols. London.
+
+Dennis. "Etruria." 2 vols. London.
+
+Compan. "Dictionnaire de la Danse." 1802.
+
+Blasis, C. "Traite de la Danse." Milan, 1830.
+
+---. "Code of Terpsichore." London, 1823.
+
+Vuillier, G. "La Danse a travers les Ages."
+
+Menil, F. de. "Histoire de la Danse a travers les Ages."
+
+Fonta Laure, Mme. "Notice sur les Danses du xvi. siecle."
+
+Guihelmi. "Hebraie Pisauriensis, _de practica seu arte trepudis, &c._"
+1463. MS. Bib. Nation.
+
+Domini, Johan. "Pisauriensis," ditto. MS. Bib. Nation. 1463.
+
+Caroso, F. "Il Ballarino." 1581.
+
+Cesare Negri. "Nuovo Invenzioni di Balli." 1604.
+
+Vestris, D. "Les Danses autrefois." 1887.
+
+Desrat, G. "Dictionnaire de la Danse." Paris, 1895.
+
+Rameau, P. "Le Maitre a danser."
+
+Magny. "Principes de Choregraphie." Paris, 1765.
+
+---. "Nouveau Guide de la Danse." 1888.
+
+Gawlikowski, P. "Guide complet de la Danse." 1858.
+
+Angiolini. "Discuzzioni sulla dansa pantomima." 1760.
+
+Saint Leon. "De l'etat actuel de la danse." Lisbon, 1856.
+
+Giraudet, E. Traite de la danse, 1890.
+
+---. Nouveau Guide, 1888.
+
+Grove, Mrs. Lilly. "History of Dancing." London, 1890.
+
+Skalkovsky-Pleshcheev. "Nash Balet" (our Ballet). 1899. A History
+of the Russian Ballet, in Russian.
+
+
+
+
+
+End of Project Gutenberg's The Dance (by An Antiquary), by Anonymous
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