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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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