LIST OF ILLUSTRATIONS
| ADOLF BOLM IN “CARNIVAL” | [Frontispiece] | |
| From a photograph | ||
| AN EGYPTIAN MALE DANCER | Facing page | [30] |
| From a Theban fresco | ||
| EGYPTIAN DANCING GIRLS | ” | [30] |
| From a mural painting in the British Museum | ||
| A GREEK FUNERAL DANCE | ” | [30] |
| From a coloured plaque in the Louvre | ||
| STAGE EFFECT IN THE SIXTEENTH CENTURY | ” | [56] |
| A scene from, the “Ballet Comique de la Royne,” by Baltasar de Beaujoyeux, 1581 | ||
| STAGE EFFECT IN THE SEVENTEENTH CENTURY | ” | [88] |
| From a coloured engraving of a scene from “Circe,” 1694 | ||
| THE DUCHESSE DU MAINE | ” | [114] |
| THE DEPARTURE OF THE ITALIAN COMEDIANS, 1697 | ” | [128] |
| From an engraving by L. Jacob of Watteau’s picture | ||
| PIERROT AND ARLEQUIN, IN THE EARLY EIGHTEENTH CENTURY | ” | [128] |
| From Riccoboni’s “Histoire du Théâtre Italien” | ||
| L’AMOUR AU THÉÂTRE ITALIEN | ” | [132] |
| From the Julienne engravings from Watteau, British Museum | ||
| L’AMOUR AU THÉÂTRE FRANÇAIS | ” | [132] |
| From the Julienne engravings from Watteau, British Museum | ||
| LE CONCERT | ” | [136] |
| From the painting by Watteau, Wallace Collection | ||
| LA LEÇON DE MUSIQUE | ” | [136] |
| From the painting by Watteau, Wallace Collection | ||
| LES PLAISIRS DU BAL | ” | [138] |
| From the Julienne engravings from Watteau, British Museum | ||
| MLLE. DESMARES EN HABIT DE PÈLERINE | ” | [140] |
| From the Julienne engravings from Watteau, British Museum | ||
| L’EMBARQUEMENT POUR L’ILE DE CYTHÈRE | ” | [140] |
| From a photograph by E. Alinari of Watteau’s painting in the Louvre | ||
| MARIE SALLÉ | ” | [150] |
| From an engraving by Petit, after a picture by Fenouil | ||
| M. BALLON AND MLLE. PRÉVÔT | ” | [160] |
| From an old print | ||
| CAMARGO | ” | [160] |
| From the painting by Lancret in the Wallace Collection | ||
| GAETAN VESTRIS | ” | [166] |
| From an old print | ||
| JEAN GEORGES NOVERRE | ” | [174] |
| From an old engraving | ||
| MADELEINE GUIMARD | ” | [192] |
| From the painting by Fragonard | ||
| FANNY ELSSLER | ” | [210] |
| From an old engraving | ||
| CARLOTTA GRISI | ” | [210] |
| From a coloured lithograph | ||
| CARLO BLASIS | ” | [218] |
| From a lithograph | ||
| MARIE TAGLIONI | ” | [228] |
| From a lithograph dated 1833 | ||
| THE PAS DE QUATRE OF 1845 | ” | [228] |
| FANNY CERITO AND ST. LEON | ” | [242] |
| LUCILLE GRAHN AND PERROT | ” | [242] |
| MLLE. PALLADINO IN “NINA” AT THE ALHAMBRA | ” | [266] |
| From a photograph | ||
| MLLE. BRITTA | ” | [266] |
| From a photograph | ||
| MME. GUERRERO | ” | [274] |
| From a photograph | ||
| MLLE. LEONORA | ” | [274] |
| From a photograph | ||
| MLLE. ADELINE GÉNÉE | ” | [292] |
| From a photograph | ||
| MME. LYDIA KYASHT | ” | [304] |
| From a photograph | ||
| MISS PHYLLIS BEDELLS | ” | [304] |
| From a photograph | ||
| MISS ISADORA DUNCAN | ” | [314] |
| From a photograph | ||
| MME. KARSAVINA AND M. ADOLF BOLM IN “L’OISEAU DE FEU” | ” | [322] |
| From a photograph |
BOOK I: THE FIRST ERA
THE ART OF BALLET
OVERTURE
ON THE ART OF BALLET
There may be some who could not agree that Ballet is an “art,” or even that it has, or ever had, any special charm or historic interest. The charm—as in the case of any other art—will probably always remain rather a matter of individual opinion; the historic interest is merely a matter of fact.
No man can hope for agreement with his fellows in all things. The world were flat if it could be so. He may hector, and not convince; he may cajole and not convert; he may tell the simple truth in simple speech and still be misunderstood. So many of his partners in the dance of life speak in different tongues; or, speaking the same, use words and phrases more familiar to them than to himself.