The course in drawing and painting seems to aim at critical appreciation of beauty, as expressed in the abstract qualities of grace in line and harmony in colour; this in distinction to the regulation art school discipline in proportion and anatomy of the figure. The practical value of such training, in sharpening the power of constructive criticism of dancing, is obvious.
To the accomplishment of all this work—and more that need not be detailed—the pupils are not driven; they are led. Everything is fun. Play is made contributory to the general purpose of training artists. As an escape from realities into that world of make-believe that children crave, pantomimes are practiced evenings after dinner; self-expression is encouraged on these occasions, criticism no more than hinted. As a playground for the girls, a large garden is provided. But the boys, to relax from the restraint of a daily two-hour lesson in French ballet, delight in class fencing lessons. The health of all is under unobtrusive but constant supervision. In each of the girls’ dormitories a nurse is on watch every night, alert for the first unfavourable symptom—and ready, too, we may be sure, with sympathy for any little attack of loneliness. Miss Lopoukowa’s remembrances are not of any rigours of work, but rather of a protecting gentleness.
Diet is studied; the children are trained into hygienic positions in sleep! Hair, teeth, skin, heart, lungs, digestion and nerves are cared for by the most capable of specialists. By no means last in importance to a dancer are his feet; the Academy has its chiropodist always in attendance not only to rectify trouble, but to prevent it.
As the academic years draw toward their close, the pupil receives instruction in supplementary branches necessary to the finished artist. Character dances are not only performed; they are studied in relation to the temperaments of their respective nations. Make-up receives its due attention; with paint and false hair young Russians practice transforming themselves into Japanese, Egyptians, Italians. When they leave the Academy, they know their trade.
Somehow such an institution seems too good to last; yet its excellence is far from being the product of any momentary enthusiasm. Its beginning was made in the first half of the eighteenth century. Ballets had been
