The Art of Ballet
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THE ART OF BALLET
PREFACE
CONTENTS
LIST OF ILLUSTRATIONS
BOOK I: THE FIRST ERA
OVERTURE ON THE ART OF BALLET
CHAPTER I A DISTINCTION, AND SOME DIFFERENCES
CHAPTER II EGYPT
CHAPTER III GREECE
CHAPTER IV MIME AND PANTOMIME: ROME, HIPPODROME—OBSCURITY
CHAPTER V CHURCH THUNDER AND CHURCH COMPLAISANCE
CHAPTER VI THE BANQUET-BALL OF BERGONZIO DI BOTTA, 1489, AND THE FAMOUS “BALLET COMIQUE DE LA REINE,” 1581
CHAPTER VII THOINOT ARBEAU’S “ORCHÉSOGRAPHIE,” 1588
CHAPTER VIII SCENIC EFFECT: THE ENGLISH MASQUE AS BALLET
CHAPTER IX BALLET ON THE MOVE
CHAPTER X COURT BALLETS ABROAD: 1609-1650
CHAPTER XI THE TURNING POINT: LE ROI SOLEIL AND HIS ACADEMY OF DANCING, 1651-1675
BOOK II: THE SECOND ERA
CHAPTER XII SOME EARLY STARS AND BALLETS
CHAPTER XIII PANTOMIME AT SCEAUX: AND MLLE. PRÉVÔT
CHAPTER XIV ITALIAN COMEDY AND THE THEATRES OF THE FAIR
CHAPTER XV WATTEAU’S DEBT TO THE STAGE
CHAPTER XVI THE SPECTATOR AND MR. WEAVER
CHAPTER XVII A FRENCH DANCER IN EIGHTEENTH-CENTURY LONDON
CHAPTER XVIII LA BELLE CAMARGO
CHAPTER XIX THE HOUSE OF VESTRIS
CHAPTER XX JEAN GEORGES NOVERRE
CHAPTER XXI GUIMARD THE GRAND: 1743-1816
CHAPTER XXII DESPRÉAUX, POET AND—HUSBAND OF GUIMARD
CHAPTER XXIII A CENTURY’S CLOSE
BOOK III: THE MODERN ERA
CHAPTER XXIV THE EARLY NINETEENTH CENTURY
CHAPTER XXV CARLO BLASIS
CHAPTER XXVI MARIE TAGLIONI (“SYLPHIDE”)
CHAPTER XXVII CARLOTTA GRISI (GISELLE)
CHAPTER XXVIII FANNY CERITO (“ONDINE”)
CHAPTER XXIX LUCILE GRAHN (“EOLINE”)
CHAPTER XXX THE DECLINE AND REVIVAL
CHAPTER XXXI THE ALHAMBRA: 1854-1903
CHAPTER XXXII THE ALHAMBRA 1904-1914
CHAPTER XXXIII THE EMPIRE 1884-1906
CHAPTER XXXIV THE EMPIRE 1907-1914
CHAPTER XXXV FINALE: THE RUSSIANS AND—THE FUTURE
INDEX
FOOTNOTES:
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