| 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 |
About This Book
A chronological study traces dance from ancient ritual and classical antiquity through medieval liturgical and court entertainments to Renaissance spectacle and the formalization of French technique under royal patronage. The text profiles influential theorists, choreographers, and celebrated dancers, and examines aesthetic and technical shifts such as the rise of pantomime, the Romantic ballet and the codification of technique. It also surveys major theatres and institutions that shaped popular and professional practice, considers national schools and repertory developments, and closes by discussing late nineteenth- and early twentieth-century revivals and international influences that pointed toward the art's future.