LA DANSE GRECQUE ANTIQUE: Maurice Emmanuel.—Traces the origin of a number of steps to ancient Greece, by analysis of poses of dancing, figures on ceramics, etc. Good explanation of ballet steps. (French.)

A GRAMMAR OF THE ART OF DANCING: Friedrich Albert Zorn.—Explains a system of choreographic writing by means of symbols to indicate positions and movements. By means (partly) of symbols explains ballet steps, also several ballroom dances. Exact and complete. (Written in German; translated into English and other languages.)

L’ACADEMIE IMPERIALE DE MUSIQUE: Castil-Blaze.—“Histoire litteraire, musicale, chorÉographique, pittoresque, morale, critique, facÉtieuse, politique et galante de ce thÉÂtre.” (From 1645 to 1855.) Contains much history and anecdote of Roman Empire and Middle Ages, with descriptions of mediÆval ambulatory ballets, etc. (French.)

LES PENSÉES: J.-J. Rousseau.—Defends the dance against attacks of English. Rare; frequently missing from (supposedly) complete editions of the author. (French.)

MEMOIRS ET JOURNAUX: Pierre de l’Estoile.—A collection of anecdotes of the court of Henry III. A mine of information and gossip in relation to masques, etc., in the period described. (French.)

DES BALLETS ANCIENS ET MODERNES, SELON LES RÉGLES DU THÉÂTRE: Claude FranÇois MÉnestrier. 1682.—Author was a Jesuit priest. Book includes extensive list of ballets produced in France up to year of its publication.

ORCHESOGRAPHIE: Thoinet-Arbeau (anagram of Jean Tabourot). 1589.—Author was Canon of Langres and MaÎtre de Chapelle of Henry III. The first book devoted to the dance. Comments on all aspects of dancing in France of his time. (French)

THE CODE OF TERPSICHORE.—LE CODE COMPLET DE LA DANSE.—TRAITÉ HISTORIQUE THÉORIQUE ET PRATIQUE DE L’ART DE LA DANSE, DE LA PANTOMIME, DES BALLETS: Carlo Blasis.—Of the three books named, the first is in English; its material is more or less repeated in the other two, which are in French. A standard for the use of ballet-masters especially. Authoritative on matters pertaining to ballet technique, questionable on character dances, wholly untrustworthy on Spanish.

LETTRES SUR LA DANSE ET LES BALLETS: M. Noverre, ballet-master of the Duke of WÜrtemburg, l’OpÉra of Paris, and other operas. 1760.—Classic. Author was the prophet of and leader to the modern ballet. A broad and comprehensive work on art, as well as authoritative on stage direction, ballet technique, and history. (French.)

DE LA SALTATION THÉÂTRALE: M. de l’Aulnaye. 1790.—Dancing and pantomime in antiquity. Contains a catalogue (thought by some authorities to be complete) of dances of ancient Greece. (French.)

DANCING AND DANCERS OF TODAY: Caroline and Charles Caffin. 1912.—Special attention to biographies of contemporary dancers. (English.)

LETTRES À SOPHIE SUR LA DANSE: A. Baron. 1825.—History, folk-dances and balls of Middle Ages. A chapter is devoted to dancing of Hebrews. (French.)

LA DICTIONNAIRE DE LA DANSE: G. Desrat.—Recent. Extremely useful. In dictionary form presents wide range of information.

A HISTORY OF DANCING: G. Vuillier. 1898.—Translated from original French into English and Italian. Readable history of the art from antiquity to latter 19th century; many descriptions of early ballets and masques are quoted from MÉnestrier, De l’Estoile and others.

MODERN DANCING AND DANCERS: J. E. Crawford Flitch. 1912.—History of ballet in England, biographical-analytical sketches of individuals of latter 19th century, details of Russian ballet in London. Delightfully written. (English.)

TRATADO DE BAILES: Jose Otero, famous master in Seville. 1912.—Expression of the spirit of Spanish dancing. Much amusing reminiscence. (Spanish.)

DICTIONNAIRE DE DANSE: Charles Compan. 1802.—Detailed instructions in social dances of the period. (French.)