| Ballet Pantomime From Pose by Mlle. Louise La Gai | Frontispiece |
| Tanagra Figure | Page3 |
| Greek Vase Decoration | “ 3 |
| Tanagra Figure | “ 3 |
| Tanagra Figures | FacingPage4 |
| Greek Ceramics | ““ 5 |
| Greek Vase Decoration | Page8 |
| Greek Comedy Dancing | “ 9 |
| Statuettes | “ 10 |
| Tanagra (A)—Myrina (B)—Tanagra (C). | |
| Greek Relief Decorations | FacingPage12 |
| Greek Ceramic Decorations | ““ 13 |
| Statuettes | Page13 |
| Myrina (A)—Tanagra (B)—Myrina (C). | |
| Dance of Nymphs | “ 17 |
| Tanagra Figures | FacingPage20 |
| Greek Comedy Dancing | Page21 |
| Dance of Peasants | “ 36 |
| Ballet of the Four Parts of the World: Entrance of the Grand Khan | “ 41 |
| A Fourteenth Century Ball | “ 46 |
| Seventeenth Century Court Dances | FacingPage48 |
| The Tordion (1, 2)—The Pavane (3, 4, 5). | |
| Louis XIV and A Courtier in the Ballet of Night | Page50 |
| Seventeenth Century Court Dances | FacingPage54 |
| The Saraband (1)—The Allemand (3)—The Minuet (2, 4, 5, 6, 7). | |
| The Gavotte | ““ 55 |
| Mme. Adeline GenÉe and M. Alexander Volinine | ““ 64 |
| Ballet Robert le Diable (1)—Butterfly Dance (2)—Pierrot and Columbine (3). | |
| Mme. GenÉe in Historical Re-Creations and M. Volinine | ““ 65 |
| SallÉ (1)—The Waltz (2)—Camargo (3)—Guimard (4). | |
| Fundamental Positions of the Feet | Page66 |
| Positions of the Arms | “ 67 |
| “Glissade” | “ 68 |
| “AssemblÉ” | “ 69 |
| “AssemblÉ” and Changement (Floor Plan Diagram) | “ 69 |
| “JetÉ” | “ 70 |
| “JetÉ” to the Side | Page215 |
| “Dance of the Soul’s Journey” (Continued) | FacingPage216 |
| Rejoices in the perfect body (12)—And in all good things (13)—Runs from the scene (14). |
| Characteristic Pantomime in Dancing of Modern Egypt | ““ 217 |
| Express sorrow (1, 3)—Represents a prayer directed downward and back: i. e., to spirits of evil (2). |
| “Dance of the Falcon” (Egyptian) | ““ 218 |
| Shock as the bird strikes his quarry (1)—Rejoicing as he overcomes it (2). |
| Dancing Girls of Algiers | ““ 219 |
| Reliefs on Tower of the Temple of Madura (India) | Page219 |
| Persian Dance. Princess Chirinski-Chichmatoff | FacingPage220 |
| Oriental Poses | ““ 221 |
| Votive offering (3 poses)—Decorative motives (3 poses)—Disclosure of person (1 pose). |
| Javanese Dancer, Modern | ““ 222 |
| Relief Carvings, Temple of Borobodul, Java | ““ 223 |
| Dance of Greeting (1)—Dance of Worship (2)—An Arrow Dance (3). |
| “Nautch Dance” | ““ 226 |
| Japanese Dance | ““ 227 |
| Isadora Duncan | ““ 242 |
| Greek Interpretative Dance | ““ 243 |
| Impressions of Isadora Duncan | Page244 |
| Mlle. Lopoukowa, Mlle. Pavlowa, Mlle. Nijinska, with Sr. E. Ceccetti | FacingPage246 |
| Mlle. Lydia Kyasht and M. Lytazkin | ““ 247 |
| “Arabesque” | ““ 248 |
| “Arrow Dance” | ““ 249 |
| Bacchanal | ““ 252 |
| Mlle. Lydia Lopoukowa | ““ 253 |
| Mlle. Pavlowa in a Bacchanal | ““ 257 |
| Mlle. Lopoukowa, in Boudoir | ““ 258 |
| Mlle. Lopoukowa, Interpretative Dance | ““ 259 |
| Mlle. Lopoukowa, In “Le Lac Des Cygnes” | ““ 262 |
| M. Alexander Volinine | ““ 263 |
| Representative Russian Ballet Poses and Groups | Page265 |
| Representative Russian Ballet Poses and Groups | “ 267 |
| The “Waltz Minuet” | Facing
THE DANCE The Dance
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