| BOOK I. THE FIRST ERA |
|
| CHAPTER | | PAGE |
| OVERTURE: ON THE ART OF BALLET | 15 |
| I. | A DISTINCTION, AND SOME DIFFERENCES | 21 |
| II. | EGYPT | 25 |
| III. | GREECE | 32 |
| IV. | MIME AND PANTOMIME: ROME, HIPPODROME—OBSCURITY | 41 |
| V. | CHURCH THUNDER AND CHURCH COMPLAISANCE | 47 |
| VI. | A BANQUET-BALL OF 1489: AND THE BALLET COMIQUE DE LA REINE, 1581 | 53 |
| VII. | THOINOT ARBEAU’s “ORCHÉSOGRAPHIE,” 1588 | 61 |
| VIII. | SCENIC EFFECT: THE ENGLISH MASQUE AS BALLET, 1585-1609 | 71 |
| IX. | BALLET ON THE MOVE | 83 |
| X. | COURT BALLETS ABROAD: 1609-1650 | 88 |
| XI. | THE TURNING POINT: “LE ROI SOLEIL AND HIS ACADEMY OF DANCING,” 1651-1675 | 99 |
|
| BOOK II. THE SECOND ERA |
|
| XII. | SOME EARLY STARS AND BALLETS | 109 |
| XIII. | “PANTOMIME” AT SCEAUX, AND MLLE. PRÉVÔT | 113 |
| XIV. | ITALIAN COMEDY, AND THE “THEATRES OF THE FAIR” | 119 |
| XV. | WATTEAU’S DEBT TO THE STAGE | 130 |
| XVI. | “THE SPECTATOR” AND MR. WEAVER | 142 |
| XVII. | A FRENCH DANCER IN EIGHTEENTH-CENTURY LONDON | 149 |
| XVIII. | LA BELLE CAMARGO, 1710-1770 | 156 |
| XIX. | “THE HOUSE OF VESTRIS” | 163 |
| XX. | JEAN GEORGES NOVERRE | 171 |
| XXI. | GUIMARD THE GRAND | 179 |
| XXII. | DESPRÉAUX, POET, “MAÎTRE,” AND “HUSBAND OF GUIMARD” | 195 |
| XXIII. | A CENTURY’S CLOSE | 201 |
|
| BOOK III. THE MODERN ERA |
|
| XXIV. | THE EARLY NINETEENTH CENTURY | 207 |
| XXV. | CARLO BLASIS, A LEADER OF THE MODERN SCHOOL | 213 |
| XXVI. | THE “PAS DE QUATRE”: I. MARIE TAGLIONI. (“SYLPHIDE”) | 223 |
| XXVII. | THE “PAS DE QUATRE” II. CARLOTTA GRISI. (“GISELLE”) | 235 |
| XXVIII. | THE “PAS DE QUATRE”: III. FANNY CERITO. (“ONDINE”) | 240 |
| XXIX. | THE “PAS DE QUATRE”: IV. LUCILE GRAHN. (“EOLINE”) | 244 |
| XXX. | THE DECLINE AND REVIVAL |
|
