Bale John - The Dance - Historic Illustrations of Dancing

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THE DANCE

Historic Illustrations

of Dancing

from 3300 B.C. to 1911 A.D.

BY

AN ANTIQUARY

LONDON

JOHN BALE, SONS & DANIELSSON, LTD.83-91, GREAT TITCHFIELD STREET, OXFORD

STREET, W

Respectfully dedicated to Dr. Eleanor Maxwell.

1911

CONTENTS.

PREFACE

CHAPTER IEgyptian, Assyrian,Hebrew and PhoenicianDancing.CHAPTER IIDancing with the Greeks.CHAPTER IIIEtrscan!"oth Ita#ian,Ro$an Dancing, etc.CHAPTER I%The &Ear#y Eng#ish& and

&'ediae(a#& dance to the)orteenth centry.CHAPTER %"ociety dancing )ro$ the)i)teenth centry.CHAPTER %IThe 'odern TheatreDance.*I*+IGRAPH-+I"T FI++"TRATI/"

PREFACE.

This sketch o) the iconography o) the dance does not pretend to be a history o) thesb0ect, e1cept in the $ost e#e$entary way. It $ay be taken as a s$$ary o) the historyo) postre2 a co$p#ete dance cannot be easi#y rendered in i##stration.The te1t is o) the $ost e#e$entary description2 to go into the sb0ect thorogh#y wo#din(o#(e years and (o#$es. The descriptions o) the (arios historic dances or $sic areenor$os sb0ects2 two athors a#one ha(e gi(en 344 dances in )or (o#$es.567It wo#d ha(e been interesting i) so$e idea o) the orchesography o) the Egyptians andGreeks co#d ha(e been gi(en2 this art o) describing dances $ch in the $anner that$sic is written is #ost, and the atte$pts to re(i(e it ha(e been ine))ecti(e. Theincreasing speed o) the action since the days o) +##i wo#d now render it a#$osti$possib#e.It is hoped that this work $ay be o) so$e se as i##strating the cost$e, position andaccessories o) the dance in (arios periods to those prodcing entertain$ents.To the reader desiros o) thorogh#y stdying the sb0ect a bib#iography is gi(en at theend.FOOTNOTES

F!"!# 18 Tho$pson9s co$p#ete co##ection o) :44 contry dances per)or$ed at Cort,*ath, Tnbridge, and a## pb#ic asse$b#ies, with proper )igres and directions to eachset )or the (io#in, Ger$an )#te, and hatboy, 3s. ;d. Printed )or Char#es and "a$e#

Tho$pson, "t. Pa#9s Chrchyard, +ondon, where $ay be had the year#y dances and$inets. For (o#$es, each :44 dances. 6


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H$%!$' I(()%!*!$"% + D*"'$".

F$. 18 Dancing to the c#apping o) bands.Egyptian, )ro$ the to$b o) r!ari!en!Ptah, ;thDynasty, abot ==44 *.C. >*ritish 'se$.?

CHAPTER I.

Egyptian, Assyrian, Hebrew, and Phoenician Dancing. The Ritual Dance of Egypt.

Dancing Exaples fro Tob of !r"ari"en"Ptah, #th Dynasty, $ritish Museu.

Description of Dancing fro %ir &. 'il(inson) of the Egyptian Pipes and Hieroglyphicsof Dancing, *c. Phoenician Round Dances, fro a +iestone &roup found at yprus,

and $ron-e Patera fro daliu, yprus.

In this work it is not necessary to worry the reader with spec#ations as to the origin o)dancing. There are other athorities easi#y accessib#e who ha(e written pon this the$e.Dancing is probab#y one o) the o#dest arts. As soon as $an was $an he withot dobt

began to gestic#ate with )ace, body, and #i$bs. How #ong it took to de(e#op bodi#ygestic#ation into an art no one can gess@perhaps a $i##enni$.In writing o) dancing, one wi## there)ore inc#de those gestic#ations or $o(e$ents o)the body sggesting an idea, whether it be the s#ow $o(e$ent o) $arching, or the rapidga##op, e(en so$e o) the $o(e$ents that we co$$on#y ca## acrobatic. It is not intendedhere to inc#de the $ore sensa# $o(e$ents o) the East and the debased antie.Genera##y the antie dances were connected with a re#igios rita# concei(ed to beacceptab#e to the Gods. This connection between dancing and re#igios rites wasco$$on p to the 6;th centry. It sti## contines in so$e contries.In so$e o) the ear#iest designs which ha(e co$e down to s the dancers $o(ed, as stars,hand in hand rond an a#tar, or person, representing the sn2 either in a s#ow or state#y$ethod, or with rapid trained gestres, according to the rita# per)or$ed.Dancing, $sic and poetry were inseparab#e. Dancing is the poetry o) $otion, and itsconnection with $sic, as the poetry o) sond, occrs at a## ti$es. In or own day$sica# the$es are $arked by )or$s origina##y dance ti$es, as wa#tB ti$e, ga(otte ti$e,

$inet ti$e, etc.
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A$ongst the ear#iest representations that areco$prehensib#e, we ha(e certain Egyptian paintings,and so$e o) these e1hibit postres that e(ident#y hade(en then a sett#ed $eaning, and were a phrase in thesentences o) the art. /ot on#y were they sett#ed at sch

an ear#y period >*.C. =444, )ig. 6? bt they appear toha(e been accepted and handed down to scceedinggenerations >)ig. :?, and what is re$arkab#e in so$econtries, e(en to or own ti$es. The acco$panyingi##strations )ro$ Egypt and Greece e1hibit what wase(ident#y a traditiona# attitde. The hand!in!hand danceis another o) these.

The ear#iest acco$pani$ents to dancing appear to ha(e been the c#apping o) hands, the

pipes,567 the gitar, the ta$borine, the castanets, the cy$ba#s, the ta$bor, andso$eti$es in the street, the dr$.

The )o##owing accont o) Egyptian dancing is )ro$ "ir Gardiner i#kinson9s &AncientEgypt&5:78@&The dance consisted $ost#y o) a sccession o) )igres, in which the per)or$ersendea(ored to e1hibit a great (ariety o) gestre. 'en and wo$en danced at the sa$eti$e, or in separate parties, bt the #atter were genera##y pre)erred )or their speriorgrace and e#egance. "o$e danced to s#ow airs, adapted to the sty#e o) their $o(e$ent2the attitdes they ass$ed )reent#y partook o) a grace not nworthy o) the Greeks2and so$e credit is de to the ski## o) the artist who represented the sb0ect, whiche1cites additiona# interest )ro$ its being in one o) the o#dest to$bs o) Thebes >*.C.64, A$enophis II.?. thers pre)erred a #i(e#y step, reg#ated by an appropriate tne2and $en so$eti$es danced with great spirit, bonding )ro$ the grond, $ore in the

$anner o) Eropeans than o) Eastern peop#e. n these occasions the $sic was not

F$. 8 Greek )igres in aso#e$n dance. Fro$ a (ase at*er#in.

F$. 38 Thehierog#yphics describethe dance.
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The A""-RIA/" probab#y danced as $ch as theother nations, bt a$ongst the $any $on$ents thatha(e been disco(ered there is #itt#e dancing shown, andthey were e(ident#y $ore prod o) their ca$paignsand their hnting than o) their dancing. A stern and

strong peop#e, a#thogh they ndobted#y had thisa$se$ent, we know #itt#e abot it. ) thePhoenicians, their neighbors, we ha(e so$ei##strations o) their dance, which was apparent#y o) aserios natre, 0dging by the e1a$p#es which we

possess, sch as that >)ig. ? )ro$ Cyprs representingthree )igres in hooded cow#s dancing arond a piper.It is a dance arond a centre, as is a#so >)ig. ;? that)ro$ Ida#i$ in Cyprs. The #atter is engra(ed aronda bronBe bow# and is e(ident#y a p#anet and sn dance

be)ore a goddess, in a te$p#e2 the sn being the centra#

ob0ect arond which they dance, acco$panied by the dob#e pipes, the harp, and tabor.The Egyptian origin o) the de(otion is apparent in the detai#s, especia##y in the #ots!s$e##ing goddess >$arked A on )ig. ;? who ho#ds the )#ower in the $anner shown in anEgyptian painting in the *ritish 'se$ >)ig.


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ing Da(id not on#y danced be)ore the ark >: "a$e# (i. (.6;?, bt $entions dancing in the 6th and 64th Psa#$.Certain historians a#so te## s that they had dancing in theirrita# o) the seasons. Their dancing see$s to ha(e beenassociated with 0oy, as we read o) &a ti$e to $orn and a ti$e

to dance&2 we )ind >Ecc#es. iii. (. ? they had a#so the pipes8&e ha(e piped to yo and yo ha(e not danced& >'atthew 1i.(. 6


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F$. 18 Panathenaeac dance, abot the th centry *.C.

The &/r0n1s, origina##y )ro$ De#os, is said to ha(e been originated by Theses in$e$ory o) his escape )ro$ the #abyrinth o) Crete >)ig. 6:?. It was a hand!in!hand dancea#ternate#y o) $a#es and )e$a#es. The dance was #ed by the representati(e o) Theses

p#aying the #yre.

F$. 138 A $i#itary dance, spposed to be theorybantu. Fro$ a Greek bas!re#ie) in the %atican

'se$.) the second c#ass, the gy$nastic, the $ost i$portant were $i#itary dances, thein(ention o) which was attribted to 'iner(a2 o) these the orybantuwas the $ostre$arkab#e. It was o) Phrygian origin and o) a $i1ed re#igios, $i#itary, and $i$eticcharacter2 the per)or$ers were ar$ed, and bonded abot, springing and c#ashing theirar$s and shie#ds to i$itate the Corybantes endea(oring to sti)#e the cries o) the in)antMes, in Crete. The Pyrrhic >)ig. 6=?, a war dance o) Doric origin, was a rapid dance tothe dob#e )#te, and $ade to rese$b#e an action in batt#e2 the Hopliteso) Ho$er isthoght to ha(e been o) this kind. The Dorians were (ery partia# to this dance andconsidered their sccess in batt#e de to the ce#erity and training o) the dance. In

sbseent periods it was i$itated by )e$a#e dancers and as a pas seul. It was a#soper)or$ed in the Panathenaea by Ephebi at the e1pense o) the Chorags, bt this wasprobab#y on#y a $i$etic per)or$ance and not war#ike.

There were $any other heroic $i#itary dances in honor o)Herc#es, Theses, etc.

The chors, co$posed o) singers and dancers, )or$ed part o) the dra$a, which inc#dedthe recitation o) so$e poetic co$position, and inc#ded gestic#ati(e and $i$etic action

as we## as dancing and singing. The Dorians were especia##y )ond o) this2 their poetry

F$. 18 Greek dancerwith castanets. >*ritish'se$.? "ee a#soCastanet dance by'yron, )ig. ;=a.

F$. 1/8 Cy$ba#s >abot in.?and dob#e )#te. >*ritish'se$.?
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was genera##y chora#, and the Doric )or$s were preser(ed by the Athenians in the chora#co$positions o) their dra$a.The tragic dance,Eelia, was so#e$n2 whi#st that in co$edy, ordax, was )ri(o#os,and thesiccinis, or dance o) "atyrs, was o)ten obscene. They danced to the $sic o) the

pipes, the ta$bor, the harp, castanets, cy$ba#s, etc. >)igs. 6, 6, 6;?.

F$. 108 Greek dancers. Fro$ a (ase in the Ha$i#tonCo##ection.

In the rites o) Dionysis the chors was )i)ty and the cithara was sed instead o) the)#te. Fro$ the ti$e o) "ophoc#es it was )i)teen, and a#ways had a pro)essed trainer. Thechoric estion is, howe(er, a sb0ect in itse#), and cannot be )air#y dea#t with here.

The socia# dances, and those in honor o) the seasons, )ire and water, were n$eros

and genera##y #oca#2 whi#st the cha$ber dances, pro)essiona# dancing, the throwing o)the3otabos, and sch!#ike, $st be #e)t to the reader9s )rther stdy o) the athors$entioned in the bib#iography at the end o) the work.It $ay astonish the reader to know that the )na$b#ist or rope!dancer was (ery e1pertwith the Greeks, as a#so was the acrobat between kni(es and swords. Ani$a#s were a#sotaght to dance on ropes, e(en e#ephants.The i$portant re#igios and other dances were not genera##y co$posed o) pro)essiona#s.The greatest $en were not abo(e showing their senti$ents by dancing. "ophoc#esdanced a)ter "a#a$is, and Epa$inondas was an e1pert dancer. There were dancers o) a##grades, )ro$ the distingished to the $oderate. Distingished persons e(en $arried into

e1ce##ent positions, i) they did not a#ready occpy the$ by birth. Phi#ip o) 'acedon$arried +arissa, a dancer, and the dancer Aristode$s was a$bassador to his Cort.

F$. 18 *acchana#ian dancer.%ase )ro$ /ocera, 'se$,

/ap#es.

F$. 188 Greek dancers and t$b#ers.


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These dancers $st not be con)onded with those hired to dance at )easts, etc. >)igs. ,6 and 63?.

CHAPTER III.

Etruscan, %outh talian and Roan Dancing. llustrations fro the &rotta dei 2asi, the

&rotta della %ciia, and the &rotta del Triclinio, orneto. 4uneral Dances fro

Albanella, apua, *c. Popeii and the $aths of onstantino. The Dances of the

Etruscans and %outh talians. The Roan, Dance of the %alii. The $ellicrepa. The

social position of Dancing. The horus.

ne o) the $ost i$portant nations o) antiity was the Etrscan, inhabiting, according

to so$e athorities, a do$inion )ro$ +o$bardy to the A#ps, and )ro$ the'editerranean to the Adriatic.Etrria ga(e a dynasty to Ro$e in "er(is T##is, who origina##y was 'asterna, anEtrscan.

It is, howe(er, with the dancing that weare dea#ing. There is #itt#e dobt thatthey were dancers in e(ery sense2 thereare $any ancient sep#chres in Etrria,with dancing painted on their wa##s.ther description than that o) the

pictres we do not possess, )or as yet

the #angage is a dead #etter. There is nodobt, as Gerhardt 567 sggests, thatthey considered dancing as one o) thee$b#e$s o) 0oy in a )tre state, andthat the dead were recei(ed withdancing and $sic in their new ho$e.

They danced to the $sic o) the pipes, the #yre, the castanets o) wood, stee#, or brass, asis shown in the i##strations taken )ro$ the $on$ents.

F$. 198 EtrscanbronBe dancer with eyeso) dia$onds, )ond at%erona. /ow in the

*ritish 'se$.

F$. 28 Etrscan dancer. Fro$ a painting in theGrotta dei %asi dipinti@Corneto.
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That the Phoenicians and Greeks had at certainti$es i$$ense in)#ence on the Etrscans ise(ident )ro$ their re#ics which we possess >)ig.:4?.

A characteristic i##stration o) the dancer is )ro$ a painting in the to$b o) the 2asidipinti, Corneto, which, according to 'r. Dennis, 5:7 be#ongs to the archaic period, andis perhaps as ear#y as ;44 *.C. It e1hibits a stronger Greek in)#ence than so$e o) the

paintings. Fig. :6, showing a $i#itary dance to pipes, with other sports, co$es )ro$ the&rotta della %ciia, a#so at Corneto2 these show a $ore pre#y Etrscan character.

The pretty dancing scene )ro$

the &rotta del Triclinio atCorneto is taken )ro$ a )##!siBed copy in the *ritish'se$, and is o) the greatestinterest. It is considered to be o)the Greco!Etrscan period, and#ater than the pre(ios e1a$p#es>)ig. ::?.

There is a pec#iarity in the attitde o) the hands, and o) the )ingers being kept )#at andc#ose together2 it is not a #itt#e crios that the $odern Napanese dance, as e1hibited by'$e. "adi -acca, has this pec#iarity, whether the res#t o) ancient tradition or o)$odern re(i(a#, the writer cannot say.A#$ost as interesting as the Etrscan are the i##strations o) dancing )ond in the

painted to$bs o) the Ca$pagna and "othern Ita#y, once part o) &'agna Grecia&2 the)igre o) a )nera# dance, with the dob#e pipe acco$pani$ents, )ro$ a painted to$bnear A#bane##a >)ig. :=? $ay be as #ate as =44 *.C., and those in )igs. :, : )ro$ ato$b near Capa are probab#y o) abot the sa$e period. These "a$nite dances appearessentia##y di))erent )ro$ the Etrscan2 a#thogh both Greek and Etrscan in)#ence are(ery e(ident, they are $ore so#e$n and state#y. This $ay, howe(er, arise )ro$ adi))erent nationa# csto$.That the Etrscan, "abe##ian, scan, "a$nite, and other nationa# dances o) the contryhad so$e in)#ence on the art in Ro$e is high#y probab#e, bt the pacity o) ear#yRo$an e1a$p#es renders the e(idence di))ic#t.

F$. 18 Etrscan dancing andper)or$ances. Fro$ paintings in theGrotta de##a "ci$ia Corneto, abot 44*.C.

F$. 8 Etrscan Dancing. Fro$ the Grotta de#Tric#inio.@Corneto.
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F$. 38 Fnera# dance in the obseies o) a )e$a#e. Fro$ apainted to$b near A#bane##a.

Ro$e as a conering i$peria# power represented near#y the who#e wor#d o) its day,and its dances according#y were $ost n$eros. A$ongst the i##strations a#readygi(en we ha(e $any that were preser(ed in Ro$e. In the beginning o) its e1istence as a

power on#y re#igios dances were practised, and $any o) these were o) Etrscan origin,

sch as the +perca#ia, the A$bar(a#ia, Oc. In the )or$er the dancers were de$i!nde,and probab#y origina##y shepherds2 the #atter was a serios dancing procession throgh)ie#ds and (i##ages.

A great dance o) a se(ere kindwas e1ected by the "a#ii,

priests o) 'ars, an ecc#esiastica#corporation o) twe#(e chosen

patricians. In their processionand dance, on 'arch 6, andscceeding days, carrying theAnci#ia, they sang songs and

hy$ns, and a)terwards retired toa great banet in the Te$p#e o)'ars. That the practice wasorigina##y Etrscan $ay be

gathered )ro$ the circ$stance that on a ge$ showing the ar$ed priests carrying theshie#ds there are Etrscan #etters. There were a#so an order o) )e$a#e "a#ii. Another$i#itary dance was the %altatio bellicrepa, said to ha(e been institted by Ro$#s inco$$e$oration o) the Rape o) the "abines.The Pyrrhic dance >)ig. 6=? was a#so introdced into Ro$e by N#is Caesar, and wasdanced by the chi#dren o) the #eading $en o) Asia and *ithynia.

As, howe(er, the "tate increased in power by conest, it absorbed with other contriesother habits, and the art degenerated o)ten, #ike that o) Greece and Etrria, into a (ehic#e

F$. 8 Fnera# dance. Fro$ Capa.

F$. /8 Fnera# dance )ro$ the sa$e to$b.


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)or orgies, when they broght to Ro$e with their Asiatic capti(es e(en $ore #icentiospractices and dances.As Ro$e, which ne(er rose to the inte##ecta# and i$aginati(e state o) Greece in her

best period, represented wea#th, co$$erce, and conest, in a greater degree, so wereher arts, and with these the #yric. In her best state her nob#es danced, Appis C#adis

e1ce##ed, and "a##st te##s s that "e$pronia &psa#tere sa#tare e#egantis&2 so that inthose days #adies p#ayed and danced, bt no Ro$an citiBen danced e1cept in there#igios dances. They carried $i$etic dances to a (ery per)ect character in the ti$e o)Agsts nder the ter$ o)Musica uta. A)ter the second Pnic war, as Greek habits$ade their way into Ita#y, it beca$e a )ashion )or the yong to #earn to dance. Theedcation in dancing and gestre were i$portant in the actor, as $asks pre(ented anydisp#ay o) )eatre. The position o) the actor was ne(er recogniBed pro)essiona##y, andwas considered infaia. *t the change ca$e, which cased Cicero to say &no onedanced when sober.& E(enta##y the per)or$ers o) #ower c#ass occpied the dancing

p#at)or$, and Herc#ane$ and Po$peii ha(e shown s the res#ts.

F$. 08 *acchante #eading the Dionysian b##to the a#tar. *as!re#ie) in the %atican.

In the theatre the $ethod o) the Ro$an chors di))ered )ro$ that o) the Greeks. In the#atter the orchestra or p#ace )or the dancing and chors was abot 6: )t. be#ow the stage,

with steps to ascend when these were reired2 in the )or$er the chors was not sed inco$edy, and ha(ing no orchestra was in tragedies p#aced pon the stage. The gettingtogether o) the chors was a pb#ic ser(ice, or #itrgia, and in the ear#y days o) Grecian

prosperity was pro(ided by the choregs.Tiberis by a decree abo#ished the "atrna#ia, and e1i#ed the dancing teachers, bt the$any acts o) the "enate to secre a better standard were se#ess against the )oreigninhabitants o) the E$pire accsto$ed to sensa#ity and #icence.Perhaps the encorage$ent o) the $ore brta# co$bats o) the Co#ise$ did so$ething

to sppress the $ore de#icate arts, bt historians ha(e to#d s, and it is co$$on

F$. 8 *acchante. Fro$ a )resco, Po$peii, 6stcentry *.C.
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know#edge, what beca$e o) the great E$pire, and the #yric with other arts weredestroyed by #icentios pre)erences.

FOOTNOTES

F!"!# 18 &Ann. Institt.&8 63=6, p. =:6.F!"!# 8&Etrria,& (o#. i., p. =34.

CHAPTER I.

Early English and Mediae5al Dancing to the 67th entury. Dancing in hurches and

Religious Dancing. The &leeen8s Dance. Military Dances. The Hornpipe. Tubling

and 9est Dances. llustrations of &leeen8s Dance, Hornpipe, %word Dances, Tubling

and 2arious oic Dances.

The #ast i##stration )ro$ the *aths o) Constantine broght s into the Christian era,a#thogh that e1a$p#e was not o) Christian senti$ent or art. It is possib#e that the danceo) "a#o$e with its diabo#ica# reward $ay ha(e pre0diced the Aposto#ic era, )or we )ind

no e1a$p#e o) dancing, as e1hibiting 0oy, in Christian Art o) that period. The dancebe)ore Herod is historica# proo) that the higher c#asses o) Hebrews danced )ora$se$ent.

F$. 88 Dancer. Fro$ a)resco in the *aths o)

Constantine, th centryA.D.
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As soon, howe(er, as Christianity beca$e enthroned, and a sett#ed society, we read o)re#igios dances as e1hibiting 0oy, e(en in the chrches. Tert##ian te##s s that theydanced to the singing o) hy$ns and cantic#es. These dances were so#e$n and grace)# tothe o#d tones2 and contined, notwithstanding $any prohibitions sch as those o) PopeMacharias >a "yrian? in A.D. )ig. 66?. The other dance, by "andro *ottice##i >)ig. ?, is taken )ro$ hisce#ebrated &/ati(ity& in the /ationa# Ga##ery. A#thogh we ha(e records o)

per)or$ances in chrches, no i##strations o) an ear#y date ha(e co$e to the know#edgeo) the writer.

F$. 98 G#ee$en9s dance, th centry. Fro$C#eopatra, Cotton '". C. (iii., *ritish'se$.


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That the origina# inhabitants o) *ritaindanced@that the Picts, Danes, "a1onsand Ro$ans danced $ay be taken )orgranted, bt there see$s #itt#e dobtthat or ear#iest i##strations o) dancing

were o) the Ro$an tradition. e )indthe attitde, the instr$ents and thec#apping o) hands, a## o) the sa$endobted c#assic character. Tacitsin)or$s s that the Tetonic yothsdanced, with swords and spears, and#as 'agns that the Goths, Oc., had$i#itary dances8 sti## the $i#itarydances in Eng#ish '"". >)igs. =6, =:? see$ $ore #ike those o) a Pyrrhic character,which N#is Caesar, the coneror o) Eng#and, introdced into Ro$e. The i##stration>)ig. :? o) what is probab#y a "a1on g#ee$en9s dance shows s the kind o) a$se$ent

they a))orded and how they )o##owed c#assic sages.

F$. 318 Ang#o!"a1on sword dance. Fro$ the'". C#eopatra, C. (iii., *ritish 'se$.

The g#ee$en were reciters, singers and dancers2 and the #ower orders were t$b#ers,s#eight!o)!hand $en and genera# entertainers. hat $ay ha(e been the origin o) orhornpipe is i##strated in )ig. =4, where the )igres dance to the sond o) the horn in$ch the sa$e attitdes as in the $odern hornpipe, with a crios rese$b#ance to the

position in so$e 'sco(ite dances.

F$. 328 Dancing to horn and pipe. Fro$ anAng#o!"a1on '".
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The /or$an $instre#, sccessor o) theg#ee$an, sed the dob#e!pipe, theharp, the (io#, tr$pets, the horn and as$a## )#at dr$, and it is not n#ike#ythat )ro$ "ici#y and their "oth Ita#ian

possessions the /or$ans introdcedc#assic ideas.

Piers the P#ow$an sed words o) /or$an e1traction )or the$, as he speaks o) their&"ay#en and "at.&The $instre# and harpist does not appear to ha(e danced (ery $ch, bt to ha(e #e)t thisto the 0oc#ator, and dancing and t$b#ing and e(en acrobatic wo$en and dancersappear to ha(e beco$e co$$on be)ore the ti$e o) Chacer9s &To$b#esteres.&

That this t$b#ing and dancing was co$$on in thethirteenth centry is shown by the i##stration )ro$ thesc#ptre at Roen Cathedra# >)ig. =?, the i##strations

)ro$ a '". in the *ritish 'se$ >)ig. ==? o) Herodiast$b#ing and o) a design in g#ass in +inco#n, and otherinstances at E#y2 Idsworth Chrch, Hants2 Ponc,France, and e#sewhere. It is sggested that the ca$p)o##owers o) the Crsaders broght back certain dancesand a$ongst these so$e o) an acrobatic natre, and$any that were reprehensib#e, which broght down theanger o) the C#ergy.

In the )orteenth centry, )ro$ a ce#ebrated '". >: *. (ii.? inthe *ritish 'se$ and other cognate sorces we get a )airinsight o) the a$se$ent a))orded by these dancers and

0oc#ators. In the i##stration >)ig. =? we get A and Ct$b#ers, $a#e and )e$a#e2 D, a wo$an and bear dance2 andE, a dance o) )oo#s to the organ and bagpipe. It wi## beobser(ed that they ha(e be##s on their caps, and it $st ha(ereired $ch ski## and practice to sond their (arios toned

be##s to the $sic as they danced. This dance o) )oo#s $ayha(e sggested or beca$e e(enta##y $erged into the &'orris

Dance& >)ig. 4? o) which so$e accont with otheri##strations o) &Co$ic Dances& wi## be gi(en herea)ter. The$an dancing and p#aying the pipes with a wo$an on hissho#der >)ig. =;?, the sti#t dancer with a crios instr$ent>C?, and the wo$an 0$ping throgh a hoop, gi(e s other i##strations o) )orteenthcentry a$se$ents.

F$. 38 "word dance to bagpipes, 6th centry.Fro$ : * (ii., Roya# '"., *ritish 'se$.

F$. 338 Herodias t$b#ing.Fro$ a '". end o) 6=th centry>Add#. 63,


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F$. 3/8 6th centry dancers. A and C are t$b#ers2 *,t$b#ing and ba#ancing to the ta$bor2 D, a wo$an dancingarond a whipped bear2 E, 0esters dancing.

F$. 308 A, $an dancing and p#aying pipes, carrying a wo$an2*, 0$ping throgh a hoop2 C, a sti#t dance. 6th centry.

CHAPTER .

%ociety Dancing, the 6:th to 6;th enturies.


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Concerningthe dance as a

$eans o)socia#intercorse, itdoes notappear to ha(ebeen)or$#ated asanacco$p#ish$ent nti# #ate inthe thirteenthcentry, and at a #ater date

was c#ti(ated as a $eans o) teaching what we ca## deport$ent, nti# it beca$e a#$osta necessity with the c#asses, as is shown by the #iteratre o) that period. The (ariossocia# dances, sch as the %o#te, the Nig and the Ga##iard, a#thogh in ear#y periods, notso n$eros, reired a certain training and agi#ity. These, howe(er, soon beca$eco$p#icated with $any socia# and #oca# (ariations, the characteristics o) which are astdy in the$se#(es. The dances >)igs. =< and =3? in a )ie#d o) sports, )ro$ an Ita#ianengra(ing o) the )i)teenth centry, show s nothing new2 indeed, with di))erentcost$es it is (ery #ike what we ha(e )ro$ Egypt >)ig. =?, on#y a di))erent phase o) theaction, and the attitde o) this o#d dance is repeated e(en to or own ti$e.

F$. 38 Ita#ian dance. Fro$ anengra(ing, end o) 6th centry,attribted to *accio *a#dini. F$. 388 Ita#ian dancing, the end

o) the 6th centry.


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F$. 398 Cha$ber dance, 6th centry. Fro$a drawing by 'artin Masinger.

In the Cha$ber dance by 'artin Masinger >)ig. =?, o) the )i)teenth centry, no )igresare in action, bt we see an arrange$ent o) the gests and $sicians, )ro$ which it ise(ident that the Cha$ber dance as a socia# )nction had progressed and that the &*a#

par,& etc., was here in e$bryo.The )#te and (io# are e(ident#y opening the )nction and the tr$pets and other

portions o) the orchestra on the other side waiting to co$e in.The state#y ot!door )nction, in a p#easre garden, )ro$ the &Ro$an de #a Rose& >)ig.4? i##strates bt one portion o) the )eatre o) a dance, another o) which is described inChacer9s trans#ation8

&They threw y )ereTher $othes so that throgh their p#ayIt see$ed as they kyste a#way.&

F$. 18 Fancy dress dance o) i#de$eno) the 6th centry. Fro$ '". =


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The )i)teenth centry co$ic dancers in a f>te chap?tre >)ig. :? and those o) these(enteenth centry by Ca##ot >)ig. :? are good e1a$p#es o) this entertain$ent@in the

backgrond o) the #atter a $inet see$s to be in progress. The 'orris dance >)ig. 4?shows s the de(e#op$ent that had taken p#ace since the )orteenth centry.

F$. 38 A dance o) Ange#s and "aints at theentrance to Hea(en. Fra Ange#ico.

F$. 8 Dancing ange#s. Fro$ a

&/ati(ity& by "andro *ottice##i circa644 A.D.

F$. /8 A#bert DQrer, 66 A.D.

F$. 08 A#bert DQrer.

A##sion has a#ready been $ade to the beati)# paintings o) *ottice##i and FraAnge#ico, which te## s o) Ita#ian chora# dances o) their period2 these do not be#ong tosocia# )nctions, bt are certain#y i##strati(e o) the csto$ o) their day. A#bert DQrer

>)igs. , ;? has gi(en s i##strations o) the )ie#d dances o) his period, bt both thesedances and those drawn by "eba#d *eha$ >)ig.


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F$. 8 "cenes )ro$ dances. Ger$an, dated 6;, by Hans"eba#d *eha$.

The $i#itary dance o) Da$es and nights o) Ar$or, by Hans *rgk$air, on the otherhand, appears state#y and digni)ied >)ig. 3?. This $ay i##strate the di))erence betweencha$ber and garden or )ie#d dancing.

F$. 88 A torch#ight $i#itary dance o) the ear#y

6;th centry. Fro$ a pictre by Hans*rgk$air.

At the end o) the si1teenth centry we get a work on dancing which shows sco$p#ete#y its position as a socia# art in that day. It is the &rchsographie& o) ThoinotArbea >Nean Taboret, Canon o) +angres, in 633?, )ro$ which co$es the i##strationo) the &Ga##iarde& >)ig. ? and to which I wo#d re)er the reader )or a## the in)or$ationhe desires concerning this period. In this work $ch stress is #aid on the (a#e o)#earning to dance )ro$ $any points o) (iew@de(e#op$ent o) strength, $anner, habitsand cortesy, etc. A#as we know now that a## these e1terna# habits can be acired and#ea(e the &natra# $an& beneath.


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F$. 98 +a &alliarde. Fro$ the &rchsographie& o)Thoinot Arbea >Nean Taborot?, +angres, 633.

Desirab#e, there)ore, as good $anners and sch #ike are, they do not )#)i# a## thereire$ents that the worthy Canon wished to be in(o#(ed by the$.567e ha(e ha(e seen )ro$ the )orteenth centry >)igs. = C, =; A, ;? how co$$on the

bagpipe was in ot!o)!door dances2 in the i##strations )ro$ DQrer >)ig. ;? and in )ig.= )ro$ Ho#tBer it has de(e#oped, and has two accessory pipes, besides that p#ayed bythe $oth, and the p#ayer is acco$panied by a sort o) c#arionet. This a#so appears to bethe on#y acco$pani$ent o) the Trio >)ig. 3?.

F$. /28 'orris dancers. Fro$ awindow that was in the possession o)George To##ett, Es., *irt#ey,"ta))ordshire, 6;th centry.

F$. /18 Cort dance. Fro$ a drawing byCa##ot, 6;= A.D.

In the si1teenth centry certain "panish dances were introdced into France, sch as #a

Pa(ane, which was acco$panied by hatboys and sackbts.
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F$. /8 Co$ic dancers. *y Ca##ot,)ro$ the act entit#ed &*a##i di")essa$a,& 6;4 A.D.

F$. /38 Contry dance. Fro$ a drawing byNohn E(ange#ist Ho#tBer, 6)ig. ?

see$s to be bt a contination in action o) those o) the si1teenth centry, as ot!o)!doorper)or$ances.
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e ha(e now arri(ed at the $odern sty#e o) ba##, so be#o(ed by$any o) the French 'onarchs. Henry I%. and /apo#eon were)ond o) gi(ing these in grand sty#e, and in so$e sort o) grandsty#e they persist e(en as a great socia# )nction to or ownti$e. The Cort ba##s o) +ois SIII. and SI%. at %ersai##es

were rea##y gorgeos ba##ets, and their grander wasastonishing2 this csto$ was contined nder the scceeding$onarchs. An i##stration o) one in the eighteenth centry byAgst de #9Abin >)ig. ? s))icient#y shows their character.There is nothing new in the postres i##strated, which $ayha(e originated thosands o) years ago. As i##strating the

pop#ar ba## o) the period, the design by Hogarth >)ig. ? is ane1ce##ent contrast. The contredanserepresented was origina##ythe o#d contry dance e1ported to France and retrned withcertain arrange$ents added. This is a topic we need not prse)arther, as a#$ost e(ery reader knows what socia# dancing now

is.

F$. /8 "pring dancing away )ro$winter. Fro$ a drawing byattea.

F$. /88 The 'isses Gnning dancing. End o)the 63th centry, )ro$ a print by *nbry,engra(ed by *arto#oBBi.

F$. /08 Caricatre o) adancing $aster.Hogarth.
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''. Perrin and Ca$bert, whi#st *eacha$p, the $aster o) the Cort ba##ets, hadcharge o) the dancing. The )irst opera!ba##et, the &Po$ona& o) Perrin and Ca$bert, was

prodced in 6;)ig. ;6?, o) the 63th centry2 Tag#ioni, Grisi, D(ernay,Cerito, E##s#er, etc., o) the 6th centry, to those o) or own day. A )air notice o) a## o)these wo#d be a work in itse#).


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F$. 08 Pa#ine D(ernayat Co(ent Garden, 63==!63=3.

F$. 038 '##e. FannyE##s#er. Fro$ a #ithograph

by A. +acacbie.

F$. 03*8 Dancing satyr

p#aying castanets, by'yron, in the %atican'se$. The action isentire#y sggesti(e o) thato) Fanny E##s#er, and$ight be e(idence o) theantiity o) the "panishtradition.

The introdction o) the ba##et into Eng#and was as #ate as 6


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the period.

&'a#ibran9s dead, D(ernay9s )#ed2Tag#ioni has not yet arri(ed in her stead.&'##e. D(ernay was a Parisian, and co$$enced her stdy nder *arreB, bt

sbseent#y was nder %estris and Tag#ioni, the )ather o) the ce#ebrity $entioned inthe (erse.Dran hangs o(er the $ante#piece o) the re)ectory o) the presbytery.Ha(ing $ade a great Parisian reptation, she ca$e to +ondon in 63==, and )ro$ thatdate nti# 63=< he#d the town, when she $arried 'r. "tephens +yne "tephens, '.P., agent#e$an o) considerab#e wea#th, bt was #e)t a chi#d#ess widow in 63;6, and retired toher estate at +yne)ord Ha##, /or)o#k, #i(ing in retire$ent and spending her ti$e in goodworks. "he is said to ha(e spent V644,444 in charities and chrches, and that atCa$bridge, dedicated to the Eng#ish $artyrs, was )onded, co$p#eted, and endowed byher. "he #ed a b#a$e#ess and worthy #i)e, and died in 63. Her portrait by '##e.Tag#ioni >)ig. ;?, her co!ce#ebrity, $arried Cont Gi#bert de %oisins, a French

nob#e$an, in 63)ig.;


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c#assic dancing nor &art,& with the e1ception perhaps o) the "cottish ree#s. /or is heinterested in the dancing o) sa(age tribes, nor in that o) the East, a#thogh so$e )ewi##strations are gi(en to i##strate traditions8 )or e1a$p#e, the se o) the pipe and taborin Patagonia, the dancer )ro$ Napan, winged, #ike that in the &Ro$an de #a Rose& >)ig.4?, and the re#igios dance o) Tibet, showing the sr(i(a# o) the re#igios dance in

so$e contries. In 'rs. Gro(es9 book on dancing there is an e1ce##ent chapter on theRita# dance as now practised, to which the reader can re)er.

F$. 098 Napanese Cort Dance.F$. 28 Indian dancing!gir#.

F$. 18 Patagonian dancers to)i)e and tabor.

F$. 8 Tibetan re#igios dancing procession,643 a.d.

BIBLIOGRAPHY.

B*", A. &+ettres et Entretiens sr #a Danse.& Paris, 63:.

E44*")#(, 5. &+a Danse grece antie.& 63;.56"#%!$#, P7#. &Des *a##ets anciens et $odernes.& 6;3:.
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F$. 8 Fe$a#e Figre s$e##ing a #ots. Fro$ a painting in the *ritish 'se$.F$. 88 Dance o) *acchantes, painted by the cera$ic painter, Hieron. >*ritish 'se$.?F$. 98 Dancing *acchante. Fro$ a (ase in the *ritish 'se$.F$. 128 Greek terra cotta dancing gir#, abot =4 *.C. >*ritish 'se$.?F$. 118 The GO[:3=2rO[:2nO[==2s )ro$ a (ase in the 'seo *orbonico, /ap#es.

F$. 18 Panathenaeac dance, abot the th centry *.C.F$. 138 A $i#itary dance, spposed to be the orybantu. Fro$ a Greek bas!re#ie) inthe %atican 'se$.F$. 18 Greek dancer with castanets. >*ritish 'se$.? "ee a#so Castanet dance by'yron, Fig. ;=a.F$. 1/8 Cy$ba#s >abot in.? and dob#e )#te. >*ritish 'se$.?F$. 108 Greek dancers. Fro$ a (ase in the Ha$i#ton Co##ection.F$. 18 *acchana#ian dancer. %ase )ro$ /ocera, 'se$, /ap#es.F$. 188 Greek dancers and t$b#ers.F$. 198 Etrscan bronBe dancer with eyes o) dia$onds, )ond at %erona. /ow in the*ritish 'se$.

F$. 28 Etrscan dancer. Fro$ a painting in the Grotta dei %asi [email protected]$. 18 Etrscan dancing and per)or$ances. Fro$ paintings in the Grotta de##a "ci$iaCorneto, abot 44 *.C.F$. 8 Etrscan Dancing. Fro$ the Grotta de# Tric#[email protected]$. 38 Fnera# dance in the obseies o) a )e$a#e. Fro$ a painted to$b nearA#bane##a.F$. 8 Fnera# dance. Fro$ Capa.F$. /8 Fnera# dance )ro$ the sa$e to$b.F$. 08 *acchante #eading the Dionysian b## to the a#tar. *as!re#ie) in the %atican.F$. 8 *acchante. Fro$ a )resco, Po$peii, 6st centry *.C.F$. 88 Dancer. Fro$ a )resco in the *aths o) Constantine, th centry A.D.F$. 98 G#ee$en9s dance, th centry. Fro$ C#eopatra, Cotton '". C. (iii., *ritish'se$.F$. 328 Dancing to horn and pipe. Fro$ an Ang#o!"a1on '".F$. 318 Ang#o!"a1on sword dance. Fro$ the '". C#eopatra, C. (iii., *ritish 'se$.F$. 38 "word dance to bagpipes, 6th centry. Fro$ : * (ii., Roya# '"., *ritish'se$.F$. 338 Herodias t$b#ing. Fro$ a '". end o) 6=th centry >Add#. 63,


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F$. 8 Co$ic dance to pipe and tabor, end o) 6th centry. Fro$ pen drawing in the'ediae(a# Hose *ook in the Cast#e o) o#)egg, by the 'aster o) the A$sterda$Cabinet.F$. 38 A dance o) Ange#s and "aints.F$. 8 Dancing ange#s. Fro$ a 9/ati(ity9 by "andro *ottice##i, circa 644 A.D.

F$. /8 A#bert DQrer, 66 A.D.F$. 08 A#bert DQrer.F$. 8 "cenes )ro$ dances. Ger$an, dated 6;, by Hans "eba#d *eha$.F$. 88 A torch#ight $i#itary dance o) the ear#y 6;th centry. Fro$ a pictre by Hans*rgk$air.F$. 98+a &alliarde. Fro$ the &rchsographie& o) Thoinot Arbea >Nean Taborot?,+angres, 633.F$. /28 'orris dancers. Fro$ a window that was in the possession o) George To##ett,Es., *irt#ey, "ta))ordshire, 6;th centry.F$. /18 Cort dance. Fro$ a drawing by Ca##ot, 6;= A.D.F$. /8 Co$ic dancers. *y Ca##ot, )ro$ the act entit#ed &*a##i di ")essa$a,& 6;4 A.D.

F$. /38 Contry dance. Fro$ a drawing by Nohn E(ange#ist Ho#tBer, 6


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entity to who$ yo paid the )ee as set )orth in paragraph 6.E.3.

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! -o co$p#y with a## other ter$s o) this agree$ent )or )ree distribtion o) Pro0ect Gtenberg!t$ works.

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both the Pro0ect Gtenberg +iterary Archi(e Fondation and 'ichae#Hart, the owner o) the Pro0ect Gtenberg!t$ trade$ark. Contact theFondation as set )orth in "ection = be#ow.

6.F.

6.F.6. Pro0ect Gtenberg (o#nteers and e$p#oyees e1pend considerab#ee))ort to identi)y, do copyright research on, transcribe and proo)read

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6.F.:. +I'ITED ARRA/T-, DI"C+AI'ER F DA'AGE" ! E1cept )or the&Righto) Rep#ace$ent or Re)nd& described in paragraph 6.F.=, the Pro0ectGtenberg +iterary Archi(e Fondation, the owner o) the Pro0ectGtenberg!t$ trade$ark, and any other party distribting a Pro0ect

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I/CIDE/TA+ DA'AGE" E%E/ IF - GI%E /TICE F THE P""I*I+IT-F "CHDA'AGE.

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pro(iding it to yo $ay choose to gi(e yo a second opportnity torecei(e the work e#ectronica##y in #ie o) a re)nd. I) the second copyis a#so de)ecti(e, yo $ay de$and a re)nd in writing withot )rtheropportnities to )i1 the prob#e$.

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6.F.. "o$e states do not a##ow disc#ai$ers o) certain i$p#iedwarranties or the e1c#sion or #i$itation o) certain types o) da$ages.I) any disc#ai$er or #i$itation set )orth in this agree$ent (io#ates the#aw o) the state app#icab#e to this agree$ent, the agree$ent sha## beinterpreted to $ake the $a1i$$ disc#ai$er or #i$itation per$itted bythe app#icab#e state #aw. The in(a#idity or nen)orceabi#ity o) any

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with this agree$ent, and any (o#nteers associated with the prodction,pro$otion and distribtion o) Pro0ect Gtenberg!t$ e#ectronic works,har$#ess )ro$ a## #iabi#ity, costs and e1penses, inc#ding #ega# )ees,that arise direct#y or indirect#y )ro$ any o) the )o##owing which yo door case to occr8 >a? distribtion o) this or any Pro0ect Gtenberg!t$

work, >b? a#teration, $odi)ication, or additions or de#etions to anyPro0ect Gtenberg!t$ work, and >c? any De)ect yo case.

"ection :. In)or$ation abot the 'ission o) Pro0ect Gtenberg!t$

Pro0ect Gtenberg!t$ is synony$os with the )ree distribtion o)e#ectronic works in )or$ats readab#e by the widest (ariety o) co$ptersinc#ding obso#ete, o#d, $idd#e!aged and new co$pters. It e1ists

becase o) the e))orts o) hndreds o) (o#nteers and donations )ro$peop#e in a## wa#ks o) #i)e.

%o#nteers and )inancia# spport to pro(ide (o#nteers with theassistance they need, is critica# to reaching Pro0ect Gtenberg!t$9sgoa#s and ensring that the Pro0ect Gtenberg!t$ co##ection wi##re$ain )ree#y a(ai#ab#e )or generations to co$e. In :446, the Pro0ectGtenberg +iterary Archi(e Fondation was created to pro(ide a secreand per$anent )tre )or Pro0ect Gtenberg!t$ and )tre generations.To #earn $ore abot the Pro0ect Gtenberg +iterary Archi(e Fondationand how yor e))orts and donations can he#p, see "ections = and and the Fondation web page at http8www.pg#a).org.

"ection =. In)or$ation abot the Pro0ect Gtenberg +iterary Archi(eFondation

The Pro0ect Gtenberg +iterary Archi(e Fondation is a non pro)it46>c?>=? edcationa# corporation organiBed nder the #aws o) thestate o) 'ississippi and granted ta1 e1e$pt stats by the Interna#Re(ene "er(ice. The Fondation9s EI/ or )edera# ta1 identi)icationn$ber is ;!;::66. Its 46>c?>=? #etter is posted athttp8pg#a).org)ndraising. Contribtions to the Pro0ect Gtenberg

+iterary Archi(e Fondation are ta1 dedctib#e to the )## e1tentper$itted by .". )edera# #aws and yor state9s #aws.

The Fondation9s principa# o))ice is #ocated at < 'e#an Dr. ".Fairbanks, A,


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Chie) E1ecti(e and Director gbnewby^pg#a).org

"ection . In)or$ation abot Donations to the Pro0ect Gtenberg

+iterary Archi(e Fondation

Pro0ect Gtenberg!t$ depends pon and cannot sr(i(e withot widespread pb#ic spport and donations to carry ot its $ission o)increasing the n$ber o) pb#ic do$ain and #icensed works that can be)ree#y distribted in $achine readab#e )or$ accessib#e by the widestarray o) eip$ent inc#ding otdated eip$ent. 'any s$a## donations>_6 to _,444? are partic#ar#y i$portant to $aintaining ta1 e1e$ptstats with the IR".

The Fondation is co$$itted to co$p#ying with the #aws reg#ating

charities and charitab#e donations in a## 4 states o) the nited"tates. Co$p#iance reire$ents are not ni)or$ and it takes aconsiderab#e e))ort, $ch paperwork and $any )ees to $eet and keep pwith these reire$ents. e do not so#icit donations in #ocationswhere we ha(e not recei(ed written con)ir$ation o) co$p#iance. To"E/D D/ATI/" or deter$ine the stats o) co$p#iance )or any

partic#ar state (isit http8pg#a).org

hi#e we cannot and do not so#icit contribtions )ro$ states where weha(e not $et the so#icitation reire$ents, we know o) no prohibitionagainst accepting nso#icited donations )ro$ donors in sch states whoapproach s with o))ers to donate.

Internationa# donations are grate)##y accepted, bt we cannot $akeany state$ents concerning ta1 treat$ent o) donations recei(ed )ro$otside the nited "tates. .". #aws a#one swa$p or s$a## sta)).

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"ection . Genera# In)or$ation Abot Pro0ect Gtenberg!t$ e#ectronicworks.

Pro)essor 'ichae# ". Hart is the originator o) the Pro0ect Gtenberg!t$concept o) a #ibrary o) e#ectronic works that co#d be )ree#y sharedwith anyone. For thirty years, he prodced and distribted Pro0ectGtenberg!t$ e*ooks with on#y a #oose network o) (o#nteer spport.

Pro0ect Gtenberg!t$ e*ooks are o)ten created )ro$ se(era# printededitions, a## o) which are con)ir$ed as Pb#ic Do$ain in the .".


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n#ess a copyright notice is inc#ded. Ths, we do not necessari#ykeep e*ooks in co$p#iance with any partic#ar paper edition.

'ost peop#e start at or eb site which has the $ain PG search )aci#ity8

http8www.gtenberg.net

This eb site inc#des in)or$ation abot Pro0ect Gtenberg!t$,inc#ding how to $ake donations to the Pro0ect Gtenberg +iteraryArchi(e Fondation, how to he#p prodce or new e*ooks, and how tosbscribe to or e$ai# news#etter to hear abot new e*ooks.

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