ubin.]

[Illustration: Fig. 55.--A dance in the 18th century. From a painting
by Hogarth.]

There were, however, various other dances of a number too
considerable to describe here, also introduced. The dance of the
eighteenth century from Derby ware (fig. 59) seems to be but a
continuation in action of those of the sixteenth century, as
out-of-door performances.

[Illustration: Fig. 56.--Caricature of a dancing master. Hogarth.]

We have now arrived at the modern style of ball, so beloved by many of
the French Monarchs. Henry IV. and Napoleon were fond of giving these
in grand style, and in some sort of grand style they persist even as a
great social function to our own time. The Court balls of Louis XIII.
and XIV. at Versailles were really gorgeous ballets, and their
grandeur was astonishing; this custom was continued under the
succeeding monarchs. An illustration of one in the eighteenth century
by August de l'Aubin (fig. 54) sufficiently shows their character.
There is nothing new in the postures illustrated, which may have
originated thousands of years ago. As illustrating the popular ball of
the period, the design by Hogarth (fig. 55) is an excellent contrast.
The _contredanse_ represented was originally the old country dance
exported to France and returned with certain arrangements added. This
is a topic we need not pursue farther, as almost every reader knows
what social dancing now is.

[Illustration: Fig. 57.--Spring dancing away from winter. From a
drawing by Watteau.]

[Illustration: Fig. 58.--The Misses Gunning dancing. End of the 18th
century, from a print by Bunbury, engraved by Bartolozzi.]

[Illustration: Fig. 59.--Dancing. Close of the 18th century. From
Derby ware.]

[Illustration: Fig. 60.--Spanish dance in the Hall of Saragoza, 19th
century.]

CHAPTER VI.

THE MODERN THEATRE DANCE.

Although the theatrical ballet dance is comparatively modern, the
elements of its formation are of the greatest antiquity; the chorus of
dancers and the performances of the men in the Egyptian chapters
represent without much doubt public dancing performances. We get
singing, dancing, mimicry and pantomime in the early stages of Greek
art, and the development of the dance rhythm in music is equally
ancient.

The Alexandrine Pantomime, introduced into Rome about 30 B.C. by
Bathillus and Pylades, appears to have been an entertainment
approaching the ballet.

In the middle ages there were the myste