ore in accordance with tradition before the
time of Noverre.

Neither do the "popular" and curious exhibitions of Loie Fuller strike
one as having a classic character, or future, of any consideration,
pretty as they may be.

The operetta or musical comedy has given us some excellent art,
especially at the end of the 19th century, when Sylvia Gray, Kate
Vaughan, Letty Lind, Topsy Sinden, and others of like _metier_ gave us
skirt and drapery dancing.

This introduces us to the question of costume. That commonly used by
the _prima ballerina_ is certainly not graceful; it was apparently
introduced about 1830, presumably to show the action and finished
method of the lower extremities. If Fanny Ellsler and Duvernay could
excel without this ugly contrivance, why is it necessary for others?

At the same time it is better than indifferent imitations of the
Greek, or a return to the debased characteristics of Pompeiian art, in
which the effect of the classic and fine character of the material are
rendered in a sort of transparent muslin.

With these notices the author's object in this sketch is completed. Of
the _bal-masque_ garden dances, public balls and such-like, he has no
intention to treat; they are not classic dancing nor "art," with the
exception perhaps of the Scottish reels. Nor is he interested in the
dancing of savage tribes, nor in that of the East, although some few
illustrations are given to illustrate traditions: for example, the use
of the pipe and tabor in Patagonia, the dancer from Japan, winged,
like that in the "Roman de la Rose" (fig. 40), and the religious dance
of Tibet, showing the survival of the religious dance in some
countries. In Mrs. Groves' book on dancing there is an excellent
chapter on the Ritual dance as now practised, to which the reader can
refer.

[Illustration: Fig. 69.--Japanese Court Dance.] [Illustration: Fig.
70.--Indian dancing-girl.]

[Illustration: Fig. 71.--Patagonian dancers to fife and tabor.]

[Illustration: Fig. 72.--Tibetan religious dancing procession, 1908
A.D.]

BIBLIOGRAPHY.

Baron, A. "Lettres et Entretiens sur la Danse." Paris, 1825.

Emmanuel, M. "La Danse grecque antique." 1896.

Menestrier, Pere. "Des Ballets anciens et modernes." 1682.

Bonnet. "Histoire generale de la Danse sacree et profane." 1723.

Cahusac. "La Danse ancienne et moderne." 1754.

Noverre. "Lettres sur les Ballets." 1760.

Charbonnel, R. "La Danse de Lettres, &c." 1807.