The preparation of this book has involved the marshalling of a vast array of facts and dates, the delving into and comparison of some three hundred or more ancient and modern volumes on dancing and on theatrical and operatic history, the study of scores of old newspaper-files and long-forgotten theatrical “repositories” and souvenirs. Error is always possible in spite of care, and if it should have happened here the writer will be grateful for correction. In covering so wide a field a full bibliography becomes impossible from limits of space; but to those interested the following list of leading authorities--supplemented by those referred to in the text--may be of service. “La Danse Grecque Antique,” by M. Emmanuel; “Roman Life and Manners under the Early Empire,” by L. Friedländer; “Dramatic Traditions of the Dark Ages,” by Joseph S. Tunison (University of Chicago Press); “Orchésographie,” by Thoinot Arbeau (1588); “Des Ballets Anciens et Modernes,” by Père Menestrier (1682); “La Danse Antique et Moderne,” by De Cahuzac (1754); “The Code of Terpsichore,” by Carlo Blasis (1823); “Dictionnaire de la Danse,” by G. Desrat (1895); “Dancing in all Ages,” by Edward Scott (1899); “Histoire de la Danse,” by F. de Menil (1905); and “The Dance: Its Place in Art and Life,” by T. and M. W. Kinney (1914). CONTENTS _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