- 1Dedication — Preface
- 2Book I — The First Era — Overture on the Art of Ballet
- 3Chapter I — A Distinction, and Some Differences
- 4Chapter II — Egypt
- 5Chapter III — Greece
- 6Chapter IV — Mime and Pantomime: Rome, Hippodrome — Obscurity
- 7Chapter V — Church Thunder and Church Complaisance
- 8Chapter VI — The Banquet-Ball of Bergonzio di Botta, 1489, and the…
- 9Chapter VII — Thoinot Arbeau’s “Orchésographie,” 1588
- 10Chapter VIII — Scenic Effect: The English Masque as Ballet
- 11Chapter IX — Ballet on the Move
- 12Chapter X — Court Ballets Abroad: 1609-1650
- 13Chapter XI — The Turning Point: Le Roi Soleil and His Academy of Da…
- 14Book II: The Second Era
- 15Chapter XIII — Pantomime at Sceaux: And Mlle. Prévôt
- 16Chapter XIV — Italian Comedy and the Theatres of the Fair
- 17Chapter XV — Watteau’s Debt to the Stage
- 18Chapter XVI — The Spectator and Mr. Weaver
- 19Chapter XVII — A French Dancer in Eighteenth-Century London
- 20Chapter XVIII — La Belle Camargo
- 21Chapter XIX — The House of Vestris
- 22Chapter XX — Jean Georges Noverre
- 23Chapter XXI — Guimard the Grand: 1743-1816
- 24Chapter XXII — Despréaux, Poet And — Husband of Guimard
- 25Chapter XXIII — A Century’s Close
- 26Book III: The Modern Era
- 27Chapter XXV — Carlo Blasis
- 28Chapter XXVI — Marie Taglioni (“Sylphide”)
- 29Chapter XXVII — Carlotta Grisi (Giselle)
- 30Chapter XXVIII — Fanny Cerito (“Ondine”)
- 31Chapter XXIX — Lucile Grahn (“Eoline”)
- 32Chapter XXX — The Decline and Revival
- 33Chapter XXXI — The Alhambra: 1854-1903
- 34Chapter XXXII — The Alhambra 1904-1914
- 35Chapter XXXIII — The Empire 1884-1906
- 36Chapter XXXIV — The Empire 1907-1914
- 37Chapter XXXV — Finale: The Russians And — The Future
The Art of Ballet
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