New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1880-08-22
STORIES ABOUT THE hINUET.
from The COrnhiN.

Louis XIV became extravagantly fond of it, and
brought it into fashion by dancing it at Versailles
in 1860. But the period CT its greatest glory and
influence was rhe eighteenth century. In Italy a
certain Monsieur Duiort WAS one of the most celc-
brated teachers OF the mnuet and Monsieur Licpg
received incredible Ovations for his performance
OF that dance at the theatre OF san Carlo in Naples
during the carnival of 1873. Several female
dancers made large fortunes by the minuet The
name OF minuet was applied III the eighteenth cen
fury to certain species of air. IN threefOur time,
which was sung In the opera; and still signifies q
melody with special rhythm and movement FAM
liar to all musicians. One Gennaro Magri. who
wrote just about century ago styles himself
"Maitre de ballet of the royal diversions OF hrs
Sicilian Majesty, and of the Royal Military
the minuet was the most noble. and ought 10 he
learned by all, even by the military q. From
Roy al Military Academy" it would seem though
his Sicilian Majesty had not neglected this part of
his army's education The same writer discourses
of his art with an amount OF fervor and a mi mute
attention to details which betray his undoubting
belief in its importance. The rules about the
minuct alone would fill q volume. But we may lay
before the reader Magri's five Indispensable requi-
sites for making good figure in the minuet. These
are namely A langushing eye, smiling mouth,
an imposing carriage, innocent hands and ambi-
tious feet"
Toward the middle of the last century. there died
in Paris n dancing master, named Narcotic, who
may be called the genius OF the mlnnet. His
lessons extremely dear. and eagerly sought
after. He treated his subjects with a profundity
and solemniy. and his pupils with autocratic
the pOmpous elegance of his outward bearing and
the extremely rough and blunt utterances To which
he treated his noble scholars. He would make a
lady a bow, expressive Of high-bTed courtesy and
call out the next moment: Duchess you waddle
like goose Stand upright, do! You have the
air of "a servant maidW or Prince, what are You
abomtY You look like street porter!r But no
body resented these speeches. for Marccllo was
privileged 10 say what he chose. In his later years
he rellnquisked teaching the mInuet, and devoted
himself 10 what Inc called the most sublime part
of his art" namely, la reverence. lie taught Two
hundred and thirtysix different species of bow and
courtesy for the two sexes, each OF which
pressed the condition. and frequently the mood OF
the person who made it, There was the court bow,
the city bow the bow of young gentleman to his
equal the minister's bow, the bow of young lady in
church, on the presentation OF her fancee, etc.
Courtesys on presentation at court were taught at
twenty five louis d'ors the course ! During the
lesson Marce0 represented the king and took care
to comport himself with all the overwhelming
majesty belonging TO the part, with a view OF
ngtbenng the nerves of his pupils for inter
view with the Grand Monarque in person. 1t NAV
be safely assumed however. that magnificent WAS
Louis XIV, he was not SO magnificent as Narcotic.
DufOrt, III his essay On Noble Dancing pub
lished at Naples, 172S-consecrates one entire
chapter to tho minuet describing its whole oere-
mOna with scientific minuteness. But here Ii IA
somew hat less yeI bose description, taken from a
work published during the most acute period of the
passion for this dance:
"The cavalier takes his lady by the hand and
makes two steps forward with her, both keeping
on the same line; after which he causes her 10 de-