The Vancouver independent. (Vancouver, W.T. [Wash.]) 1875-1910, 1880-09-09
The Muet.

igin of the minuet a the derivation of
the word. An Itali writer says that
the name assuredly me from France,
whatever might bthe origin of the
dance, and derives iron menu-small,
minute-which epitt was applied to it
on account of its sml neat steps. Sc
bastian Brossard gis Potion as its ma
tive country. Othe again declare that
it was Il rustic dan i'll vogue among
the peasants of AMI, and from thence
introduced at the tnch court by the
celebrated musicia Lully; and that
Louis XIV. becamextravagantly fond
of it, and b-ough it into fashion by
dancing it at Verslles in 1860. But
the period of its gntest glory and in
1uence was, as haoeen said, the eigh-
feenth century. ne names Of many of
it's chief Professor and performers have
been preserved fe the qualification of
the curious In laly certain M. Du-
fort was one of the most celebrated
teachers of the miuet; aud M. Liepig
received Incredible ovations for his
performance of this dance at the theatre
of San Cerlo, in Nples, during the car
nival of 1873. Seeral female dancers
made large fortues by the minuet
There was Nine. Oupe, with an income
of 25,00Of year Mile. Vestris, the
most graceful an languishing Of all
minuet-dancers, ais very rich; Mile AL
lard, the ruin Of may princely fortunes;
and, finally, Mile. Guimard, celebrated
for her caprices an her sumptuousness.
The name of minue was applied in the
eighteenth century a certain species
of air, in three-for time, which was
sung in the opera; ma still signifies a
melody with specil rhythm and move.
ment familiar to Ill musicians. One
Gennaro Magri, wb wrote just about a
century ago, styles imself "Maitre de
ballet Of the royal diversions of his Sici-
liam Majesty and ofthe Royal Military
Academy" And b assures us that of
all dances the minut was the most nc
BILE, and ought to b. learned by all, even
by the military Co. From Magri's Off
cial title of "Dancng master to the Roy
al Military Academy, it would seem as
though his Sidlian Majesty had not neg
lected this paN of his Army's education.
The same writer discourses of his art
with an amount of fervor and minute
attention to details which betray his Tn
doubted belief in its Importance. The
rules about the minuet alone would fill
volume. But we may lay before the
reader Magri's five indispensable requis-
ties for making good figure in the min
net. These are, namely: "a anguish
ing eye, smiling mouth, an imposing
carriage, innocent hands and ambitious
feet" Toward the middle of the last
century there died in Paris a dancing
master named Marcello who may be call
ed the genius of the miuuet. His les
sons were extremely dear, and eagerly
sought after. He treated his subject
with vast profundity and solemnity, and
his pupils with autocratic arrogance.
There was whimsical contrast between
the pompous elegance of his outward
bearing and the extremely rough and
blunt utterances to which he treated his
noble scholars. He would make lady
bow, expressive Of high-bred courtesy,
and call out the next moment, duchess,
you waddle like goosel Stand up up
right, do! You have the air of ser
want maid" or, 'Prince, what are you
about! You look like a street-porter'
But nobody resented these speeches, for
Marcello was privileged to say what he
chose. In his later years he relinquish-
ed teaching the minuet, and devoted
himself to what he called "the most sub
lime part of his art" namely, "la rever-
ence." He taught 236 different species
of bow and curtsey for the two sexes,
each of which expressed the condition
and frequently the mood, of the person
who made j.. There was the Court
bow, the city bow, the bow Of gentle
man to his equal, the ministers bow,
the curtsey of a young lady in church,
on the presentation of her fiancee, etc
Curtseys on presentation at Court were
taught at % Louis doris the course
During the lesson Marcello represented
the King, and took care to compor
himself with all the overwhelming ma
jesty belonging to the part, with view
to strengthen The nerves of his pupil,
for an interview with the Grand Mon
arch In person. 1t may be safely as
sumed, however, that magnificent al
was Louis XIV, he was not so magni
6cap+ &c Maro.llo