Cover

pdf iconDownload PDF

pp. i-v

Contents

pdf iconDownload PDF

p. vii

read more

Acknowledgments

pdf iconDownload PDF

pp. ix-x

The idea for this book originated over a decade ago, and since then its scope has grown considerably. During these years I have been fortunate to receive assistance in various ways from friends and colleagues, to whom I owe a deep debt of gratitude. It is my pleasure to acknowledge their help and encouragement here, as a...

read more

Introduction

pdf iconDownload PDF

pp. 1-11

[T]he courtier must acquire this grace from those who appear to possess it. . . . However, having already thought a great deal about how this grace is acquired, and leaving aside those who are endowed with it by their stars, I have discovered a universal rule which seems to apply more than any other in all human actions or words: namely, to steer away from affectation at all costs, as if it were a rough and...

read more

1. Dance and Society

pdf iconDownload PDF

pp. 12-57

The harmony in the sweet music of Guglielmo Ebreo is as sweet and heavenly as his fair dancing is elegant. It would make Maccabeus sheathe his sword. His dance comes not from human skill but from heavenly wit and divine knowledge. . . . Eagles on the wing are not so agile as Guglielmo, whose skills may be deemed to have been willed by Fate. Hector was never so outstanding in military...

read more

2. The Dance Treatises and Humanist Ideals

pdf iconDownload PDF

pp. 58-74

The fact that Domenico, and later on Guglielmo and Cornazano, wrote dance treatises at all, let alone treatises that included substantial material on the philosophical basis of the dance practice, is a strong argument for the view that humanist thought influenced the art of dance in fifteenth-century Italy, that the dance masters were aware of the current ideas and attitudes of the humanists,...

read more

3. Eloquent Movement-Eloquent Prose

pdf iconDownload PDF

pp. 75-103

An important part of humanist culture’s effect on the dance practice of fifteenth-century Italy was the dance masters’ realization that language was absolutely necessary to the status of dance as an art. They were acutely aware that for dance to be included as a liberal art, with a claim to true knowledge and wisdom, then it had to be more than just a body of physical skills; it was now essential...

read more

4. Dance and the Intellect

pdf iconDownload PDF

pp. 104-118

In this matter [the education of the mind] we desire you to be convinced that there is nothing that men possess on earth more precious than intellect, and that other goods of human life which we pursue are truly insignificant and unworthy. Nobility is beautiful but it is a good not one’s own; riches are precious but they are the possession of fortune; glory is pleasant...

read more

5. Order and Virtue

pdf iconDownload PDF

pp. 119-130

The old notion of synonymity between geometric and moral rectitude was so ingrained in the Western mind that people took it for granted that anyone fortunate enough to be raised in a geometrically ordered environment would be morally superior to anyone who lived amid the twisting cowpaths of an amorphous village.

read more

Conclusion

pdf iconDownload PDF

pp. 131-140

In their treatises both Cornazano and Guglielmo acknowledged Domenico as their master,

Appendix 1. Transcription and Translation of MS from Florence, Biblioteca Nazionale Magl. VII 1121, f. 63r–69v

pdf iconDownload PDF

pp. 141-157

Appendix 2. The Use of Mensuration Signs as Proportion Signs in the Dance Treatises

pdf iconDownload PDF

pp. 158-160

Appendix 3. Floor Track and Music of Anello, Ingrata,Pizochara, and Verceppe

pdf iconDownload PDF

pp. 161-188

Notes

pdf iconDownload PDF

pp. 189-221

Bibliography

pdf iconDownload PDF

pp. 223-240

Index

pdf iconDownload PDF

pp. 241-247