Historical SourcePublic Domain
Prima e Seconda Memoria per servire alla Istoria del Ballo degli Antichi (Burette, Italian transl., Venice N.II imprint 1746)
Publisher: Prima e Seconda Memoria per servire alla Istoria del Ballo degli Antichi (Pierre-Jean Burette; Venice N.II imprint 1746). Italian translation of Burette's Paris Mémoires pour servir à l'histoire de la danse des anciens (originally published in 4 installments in the Histoire de l'Académie royale des Inscriptions et Belles-Lettres, 1702-1719). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1746-Burette-Prima_e_Seconda_Memoria_(LOC).txt (Library of Congress scan, N.II imprint, clean OCR for body text). STRUCTURE: two Memorie (Prima + Seconda) of the four-volume Burette series. Prima Memoria: Burette's general-theoretical argument for dance as the paramount exercise of the human body (classical-humanist proofs via Plato's division of gymnastics into Orchesis and Palestrica, Lucian's Dialogue on Dancing, Julius Pollux, Athenaeus, Meursius's Orchestra sive de Saltationibus Veterum, Scaliger's Poetics Book I Chapter XVIII, Mercuriale's Gymnastica, Du Faur's Agonistica). Seconda Memoria: identification of ancient Greek dance genres, beginning with the Pyrrhica (war-dance — named for Pyrrhus son of Achilles), the Hormos (mixed youth-and-maiden carole-dance tying together Fortezza and Temperanza), the Hyporchema (Theophrastus attributed to Androne of Catania Sicily, naming etymology Balletto < Sicilian ballo), and the multiple biblical Hebrew dance attestations (Exodus 15:20 Miriam; Judges 11:34 Jephthah's daughter; 2 Samuel 6:14 David before the Ark). HISTORIC SIGNIFICANCE: Burette's Mémoires are the foundational French classical-philological treatment of ancient dance, cited by all subsequent 18c dance-theorists (Cahusac 1754, Compan 1787, Pauli 1756, Noverre 1760). The Venice 1746 Italian translation establishes the trans-Alpine circulation of Burette's Paris Mémoires into mid-Settecento Italian dance-theoretical discourse, parallel to the contemporaneous Trichter 1742 Leipzig Curioses and Taubert 1742 Copenhagen Kort Anvisning in the pan-European theoretical-treatise network. Registered for corpus completeness (precedent: LOC-1682-MENESTRIER, LOC-1721-WEAVER-ANATOMICAL, LOC-1752-DUKES, LOC-1760-NOVERRE, LOC-1760-LONDEAU, LOC-1771-RANDALL, LOC-1772-GALLINI). Has_Step_Detail = No: purely theoretical treatise; no named-dance enumerations of the modern social-ballroom repertory; ancient-genre names (Pyrrhica, Hormos, Hyporchema) are discussed theoretically but not given as performable choreographies. Zero new canonicals, zero appearances (pure theoretical-registration).Year: 1746Family: buretteCatalog: local
Dance manual/reference by Prima e Seconda Memoria per servire alla Istoria del Ballo degli Antichi (Pierre-Jean Burette; Venice N.II imprint 1746). Italian translation of Burette's Paris Mémoires pour servir à l'histoire de la danse des anciens (originally published in 4 installments in the Histoire de l'Académie royale des Inscriptions et Belles-Lettres, 1702-1719). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1746-Burette-Prima_e_Seconda_Memoria_(LOC).txt (Library of Congress scan, N.II imprint, clean OCR for body text). STRUCTURE: two Memorie (Prima + Seconda) of the four-volume Burette series. Prima Memoria: Burette's general-theoretical argument for dance as the paramount exercise of the human body (classical-humanist proofs via Plato's division of gymnastics into Orchesis and Palestrica, Lucian's Dialogue on Dancing, Julius Pollux, Athenaeus, Meursius's Orchestra sive de Saltationibus Veterum, Scaliger's Poetics Book I Chapter XVIII, Mercuriale's Gymnastica, Du Faur's Agonistica). Seconda Memoria: identification of ancient Greek dance genres, beginning with the Pyrrhica (war-dance — named for Pyrrhus son of Achilles), the Hormos (mixed youth-and-maiden carole-dance tying together Fortezza and Temperanza), the Hyporchema (Theophrastus attributed to Androne of Catania Sicily, naming etymology Balletto < Sicilian ballo), and the multiple biblical Hebrew dance attestations (Exodus 15:20 Miriam; Judges 11:34 Jephthah's daughter; 2 Samuel 6:14 David before the Ark). HISTORIC SIGNIFICANCE: Burette's Mémoires are the foundational French classical-philological treatment of ancient dance, cited by all subsequent 18c dance-theorists (Cahusac 1754, Compan 1787, Pauli 1756, Noverre 1760). The Venice 1746 Italian translation establishes the trans-Alpine circulation of Burette's Paris Mémoires into mid-Settecento Italian dance-theoretical discourse, parallel to the contemporaneous Trichter 1742 Leipzig Curioses and Taubert 1742 Copenhagen Kort Anvisning in the pan-European theoretical-treatise network. Registered for corpus completeness (precedent: LOC-1682-MENESTRIER, LOC-1721-WEAVER-ANATOMICAL, LOC-1752-DUKES, LOC-1760-NOVERRE, LOC-1760-LONDEAU, LOC-1771-RANDALL, LOC-1772-GALLINI). Has_Step_Detail = No: purely theoretical treatise; no named-dance enumerations of the modern social-ballroom repertory; ancient-genre names (Pyrrhica, Hormos, Hyporchema) are discussed theoretically but not given as performable choreographies. Zero new canonicals, zero appearances (pure theoretical-registration). (1746). Imported from local collection.