surviving theatrical dances from that turn-of-the-century period. Unfortunately, we cannot re-create the works of Filippo Taglioni, Armand Vestris, Salvatore Vigano and others choreographing during that stimulating era. Only one dance of the time, the Gavotte de Vestris, has been preserved in notation, by means of two systems developed and published in London in 1831 by E. A. Theleur in his book, Letters on Dancing. Analysis of this lively duet clearly shows its relationship to the dance technique of the previous century as well as to dance forms which are familiar today.' However, there is another means of investigating and comparing dance techniques: the descriptions of dancers' training in the early nineteenth century. By exploring the classroom tradition the technical repertoire handed on from teacher to student we can begin to understand this important transitional period in dance history.