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“All Good Boston Children Went to Papanti’s”: 洛伦佐Papanti and his Boston Dancing Academy

洛伦佐·帕潘提亲自来访

洛伦佐Papanti

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This carte de visite portrait of 洛伦佐Papanti was produced by Icilio Calzolari of Milan. 塞缪尔·福斯特·麦克利里(1822-1901), 他在1852-1883年间担任波士顿市文员, 确认了背面的照片是“Mr. 我的舞蹈老师帕潘提.M.”

“时尚舞蹈”流派

至少传承了三代, budding debutantes and their often unwilling partners from Boston’s Brahmin class learned to waltz and dance the polka and other “fashionable Dances” under the tutelage of a colorful Italian immigrant named 洛伦佐Papanti. In 1827, 刚从意大利来, 他为波士顿的精英建立了一所舞蹈学校, a somewhat tough sell in puritanical Boston—his was only the second dancing school in New England and many in the upper echelons of Boston society felt that dancing was something that should only be done at home.

幸运的是Papanti, he found an entrée into Boston’s upper class and a staunch supporter in Sally Foster Otis, 哈里森·格雷·奥蒂斯富有的遗孀. In 正统的波士顿人克利夫兰. 奥蒂斯扮演“夫人”. Jack Gardner [Isabella Stewart Gardner] of her times. It amused her to do things other Boston ladies didn’t do, and to do them first.” Together Otis and Papanti danced what was claimed to be the first waltz in America in 1834, a dance that was still considered somewhat risqué until 1872 when Johann Strauss II, “华尔兹之王”本人, 在波士顿演出, 点燃一股热潮. 通过夫人. Otis’s first-class family and social connections, Papanti was able to establish and grow his school. 卢修斯·毕比讲述了这一点

所有的波士顿好孩子都去了帕潘提餐厅, 他瘦削的身材, glossy wig and elegant patent leather dancing pumps, 尤其是他那尖尖的小提琴弓, used both as an instrument of correction and harmony, 吓坏了所有少年的心.

Papanti and his lessons are recounted in many reminiscences of nineteenth century Bostonians. 劳拉·理查兹, 茱莉亚·沃德·豪的女儿, recalled the rap from Papanti’s violin bow that would follow any small misstep. She remembered learning “not only the waltz and polka, quadrille—plain and Lancers—but also the Scottische, 的Varsovienne, 和西班牙舞蹈, 所有的优雅和迷人. Even more so were the gavotte and the Shawl Dance, attained by specially proficient pupils.” Her sister Florence remembered only a “single couple—a brother and sister” who danced the Shawl Dance, thus reaching “the height of human ambition at Papanti’s.”

“世界上最华丽的舞厅”

1837年,洛伦佐·帕帕蒂开了一家 华丽的新舞厅 在特里蒙特街, featuring a spring floor said to yield beneath one’s feet “like a living thing,价值1200美元的枝形吊灯, 更衣室, 还有很多其他便利设施. Maude Howe Elliot recalled that “clinging to my mother’s hand, I was led into the most magnificent ballroom in the world. It was surrounded on two sides with raised benches; the third was filled with long gilded mirrors, 第四个是“吟游诗人画廊”.’”在未来的岁月里, 帕潘蒂的大厅将举办波士顿议会舞会, held four times a year (and only for the crème de la crème of Boston society) and be a fixture in Boston’s social and cultural life.

洛伦佐·帕潘蒂是谁?

洛伦佐Papanti was born in Livorno (Leghorn) Italy, the second son of Francisco and Arianna Papanti (although his 1856 marriage record lists them as Gustavus and Anna). He was serving as an officer in the Royal Guard of the Duke of Tuscany when he reportedly killed a fellow officer in a duel, 迫使他逃离意大利. 幸运的是,美国 宪法 was in port and took Papanti (a skilled French horn player) aboard as a member of the ship’s band.

Arriving in Boston with few possessions other than hastily-arranged letters of introduction and, 奇怪的是, 他的“宫廷盛装”,” Papanti for a time eked out a living playing French horn in the orchestra pit of the Boston Theatre. He married his first wife, Sarah Quinn of Boston, in 1842 at St. Patrick’s Church in Roxbury; the couple had two sons, Lorenzo in 1844 and Augustus in 1846 before Sarah’s death from consumption in 1848. In 1856, he married Harriet Morse of Newburyport, Mass.

洛伦佐·帕潘蒂死于1872年. Obituaries appeared in newspapers as far flung as Tennessee, 俄亥俄州, 和威斯康辛州, 并在伍斯特报上发表了讣告 国家支持 巧妙地总结了帕潘蒂的职业生涯和影响力

The topic of conversation in the polite circles of Boston for three days at least will undoubtedly be the death of Signor 洛伦佐Papanti, who taught the grandfathers and grandmothers of the rising generation how to point their toes and go through the 不是 这个时期的, and has kept on ever since with almost undiminished vigor in his profession, until death with still nimbler feet overtook him at the ripe age of seventy-three. Mr. 帕潘蒂绝不是一个普通的Turveydrop. He possessed a good deal of dignity, a clear head, and a decided knowledge of what he was about. His saloons have for many years been the scenes of the largest private parties given in Boston, while in the way of dancing classes he had no rival in the fashionable world … He had been established for nearly fifty years in Boston, 积累了一大笔财富.

His funeral was held in the Church of the Advent in Boston and, according to the account in the 波士顿杂志, 由“年轻人和老年人”参加, 银色头发的男人, who were followed by sons and daughters of mature years, and these by a third generation who have profited by the teachings of the kind old Professor.”

进一步阅读

艾莫里,克利夫兰. 正统的波士顿人 纽约:E. P. 达顿 & Co., 1947

毕比,卢修斯. 波士顿和波士顿传奇 纽约:阿普尔顿世纪出版社,1935年

玛丽·卡洛琳·克劳福德. 老波士顿的浪漫时光 波士顿:小布朗,1922年

艾略特,莫德·豪. 三代 波士顿:小布朗 & Co., 1923

霍尔,弗洛伦斯·豪. 悲伤与快乐的回忆 纽约:Harper & 兄弟,1918

简·亨特. How Young Ladies Became Girls: The Victorian Origins of American Girlhood 纽黑文:耶鲁大学出版社,2002

韦伯,杨晨. The Evolution of Aeshetic and Expressive Dance in Boston 阿默斯特,.Y.坎布里亚,2009年

多萝西·韦克斯勒. Reared in a Greenhouse: The Stories—and Story—of Dorothy Winthrop Bradford 纽约:Garland, 1988