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Toasts were once drunk from them to honor reigning ballerinas. Ground glass poured into them could put a rival at least temporarily out of commission. They helped to define the spirit of Romanticism in the ballet. They are often the object of almost fetishistic attention. And classical ballet seems faintly cloddish today unless there are toe shoes somewhere evident on stage. Glistening satin, with a firm, boxed toe and flimsy drawstring heel with lacing ribbons and elastic, the toe shoe gives the dancer's leg a tapering line no human limb would otherwise have.

The shoe emphasizes the lyrical curve of her foot. It is a curve developed, if the dancer is lucky, through years of training that wearies the legs and soul but produces feet like steel that can turn and hop and travel across the stage on the tips of the toes.

Historians are not sure who was the first ballerina to rise up on her points, or why she did. A look at period prints and lithographs is suggestive. The massive court spectacles of the 16th and 17th centuries were intended to be seen from above, from rows of seats ranged on three sides of the dance floor.

With the move of formal dance onto the proscenium stage by the midth century, there was a corresponding reduction in the scale of stage patterns, which were performed by smaller groups of dancers and intended to be scrutinized from the front. As ballet moved into a smaller, more intimate arena, more attention began to be paid to the finer aspects of dancing. Technique and body line were becoming more important, but an early 17th-century Italian print depicting an entrechat has the dancer jumping with feet, shod in dancing slippers, that look oddly flexed and relaxed for that small, quick beating step.

The look of the feet is similarly relaxed in costume designs for ''Le Triomphe de l'Amour,'' an opera-ballet created in by Jean Baptiste Lully, choreographer to the ballet- hungry court of Louis XIV, and the work in which female professional dancers first appeared on the French stage.

Paintings and engravings of Marie Camargo, a daring technician who made her debut at the Paris Opera in , show feet that point and curve inside their heeled slippers.

Camargo is credited, however, with inventing the heel-less slipper, as well as shortening the ballerina's skirt. By her time, gods and goddesses had begun to occupy the stage with more modesty and charm than those in Lully's works, in ''action'' or ''character'' ballets that told their stories through mime as well as dance, and aimed for an increased realism on stage.

It is to such a ballet, Charles-Louis Didelot's ''Flore et Zephire,'' that historians point as the first ballet to feature toe-dancing. The popular ballet made great use of flying machinery to tell its story, in which the nymph Flore borrows the wings of her lover Zephire, the West Wind. And Lincoln Kirstein suggests that through the use of wires dancer could pose high on their half-toes, presaging a time when stitched and later blocked shoes would give the ballerina enough support to move on her toes without the wires.

Four ballerinas of the early 19th century are generally credited with the first toe-dancing. The hefty but limber Genevi eve Gosselin was reported by a critic of the time to have stood up on her points ''for a full minute,'' and Avdotia Istomina was immortalized by Pushkin in ''Eugene Onegin'' as ''nimbly-bounding with one foot resting on its tip.

Amalia Brugnoli did not just rise onto ''the extremities of her feet,'' as a critic described it, but danced with new technical skill, assuming ''a je ne sais quoi of airiness which astonishes and arouses admiration,'' according to an review. But her dancing failed to arouse at least one viewer, known for her malicious comments on the work of other ballerinas.

Brugnoli was a dancer who presented a italnew kind of dancing; she did very extraordinary things on the point of her foot, which was long and narrow, very advantageous for this sort of dancing,'' Marie Taglioni wrote in her memoirs. The visual records of the time can be deceiving. Though nicknamed ''l'aerien,'' the great Antoine Paul is unlikely to have danced on his toes as he appears to do in an engraving from the 's. Traditionally, men have danced in point shoes only in comic roles.

But there is no doubt that Taglioni, the floating sylph of so many period lithographs, did establish toe-dancing as an essential ingredient in the art of classical ballet.

She epitomized, too, the fantasized, ethereal centerpiece of the Romantic era ballet in ''La Sylphide,'' choreographed for her by her father, Filippo Taglioni, in How better to express and embody the longing for the ideal that characterized the stage dance, literature, painting and music of the time than by a creature who could skim the earth, belonging less to it than to the night and sky?

Carlotta Grisi, for whom the title role in the prototypical Romantic ballet, ''Giselle,'' was created in , was from that time depicted as a breeze- blown creature listing into the air, feet delicately pointed in her little toe shoes. The ballerina had risen to supremacy. But it could not have been without a good deal of suffering. The shoes Taglioni and Grisi wore covered the toes like espadrilles, stitched very slightly on the tips, offering hardly more support than the soft slippers worn by men and for some women's dramatic roles.

They came in a single size, fashioned of leather covered with satin. But dancers kept reinforcing the shoe toes to give them more support, darning them and eventually hardening them by dipping the shoe into layers of glue. By the turn of the century, the toe shoe came in several sizes and was wider. Today, dancers will find it in seven styles, and Capezio, a leading manufacturer, stocks from 89 to different sizes, depending on style.

Each shoe is handmade or ''hand-turned,'' from inside out. First the cloth sections - the satin cover and cotton or manmade lining - are cut and sewn together. The shoe then goes to the lasting department where it is assigned to a shoemaker who completes the process. View all New York Times newsletters. First he assembles the shoe on a last, or form of a foot.

In the case of special orders, the last has been made in the shape of a particular ballerina's foot. Capezio's is trying to get away from the matching of shoemaker to ballerina. What is the box made of? Terlizzi, says with a laugh. It tends to be a trade secret, but some manufacturers fashion the box from layers of burlap, brown paper and glue.

The shoe is then sewn onto its shank, usually made from leather, and turned right side out. It is slipped onto the last to harden for another two to four days, depending on the weather. The shoe is then hammered out and a few last checks made. But dancers continue to refashion the shoes for themselves in an endless search for the ideal fit and feel, pounding and soaking the shoe into a degree of softness that will prevent them from clattering across the stage but still give them support, especially important for the fleet footwork and jumps that help to distinguish the choreographic style of George Balanchine.

Each ballerina has her own shoe ritual. American Ballet Theater's Cynthia Harvey spends 90 minutes getting a pair of shoes ready for a performance, stitching ribbons on with dental floss, cutting the tips off for extra traction, crushing the shoes and applying wet paper towels to the sides of the shoes. Some dancers carry hammers in their dance bags. Others coax burly stagehands into jumping on the shoes. Miss Harvey dances for 15 minutes to get the shoes to mold around her feet.

Most shoes last through a performance, if that long, after which many dancers coat them with shellac and continue using them in classes and rehearsal. Often a dancer will brush a shoe worked to perfection with Fabulon, a clear floor coating that makes the shoe last longer. Toe shoes, and developed and refined point work, have brought to classical ballet a leaner, lighter look derived from the extended line of the body that ends in a raised leg with a pointed foot, and brilliant multiple pirouettes that are possible only with the most limited and durable contact with the floor.

And choreographers have found that a grind or stab of the ballerina's toe against the floor or even into a partner's body can express as much about a character or relationship as any more traditional dramatic gesture. Today a fifth year or or year- old student at the New York City Ballet-affiliated School of American Ballet think nothing of whipping off fouette turns routinely at the end of class.

Training for pointwork has begun there the year before, with pointwork at the barre at the end of each technique class. From the intermediate level on at the School, the students are required to take full classes on point, at Balanchine's suggestion.

A professional in a major ballet company may use 12 pairs of new toe shoes weekly, ordered specially and hand-made by a shoe-maker assigned to her, whose mark is on each shoe. Shoes that somehow just do not feel right go back to the maker, to be sold at retail, or, in the case of the School of American Ballet, are offered at a discount to the students.

Worn shoes sometimes make their way into ballet boutiques, autographed, to be sold to a ballerina's fans. In an engaging and comprehensive piece on the toe shoe written for the Smithsonian Magazine, City Ballet dancer Toni Bentley says that company members order about 50 pairs four times a year, generally from Freed of London, another leading maker.

Dancers claim they can tell if someone other than their shoemaker has worked on the shoes. The shoemakers sometimes wonder about their dancers. Less concerned with the development and display of the calf and ankle, and with the foot slowly 'rolling up' onto point, we virtually jump onto our toes.

I was reminded of Balanchine. What are you waiting for? He did not like us powdering the satin to achieve a more subtle onstage effect. A walk through the corridors of the School of American Ballet reveals such rites as students dipping their new shoes into the water fountain or grinding them into door hinges with studied nonchalance, and casually applying bandages and mysterious, cauterizing elixirs to their blistered, mis-shapen toes before advanced classes.

Still, there is nothing quite like the magic of those pink slivers of satin that enable one to rise up into another world. And how far ballet has come from the days of the one-minute hoist. Please upgrade your browser.

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