Vestris (Originally Vestri), the name of a family of dancers of Italian extraction, who emigrated from Florence to Paris about 1740.
Amriolo Maria Gasparo, born in Florence in November, 1730, died in Paris, June 10, 1809. He made his first appearance in Paris in 1769 at the Italian theatre, in which he performed with great success until his retirement on a pension in 1780.
Gaetano Apollino Baldassare, brother of the preceding, born in April, 1729, died in Paris, Sept. 27, 1808. His career at the theatre extended from 1749 to 1781, during most of which time he held the posts of ballet master and first dancer. He was popularly known as the "god of dancing," but his talent was executive rather than inventive; and he left little worthy of his reputation, his chief compositions being the ballets of Endymion and Le nid d'oiseaux. He was exceedingly ignorant and vain. "There are but three great men in Europe," he once observed, "the king of Prussia, M. Voltaire, and myself." His vanity was so original and amusing as to offend no one, and rather added to his reputation. In other respects he was a man of great honesty and amiability.
Called Vestris-Allard, Or Vestris II Marie Augnste, natural son of the preceding, born in Paris, March 27, 1760, died there, Dec. 6, 1842. He made his début in 1772, and from 1780 to 1816 was first dancer at the opera. He appeared for the last time at the age of 75, at a benefit given to Mme. Taglioni, and won great applause. Though inferior in dignity to his father, he surpassed him in strength and agility. He retired from the stage in 1819, and was professor in the conservatory till 1828.
Son Of The Preceding Angaste Armand, made bis début in 1800 in a ballet in which his father and grandfather also took part. He had a great reputation throughout Europe.
Wife Of The Preceding Madame (Baetolozzi), born in London in 1797, died Aug. 9, 1856. She was the granddaughter of Bartolozzi the engraver, was married in 1813, and in 1815 made her first appearance upon the Italian stage as Proserpina in the opera of that name. Subsequently she became one of the most popular English actresses of the day, particularly in male parts which admitted of a display of her figure. She excelled in ballad music, in which her voice, a sweet and powerful contralto, appeared to great advantage. Late in life she married Charles Mathews the younger, but retained her former name, and had the management successively of several London theatres.