By Sarah Lupton
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For the dances, Agnes dressed the girls to look just like the nymphs in the paintings of Sandro Botticelli. The costumes were a bit risqué, but despite objections from UCLA director Dr. C. Moore, Agnes refused to change them. With dance back in her life, Agnes resumed practicing. She quickly realized that she was quite out of shape. Still without any conscious intention to return to dance as her life’s work, she endured the grueling practices and aches and pains that came with a return to fitness.
Agnes marveled at the grace, sophistication, and style of the women, and the dapper, smartly dressed men who called on her father and mother. 37 38 AGNES DE MILLE In 1914, when her father’s brother, Cecil, shifted away from his fluctuating writing and acting career, nine-year-old Agnes could not have foreseen the routine of her life coming to an end—the end of summers at Merriewold and winters in New York City with guests coming and going in a rhythmic flow to and from her house. Though the motion picture industry was in its infancy—films were only seven or eight minutes long— Cecil and two friends, Jesse Lasky and Samuel Goldfish (later changed to Goldwyn), pooled their talents to attempt to produce the first full-length feature film.
Knowing she would never receive his support or approval was devastating to the teenage Agnes, who idolized and adored her father. Agnes at the time was impressionable and at times overly sensitive, and she often experienced tremendous swings of emotion. Denied her father’s approval, she found solace in her schoolwork, reading, and extracurricular activities. At the same time, she felt so passionate about dance that she sometimes thought she would burst. When her idol, Anna Pavlova, came back to town for a series of performances, Agnes was filled with both excitement and dread.
Architect's Job Book by Sarah Lupton