"[2] Through the poses codified in his alphabet, Blasis felt that dancers could achieve the qualities of movement so desired in ballet like ease of motion and elegance.

"[3] Thus, Blasis ultimately wished for dancers to layer emotional expression on top of the codified, regimented poses demanded by the choreography and outlined in The Code of Terpsichore.

[2] It was not until the era of Marius Petipa in the late 1800s, just following the age of romanticism, that physically intense steps like the pirouette became widespread in ballet choreography, yet Blasis was analyzing them decades before.

Although the previous statement has been repeated for decades, more modern research has revealed that the 'grotesque' or old italian form of dancing of the 18th century, had a rich variety of pirouettes available for use in choreography.

[5] Prima ballerinas Fanny Cerrito, Carolina Rosati, Sofia Fuoco, Amalia Ferraris and Carlotta Brianza were among their students.

Blasis referred to seven of his dancers, who he was particularly proud of, as his "Pleiades": Marietta Baderna, Augusta Dominichettis, Amalia Ferraris, Sofia Fuoco, Flora Fabbri, Carolina Granzini and Pasquale Borri.