See  Encgetop^ie  Franfaur,  Ant .  Bai.,

Those  who  are  desirous  <il  knowiui  in  detiul  whsl  dancing   was  anion;

the  aacienu,  will  gather  nueh  iafoiiuatlnn  from  Laciao,  Menrsiux,  Sealigcr,

Cahnsac,    Mtnitrier,  Bonnet,  Burette,   BttiwD,  Baron  and  some  iHhers.
8.
Tlie  dancer  prepares  for  the  performance  of  his  step.  He  Rtiidics  lo
tdoptthemost  becoming  way  of  holding  his  arms,  body,  &r.,  and  of  muviug
his  legs,  so  as  always  lo  preserve  a  perfect  harmony  with  each  other  We
DOW  do  precisely  the  same  when  on  the  point  of  brginning  In  dance,  tliai
every  thing  may  be  graceful  and  systematical.
9.
The  steps  must  keep  exact  time  to  the  music,  and  responsiTely  mark  each
cadence,  &c.    This  unity  is  indispensable,  and  prodnrcii  a  very
4grMable  effect.    Madame  L^on  excels  in  this  part  ofber  profcifion.
The  dancer  gradually  inirodnces  all  ihat  his  art  comprises.     His  execuirnn
he  progies^ve,  and  managed  to  u  u>  give  a  hind  of  light  and  shade  to


RISE  AND  PROGRESS  OF  DANCING.  41

the  performance.  Viracity  and  nimbleness  are  essential  requisites  to  a
good  dancer  :  the  spectator  delights  to  see  in  him  an  appearance  of  some-
thing more  than  earthly.  This  is  what  is  so  much  admired  in  Madame
L^OD,  the  wife  of  a  distinguished  Ballet- Master,  and  occasioned  the  cele
hrated  poet.  Count  Paradisi,  to  say  in  one  of  his  finest  odes,  which  he  may
not  be  displeased  with  my  quoting  ~

" ragile

Pi6  d'  Egle  (Madame  L^n),  la  decente

Mollezza,  e  la  pieghevole

Salma,  che  in  alto  lieve

Par  che  qual  pinma  o  neve,

Perda  al  rento  di  scendere  U  vigor."

11.
