d, contract, under such
teachers, bad, awkward habits, that are not afterwards easily
curable.

Those masters who possess the real grounds of their art, find in
their uniting their practice with their knowledge, resources
even against the usual depredations of age; which, though it may
deprive them of somewhat of their youthful vigor, has scarce a
sensible influence on their manner of performance. There will
still long remain to them the traces of their former excellence.

I have myself seen the celebrated Dupre, at near the age of
sixty, dance at Paris, with all the agility and sprightliness of
youth, and with such powers of pleasing, as if the graces _in
him_ had braved superannuation.

Such is the advantage of not having been content with a
superficial tincture of this art; or with a mere rote of
imitation, without an aim at excellence or originality.

But though there is no necessity for most learners to enter so
deep into the grounds and principles of the art, as those who
are to make it their profession, it is at least but doing
justice to one's scholars to give them those essential
instructions as to the graces of air, position, and gesture;
without which they can never be but indifferent performers.

For example, instead of being so often told to turn their toes
out, they should be admonished to turn their knees out, which
will consequently give the true direction to the feet. A due
attention should also be given to the motion of the instep, to
the air of sinking and rising; to the position of the hips,
shoulders, and body; to the graceful management of the arms, and
particularly to the giving the hand with a genteel manner, to
the inflections of the neck and head, and especially to the so
captivating modesty of the eye; in short, to the diffusing over
the whole execution, an air of noble ease, and of natural
gracefulness.

It might be too trite to mention here what is so indispensable
and so much in course, the strict regard to be paid to the
keeping time with the music.

Nothing has a better effect, nor more prepossessing in favor of
the performance to follow, than the bow or curtsy at the opening
the dance, made with an air of dignity and freedom. On the
contrary, nothing is more disgustful than that initial step of
the minuet, when auckwardly executed. It gives such an ill
impression as is not easily removed by even a good performance
in the remaining part of the dance.

There is another point