in vigorous springs, in vaulting, in a tolerable
management of the arms, and especially in being well acquainted
with those parts of the stage where the perspective gives him
the greatest advantage; the art of dancing might be, as it is
generally looked upon to be, an art easily acquired. Whereas,
for the attaining to a just perfection in it, there are many
other points required, but none so much as the close imitation
of beautiful nature; and that especially in its greatest
simplicity.

Nor should it be imagined that the simplicity I recommend, tends
to save the composer of dances any trouble of invention: on the
contrary, that sort of simplicity of execution intended to
produce, by means of its adherence to nature, the greatest
effect, will cost him more pains, more exertion of genius,
than those dances of which the false brilliants of extravagant
decoration, and of mere agility without meaning or expression,
constitute the merit. It is with the composition of dances, as
with that of music, the plainest and the most striking, are ever
the most difficult to the composer.

The comic, or grottesque dancers, indeed are in possession of a
branch of this art, in which they are dispensed from exhibiting
the serious or pathetic; however, they may be otherwise as well
acquainted with the fundamental principles of the art, as the
best masters. But as their success depends chiefly on awakening
the risible faculty, they commonly chuse to throw their whole
powers of execution into those motions, gestures, grimaces, and
contortions, which are fittest to give pleasure by the raising
a laugh. And certainly this has its merit; but in no other
proportion to the truth of the art, which consists in moving
the nobler passions, than as farce is to tragedy or to genteel
comedy. They are in this art of dancing, what Hemskirk and
Teniers are in that of painting.

The painter, can only in his draught present one single unvaried
attitude in each personage that he paints: but it is the duty
of the dancer, to give, in his own person, a succession of
attitudes, all like those of the painter, taken from nature.

Thus a painter who should paint Orestes agitated by the furies,
can only give him one single expression of his countenance and
posture: but a dancer, charged with the representation of that
character, can, seconded by a well-adapted music, execute a
succession of motions and attitudes, that will more strongly and
surely with more l