re not at present, on the London stage, any dancers of
equal merit with Madame Gardel, or Mademoiselle Bigottini. The former of
these is said to be 45 years of age, and has long been reckoned the best
figurante on this stage. Her face is not handsome, but her figure is
admirably formed for the display of her art, of which she is probably
the most perfect mistress to be found in Europe. The latter, an Italian
by birth, is much younger, and if she does not yet quite equal her rival
in artificial accomplishments, she at least attracts more admirers by
her youth and beauty; by the exquisite symmetry of her form, and the
natural grace and elegance of her movements. The one of these is
certainly the first dancer, and the other is perhaps the most beautiful
woman in Paris.

But the same unfortunate peculiarity of taste which we formerly noticed
in the painting and in the gardening of the French, extends to their
opera dancing; indeed it may be said to be the worst feature of their
general taste. They are too fond of the exhibition of art, and too
regardless of the object, to which art should be made subservient.
Dancing should never be considered as a mere display of agility and
muscular power. It is then degraded to a level with Harlequin's tricks,
wrestling, tumbling, or such other fashionable entertainments. The main
object of the art unquestionably is, to display in full perfection the
beauty and grace of the human form and movements. In so far as perfect
command of the limbs is necessary, or may be made subservient to this
object, it cannot be too much esteemed; but when you pass this limit, it
not only ceases to be pleasing, but often becomes positively offensive.
Many of the _pirouettes_, and other difficult movements, which are
introduced into the _pas seuls, pas de deux_, &c. in which the great
dancers display their whole powers, however wonderful as specimens of
art, are certainly any thing but elegant or graceful. The applause in
the French opera seemed to us to be in direct proportion to the
difficulty, and to bear no relation whatever to the beauty of the
performances. A Frenchman regards, with perfect indifference, dances
which, to a stranger at least, appear performed with inimitable grace,
because they are only common dances, admirably well executed; but when
one of the male performers, after spinning about for a long time, with
wonderful velocity, arrests himself suddenly, and stands immoveable on
one foot; or