engaging, and sensible well made people in any station naturally have it in a great degree, therefore rules unless they are simple and easily retained and practised, are of little use; nay, rather are of disservice.

Holding the head erect is but occasionally right, a proper recline of it may be as graceful, but true elegance is mostly seen in the moving it from one position to another.

And this may be attained by a sensibility within yourself, though you have not a sight of what you do by looking in the glass, when with your head assisted by a sway of the body in order to give it more scope, you endeavour to make that very serpentine line in the air, which the hands have been before taught to do by the help of the ogee-moulding; and I will venture to say, a few careful repetitions at first setting out will make this movement as easy to the head as to the hands and arms.

The most graceful bow is got by the head's moving in this direction, as it goes downward and rises up again. Some awkward imitators of this elegant way of bowing, for want of knowing what they were about, P. 146 have seemed to bow with wry necks. The low solemn bow to majesty should have but a very little twist, if any, as more becoming gravity and submission. The clownish nod in a sudden straight line is quite the reverse of these spoken of.

The most elegant and respectful curtesy hath a gentle, or small degree of the above graceful bowing of the head as the person sinks, and rises, and retreats. If it should be said, that a fine curtesy consists in no

more than in being erect in person at the time of sink, ing and rising; Madam Catherine in clock-work, or the dancing bears led about the streets for a shew, must be allowed to make as good a curtesy as any body.

N. B. It is necessary in bowing and curtesying to shun an exact sameness at all times; for however graceful it may be on some occasions, at other times it may seem formal and improper. Shakespear seems to have meant the above spoken of ornamental manner of bowing, in Enobarbus's description of Cleopatra's waiting-women.

-And made their bends adorning.

Act 2.

3. Of Dancing. The minuet is allowed by the dancing-masters themselves to be the perfection of all dancing, I once heard an eminent dancing-master say, that the minuet had been the study of his whole life, and that he had been indefatigable in the pursuit of its beauties, yet at last he could only say with SoP. 147 crates, he knew nothing: adding, that I was happy in

my profession as a painter, in that some bounds might be set to the study of it. No doubt as the minuet contains in it a composed variety of as many movements in the serpentine lines as can well be put together in distinct quantities, it is a fine composition of move

ments.

The ordinary undulating motion of the body in common walking (as may be plainly seen by the waving line, which the shadow a man's head makes against a wall as he is walking between it and the afternoon

sun) is augmented in dancing into a larger quantity of waving by means of the minuet-step, which is so contrived as to raise the body by gentle degrees somewhat higher than ordinary, and sink it again in the same manner lower in the going on of the dance. The figure of the minuet-path on the floor is also composed of serpentine lines, as fig. *, varying a little with the fashion: when the parties by means of this step rise and fall most smoothly in time, and free from sudden starting and dropping, they come nearest to Shakespear's idea of the beauty of dancing, in the following lines,

What you do,

Still betters what is done,

When you do dance, I wish you

A wave o'th' sea, that you might ever do

Nothing but that; move still, still so,

And own no other function.

WINTER'S TALE.

The other beauties belonging to this dance, are P.148 the turns of the head, and twist of the body in passing each other, as also gentle bowing and presenting hands in the manner before described, all which together, displays the greatest variety of movements in serpentine lines imaginable, keeping equal pace with musical time.

There are other dances that entertain merely because they are composed of variety of movements and performed in proper time, but the less they consist of serpentine or waving lines, the lower they are in the

Fig. 122. T. p. 2.

estimation of dancing-masters: for, as has been shewn, when the form of the body is divested of its serpentine lines it becomes ridiculous as a human figure, so likewise when all movements in such lines are excluded in a dance, it becomes low, grotesque and comical; but however, being as was said composed of variety, made consistent with some character, and executed with agility, it nevertheless is very entertaining. Such are Italian peasant-dances, &c. But such uncouth contortions of the body as are allowable in a man would disgust in a woman: as the extreme graceful, so very alluring in this sex, is nauseous in the other; even the minuet-grace in a man would hardly be approved, but as the main drift of it represents repeated addresses to the lady.

There is a much greater consistency in the dances of the Italian theatre than of the French, notwithstanding dancing seems to be the genius of that nation; the following distinctly marked characters P.149 were originally from Italy; and if we consider them lineally as to their particular movements, we shall see wherein their humour consists.

The attitudes of the harlequin are ingeniously composed of certain little, quick movements of the head, hands and feet, some of which shoot out as it were from the body in straight lines, or are twirled about in little circles.

Scaramouch is gravely absurd as the character is intended, in over-stretched tedious movements of unnatural lengths of lines: these two characters seem to have been contrived by conceiving a direct opposition of movements.

Pierrott's movements and attitudes are chiefly in perpendiculars and parallels, so is his figure and dress.

Punchinello is droll by being the reverse of all elegance, both as to movement, and figure, the beauty of variety is totally, and comically excluded from this character in every respect; his limbs are raised and let fall almost altogether at one time, in parallel directions, as if his seeming fewer joints than ordinary, were no better than the hinges of a door.

Dances that represent provincial characters, as these above do, or very low people, such as gardeners, sailors, &c. in merriment, are generally most entertaining on the stage: the Italians have lately added great pleasantry and humour to several French dances, particularly the wooden-shoe dance, in which there is a continual shifting from one attitude in plain lines P. 150 to another; both the man and the woman often comically fix themselves in uniform positions, and frequently start in equal time, into angular forms, one of which remarkably represents two W's in a line, as over figure 122, plate 2, these sort of dances a little raised, especially on the woman's side, in expressing elegant wantonness (which is the true spirit of dancing) have of late years been most delightfully done, and seem at present to have got the better of pompous, unmeaning grand ballets; serious dancing being even a contradiction in terms.

4thly, Of Country Dancing. The lines which a number of people together form in country or figure dancing, make a delightful play upon the eye, espe