There is no occasion however for a learner to be confined to this dance. He should rather be encouraged, or have a curiosity be excited in him, to learn especially those dances, which are of the more tender or serious character, contributing, as they greatly do, to perfect one in the minuet; independently of the pleasure they besides give both in the performance and to the sight. The dances the most in request are, the Saraband, the Bretagne the Furlana, the Passepied, the Folie d’Espagne, the Rigaudon, the Minuet du Dauphin the Louvre, La Mariée, which is always danced at the Opera of Roland at Paris. Some of these are performed solo, others are duet-dances. The Louvre is held by many the most pleasing of them all, especially when well executed by both performers, in a just concert of motions; no dance affording
the arms more occasion for a graceful display of them, or a more delicate regularity of the steps; being composed of the most select ones from theatrical dances, and formed upon the truest principles of the art. This dance is executed in most countries of Europe without any variation. It is generally followed or terminated by a minuet; and these two dances, the Louvre and the minuet, are at present the most universally in fashion, and will, in all probability, continue so, from their being both pleasing beyond all others, to the performers, as well as to the spectators, and from their not being difficult to learn, if the scholar has but common docility.
Youth being for learning this art undoubtedly the best season, for reasons as I have before observed, too
obvious to need insisting on, the master cannot pay too much attention to the availing himself of the pliancy of that age, to give his scholars the necessary instructions for preparing and well-disposing their limbs. This holds good, particularly with regard to that propensity innate to most persons of turning in their toes. I have already mentioned the expediency of curing this defect, by the directing them to acquire a habit of turning the knees outward, to which I have to add, that on the proper turn of the knee, chiefly depend the graces of the under part of the figure, that is to say, from the foot to the hip.
Frequent practice also of dancing, or of any salutary exercise, is also highly recommendable for obtaining a firmness
of body; for a tottering dancer can never plant his steps so as to afford a pleasing execution. It may sound a little odd, but, the truth is, that in dancing, sprightliness and agility are principally produced by bodily strength; while on the contrary, weakness, or infirmity, must give every step and spring, not only a tottering, but a heavy air. The legs that bear with the most ease the weight of the body, will naturally make it seem the lightest.