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Show 84 THE CODE OF TERPSICHORE. A pirouette of three or four turns, in the second posi-sition, and stopped in the same, or in an attitude, offers the greatest proof of a dancer's uprightness. Nothing is more difficult in dancing than the performance of this pirouette. Pirouettes require considerable exercise and study. H e whom nature hath favoured with pliancy and agility, is always able to perform them gracefully ; but he that is tight about the hips, whose legs are not sufficiently lith-some as to open with ease, and who, therefore, cannot turn well but on his instep, never meets with more than a partial success. Such a dancer should abandon all thoughts of distinguishing himself in the higher kind of pirouettes. It is the same with respect to bow-legged dancers, and those who are of too vigorous a construction : the strength of their muscles deprives them of flexibility and softness, and their bodies are ever wavering as it turns round. Slender and close-legged dancers, are far better adapted to it than the last mentioned ; their limbs are softer, more pliant, and, in general, turned more outwards ; three essential qualities to perform a good pirouette. The sole of the foot is the true basis on which our whole machine is supported. A sculptor would be working in vain, were he to rest his statue on a round and moveable foundation ; it would, undoubtedly, fall and be broken to pieces. A dancer, for the same reason, must not be seen vacillating on the point of support, but by making use of all his toes as so many branches or roots, the expansion of which, increasing the space of ground he rests upon, maintains his body in a steady equilibrium, he must fasten himself, in a manner to the board, and hold himself with firmness and uprightness. If he neglects to do this, his pirouette will be far from pleasing; his foot must |