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Show THE COMPOSITION OF BALLETS. 233 put into motion; its colouring should be varied ; its shadowing clear; and its drawing correct: grace must be its predominant characteristic ; the groupings, positions, and scenery should be elegant and clearly delineated:- " Ne nous pr£sente point dans tes folles peintures, Ce desordre jete' par 1' amas des figures, Ces corps s'entrechoquant, ces groupes mai concus, Montrant une melee au milieu des tissus; Mais que dans le tableau la figure premiere Frappe d'abord les yeux par sa vive lumiere39." LEMIERRE. A taste for painting and an acquaintance with its masterpieces are of the utmost utility to a composer. What assistance may he not derive, with respect to action, expression, and pictorial effect, from a contemplation of the magnificent compositions of Raphael, the Carracci, Andrea del Sarto, J. Romano, Tintoretto, Dominichino, M . Angelc P. di Cortona, Poussin, L e Brun, Rubens, Ricciarelli, Joseppino, Albano, Guido, &c. The powerful designs of Flaxman, and some other moderns, will also add greatly to his resources. Painting, Sculpture, and dancing have, indeed, a most intimate relation to each other; and as they are expected to produce similar effects, each of them should possess the same inherent qualities. It frequently happens that a fine picture, or a good piece of sculpture, suggests the design of a dramatic representation. Of this, the bass-reliefs of the sumptuous urn of Alexander Severus, which was discovered in the capitol, may be adduced as a proof. The following is the description of the urn, given by the keeper of the Mus4e Capitolin:-"The bass relief in front epresents the dispute between Achilles and Agamemnon for the possession of Chryseis : Achilles appears in the centre, with his sword drawn, and in the attitude of aiming a blow ; Agamemnon is seated before him; Minerva, supposed to |