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Show 524 THE CODE OF TERPSICHORE. From this we may perceive that the arts mutually assist each other. The same subject that has served the composer of an opera, and the Ballet-master, may, also, bs adopted by the painter. The overture of the De"lire of Berton supplied a certain pantomimic actor with the idea of a very beautiful monologue, the subject of which he expressed by gestures arising from sensations inspired by the music alone. Hence it may be seen, the greater our share of sensibility and undertanding, the more easily do we seize those analogous relations subsisting between certain objects. Frequently the performance of the admirable overture of La Gazza Ladra sets the feet of the dancer in motion, and inspires the gestures of the mime. Haydn's cantata of Ariana has served as interpreter to one of the most striking pantomimic scenes ever exhibited at any theatre. Gretry's overture of Elisca, a composition that will be ever new, suggested to m e the idea of a grand movement of warriors and amazons. In m y Ballet of Pygmalion, certain airs of Mozart supplied m e with thoughts suitable to that work. The opera of Camille, by D'Aleyrac, so far superior to that by Paer upon the same subject, presents us with passages of an energy and brilliance well adapted to pantomimic expression. The works of Boyeldieu and N . Isouard contain music very applicable to the Ballet. But Cherubini, Catel, and Le Sueur, being totally void of imagination, are quite useless to the dancer. The musician of Pesaro offers us a rich mine, but it requires some judgment to work it. The airs ought to be better disposed than they have been by the composer, who did not set about his work like a philosopher as well as a musician. W h e n the Ballet-master makes choice of a passage which ho may judge suitable to convey his pantomime, |