As to the grotesque stile of dance, the effect of it chiefly depends on the leaps and height of the springs. There is more of bodily strength required in it than even of agility and flight. It is more calculated to surprize the eye, then to entertain it. It has something of the tumbler's, or wire-dancer's merit of difficulty and danger, rather than of art. But the worst of it is, that this vigor and agility last no longer than the season of youth, or rather decrease in proportion as age advances, and, by this means, leave those who have trusted solely to that vigor and agility deprived of their essential merit. Whereas such as shall have joined to that vigor and agility, a proper study of the principles of their art; that talent will still remain as a resource for them. Commonly those dancers who have from nature eminently those gifts which enable them to shine in the grottesque branch, do not chuse to give themselves the trouble of going to the bottom of their art, and acquiring its perfection. Content with their bodily powers, and with the applause their performances actually do receive from the public, they look no further, and remain in ignorance of the rest of their duty. Against this dissipation then, which keeps them always superficial, they cannot be too much, for their own advantage, admonished. They will not otherwise get at the truth of their art, like him who qualifies himself for making a figure in the serious, and half-serious stiles, which also contribute to diffuse a grace over every other kind of dancing, however different from them. But though the grotesque may be a caricature of nature, it is never to lose sight of it. It must ever bear a due relation to the objects of which it attempts to exhibit the imitation, however exagerated. But in this it is for genius to direct the artist. And it is very certain that this kind of dancing, well executed, affords to the public, great entertainment in the way, if what may be called broad mirth; especially where the figure of the grotesque dancer, his gestures, dress, and the decorations, all contribute to the creation of the laugh. He must also avoid any thing studied or affected in his action. Every thing must appear as natural as possible, even amidst the grimaces, contortions, and extravagancies of the character. Of SUNDRY REQUISITES, for PERFECTION OF THE ART of DANCING.