GARDEL, who, for the last fifteen years, has been the first dancer at the opera, shews himself but seldom. After having, during that long period, received the warmest and best deserved applause, either in the execution of the noble style of dancing, or in the composition of ballets, he seems now to have devoted himself almost exclusively to the last-mentioned branch of his art, and the perfection to which he daily carries it, may well compensate the public for the privation of his talents in the line of execution. The most famous pantomimical ballets or _ballets d'action_ (as they are styled) now represented here, are _Psyché_, _Télémaque_, _Le Jugement de Paris_, _Mirza_, and _la Dansomanie_. The impression to which I have before alluded, is particularly observable during the representation of the first three (composed by GARDEL), the charm of which would be weakened by any attempt at description. No spectator, be his disposition ever so cold and indifferent, can behold them unmoved. Every effort of human skill and invention is exerted to excite astonishment and admiration. The _ensemble_ of the _spectacle_ and decorations correspond to the fertile genius of the author. It is the triumph of the art, and there may be fixed the limits of pantomime, embellished by dancing. Nothing more perfect than the rapid change of scenery. Meteors, apparitions, divinities borne on clusters of clouds or in cars, appear and disappear, as if by enchantment, exhibiting situations the most picturesque and striking. BOULAY, the principal machinist, is, perhaps, the first in his line in Europe. In the opera of _Armide_, I have seen him raise into the air nearly one half of the theatre. He executes whatever is proposed to him, no matter how difficult, and he is well seconded by the painters and draughtsmen. The new decorations display much taste, and produce an effect truly wonderful. Had I not already made the remark, you might have concluded from the general tenour of my observations, that the dancing forms the most brilliant part, of the _spectacle_ at this theatre, or, in other words, that the accessory prevails over the main subject. It is no longer, as heretofore, a few capital dancers of both sexes who form the ornament of the opera. Almost all the competitors in this line are so many _virtuosi_ who deserve and equally participate the plaudits of the public. There is not among them any mediocrity. The establishment of the _école de la danse_ is for this theatre a nursery, where Terpsichore finds, in great numbers, the most promising plants for the decoration of her temple. It is saying little to affirm that nothing equals the superiority of talents of this description which the opera comprehends at the present moment. These advantages, I understand, are chiefly due to GARDEL. He has given the example and the precept, and, through his guidance, the art of dancing is become doubly captivating.