In the somewhat stiff manner of the English of the late Georgian period, his translator remarks of Noverre’s work in the original: “His manner of writing is chaste, correct and elegant; perfectly master of his subjects, he treats of them with the utmost perspicuity; and by the connection which he proves to exist between the other arts, and that of dancing, the author lays down rules and precepts for them all; so that the poet, the painter and the musician may be greatly benefited by the perusal of his works.” The translator follows with a short history of dancing, and three extremely interesting epistles to Noverre from the great Voltaire, in the first of which, apropos the publication of Noverre’s _Lettres_, he says: “I have read, sir, your work of genius: my gratitude equals my esteem. You promise only to treat of dancing, and you shed a light on all the arts. Your style is as eloquent as your ballet is imaginative.” In another he remarks: “I have for admiring you, a reason personal to myself; it is that your works abound with poetical images. Poets and painters shall vie with each other to have you ranked with them.” Again he says: “I am surprised that you have not been offered such advantages as might have kept you in France; but that time is no more when France sets the example to all Europe”; but elsewhere remarks, curiously enough: “I believe that your merit will be fully recognised in England, for there they love Nature.” [Illustration: Jean Georges Noverre] It was just this love of Nature and “natural” acting which brought Noverre and Garrick together in mutual admiration and friendship, to the latter of whom, by the way, the French _maître_ pays the highest tribute in his tenth letter. To turn, however, to the first: “Poetry, painting and dancing are, or ought to be, the faithful copy of Nature ... a ballet is a piece of painting, the scene is the canvas; in the mechanical motions of the figures we find the colours ... the composer himself is the painter.