ANALYSIS of BEAUTY.

Italy; and is we consider them lineally as to their par-ticular movements, we shall see wherein their humourconsists.

The attitudes of the harlequin are ingeniouslycomposed os certain little, quick movements of thehead, hands and feet, some of which shoot out as it werefrom the body in straight lines, or are twirled about inlittle circles.

Scaramouch is gravely absurd as the character is in-tended, in over-stretch’d tedious movements of unna-tural lengths of lines: these two characters seem to havebeen contrived by conceiving a direct opposition ofmovements.

Pierrott’s movements and attitudes, are chiefly inperpendiculars and parallels, so is his sigure and dress.

Punchinello is droll by being the reverse of all ele-gance, both as to movement, and sigure, the beauty of-variety is totally, and comically excluded from this cha-racter in every respect; his limbs are raised and let fallalmost altogether at one time, in parallel directions, asif his seeming sewer joints than ordinary, were no betterthan the lunges of a door.

Dances that represent provincial characters, as theseabove do, or very low people, such as gardeners, sailors,&c. in merriment, are generally most entertaining onthe stage: the.Italians have lately added great pleasantryand humour to several stench dances, particularly thewooden-flroe dance, in which there is a continual shift-ing

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