The defect in wisdom and taste which exists among the majority of dancers is due to the bad education which they generally receive. They apply themselves only to the material side of their art, they learn to jump more or less high, they strive mechanically to execute a number of steps, and like children, who utter a great many words devoid of sense and relation, they execute many phrases of steps devoid of taste and grace.

At our theaters we only see feeble copies of the copies that have proceeded them, renounce that slavish routine which keeps your art in its infancy; examine everything relative to the development of talents; be original; form a style for yourselves based on your private studies; if you must copy, imitate nature, it is a noble model and never misleads those who follow it.

In order that our art may arrive at the degree of the sublime which I demand and hope for, it is imperative for dancers to divide their time and studies between the mind and the body, and that both become the object of their application; but, unfortunately, all is given to the latter and nothing to the former. The legs are rarely guided by the brain, and, since intelligence and taste do not reside in the feet, one often goes astray.

Dancing and ballets would undoubtedly take on a new lease on life, if the customs established by a spirit of fear and jealousy did not in some way close the path of glory.

It is shameful that dancing should renounce the empire it might assert over the mind and only endeavor to please the sight.

True art consists in concealing art.

The defects born of habit are innumerable. I see every child occupied in some way in disarranging and disfiguring his physique; some displace the ankles through the habit they have contracted of standing on one leg only and playing, as it were, with the other; placing it in a position which though disagreeable and strained, does not fatigue them, because the softness of their tendons and muscles lend themselves to all kinds of movement.