By way of contrast to Madeleine Guimard, I may call attention to Mademoiselle Théodore, a young, pretty and accomplished _danseuse_, who hesitated before she embraced a theatrical career, and actually consulted Jean Jacques Rousseau on the subject; who remained virtuous even on the boards of the Académie Royale; and who married Dauberval, the celebrated dancer, as any respectable _bourgeoise_ (if Dauberval had not been a dancer) might have done. Perhaps some aspiring but timid and scrupulous Mademoiselle Théodore of the present day would like to know what Rousseau thought about the perils of the stage? He replied to the letter of the _danseuse_ that he could give her no advice as to her conduct if she determined to join the Opera; that in his own quiet path he found it difficult to lead a pure irreproachable life: how then could he guide her in one which was surrounded with dangers and temptations?
Vestris, I mean Vestris the First, the founder of the family, was as celebrated as Mademoiselle Guimard for his youthfulness in old age. M. Castil Blaze, the historian of the French Opera, saw him fifty-two years after his _début_ at the Académie, which took place in 1748, and declares that he danced with as much success as ever, going through the steps of the minuet "_avec autant de grâce que de noblesse_." Gaetan left the stage soon after the triumphant success of his son Auguste, but re-appeared and took part in certain special performances in 1795, 1799 and 1800. On the occasion of the young Vestris's _début_, his father, in court dress, sword at side, and hat in hand, appeared with him on the stage. After a short but dignified address to the public on the importance of the art he professed, and the hopes he had formed of the inheritor of his name, he turned to Auguste and said, "Now, my son, exhibit your talent to the public! Your father is looking at you!"
The Vestris family, which was very numerous, and very united, always went in a body to the opera when Auguste danced, and at other times made a point of stopping away. "Auguste is a better dancer than I am," the old Vestris would say; "he had Gaetan Vestris for his father, an advantage which nature refused me."
"If," said Gaetan, on another occasion, "_le dieu de la danse_ (a title which he had himself given him) touches the ground from time to time, he does so in order not to humiliate his comrades."