The names of the modern Spanish dances are often confused in the descriptions offered by observing travellers, for the reasons already noted. Hundreds of these descriptions exist, and it is difficult to choose the most telling of them. Gertrude Stein, who has spent the last two years in Spain, has noted the rhythm of several of these dances by the mingling of her original use of words with the ingratiating medium of _vers libre_. She has succeeded, I think, better than some musicians in suggesting the intricacies of the rhythm. I should like to transcribe one of these attempts here, but that I have not the right to do as I have only seen them in manuscript; they have not yet appeared in print. These pieces are in a sense the thing itself--I shall have to fall back on descriptions of the thing. The tirana, a dance common to the province of Andalusia, is accompanied by song. It has a decided rhythm, affording opportunities for grace and gesture, the women toying with their aprons, the men flourishing hats and handkerchiefs. The polo, or olè, is now a gipsy dance. Mr. Ellis asserts that it is a corruption of the sarabande! He goes on to say, “The so-called gipsy dances of Spain are Spanish dances which the Spaniards are tending to relinquish but which the gipsies have taken up with energy and skill.” (This theory might be warmly contested.) The bolero, a comparatively modern dance, came to Spain through Italy. Mr. Philip Hale points out the fact that the bolero and the cachucha (which, by the way, one seldom hears of nowadays) were the popular Spanish dances when Mesdames Faviani and Dolores Tesrai, and their followers, Mlle. Noblet and Fanny Elssler, visited Paris. Fanny Elssler indeed is most frequently seen pictured in Spanish costume, and the cachucha was danced by her as often, I fancy, as Mme. Pavlowa dances _Le Cygne_ of Saint-Saëns. Anna de Camargo, who acquired great fame as a dancer in France in the early eighteenth century, was born in Brussels but was of Spanish descent. She relied, however, on the Italian classic style for her success rather than on national Spanish dances. The seguidilla is a gipsy dance which has the same rhythm as the bolero but is more animated and stirring. Examples of these dances, and of the jota, fandango, and the sevillana, are to be met with in the compositions listed in the first section of this article, in the appendices of Soriano Fuertes’s “History of Spanish Music,” in Grove’s Dictionary, in the numbers of “S. I. M.” in which the letters of Emmanuel Chabrier occur, and in collections made by P. Lacome, published in Paris.