Æsthetically, the dance is, or may be, one of the most beautiful creations of man, an art, and an art of no mean order. In it each man and woman has to sustain a part, is one of many, a member of a company, enchained to it by laws which all must obey. And yet each has in his part a certain scope for individual expansion, for the exercise of liberty. It is a figure of the world of men, in which each has a part to perform in relation to all the rest. If the performer uses his freedom to excess, the dancers in the social ball are thrown into disorder, and the beauty and unity of the performance is lost. Now all this beauty is taken from us. The waltz has invaded our ball-rooms, and drives all other dances out of it. Next to the polka, the waltz is the rudest and most elementary of step and figure-dances; it has extirpated before it the lovely and intricate dances, highly artistic, and of elaborate organization, which were performed a century ago. How is it now in a ball? Even the quadrille and lancers, the sole remnants of an art beautiful to lookers-on, are sat out, or, after having been entered on the list, are omitted, and a waltz substituted for it. "_Valse, valse, toujours valse!_" A book on dances, published in 1821, speaks of the introduction of the waltz as a new thing, and of the rarity of finding persons at a ball who could dance it. "The company at balls having no partners who are acquainted with waltzing or quadrilles, generally become spectators of each other in a promenade round the rooms, so that the waltz or quadrille ball ends in country dances, sometimes not one of these dances being performed during the evening." That was a little over sixty years ago. Waltz and quadrille came in hand-in-hand, and displaced the old artistic and picturesque country dances, and then waltz prevailed, and kicked quadrille out at the door. The country dance is the old English dance--the dance of our forefathers--the dance which worked such wonders in the heart of the old father in Steele's paper in the _Spectator_.