The choreographic designs of all the Spanish folk-dances are rich in graceful curves, with abrupt sharp corners here and there, like the national architecture. They speak of a sweet glow of emotion and make a direct appeal to the passions. In dances of certain provinces and certain ages we discern the influence of Egypt, particularly of the Arabs. They give evidence of an ancient training which has grown into the blood and bones of the nation. They betray more the forms of Moorish arabesques than the clear-cut images of the Roman, Greek, or Gothic style. You can feel in their vigorous rhythm and colorful tunes simple, unspoiled souls, filled with energy and hope. To this the picturesque and romantic dresses of their women add that atmosphere and background which the individual stage dance seeks in proper scenery and costumes. In this the Spaniards are born masters. Take, for instance, the black velvet bodice, golden-yellow satin skirt, net-work dotted with little black balls, draped over the hips of an Andalusian belle, and you have a combination of colors and designs that so aptly fit a _Fandango_ or _Bolero_ that it seems as if a genius had been at work in this harmonious combination. Not less effective are the silver-spangled costume of an Aragonian dancing girl, and the costume of Spanish male dancers, which is suggestive of humor, brilliancy and simple strength. The laced black breeches lashed at the knee, the black velvety waist-coat, broad blue sash, and the red handkerchief tied around the head, and you have the most harmonious counterpart to the picturesque woman dancer. The music, steps, gestures, poses, dress and choreographic figures of the dance melt into a grandiose masterpiece of some gigantic yet unknown genius. The colors, the wide skirt, the light sandals, the comfortable costumes and the animated gestures fit so perfectly together and produce in the symbolic lines of the movement a language that speaks so clearly of the æsthetic peculiarities of the nation that we are convinced we have here the best lesson in the fundamental principles of a new art dance. II How true a mirror the folk-dances and the folk-songs have been and are in showing the racial differences in regard to beauty, is best to be seen if we take the reader from semi-tropical Spain into cold, conventional England, where æsthetic views have developed so differently. In this field we owe much to Cecil Sharp, whose careful works on English folk-dances are of exceptional service to the student of choreography.