We find a remarkable contrast to the Italian style and spirit in the folk-dances of the Hungarians, whose popular themes have been successfully employed by Liszt and Brahms in their instrumental and orchestral compositions. A nation of Mongolian descent, of impassionate and virile temperament, living its own life, isolated from the æsthetic influence of their European neighbors, little conventional, optimistic, fantastic and lovers of adventure, the Hungarians are born dancers. True to the quick and fiery temperament of the race, the Hungarian dances are vivid sketches, full of action and color. Music and dancing have been for centuries past the foremost recreations of the race. Their ancient legends speak of worship that consisted only of music and dancing. Unlike other nations, their dance music is exceedingly pretty, melodious and full of imaginary beauty. The Hungarian folk-dance is expressive, rich in pictorial episodes, symbolic and elevating. The Hungarian costume for a _Czardas_ is singularly effective, the petticoat of cloth of gold, the red velvet bodice opening over a stomacher of gold and precious stones, crimson and green blending in the sash which surrounds the waist. It is said that the name _Czardas_ is derived from an inn where it was danced by the peasants in past centuries. In every _Czardas_ the music governs the dance, which is romantic, full of lyric beauty and very changeable. It is mostly written in 2/4 time, in the major mode. The dance consists of a slow and quick movement, the music beginning with _andante maesteso_, changing gradually to _allegro vivace_. It is of ancient origin and was probably used as a worship dance. It is danced to different tunes of one and the same character, as far as the figures are concerned. Six, eight, ten, or more couples place themselves in a circle, the dancer passing his arm round the waist of his partner. As long as the _andante_ movement is given, he turns his partner to the right and left, clapping his spurred heels together and striking the ground with his toe and heel, and then they continue the step as a round dance. In some provinces the women put their hands on their partners’ shoulders and jump high from the ground with their assistance. So fond is the Hungarian of his _Czardas_ that, as soon as he hears the stirring tunes of the dance played by a gypsy band or fiddler, it seems to electrify him so that he can hardly listen to it without dancing. As the music continues, the dance gets wilder and wilder until it ends abruptly. The steps of the Hungarian folk-dances are as varied as the music. Now they are gliding and sharp, then again graceful and curved. Some of the dances are quiet and of seductive nature, others of involved steps and tricky tempo.