The _Szolo_ is said to be a semi-acrobatic dance, in which the woman is swung through the air in a horizontal position from which she descends as if she were coming down from a flight. The _Verbunkes_ is a dance of military character, performed mostly by men (ten or twelve), each dancer being provided with a bottle of wine which he swings as he dances, singing in between a patriotic song as an additional accompaniment to the occasional gypsy band. Unlike the English folk-dances, the Hungarian are mostly built upon some romantic theme, either legendary or symbolic. Being a nation with rural traditions and rural ideas, Hungary has no sport spirit in any of her folk-dances. There is a strong feeling for Bohemianism and nomadic abandon in their mute language. Mostly the Hungarian dances are gay, sparkling with life and fantasy. They suggest Oriental designs mixed with Occidentalism, a world of queer dreams and sentimentalism. Folk-dances related to those of Hungary, that deserve to be known, are the Esthonian _Kuljak_, _Kaara Jaan_, and _Risti Tants_. Descendants from the same stock as the Hungarians and the Finns, the Esthonians settled down in the Russian Baltic Provinces about the seventh or eighth centuries and since that time have formed their independent racial art and traditions, which they have cultivated and preserved till to-day. The great Esthonian epic _Kalewipoeg_, known so little to the outside world, remains, like Homer’s _Iliad_, and the Indian _Mahabarata_, a valuable treasury of ethnographic art, and it is from this book that we have gained an authentic knowledge of the character of the Esthonian folk-dances, though the writer has seen some of them performed in the country.