keyboard but the fingerboard as well, in intricate and rapid _tempo_; seemingly two different kinds of instruments were playing. But at all times he variated his tone; sometimes he made the instrument sound almost as though it had been played by wind and not plucked. Especially did I note a suggestion of the bagpipe. A true artist. None of the music, the fantasy mentioned, a serenade of Albéniz, and a Menuet of Tor, was particularly interesting, although the Fantasia contained some fascinating references to folk-dance tunes. There is nothing sensational about Llobet, a quiet prim sort of man; he sits quietly in his chair and makes music. It might be a harp or a 'cello--no striving for personal effect.) The Spanish dances are infinite in number and for centuries back they seem to form part and parcel of Spanish life. Discussion as to how they are danced is a feature of the descriptions. No two authors agree, it would seem; to a mere annotator the fact is evident that they are danced differently on different occasions. It is obvious that they are danced differently in different provinces. The Spaniards, as Richard Ford points out, are not too willing to give information to strangers, frequently because they themselves lack the knowledge. Their statements are often misleading, sometimes intentionally so. They do not understand the historical temperament. Until recently many of the art treasures and archives of the peninsula were but poorly kept. Those who lived in the shadow of the Alhambra admired only its shade. It may be imagined that there has been even less interest displayed in recording the folk-dances. "Dancing in Spain is now a matter which few know anything about," writes Havelock Ellis, "because every one takes it for granted that he knows all about it; and any question on the subject receives a very ready answer which is usually of questionable correctness." Of the music of the dances we have many records, and that they are generally in 3-4 time or its variants we may be certain. As to whether they are danced by two women, a woman and a man, or a woman alone, the authorities do not always agree. The confusion is added to by the oracular attitude of the scribes. It seems quite certain to me that this procedure varies. That the animated picture almost invariably possesses great fascination there are only too many witnesses to prove. I myself can testify to the marvel of some of them, set to be sure in strange frames, the Feria in Paris, for example; but even without the surroundings, which Spanish dances demand, the diablerie, the shivering intensity of these fleshly women, always wound tight with such shawls as only the mistresses of kings might wear in other countries, have drawn taut the _real thrill_. It is dancing which enlists the co-operation not only of the feet and legs, but of the arms and, in fact, the entire body.