The smart world in Spain today dances much as the smart world does anywhere else, although it does not, I am told, hold a brief for our tango, which Mr. Krehbiel suggests is a corruption of the original African habanera. But in older days many of the dances, such as the pavana, the sarabande, and the gallarda, were danced at the court and were in favour with the nobility. (Although presumably of Italian origin, the pavana and gallarda were more popular in Spain than in Rome. Fuertes says that the sarabande was invented in the middle of the sixteenth century by a dancer called Zarabanda who was a native of either Seville or Guayaquil.) The pavana, an ancient dance of grave and stately measure, was much in vogue in the sixteenth and seventeenth centuries. An explanation of its name is that the figures executed by the dancers bore a resemblance to the semi-circular wheel-like spreading of the tail of a peacock. The gallarda (French, gaillard) was usually danced as a relief to the pavana (and indeed often follows it in the dance-suites of the classical composers in which these forms all figure). The jacara, or more properly xacara, of the sixteenth century, was danced in accompaniment to a romantic, swashbuckling ditty. The Spanish folias were a set of dances danced to a simple tune treated in a variety of styles with very free accompaniment of castanets and bursts of song. Corelli in Rome in 1700 published twenty-four variations in this form, which have been played in our day by Fritz Kreisler and other violinists.