After these vivid reconstructions of the past one passes somewhat regretfully to the higher floor and prehistoric things. The priceless Celtic helmet, found in the Pass of Lueg, interesting though it is, seems "lifeless" in comparison with what one has just seen; as do somehow Roman statues and arms, and similar objects. And one needs the beautiful and richly ornamented panelling, oriels, and similar objects of the final room to bring back colour into things. To visit and study this deeply interesting collection leaves one with a very good idea of the evolution of culture, science, and art during the last five centuries of the principality's history, one's knowledge of native art being easily further extended by a visit to the Kunstlerhaus near the Karolinenbrucke. Salzburg has produced at least one great artist in Hans Makart, who by common consent is esteemed one of the most vivid and brilliant colourists of his day. In some of the villages near Salzburg, as also during "fair" times and festival times in the city itself, one is able to witness some of the quaint, picturesque, and dramatic peasant dances for which the valley of the Salzach has some reputation. [Sidenote: A PEASANTS' BALL] We were especially fortunate whilst recently there in witnessing not only peasant dances such as we have referred to, but also a peasant ball. Amongst the dances specially notable was a variety of "Gaillarde," and "Allemande," a type of the dance known as "Siebensprung," where the male performers make a series of seven different movements with hands, elbows, knees, feet; and then almost touch the floor with their foreheads whilst their female companions pirouette around them. The "Allemande," with its graceful twirling and twisting, and interlacing of the arms, and graceful bending of the bodies of the dancers, showing off the lines of the women's figures, is especially picturesque. Then came types of other and more local dances, in one of which the women pirouetted round and round the room until scarcely able to stand, their short skirts gradually seeming to become inflated like balloons, and ascending inch by inch until knee high, when suddenly the dancers paused, their skirts fell, and with a sharp twirl and swish the latter were wound around their lower limbs in plastic folds. Then there was a pretty dance commencing with a figure of the "Allemande," and proceeding to a courtship in pantomime, in which the women peered shyly at their partners between the circle formed by the interlaced arms, and ending by the men stooping, and whilst continuing a waltz step, suddenly seizing their companions round the knees and lifting them breast high, all the while continuing to circle the room in a "springy" rather than a gliding waltz.