have been lamed for weeks through the culpable carelessness of their
partners, their tender feet having been half crushed beneath some
heavy boot in one of these awkward collisions. This is a severe price
to pay for an evening's amusement, and gentlemen are bound to be
cautious how they inflict it, or anything approaching to it, upon
their fair companions. Ladies, on the other hand, will do well to
remember that by leaning heavily upon their partner's shoulder,
dragging back from his encircling arm or otherwise impeding the
freedom of his movements, they materially add to his labour and take
from his pleasure in the dance. They should endeavour to lean as
lightly, and give as little trouble, as possible; for, however
flattering to the vanity of the nobler sex may be the idea of feminine
dependence, we question whether the reality, in the shape of a dead
weight upon their aching arms throughout a Polka or Valse of twenty
minutes' duration, would be acceptable to even the most chivalrous
amongst them.

We have been thus minute in our instructions, because they not only
apply to the Polka, but equally to all circular dances where a great
number stand up to dance at the same time.

We now pass on to the

* * * * *

X.--CELLARIUS VALSE.

Sometimes called the Mazourka, though generally best known by the name
of its inventor, M. Cellarius, of Paris. It was imported to England in
1845, two years after the introduction of the Polka; and, although
it never attained so great a popularity as its predecessor, it was
favourably received, and much danced in the best circles. Still it
failed to achieve the decided success which might have been reasonably
expected from its elegance and beauty. Perhaps one reason of this
disappointing result was that many inefficient performers attempted
to dance it before they had mastered its somewhat difficult step, and
brought it into disrepute by their ungraceful exhibitions. But
the grand secret of its partial failure lay in the mania for rapid
whirling dances, introduced by the Polka. While the rage for "fast
dancing" continued, the measured grace of the Cellarius stood no
chance. Now that it has at last happily abated, people are better
prepared to appreciate the refined and quiet charm of this really
beautiful valse. To dance it well requires some practice; and
particular attention must be paid to the carriage and position of
the figure, since no dance i