The Sword Dance of Bonnie Scotland has its Oriental prototype in the Dance of the Scimitar. The latter inspires a charming costume. A veil of diaphanous gauze falls cloud-like over the hair and tace, and the white muslin chemisette, with its sleeve to the elbow, is draw^n in below the waist with a coloured sash, a necklace composed of rows of gilt coins glittering on the bare throat. The ankle-length skirt is of heavier texture, draped with a fringed shawl drawn, round the hips, knotted in front, and hanging in a point behind; while a scimitar is balanced on the head, a second being held in the right hand, the left resting lightly on the hip.
Much as the mantilla makes for grace in Spanish dances, I, personally, prefer the dress of the peasants. In Galicia a rural dancer delights the eye in a quaint hat shaped like a fool's cap, with the addition of a three-cornered brim of black velvet turned sharply up in front, one pompon adorning the summit and another appearing midway down at either side. A scarlet sash, with fringed ends, is knotted carelessly on the right hip, and the long-sleeved white shirt is thrown into striking relief by a little sleeveless bolero of scarlet cloth, the back bearing an embroidered design, the front conspicuous for triangular pockets dedicated to castanets, and small revers of black velvet. The tightly-fitting knickerbockers are of tan leather, finished at the knee with black bands, where they are met by gaiters to match, closely buttoned up the outer side. A female dancer is no less picturesque in a short skirt of striped red and white, low black shoes and white cotton stockings; her apron displays a border of contrasting colour, and the
