blouse vaunts a sailor collar, turned-back cuffs, and a cravat of striped material matching the skirt. Black shoes and stockings arc worn, and the large straw hat is of the haymaker order, the crown encircled by a red scarf tied at the left side with the ends falling to the shoulder.
A costume appealing to the male dancer who appreciates comfort is that of gay old Pierrot, with his full white trousers and black pompons, loose coat and ruffle, conical hat above a black silk scarf, whitened face, and vermilion lips. His feminine companion is a common object in the fancy-dress ballrooms on and off the stage.
Practically every country has its characteristic dances, to which are naturally dedicated some adaptation of the national dress. There are fancy dances in plenty which call for no distinctive style of dress, but the fashion fits the footstep as a rule, and no doubt influenced its birth. The stately movements of the minuet and the grace of the gavotte ask for the dignity of powder and brocade; the country dance seems the merrier for the gaily-coloured fluttering ribbons and short bright petticoats; the hornpipe would lose some significance without the co-operation of navy blue and a man-o'-war or a Jack-tar hat; the hunting dance shouts "away" for pink; the Irish jig is shorn of much of its charm without the emerald-green skirt, the scarlet cloak, and the folded kerchief; the Scotch dance demands its tartan; the Spanish dance the mantilla and castanets; and so on through the whole dictionary of dances. The mode suits the measure, and the dance destined to be performed in clogs loses its individuality when tripped in satin slippers; the tarantella could
