you tell him in this respect, and his experience will enable him to so arrange that there will be a uniform consistency in the whole.

We are glad to find that extravagance and show at funerals is fast giving way before the good sense of the people. Our best families everywhere are setting examples which it will be well to follow. The false pride and extravagance which runs a family into debt for a year, to pay for a showy funeral for one of its members, has received a check from the pulpits of many of our cities. Let us pay all the respect we can to our dead; but it must be in a manner proportionate to our means. For the poor man to half starve his living children to meet the needless expense of a fashionable funeral for the loved one who has died, is feeding the vanity of the living, rather than showing respect for the dead. Terms used to Describe the Move

ments of Dances.

Le Grande Rond. All join hands and advance and retire twice.

Pas d'Allemande. - The gentlemen turn the partners under their arms. Traversez. The two opposite persons change places.

Vis-à-vis. The opposite partner.
QUADRILLES. THE FIRST

SET.-First Figure, Le Pantalon. Right and left. Balancez to partners; turn partners. Ladies' chain. Half promenade; half right and left. (Four times.)-Second Figure, L'Eté. Leading lady and opposite gentleman advance and retire; chassez to right and left; cross over to each other's places; chassez to right and left. Balancez and turn partners. (Four times.) Or Double L'Eté. Both couples advance and retire at the same time; cross over; advance and retire again; cross to, places. Balancez and turn partners. (Four times.) Third Figure, La Poule. Leading lady and opposite gentleman cross over, giving right hands; recross, giving left hands, and fall in a line. Set four in a line; half promenade. Advance two, and retire (twice). Advance four, and retire; half right and left. (Four times.) Fourth Figure, La Pastorale. -The leading couple advance twice, leaving the lady opposite the second time. The three advance and retire twice. The leading gentle man advance and set. Hands four half round; half right and left. (Four times.) Fifth Figure, Galop Finale. - Top and bottom couples galopade quite round each other. Advance and retire; four advance again, and change the gentlemen. Ladies' chain. Advance and retire four, and regain your partners in your places. The fourth time all galopade for an unlimited period. (Four times.) Or, All galopade or promenade, eight bars. Advance four en galop oblique, and retire, then half promenade, eight bars. Advance four, retire, and return to places with the half promenade, eight bars. Ladies' chain, eight bars. Repeated by the side couples, then by the top and bot

in a Country Dance. The first lady and gentleman then go through the same figure with the third lady and gentleman, and so proceed to the end of the dance. This figure is sometimes danced in eight-bars time, which not only hurries and inconveniences the dancers, but also ill accords with the music.

WALTZ COTILLON. — Places the same as quadrille. First couple waltz round inside; first and second ladies advance twice and cross over, turning twice; first and second gentlemen do the same; third and fourth couples the same; first and second couples waltz to places, third and fourth do the same; all waltz to partners, and turn half round with both hands, meeting the next lady; perform this figure until in your places; form two side lines, all advance twice and cross over, turning twice; the same, returning; all waltz round; the whole repeated four times. LA GALOPADE is an extremely graceful and spirited dance, in a continual chassez. An unlimited number may join. It is danced in couples, as waltzing.

5th,

6th,

THE GALOPADE QUADRILLES. 1st, Galopade. 2d, Right and left, sides the same. 3d, Set and turn hands all eight. 4th, Galopade. Ladies' chain, sides the same. Set and turn partners all eight. 7th, Galopade. 8th, Tirois, sides the same. 9th, Set and turn partners all eight. 10th, Galopade. 11th, Top lady and bottom gentleman advance and retire, the other six do the same. 12th, Set and turn partners all eight. 13th, Galopade. 14th, Four ladies advance and retire, gentlemen the same. 15th, Double ladies' chain. 16th, Set and turn partners all eight. 17th, Galopade. 18th, Poussette, sides the same. 19th, Set and turn. 20th, Galopade waltz.

THE MAZURKA. This dance is of Polish origin-first introduced into England by the Duke of Devonshire, on his return from Russia. It consists of twelve movements; and the first eight bars are played (as in quadrilles) before the first movement commences.

THE REDOWA WALTZ is composed of three parts, distinct from each other

1st, The pursuit. 2d, The waltz called Redowa. 3d, The waltz à Deux Temps, executed to a peculiar measure, and which, by a change of the rhythm, assumes a new character. The middle of the floor must be reserved for the dancers who execute the promenade, called the pursuit, while those who dance the waltz turn in a circle about the room. The position of the gentleman is the same as for the waltz. The gentleman sets out with the left foot, and the lady with the right. In the pursuit the position is different, the gentleman and his partner face, and take each other by the hand. They advance or fall back at pleasure, and balance in advance and backwards. To advance, the step of the pursuit is made by a glissade forward, without springing, coupé with the hind foot, and jeté on it. You recommence with the other foot, and so on throughout. The retiring step is made by a sliding step of the foot backwards, without spring, jeté with the front foot, and coupé with the one behind. It is necessary to advance well upon the sliding step, and to spring lightly in the two others, sur place, balancing equally in the pas de poursuite, which is executed alternately by the left in advance, and the right backwards. The lady should follow all the movements of her partner, falling back when he advances, and advancing when he falls back. Bring the shoulders a little forward at each sliding step, for they should always follow the movement of the leg as it advances or retreats; but this should not be too marked. When the gentleman is about to waltz, he should take, the lady's waist, as in the ordinary waltz. The step of the Redowa, in turning may be thus described: For the gentleman--jeté of the left foot, passing before the lady. Glissade of the right foot behind to the fourth position aside the left foot is brought to the third position behind-then the pas de basque is executed by the right foot, bringing it forward, and you recommence with the left. The pas

de basque should be made in three very equal beats, as in the Mazurka, The lady performs the same steps as the gentleman, beginning by the pas de basque with the right foot. To waltz à deux temps to the measure of the Redowa, we should make each step upon each beat of the bar, and find ourselves at every two bars, the gentleman with his left foot forwards, and the lady with her right, that is to say, we should make one whole and one half step to every bar. The music is rather slower than for the ordinary waltz,

VALSE CELLARIUS, — The gentleman takes the lady's left hand with his right, moving one bar to the left by glissade, and two hops on his left foot, while the lady does the same to the right, on her right foot; at the second bar they repeat the same with the other foot- this is repeated for sixteen bars; they then waltz sixteen bars, glissade and two hops, taking care to occupy the time of two bars to get quite round. The gentleman now takes both hands of the lady, and makes the grand square --moving three bars to his left at the fourth bar making two beats while turning the angle; his right foot is now moved forward to the other angle three bars — at the fourth, beat again while turning the angle; the same repeated for sixteen bars- the lady having her right foot forward when the gentleman has his left foot forward; the waltz is again repeated; after which several other steps are introduced, but which must needs be seen to be understood.

CIRCULAR WALTZ. The dancers form a circle, then promenade during the introduction all waltz sixteen bars set, holding partner's right hand, and turn-waltz thirty-two bars

rest, and turn partners slowly - face partner and chassez to the right and left-pirouette lady twice with the right hand, all waltz sixteen bars set and turn all form a circle, still retaining the lady by the right hand, and move round to the left, sixteen bars waltz for finale,

POLKA WALTZES, The couples take hold of hands as in the usual

waltz. First Waltz, The gentleman hops the left foot well forward, then back, and glissades half round, He then hops the right foot forward, and back, and glissades the other half round. The lady performs the same steps, beginning with the right foot. Second. The gentleman, hopping, strikes the left heel three times against the right heel, and then jumps half round on the left foot; he then strikes the right heel three times against the left, and jumps on the right foot, completing the circle. The lady does the same steps with reverse feet. Third, The gentleman raises up the left foot, steps it lightly on the ground forward, then strikes the right heel smartly twice, and glissades half round. The same is then done with the other foot. The lady begins with the right foot.,

VALSE À DEUX TEMPS, - This waltz contains, like the common waltz, three times, but differently divided. The first time consists of a gliding step; the second a chassez, including two times in one. A chassez is per formed by bringing one leg near the other, then moving it forward, backward, right, left, and round. The gen tleman begins by sliding to the left with his left foot, then performing a chassez towards the left with his right foot without turning at all during the first two times. He then slides backwards with his right leg, turning half round; after which he puts his left leg behind to perform a chassez forward, turning then half round for the second time, The lady waltzes in the same manner, except that the first time she slides to the right with the right foot, and also performs the chassez on the right, and continues the same as the gentleman, except that she slides backwards with her right foot when the gentleman slides with his left foot to the left; and when the gentleman slides with his right foot backwards, she slides with the left foot to the left. To perform this waltz gracefully, care must be taken to avoid jumping, but merely to slide, and keep the knees slightly bent.

CIRCASSIAN CIRCLE. The company is arranged in couples round the room-the ladies being placed on the right of the gentlemen,- after which, the first and second couples lead off the dance. Figure. Right and left, set and turn partners ladies chain, waltz. At the conclusion, the first couple with fourth, and the second with the third couple, recommence the figure, and so on until they go completely round the circle, when the dance is concluded.

-

POLKA. In the polka there are but two principal steps, all others belong to fancy dances, and much mischief and inconvenience is likely to arise from their improper introduction into the ball-room. First step. The gentleman raises the left foot slightly behind the right, the right foot is then jumped upon, and the left brought forward with a glissade. The lady commences with the right, jumps on the left, and glissades with the right. The gentleman during his step has hold of the lady's left hand with his right. Second step. The gentleman lightly hops the left foot forward on the heel, then hops on the toe, bringing the left foot slightly behind the right. He then glissades with the left foot forward; the same is then done, commencing with the right foot. The lady dances the same step, only beginning with the right foot. There are variety of other steps of a fancy character, but they can only be understood with the aid of a master, and even when well studied, must be introduced with care. The polka should be danced with grace and elegance, eschewing all outré and ungainly steps and gestures, taking care that the leg is not lifted too high, and that the dance is not commenced in too abrupt a manner. Any number of couples may stand up, und it is the privilege of the gentleman to form what figure he pleases, and vary it as often as his fancy and taste may dictate. First figure. Four or eight bars are devoted to setting forwards and backwards, turning from and towards your partner, making a

a

slight hop at the commencement of each set, and holding your partner's left hand; you then perform the same step (forwards) all round the room. Second figure. The gentleman faces his partner, and does the same step backwards all round the room, the lady following with the opposite foot, and doing the step forwards. Third figure. The same as the second figure, only reversed, the lady stepping backwards, and the gentleman forwards, always going the same way round the room. Fourth figure. The same step as figures two and three, but turning as in a waltz.

THE GORLITZA is similar to the polka, the figures being waltzed through.

THE SCHOTTISCHE.-The gentleman holds the lady precisely as in the polka. Beginning with the left foot, he slides it forward, then brings up the right foot to the place of the left, slides the left foot forward, and springs or hops on this foot. This movement is repeated to the right. He begins with the right foot, slides it forward, brings up the left foot to the place of the right foot, slides the right foot forward again, and hops upon it. The gentleman springs twice on the left foot, turning half round; twice on the right foot; twice encore on the left foot, turning half round; and again twice on the right foot, turning half round. Beginning again, he proceeds as before. The lady begins with the right foot, and her step is the same in principle as the gentleman's. Vary, by a reverse turn; or by going in a straight line round the room. Double, if you like, each part, by giving four bars to the first part, and four bars to the second part. The time may be stated as precisely the same as in the polka; but let it not be forgotten that La Schottische ought to be danced much slower.

COUNTRY DANCES. · Sir Roger de Coverley. First lady and bottom gentleman advance to centre, salute, and retire; first gentleman and bottom lady, same." First lady and bottom gentleman advance to centre, turn, and retire; first gentleman and bottom lady