Positions of the Arms “ 67 “Glissade” “ 68 “Assemblé” “ 69 “Assemblé” and Changement (Floor Plan Diagram) “ 69 “Jeté” “ 70 “Jeté” to the Side “ 71 “Battements” “ 72 Steps of the “Battement” Type “ 74 “Fouetté” “ 75 Start of A “Fouetté Pirouette” “ 76 “Fouetté Pirouette” (Continued) “ 77 Optional Finish of a “Fouetté Pirouette” “ 78 The “Pirouette Sur le Cou-de-Pied” “ 79 Various “Pirouettes” “ 80 Beginning of the “Renversé” “ 82 The “Renversé” (Concluded) “ 83 Two Forms of “Attitude” “ 84 Mechanism of Broad Jump “ 86 Classic Ballet Positions Facing Page 88 Typical moments in a renversé (1, 2, 3, 4, 5,)—Starting a developpé (6)—Progress of a rond de jambe (7, 8, 9). Classic Ballet Positions (Continued) ““ 89 Rond de jambe (10)—Jeté tour (11)—Pas de bourrée (12)—Preparation for a pirouette (13)—Position sur la pointe (14)—A fouetté tour, inward (14)—A cabriole à derrière (16)—Descent from an entrechat (17)—An arabesque (18). “La Malagueña y el Torero” ““ 122 Typical “Flamenco” Poses Page 129 “Flamenco” Poses “ 133 “Las Sevillanas” “ 137 “El Bolero” Facing Page 138 Typical moment in first copla (1)—Finish of a phrase (2). “La Jota Aragonesa” ““ 139 Type of movement (1)—Finish of a turn (2)—A pirouette (3)—Kneeling position (4)—Woman’s sitting position (5). Two Groups in “Las Sevillanas” Page 140 Groups in “La Malagueña y el Torero” “ 145 Miscellaneous Spanish Notes “ 147 Two Groups in “Los Panaderos” “ 149 Part of the “Jota” of Aragon “ 152 “La Tarantella” Facing Page 156 Opening of the dance (1)—A poor collection (2)—They gamble for it (la Morra) (3)—She wins (4)—He wins (5). “La Tarantella” ““ 157 An arabesque (1)—Finish of a phrase (2)—Typical moment (3)—Finish of a phrase (4). “La Tarantella” ““ 158 Opening of the dance (1)—A turn back-to-back (2)—A pause after rapid foot-work (3)—Characteristic finishes of phrases (4, 5). “La Forlana” ““ 159 Doctor Pantalone patronized (1)—Defied (2)—Pleads (3)—Accepts the inevitable (4)—Is ridiculed (5). “La Ciociara” ““ 160 Opening promenade (1, 2)—End of promenade (3)—He has “made eyes” at a spectator (4)—Opening of dance (second movement) (5). “La Ciociara” ““ 161 Rustic affection (1)—Again caught in perfidy (2)—Tries to make amends (3)—Without success (4)—Removed from temptation (5). The Scotch Sword Dance ““ 164 A step over the swords (1, 2)—A jump over the swords (3)—Steps between the swords (4, 5). The “Scotch Reel” ““ 165 Use of the Battement (1)—A pirouette (2)—Characteristic style (3, 4)—A turn (5). The “Shean Treuse” ““ 168 The promenade (1, 2)—The thematic step (3)—Finish of a phrase (4). The “Sailor’s Hornpipe” ““ 169 Look-out (1)—Hoisting sail (2)—Hauling in rope (3)—Rowing (4)—Type of step (5)—Type of step (6)—Hoisting sail (7). Irish Dances ““ 174 The Jig (1, 3, 4)—The Hornpipe (2, 5)—The Reel (6, 7, 8). A “Four-Hand Reel” ““ 175 Preparation for woman’s turn under arms (1)—Characteristic style (2)—A turning group figure (3). The “Irish Jig” and Portrait of Patrick J. Long ““ 178 From Various Folk-Dances Page 185 The “Schuhplatteltanz”