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Bacchanal ““ 252 Mlle. Lydia Lopoukowa ““ 253 Mlle. Pavlowa in a Bacchanal ““ 257 Mlle. Lopoukowa, in Boudoir ““ 258 Mlle. Lopoukowa, Interpretative Dance ““ 259 Mlle. Lopoukowa, In “Le Lac Des Cygnes” ““ 262 M. Alexander Volinine ““ 263 Representative Russian Ballet Poses and Groups Page 265 Representative Russian Ballet Poses and Groups “ 267 The “Waltz Minuet” Facing Page 272 Characteristic style (1)—Variation, position of hands (2)—Preparation for a turn (3)—The Mirror figure (4). The “Gavotte” Showing Present Tendencies ““ 273 Characteristic style (1)—Characteristic style (2)—A curtsy (3)—Arabesque to finish a phrase (4). Social Dancing; Position of Feet (Diagram) Page 276 The One-Step: The Turn (Diagram) “ 277 The One-Step: Grape-Vine (Diagram) “ 278 The One-Step: Eight (Diagram) “ 279 The One-Step: Square (Diagram) “ 279 The One-Step: A Figure Occupying Three Measures (Diagram) “ 280 The One-Step: The Murray Anderson Turn (Diagram) “ 281 The One-Step: A Cross-Over (Diagram) “ 282 Development of an Arch “À La Pirouette” Facing Page 282 Cross to right (1)—Cross to left (2)—Start of turn (3). The One-Step ““ 283 The “Kitchen Sink” (1)—Position of couple (2). The “Brazilian Maxixe” ““ 283 Characteristic position of advanced foot (3). The “Boston,” Essential Step (Diagram) Page 284 The Waltz Facing Page 284 A position of the couple in the Waltz-Minuet (1)—Correct position of man’s hand on woman’s back (2)—A position also assumed in the One-step Eight (3)—A Dip (4). The Waltz ““ 285 Correct position of couple (1)—Of feet, in short steps (2)—Of feet, in Dip (3)—Another view of the Dip (4). The Boston, Step Backward (Diagram) Page 285 The Boston, The Dip (Diagram) “ 286 The Boston, The Dip Simplified (Diagram) Page 287 The Boston, An Embellishment (Diagram) “ 288 The Boston, An Embellishment (Diagram) “ 288 The Boston, Same, with Turns (Diagram) “ 289 The “Hesitation Waltz,” Theme (Diagram) “ 289 The “Hesitation Waltz” Variation on Theme (Diagram) “ 290 The “Tango” Facing Page 290 Characteristic style (1, 2, 4)—Woman circles man (3). The “Tango” ““ 291 Characteristic style. The “Hesitation Waltz,” the “Lyon Chassé” (Diagram). Page 291 The “Tango” Facing Page 294 The “Tango” ““ 295 The reverse (1)—The regular Tango walking step (2)—Style of movement (3)—Position of hands sometimes assumed to emphasize the end of a phrase (4). The “Tango,” The “Corte” (Diagram) Page 295 The “Tango,” The Scissors (Diagram) “ 295 The “Tango,” The Scissors Variation (Diagram) “ 296 The “Tango,” The Media Luna (Diagram) “ 296 The “Tango” Facing Page 296 The corte (1)—Characteristic style (2)—A variation (3)—Start of a turn (4). A “Tango” Step ““ 297 Man’s foot displaces woman’s (1)—Woman’s foot displaces man’s (2)—Each displaces the other’s foot (3). The “Tango,” The Eight (Diagram) Page 297 The “Tango,” A Waltz Turn (Diagram) “ 297 The “Tango,” An Easy Step (Diagram)