exactly the same as that of the turn to the right, except that it is accomplished with the other foot, and in the opposite direction.

There is no better or more efficacious exercise to perfect the Boston, than that which is made up of one complete turn to the right, a measure to reverse, and a complete turn to the left. This should be practised until one has entirely mastered the motion and rhythm of the dance. The writer has used this exercise in all his work, and finds it not only helpful and interesting to the pupil, but of special advantage in obviating the possibility of dizziness, and the consequent unpleasantness and loss of time.

After acquiring a degree of ease in the execution of these movements to Mazurka music, it is advisable to vary the rhythm by the introduction of Spanish or other clearly accented Waltz music, before using the more liquid compositions of Strauss or such modern song waltzes as those of Danglas, Sinibaldi, etc.

It is one of the remarkable features of the Boston that the weight is always opposite the line of direction—that is to say, in going forward, the weight is retained upon the rear foot, and in going backward, the weight is always upon the front foot (direction always radiates from the dancer). Thus, in proceeding around the room, the weight must always be held back, instead of inclining slightly forward as in the other round dances. This seeming contradiction of forces lends to the Boston a unique charm which is to be found in no other dance.

As the dancer becomes more familiar with the Boston, the movement becomes so natural that little or no thought need be paid to technique, in order to develop the peculiar grace of it.

The fact of its being a dance altogether in one position calls for greater skill in the execution of the Boston, than would be the case if there were other changes and contrasts possible, just as it is more difficult to play a melody upon a violin of only one string.

The Boston, in its completed form, resolves itself into a sort of walking movement, so natural and easy that it may be enjoyed for a whole evening without more fatigue than would be the result of a single hour of the Waltz and Two-Step.

Aside from the attractiveness of the Boston as a social dance, its physical benefits are more positive than those of any other Round Dance that we have ever had. The action is so adjusted as to provide the maximum of muscular exercise and the minimum of physical effort. This tends towards the conservation of energy, and produces and maintains, at the same time an evenness of blood pressure and circulation. The movements also necessitate a constant exercise of the ankles and insteps which is very strengthening to those parts, and cannot fail to raise and support the arch of the foot.

Taken from any standpoint, the Boston is one of the most worthy forms of the social dance ever devised, and the distortions of position which are now occasionally practiced must soon give way to the genuinely refining influence of the action.

Of the various forms of the Boston, there is little to be said beyond the description of the manner of their execution, which will be treated in the following pages.

It is hoped that this book will help toward a more complete understanding of the beauties and attractions of the Boston, and further the proper appreciation of it.

All descriptions of dances given in this book