HORIZONTAL BAR.

The performer, taking hold of the horizontal bar, swings backward and forward until the swing is sufficient to admit of taking the hands from the bar, each time of swinging backward from it, and catching it again; but the bar should be relinquished only when in the position described below.

THE TRIANGLE.

This is a bar of wood supported at each end by a cord. The two cords unite at some distance above, and pass over a pulley, fastened at any height to suit the performer. The bar should be about the height of the knees.

First, for the circle, the bar is held thus:

The performer then steps round on the toes, gradually increasing in velocity, and bearing more on the bar.

STOOPING FORWARD.

The bar hanging in its natural position, the hands are placed upon it, and the body lowering torward, so that the whole weight rests upon the hands and the toes; but one foot may be brought a little forward, thus:

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BENDING BACKWARD.

From the preceding position the bar is drawn inwardly, the feet retain their position, and hold. ing firmly by the bar, the body reclines backward to this position.

DANCING.

MANY people object to dancing, because they consider it a waste of time; but I believe it is only wrong when too much time is given to it, to the neglect of more important duties. Children must have exercise; and dancing is healthy, innocent, and elegant. Those who learn to dance when very young, acquire an ease of motion that can be gained in no other way; at a very early age, the joints bend easily; and if a habit of moving gracefully is then acquired, it is never lost. Little girls should practise their steps at home every day; it will serve for exercise and amusement, and tend greatly to their improvement. Great care should be taken to turn the feet outward; nothing is more awkward, either in walking or dancing, than feet that turn inward; by taking a little pains, the instep will habitually curve outward the moment the foot is raised from the floor. The arms should never remain crooked, so as to give the elbows a sharp, inelegant appearance. Care should be taken to carry the shoulders back, and the head erect; a dancer who stoops, or runs her chin out, is a pitiful sight. Here I would tell those who are round-shouldered, or carry their heads too much forward, of an excellent way to cure these bad habits; walk

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an hour or more, every day, with a large heavy book balanced on your head, without any assistance from your hands. The lower orders of Egyptian women are remarkable for walking majestically and gracefully; and it is because they constantly go down to the Nile, to bring up heavy burdens of water upon their heads.

Lastly, never toss your feet about, or rise too high from the floor; truly graceful dancing is gliding, not jumping. But, on the other hand, you must not walk round languidly and carelessly, as if you had no interest in the dance; what is worthy of being done at all, is worthy of being done well.

THE UMBRELLA, THE MUFF, AND THE FAN.

Translated from the Spanish.

AN umbrella, lying on the table with a muff and a fan, thus addressed them: "How strange it is that you do not learn to accommodate yourselves to circumstances, instead of being fit for certain times, and certain places only. You, Miss Fan, are used merely for a few bright, warm, summer days, and are then thrown by. You, Mrs. Muff are hid in a corner until the