on the other, flung his legs crosswise under him, sprang up again,
and then moved on aslant as before. The fiddle was handled by skilful
fingers, and more and more fire was thrown into the tune. Nils threw
his head back and suddenly his boot heel touched the beam."

The spring dance is less vigorous, but more graceful than the hailing.
It is a round dance in three-quarter time, in which two persons, or
groups of two, participate. It is danced with a light, springing step,
and has been compared with the mazurka by Liszt. Like the hailing,
however, it is markedly individual in its pleasing combinations of
tones. Forestier says of the spring dance of Norway: "There is a
freshness, a sparkle, and energy, a graceful life about it that is
invigorating."

If Lindeman was the first to collect folk-songs and dances in Norway,
Ole Bull (1810-1880) was the first to popularize them. He was, as
Grieg once declared, a pathbreaker for the young national music.
At the early age of nineteen he sallied forth with his fiddle and
wherever he appeared in Europe and America he played the folk-music
and national dances of Norway. The favor which he found encouraged his
countrymen. His brilliant career glorified musical Norway; gave it
confidence to assert itself, and serve as the inspiration of a long
list of creative tone artists--Kjerulf, Nordraak, Grieg, Svendsen,
Winter-Hjelm, Sindling, and Behrens--to write out and arrange for
voice and modern instruments the music that had so long been preserved
in the memories of the people.

The best art-made music of Norway has been built upon the folk-songs
and dances of the common people. Halfdan Kjerulf (1815-1868) was the
first serious composer of the new art school. He lived during the