If the costumes of “Papillons”, which was connected with Schumann’s “Carneval” by Fokine, who discovered a certain aroma and dynamic rhythm common to both, are a continuation, so to speak, of the style of costumes employed in the first ballet, the “Spectre of the Rose”, on the other hand, carries us almost without our noticing it over to the land of France. The music is by Weber, the German composer who captivated Gèrard de Nerval, but it receives its orchestral form at the hands of Hector Berlioz, and the text is supplied by two lines from Théophile Gauthier, who had already inspired “Cleopatra” and the “Pavillon d’Armide” by Benois. This young girl in white flounced gown belongs more to Achille Dévéria and Eugène Lamy [Illustration: “WOMEN OF GOOD HUMOUR” BALLET. THE VALET NICCOLO. (GOUACHE)] than to Franz Krueger or Kriehuber; the ball from which she returns might be the ball at Sceaux of Honorè de Balzac; this night which filters through the glass door is a night in France; this dying rose which is impersonated by the divine ephebe Nijinsky is a rose of France. The young girls of times gone by, about whom the gentle Francis Jammes dreamed, would not be displeased at this airy pavilion with white wainscoting and white furniture in which, on the wall paper of blue cobalt, white bouquets are scattered about. Into this virginal quietude of soothing colors, detaching itself from the sombre verdure of the background, the human flower projects itself--a flower of purplish pink, feverish and consumed with amorous languor. The setting for a comic opera, “The Secret of Suzanne”, develops the same theme more in detail. This brief catalogue of Bakst’s romantic cycle would, however, be incomplete were I not to mention the costumes of the “Boutique fantasque” which is in fact chiefly a sketch, but more centered, more pointed, more compressed than the “Fairy of the Dolls” which marks the beginning of Bakst’s career. This was a memorable enterprise, for it was marked by the collaboration of two great artists: the dolls by Bakst perform evolutions against a background painted by André Derain.