“I have been at the Théâtre des Arts, Boulevard des Batignolles, at a private rehearsal, which Miss Loie Fuller invited me to attend. She is about to present there to-morrow a ‘mute drama’--we used to call it a pantomime--the _Tragedie de Salome_, by M. Robert d’Humières, who has rivalled Rudyard Kipling in translating it. Loie Fuller will show several new dances there: the dance of pearls, in which she entwines herself in strings of pearls taken from the coffin of Herodias; the snake dance, which she performs in the midst of a wild incantation; the dance of steel, the dance of silver, and the dance of fright, which causes her to flee, panic-stricken, from the sight of John’s decapitated head persistently following her and surveying her with martyred eyes. [Illustration: THE DANCE OF FEAR FROM “SALOME”] “Loie Fuller has made studies in a special laboratory of all the effects of light that transform the stage, with the Dead Sea, seen from a height, and the terraces of Herod’s palace. She has succeeded, by means of various projections, in giving the actual appearance of the storm, a glimpse of the moonbeams cast upon the waves, of the horror of a sea of blood. Of Mount Nebo, where Moses, dying, hailed the promised land, and the hills of Moab which border the horizon, fade into each other where night envelops them. The light in a weird way changes the appearance of the picturesque country. Clouds traverse the sky. Waves break or become smooth as a surface of mother-of-pearl. The electric apparatus is so arranged that a signal effects magical changes. “We shall view miracles of light ere long at the theatre. When M. Fortuny, son of the distinguished Spanish artist, has realised ‘his theatre’ we shall have glorious visions. Little by little the scenery encroaches upon the stage, and perhaps beautiful verses, well pronounced, will be worthy of all these marvels. “It is certain that new capacities are developing in theatrical art, and that Miss Loie Fuller will have been responsible for an important contribution. I should not venture to say how she has created her light effects. She has actually been turned out by her landlord because of an explosion in her apparatus. Had she not been so well known she would have been taken for an anarchist. At this theatre, Rue des Batignolles, where I once witnessed the direst of melodramas that ever made popular audiences shiver, at this theatre, which has become elegant and sumptuous with its handsome, modernised decorations, at the Théâtre des Arts, she has installed her footlights, her electric lamps, all this visual fairyland which she has invented and perfected, which has made of her a unique personality, an independent creator, a revolutionist in art.