the unattainable, was more freely imaginative in treatment. And in the dance of taste there was one triumphant passage, when, having drained the wine-cup to the dregs, she burst into a dionysiac nautch, which raged ever more wildly until she fell prostrate under the maddening influence of the god of wine. Then by the expression of limbs and features showing that the gratification of the senses leads to remorse and despair, and that only in renunciation can the soul realise the attainment of peace, she returns to her shrine and the doors close upon the seated image, resigned and motionless. So she affirmed in choice and explicit gesture the creed of the Buddha. The art of Miss St Denis is not free from adventitious elements. It is too much concerned with the expression of ideas to give itself up wholly to the creation of beauty. It is symbolic, but not in the large, suggestive way in which Isadora Duncan’s dancing is symbolic; the symbolism is somewhat limited, artificial and literal. Her dancing, moreover, with some exceptions, tends to be static, an affair of postures and poses, and in some cases these postures are more learned than beautiful. Miss Denis is an imitative rather than a creative artist--that is to say, she attempts to interpret the East with both fidelity to the letter and the spirit, rather than to use its gestures freely, with the bold grasp of an artist, as elements of design. Her treatment of the East is in direct opposition to that of the creators of _Scheherazade_, who have been reckless of accuracy of detail, who have sought only for the materials to build up a gorgeous pattern, and have passed every concrete fact through the fire of a transforming artistic imagination. If, as has been said, the art of the future lies in a West that is conscious of the East, the recognition of the East will be in the manner of Monsieur Fokine rather than in that of Miss St Denis. Nevertheless, Miss Ruth [Illustration: LEONORA AS A SPANISH DANCER _Photograph: Dover Street Studios, Ltd._] St Denis duly ranks as one of the most cultured dancers of the time, and, in her special sphere, certainly the most learned. Her dancing is penetrated with the finest spirit of Indian art in much the same way in which Isadora Duncan’s is imbued with the art of Greece. She has explored a new tract of the vast country which Miss Duncan opened up, and by interpreting the art of the East she has perceptibly broadened the scope of dancing in the West.