of movement, without a parallel except in the maniacal contortions of the Aïssaouas or the revolutions of the howling Dervishes. These dancers had their followers, of whom the names alone survive--Folette, Rayon d’Or, La Soubrette, La Glu, La Cigale. The dance of _école montmartroise_ was a variation upon one perpetual theme--the dislocation of the leg. To name the variations is to indicate the bizarre gestures which formed the stock-in-trade of the school--_La Friture_, _Le Port d’Armes_, _La Jambe derrière la tête_, _Le Croisement_--the latter executed by two dancers whose feet touched in mid-air, describing a kind of ogival arch. It is unnecessary to comment upon this style of dancing. In it the search for the sensational, the incredible, the impossible, reached its limit. The aim of the dancer was to escape as far as possible from the grace of natural bodily movement, to caricature the human form, to imitate the convulsions of the epileptic. It was an instance of one of those maladies which at times afflict the arts. But it is a disease which cannot recur, for the world, having once seen what the dance can achieve when it loses its sanity, is not likely to wish for a repetition of the spectacle. Montmartre remains--chastened, perhaps, if not repentant. It is possible that the tradition still lingers and that there are dancers who, to the confusion of the unsophisticated British or transatlantic stranger, can at need give a dim suggestion of what the _école montmartroise_ was at the height, or perhaps rather at the depth, of its fame. But the dance is dead, and not only dead but damned.