Then, at the London Hippodrome, in many a Christmas entertainment, ingeniously arranged and gorgeously staged, half pantomime, half ballet, we have seen regular feasts of dancing and always with enjoyment. But apart from the spectacular productions for which the Hippodrome early became famous, many a delightful solo dancer and dance-_scena_ have been viewed there. To have seen those exquisitely dainty artists, the Wiesenthal Sisters, is to have ineffaceable memories of a stage-art that seems strangely enough to link up the classic simplicity of ancient Greece with the Watteauesque artifice of the eighteenth century, and yet again the clear-seeing artistry, the supreme and joyous colour-sense of latter day decorative art. The tone and hue of their chosen background, the simple yet daring colour-scheme of their dress, the thoughtful, almost dreamy, grace of their every pose and movement, the purely picture-like effect of their whole performance, summed up the modern spirit in art that is striving--perhaps as yet half-consciously--for a revolt from old methods and stereotyped traditions and for something simpler, clearer, more direct and, be it said, more beautiful and vital than we have yet had; the art, in fact, of the men to come rather than the men who have been, albeit it has drawn inspiration from the eternal past. The Wiesenthal Sisters were not mere “performers”; they were poems. Elsewhere, at various houses, what other dancers have we seen of individual distinction? Long remembered must be the sensation caused by Miss Loie Fuller on her first appearance in London some years ago, as the introducer of a curious form of dance in which the stage effects she achieved were the paramount attraction. And what effects they were--kaleidoscopic, magic, wonderful! Just a woman, with a brain and shapely form, a mass of filmy draperies floated here and there, on which were shed the splendour of changing coloured lights, so that she seemed now some wondrous butterfly, now like a mass of cloud suffused with the gold of dawn, now like a fountain of living flame! Yes, Loie Fuller should have been an artist! Should have? _Is_ an artist, who has not painted pictures but has lived them. Then there was Miss Ruth St. Denis at the Scala--a vision of all the poetry and the mystery of the East. Ruth St. Denis in an Indian market-place representing a snake-dance, making cobras of her flexible arms and hands! Ruth St. Denis as a Buddhist acolyte in the jungle! Ruth St. Denis in a “Dance of the Senses,” so significantly poetic and full of strange allure. Always the glamour of the East, but without its menace and without its vice; the East exalted and austere. Moreau himself might have envied her those dreams of form and colour she made manifest, and all who saw her surely must have realised that Ruth St. Denis danced her lovely pictures as an artist born.