Loie Fuller made a sensation in America, particularly in New York and Chicago. But her success was much greater when she gave spectacular performances to the morbid Berlin, Paris and London audiences. Her début at Folies Bergères was more than a triumph. She became the rage of France. The management of the Folies Bergères engaged her for three years at a salary of one thousand dollars a week. How greatly ‘_La Loie_,’ as she was called in Paris, impressed the French audiences is best to be seen in what one of the French critics writes of her: ‘We shall not easily forget the Serpentine Dance, undulating and luminous, full of weird grace and originality, a veritable revelation! By means of a novel contrivance, the gauzy iridescent draperies in which Loie Fuller swathes herself were waved about her, now to form huge wings, now to surge in great clouds of gold, blue, or crimson, under the colored rays of the electric light. And in the flood of this dazzling or pallid light the form of the dancer suddenly became incandescent, or moved slowly and spectrally in the diaphanous and ever-changing coloration cast upon it. The spectator never wearied of watching the transformations of these tissues of living light, which showed in successive visions the dreamy dancer, moving languidly in a chaos of figured draperies--in a rainbow of brilliant colors or a sea of vivid flames. And after having roused us to a pitch of enthusiasm by this luminous choreography, she appeared triumphant in the pantomime-ballet _Salome_, reproducing the gloomy episode of the death of John the Baptist.’ Among the dances that Loie Fuller had in her repertoire, besides the Serpentine Dance, were the Rainbow Dance, the Flower Dance, the Butterfly Dance, the Mirror Dance, and the Fire Dance. It is only natural that all her dances of this kind made necessary a vast paraphernalia of accessories and an army of assistants. The Fire Dance she performed in the centre of a darkened stage before an opening in the floor through which a powerful electric reflector threw up intensely brilliant rays. None of her dances had any classified steps, any poses, gestures of the kind employed by dancers of various other schools and different ages. The function of the limbs and arms was merely to put veils and draperies into motion. II Of somewhat the same class were the entertainments given by Louise Weber or ‘La Goulu,’ another American girl of the type of Loie Fuller. Occasionally she exhibited some skill in her kicking scenes. It is said that she never made pretension to rhythm and grace. Her ‘art’ was a negation of every beauty. It was a frenzied delirious gymnastic. An American critic says that her legs were agitated like those of a marionette, they pawed the air, jerked out in the manner of a pump-handle, and menaced the hats of the spectators.