Thus Miss Duncan started her career by interpreting natural qualities by means of natural movements. ‘I have closely studied the figured documents of all ages and of all the great masters, but I have never seen in them any representations of human beings walking on the extremity of the toes or raising the leg higher than the head. These ugly and false positions in no way express that state of unconscious Dionysiac delirium which is necessary to the dancer. Moreover, movements, just like harmonies in music, are not invented; they are discovered,’ writes Miss Duncan. To her the only mode of dancing is barefoot. According to her ‘the dancer must choose above all the movements which express the strength, the health, the grace, the nobility, the languor or the gravity of living things.’ Gravity to Miss Duncan is natural and right. A ballet dancer, a Pavlova, Nijinsky and Karsavina, eager to defy the laws of gravity, is to her a freak. Prince Serge Volkhonsky, who has been a conspicuous figure in the Russian dance reform-movement, writes of Miss Duncan’s school in comparison with that of Jacques-Dalcroze: ‘Her dance is a result of personal temperament, his movements are the result of music; she draws from herself, he draws from rhythm; her psychological basis is subjective; his rhythmical basis is objective; and, in order to characterize her in a few words, I may say Isadora is the dancing “ego.” This subjective psychological basis of Isadora’s art I find clearly emphasized by Mr. Levinsohn’s words: “The images or moods (_Stimmungen_) created in our mind by the rational element--music--cannot be identical with every one, and therefore cannot be compulsory. Just in that dissimilitude of moods and uncompulsoriness of images resides the best criterion for the appreciation of Isadora Duncan as a founder of a system. Her dance is precisely not a system, cannot found what is called a ‘school’; it needs another similar ‘ego’ to repeat her. And according to this it seems quite incomprehensible that some people should see in Miss Duncan’s art ‘a possibility for all of us being beautiful.’ No, not at all for all of us; for not every temperament, while embodying ‘images or moods’ called forth by music, will necessarily create something beautiful; one cannot raise the exceptional into rule. In order to be certain of creating something beautiful, no matter whether in the moral or the æsthetical domain, it is not in ourselves that we shall find the law, but in subjecting ourselves to another principle which lives outside of ourselves. For the plastic (choreographic), this principle is Music. It is not instinct expressing itself under the influence of music--which with every man is different, and only in few chosen natures beautiful in itself--but the rhythm of music, which in every given composition is an unchangeable element subjecting our ‘ego.’ This is the basis of living plastic art. And in this respect Isadora’s