It was only natural that Miss Duncan’s laureated appearances in various European cities quickly found followers and imitators. The best known exponent of Duncan’s naturalism has been Miss Maud Allan, a talented Canadian girl, whose dancing in England has made her a special favorite of the London audiences, before whom she first appeared in 1908. How favorably she was received by the English audiences is evident from the fact that the late King Edward invited her to dance for him at Marienbad. Like Miss Duncan, Maud Allan has danced mostly barefoot, her body slightly clothed in a loose Greek drapery. The most sensational in Miss Allan’s repertoire has been the ‘Vision of Salome,’ compiled from passages from Richard Strauss’ opera, in which she has tried to give the impression of the ghastly Biblical tragedy by means of plastic pantomime and dancing. Among her artistically successful dances has been the Grieg _Peer Gynt_ suite, of which the London critics speak as of ‘a beautiful art of transposition.’ ‘The faithfulness with which her movements follow the moods of the composer is probably only fully realized by those who are musicians as well as connoisseurs of dance. Her translation of music has not seldom the rare quality of translations of being finer than the original, and there are not a few who, when they hear again, unaccompanied, the music which her dancing has ennobled, will be conscious of a sense of incompleteness and loss,’ writes an English dance authority of her art. Isadora Duncan’s naturalism has probably made the most powerful direct impression upon German aspirants, first, through the school of dancing of Isadora’s sister, Elisabeth, and second, through the pretended appeal to the moods by means of classic ideals, and yet requiring comparatively little technique. Assiduously as a German student will practice in order to acquire the most perfect technique for being an artist, musician, singer or architect, he lacks the painstaking persistency of a Russian, Hungarian, Bohemian or Spaniard in acquiring a thorough technique for his dance. He is inclined to interpret music by means of the most easily acquired technique, such as seemingly the naturalistic school requires. For this very reason, Miss Duncan has been the greatest dance genius for the Germans, as that is so clearly to be seen in the excellent work of Brandenburg, _Der moderne Tanz_. This book from the beginning to the end, written in a fine poetic prose, is a eulogy of Duncan’s naturalism, and an elaborate display of the minutest pretty moves of the German exponents of the movement. Among the praised geniuses of Brandenburg are the sisters Wiesenthal, who attracted widespread attention in some of Max Reinhardt’s productions.