How much better than the German Duncanites have been those of Scandinavia, Finland and France in this direction is difficult to say authentically, though they have had the advantage over the Germans, of having at their disposal the works of some of the most talented young composers of dance music. Grieg, Lange-Müller, Svendsen and many others have written music with strong rhythmic and choreographic images. But superior to all the Scandinavian composers, in the modern dance music or music that could be danced, are the Finns: Sibelius, Jaernefelt, Melartin, Merikanto and Toiwo Kuula. Many of Sibelius’s smaller instrumental compositions offer excellent themes and music for dancing. A few of them are real masterpieces of their kind. But the Finns have shown up to this time little interest for the modern dance movements. The Danes, Swedes and Norwegians have been more affected by the new ideas that are connected with the stage, though none of them has shown any marked achievement that would be known in wider circles. Ida Santum, a young Scandinavian girl in New York, has given evidence of some graceful plastic forms and idealized folk-dances. Thus far she has not shown anything strikingly appealing to the audiences. Aino Akté’s Salome Dances are purely operatic and have no bearing upon our subject. Among English and American girls who have followed the footsteps of Miss Duncan are Gwendoline Valentine, Lady Constance Stewart-Richardson, Beatrice Irvin, and a number of others, but the writer has been unable to gather any sufficient data for critical arguments. Undoubtedly the most talented dancer of the naturalistic school whom we have known among the Russians is Mlle. Savinskaya of Moscow. In power of expressing depth and subtlety of dramatic emotions Savinskaya is supreme. She is an actress no less than a dancer. Her conception of naturalistic dancing is so deeply rooted in her soul and temperament that it often acts against the plastic rules and grace, often displayed by the dancers for the sake of pleasing effects. Miss Duncan herself strives to create moods by means of classic poses, but Savinskaya’s ideal is to express the plastic forms of music in her art. She is romantically dramatic, more a tragedian than anything else. Her dance in the graphically fascinating ballet _Chrisis_ by Reinhold Glière, in Moscow, revealed her as an artist of the first rank, and perhaps the first thoroughly trained Duncanite whose technique and dramatic talent rival with any _ballerina_, of the new school or the old.