There ensues a passionate love scene and dramatic climax for the first act, _Chrisis_ going into a convent. The second act takes place in an ancient convent, _Chrisis_ as a dancing priestess. The last act takes place with _Chrisis_ as a courtly lady with every luxury around her. It is a magnificent piece of work musically and choreographically, and should find widespread appeal. We may count as belonging to the naturalistic school of dancing the exponents of idealized and imitative national dances, though they do not belong among the Duncanites. Particularly we should mention Ruth St. Denis, who is widely known through her skilled imitation and idealization of the Oriental dances. As Isadora Duncan sought by the ancient Greeks the ideal of her ‘natural’ dances, so Ruth St. Denis attempted to find choreographic beauties in the art of the East. In this she has been strikingly successful. Her Japanese dances can be considered as real gems of the Orient in which she has made the impression as if an exotic old print of the empire of the Mikado became alive by a miracle, though it was in the Indian sacred dances that she made her reputation. This is what a dance critic writes of her: ‘Clad in a dress of vivid green spangled with gold, her wrists and ankles encased in clattering silver bands, surrounded by the swirling curves of a gauze veil, the dancer passed from the first slow languorous movements into a vertiginous whirl of passionate delirium. Alluring in every gesture, for once she threw asceticism to the winds, and yet she succeeded in maintaining throughout that difficult distinction between the voluptuous and the lascivious. The mystic Dance of the Five Senses was a more artificial performance and only in one passage kindled into the passion of the Nautch. As the goddess Radha, she is dimly seen seated cross-legged behind the fretted doors of her shrine. The priests of the temple beat gongs before the idol and lay their offerings at her feet. Then the doors open, and Radha descends from her pedestal to suffer the temptation of the five senses. The fascination of each sense, suggested by a concrete object, is shown forth in the series of dances. Jewels represent the desire of the sight, of the hearing the music of bells, of the smell of the scent of flower, of the taste of wine, and the sense of touch is fired by a kiss. Her dancing was inspired by that intensity of sensuous delight which is refined to its farthest limit probably only in the women of the East. She rightly chose to illustrate the delicacy of the perceptions not by abandon but by restraint. The dance of touch, in which every bend of the arms and the body described the yearning for the unattainable, was more freely imaginative in treatment. And in the dance of taste there was one triumphant passage, when, having drained the wine-cup to the dregs, she burst into a Dionysiac Nautch, which raged ever more wildly until she fell prostrate under the maddening