Havelock Ellis gives a graphic picture of the Spanish dance. ‘One of the characteristics of Spanish dancing,’ he writes, ‘lies in its accompaniments, and particularly in the fact that under proper conditions all the spectators are themselves performers. In flamenco dancing, among an audience of the people, every one takes a part by rhythmic clapping and stamping, and by the occasional prolonged “oles” and other cries by which the dancer is encouraged or applauded. Thus the dance is not the spectacle for the amusement of a languid and passive public, as with us. It is rather the visible embodiment of an emotion in which every spectator himself takes an active and helpful part; it is, as it were, a vision evoked by the spectators themselves and upborne on the continuous waves of rhythmical sound which they generate. Thus it is that at the end of a dance an absolute silence often falls, with no sound of applause; the relation of performer and public has ceased to exist. So personal is this dancing that it may be said that an animate association with the spectators is necessary for its full manifestation. The finest Spanish dancing is at once killed or degraded by the presence of an indifferent or unsympathetic public, and that is probably why it cannot be transplanted but remains local.’ The naturalistic school of dancing is by no means an invention of Isadora Duncan, though she has been one of its most persistent preachers. The true psychological origin belongs to Delsarte, whose method of poetic plasticism inspired Mrs. Hovey to give lessons and lectures on the subject. It branched out like a tree. Every country was interested in the new idea in its own way. America, having no æsthetic traditions whatsoever, found the pioneers in Isadora Duncan and Ruth St. Denis; Germany found hers in the sisters Wiesenthal, Miss Rita Sacchetto and others; France, in Mme. Olga Desmond; Spain, in the refined and talented folk-dancers; Russia, in the rise of a new ballet, and so on. Like a magic message, the idea filled the air and was inhaled by special minds. There was a strong argument in favor of its development, and that argument was the spiritual yeast that set the world into a ferment. The more it was opposed and fought the more it spread and grew. The naturalistic dance has been thus far more an awakening than a mature art. As such it is apt to be crude and imperfect. There is no reason to fear that a fate like that which befell the Skirt Dance may overtake the ‘classical’ dancing of the naturalistic school. It has accomplished a great service in bringing the audiences to realize that the argument of natural plasticism is based on philosophical truth. Soon the ranks of those who believe that ‘natural’ dancing is that which requires the least technique will decrease in favor of those serious minded artists, who seek the solution in technique plus talent. ‘The theory that a dancer can ignore