Among the most conspicuous Russian dancers who followed the revolutionary call of Diaghileff and Fokine, were Vera Fokina, Tamara Karsavina, Sophie Feodorova, Seraphime Astafieva, Nijinsky, and Kosloff. The real drawing cards of the revolutionary group were Karsavina and Nijinsky, one more genial than the other, the one the very type of the Russian youthful poetic and passionate girl, the other that of masculine virility and grace. The leaping of Nijinsky and the darting of Karsavina will remain as the most effective symbols in the mind of those who have witnessed their inspiring dances. In _Le Spectre de la Rose_, danced by Karsavina and Nijinsky, we can best compare their individualities. ‘Their bodies, flower-like, representing the spirit of flowers, weave dreams with silent and graceful movements,’ writes a critic. ‘We are altogether removed from the world of flesh and blood to a kingdom of enchantment.’ Nijinsky and Karsavina are the two talented exponents of the New Russian Ballet, in the same sense as Pavlova and Mordkin belong to the Old Ballet. The question arises in what respect Nijinsky differs from Mordkin and Karsavina from Pavlova? If we could see illustrative performances by these four greatest figures of the two Russian schools the difference would be immediately evident, in spite of their individual traits. Where Pavlova concentrates attention on her conventional toe-dancing, Karsavina employs conspicuously the naturalistic steps and strives to display the plastic lines of her beautiful body. Where Mordkin resorts to pantomime, Nijinksy finds his expression through the movements of the dance. However, the difference between the two ballets is not so clearly cut with the men as with the women dancers. Fokine has introduced a great deal of the plastic element that has actuated the partisans of the naturalistic school. We find the acrobatic stunts of the old ballet almost lacking in the new. You will hardly see Karsavina, Fokina or Astafieva performing the leg-bending tricks of the followers of the old school. If they resort to pirouettes and leg agility, they do so in a different sense than the others. III