In the repertoire of Diaghileff’s company there have been, thus far, only two more or less satisfactory ballets, _Le Pavilion d’Armide_, by Benois and Tcherepnin, and _Le Spectre de la Rose_ by Weber and Vaudoyer. But both might be termed choreographic sketches in one scene rather than ballets. Without Nijinsky and Karsavina even these would not be very charming. The aristocratic sentimentality and poetic pathos of the two dance pantomimes are perfectly displayed by these two most talented artists of the revolutionary group, as their miming and dancing are characterized by a certain natural softness of movement, the quality of languor and passion. But it was the music of Igor Stravinsky, a young Russian composer working in the impressionistic style, that saved the situation of the new ballet. Stravinsky has a genius for the ballet, such as perhaps the world has never seen before. However, he seems to be greatly hampered by lack of proper conception of what constitutes the modern ballet. It is evident that he is influenced in his compositions too much by the Diaghileff-Fokine tendencies, as most of his ballets are built up in the old form of construction, though the phonetic images and spirit are new. His music is graphically vivid, as it should be, has a strong rhythm and inspiring modern spirit. It is the form of construction that he has not grasped yet fully, except in his _Petrouchka_. This _Petrouchka_, Stravinsky’s masterpiece, is a Russian burlesque taken from an old fairy-story of Harlequin in love with the Clown’s wife. In this ballet the scenes are splendidly arranged by Fokine and the music is thrilling. The puppet has always exercised a curious fascination upon the human mind. The animated doll is a fantastic and yet pathetic symbol of our emotions. _Petrouchka_ is the Russian counterpart of English ‘Punch and Judy,’ though differing in its more sentimental character. _Petrouchka_ represents the character of a real puppet. Stravinsky has woven a dramatic plot around the puppet stage. ‘To take us behind the scenes and show the mingled comedy and tragedy of the puppet world, was a true and dramatic inspiration’ of the composer. The scenic effect of _Petrouchka_ is calculated to create a melancholy feeling in the spectator with its bleak gray background and dull frigidity. It gives a striking contrast to the barbaric colors of the crowd on the stage. One has the feeling of opaque leaden skies, of snow and gay people at a fair. The costumes and scenery designed by Benois are true to Russian life and strikingly in harmony with the dance. In every phrase of the music the composer shows himself a master of the art of writing ballet music. ‘Throughout the four scenes he displays not only a nice sense of dramatic firmness, but a shrewd appreciation of character. In the treatment his humorous percept is of large assistance. In the trumpet dance by which the Blackamoor is first