celebrated portrait by Sargent in the Luxembourg Gallery in Paris will long preserve her fame, the interest in the highly-coloured paintings by Sorolla and Zuloaga, many of which are still on exhibition in private and public galleries in New York, the success here achieved, in varying degrees, by such singing artists as Emilio de Gogorza, Andrés de Segurola, and Lucrezia Bori, the performances of the piano works of Albéniz, Turina, and Granados by such pianists as Ernest Schelling, George Copeland, and Leo Ornstein, and the amazing Spanish dances of Anna Pavlowa (who in attempting them was but following in the footsteps of her great predecessors of the nineteenth century, Fanny Elssler and Taglioni), all fanned the flames. The winter of 1915-16 beheld the Spanish blaze. Enrique Granados, one of the most distinguished of contemporary Spanish pianists and composers, a man who took a keen interest in the survival, and artistic use, of national forms, came to this country to assist at the production of his opera _Goyescas_, sung in Spanish at the Metropolitan Opera House for the first time anywhere, and was also heard several times here in his interpretative capacity as a pianist; Pablo Casals, the Spanish 'cellist, gave frequent exhibitions of his finished art, as did Miguel Llobet, the guitar virtuoso; La Argentina (Señora Paz of South America) exposed her ideas, somewhat classicized, of Spanish dances; a Spanish soprano, María Barrientos, made her North American début and justified, in some measure, the extravagant reports which had been spread broadcast about her singing; and finally the decree of Paris (still valid in spite of Paul Poiret's reported absence in the trenches) led all our womenfolk into the wearing of Spanish garments, the hip-hoops of the Velasquez period, the lace flounces of Goya's Duchess of Alba, and the mantillas, the combs, and the _accroche-coeurs_ of Spain, Spain, Spain.... In addition one must mention Mme. Farrar's brilliant success, deserved in some degree, as Carmen, both in Bizet's opera and in a moving picture drama; Miss Theda Bara's film appearance in the same part, made with more atmospheric suggestion than Mme. Farrar's, even if less effective as an interpretation of the moods of the Spanish cigarette girl; Mr. Charles Chaplin's eccentric burlesque of the same play; the continued presence in New York of Andrés de Segurola as an opera and concert singer; María Gay, who gave some performances in _Carmen_ and other operas; and Lucrezia Bori, although she was unable to sing during the entire season owing to the unfortunate result of an operation on her vocal cords; in Chicago, Miss Supervia appeared at the opera and Mme. Koutznezoff, the Russian, danced Spanish dances; and at the New York Winter Garden Isabel Rodríguez appeared in Spanish dances which quite transcended the surroundings and made that stage as atmospheric, for the few brief moments in which it was occupied by her really entrancing