IT has been said that the Russian ballet makes a vivid and brutal appeal to the senses, and certainly there is some truth in this as regards the ballets of which the artist Bakst is the guiding spirit. The old saying that you cannot see the wood for the trees may be borrowed to express a criticism. You cannot see color for the colors in some Bakst ballets. Yet even Bakst sometimes helps to aid that impression of a visitation divine which Nijinsky in his own person produces. You will see that Miss Pamela Colman Smith has given what some may think a disproportionate amount of space to her studies of "Les Sylphides," "Le Carnaval," and "Le Spectre de la Rose." I think she was, perhaps unconsciously, more strongly attracted by these three dance poems (for dance poems they should be called rather than ballets) because of their greater wealth in the immaterial.

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