heart and body, and claims the rapt attention of all our faculties for its understanding.
To meet Nijinsky in private life is to gain a perfect confirmation of any belief you may hold as to the presence in such a great artist of intellectual power. At a first introduction you might experience, perhaps, a shade of disappointment. A far cry, it seems, from the glamour of a great theatre to the sudden seclusion of a London drawing-room. And this quiet little gentleman in immaculate English clothes, can it—can it really be Nijinsky? He is not tall enough, surely—and his hair looks so sleek and dark and normal. Not till later on, when you have had time to notice the fine and subtle modelling of the cheek, the narrow flickering eyes, the clean but rounded lips, will you begin to realise that this must be he. And after a