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 of strict and careful consideration. He ponders each detail and organises the ensemble. He undertakes most serious archeological investigations, without sacrificing the directness of the mood and the poetry of the drama. His mises-en-scène of the classical tragedies, though not so easy and brilliant in colour as Golovin's, can be considered ideal, so much careful thought and delicate understanding of poetry is in them. Of an entirely different type is his mise-en-scène of the ballet "The Dolls' Fairy," which Bakst transformed into a charming Hoffmannesque tale. Bakst is properly destined for a stage where his role would be one of an intelligent and arbitrary commentator. Unfortunately, the Imperial Theatre does not fully utilise Bakst, who is not only an excellent decorator, an intelligent and exquisite costumer, but also a resourceful stage manager, wide-awake, and rich in fresh ideas.

Beside his work for the stage, Bakst expressed himself also in the field of book illustration. But, strange to say, in this branch which demands the talent of a commentator above all, Bakst displays great independence and is often loath to accept the rule of imposed ideas. Hence, his illustrations rarely correspond to what he illustrates, but they always show him as a virtuoso and a master of style. Bakst is a wonderful,—the most wonderful next to Somov,—"calligrapher" of