Taglioni. Taglioni, although the finer artist of the two, could not for the moment compete with the newcomer's personal fascination. It was conspicuous in her performance of the Spanish Cachucha (from the 1836 Coralli/Gide ballet Le Diable boiteux) that Elssler outshone all rivals. Elssler was not Spanish, but her performances of the Cachucha were filled with fire and sensual life. The poet Théophile Gautier titled her the "pagan" dancer because of her performances in the Cachucha, juxtaposed with Taglioni, the "Christian" dancer. The success of Elssler and the Cachucha led to a widespread demand for more choreographed ballet dances of specific national flavor. These types of dances became very popular, and Elssler herself added a Polish (Krakowiak) and an Italian tarantella to her repertoire. Her image was often identified with pink satin and black lace as the fleshy, sensuous Spanish dancer, in stark contrast to depictions of Taglioni as the modest sylph in white. Elssler did not only possess technical gifts, her ability to perform dramatically was exceptional. Her performances of the great Romantic ballets, including La Sylphide, Giselle and La Esmeralda, portrayed heightened aspects of their former characters. This earned Elssler a place among the most talented and notable ballerinas of the Romantic ballet period. In 1840 she sailed with her sister for New York for a tour arranged by Henry Wikoff, and after two years of unmixed success they returned to Europe. While in New York City, Elssler dined with and was escorted by John Van Buren, son of the President of the United States, Martin Van Buren. In Washington D.C., Congress closed so that no one need miss Elssler's performance. Elssler is considered by Lillian Moore to have been "the most illustrious Sylphide ever to dance the role in America", with the final scene bringing many audience members to tears. At the St Charles Theater in New Orleans, Elssler was contracted for two weeks at $1,000 for every night that she danced. Fans across the country not only attended her performances but also experienced "Elsslermania," buying Elssler brand champagne, bread, cigars and many other products. They greeted her exuberantly but debated whether her talent warranted such over-the-top displays of celebrity worship. During the following five years Elssler appeared in Germany, Austria, France, England, and Russia. In 1845, she was invited to perform along with her rivals Marie Taglioni, Carlotta Grisi and Fanny Cerrito in Jules Perrot's Pas