The performances of the Ballet of the Paris Opera at the City Center were not the slightest proof of the quality of its productions or its performance. The shocking limitations of the playhouse made necessary a vast reduction of its personnel, its scenery, its essential quality. The Paris Opera Ballet is, of course, a State Ballet in the fullest sense of the term. It is an aristocratic organization, conscious of the great tradition that hangs over it. The air is thick with it. Its dancers are civil servants of the Republic of France and their promotion in rank follows upon a strict examination pattern. It would be interesting one day to see the company at the Metropolitan Opera House, where its original setting could be approximated, although I fear the Metropolitan has nothing comparable with the _foyer de la dance_ of the Paris Opera. Here is ballet on a big scale and in the grand manner, with all the scenic and costume panoply of the art at its most grandiose. It is the sort of fine ballet that succeeds in giving the art an immense popularity with the masses. As a matter of fact, I am negotiating with the very able Maurice Lehmann, the successor to Georges Hirsch as Director-General of the Opera, and I can think of no happier result than to be able to bring this rich example of the balletic art of France to America under the proper circumstances and conditions, if for no other reason than to compensate the organization for their previous visit. * * * * * The International Dance Festival over, my chief desire was to bring Sadler’s Wells to this continent. Perhaps it would be as well, for the sake of the reader who may be unfamiliar with its background and thus disposed to regard this as merely another ballet company, to shed a bit of light on the Sadler’s Wells organization. Following the death of Diaghileff, in 1929, we knew that ballet in Britain was in a sad state of decline, from which it might well never have emerged had it not been for two groups, the Ballet Club of Marie Rambert and the Camargo Society. Each was to be of vital importance to the ballet picture in Britain and, indirectly, in the world. The offspring of the Ballet Club was the Rambert Ballet; that of the Camargo Society, the Sadler’s Wells Ballet. As a matter of fact, the Camargo Society, a Sunday night producing club, utilized the Ballet Club dancers and another studio group headed by the lady now known as Dame Ninette de Valois, D.B.E., D. Litt.