With the Camargo Society, Constant Lambert established himself not only as a conductor, but as the musical mind behind British ballet. However, it was not an Englishman who discovered him as a composer. That honor goes to a Russian, Serge Diaghileff, who, when Lambert was bordering on twenty-one, commissioned him to write a ballet for his company. No other English composer shared that honor before Diaghileff died, although Diaghileff did produce, but did not commission, Lord Berners’ _The Triumph of Neptune_. And so Lambert stands isolated, with his _Romeo and Juliet_, which was first produced at Monte Carlo, in 1926, with Lifar and Karsavina as the protagonists; and his second ballet, _Pomona_, which Bronislava Nijinska staged at the Colon Theatre, Buenos Aires, in 1927. Constant Lambert’s English education was at Christ’s Hospital. Early in his school days he underwent a leg operation that compelled him always to walk with a stick. All his life he was never entirely free from pain. At the Royal College of Music he was a pupil of Ralph Vaughan Williams. Ballet came into his life at an early date, and remained there until his untimely passing. To it he gave the best years of his life in acting as a sort of hair-spring to Ninette de Valois’ mainspring in the development of Sadler’s Wells. On his sound musical foundation Sadler’s Wells rests. It is not within my province to discuss Lambert as a composer; but his accomplishments and achievements in this field were considerable. It is, of course, as a musician he will be remembered. But I could not regard Lambert as a musician pure and simple. He had a wide variety of interests, not the least of which was painting. Both painting and sculpture were in his family, and, from conversations with him I frequently got the notion that, had his technical accomplishments been other than they were, he would have preferred to have been a painter to a musician. Much of his music had a pictorial quality, witness his ballets, _Romeo and Juliet_, _Pomona_, _Horoscope_, and _Tiresias_; observe his _Piano Concerto_, _Rio Grande_ (“By the Rio Grande, they dance no Sarabande”), _Music for the Orchestra_, _Elegiac Blues_ (a tribute to the American Florence Mills), the _Merchant Navy Suite_, _Summer’s Last Will and Testament_, Hogarthian in color and treatment; and the work I shall always remember him conducting as a musical interlude in the first season in New York, the _Aubade Heroique_, the reproduction in sound of a Dutch landscape, a remembrance of that dawn in Holland when Lambert, a visiting conductor with Sadler’s Wells, witnessed the invasion of The Hague by Nazi paratroopers.