I hold stubbornly to the tenet that man cannot live by bread alone, and that those things of the spirit, those joys that delight the heart and mind and soul of man, are indestructible. On the other hand, it is by no means an easy trick to preserve them. While I agree with Ecclesiastes that “the heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth,” I nevertheless insist that it is the supreme task of those who would profess or attain unto wisdom to exert their last ounce of strength to foster, preserve, and encourage the widest possible dissemination of the cultural heritage we possess. As these closing pages are written, the Sadler’s Wells Ballet from the Royal Opera House, Covent Garden, is poised on the threshold of its third North American visit, with a larger company and a more varied repertoire than ever before. The latter, in addition to works I have noted in these pages, includes the new Coronation ballet, _Homage to the Queen_, staged by Frederick Ashton, to a specially commissioned score by the young English composer, Malcolm Arnold, with setting and costumes by Oliver Messel; _The Shadow_, with choreography by John Cranko, scenery and costumes by John Piper, and the music is Erno von Dohnanyi’s _Suite in F Sharp Minor_, which had its first performance at the Royal Opera House, Covent Garden, on 3rd March, 1953. Included, of course, is the new full-length production of _Le Lac des Cygnes_, with an entirely new production by Leslie Hurry; _The Sleeping Beauty_; _Sylvia_; _Giselle_, in an entirely new setting by James Bailey; _Les Patineurs_; a revival of Ashton’s _Don Juan_; and Ravel’s _Daphnis and Chloe_, staged by Ashton, making use of the full choral score for the first time in ballet in America. Yet another impending dance venture and yet an additional aspect of dance pioneering will be the first trans-continental tour of the Agnes de Mille Dance Theatre. This is a project that has been in my mind for more than a decade: the creation of an American dance theatre, with this country’s most outstanding dance director at its head. For years I have been an admirer of Agnes de Mille and the work she has done for ballet in America, and for the native dance and dancer. In this, as in all my activities, I have not solicited funds nor sought investors. It is the first major organization to be established completely under my aegis, for which I have taken sole responsibility, financially and productionwise. It has long been my dream to form a veritable American dance company, one which could exhibit the qualities which make our native dancers unique: joy in sheer movement, wit, exuberance, a sharp sense of drama. It was in 1948 that Agnes and I began the long series of discussions directed toward the creation of a completely new and “different” company, one that would place equal accents on “Dance” and “Theatre.”