The production of _El Café de Chinitas_ was made possible during a Spanish festival I gave, one spring, at the Metropolitan Opera House. For this festival I engaged José Iturbi to conduct a large orchestra composed of members of the New York Philharmonic Orchestra. Argentinita had succeeded in interesting the Marquis de Cuevas in the project. For _El Café de Chinitas_ the Marquis commissioned settings and costumes from Salvador Dali. The result was one of the most effective and best considered works for the theatre emanating from Dali’s brush. Dali, like Argentinita, had been a friend of the martyred patriot-poet-composer. His profounder emotions touched, Dali designed as effective a setting as the Metropolitan Opera House has seen. The first of the two scenes was a tremendously high wall on which hung literally hundreds of guitars, a “graveyard of guitars,” as Dali phrased it; while the second scene, the _Café de Chinitas_ itself, revealed the heroic torso of a female dancer with her arms upstretched in what could be interpreted as an attitude of the dance, or, if one chose, as a crucifixion. From where the hands held the castanets there dripped blood, as though the hands had been pierced. In terms of symbols, this was Dali’s representation of the crucifixion of his country by hideous civil war. This was Argentinita’s last production, and one of her happiest creations. A victim of cancer, Argentinita died in New York on 24th September, 1945. I was at the hospital at the end, together with my friend and hers, Anton Dolin. Her doctors had long prescribed complete rest for her and special care. But her life was the dance, and stop she could not. Heroically she ignored her illness. If there was one thing about her more conspicuous than another, it was her tiny, dainty, slippered feet. No longer will they dart delicately into the lovely positions on the floor. In Argentinita there was never either bitterness or unkindness to any one. I have seen, at first hand, Argentinita’s encouragement and unstinted help to others, and to lesser dancers. The success of others, whether it was the artists in her own programmes, or elsewhere, was a joy to her; nothing but the best was good enough. Her sister, Pilar Lopez, who survives her and who today dances with great success in Europe, carrying on her sister’s work, is a magnificent dancer. When the two sisters danced together, everything that could be done to make Pilar shine more brilliantly was done; and that, too, was the work of Argentinita. Her loyalty to me was something of which I am very proud. Above all, it was the dignity and charm of the woman that played a great part in the superb image of the artist who was known as Argentinita. _E. A TERPSICHOREAN ANTHROPOLOGIST_