It was during her teaching tenure at the Soviet State School of Ballet, the continuing successor in unbroken line and tradition to the Imperial Ballet School from the eighteenth century, that a young man named Georgi Balanchivadze came into her ken. Georgi Balanchivadze is better known throughout the world of the dance today as George Balanchine. In the long line of pupils who have passed through Preobrajenska’s famous Paris school, there is space only to mention two of whom she is very proud: Irina Baronova and Tamara Toumanova. Frequently, I have had great pleasure in attending some of Preobrajenska’s classes in Paris, and I am proud to know her. It was during my European visit in the summer of 1950 that I happened to be at La Scala, Milan, when Preobrajenska was watching a class being given there by the Austrian ballet-mistress, Margaret Wallman. This was at the time of the visit to Milan of Galina Ulanova, the greatest lyric ballerina of the Soviet Union. The meeting of Ulanova and Preobrajenska, two great figures of Russian ballet, forty-one years apart in age, but with the great common bond of the classical dance, each the recipient of the highest honors a government can pay an artist, was, in its way, historic. I arranged to have photographs taken of the event, a meeting that was very touching. Ulanova had come to see a class as well. The two great artists embraced. Ulanova was deeply moved. Their conversation was general. Unfortunately, there was little time, for the Soviet Consular officials who accompanied Ulanova were not eager for her to have too long a conversation. At eighty-two, Preobrajenska has no superior as a teacher. At her prime, she was a dancer of wit and elegance, excelling in mimicry and the humorous. With her colleagues of that epoch, as with Ulanova, she nevertheless had one outstanding quality in common: a sound classicism. _LUBOV EGOROVA_ Less exalted in the hierarchy of the Russian Imperial Ballet, since she never attained the _assoluta_ distinction there, but, nevertheless, a very important figure in ballet, is Lubov Egorova (Princess Troubetzkoy). Born some nine years later than Preobrajenska and eight later than Kchessinska, Egorova, who was merely a _ballerina_ at the Maryinsky, was one of the first great Russian dancers to leave Russia; she was a member of the exploring group that made a Western European tour during a summer holiday from the Maryinsky, in 1908--perhaps the first time that Russian Ballet was seen outside the country. In 1917, Egorova left Russia for good and, joining the Diaghileff Ballet, appeared in London, in 1921, dancing the role of Princess Aurora in the lavish, if ill-starred, revival of Tchaikowsky’s _The Sleeping Beauty_, or, as Diaghileff called his Benois production, _The Sleeping Princess_. As a matter of fact, she was one of three Auroras, alternating the role with two other great ladies of the ballet, Olga Spessivtseva and Vera Trefilova.