While the entire paragraph tends to give a distorted picture of the situation, the last three sentences are as far from the truth as they possibly can be. The implied charge is almost too stupid to contradict or refute. Were it not for the stigma it imputes to many fine artists living in this country, I should ignore it completely. However, the facts are quite simple. It is by no means an easy matter to bring into the United States any person in ill health, either physical or mental. So far as the regulations were concerned, Nijinsky was but another alien. It was impossible to secure a visa or an entry permit. It was equally impossible to secure the proper sort of doctors’ certificates that could have been of material aid in helping secure such papers. I have a vivid memory of a meeting of dancers at the St. Regis Hotel in New York to discuss what could be done. Anton Dolin was a prime mover in the plan to give assistance. There was a genuine enthusiasm on the part of the dancers present. Unfortunately, the economics of the dance are such that dancers are quite incapable of undertaking long-term financial commitments. But a substantial number of pledges were offered. It certainly was not a question of “quite a group of dancers who had got together and who worked in silence to keep Nijinsky out of the United States and from public life.” There was no question or suggestion that he should appear in public, incidentally. There was only the sheer inability to get him into the country. If there was any “dread” of “his coming back,” it could only have been the dread that their former colleague, ill in mind and body, might be in danger of being exploited by the romantic author. Nijinsky, the legend, will endure as long as ballet, because the legend has its roots in genius. Legend apart, no one from the Maryinsky stable, no one in the fairly long history of ballet, as a matter of fact, has given ballet a more complete service. And it should be remembered that this service was rendered in a career that actually covered less than a decade. _A QUARTET OF IMPERIALISTS_ There is left for consideration a Russian male quartet, three of them still living, who, in one degree or another, have made contributions to ballet in our time, either in the United States or Europe. Their contributions vary in quality and degree, exactly as the four gentlemen differ in temperament and approach. I shall first deal briefly with the three living members of the quartet, two of whom are American citizens of long standing. _THEODORE KOSLOFF_ I commence with one whose contributions to ballet have been the least. I mention him at all only because, historically speaking, he has been identified with dance in America a long time. With perhaps a single notable exception, Theodore Kosloff’s contributions in all forms have been slight.