The best has been through teaching, for it is as a teacher that he is likely to be remembered longest. Spectacular in his teaching methods as he is in person, it has been from his school that has come a substantial number of artists of the dance who have made a distinctive place for themselves in the dance world of America. Outstanding among these are Agnes de Mille, who has made an ineradicable mark with her highly personal choreographic style, and Nana Gollner, American _ballerina_ of fine if somewhat uncontrolled talents, the latter having received almost all her training at Kosloff’s hands and cane. Theodore Kosloff was born in 1883. A pupil of the Moscow rather than the Petersburg school, he eventually became a minor soloist at the Bolshoi Theatre in Moscow, appearing in, among others, _The Sleeping Beauty_ and _Daughter of Pharaoh_. When Diaghileff recruited his company, Kosloff and his wife, Maria Baldina, were among the Muscovites engaged. Kosloff was little more than a _corps de ballet_ member with Diaghileff, with an occasional small solo. But he had a roving and retentive eye. When Gertrude Hoffman and Morris Gest decided to jump the Russian Ballet gun on Broadway, and to present their _Saison de Ballets Russes_ at the Winter Garden in advance of Diaghileff’s first American visit, it was Theodore Kosloff who restaged the Fokine works for Hoffman, without so much as tilt of the hat or a by-your-leave either to the creator or the owner. Remaining in the States after the demise of the venture, Kosloff for a time appeared in vaudeville with his wife, Baldina, and his younger brother, Alexis, also a product of the Moscow School. One of these tours took them to California, where Theodore settled in Hollywood. Here, almost simultaneously, he opened his school and associated himself with Cecil B. de Mille as an actor in silent film “epics.” He was equally successful at both. Kosloff’s purely balletic activities thereafter included numerous movie-house “presentations”--the unlamented spectacles that preceded the feature film in the silent picture days, in palaces like Grauman’s Egyptian and Grauman’s Chinese; a brief term as ballet-master of the San Francisco Opera Ballet; and colossal and pepped-up versions of _Petroushka_ and _Schéhérazade_, the former in Los Angeles, the latter at the Hollywood Bowl. Today, at seventy, Kosloff pounds his long staff at classes in the shadow of the Hollywood hills, directing all his activity at perspiring and aspiring young Americans, who in increasing numbers are looking towards the future through the medium of ballet. _LAURENT NOVIKOFF_