Bolm was the first to take Anna Pavlova out of Russia, as manager and first dancer of a Scandinavian and Central European tour that made ballet history. He was, I happen to know, largely responsible in influencing Pavlova temporarily to postpone the idea of a company of her own and to abandon their own tour, because he believed the future of Russian Ballet lay with Diaghileff. Although the Nijinsky legend commences when Nijinsky first leapt through the window of the virginal bedroom of _Le Spectre de la Rose_, in Paris in 1911, it was _Prince Igor_ and Bolm’s virile, barbaric warrior chieftain that provided the greater impact and produced the outstanding revelation of male dancing such as the Western World had not hitherto known. Bolm was intimately associated with the Diaghileff invasion of the United States, when Diaghileff, a displaced and dispirited person sitting out the war in Switzerland, was invited to bring his company to America by Otto H. Kahn. But, owing to the war and the disbanding of his company, it was impossible for Diaghileff to reassemble the original personnel. It was a grave problem. Neither Nijinsky, Fokine, nor Karsavina was available. It was then that Bolm took on the tremendous dual role of first dancer and choreographer, engaging and rehearsing what was to all intents and purposes a new company in a repertoire of twenty-odd ballets. The Diaghileff American tours were due in no small degree to Bolm’s efforts in achieving what seemed to be the impossible. After the second Diaghileff American tour, during which Bolm was injured, he remained in New York. Unlike many of his colleagues, his quick intelligence grasped American ideas and points of view. This was evidenced throughout his career by his interest in our native subjects, composers, painters. With his own Ballet Intime, his motion picture theatre presentations of ballet, his Chicago Allied Arts, his tenure with the Chicago Opera Company, the San Francisco Opera Ballet, his production of _Le Coq d’Or_ and two productions of _Petroushka_ at the Metropolitan Opera House, he helped sow the seeds of real ballet appreciation across the country.