Although the five performances were sold out, we could not cover our expenses. In the autumn of 1935, when the company returned for its third season, we were able to bring Ballet to the Metropolitan Opera House and, for the first time since its rebirth in America, the public really saw it at its best. During this time we had made substantial additions to the repertoire: Massine’s second and third symphonic ballets, the Brahms _Choreartium_, and the Berlioz _Symphonie Fantastique_; Nijinska’s _The Hundred Kisses_. In addition to Fokine’s new non-operatic version of _Le Coq d’Or_, which I have mentioned, there were added Fokine’s _Schéhérazade_, _The Afternoon of a Faun_, and Nijinsky’s _Le Spectre de la Rose_. The gross takings of the fourth American season of the de Basil company reached round a million dollars. By this time matters were coming to a head. All was not, by any means, well in ballet. Massine, by this time, was at swords’ points with de Basil. I was irritated, bored, fatigued, worn out with him and his entourage. Since de Basil had lost his Monte Carlo connection, he had also lost touch with the artistic thought that had served as a stimulus to creation. It is necessary for me to make another digression at this point. The opening chapter of the New Testament is, as the reader will remember, a geneological one, with a formidable list of “begats.” It seems to me the course of wisdom to try to clear up, if I can, the “begats” of Russian Ballet since the day on which I first allied myself with it. I shall try to disentangle them for the sake of the reader’s better understanding. There were so many similar names, artists moving from one company to another, ballets appearing in the repertoires of more than one organization. In this saga, I have called this chapter “W. de Basil and his Ballets Russes de Monte Carlo.” It is a convenient handle. The confusion that was so characteristic of the man de Basil, was intensified by the fact that the “Colonel” changed the name of the company at least a half-dozen times during our association. To attempt to go into all the involved reasons for these chameleon-like changes would simply add to the confusion, and would, I feel, be boring. Let me, for the sake of conciseness and, I hope, the reader’s illumination, list the six changes: In 1932, it was _Ballets Russes de Monte Carlo_. From 1933 to 1936, it was _Monte Carlo Ballet Russe_. In 1937, it was _Colonel W. de Basil’s Ballet Russe_. In 1938, it was _Covent Garden Ballet Russe_. In 1939, it was _Educational Ballets_, Ltd. From 1940 until its demise, it was _Original Ballet Russe_.