The largest contributor by far to the de Basil repertoire was Massine himself. No less than seventeen of the thirty-four works regularly presented, that is, fifty per-cent, were by this prodigious creator. Eight of these were originally staged by Massine for Diaghileff; two were revivals of works he produced for Count Etienne de Beaumont, in Paris, in 1932. Seven were original creations for the de Basil company. The Diaghileff creations, in revival--in the order of their first making--were: _The Midnight Sun_, to music from Rimsky-Korsakoff’s _The Snow Maiden_; _Russian Folk Tales_, music by Liadov; The _Good-Humored Ladies_, to the Scarlatti-Tommasini score; Manuel de Falla’s _The Three-Cornered Hat_; _The Fantastic Toyshop_, to Rossini melodies; George Auric’s _Les Matelots: Cimarosiana_; Vittorio Rieti’s _The Ball_. The two Beaumont works: _Le Beau Danube_, and the Boccherini _Scuola di Ballo_. The creations for the de Basil company: the three symphonic ballets--_Les Présages_, (Tchaikowsky’s Fifth); _Choreartium_, (Brahms’s Fourth); _La Symphonie Fantastique_, (Berlioz). Also _Children’s Games_ (Bizet); _Beach_ (Jean Francaix); _Union Pacific_ (Nicholas Nabokoff); and _Jardin Public_ (Dukelsky). Two other choreographers round out the list. The young David Lichine contributed four; Bronislava Nijinska, two. The Lichine works: Tchaikowsky’s _Francesca da Rimini_ and _La Pavillon_, to Borodin’s music for strings, arranged by Antal Dorati. The others, produced in Europe, were so unsuccessful I could not bring them to America: _Nocturne_, a slight work utilising some of Mendelssohn’s _Midsummer Night’s Dream_ music, and _Les Imaginaires_, to a score by George Auric. The Nijinska works: _The Hundred Kisses_, to a commissioned score by Baron Frederic d’Erlanger; the _Danses Slaves et Tsiganes_, from the Dargomijhky opera _Roussalka_; and a revival of that great Stravinsky-Nijinska work, _Les Noces_, which, for practical reasons, I was able to give only at the Metropolitan Opera House, New York. The following painters and designers collaborated on the scenery and costumes: Oliver Messel, Cecil Beaton, Etienne de Beaumont, Nathalie Gontcharova, Korovin, Pierre Hugo, Jean Lurçat, Albert Johnson, Irene Sharaff, Eugene Lourie, Raoul Dufy, André Masson, Joan Miro, Polunin, Chirico, José Maria Sert, Pruna, André Derain, Picasso, Bakst, Larionoff, Alexandre Benois, Nicholas Roerich, Mstislav Doboujinsky. For the sake of the record, as the company recedes into the mists of time, let me list its chief personnel during this period: Leonide Massine, ballet-master and chief male dancer; Alexandra Danilova, Irina Baronova, Tamara Toumanova, Tatiana Riabouchinska, _ballerinas_; Lubov Tchernicheva, Olga Morosova, Nina Verchinina, Lubov Rostova, Tamara Grigorieva, Eugenia Delarova, Vera Zorina, Sono Osato, Leon Woizikovsky, David Lichine, Yurek Shabalevsky, Paul Petroff, André Eglevsky, and Roman Jasinsky, soloists; Serge Grigorieff, _régisseur_.