Elsewhere Taglioni’s success was no less remarkable. Indeed, wheresoever she went she achieved a triumph. At Petrograd such tempting offers were made by the Emperor and Empress that she prolonged her stay for three years, and left laden with gifts from their Imperial Majesties. At Vienna, on one occasion, having been called before the curtain twenty-two times, when she finally got away from the Opera House her carriage was drawn to her hotel by forty young men of the leading Austrian families. In London she was worshipped by the public, and was one of the special admirations of the youthful Queen Victoria, some of whose dolls (as in the case of Brocard, Pauline Leroux, and other dancers) were dressed to represent the characters Taglioni played, and may be seen to-day in the London Museum. [Illustration: Marie Taglioni (_From a lithograph dated 1833_).] [Illustration: The Pas de Quatre of 1845 (_Lucille Grahn, Fanny Cerito, Carlotta Grisi, and in the centre Marie Taglioni_).] Taglioni was married to Gilbert, Comte de Voisins, in 1835, but the marriage was not a happy one and was dissolved in 1844. She retired for a little time, but returned to the stage again and appeared in London, with triumphant success, in 1845. The climax of a great season came in July of that year, when, at the request of Her Majesty, Queen Victoria, the _Pas de Quatre_, to which reference has already been made, was arranged for the four great dancers, Taglioni, Cerito, Carlotta Grisi and Lucile Grahn. One critic remarked that the appearance of four such stars on the same boards and in the same _pas_ was “truly what our Gallic neighbours call _une solennité théâtrale_, and such a one as none of those who beheld it are likely to witness again.” It was, he declared rightly, “an event unparalleled in theatrical annals, and one which, some two score years hence, may be handed down to a new generation by garrulous septuagenarians as one of the most brilliant reminiscences of days gone by.” Without being a septuagenarian, or being in a position to remember an event about which to grow garrulous, all who have studied theatrical history at all can freely endorse the remark. Probably never in any theatre was seen such excitement as there was on this occasion. Contemporary testimony, when authoritative, is always valuable in such cases, and as there is no better account of the famous “Pas de Quatre” than that given by the _Illustrated London News_ of that day, July 19th, 1845, it may be quoted at length with advantage. Speaking of the curiosity which so unusual an event must necessarily excite, and which led him to “hurry” to the theatre, the writer declared that: