“Every time a shower of bouquets descended, on the conclusion of a _solo pas_ of one or other of the fair _ballerines_, her sister dancers came forward to assist her in collecting them; and both on Saturday and Tuesday did Cerito offer to crown Taglioni with a wreath which had been thrown in homage to the queen of the dance. We were also glad to see on the part of the audience far less of partisanship than had been displayed two or three years since, on the performance of a _pas de deux_ between Elssler and Cerito. The applause was universal, and equally distributed. This, however, did not take from the excitement of the scene. The house, crowded to the roof, presented a concourse of the most eager faces, never diverted for a moment from the performance; and the extraordinary tumult of enthusiastic applause, joined to the delightful effect of the spectacle presented, imparted to the whole scene an interest and excitement that can hardly be imagined.” Yet another triumph for Ballet was scored in the following season, July, 1846, when Taglioni’s appearance in “La Gitana” having been hailed with quite extraordinary enthusiasm, there came a piece of managerial enterprise equalling that of the famous _Pas de Quatre_. A new ballet by Perrot, “Les Tribulations d’un Maître de Ballet,” was arranged for production and during the performance a _pas_ was to have been introduced, combining the matchless three--Grahn, Cerito and Taglioni, supported also by the niece of the last named, Louise Taglioni; and St. Leon, husband of Cerito; and Perrot, husband of Carlotta Grisi. This _pas_ for the leading dancers was intended to form part of a _divertissement_ entitled “Le Jugement de Pâris,” which the aforesaid _maître de ballet_ was supposed to be arranging and to be having “tribulations” about. But on putting the _divertissement_ into rehearsal the idea was found to be so attractive and to assume such importance as to overshadow the rest of the production and the “Jugement de Pâris” was therefore detached and staged as a separate ballet in itself with the happiest result. The _pas_ so isolated was of course the famous _Pas des Déesses_, the goddesses naturally being the fair rivals Juno, Minerva and Venus, impersonated by the three great _ballerines_, who contended for the apple thrown by the Goddess of Discord, and awarded by Paris to the most beautiful of the three. Needless to say, with such dancers, the production found favour with audiences and critics, one of whom wrote: