In May, 1841, she appeared at Her Majesty’s, in the “Lac des Fées,” with great success; in June “Sylphide” was revived for her, and on August 12th she took her benefit, to which people flocked from all parts of London and, notwithstanding the usual deserted state of town at such a time, the audience was one of the biggest and most fashionable on record. Then she went on a brief visit to Liverpool, and then returned for a time to Vienna. It was in the two ballets, “Alma” and “Ondine,” that the beauteous Fanny achieved her greatest triumphs, in the former representing a fire-spirit, in the latter, a water-nymph given, as was Hans Andersen’s little Mermaid, mortal life and form. She appeared in “Alma,” a ballet by Deshayes, on its first production in London during July, 1842, on the night when the famous “Persiani” row took place, and which was said to be worse than several similar riots in the previous year at the Opera. Mme. Persiani had been “too ill to sing,” and the audience had been incredulous. Comparative quiet was at length secured by the respected manager, Lumley, and, as a journal of the time quaintly records: “A beautiful, sylph-like Cerito, danced in the splendid ballet of ‘Alma,’ and by her inspiration hushed the stormy elements with a repose that ought always to reign when genius and talent are supreme.” Another chronicler speaks of the “new and glittering ballet of ‘Alma,’ which reflects the greatest credit on the inventor, M. Deshayes,” and adds: “We have no hesitation in saying that this is the ballet of all ballets, and carries our memory back to our young, innocent and merry days of juvenility, when care was not care, and tears not tears of woe, to the days of bright sunny smiles, when fairies in our eyes _were_ fairies, and when the brilliant realisations of the doings of ‘Cherry and Fair Star’ were real, existing things of creation, and part and parcelling of our then dreamy nature and being. Such is the new ballet of ‘Alma.’ It is one of the best ever put on the opera boards.” That this impression was created was due certainly to the talent, both as actress and dancer, of Cerito, for whom the ballet had been specially composed. Apropos of her great popularity in London a contemporary record mentions an interesting “fact which will bear testimony at once to her perfect embodiment of the poetry of motion and her excellent private character,” namely, that “The Queen Dowager of England was lately graciously pleased to bestow on her a splendid enamel brooch, set with diamonds, and accompanied by a most flattering message.”