Yet greater success followed in “Le Jugement de Pâris,” the honours therein, however, being shared with Cerito and Taglioni. This appearance was in connection with one of the most striking sensations of the theatrical season of 1848 (certainly the most remarkable in the history of ballet, save for the famous _Pas de Quatre_ of three years before), namely, the _Pas des Déesses_, which was performed in the presence of Her Majesty Queen Victoria. Even the Russians of our day never evoked greater excitement or enthusiasm than that which greeted the appearance of these three great dancers of the ’forties in one ballet. A contemporary critic, contrasting the production with that of the former _Pas de Quatre_ remarked that “for poetry of idea and execution the _Pas des Déesses_ has decidedly the advantage,” and goes on to say: “Besides this, though the attention is principally directed to the three great _danseuses_, yet the grouping is rendered far more effective by the addition of other actors. “The _Pas des Déesses_ has another recommendation; it is longer, and the intervals while the three ‘stars’ are resting themselves, are filled up by the charming butterfly steps of Louise Taglioni, and the most incredible feats on the part of St. Leon and Perrot. In fact, all here surpass themselves--of Taglioni, Grahn, Cerito, each in turn seems to obtain the advantage--though, of course, the palm is finally adjudged by each spectator accordingly as his taste is originally inclined. For ourselves, as critics, obliged to put away all previous predilections, we are compelled to confess that each in her peculiar style, in this _pas_, reaches the _ne plus ultra_ of her art, and each is different. “Though the styles of Taglioni and Lucille Grahn at first sight would seem to be identical, yet they have both their own peculiar characteristics. The buoyant energy of Grahn contrasts with that peculiar quietness that marks Taglioni’s most daring feats, while Cerito, who by her very smallness of stature, seems fitted by nature for another style of dancing, bounds to and fro, as though in the plenitude of enjoyment. We have never seen either of these great _danseuses_ achieve such wonders as in this _pas_. The improvement of Lucile Grahn is, above all, marvellous; she introduces a step entirely new and exquisitely graceful; and, though it must be of most difficult achievement, she executes it with an ease and lightness which gives her the appearance of flying. It is a species of _valse renversée_ on a grand scale. One of the most effective moments with Cerito is that in which she comes on with St. Leon, executing a _jetés battus_ in the air, and, at the same moment, turning her head suddenly to catch a sight of the much-desired apple. This never fails to elicit thunders of applause, and an encore.