For all the gaiety of the huntsmen’s entrance it was gaiety demure, as if restrained by an inherent sense of fitness with stately surroundings; and so with the troupe of dancers, introduced for the diversion of the Marquise Belle Etoile, and the Court ladies and courtiers grouped about her. The mood of all, demurely gay, or gaily demure, was suffused with a stately languor, a dream-like grace that found an echo in the subtle colour-harmonies of the old-world garden in which the people moved. And when the opera-dancer, L’Hirondelle, and Passepied the master of the revels, began their _pas de deux_, the climax of exquisite illusion was reached, and Camargo was before us--the Camargo of Lancret’s famous picture, with the soft, full white skirts, trimmed with garlands of small pink roses and falling almost to the ankle; Camargo with the red-heeled, red-rosetted shoes; with blue shoulder-knot and powdered hair adorned with pale blue ribbons. As the fête drew to a close the picture mellowed in the amber light of a waning day; and, amid fallen leaf and chestnut bloom, slowly marquise and prince, Court lady and courtier, dancer and page, began in stately fashion to dance, their shadows lengthening in the failing light, the music growing slower and dreamier as, little by little, the picture was re-formed into the likeness of the opening scene, and the falling curtain brought one back into the world of living things to-day. Another brilliant reconstruction of the Past was achieved by Mr. Wilhelm in his creation of “The Débutante” (November 15th, 1906), which revivified the men and maids and _modes_, the dance of life, and the life of the dance, of that strangely interesting period of the ’thirties and ’forties, the days of Pauline Duverney, Leroux, Fanny Elssler, and Taglioni’s earlier years. The scene represented the _Salon de Danse_ attached to an opera-house, the story dealing with the refusal of a star to take up her part in a ballet which is on the eve of production, her place being taken at the eleventh hour by a _débutante_ (Mlle. Génée) with almost miraculous abilities. For this production, and in order that the style of the earlier dances should be represented on the stage with regard for accuracy and tradition, Mme. Katti Lanner, who had left the Empire in 1905, was induced to withdraw from her retirement temporarily at the request of the Directors, and out of personal friendship towards Mr. Wilhelm, with whose artistic aims she had so constantly shown her sympathy. Her reappearance to take another “call” proved another personal triumph. The ballet was indeed a charming work, fascinating to students of the dance and mime; and it proved so successful that a new one was not required until “Sir Roger de Coverley,” by Adrian Ross and Dr. Osmond Carr, staged by Mr. Wilhelm, came into the bill on May 7th in the following year. As its title betokens, it dealt with the period of Queen Anne and showed a charming representation