Mme. Pavlova, who also first appeared at the Palace Theatre, is an extremely accomplished _danseuse_ who probably has not troubled, and certainly has not _needed_ to trouble herself, about definitions of the dance, for she belongs to a “school,” the basis of which was defined a century or more ago, and she herself is one of its most recent and perfect blossomings. Mons. Mordkin, nurtured by the same school, is superb, and it was no wonder that the first appearance of these two artistes in their wonderful _pas de deux_, “L’Automne Bacchanale,” should have fired some of our finest dramatic critics to expressions of almost frenzied admiration and doubtless driven shoals of lesser men to the neighbourhood of Hanwell in despair at the impossibility of finding suitable adjectives for the new wonder that had come amongst us. One can only deplore the fact that the harmony which made possible the _pas de deux_ of the first season should have been, even temporarily, broken, and permitted us only to enjoy the work of both dancers subsequently in _pas seuls_, or in _pas de deux_--with other partners. One could hardly close a reference to the popular Palace--a reference necessarily brief, as must be any concerning the various “vaudeville” houses in a review covering so wide a field--without a passing word of grateful praise to that bevy of bright young dancers, the “Palace Girls.” As people of catholic enough taste to enjoy _all_ dancing that is good in itself--from the vigorous cellar-flap of the street urchin to the aerial _pas_ of a Pavlova--we may agree that, in a sense, the Palace has been all the more attractive for the “Palace Girls.” Somehow the modern comedic spirit appears to express itself best in short skirts, shapely legs and a jolly smile; and in their insouciante charm, their neatness, agility, precision and _enfantine_ gaiety, the “Palace Girls” always seemed to focalise the requirements of “vaudeville,” and symbolise the attractions of music-hall modernity.