Petipa surrounded himself with the best dance authorities of the time. Felix Kshesinsky, Leggatt, Schirjajeff and Bekeffy became his associates in the task he had undertaken. Coöperating in harmony and inspired by the new tendency of nationalism in music and drama, they made the ballet typically national by introducing a long repertoire of national themes in the dance. With pretty Kshesinskaya, Bogdanova, Breobrashenskaya, Sokolova, Pavlova, Karsavina, Lopokova and Fokina as the _prima ballerinas_ many new ballets became thrilling novelties to the Russian audiences. The ballet in the eyes of the Petipa school became a mute drama with music, and at once took a high position artistically and poetically. People grew to find the ballet far more alluring than the pessimistic drama. What Petipa did pedagogically for the uplifting of the Russian ballet, Vsevoloshky did scenically and industrially. Vsevoloshky made himself the spirit of the nationalistic movement by combining with the purely choreographic part the creations of the new school of painters and composers in a highly artistic manner. Rubinstein, Tschaikowsky, Rimsky-Korsakoff, Arensky and Glazounoff in music, Bilibin, Benois and Bakst in painting, contributed their best works to the ballet. On the other hand, while the West European ballets cared little for training the male dancers, the Russians laid a special stress on training an equal number of boys with the girls in all their ballet schools. The training of a boy is different from that of a girl in that it teaches chiefly those traits that lend virility and strength to expression. A weak masculine element deprives the ballet of its natural effect. A Pavlova, Karsavina or Fokina without a Nijinsky, Mordkin or Volinin, would be like an orchestra without the bass. How repulsive it is to see the ‘boy’ dancer of the English stage, who is always a girl! IV