To our knowledge none of Tschaikowsky’s ballets has been given in America. Whether the Diaghileff company ever gave any of them in Paris and London, we have been unable to learn. The Russian ballets that the foreign audiences have thus far seen abroad, are nearly without exception musical patch-works. Neither the Rimsky-Korsakoff _Scheherezade_ nor _Prince Igor_ nor _Cleopatra_ was ever written for dancing. The _Scheherezade_, for instance, is an orchestral suite of Rimsky-Korsakoff. He never meant it for a ballet. Of all the real ballets that the Diaghileff troupe has given only those composed by Stravinsky and a few by Tcherepnin are meant to be danced. Among the best Russian ballet dancers of the strictly classic or, as we should say, of the Petipa school, are Kshesinskaya, Breobrashenskaya, Geltzer, Pavlova, Mordkin, Novikoff, Volinin, Kyasht and Lopokova, most of whom are known abroad. But there are quite a number of Russian _prima ballerinas_, who, for some reason or other, have not been able to display their art abroad, yet who rival the best we know. As with other artists, dancers all have their individual traits of superiority and weakness. In some dances we have seen Kshesinskaya superior to all the rest, in other rôles she is just a mediocrity. We can imagine nothing more inspiring and beautiful than Pavlova and Mordkin in Glazounoff’s _L’Autômne Bacchanale_. No Russian ballet dancers have surpassed them in this. In the same way we consider Pavlova a goddess of grace and beauty in Drigo’s _Papillon_ and Saint-Saëns’ ‘The Swan.’ We measure her one of the most lyric artists of the Russian classic ballet. Mme. Pavlova is a graduate of the Petrograd Ballet School and was for years a _prima ballerina_ at the Mariensky Theatre in that city before she made a tour to Riga, Warsaw and Helsingfors. Having been received with greatest enthusiasm on her provincial tour she decided to try her luck abroad and made her London début in 1910, where she immediately had the city at her feet. It is only in recent years that Pavlova has danced in her own regular ballet, whereas before she appeared exclusively in solo dances, either with Mordkin, Novikoff or Volinin. In our judgment she has not added anything to her reputation or success by her patchy ballet, particularly in America, where the public is least impressed by pantomimic art of the kind they can see with more advantage in the moving-picture show. It is Pavlova’s art that the people admire, not the ballets that are concocted for her. It must be said that the ballets recently produced by her possess little dramatic or choreographic appeal.