The advent of the above-named three French ballet dancers was due to the genial reforms of Noverre, the Shakespeare of the dance, in the eighteenth century. We know very little of the principal qualities of Mlle. Sallé’s art, except that she disliked rapid measures and choreographic eccentricities. She was the principal dancer in many of Noverre’s ballets, especially in ‘The Caprices of Galatea’ and ‘Rinaldo and Armida,’ and in several Gardel ballets. In 1734 she appeared at Covent Garden in London, in the ballet of ‘Pygmalion and Galatea,’ and seemed to electrify her audiences so much that Handel wrote for her the ballet ‘Terpsichore,’ and at the close of the ballet purses filled with jewels were showered on the stage at her feet. The real favorite of the eighteenth century opera habitués was Mlle. Camargo. Her success is said to have been so sensational that the crowds around the doors of the theatre in London fought for the mere privilege of seeing her. She was also famous for her enchanting body and fascinating personality. Though born in Brussels, she was the daughter of a Spanish ballet-master, therefore she had at her command all the impassioned art of the ancient Caditians. At the age of ten she was sent by the Princess de Ligne to Paris and became a pupil of Madame Prévost, the foremost dancing teacher of that time. At the age of eleven she made her début at Rouen; but she continued her study until she was sixteen when she appeared for the first time at the Opera in Paris with unparalleled success. ‘Nimble, coquettish, and light as a sylph, she sparkled with intelligence,’ writes Castil-Blaze. ‘She added to distinction and fire of execution a bewitching gayety which was all her own. Her figure was very favorable to her talent: hands, feet, limbs, stature, all were perfect. But her face, though expressive, was not remarkably beautiful. And as in the case of the famous harlequin Dominique, her gayety was a gayety of the stage only; in private life she was sadness itself.’ Camargo is credited with having brought about an absolute revolution in opera by her fanciful and ingenious improvisations. In spite of the prevailing stiffness and rigid rules in the ballet she made a special place for herself by depicting the characters that she had to personify on the stage. She delighted in the conquering of technical difficulties. Stormy love affairs affected her so much that for six years she retired from the stage. But she quitted public life in 1741 and lived in seclusion the rest of her life. She left two children with the Duc de Richelieu and Comte de Clermont. She died at sixty years of age and ‘was remembered as the grave, sweet woman whose last years had been spent in loneliness and meditation.’