For a long time the ballet in London lingered moribund, feebly striving to escape death by a gradual metamorphosis into a “revue.” Frequent were the assertions of the wiseacres that neither ballet nor revue were things which could exist in the peculiar atmosphere of London, the real fact being that what was offered under either title was neither one thing nor the other, but a stupidly attempted compromise between the two. The advent of the Russians changed all that. The ballet proper was received with instant acclamation, the revue sprang into popular favour (even to the extent of being imported intact from Paris), and the bastard entertainment which had previously been fostered under the name of ballet was killed stone dead. Yet this sudden change ought not to cause so very much surprise. That London can claim for practically its own, over a long period, a dancer so accomplished, an artist so genuine, as Adeline Genée, is surely not without significance. If the latter was given poor opportunities for the exercise of her art, that was assuredly no fault of hers. Were impresarios as shrewd before an event as they invariably are after, they might have taken a hint from the never-failing support given to Genée in “Coppélia”--almost the only ballet worthy of the name which had been put upon the London stage for many years before the Russians arrived. It is fair to add, however, that even had the latent demand been recognised (as possibly was the case) the supply would have been a difficult thing to negotiate. The resources of the London _maître de ballet_ are limited. These reflections are prompted by a comparison of the best which London, a little while ago, could offer with “Le Pavillon d’Armide,” which approaches in its principal scene most nearly, of all the ballets in the Russian repertoire, to the formal, somewhat stiff and conventional pattern which was the vogue at the period when Taglioni, Duvernay, Carlotta Grisi, and Fanny Ellsler held the stage, and to the faint traditions of which the so-called ballet in London, of late years, faintly clung. Although “Le Pavillon d’Armide,” with its succession of individual dances, suffers by comparison with some of the more closely knit, more consistently dramatic ballets, it is yet immeasurably above the level to which London had become accustomed. The Pavilion of Armida is an adjunct to the castle of a wicked magician--an elderly Marquis in outward seeming--whose hospitality is sought by an unsuspecting young man. The Vicomte de Beaugency (the period of the ballet is that of Louis XIV.) is on his way in a postchaise to visit his future bride, but is overtaken by a heavy storm and prevented, through stress of weather, from continuing his journey. He finds himself in the grounds of a wayside mansion, at which he begs for shelter. He is courteously received by its owner, the sinister Marquis, who places at his disposal for the night the Pavilion of Armida.