Bandits) in 1875, Les Aventures de Pélée (The Adventures of Peleus) in 1876, Roxana in 1878, La Fille des Neiges (The Daughter of the Snows) in 1879, and Mlada, also in 1879. In 1877 Petipa staged his greatest masterwork to date, the exotic La Bayadère to the music of Minkus, which premiered on for the benefit performance of the Prima ballerina Ekaterina Vazem. The ballet included Petipa's celebrated scene known as The Kingdom of the Shades, for which the Ballet Master staged some of his most outstanding choreography. La Bayadère would prove to be among Petipa's most enduring works. To this day his choreography for the scene The Kingdom of the Shades remains one of the ultimate challenges for the classical ballerina and danseur, and particularly for the corps de ballet. The eldest son of Marius Petipa (with the dressmaker Teresa Burden / ru: Тереза Бурден) also Marius (Marius Mariusovich Petipa) was the famous drama actor, and his son Nikolai Radin was famous Russian actor too. Petipa and his wife, the Prima ballerina Mariia Surovshchikova-Petipa separated in 1875, and in 1882 the ballerina died of virulent smallpox in Pyatigorsk. In 1876 Petipa married the ballerina Lyubov Savitskaya, who before she married Petipa had given birth to their first child. Together, they had six children: Nadezhda Mariusovna Petipa (1874–1945), Evgeniia Mariusovna Petipa (1877–1892), Victor Mariusovich Petipa (1879–1939), Lyubov Mariusovna Petipa (1880–1917), Mariy Mariusovich Petipa (1884–1922), and Vera Mariusovna Petipa (1885–1961). With so many children, Petipa stood at the head of a large family by the time he had reached his 70s, having many grandchildren, in-laws, and god-children. Although he was well provided for at the expense of the Imperial treasury, he was not rich, and lived strictly within his means. He kept track of all of his living expenses in journals, as well as box-office receipts at the theatre. He was well known for his generosity, always lavishing presents upon his children and grandchildren, and was known to purchase tea or lunch for the dancers during a rehearsal. Throughout the 1880s Petipa staged revivals of older works with increasing regularity. In 1880 he revived Mazilier's Le Corsaire for the ballerina Eugenia Sokolova, and in 1881 he revived Mazilier's Paquita for the Prima ballerina Ekaterina Vazem. For this production Petipa added the celebrated Paquita Grand pas classique, as well as the Paquita Pas de trois (or Minkus Pas de trois) and the