the visiting ballerina Adèle Grantzow, for which he included the celebrated scene Le jardin animé to the music of Léo Delibes. Petipa presented his next new grand ballet on . This was the colossal ballet Le Roi Candaule (known in Russian as Tsar Candavl), which was staged especially for the visiting ballerina Henrietta D'or. The ballet featured the Pas de Vénus, which was considered to be among Petipa's greatest masterpieces of classical choreography, with the ballerina D'or executing five pirouettes during her piqué turns in rapid succession. The ballet also included the pas known as Les amours de Diane, or simply as the Pas de Diane, which would later be transformed by Agrippina Vaganova into the so-called Diane and Actéon Pas de Deux for her 1935 revival of La Esmeralda. Le Roi Candaule would go on to break attendance records at the St. Petersburg Imperial Bolshoi Kamenny Theatre, and by 1903 the work had been performed 194 times. Petipa would later comment in his memoirs that Le Roi Candaule was " ... the indulgence of my youth." Petipa's final work of the 1860s remains a cornerstone of the classical ballet repertory. Don Quixote was mounted for Moscow's Bolshoi Theatre, with the famous ballerina Anna Sobeshchanskaya in the role of Kitri. The composer Ludwig Minkus was commissioned to write the ballet's score, marking the beginning of a long and fruitful collaboration between him and Petipa. Premier maître de ballet of the Imperial Theatres In 1869 Saint-Léon's contract was set to expire. His last works for the St. Petersburg stage, Le Poisson doré (1866) and Le Lys (1869), led the Minister of the Imperial Court to refuse renewal of the Ballet Master's contract. While in the Café de Divan on the Avenue de l'Opéra in Paris, Saint-Léon died of a heart attack on 2 September 1870. Not long before his death the composer Cesare Pugni—Petipa's chief collaborator for many years—died on . Petipa was officially named premier maître de ballet on . On Petipa presented Don Quixote in the St. Petersburg in an expanded and far more lavish edition. Ludwig Minkus's score was hailed unanimously as a masterwork of ballet music, earning the composer the post of Ballet Composer of the St. Petersburg Imperial Theatres. Petipa and Minkus created a successful series of original works and revivals throughout the 1870s: La Camargo in 1872, Offenbach's Le Papillon in 1874, Les Brigands (The