 Vsevolozhsky similarly championed Marius Petipa, with whom he had a fruitful relationship culminating in productions of 'L'Ordre du roi', 'Les Ruses d'amour' and 'Sleeping Beauty' that echoed the French golden age of ballet.However, his main allegiance remained to the cause for which he had been appointed, namely championing Russian ballet.His critics, such as Skalkovsky, lamented the lack of foreign dancers, and only in exceptional cases did he waver in his commitment to Russian art, as Wiley attests.