Always I have been her devoted friend from the beginning of her American successes, and shall continue to be. It is _ballerinas_ of the type of Alicia Markova who help make ballet the great art it is. There are all too few of them. Often I have told Anton Dolin that the two of them, Markova and Dolin, individually and collectively, have been of immeasurable service and have done great honor to ballet both in England and throughout the world. _ANTON DOLIN_ The erstwhile Sydney Patrick Chippendall Healey-Kay, metamorphosed into Anton Dolin whose star has so often paralleled and traversed that of Markova, was born at Slinfold, Sussex, 20th July, 1904. A principal dancer of the Diaghileff Ballet at an early age, he was unique as the only non-Russian _premier danseur_ ever to achieve that position. Leaving Diaghileff in 1926, he organized the Nemtchinova-Dolin Ballet, with which they toured England and Europe. Alternating ballet with the dramatic and musical theatre, he turned up in New York in Lew Leslie’s unhappy _International Revue_, along with Gertrude Lawrence, Harry Richman, and the unforgettable Argentinita. On his return to London, Dolin became the first guest-star of the Vic-Wells Ballet before it exchanged the Vic for Sadler’s. In 1935, with the valued help of the late Mrs. Laura Henderson, he was indefatigable in the formation of the Markova-Dolin Ballet, one of the results of which was the laying of the foundation stones of ballet’s popularity in Great Britain. A period with the de Basil company in Australia was followed by his extended American sojourn, with Ballet Theatre, the Ballet Russe de Monte Carlo, as guest artist, _The Seven Lively Arts_, the Original Ballet Russe, and again under my management with the Markova-Dolin company. Without making too detailed a research, I should say that the Dolin literature is nearly as extensive as that about Markova, making due allowance for the fact that the glamorous _ballerina_ always lends herself to the printed page more attractively than her male _vis-a-vis_. However, Dolin, often as busy with his pen as with his feet, has added four volumes of his own authorship to the list. _Divertissement_, published in 1931, and _Ballet-Go-Round_, published in 1938, were sprightly volumes of autobiographical reminiscence and highly personal commentary and observation. There has also been a slender volume on the art of partnering and, more recently, a biographical study of Markova entitled _Alicia Markova: Her Life and Art_.