In the early founding days of the Ballet Russe de Monte Carlo, I was very anxious that he join Massine as one of the leading figures of the company. Dolin shared my desire, and was eager to become a member, but there did not appear to be any room for him; and, moreover, with Lifar and Massine in the company, matters were difficult in the extreme, and plagued by the winds of complexity. Dolin’s lovely mother, to whom he is devoted, lived with him in New York during the period of his residence here. Now that he is back in England, at the head of his own company, the London Festival Ballet, she is with him there. It was she, a shrewd pilot of his career, who begged me to take “Pat” under my wing. A gracious, generous lady, I am as fond of her as I am of “Pat.” When he was offered a leading dancing and choreographic post at the inception of Ballet Theatre, he sought my advice. I was instrumental in his joining the company; he helped me to take over the management of the company later on. His “Russianness” that I have mentioned, releases itself in devastating flares and flashes of “temperament.” These outbursts express themselves very often in rapid-fire iteration of a single phrase: “I shan’t dance! I shan’t dance! I shan’t dance!” Yet I always know that, when the time comes for his appearance, “Pat” will be on hand. Neither illness nor accident prevents him from doing his job. There was an occasion on tour, in the far north and in the midst of an icy blizzard, when he insisted on dancing with a fever of one hundred three degrees. He may not have danced with perfection, but he danced. Today, and in the past as well, there are and have been some who have not cared for his dancing. Certain sections of the press have the habit of developing a pronouncedly captious tone in dealing with Dolin the dancer. I would remind those persons of the perfectly amazing theatrical sense Dolin always exhibits. I would remind them that, in my opinion and in the opinion of others more finely attuned to the niceties of the classical dance, Dolin is one of the finest supporting partners it is possible for a _ballerina_ to have. Markova is never shown to her best advantage with any other male dancer than Anton Dolin. My opinion, on which I make no concessions to any one, is that Dolin is one of the finest Albrechts in the world today. Without Dolin, _Giselle_ remains but half a ballet. As a _re_-creator, he has few peers and no superiors. I can think of no one better qualified to recreate a masterpiece of another era, with regard to the creator’s true intent and meaning, nor do I know of any choreographer who has a greater feeling, a finer sense, or a more humble respect for “period and tradition.” As a dancer, there are still roles which require a minimum of dancing and a maximum of acting. These roles are preeminently Dolin’s, and in these he cannot be equaled.