In 1910, he left Russia to become Pavlova’s partner, a position he held intermittently for many years. Apart from being Pavlova’s chief support, he made numerous American appearances. He was a member of Gertrude Hoffman’s _Saison Russe_, at the Winter Garden, in 1911; and in the same year supported the great Danish _ballerina_, Adeline Genée, at the Metropolitan Opera House, in _La Danse_, “an authentic record by Mlle. Genée of Dancing and Dancers between the years 1710 and 1845.” Volinine returned to the United States in 1912-1913, when, after the historical break between Pavlova and Mordkin, the latter formed his “All-Star Imperial Russian Ballet,” with Ekaterina Geltzer, Julia Sedova, Lydia Lopokova, and Volinine. This was an ill-starred venture from the start for no sooner had they opened at the Metropolitan Opera House than Mordkin and Sedova quarrelled with Geltzer and, so characteristic of Russian Ballet, the factions, in this case Polish and English _versus_ Russian, took violent sides. Volinine was on the side of the former. As a result of the company split, the English-Polish section went off on a tour across the country with Volinine, who augmented their tiny salaries by five dollars weekly from his private purse. After they had worked their way through the Deep South and arrived at Creole New Orleans, the manager decamped for a time, and a tremulous curtain descended on the first act of _Coppélia_, not to rise. By one means or another, and with some help from the British Consul in New Orleans, they managed to return to New York by way of a stuffy journey in a vile-smelling freighter plying along the coast. By quick thinking, and even quicker acting, including mass-sitting on the manager’s doorstep, they forced that individual to arrange for the passage back to England, which was accomplished with its share of excitement; once back in England, Volinine returned to his place as Pavlova’s first dancer. Volinine was the featured dancer with Pavlova in 1916, when I first met her at the Hippodrome, and often accompanied us to supper. As the years wore on, I learned to know and admire him. As a dancer, Volinine was a supreme technician, and, I believe, one of the most perfect romantic dancers of his time. In his Paris school today he is passing on his rare knowledge to the men of today’s generation of _premières danseurs_. His teaching, combined with his quite superb understanding of the scientific principles involved, are of great service to ballet. Michael Somes, the first dancer of the Sadler’s Wells Ballet, is among those who go to Volinine’s Paris studio for those refining corrections obtainable only from a great teacher who has been a great dancer. “Sasha” Volinine has, perhaps, spent as much or more of his professional life in England, Australia, and other English-speaking countries, as any Russian dancer. On the other hand, he speaks and understands less English, perhaps, than any of the others.