But gradually I knew and later on I will tell the story of the pictures, their painters and their followers and what this conversation meant.

Later I was near Picasso, he was standing meditatively. Do you think, he said, that I really do look like your president Lincoln. I had thought a good many things that evening but I had not thought that. You see, he went on, Gertrude, (I wish I could convey something of the simple affection and confidence with which he always pronounced her name and with which she always said, Pablo. In all their long friendship with all its sometimes troubled moments and its complications this has never changed.) Gertrude showed me a photograph of him and I have been trying to arrange my hair to look like his, I think my forehead does. I did not know whether he meant it or not but I was sympathetic. I did not realise then how completely and entirely american was Gertrude Stein. Later I often teased her, calling her a general, a civil war general of either or both sides. She had a series of photographs of the civil war, rather wonderful photographs and she and Picasso used to pore over them. Then he would suddenly remember the spanish war and he became very spanish and very bitter and Spain and America in their persons could say very bitter things about each other’s country. But at this my first evening I knew nothing of all this and so I was polite and that was all.

And now the evening was drawing to a close. Everybody was leaving and everybody was still talking about the vernissage of the independent. I too left carrying with me a card of invitation for the vernissage. And so this, one of the most important evenings of my life, came to an end.

I went to the vernissage taking with me a friend, the invitation I had been given admitting two. We went very early. I had been told to go early otherwise we would not be able to see anything, and there would be no place to sit, and my friend liked to sit. We went to the building just put up for this salon. In France they always put things up just for the day or for a few days and then take them down again. Gertrude Stein’s elder brother always says that the secret of the chronic employment or lack of unemployment in France is due to the number of men actively engaged in putting up and taking down temporary buildings. Human nature is so permanent in France that they can afford to be as temporary as they like with their buildings. We went to the long low certainly very very long temporary building that was put up every year for the independents. When after the war or just before, I forget, the independent was given permanent quarters in the big exposition building, the Grand Palais, it became much less interesting. After all it is the adventure that counts. The long building was beautifully alight with Paris light.

In earlier, still earlier days, in the days of Seurat, the independent had its exhibition in a building where the rain rained in. Indeed it was because of this, that in hanging pictures in the rain, poor Seurat caught his fatal cold. Now there was no rain coming in, it was a lovely day and we felt very festive. When we got in we were indeed early as nearly as possible the first to be there. We went from one room to another and quite frankly we had no idea which of the pictures the Saturday evening crowd would have thought art and which were just the attempts of what in France are known as the Sunday painters, workingmen, hair-dressers and veterinaries and visionaries who only paint once a week when they do not have to work. I say we did not know but yes perhaps we did know. But not about the Rousseau, and there was an enormous Rousseau there which was the scandal of the show, it was a picture of the officials of the republic, Picasso now owns it, no that picture we could not know as going to be one of the great pictures, and that as Hélène was to say, would come to be in the Louvre.