There was also there if my memory is correct a strange picture by the same douanier Rousseau, a sort of apotheosis of Guillaume Apollinaire with an aged Marie Laurencin behind him as a muse. That also I would not have recognised as a serious work of art. At that time of course I knew nothing about Marie Laurencin and Guillaume Apollinaire but there is a lot to tell about them later. Then we went on and saw a Matisse.Ah there we were beginning to a feel at home. We knew a Matisse when we saw it at once and enjoyed it and knew that it was great art and beautiful. It was a big figure of a woman lying in among some cactuses. A picture which was after the show to be at the rue de Fleurus. There one day the five year old little boy of the janitor who often used to visit Gertrude Stein who was fond of him, jumped into her arms as she was standing at the open door of the atelier and looking over her shoulder and seeing the picture cried out in rapture, oh là là what a beautiful body of a woman. Miss Stein used always to tell this story when the casual stranger in the aggressive way of the casual stranger said, looking at this picture, and what is that supposed to represent.

In the same room as the Matisse, a little covered by a partition, was a hungarian version of the same picture by one Czobel whom I remembered to have seen at the rue de Fleurus, it was the happy independent way to put a violent follower opposite the violent but not quite as violent master.

We went on and on, there were a great many rooms and a great many pictures in the rooms and finally we came to a middle room and there was a garden bench and as there were people coming in quite a few people we sat down on the bench to rest.

We had been resting and looking at every body and it was indeed the vie de Bohème just as one had seen it in the opera and they were very wonderful to look at. Just then somebody behind us put a hand on our shoulders and burst out laughing. It was Gertrude Stein. You have seated yourselves admirably, she said. But why, we asked. Because right here in front of you is the whole story. We looked but we saw nothing except two big pictures that looked quite alike but not altogether alike. One is a Braque and one is a Derain, explained Gertrude Stein. They were strange pictures of strangely formed rather wooden blocked figures, one if I remember rightly a sort of man and women, the other three women. Well, she said still laughing. We were puzzled, we had seen so much strangeness we did not know why these two were any stranger. She was quickly lost in an excited and voluble crowd. We recognised Pablo Picasso and Fernande, we thought we recognised many more, to be sure everybody seemed to be interested in our corner and we stayed, but we did not know why they were so especially interested. After a considerable interval Gertrude Stein came back again, this time evidently even more excited and amused. She leaned over us and said solemnly, do you want to take french lessons. We hesitated, why yes we could take french lessons. Well Fernande will give you french lessons, go and find her and tell her how absolutely you are pining to take french lessons. But why should she give us french lessons, we asked. Because, well because she and Pablo have decided to separate forever. I suppose it has happened before but not since I have known them. You know Pablo says if you love a woman you give her money. Well now it is when you want to leave a woman you have to wait until you have enough money to give her. Vollard has just bought out his atelier and so he can afford to separate from her by giving her half.