Chapter 5 1907–1914

And so life in Paris began and as all roads lead to Paris, all of us are now there, and I can begin to tell what happened when I was of it.

When I first came to Paris a friend and myself stayed in a little hotel in the boulevard Saint–Michel, then we took a small apartment in the rue² Notre–Dame-des-Champs and then my friend went back to California and I joined Gertrude Stein in the rue de Fleurus.

I had been at the rue de Fleurus every Saturday evening and I was there a great deal beside. I helped Gertrude Stein with the proofs of Three Lives and then I began to typewrite The Making of Americans. The little badly made french portable was not strong enough to type this big book and so we bought a large and imposing³ Smith Premier⁴ which at first looked very much out of place in the atelier but soon we were all used to it and it remained until I had an american portable, in short until after the war.

As I said Fernande was the first wife of a genius I was to sit with. The geniuses came and talked to Gertrude Stein and the wives sat with me. How they unroll, an endless vista⁵ through the years. I began with Fernande and then there were Madame Matisse and Marcelle Braque and Josette Gris and Eve Picasso and Bridget Gibb and Marjory Gibb and Hadley and Pauline Hemingway and Mrs. Sherwood Anderson and Mrs. Bravig Imbs and the Mrs. Ford⁶ Madox Ford and endless others, geniuses, near geniuses and might be geniuses, all having wives, and I have sat and talked with them all all the wives and later on, well later on too, I have sat and talked with all. But I began with Fernande.

I went too to the Casa Ricci in Fiesole with Gertrude Stein and her brother. How well I remember the first summer I stayed with them. We did charming things. Gertrude Stein and I took a Fiesole cab, I think it was the only one and drove in this old cab all the way to Siena. Gertrude Stein had once walked it with a friend but in those hot italian days I preferred a cab. It was a charming trip. Then another time we went to Rome and we brought back a beautiful black renaissance⁷ plate. Maddalena, the old italian cook, came up to Gertrude Stein’s bedroom one morning to bring the water for her bath. Gertrude Stein had the hiccoughs. But cannot the signora stop it, said Maddalena anxiously. No, said Gertrude Stein between hiccoughs. Maddalena shaking her head sadly went away. In a minute there was an awful crash. Up flew Maddalena, oh signora, signora, she said, I was so upset because the signora had the hiccoughs that I broke the black plate that the signora so carefully brought from Rome. Gertrude Stein began to swear, she has a reprehensible⁸ habit of swearing whenever anything unexpected happens and she always tells me she learned it in her youth in California, and as I am a loyal californian I can then say nothing. She swore and the hiccoughs ceased. Maddalena’s face was wreathed in smiles. Ah the signorina, she said, she has stopped hiccoughing. Oh no I did not break the beautiful plate, I just made the noise of it and then said I did it to make the signorina stop hiccoughing.

Gertrude Stein is awfully⁹ patient over the breaking of even her most cherished objects, it is I, I am sorry to say who usually break them. Neither she nor the servant nor the dog do, but then the servant never touches them, it is I who dust them and alas¹⁰ sometimes accidentally break them. I always beg her to promise to let me have them mended by an expert before I tell her which it is that is broken, she always replies she gets no pleasure out of them if they are mended but alright have it mended and it is mended and it gets put away. She loves objects that are breakable, cheap objects and valuable objects, a chicken out of a grocery shop or a pigeon out of a fair, one just broke this morning, this time it was not I who did it, she loves them all and she remembers them all but she knows that sooner or later they will break and she says that like books there are always more to find. However to me this is no consolation¹². She says she likes what she has and she likes the adventure of a new one. That is what she always says about young painters, about anything, once everybody knows they are good the adventure is over. And adds Picasso with a sigh, even after everybody knows they are good not any more people really like them than they did when only the few knew they were good.

I did have to take one hot walk that summer. Gertrude Stein insisted that no one could go to Assisi except on foot. She has three favourite saints, Saint Ignatius Loyola, Saint Theresa of Avila and Saint Francis. I alas have only one favourite saint, Saint Anthony of Padua because it is he who finds lost objects and as Gertrude Stein’s elder brother once said of me, if I were a general I would never lose a battle, I would only mislay it. Saint Anthony helps me find it. I always put a considerable sum in his box in every church I visit. At first Gertrude Stein objected to this extravagance but now she realises its necessity and if I am not with her she remembers Saint Anthony for me.

It was a very hot italian day and we started as usual about noon, that being Gertrude Stein’s favourite walking hour, because it was hottest and beside presumably Saint Francis had walked it then the oftenest as he had walked it at all hours. We started from Perugia across the hot valley. I gradually undressed, in those days one wore many more clothes than one does now, I even, which was most unconventional in those days, took off my stockings, but even so I dropped a few tears before we arrived and we did arrive. Gertrude Stein was very fond of Assisi for two reasons, because of Saint Francis and the beauty of his city and because the old women used to lead instead of a goat a little pig up and down the hills of Assisi. The little black pig was always decorated with a red ribbon. Gertrude Stein had always liked little pigs and she always said that in her old age she expected to wander up and down the hills of Assisi with a little black pig. She now wanders about the hills of the Ain with a large white dog and a small black one, so I suppose that does as well.

She was always fond of pigs, and because of this Picasso made and gave her some charming drawings of the prodigal¹³ son among the pigs. And one delightful¹⁴ study of pigs all by themselves. It was about this time too that he made for her the tiniest of ceiling decorations on a tiny wooden panel and it was an hommage a Gertrude with women and angels bringing fruits and trumpeting¹⁵. For years she had this tacked¹⁶ to the ceiling over her bed. It was only after the war that it was put upon the wall.

But to return to the beginning of my life in Paris. It was based upon the rue de Fleurus and the Saturday evenings and it was like a kaleidoscope slowly turning.

What happened in those early years. A great deal happened.

As I said when I became an habitual¹⁷ visitor at the rue de Fleurus the Picassos were once more together, Pablo and Fernande. That summer they went again to Spain and he came back with some spanish landscapes and one may say that these landscapes, two of them still at the rue de Fleurus and the other one in Moscow in the collection that Stchoukine founded and that is now national property, were the beginning of cubism. In these there was no african sculpture influence. There was very evidently a strong Cézanne influence, particularly the influence of the late Cézanne water colours, the cutting up the sky not in cubes but in spaces.

But the essential thing, the treatment of the houses was essentially¹⁸ spanish and therefore essentially Picasso. In these pictures he first emphasised the way of building in spanish villages, the line of the houses not following the landscape but cutting across and into the landscape, becoming undistinguishable in the landscape by cutting across the landscape. It was the principle of the camouflage²⁰ of the guns and the ships in the war. The first year of the war, Picasso and Eve, with whom he was living then, Gertrude Stein and myself, were walking down the boulevard Raspail a cold winter evening. There is nothing in the world colder than the Raspail on a cold winter evening, we used to call it the retreat from Moscow. All of a sudden down the street came some big cannon²¹, the first any of us had seen painted, that is camouflaged²². Pablo stopped, he was spell-bound. C’est nous qui avons fait ?a, he said, it is we that have created that, he said. And he was right, he had. From Cézanne through him they had come to that. His foresight²³ was justified²⁴.

But to go back to the three landscapes. When they were first put up on the wall naturally everybody objected. As it happened he and Fernande had taken some photographs of the villages which he had painted and he had given copies of these photographs to Gertrude Stein. When people said that the few cubes in the landscapes looked like nothing but cubes, Gertrude Stein would laugh and say, if you had objected to these landscapes as being too realistic there would be some point in your objection. And she would show them the photographs and really the pictures as she rightly said might be declared to be too photographic a copy of nature. Years after Elliot Paul at Gertrude Stein’s suggestion had a photograph of the painting by Picasso and the photographs of the village reproduced on the same page in transition and it was extraordinarily²⁵ interesting. This then was really the beginning of cubism. The colour too was characteristically spanish, the pale silver yellow with the faintest suggestion of green, the colour afterwards so well known in Picasso’s cubist pictures, as well as in those of his followers²⁸.

Gertrude Stein always says that cubism is a purely²⁹ spanish conception and only spaniards can be cubists and that the only real cubism is that of Picasso and Juan Gris. Picasso created it and Juan Gris permeated³⁰ it with his clarity and his exaltation. To understand this one has only to read the life and death of Juan Gris by Gertrude Stein, written upon the death of one of her two dearest friends, Picasso and Juan Gris, both spaniards.

She always says that americans can understand spaniards. That they are the only two western nations that can realise abstraction. That in americans it expresses itself by disembodiedness, in literature and machinery³¹, in Spain by ritual so abstract that it does not connect itself with anything but ritual.

I always remember Picasso saying disgustedly apropos³² of some germans who said they liked bull-fights, they would, he said angrily, they like bloodshed. To a spaniard it is not bloodshed, it is ritual.

Americans, so Gertrude Stein says, are like spaniards, they are abstract and cruel. They are not brutal³³ they are cruel. They have no close contact with the earth such as most europeans have. Their materialism³⁴ is not the materialism of existence, of possession, it is the materialism of action and abstraction. And so cubism is spanish.

We were very much struck, the first time Gertrude Stein and I went to Spain, which was a year or so after the beginning of cubism, to see how naturally cubism was made in Spain. In the shops in Barcelona instead of post cards they had square little frames and inside it was placed a cigar, a real one, a pipe, a bit of handkerchief etcetera, all absolutely the arrangement of many a cubist picture and helped out by cut paper representing other objects. That is the modern note that in Spain had been done for centuries.

Picasso in his early cubist pictures used printed letters as did Juan Gris to force the painted surface to measure up to something rigid³⁵, and the rigid thing was the printed letter. Gradually instead of using the printed thing they painted the letters and all was lost, it was only Juan Gris who could paint with such intensity³⁶ a printed letter that it still made the rigid contrast. And so cubism came little by little but it came.

It was in these days that the intimacy³⁷ between Braque and Picasso grew. It was in these days that Juan Gris, a raw rather effusive³⁸ youth came from Madrid to Paris and began to call Picasso cher maitre to Picasso’s great annoyance³⁹. It was apropos of this that Picasso used to address Braque as cher maitre, passing on the joke, and I am sorry to say that some foolish people have taken this joke to mean that Picasso looked up to Braque as a master.

But I am once more running far ahead of those early Paris days when I first knew Fernande and Pablo.

In those days then only the three landscapes had been painted and he was beginning to paint some heads that seemed cut out in planes, also long loaves of bread.

At this time Matisse, the school still going on, was really beginning to be fairly well known, so much so that to everybody’s great excitement Bernheim jeune, a very middle class firm indeed, was offering him a contract to take all his work at a very good price. It was an exciting moment.

This was happening because of the influence of a man named Fénéon. Ii est très fin¹¹, said Matisse, much impressed by Fénéon. Fénéon was a journalist, a french journalist who had invented the thing called a feuilleton en deux lignes, that is to say he was the first one, to hit off the news of the day in two lines. He looked like a caricature of Uncle Sam made french and he had been painted standing⁴⁰ in front of a curtain in a circus picture by Toulouse–Lautrec.

And now the Bernheims, how or wherefor I do not know, taking Fénéon into their employ, were going to connect themselves with the new generation of painters.

Something happened, at any rate this contract did not last long, but for all that it changed the fortunes of Matisse. He now had an established position. He bought a house and some land in Clamart and he started to move out there. Let me describe the house as I saw it.

This home in Clamart was very comfortable, to be sure the bath-room, which the family much appreciated from long contact with americans, although it must be said that the Matisses had always been and always were scrupulously⁴¹ neat and clean, was on the ground floor adjoining the dining room. But that was alright, and is and was a french custom, in french houses. It gave more privacy to a bath-room to have it on the ground floor. Not so long ago in going over the new house Braque was building the bath-room was again below, this time underneath⁴² the dining room. When we said, but why, they said because being nearer the furnace it would be warmer.

The grounds at Clamart were large and the garden was what Matisse between pride and chagrin⁴³ called un petit Luxembourg. There was also a glass forcing house for flowers. Later they had begonias in them that grew smaller and smaller. Beyond were lilacs and still beyond a big demountable studio. They liked it enormously. Madame Matisse with simple recklessness went out every day to look at it and pick flowers, keeping a cab waiting for her. In those days only millionaires kept cabs waiting and then only very occasionally.

They moved out and were very comfortable and soon the enormous studio was filled with enormous statues and enormous pictures. It was that period of Matisse. Equally soon he found Clamart so beautiful that he could not go home to it, that is when he came into Paris to his hour of sketching⁴⁴ from the nude⁴⁵, a thing he had done every afternoon of his life ever since the beginning of things, and he came in every afternoon. His school no longer existed, the government had taken over the old convent to make a Lycée of it and the school had come to an end.

These were the beginning of very prosperous days for the Matisses. They went to Algeria and they went to Tangiers and their devoted⁴⁶ german pupils gave them Rhine wines and a very fine black police dog, the first of the breed that any of us had seen.

And then Matisse had a great show of his pictures in Berlin. I remember so well one spring day, it was a lovely day and we were to lunch at Clamart with the Matisses. When we got there they were all standing around an enormous packing case with its top off. We went up and joined them and there in the packing case was the largest laurel wreath that had ever been made, tied with a beautiful red ribbon. Matisse showed Gertrude Stein a card that had been in it. It said on it, To Henri Matisse, Triumphant⁴⁷ on the Battlefield of Berlin, and was signed Thomas Whittemore. Thomas Whittemore was a bostonian archeologist and professor at Tufts College, a great admirer of Matisse and this was his tribute. Said Matisse, still more rueful, but I am not dead yet. Madame Matisse, the shock once over said, but Henri look, and leaning down she plucked a leaf and tasted it, it is real laurel, think how good it will be in soup. And, said she still further brightening, the ribbon will do wonderfully for a long time as hair ribbon for Margot.

The Matisses stayed in Clamart more or less until the war. During this period they and Gertrude Stein were seeing less and less of each other. Then after the war broke out they came to the house a good deal. They were lonesome and troubled, Matisse’s family in Saint–Quentin, in the north, were within the german lines and his brother was a hostage. It was Madame Matisse who taught me how to knit woollen gloves. She made them wonderfully neatly⁴⁸ and rapidly and I learned to do so too. Then Matisse went to live in Nice and in one way and another, although remaining perfectly⁴⁹ good friends, Gertrude Stein and the Matisses never see each other.

The Saturday evenings in those early days were frequented by many hungarians, quite a number of germans, quite a few mixed nationalities, a very thin sprinkling of americans and practically no english. These were to commence later, and with them came aristocracy of all countries and even some royalty⁵⁰.

Among the germans who used to come in those early days was Pascin. He was at that time a thin brilliant-looking creature, he already had a considerable reputation as maker⁵¹ of neat little caricatures in Simplicissimus, the most lively of the german comic papers. The other germans told strange stories of him. That he had been brought up in a house of prostitution of unknown and probably royal birth, etcetera.

He and Gertrude Stein had not met since those early days but a few years ago they saw each other at the vernissage of a young dutch painter Kristians Tonny who had been a pupil of Pascin and in whose work Gertrude Stein was then interested. They liked meeting each other and had a long talk.

Pascin was far away the most amusing of the germans although I cannot quite say that because there was Uhde.

Uhde was undoubtedly⁵² well born, he was not a blond german, he was a tallish thin dark man with a high forehead and an excellent quick wit. When he first came to Paris he went to every antiquity⁵³ shop and bric-a-brac shop in the town in order to see what he could find. He did not find much, he found what purported⁵⁴ to be an Ingres, he found a few very early Picassos, but perhaps he found other things. At any rate when the war broke out he was supposed to have been one of the super spies and to have belonged to the german staff.

He was said to have been seen near the french war office after the declaration of war, undoubtedly he and a friend had a summer home very near what was afterward²⁶ the Hindenburg line. Well at any rate he was very pleasant and very amusing. He it was who was the first to commercialise the douanier Rousseau’s pictures. He kept a kind of private art shop. It was here that Braque and Picasso went to see him in their newest and roughest clothes and in their best Cirque Médrano fashion kept up a constant fire of introducing each other to him and asking each other to introduce each other.

Uhde used often to come Saturday evening accompanied by very tall blond good-looking young men who clicked their heels and bowed and then all evening stood solemnly at attention. They made a very effective background to the rest of the crowd. I remember one evening when the son of the great scholar Bréal and his very amusing clever wife brought a Spanish guitarist who wanted to come and play. Uhde and his bodyguard⁵⁵ were the background and it came on to be a lively evening, the guitarist played and Manolo was there. It was the only time I ever saw Manolo the sculptor⁵⁶, by that time a legendary⁵⁷ figure in Paris. Picasso very lively undertook to dance a southern spanish dance not too respectable, Gertrude Stein’s brother did the dying dance of Isadora, it was very lively, Fernande and Pablo got into a discussion about Frédéric of the Lapin Agile⁵⁸ and apaches. Fernande contended that the apaches were better than the artists and her forefinger⁵⁹ went up in the air. Picasso said, yes apaches of course have their universities, artists do not. Fernande got angry and shook him and said, you think you are witty⁶⁰, but you are only stupid. He ruefully showed that she had shaken off a button and she very angry said, and you, your only claim to distinction is that you are a precocious⁶¹ child. Things were not in those days going any too well between them, it was just about the time that they were quitting the rue Ravignan to live in an apartment in the boulevard Clichy, where they were to have a servant and to be prosperous.

But to return to Uhde and first to Manolo. Manolo was perhaps Picasso’s oldest friend. He was a strange spaniard. He, so the legend said, was the brother of one of the greatest pickpockets⁶² in Madrid. Manolo himself was gentle and admirable. He was the only person in Paris with whom Picasso spoke⁶³ spanish. All the other spaniards had french wives or french mistresses and having so much the habit of speaking french they always talked french to each other. This always seemed very strange to me. However Picasso and Manolo always talked spanish to each other.

There were many stories about Manolo, he had always loved and he had always lived under the protection of the saints. They told the story of how when he first came to Paris he entered the first church he saw and there he saw a woman bring a chair to some one and receive money. So Manolo did the same, he went into many churches and always gave everybody a chair and always got money, until one day he was caught by the woman whose business it was and whose chairs they were and there was trouble.

He once was hard up and he proposed to his friends to take lottery⁶⁴ tickets for one of his statues, everybody agreed, and then when everybody met they found they all had the same number. When they reproached him he explained that he did this because he knew his friends would be unhappy if they did not all have the same number. He was supposed to have left Spain while he was doing his military service, that is to say he was in the cavalry⁶⁵ and he went across the border, and sold his horse and his accoutrement, and so had enough money to come to Paris and be a sculptor. He once was left for a few days in the house of a friend of Gauguin. When the owner of the house came, back all his Gauguin souvenirs and all his Gauguin sketches⁶⁶ were gone. Manolo had sold them to Vollard and Vollard had to give them back. Nobody minded. Manolo was like a sweet crazy religiously uplifted spanish beggar and everybody was fond of him. Moréas, the greek poet, who in those days was a very well known figure in Paris was very fond of him and used to take him with him for company whenever he had anything to do. Manolo always went in hopes of getting a meal but he used to be left to wait while Moréas ate. Manolo was always patient and always hopeful although Moréas was as well known then as Guillaume Apollinaire was later, to pay rarely or rather not at all.

Manolo used to make statues for joints⁶⁷ in Montmartre in return for meals etcetera, until Alfred Stieglitz heard of him and showed his things in New York and sold some of them and then Manolo returned to the french frontier, Céret and there he has lived ever since, turning night into day, he and his catalan wife.

But Uhde. Uhde one Saturday evening presented his fiancée to Gertrude Stein. Uhde’s morals were not all that they should be and as his fiancée seemed a very well to do and very conventional young woman we were all surprised. But it turned out that it was an arranged marriage. Uhde wished to respectabilise himself and she wanted to come into possession of her inheritance, which she could only do upon marriage. Shortly after she married Uhde and shortly after they were divorced. She then married Delaunay the painter who was just then coming into the foreground. He was the founder⁶⁸ of the first of the many vulgarisations of the cubist idea, the painting of houses out of plumb⁶⁹, what was called the catastrophic school.

Delaunay was a big blond frenchman. He had a lively little mother. She used to come to the rue de Fleurus with old vicomtes who looked exactly like one’s youthful idea of what an old french marquis should look like. These always left their cards and then wrote a solemn note of thanks and never showed in any way how entirely⁷⁰ out of place they must have felt. Delaunay himself was amusing. He was fairly able and inordinately⁷¹ ambitious. He was always asking how old Picasso had been when he had painted a certain picture. When he was told he always said, oh I am not as old as that yet. I will do as much when I am that age.

As a matter of fact he did progress very rapidly. He used to come a great deal to the rue de Fleurus. Gertrude Stein used to delight in him. He was funny and he painted one rather fine picture, the three graces standing in front of Paris, an enormous picture in which he combined everybody’s ideas and added a certain french clarity and freshness of his own. It had a rather remarkable⁷² atmosphere and it had a great success. After that his pictures lost all quality, they grew big and empty or small and empty. I remember his bringing one of these small ones to the house, saying, look I am bringing you a small picture, a jewel. It is small, said Gertrude Stein, but is it a jewel.

It was Delaunay who married the ex-wife of Uhde and they kept up quite an establishment. They took up Guillaume Apollinaire and it was he who taught them how to cook and how to live. Guillaume was extraordinary. Nobody but Guillaume, it was the italian in Guillaume, Stella the New York painter could do the same thing in his early youth in Paris, could make fun of his hosts, make fun of their guests, make fun of their food and spur them to always greater and greater effort.

It was Guillaume’s first opportunity to travel, he went to Germany with Delaunay and thoroughly⁷³ enjoyed himself.

Uhde used to delight in telling how his former wife came to his house one day and dilating⁷⁴ upon Delaunay’s future career, explained to him that he should abandon Picasso and Braque, the past, and devote himself to the cause of Delaunay, the future. Picasso and Braque at this time it must be remembered were not yet thirty years old. Uhde told everybody this story with a great many witty additions and always adding, I tell you all this sans discrétion, that is tell it to everybody.

The other german who came to the house in those days was a dull one. He is, I understand a very important man now in his own country and he was a most faithful friend to Matisse, at all times, even during the war. He was the bulwark⁷⁵ of the Matisse school. Matisse was not always or indeed often very kind to him. All women loved him, so it was supposed. He was a stocky Don Juan. I remember one big Scandinavian who loved him and who would never come in on Saturday evening but stood in the court and whenever the door opened for some one to come in or go out you could see her smile in the dark of the court like the smile of the Cheshire cat. He was always bothered by Gertrude Stein. She did and bought such strange things. He never dared to criticise⁷⁶ anything to her but to me he would say, and you, Mademoiselle, do you, pointing to the despised object, do you find that beautiful.

Once when we were in Spain, in fact the first time we went to Spain, Gertrude Stein had insisted upon buying in Cuenca a brand new enormous turtle made of Rhine stones, She had very lovely old jewellery, but with great satisfaction to herself she was wearing this turtle as a clasp. Purrmann this time was dumbfounded. He got me into a corner. That jewel, he said, that Miss Stein is wearing, are those stones real.

Speaking of Spain also reminds me that once we were in a crowded restaurant. Suddenly in the end of the room a tall form stood up and a man bowed solemnly at Gertrude Stein who as solemnly replied. It was a stray hungarian from Saturday evening, surely.

There was another german whom I must admit we both liked. This was much later, about nineteen twelve. He too was a dark tall german. He talked english, he was a friend of Marsden Hartley whom we liked very much, and we liked his german friend, I cannot say that we did not.

He used to describe himself as the rich son of a not so rich father. In other words he had a large allowance from a moderately poor father who was a university professor. Ronnebeck was charming and he was always invited to dinner. He was at dinner one evening when Berenson the famous critic of Italian art was there. R?nnebeck had brought with him some photographs of pictures by Rousseau. He had left them in the atelier and we were all in the dining room. Everybody began to talk about Rousseau. Berenson was puzzled, but Rousseau, Rousseau, he said, Rousseau was an honourable⁷⁷ painter but why all this excitement. Ah, he said with a sigh, fashions change, that I know, but really I never thought that Rousseau would come to be the fashion for the young. Berenson had a tendency to be supercilious⁷⁸ and so everybody let him go on and on. Finally R?nnebeck said gently, but perhaps Mr. Berenson, you have never heard of the great Rousseau, the douanier Rousseau. No, admitted Berenson, he hadn’t, and later when he saw the photographs he understood less than ever and was fairly fussed. Mabel Dodge⁷⁹ who was present, said, but Berenson, you must remember that art is inevitable⁸⁰. That, said Berenson recovering himself, you understand, you being yourself a femme fatale.

We were fond of R?nnebeck and beside the first time he came to the house he quoted some of Gertrude Stein’s recent work to her. She had loaned some manuscript to Marsden Hartley. It was the first time that anybody had quoted her work to her and she naturally liked it. He also made a translation into german of some of the portraits she was writing at that time and thus brought her her first international reputation. That however is not quite true, Roché the faithful Roché had introduced some young germans to Three Lives and they were already under its spell. However R?nnebeck was charming and we were very fond of him.

R?nnebeck was a sculptor, he did small full figure portraits and was doing them very well, he was in love with an american girl who was studying music. He liked France and all french things and he was very fond of us. We all separated as usual for the summer. He said he had a very amusing summer before him. He had a commission to do a portrait figure of a countess and her two sons, the little counts and he was to spend the summer doing this in the home of the countess who had a magnificent place on the shores of the Baltic.

When we all came back that winter R?nnebeck was different. In the first place he came back with lots of photographs of ships of the german navy and insisted upon showing them to us. We were not interested. Gertrude Stein said, of course, R?nnebeck, you have a navy, of course, we americans have a navy, everybody has a navy, but to anybody but the navy, one big ironclad looks very much like any other, don’t be silly. He was different though. He had had a good time. He had photos of himself with all the counts and there was also one with the crown prince of Germany who was a great friend of the countess. The winter, it was the winter of 1913–1914, wore on. All the usual things happened and we gave as usual some dinner parties. I have forgotten what the occasion of one was but we thought R?nnebeck would do excellently for it. We invited him. He sent word that he had to go to Munich for two days but he would travel at night and get back for the dinner party. This he did and was delightful as he always was.

Pretty soon he went off on a trip to the north, to visit the cathedral towns. When he came back he brought us a series of photographs of all these northern towns seen from above. What are these, Gertrude Stein asked. Oh, he said, I thought you would be interested, they are views I have taken of all the cathedral towns. I took them from the tip top of the steeples and I thought you would be interested because see, he said, they look exactly like the pictures of the followers of Delaunay, what you call the earthquake school, he said turning to me. We thanked him and thought no more about it. Later when during the war I found them, I tore them up in a rage.

Then we all began to talk about our summer plans. Gertrude Stein was to go to London in July to see John Lane to sign the contract for Three Lives. R?nnebeck said, why don’t you come to Germany instead or rather before or immediately after, he said. Because, said Gertrude Stein, as you know I don’t like germans. Yes I know, said R?nnebeck, I know, but you like me and you would have such a wonderful time. They would be so interested and it would mean so much to them, do come, he said. No, said Gertrude Stein, I like you alright but I don’t like germans.

We went to England in July and when we got there Gertrude Stein had a letter from R?nnebeck saying that he still awfully wanted us to come to Germany but since we wouldn’t had we not better spend the summer in England or perhaps in Spain but not as we had planned come back to Paris. That was naturally the end. I tell the story for what it is worth.

When I first came to Paris there was a very small sprinkling of americans Saturday evenings, this sprinkling grew gradually more abundant but before I tell about americans I must tell all about the banquet to Rousseau.

In the beginning of my stay in Paris a friend and I were living as I have already said in a little apartment on the rue Notre–Dame-des-Champs. I was no longer taking french lessons from Fernande because she and Picasso were together again but she was not an infrequent visitor. Autumn had come and I can remember it very well because I had bought my first winter Paris hat. It was a very fine hat of black velvet⁸¹, a big hat with a brilliant yellow fantaisie. Even Fernande gave it her approval.

Fernande was lunching with us one day and she said that there was going to be a banquet given for Rousseau and that she was giving it. She counted up the number of the invited. We were included. Who was Rousseau. I did not know but that really did not matter since it was to be a banquet and everybody was to go, and we were invited.

Next Saturday evening at the rue de Fleurus everybody was talking about the banquet to Rousseau and then I found out that Rousseau was the painter whose picture I had seen in that first independent. It appeared that Picasso had recently found in Montmartre a large portrait of a woman by Rousseau, that he had bought it and that this festivity was in honour of the purchase and the painter. It was going to be very wonderful.

Fernande told me a great deal about the menu. There was to be riz a la Valenciennes, Fernande had learnt how to cook this on her last trip to Spain, and then she had ordered, I forget now what it was that she had ordered, but she had ordered a great deal at Félix Potin, the chain store of groceries where they made prepared dishes. Everybody was excited. It was Guillaume Apollinaire, as I remember, who knowing Rousseau very well had induced him to promise to come and was to bring him and everybody was to write poetry and songs and it was to be very rigolo, a favourite Montmartre word meaning a jokeful amusement. We were all to meet at the café at the foot of the rue Ravignan and to have an aperitif⁸² and then go up to Picasso’s atelier and have dinner. I put on my new hat and we all went to Montmartre and all met at the cafe.

As Gertrude Stein and I came into the café there seemed to be a great many people present and in the midst was a tall thin girl who with her long thin arms extended was swaying forward and back. I did not know what she was doing, it was evidently not gymnastics, it was bewildering but she looked very enticing⁸³. What is that, I whispered to Gertrude Stein. Oh that is Marie Laurencin, I am afraid she had been taking too many preliminary apéritifs. Is she the old lady that Fernande told me about who makes noises like animals and annoys Pablo. She annoys Pablo alright but she is a very young lady and she has had too much, said Gertrude Stein going in. Just then there was a violent noise at the door of the café and Fernande appeared very large, very excited and very angry. Félix Potin, said she, has not sent the dinner. Everybody seemed overcome at these awful tidings but I, in my american way said to Fernande, come quickly, let us telephone. In those days in Paris one did not telephone and never to a provision store. But Fernande consented and off We went. Everywhere we went there was either no telephone or it was not working, finally we got one that worked but Felix Potin was closed or closing and it was deaf to our appeals. Fernande was completely upset but finally I persuaded her to tell me just what we were to have had from Félix Potin and then in one little shop and another little shop in Montmartre we found substitutes, Fernande finally announcing that she had made so much riz a la Valenciennes that it would take the place of everything and it did.

When we were back at the café almost everybody who had been there had gone and some new ones had come, Fernande told them all to come along. As we toiled⁸⁴ up the hill we saw in front of us the whole crowd. In the middle was Marie Laurencin supported on the one side by Gertrude Stein and on the other by Gertrude Stein’s brother and she was falling first into one pair of arms and then into another, her voice always high and sweet and her arms always thin graceful⁸⁵ and long. Guillaume of course was not there, he was to bring Rousseau himself after every one was seated.

Fernande passed this slow moving procession, I following her and we arrived at the atelier. It was rather impressive. They had gotten trestles, carpenter’s trestles, and on them had placed boards and all around these boards were benches. At the head of the table was the new acquisition, the Rousseau, draped in flags and wreaths and flanked on either side by big statues, I do not remember what statues. It was very magnificent and very festive⁸⁶. The riz a la Valenciennes was presumably cooking below in Max Jacob’s studio. Max not being on good terms with Picasso was not present but they used his studio for the rice and for the men’s overcoats. The ladies were to put theirs in the front studio which had been Van Dongen’s in his spinach⁸⁷ days and now belonged to a frenchman by the name of Vaillant. This was the studio which was later to be Juan Gris’.

I had just time to deposit my hat and admire the arrangements, Fernande violently abusing Marie Laurencin all the time, when the crowd arrived. Fernande large and imposing, barred the way, she was not going to have her party spoiled by Marie Laurencin. This was a serious par¹ y, a serious banquet for Rousseau and neither she nor Pab o would tolerate such conduct. Of course Pablo, all this time, was well out of sight in the rear. Gertrude Stein remonstrate⁸⁸ she said half in english half in french, that she would be hanged if after the struggle of getting Marie Laurencin up that terrific hill it was going to be for nothing. No indeed and beside she reminded Fernande that Guillaume and Rousseau would be along any minute and it was necessary that every one should be decorously seated before that event. By this time Pablo had made his way to the front and he joined in and said, yes yes, and Fernande yielded. She was always a little afraid of Guillaume Apollinaire, of his solemnity and of his wit, and they all came in. Everybody sat down.

Everybody sat down and everybody began to eat rice and other things, that is as soon as Guillaume Apollinaire and Rousseau came in which they did very presently and were wildly acclaimed⁸⁹. How well I remember their coming. Rousseau a little small colourless frenchman with a little beard, like any number of frenchmen one saw everywhere. Guillaume Apollinaire with finely cut florid features, dark hair and a beautiful complexion⁹⁰. Everybody was presented and everybody sat down again. Guillaume slipped into a seat beside Marie Laurencin. At the sight of Guillaume, Marie who had become comparatively calm seated next to Gertrude Stein, broke out again in wild movements and outcries. Guillaume got her out of the door and downstairs and after a decent interval⁹¹ they came back Marie a little bruised⁹² but sober. By this time everybody had eaten everything and poetry began. Oh yes, before this Frederic of the Lapin Agile and the University of Apaches had wandered in with his usual companion a donkey, was given a drink and wandered out again. Then a little later some italian street singers hearing of the party came in. Fernande rose at the end of the table and flushed and her forefinger straight into the air said it was not that kind of a party, and they were promptly⁹³ thrown out.

Who was there. We were there and Salmon⁹⁴, Andre Salmon, then a rising young poet and journalist, Pichot and Germaine Pichot, Braque and perhaps Marcelle Braque but this I do not remember, I know that there was talk of her at that time, the Raynals, the Ageros the false Greco and his wife, and several other pairs who I did not know and do not remember and Vaillant, a very amiable⁹⁵ ordinary young frenchman who had the front studio.

The ceremonies began. Guillaume Apollinaire got up and made a solemn eulogy⁹⁶, I do not remember at all what he said but it ended up with a poem he had written and which he half chanted and in which everybody joined in the refrain, La peinture de ce Rousseau. Somebody else then, possibly Raynal, I don’t remember, got up and there were toasts, and then all of a sudden Andre Salmon who was sitting next to my friend and solemnly discoursing⁹⁷ of literature and travels, leaped upon the by no means solid table and poured out an extemporaneous⁹⁸ eulogy and poem. At the end he seized a big glass and drank what was in it, then promptly went off his head, being completely drunk, and began to fight. The men all got hold of him, the statues tottered⁹⁹, Braque, a great big chap, got hold of a statue in either arm and stood there holding them while Gertrude Stein’s brother another big chap, protected little Rousseau and his violin from harm. The others with Picasso leading because Picasso though small is very strong, dragged Salmon into the front atelier and locked him in. Everybody came back and sat down.

Thereafter the evening was peaceful. Marie Laurencin sang in a thin voice some charming old norman songs. The wife of Agero sang some charming old limousin songs, Pichot danced a wonderful religious spanish dance ending in making of himself a crucified Christ upon the floor. Guillaume Apollinaire solemnly approached myself and my friend and asked us to sing some of the native songs of the red indians. We did not either of us feel up to that to the great regret of Guillaume and all the company. Rousseau blissful and gentle played the violin and told us about the plays he had written and his memories of Mexico. It was all very peaceful and about three o’clock in the morning we all went into the atelier where Salmon had been deposited and where we had left our hats and coats to get them to go home. There on the couch lay Salmon peacefully sleeping and surrounding him, half chewed, were a box of matches, a petit bleu and my yellow fantaisie. Imagine my feelings even at three o’clock in the morning. However, Salmon woke up very charming and very polite and we all went out into the street together. All of a sudden with a wild yell Salmon rushed down the hill.

Gertrude Stein and her brother, my friend and I, all in one cab, took Rousseau home.

It was about a month later that one dark Paris winter afternoon I was hurrying home and felt myself being followed. I hurried and hurried and the footsteps drew nearer and I heard, mademoiselle, mademoiselle. I turned. It was Rousseau. Oh mademoiselle, he said, you should not be out atone¹⁰⁰ after dark, may I see you home. Which he did.

It was not long after this that Kahnweiler came to Paris. Kahnweiler was a german married to a frenchwoman and they had lived for many years in England. Kahnweiler had been in England in business, saving money to carry out a dream of some day having a picture shop in Paris. The time had come and he started a neat small gallery in the rue Vignon. He felt his way a little and then completely threw in his lot with the cubist group. There were difficulties at first, Picasso always suspicious did not want to go too far with him. Fernande did the bargaining with Kahnweiler but finally they all realised the genuineness of his interest and his faith, and that he could and would market their work. They all made contracts with him and until the war he did everything for them all. The afternoons with the group coming in and out of his shop were for Kahnweiler really afternoons with Vasari. He believed in them and their future greatness. It was only the year before the war that he added Juan Gris. It was just two months before the outbreak of the war that Gertrude Stein saw the first Juan Gris paintings at Kahnweiler’s and bought three of them.

Picasso always says that he used in those days to tell Kahnweiler that he should become a french citizen, that war would come and there would be the devil to pay. Kahnweiler always said he would when he had passed the military age but that he naturally did not want to do military service a second time. The war came, Kahnweiler was in Switzerland with his family on his vacation and he could not come back. All his possessions were sequestrated.

The auction¹⁰¹ sale by the government of Kahnweiler’s pictures, practically all the cubist pictures of the three years before the war, was the first occasion after the war where everybody of the old crowd met. There had been quite a conscious effort on the part of all the older merchants, now that the war was over, to kill cubism. The expert for the sale, who was a well known picture dealer¹⁰², had avowed¹⁰³ this as his intention. He would keep the prices down as low as possible and discourage the public as much as possible. How could the artists defend themselves.

We happened to be with the Braques a day or two before the public show of pictures for the sale and Marcelle Braque, Braque’s wife, told us that they had come to a decision. Picasso and Juan Gris could do nothing they were spaniards, and this was a french government sale. Marie Laurencin was technically¹⁰⁴ a german, Lipschitz was a russian at that time not a popular thing to be. Braque a frenchman, who had won the croix de guerre in a charge, who had been made an officer and had won the legion d’honneur and had had a bad head wound could do what he pleased. He had a technical reason too for picking a quarrel with the expert. He bad sent in a list of people likely to buy his pictures, a privilege always accorded to an artist whose pictures are to be publicly sold, and catalogues had not been sent to these people. When we arrived Braque had already done his duty. We came in just at the end of the fray¹⁰⁵. There was a great excitement.

Braque had approached the expert and told him that he had neglected his obvious duties. The expert had replied that he had done and would do as he pleased and called Braque a norman pig. Braque had hit him. Braque is a big man and the expert is not and Braque tried not to hit hard but nevertheless the expert fell. The police came in and they were taken off to the police station. There they told their story. Braque of course as a hero of the war was treated with all due respect, and when he spoke to the expert using the familiar thou the expert completely lost his temper and his head and was publicly rebuked¹⁰⁶ by the magistrate¹⁰⁷. Just after it was over Matisse came in and wanted to know what had happened and was happening, Gertrude Stein told him. Matisse said, and it was a Matisse way to say it, Braque a raison, celui-là a vole la France, et on sait bien ce que c’est que voler la France.

As a matter of fact the buyers were frightened off and all the pictures eept those of Derain went for little. Poor Juan Gris whose pictures went for very little tried to be brave. They after all did bring an honourable price, he said to Gertrude Stein, but he was sad.

Fortunately Kahnweiler, who had not fought against France, was allowed to come back the next year. The others no longer needed him but Juan needed him desperately¹⁰⁸ and Kahnweiler’s loyalty¹⁰⁹ and generosity¹¹⁰ to Juan Gris all those hard years can only be matched by Juan’s loyalty and generosity when at last just before his death and he had become famous tempting¹¹¹ offers from other dealers¹¹² were made to him.

Kahnweiler coming to Paris and taking on commercially the cause of the cubists made a great difference to all of them. Their present and future were secure.

The Picassos moved from the old studio in the rue Ravignan to an apartment in the boulevard Clichy. Fernande began to buy furniture and have a servant and the servant of course made a soufflé. It was a nice apartment with lots of sunshine. On the whole however Fernande was not quite as happy as she had been. There were a great many people there and even afternoon tea. Braque was there a great deal, it was the height of the intimacy between Braque and Picasso, it was at that time they first began to put musical instruments into their pictures. It was also the beginning of Picasso’s making constructions. He made still Wes of objects and photographed them. He made paper constructions later, he gave one of these to Gertrude Stein. It is perhaps the only one left in existence.

This was also the time when I first heard of Poiret. He had a houseboat on the Seine and he had given a party on it and he had invited Pablo and Fernande. He gave Fernande a handsome rose-coloured scarf with gold fringe and Le also gave her a spun¹¹³ glass fantaisie to put on a hat, an entirely new idea in those days. This she gave to me and I wore it on a little straw pointed¹¹⁴ cap for years after. I may even have it now.

Then there was the youngest of the cubists. I never knew his name. He was doing his military service and was destined¹¹⁵ for diplomacy¹¹⁶. How he drifted in and whether he painted I do not know. All I know is that he was known as the youngest of the cubists.

Fernande had at this time a new friend of whom she often spoke to me. This was Eve who was living with Marcoussis. And one evening all four of them came to the rue de Fleurus, Pablo, Fernande, Marcoussis and Eve. It was the only time we ever saw Marcoussis until many many years later.

I could perfectly understand Fernande’s liking¹¹⁷ for Eve. As I said Fernande’s great heroine was Evelyn Thaw¹¹⁸, small and negative. Here was a little french Evelyn Thaw, small and perfect.

Not long after this Picasso came one day and told Gertrude Stein that he had decided¹¹⁹ to take an atelier in the rue Ravignan. He could work better there. He could not get I back his old one but he took one on the lower floor. One day we went to see him there. He was not in and Gertrude Stein as a joke left her visiting card. In a few days we went again and Picasso was at work on a picture on which was written ma jolie and at the lower corner painted in was Gertrude Stein’s visiting card. As we went away Gertrude Stein said, Fernande is certainly not ma jolie, I wonder who it is. In a few days we knew. Pablo had gone off with Eve.

This was in the spring. They all had the habit of going to Céret near Perpignan for the summer probably on account of Manolo, and they all in spite of everything went there again. Fernande was there with the Pichots and Eve was there with Pablo. There were some redoubtable¹²⁰ battles and then everybody came back to Paris.

One evening, we too had come back, Picasso came in. He and Gertrude Stein had a long talk alone. It was Pablo, she said when she came in from having bade him goodbye, and he said a marvellous thing about Fernande, he said her beauty always held him but he could not stand any of her little ways. She further added that Pablo and Eve were now settled on 4 boulevard Raspail and we would go and see them to-morrow.

In the meanwhile Gertrude Stein had received a letter from Fernande, very dignified¹²¹, written with the reticence¹²² of a frenchwoman. She said that she wished to tell Gertrude Stein that she understood perfectly that the friendship had always been with Pablo and that although Gertrude had always shown her every mark of sympathy and affection now that she and Pablo were separated, it was naturally impossible that in the future there should be any intercourse¹²³ between them because the friendship having been with Pablo there could of course be no question of a choice. That she would always remember their intercourse with pleasure and that she would permit herself, if ever she were in need, to throw herself upon Gertrude’s generosity.

And so Picasso left Montmartre never to return.

When I first came to the rue de Fleurus Gertrude Stein was correcting the proofs of Three Lives. I was soon helping¹²⁴ her with this and before very long the book was published. I asked her to let me subscribe¹²⁵ to Romeike’s clipping bureau, the advertisement for Romeike in the San Francisco Argonaut having been one of the romances of my childhood. Soon the clippings began to come in.

It is rather astonishing the number of newspapers that noticed this book, printed privately¹²⁶ and by a perfectly unknown person. The notice that pleased Gertrude Stein most was in the Kansas City Star. She often asked then and in later years who it was who might have written it but she never found out. It was a very sympathetic and a very understanding review. Later on when she was discouraged by what others said she would refer to it as having given her at that time great comfort. She says in Composition and Explanation, when you write a thing it is perfectly clear and then you begin to be doubtful about it, but then you read it again and you lose yourself in it again as when you wrote it.

The other thing in connection with this her first book that gave her pleasure was a very enthusiastic note from H. G. Wells. She kept this for years apart, it had meant so much to her. She wrote to him at that time and they were often to meet but as it happened they never did. And they are not likely to now.

Gertrude Stein was at that time writing The Making of Americans. It had changed from being a history of a family to being a history of everybody the family knew and then it became the history of every kind and of every individual human being. But in spite of all this there was a hero and he was to die. The day he died I met Gertrude Stein at Mildred Aldrich’s apartment. Mildred was very fond of Gertrude Stein and took a deep interest in the book’s ending. It was over a thousand pages long and I was typewriting it.

I always say that you cannot tell what a picture really is or what an object really is until you dust it every day and you cannot tell what a book is until you type it or proof-read it. It then does something to you that only reading never can do. A good many years later Jane Heap said that she had never appreciated the quality of Gertrude Stein’s work until she proof-read it.

When The Making of Americans was finished, Gertrude Stein began another which also was to be long and which she called A Long Gay Book but it did not turn out to be long, neither that nor one begun at the same time Many Many Women because they were both interrupted by portrait writing. This is how portrait writing began.

Hélène used to stay at home with her husband Sunday evening, that is to say she was always willing to come but we often told her not to bother. I like cooking, I am an extremely good five-minute cook, and beside, Gertrude Stein liked from time to time to have me make american dishes. One Sunday evening I was very busy preparing one of these and then I called Gertrude Stein to come in from the atelier for supper. She came in much excited and would not sit down. Here I want to show you something, she said. No I said it has to be eaten hot. No, she said, you have to see this first. Gertrude Stein never likes her food hot and I do like mine hot, we never agree about this. She admits that one can wait to cool it but one cannot heat it once it is on a plate so it is agreed that I have it served as hot as I like. In spite of my protests and the food cooling I had to read. I can still see the little tiny pages of the note-book written forward and back. It was the portrait called Ada, the first in Geography and Plays. I began it and I thought she was making fun of me and I protested, she says I protest now about my autobiography¹²⁸. Finally I read it all and was terribly pleased with it. And then we ate our supper.

This was the beginning of the long series of portraits. She has written portraits of practically everybody she has known, and written them in all manners and in all styles.

Ada was followed by portraits of Matisse and Picasso, and Stieglitz who was much interested in them and in Gertrude Stein printed them in a special number of Camera Work.

She then began to do short portraits of everybody who came in and out. She did one of Arthur Frost, the son of A. B. Frost the american illustrator. Frost was a Matisse pupil and his pride when he read his portrait and found that it was three full pages longer than either the portrait of Matisse or the portrait of Picasso was something to hear.

A. B. Frost complained to Pat Bruce who had led Frost to Matisse that it was a pity that Arthur could not see his way to becoming a conventional artist and so earning fame and money. You can lead a horse to water but you cannot make him drink said Pat Bruce. Most horses drink, Mr. Bruce, said A. B. Frost.

Bruce, Patrick Henry Bruce, was one of the early and most ardent¹²⁹ Matisse pupils and soon he made little Matisses, but he was not happy. In explaining his unhappiness he told Gertrude Stein, they talk about the sorrows of great artists, the tragic¹³⁰ unhappiness of great artists but after all they are great artists. A little artist has all the tragic unhappiness and the sorrows of a great artist and he is not a great artist.

She did portraits of Nadelman, also of the protégés of the sculptress Mrs. Whitney, Lee and Russell also of Harry¹³¹ Phelan Gibb, her first and best english friend. She did portraits of Manguin and Roche and Purrmann and David Edstrom, the fat swedish sculptor who married the head of the Christian¹³² Science Church in Paris and destroyed her. And Brenner, Brenner the sculptor who never finished anything. He had an admirable technique and a great many obsessions¹³³ which kept him from work. Gertrude Stein was very fond of him and still is. She once posed to him for weeks and he did a fragmentary portrait of her that is very fine. He and Cody later published some numbers of a little review called Soil and they were among the very early ones to print something of Gertrude Stein. The only little magazine that preceded it was one called Rogue¹³⁴, printed by Allan Norton and which printed her description of the Galérie Lafayette. This was of course all much later and happened through Carl Van Vechten.

She also did portraits of Miss Etta Cone¹³⁵ and her sister Doctor Claribel Cone. She also did portraits of Miss Mars and Miss Squires¹³⁶ under the title of Miss Furr and Miss Skeene. There were portraits of Mildred Aldrich and her sister. Everybody was given their portrait to read and they were all pleased and it was all very amusing. All this occupied a great deal of that winter and then we went to Spain.

In Spain Gertrude Stein began to write the things that led to Tender Buttons.

I liked Spain immensely. We went several times to Spain and I always liked it more and more. Gertrude Stein says that I am impartial¹³⁷ on every subject except that of Spain and spaniards.

We went straight to Avila and I immediately lost my heart to Avila, I must stay in Avila forever I insisted. Gertrude Stein was very upset, Avila was alright but, she insisted, she needed Paris. I felt that I needed nothing but Avila. We were both very violent about it. We did however stay there for ten days and as Saint Theresa was a heroine of Gertrude Stein’s youth we thoroughly enjoyed it. In the opera Four Saint% written a few years ago she describes the landscape that so profoundly moved me.

We went on to Madrid and there we met Georgiana King of Bryn Mawr, an old friend of Gertrude Stein from Baltimore days. Georgiana King wrote some of the most interesting of the early criticisms of Three Lives. She was then re-editing Street on the cathedrals of Spain and in connection with this she had wandered all over Spain. She gave us a great deal of very good advice.

In these days Gertrude Stein wore a brown corduroy suit, jacket and skirt, a small straw cap, always crocheted¹³⁸ for her by a woman in Fiesole, sandals, and she often carried a cane¹³⁹. That summer the head of the cane was of amber¹⁴⁰. It is more or less this costume without the cap and the cane that Picasso has painted in his portrait of her. This costume was ideal for Spain, they all thought of her as belonging to some religious order and we were always treated with the most absolute respect. I remember that once a nun¹⁴¹ was showing us the treasures in a convent church in Toledo. We were near the steps of the altar. All of a sudden there was a crash, Gertrude Stein had dropped her cane. The nun paled, the worshippers startled. Gertrude Stein picked up her cane and turning to the frightened nun said reassuringly¹⁴², no it is not broken.

I used in those days of spanish travelling to wear what I was wont¹⁴³ to call my spanish disguise. I always wore a black silk coat, black gloves and a black hat, the only pleasure I allowed myself were lovely artificial flowers on my hat. These always enormously interested the peasant women and they used to very courteously¹⁴⁴ ask my permission to touch them, to realise for themselves that they were artificial.

We went to Cuenca that summer, Harry Gibb the english painter had told us about it. Harry Gibb is a strange case of a man who foresaw everything. He had been a successful animal painter in his youth in England, he came from the north of England, he had married and gone to Germany, there he had become dissatisfied with what he had been doing and heard about the new school of painting in Paris. He came to Paris and was immediately influenced by Matisse. He then became interested in Picasso and he did some very remarkable painting under their combined influences. Then all this together threw him into something else something that fairly completely achieved what the surrealists after the war tried to do. The only thing he lacked is what the french call saveur, what may be called the graciousness of a picture. Because of this lack it was impossible for him to find a french audience. Naturally in those days there was no english audience. Harry Gibb fell on bad days. He was always falling upon bad days. He and his wife Bridget one of the pleasantest of the wives of a genius I have sat with were full of courage and they faced everything admirably, but there were always very difficult days. And then things were a little better. He found a couple of patrons who believed in him and it was at this time, 1912–1913, that he went to Dublin and had rather an epoch-making show of his pictures there. It was at that time that he took with him several copies of the portrait of Mabel Dodge at the Villa¹⁹ Curonia, Mabel Dodge had had it printed in Florence, and it was then that the Dublin writers in the cafes heard Gertrude Stein read aloud. Doctor Gogarty, Harry Gibb’s host and admirer, loved to read it aloud himself and have others read it aloud.

After that there was the war and eclipse for poor Harry, and since then a long sad struggle. He has had his ups and downs, more downs than up, but only recently there was a new turn of the wheel. Gertrude Stein who loved them both dearly always was convinced that the two painters of her generation who would be discovered after they were dead, they being predestined to a life of tragedy, were Juan Gris and Harry Gibb. Juan Gris dead these five years is beginning to come into his own. Harry Gibb still alive is still unknown. Gertrude Stein and Harry Gibb have always been very loyal and very loving friends. One of the very good early portraits she did she did of him, it was printed in the Oxford¹⁴⁵ Review and then in Geography and Plays.

So Harry Gibb told us about Cuenca and we went on a little railroad that turned around curves and ended in the middle of nowhere and there was Cuenca.

We delighted in Cuenca and the population of Cuenca delighted in us. It delighted in us so much that it was getting uncomfortable. Then one day when we were out walking, all of a sudden the population, particularly the children, kept their distance. Soon a uniformed man came up and saluting¹⁴⁶ said that he was a policeman of the town and that the governor of the province had detailed¹⁴⁷ him to always hover¹⁴⁸ in the distance as we went about the country to prevent our being annoyed by the population and that he hoped that this would not inconvenience us. It did not, he was charming and he took us to lovely places in the country where we could not very well have gone by ourselves. Such was Spain in the old days.

We finally came back to Madrid again and there we discovered the Argentina and bull-fights. The young journalists of Madrid had just discovered her. We happened upon her in a music hall, we went to them to see spanish dancing, and after we saw her the first time we went every afternoon and every evening. We went to the bull-fights. At first they upset me and Gertrude Stein used to tell me, now look, now don’t look, until finally I was able to look all the time.

We finally came to Granada and stayed there for some time and there Gertrude Stein worked terrifically. She was always very fond of Granada. It was there she had her first experience of Spain when still at college just after the spanish-american war when she and her brother went through Spain. They had a delightful time and she always tells of sitting in the dining room talking to a bostonian and his daughter when suddenly there was a terrific noise, the hee-haw of a donkey. What is it, said the young bostonian trembling. Ah, said the father, it is the last sigh of the Moor¹⁴⁹.

We enjoyed Granada, we met many amusing people english and spanish and it was there and at that time that Gertrude Stein’s style gradually changed. She says hitherto she had been interested only in the insides of people, their character and what went on inside them, it was during that summer that she first felt a desire to express the rhythm of the visible world.

It was a long tormenting¹⁵⁰ process, she looked, listened and described. She always was, she always is, tormented¹⁵¹ by the problem of the external and the internal. One of the things that always worries her about painting is the difficulty that the artist feels and which sends him to painting still lifes, that after all the human being essentially is not paintable. Once again and very recently she has thought that a painter has added something to the solution of this problem. She is interested in Picabia in whom hitherto she has never been interested because he at least knows that if you do not solve your painting problem in painting human beings you do not solve it at all. There is also a follower²⁷ of Picabia’s, who is facing the problem, but will he solve it. Perhaps not. Well anyway it is that of which she is always talking and now her own struggle with it was to begin.

These were the days in which she wrote Susie Asado and Preciocilla and Gypsies in Spain. She experimented with everything in trying to describe. She tried a bit inventing words but she soon gave that up. The english language was her medium and with the english language the task was to be achieved, the problem solved. The use of fabricated words offended her, it was an escape into imitative emotionalism.

No, she stayed with her task, although after the return to Paris she described objects, she described rooms and objects, which joined with her first experiments done in Spain, made the volume Tender Buttons.

She always however made her chief study people and therefore the never ending series of portraits.

We came back to the rue de Fleurus as usual.

One of the people who had impressed me very much when I first came to the rue de Fleurus was Mildred Aldrich.

Mildred Aldrich was then in her early fifties, a stout¹⁵² vigorous woman with a George Washington face, white hair and admirably clean fresh clothes and gloves. A very striking figure and a very satisfying one in the crowd of mixed nationalities. She was indeed one of whom Picasso could say and did say, c’est elle qui fera la glorie de l’Amérique. She made one very satisfied with one’s country, which had produced her.

Her sister having left for America she lived alone on the top floor of a building on the corner of the boulevard Raspail and the half street, rue Boissonade. There she had at the window an enormous cage filled with canaries. We always thought it was because she loved canaries. Not at all. A friend had once left her a canary in a cage to take care of during her absence. Mildred as she did everything else, took excellent care of the canary in the cage. Some friend seeing this and naturally concluding that Mildred was fond of canaries gave her another canary. Mildred of course took excellent care of both canaries and so the canaries increased and the size of the cage grew until in 1914 she moved to Huiry to the Hilltop on the Marne and gave her canaries away. Her excuse was that in the country cats would eat the canaries. But her real reason she once told me was that she really could not bear canaries.

Mildred was an excellent housekeeper¹⁵³. I was very surprised, having had a very different impression of her, going up to see her one afternoon, finding her mending her linen¹⁵⁴ and doing it beautifully.

Mildred adored cablegrams, she adored being hard up, or rather she adored spending money and as her earning capacity although great was limited, Mildred was chronically¹⁵⁵ hard up. In those days she was making contracts to put Maeterlinck’s Blue Bird on the american stage. The arrangements demanded endless cablegrams, and my early memories of Mildred were of her coming to our little apartment in the rue Notre–Dame-des-Champs late in the evening and asking me to lend her the money for a long cable. A few days later the money was returned with a lovely azalea worth five times the money. No wonder she was always hard up. But everybody listened to her. No one in the world could tell stories like Mildred. I can still see her at the rue de Fleurus sitting in one of the big armchairs and gradually the audience increasing around her as she talked.

She was very fond of Gertrude Stein, very interested in her work, enthusiastic about Three Lives, deeply impressed but slightly troubled by The Making of Americans, quite upset by Tender Buttons, but always loyal and convinced that if Gertrude Stein did it it had something in it that was worth while.

Her joy and pride when in nineteen twenty-six Gertrude Stein gave her lecture at Cambridge and Oxford was touching¹⁵⁶. Gertrude Stein must come out and read it to her before leaving. Gertrude Stein did, much to their mutual¹⁵⁷ pleasure. Mildred Aldrich liked Picasso and even liked Matisse, that is personally, but she was troubled. One day she said to me, Alice, tell me is it alright, are they really alright, I know Gertrude thinks so and Gertrude knows, but really is it not all fumisterie, is it not all false.

In spite of these occasional doubtful days Mildred Aldrich liked it all. She liked coming herself and she liked bringing other people. She brought a great many. It was she who brought Henry McBride who was then writing on the New York Sun. It was Henry McBride who used to keep Gertrude Stein’s name before the public all those tormented years. Laugh if you like, he used to say to her detractors, but laugh with and not at her, in that way you will enjoy it all much better.

Henry McBride did not believe in worldly success. It ruins you, it ruins you, he used to say. But Henry, Gertrude Stein used to answer dolefully, don’t you think I will ever have any success, I would like to have a little, you know. Think of my unpublished manuscripts. But Henry McBride was firm, the best that I can wish you, he always said, is to have no success. It is the only good thing. He was firm about that.

He was however enormously pleased when Mildred was successful and he now says he thinks the time has come when Gertrude Stein could indulge in a little success. He does not think that now it would hurt her.

It was about this time that Roger Fry first came to the house. He brought Clive Bell and Mrs. Clive Bell and later there were many others. In these days Clive Bell went along with the other two. He was rather complainful that his wife and Roger Fry took too much interest in capital works of art. He was quite funny about it. He was very amusing, later when he became a real art critic he was less so.

Roger Fry was always charming, charming as a guest and charming as a host; later when we went to London we spent a day with him in the country.

He was filled with excitement at the sight of the portrait of Gertrude Stein by Picasso. He wrote an article about it in the Burlington Review and illustrated¹⁵⁸ it by two photographs side by side, one the photograph of this portrait and the other a photograph of a portrait by Raphael. He insisted that these two pictures were equal in value. He brought endless people to the house. Very soon there were throngs¹⁵⁹ of englishmen, Augustus John and Lamb, Augustus John amazing looking and not too sober, Lamb rather strange and attractive.

It was about this time that Roger Fry had many young disciples¹⁶⁰. Among them was Wyndham Lewis, Wyndham Lewis, tall and thin, looked rather like a young frenchman on the rise, perhaps because his feet were very french, or at least his shoes. He used to come and sit and measure pictures. I can not say that he actually measured with a measuring-rod but he gave all the effect of being in the act of taking very careful measurement of the canvas, the lines within the canvas and everything that might be of use. Gertrude Stein rather liked him. She particularly liked him one day when he came and told all about his quarrel with Roger Fry. Roger Fry had come in not many days before and had already told all about it. They told exactly the same story only it was different, very different.

This was about the time too that Prichard of the Museum of Fine Arts, Boston and later of the Kensington Museum began coming. Prichard brought a great many young Oxford men. They were very nice in the room, and they thought Picasso wonderful. They felt and indeed in a way it was true that he had a halo. With these Oxford men came Thomas Whittemore of Tufts College. He was fresh and engaging and later to Gertrude Stein’s great delight he one day said, all blue is precious.

Everybody brought somebody. As I said the character of the Saturday evenings was gradually changing, that is to say, the kind of people who came had changed. Somebody brought the Infanta Eulalia and brought her several times. She was delighted and with the flattering memory of royalty she always remembered my name even some years after when we met quite by accident in the place Vend¹⁶¹?me. When she first came into the room she was a little frightened. It seemed a strange place but gradually she liked it very much. Lady Cunard brought her daughter Nancy, then a little girl, and very solemnly bade her never forget the visit.

Who else came. There were so many. The bavarian minister brought quantities of people. Jacques–Emile Blanche brought delightful people, so did Alphonse Kann. There was Lady Otoline Morrell looking like a marvellous feminine version of Disraeli and tall and strange shyly hesitating at the door. There was a dutch near royalty who was left by her escort who had to go and find a cab and she looked during this short interval badly frightened.

There was a roumanian princess, and her cabman grew impatient. Hélène came in to announce violently that the cabman would not wait. And then after a violent knock, the cabman himself announced that he would not wait.

It was an endless variety. And everybody came and no one made any difference. Gertrude Stein sat peacefully in a chair and those who could did the same, the rest stood. There were the friends who sat around the stove and talked and there were the endless strangers who came and went. My memory of it is very vivid.

As I say everybody brought people. William Cook brought a great many from Chicago, very wealthy stout ladies and equally wealthy tall good-looking thin ones. That summer having found the Balearic Islands on the map, we went to the island of Mallorca and on the little boat going over was Cook. He too had found it on the map. We stayed only a little while but he settled down for the summer, and then later he went back and was the solitary¹⁶² first of all the big crowd of americans who have discovered Palma since. We all went back again during the war.

It was during this summer that Picasso gave us a letter to a friend of his youth one Raventos in Barcelona. But does he talk french, asked Gertrude Stein, Pablo giggled¹⁶⁴, better than you do Gertrude, he answered.

Raventos gave us a good time, he and a descendant of de Soto took us about for two long days, the days were long because so much of them were night. They had an automobile¹⁶⁵, even in those early days, and they took us up into the hills to see early churches. We would rush up a hill and then happily come down a, little slower and every two hours or so we ate a dinner. When we finally came back to Barcelona about ten o’clock in the evening they said, now we will have an apéritif and then we will eat dinner. It was exhausting eating so many dinners but we enjoyed ourselves.

Later on much later on indeed only a few years ago Picasso introduced us to another friend of his youth.

Sabartes and he have known each other ever since they were fifteen years old but as Sabartes had disappeared into South America, Montevideo, Uruguay, before Gertrude Stein met Picasso, she had never heard of him. One day a few years ago Picasso sent word that he was bringing Sabartes to the house. Sabartes, in Uruguay, had read some things of Gertrude Stein in various magazines and he had conceived a great admiration¹⁶⁶ for her work. It never occurred to him that Picasso would know her. Having come back for the first time in all these years to Paris he went to see Picasso and he told him about this Gertrude Stein. But she is my only friend, said Picasso, it is the only home I go to. Take me, said Sabartes, and so they came.

Gertrude Stein and spaniards are natural friends and this time too the friendship grew.

It was about this time that the futurists, the italian futurists, had their big show in Paris and it made a great deal of noise. Everybody was excited and this show being given in a very well known gallery everybody wept. Jacques–Emile Blanche was terribly upset by it. We found him wandering tremblingly in the garden of the Tuileries and he said, it looks alright but is it. No it isn’t, said Gertude Stein. You do me good, said Jacques–Emile Blanche.

The futurists all of them led by Severini thronged¹⁶⁷ around Picasso. He brought them all to the house. Marinetti came by himself later as I remember. In any case everybody found the futurists very dull.

Epstein the sculptor came to the rue de Fleurus one evening. When Gertrude Stein first came to Paris in nineteen hundred and four, Epstein was a thin rather beautiful rather melancholy¹⁶⁸ ghost who used to slip in and out among the Rodin statues in the Luxembourg museum. He had illus. trated Hutchins Hapgood’s studies of the ghetto¹⁶⁹ and with the funds he came to Paris and was very poor. Now when I first saw him, he had come to Paris to place his sphynx statue to Oscar Wilde over Oscar Wilde’s grave. He was a large rather stout man, not unimpressive but not beautiful. He had an english wife who had a very remarkable pair of brown eyes, of a shade of brown I had never before seen in eyes.

Doctor Claribel Cone of Baltimore came majestically¹⁷⁰ in and out. She loved to read Gertrude Stein’s work out loud and she did read it out loud extraordinarily well. She liked ease and graciousness and comfort. She and her sister Etta Cone were traveling. The only room in the hotel was not comfortable. Etta bade her sister put up with it as it was only for one night. Etta, answered Doctor Claribel, one night is as important as any other night in my life and I must be comfortable. When the war broke out she happened to be in Munich engaged in scientific work. She could never leave because it was never comfortable to travel. Everybody delighted in Doctor Claribel. Much later Picasso made a drawing of her.

Emily Chadbourne came, it was she who brought Lady Otoline Morrell and she also brought many bostonians.

Mildred Aldrich once brought a very extraordinary person Myra Edgerly. I remembered very well that when I was quite young and went to a fancy-dress ball, a Mardi Gras ball in San Francisco, I saw a very tall and very beautiful and very brilliant woman there. This was Myra Edgerly young. Genthe, the well known photographer did endless photographs of her, mostly with a cat. She had come to London as a miniaturist and she had had one of those phenomenal successes that americans do have in Europe. She had miniatured everybody, and the royal family, and she had maintained her earnest gay careless outspoken¹⁷¹ San Francisco way through it all. She now came to Paris to study a little. She met Mildred Aldrich and became very devoted to her. Indeed it was Myra who in nineteen thirteen, when Mildred’s earning capacity was rapidly dwindling¹⁷² secured an annuity¹⁷³ for her and made it possible for Mildred to retire to the Hilltop on the Marne.

Myra Edgerly was very earnestly anxious that Gertrude Stein’s work should be more widely known. When Mildred told her about all those unpublished manuscripts Myra said something must be done. And of course something was done.

She knew John Lane slightly and she said Gertrude Stein and I must go to London. But first Myra must write letters and then I must write letters to everybody for Gertrude Stein. She told me the formula I must employ. I remember it began, Miss Gertrude Stein as you may or may not know, is, and then you went on and said everything you had to say.

Under Myra’s strenuous¹⁷⁴ impulsion we went to London in the winter of nineteen twelve, thirteen, for a few weeks. We did have an awfully good time.

Myra took us with her to stay with Colonel and Mrs. Rogers at Riverhill in Surrey. This was in the vicinity of Knole and of Ightham Mote¹⁷⁵, beautiful houses and beautiful parks. This was my first experience of country-house visiting in England since, as a small child, I had only been in the nursery. I enjoyed every minute of it. The comfort, the open fires, the tall maids who were like annunciation angels, the beautiful gardens, the children, the ease of it all. And the quantity of objects and of beautiful things. What is that, I would ask Mrs. Rogers, ah that I know nothing about, it was here when I came. It gave me a feeling that there had been so many lovely brides in that house who had found all these things there when they came.

Gertrude Stein liked country-house visiting less than I did. The continuous pleasant hesitating flow of conversation, the never ceasing sound of the human voice speaking in english, bothered her.

On our next visit to London and when because of being caught by the war we stayed in country houses with our friends a very long time, she managed to isolate¹⁷⁶ herself for considerable parts of the day and to avoid at least one of the three or four meals, and so she liked it better.

We did have a good time in England. Gertrude Stein completely forgot her early dismal¹⁷⁷ memory of London and has liked visiting there immensely ever since.

We went to Roger Fry’s house in the country and were charmingly entertained by his quaker sister. We went to Lady Otoline Morrell and met everbody. We went to Clive Bell’s. We went about all the time, we went shopping and ordered things. I still have my bag and jewel box. We had an extremely good time. And we went very often to see John Lane. In fact we were supposed to go every Sunday afternoon to his house for tea and Gertrude Stein had several interviews with him in his office. How well I knew all the things in all the shops near the Bodley Head because while Gertrude Stein was inside with John Lane while nothing happened and then when finally something happened I waited outside and looked at everything.

The Sunday afternoons at John Lane’s were very amusing. As I remember during that first stay in London we went there twice.

John Lane was very interested. Mrs. John Lane was a Boston woman and very kind.

Tea at the John Lane’s Sunday afternoons was an experience. John Lane had copies of Three Lives and The Portrait of Mabel Dodge. One did not know why he selected the people he did to show it to. He did not give either book to any one to read. He put it into their hands and took it away again and inaudibly he announced that Gertrude Stein was here. Nobody was introduced to anybody. From time to time John Lane would take Gertrude Stein into various rooms and show her his pictures, odd pictures of English schools of all periods, some of them very pleasing. Sometimes he told a story about how he had come to get it. He never said anything else about a picture. He also showed her a great many Beardsley drawings and they talked about Paris.

The second Sunday he asked her to come again to the Bodley Head. This was a long interview. He said that Mrs. Lane had read Three Lives and thought very highly of it and that he had the greatest confidence in her judgment¹⁷⁸. He asked Gertrude Stein when she was coming back to London. She said she probably was not coming back to London. Well, he said, when you come in July I imagine we will be ready to arrange something. Perhaps, he added, I may see you in Paris in the early spring.

And so we left London. We were on the whole very pleased with ourselves. We had had a very good time and it was the first time that Gertrude Stein had ever had a conversation with a publisher.

Mildred Aldrich often brought a whole group of people to the house Saturday evening. One evening a number of people came in with her and among them was Mabel Dodge. I remember my impression of her very well.

She was a stoutish¹⁷⁹ woman with a very sturdy fringe of heavy hair over her forehead, heavy long lashes¹⁸⁰ and very pretty eyes and a very old fashioned coquetry. She had a lovely voice. She reminded me of a heroine of my youth, the actress Georgia Cayvan. She asked us to come to Florence to stay with her. We were going to spend the summer as was then our habit in Spain but we were going to be back in Paris in the fall and perhaps we then would. When we came back there were several urgent telegrams from Mabel Dodge asking us to come to the Villa Curonia and we did.

We had a very amusing time. We liked Edwin Dodge and we liked Mabel Dodge but we particularly liked Constance Fletcher whom we met there.

Constance Fletcher came a day or so after we arrived and I went to the station to meet her. Mabel Dodge had described her to me as a very large woman who would wear a purple robe and who was deaf. As a matter of fact she was dressed in green and was not deaf but very short sighted, and she was delightful.

Her father and mother came from and lived in Newbury-port, Massachusetts. Edwin Dodge’s people came from the same town and this was a strong bond of union. When Constance was twelve years old her mother fell in love with the english tutor of Constance’s younger brother. Constance knew that her mother was about to leave her home. For a week Constance laid on her bed and wept and then accompanied her mother and her future step-father to Italy. Her step-father being an englishman Constance became passionately¹⁸¹ an english woman. The step-father was a painter who had a local reputation among the english residents in Italy.

When Constance Fletcher was eighteen years old she wrote a best-seller called Kismet and was engaged to be married to Lord Lovelace the descendant of Byron.

She did not marry him and thereafter lived always in Italy. Finally she became permanently¹⁸² fixed¹⁸³ in Venice. This was after the death of her mother and father. I always liked as a californian her description of Joaquin Miller¹⁸⁴ in Rome, in her younger days.

Now in her comparative old age she was attractive and impressive. I am very fond of needlework and I was fascinated by her fashion of embroidering¹⁸⁵ wreaths of flowers. There was nothing drawn¹⁸⁶ upon her linen, she just held it in her hands, from time to time bringing it closely to one eye, and eventually the wreath took form. She was very fond of ghosts. There were two of them in the Villa Curonia and Mabel was very fond of frightening visiting americans with them which she did in her suggestive way very effectively. Once she drove a house party consisting of Jo and Yvonne Davidson, Florence Bradley, Mary Foote and a number of others quite mad with fear. And at last to complete the effect she had the local priest in to exorcise the ghosts. You can imagine the state of mind of her guests. But Constance Fletcher was fond of ghosts and particularly attached to the later one, who was a wistful ghost of an english governess who had killed herself in the house.

One morning I went in to Constance Fletcher’s bedroom to ask her how she was, she had not been very well the night before.

I went in and closed the door. Constance Fletcher very large and very white was lying in one of the vast renaissance beds with which the villa was furnished. Near the door was a very large renaissance cupboard. I had a delightful night, said Constance Fletcher, the gentle ghost visited me all night, indeed she has just left me. I imagine she is still in the cup-. board, will you open it please. I did. Is she there, asked Constance Fletcher. I said I saw nothing. Ah yes, said Constance Fletcher.

We had a delightful time and Gertrude Stein at that time wrote The Portrait of Mabel Dodge. She also wrote the portrait of Constance Fletcher that was later printed in Geography and Plays. Many years later indeed after the war in London I met Siegfried Sassoon at a party given by Edith Sitwell for Gertrude Stein. He spoke of Gertrude Stein’s portrait of Constance Fletcher which he had read in Geography and Plays and said that he had first become interested in Gertrude Stein’s work because of this portrait. And he added, and did you know her and if you did can you tell me about her marvellous voice. I said, very much interested, then you did not know her. No, he said, I never saw her but she ruined my life. How, I asked excitedly. Because, he answered, she separated my father from my mother.

Constance Fletcher had written one very successful play which had had a long run in London called Green Stockings but her real life had been in Italy. She was more italian than the italians. She admired her step-father and therefore was english but she was really dominated by the fine italian hand of Machiavelli. She could and did intrigue¹⁸⁷ in the italian way better than even the italians and she was a disturbing influence for many years in Venice not only among the english but also among the italians.

André Gide turned up while we were at the Villa Curonia. It was rather a dull evening. It was then also that we first met Muriel Draper and Paul Draper. Gertrude Stein always liked Paul very much. She delighted in his american enthusiasm, and explanation of all things musical and human. He had had a great deal of adventure in the West and that was another bond between them. When Paul Draper left to return to London Mabel Dodge received a telegram saying, pearls missing suspect the second man. She came to Gertrude Stein in great agitation¹⁸⁸ asking what she should do about it. Don’t wake me, said Gertrude Stein, do nothing. And then sitting up, but that is a nice thing to say, suspect the second man, that is charming, but who and what is the second man. Mabel explained that the last time they had a robbery in the villa the police said that they could do nothing because nobody suspected any particular person and this time Paul to avoid that complication suspected the second man servant. While this explanation was being given another telegram came, pearls found. The second man had put the pearls in the collar box.

Haweis and his wife, later Mina Loy were also in Florence. Their home had been dismantled¹⁸⁹ as they had had workmen in it but they put it all in order to give us a delightful lunch. Both Haweis and Mina were among the very earliest to be interested in the work of Gertrude Stein. Haweis had been fascinated with what he had read in manuscript of The Making of Americans. He did however plead for commas. Gertrude Stein said commas were unnecessary, the sense should be intrinsic and not have to be explained by commas and otherwise commas were only a sign that one should pause and take breath but one should know of oneself when one wanted to pause and take breath. However, as she liked Haweis very much and he had given her a delightful painting for a fan, she gave him two commas. It must however be added that on rereading the manuscript she took the commas out.

Mina Loy equally interested was able to understand without the commas. She has always been able to understand.

Gertrude Stein having written The Portrait of Mabel Dodge, Mabel Dodge immediately wanted it printed. She had three hundred copies struck off and bound in Florentine paper. Constance Fletcher corrected the proofs and we were all awfully pleased. Mabel Dodge immediately conceived the idea that Gertrude Stein should be invited from one country house to another and do portraits and then end up doing portraits of american millionaires which would be a very exciting and lucrative¹⁹⁰ career. Gertrude Stein laughed. A little later we went back to Paris.

It was during this winter that Gertrude Stein began to write plays. They began with the one entitled, It Happened a Play. This was written about a dinner party given by Harry and Bridget Gibb. She then wrote Ladies’ Voices. Her interest in writing plays continues. She says a landscape is such a natural arrangement for a battle-field or a play that one must write plays.

Florence Bradley, a friend of Mabel Dodge, was spending a winter in Paris. She had had some stage experience and had been interested in planning a little theatre. She was vitally interested in putting these plays on the stage. Demuth was in Paris too at this time. He was then more interested in writing than in painting and particularly interested in these plays. He and Florence Bradley were always talking them over together.

Gertrude Stein has never seen Demuth since. When she first heard that he was painting she was much interested. They never wrote to each other but they often sent messages by mutual friends. Demuth always sent word that some day he would do a little picture that would thoroughly please him and then he would send it to her. And sure enough after all these years, two years ago some one left at the rue de Fleurus during our absence a little picture with a message that this was the picture that Demuth was ready to give to Gertrude Stein. It is a remarkable little landscape in which the roofs and windows are so subtle that they are as mysterious and as alive as the roofs and windows of Hawthorne or Henry James.

It was not long after this that Mabel Dodge went to America and it was the winter of the armoury show which was the first time the general public had a chance to see any of these pictures. It was there that Marcel Duchamp’s Nude Descending¹⁹¹ the Staircase was shown.

It was about this time that Picabia and Gertrude Stein met. I remember going to dinner at the Picabias’ and a pleasant dinner it was, Gabrielle Picabia full of life and gaiety, Picabia dark and lively, and Marcel Duchamp looking like a young norman crusader.

I was always perfectly able to understand the enthusiasm that Marcel Duchamp aroused in New York when he went there in the early years of the war. His brother had just died from the effect of his wounds, his other brother was still at the front and he himself was inapt for military service. He was very depressed¹⁹² and he went to America. Everybody loved him. So much so that it was a joke in Paris that when any american arrived in Paris the first thing he said was, and how is Marcel. Once Gertrude Stein went to see Braque, just after the war, and going into the studio in which there happened just then to be three young americans, she said to Braque, and how is Marcelle. The three young americans came up to her breathlessly and said, have you seen Marcel. She laughed, and having become accustomed to the inevitableness of the american belief that there was only one Marcel, she explained that Braque’s wife was named Marcelle and it was Marcelle Braque about whom she was enquiring¹⁹³.

In those days Picabia and Gertrude Stein did not get to be very good friends. He annoyed her with his incessantness¹⁹⁴ and what she called the vulgarity of his delayed adolescence¹⁹⁵. But oddly enough in this last year they have gotten to be very fond of each other. She is very much interested in his drawing and in his painting. It began with his show just a year ago. She is now convinced that although he has in a sense not a painter’s gift he has an idea that has been and will be of immense value to all time. She calls him the Leonardo da Vinci of the movement. And it is true, he understands and invents everything.

As soon as the winter of the armoury show was over Mabel Dodge came back to Europe and she brought with her what Jacques–Emile Blanche called her collection des jeunes gens assortis, a mixed assortment¹⁹⁶ of young men. In the lot were Carl Van Vechten, Robert Jones and John Reed. Carl Van Vechten did not come to the rue de Fleurus with her. He came later in the spring by himself. The other two came with her. I remember the evening they all came. Picasso was there too. He looked at John Reed critically and said, le genre¹⁹⁷ de Braque mais beaucoup moins rigolo, Braque’s kind but much less diverting. I remember also that Reed told me about his trip through Spain. He told me he had seen many strange sights there, that he had seen witches chased through the street of Salamanca. As I had been spending months in Spain and he only weeks I neither liked his stories nor believed them.

Robert Jones was very impressed by Gertrude Stein’s looks. He said he would like to array her in cloth of gold and he wanted to design it then and there. It did not interest her. Among the people that we had met at John Lane’s in London was Gordon Caine and her husband. Gordon Caine had been a Wellesley girl who played the harp¹⁹⁸ with which she always travelled, and who always re-arranged the furniture in the hotel room completely, even if she was only to stay one night. She was tall, rosy-haired and very good-looking. Her husband was a well known humorous english writer and one of John Lane’s authors. They had entertained us very pleasantly in London and we asked them to dine with us their first night in Paris. I don’t know quite what happened but Hélene cooked a very bad dinner. Only twice in all her long service did Hélene fail us. This time and when about two weeks later Carl Van Vechten turned up. That time too she did strange things, her dinner consisting of a series of hors d’oeuvres. However that is later.

During dinner Mrs. Caine said that she had taken the liberty of asking her very dear friend and college mate Mrs. Van Vechten to come in after dinner because she was very anxious that she should meet Gertrude Stein as she was very depressed and unhappy and Gertrude Stein could undoubtedly have an influence for the good in her life. Gertrude Stein said that she had a vague association with the name of Van Vechten but could not remember what it was. She has a bad memory for names. Mrs. Van Vechten came. She too was a very tall woman, it would appear that a great many tall ones go to Wellesley, and she too was good-looking. Mrs. Van Vechten told the story of the tragedy of her married life but Gertrude Stein was not particularly interested.

It was about a week later that Florence Bradley asked us to go with her to see the second performance of the Sacre du Printemps. The russian ballet had just given the first performance of it and it had made a terrible uproar¹⁹⁹. All Paris was excited about it. Florence Bradley had gotten three tickets in a box, the box held four, and asked us to go with her. In the meantime there had been a letter from Mabel Dodge introducing Carl Van Vechten, a young New York journalist. Gertrude Stein invited him to dine the following Saturday evening.

We went early to the russian ballet, these were the early great days of the russian ballet with Nijinsky as the great dancer. And a great dancer he was. Dancing excites me tremendously and it is a thing I know a great deal about. I have seen three very great dancers. My geniuses seem to run in threes, but that is not my fault, it happens to be a fact. The three really great dancers I have seen are the Argentina, Isadora Duncan and Nijinsky. Like the three geniuses I have known they are each one of a different nationality.

Nijinsky did not dance in the Sacre du Printemps but he created the dance of those who did dance.

We arrived in the box and sat down in the three front chairs leaving one chair behind. Just in front of us in the seats below was Guillaume Apollinaire. He was dressed in evening clothes and he was industriously²⁰⁰ kissing various important looking ladies’ hands. He was the first one of his crowd to come out into the great world wearing evening clothes and kissing hands. We were very amused and very pleased to see him do it. It was the first time we had seen him doing it. After the war they all did these things but he was the only one to commence before the war.

Just before the performance began the fourth chair in our box was occupied. We looked around and there was a tall well-built young man, he might have been a dutchman, a scandinavian or an american and he wore a soft evening shirt with the tiniest pleats all over the front of it. It was impressive, we had never even heard that they were wearing evening shirts like that. That evening when we got home Gertrude Stein did a portrait of the unknown called a Portrait of One.

The performance began. No sooner had it commenced when the excitement began. The scene now so well known with its brilliantly coloured background now not at all extraordinary, outraged²⁰¹ the Paris audience. No sooner did the music begin and the dancing than they began to hiss²⁰². The defenders²⁰³ began to applaud. We could hear nothing, as a matter of fact I never did hear any of the music of the Sacre du Printemps because it was the only time I ever saw it and one literally²⁰⁴ could not, throughout the whole performance, hear the sound of music. The dancing was very fine and that we could see although our attention was constantly distracted by a man in the box next to us flourishing his cane, and finally in a violent altercation²⁰⁵ with an enthusiast¹²⁷ in the box next to him, his cane came down and smashed the opera hat the other had just put on in defiance²⁰⁶. It was all incredibly fierce.

The next Saturday evening Carl Van Vechten was to come to dinner. He came and he was the young man of the soft much-pleated evening shirt and it was the same shirt. Also of course he was the hero or villain²⁰⁷ of Mrs. Van Vechten’s tragic tale.

As I said Hélène did for the second time in her life make an extraordinarily bad dinner. For some reason best known to herself she gave us course after course of hors d’oeuvres finishing up with a sweet omelet. Gertrude Stein began to tease Carl Van Vechten by dropping a word here and there of intimate knowledge of his past life. He was naturally bewildered. It was a curious evening.

Gertrude Stein and he became dear friends.

He interested Allan and Louise Norton in her work and induced them to print in the little magazine they founded, The Rogue, the first thing of Gertrude Stein’s ever printed in a little magazine, The Galérie Lafayette. In another number of this now rare little magazine, he printed a little essay on the work of Gertrude Stein. It was he who in one of his early books printed as a motto the device on Gertrude Stein’s note-paper, a rose is a rose is a rose is a rose. Just recently she has had made for him by our local potter at the foot of the hill at Belley some plates in the yellow clay of the country and around the border is a rose is a rose is a rose is a rose and in the centre is to Carl.

In season and out he kept her name and her work before the public. When he was beginning to be well known and they asked him what he thought the most important book of the year he replied Three Lives by Gertrude Stein. His loyalty and his effort never weakened. He tried to make Knopf publish The Making of Americans and he almost succeeded but of course they weakened.

Speaking of the device of rose is a rose is a rose is a rose, it was I who found it in one of Gertrude Stein’s manuscripts and insisted upon putting it as a device on the letter paper, on the table linen and anywhere that she would permit that I would put it. I am very pleased with myself for having done so.

Carl Van Vechten has had a delightful habit all these years of giving letters of introduction to people who he thought would amuse Gertrude Stein. This he has done with so much discrimination that she has liked them all.

The first and perhaps the one she has liked the best was Avery Hopwood. The friendship lasted until Avery’s death a few years ago. When Avery came to Paris he always asked Gertrude Stein and myself to dine with him. This custom began in the early days of the acquaintance. Gertrude Stein is not a very enthusiastic diner-out but she never refused Avery. He always had the table charmingly decorated with flowers and the menu most carefully chosen. He sent us endless petits bleus, little telegrams, arranging this affair and we always had a good time. In these early days, holding his head a little on one side and with his tow-coloured hair, he looked like a lamb. Sometimes in the latter days as Gertrude Stein told him the lamb turned into a wolf. Gertrude Stein would I know at this moment say, dear Avery. They were very fond of each other. Not long before his death he came into the room one day and said I wish I could give you something else beside just dinner, he said, perhaps I could give you a picture. Gertrude Stein laughed, it is alright, she said to him, Avery, if you will always come here and take just tea. And then in the future beside the petit bleu in which he proposed our dining with him he would send another petit bleu saying that he would come one afternoon to take just tea. Once he came and brought with him Gertrude Atherton. He said so sweetly, I want the two Gertrudes whom I love so much to know each other. It was a perfectly delightful afternoon. Every one was pleased and charmed and as for me a californian, Gertrude Atherton had been my youthful idol²⁰⁸ and so I was very content.

The last time we saw Avery was on his last visit to Paris. He sent his usual message asking us to dinner and when he came to call for us he told Gertrude Stein that he had asked some of his friends to come because he was going to ask her to do something for him. You see, he said, you have never gone to Montmartre with me and I have a great fancy that you should to-night. I know it was your Montmartre long before it was mine but would you. She laughed and said, of course Avery.

We did after dinner go up to Montmartre with him. We went to a great many queer places and he was so proud and pleased. We were always going in a cab from one place to another and Avery Hopwood and Gertrude Stein went together and they had long talks and Avery must have had some premonition that it was the last time because he had never talked so openly and so intimately. Finally we left and he came out and put us into a cab and he told Gertrude Stein it had been one of the best evenings of his life. He left the next day for the south and we for the country. A little while after Gertrude Stein had a postal²⁰⁹ from him telling her how happy he had been to see her again and the same morning there was the news of his death in the Herald²¹⁰.

It was about nineteen twelve that Alvin Langdon Coburn turned up in Paris. He was a queer american who brought with him a queer english woman, his adopted mother. Alvin Langdon Coburn had just finished a series of photographs that he had done for Henry James. He had published a book of photographs of prominent men and he wished now to do a companion volume of prominent women. I imagine it was Roger Fry who had told him about Gertrude Stein. At any rate he was the first photographer to come and photograph her as a celebrity²¹¹ and she was nicely gratified. He did make some very good photographs of her and gave them to her and then he disappeared and though Gertrude Stein has often asked about him nobody seems ever to have heard of him since.

This brings us pretty well to the spring of nineteen fourteen. During this winter among the people who used to come to the house was the younger step-daughter of Bernard Berenson. She brought with her a young friend, Hope Mirlees and Hope said that when we went to England in the summer we must go down to Cambridge and stay with her people. We promised that we would.

During the winter Gertrude Stein’s brother decided that he would go to Florence to live. They divided the pictures that they had bought together, between them. Gertrude Stein kept the Cézannes and Picassos and her brother the Matisses and Renoirs, with the exception of the original Femme au Chapeau.

We planned that we would have a little passage-way made between the studio and the little house and as that entailed²¹² cutting a door and plastering we decided that we would paint the atelier and repaper the house and put in electricity. We proceeded to have all this done. It was the end of June before this was accomplished²¹³ and the house had not yet been put in order when Gertrude Stein received a letter from John Lane saying he would be in Paris the following day and would come to see her.

We worked very hard, that is I did and the concierge²¹⁴ and Hélène and the room was ready to receive him.

He brought with him the first copy of Blast by Wyndham Lewis and he gave it to Gertrude Stein and wanted to know what she thought of it and would she write for it. She said she did not know.

John Lane then asked her if she would come to London in July as he had almost made up his mind to republish the Three Lives and would she bring another manuscript with her. She said she would and she suggested a collection of all the portraits she had done up to that time. The Making of Americans was not considered because it was too long. And so that having been arranged John Lane left.

In those days Picasso having lived rather sadly in the rue Schcelcher was to move a little further out to Montrouge. It was not an unhappy time for him but after the Montmartre days one never heard his high whinnying spanish giggle¹⁶³. His friends, a great many of them, had followed him to Montparnasse but it was not the same. The intimacy with Braque was waning²¹⁵ and of his old friends the only ones he saw frequently were Guillaume Apollinaire and Gertrude Stein. It was in that year that he began to use ripolin paints instead of the usual colours used by painters. Just the other day he was talking a long time about the ripolin paints. They are, said he gravely, la santé des couleurs, that is they are the basis of good health for paints. In those days he painted pictures and everything with ripolin paints as he still does, and as so many of his followers young and old do.

He was at this time too making constructions in paper, in tin and in all sorts of things, the sort of thing that made it possible for him afterwards to do the famous stage setting for Parade.

It was in these days that Mildred Aldrich was preparing to retire to the Hilltop on the Marne. She too was not unhappy but rather sad. She wanted us often in those sprint²¹⁶ evenings to take a cab and have what she called our last ride together. She more often than ever dropped her house key all the way down the centre of the stairway while she called good-night to us from the top story of the apartment house on the rue Boissonade.

We often went out to the country with her to see her house. Finally she moved in. We went out and spent the day with her. Mildred was not unhappy but she was very sad. My curtains are all up, my books in order, everything is clean and what shall I do now, said Mildred. I told her that when I was a little girl, my mother said that I always used to say, what shall I do now, which was only varied²¹⁷ by now what shall I do. Mildred said that the worst of it was that we were going to London and that she would not see us all summer. We assured her that we would only stay away a month, in fact we had return tickets, and so we had to, and as soon as we got home we would go out to see her. Anyway she was happy that at last Gertrude Stein was going to have a publisher who would publish her books. But look out for John Lane, he is a fox, she said, as we kissed her and left.

Hélène was leaving 27 rue de Fleurus because, her husband having recently been promoted to be foreman in his work shop he insisted that she must not work out any longer but must stay at home.

In short in this spring and early summer of nineteen fourteen the old life was over.

1 par   

n.标准，票面价值，平均数量；adj.票面的，平常的，标准的

参考例句：

• Sales of nylon have been below par in recent years.近年来尼龙织品的销售额一直不及以往。
• I don't think his ability is on a par with yours.我认为他的能力不能与你的能力相媲美。

2 rue   

n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔

参考例句：

• You'll rue having failed in the examination.你会悔恨考试失败。
• You're going to rue this the longest day that you live.你要终身悔恨不尽呢。

3 imposing   

adj.使人难忘的，壮丽的，堂皇的，雄伟的

参考例句：

• The fortress is an imposing building.这座城堡是一座宏伟的建筑。
• He has lost his imposing appearance.他已失去堂堂仪表。

4 premier   

adj.首要的；n.总理，首相

参考例句：

• The Irish Premier is paying an official visit to Britain.爱尔兰总理正在对英国进行正式访问。
• He requested that the premier grant him an internview.他要求那位总理接见他一次。

5 vista   

n.远景，深景，展望，回想

参考例句：

• From my bedroom window I looked out on a crowded vista of hills and rooftops.我从卧室窗口望去，远处尽是连绵的山峦和屋顶。
• These uprisings come from desperation and a vista of a future without hope.发生这些暴动是因为人们被逼上了绝路，未来看不到一点儿希望。

6 Ford   

n.浅滩，水浅可涉处；v.涉水，涉过

参考例句：

• They were guarding the bridge,so we forded the river.他们驻守在那座桥上，所以我们只能涉水过河。
• If you decide to ford a stream,be extremely careful.如果已决定要涉过小溪，必须极度小心。

7 renaissance   

n.复活，复兴，文艺复兴

参考例句：

• The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
• The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。

8 reprehensible   

adj.该受责备的

参考例句：

• Lying is not seen as being morally reprehensible in any strong way.人们并不把撒谎当作一件应该大加谴责的事儿。
• It was reprehensible of him to be so disloyal.他如此不忠，应受谴责。

9 awfully   

adv.可怕地，非常地，极端地

参考例句：

• Agriculture was awfully neglected in the past.过去农业遭到严重忽视。
• I've been feeling awfully bad about it.对这我一直感到很难受。

10 alas   

int.唉(表示悲伤、忧愁、恐惧等)

参考例句：

• Alas!The window is broken!哎呀！窗子破了！
• Alas,the truth is less romantic.然而，真理很少带有浪漫色彩。

11 fin   

n.鳍；(飞机的)安定翼

参考例句：

• They swim using a small fin on their back.它们用背上的小鳍游动。
• The aircraft has a long tail fin.那架飞机有一个长长的尾翼。

12 consolation   

n.安慰，慰问

参考例句：

• The children were a great consolation to me at that time.那时孩子们成了我的莫大安慰。
• This news was of little consolation to us.这个消息对我们来说没有什么安慰。

13 prodigal   

adj.浪费的，挥霍的，放荡的

参考例句：

• He has been prodigal of the money left by his parents.他已挥霍掉他父母留下的钱。
• The country has been prodigal of its forests.这个国家的森林正受过度的采伐。

14 delightful   

adj.令人高兴的，使人快乐的

参考例句：

• We had a delightful time by the seashore last Sunday.上星期天我们在海滨玩得真痛快。
• Peter played a delightful melody on his flute.彼得用笛子吹奏了一支欢快的曲子。

15 trumpeting   

大声说出或宣告（trumpet的现在分词形式）

参考例句：

• She is always trumpeting her son. 她总是吹嘘她儿子。
• The wind is trumpeting, a bugle calling to charge! 风在掌号。冲锋号！ 来自汉英文学 - 散文英译

16 tacked   

用平头钉钉( tack的过去式和过去分词 )； 附加，增补； 帆船抢风行驶，用粗线脚缝

参考例句：

• He tacked the sheets of paper on as carefully as possible. 他尽量小心地把纸张钉上去。
• The seamstress tacked the two pieces of cloth. 女裁缝把那两块布粗缝了起来。

17 habitual   

adj.习惯性的；通常的，惯常的

参考例句：

• He is a habitual criminal.他是一个惯犯。
• They are habitual visitors to our house.他们是我家的常客。

18 essentially   

adv.本质上，实质上，基本上

参考例句：

• Really great men are essentially modest.真正的伟人大都很谦虚。
• She is an essentially selfish person.她本质上是个自私自利的人。

19 villa   

n.别墅，城郊小屋

参考例句：

• We rented a villa in France for the summer holidays.我们在法国租了一幢别墅消夏。
• We are quartered in a beautiful villa.我们住在一栋漂亮的别墅里。

20 camouflage   

n./v.掩饰，伪装

参考例句：

• The white fur of the polar bear is a natural camouflage.北极熊身上的白色的浓密软毛是一种天然的伪装。
• The animal's markings provide effective camouflage.这种动物身上的斑纹是很有效的伪装。

21 cannon   

n.大炮，火炮；飞机上的机关炮

参考例句：

• The soldiers fired the cannon.士兵们开炮。
• The cannon thundered in the hills.大炮在山间轰鸣。

22 camouflaged   

v.隐蔽( camouflage的过去式和过去分词 )；掩盖；伪装，掩饰

参考例句：

• We camouflaged in the bushes and no one saw us. 我们隐藏在灌木丛中没有被人发现。 来自《现代英汉综合大词典》
• They camouflaged in bushes. 他们隐蔽在灌木丛中。 来自《简明英汉词典》

23 foresight   

n.先见之明，深谋远虑

参考例句：

• The failure is the result of our lack of foresight.这次失败是由于我们缺乏远虑而造成的。
• It required a statesman's foresight and sagacity to make the decision.作出这个决定需要政治家的远见卓识。

24 justified   

a.正当的，有理的

参考例句：

• She felt fully justified in asking for her money back. 她认为有充分的理由要求退款。
• The prisoner has certainly justified his claims by his actions. 那个囚犯确实已用自己的行动表明他的要求是正当的。

25 extraordinarily   

adv.格外地；极端地

参考例句：

• She is an extraordinarily beautiful girl.她是个美丽非凡的姑娘。
• The sea was extraordinarily calm that morning.那天清晨，大海出奇地宁静。

26 afterward   

adv.后来；以后

参考例句：

• Let's go to the theatre first and eat afterward. 让我们先去看戏，然后吃饭。
• Afterward,the boy became a very famous artist.后来，这男孩成为一个很有名的艺术家。

27 follower   

n.跟随者；随员；门徒；信徒

参考例句：

• He is a faithful follower of his home football team.他是他家乡足球队的忠实拥护者。
• Alexander is a pious follower of the faith.亚历山大是个虔诚的信徒。

28 followers   

追随者( follower的名词复数 )； 用户； 契据的附面； 从动件

参考例句：

• the followers of Mahatma Gandhi 圣雄甘地的拥护者
• The reformer soon gathered a band of followers round him. 改革者很快就获得一群追随者支持他。

29 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

30 permeated   

弥漫( permeate的过去式和过去分词 )； 遍布； 渗入； 渗透

参考例句：

• The smell of leather permeated the room. 屋子里弥漫着皮革的气味。
• His public speeches were permeated with hatred of injustice. 在他对民众的演说里，充满了对不公正的愤慨。

31 machinery   

n.(总称)机械，机器；机构

参考例句：

• Has the machinery been put up ready for the broadcast?广播器材安装完毕了吗？
• Machinery ought to be well maintained all the time.机器应该随时注意维护。

32 apropos   

adv.恰好地；adj.恰当的；关于

参考例句：

• I thought he spoke very apropos.我认为他说得很中肯。
• He arrived very apropos.他来得很及时。

33 brutal   

adj.残忍的，野蛮的，不讲理的

参考例句：

• She has to face the brutal reality.她不得不去面对冷酷的现实。
• They're brutal people behind their civilised veneer.他们表面上温文有礼，骨子里却是野蛮残忍。

34 materialism   

n.［哲］唯物主义，唯物论；物质至上

参考例句：

• Idealism is opposite to materialism.唯心论和唯物论是对立的。
• Crass materialism causes people to forget spiritual values.极端唯物主义使人忘掉精神价值。

35 rigid   

adj.严格的，死板的；刚硬的，僵硬的

参考例句：

• She became as rigid as adamant.她变得如顽石般的固执。
• The examination was so rigid that nearly all aspirants were ruled out.考试很严，几乎所有的考生都被淘汰了。

36 intensity   

n.强烈，剧烈；强度；烈度

参考例句：

• I didn't realize the intensity of people's feelings on this issue.我没有意识到这一问题能引起群情激奋。
• The strike is growing in intensity.罢工日益加剧。

37 intimacy   

n.熟悉，亲密，密切关系，亲昵的言行

参考例句：

• His claims to an intimacy with the President are somewhat exaggerated.他声称自己与总统关系密切，这有点言过其实。
• I wish there were a rule book for intimacy.我希望能有个关于亲密的规则。

38 effusive   

adj.热情洋溢的；感情(过多)流露的

参考例句：

• Every visitor noticed that her effusive welcome was not sincere.所有的客人都看出来她那过分热情的欢迎是不真诚的。
• Her effusive thanks embarrassed everybody.她道谢时非常激动，弄得大家不好意思。

39 annoyance   

n.恼怒，生气，烦恼

参考例句：

• Why do you always take your annoyance out on me?为什么你不高兴时总是对我出气？
• I felt annoyance at being teased.我恼恨别人取笑我。

40 standing   

n.持续，地位；adj.永久的，不动的，直立的，不流动的

参考例句：

• After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
• They're standing out against any change in the law.他们坚决反对对法律做任何修改。

41 scrupulously   

adv.一丝不苟地；小心翼翼地，多顾虑地

参考例句：

• She toed scrupulously into the room. 她小心翼翼地踮着脚走进房间。 来自辞典例句
• To others he would be scrupulously fair. 对待别人，他力求公正。 来自英汉非文学 - 文明史

42 underneath   

adj.在...下面，在...底下；adv.在下面

参考例句：

• Working underneath the car is always a messy job.在汽车底下工作是件脏活。
• She wore a coat with a dress underneath.她穿着一件大衣，里面套着一条连衣裙。

43 chagrin   

n.懊恼；气愤；委屈

参考例句：

• His increasingly visible chagrin sets up a vicious circle.他的明显的不满引起了一种恶性循环。
• Much to his chagrin,he did not win the race.使他大为懊恼的是他赛跑没获胜。

44 sketching   

n.草图

参考例句：

• They are sketching out proposals for a new road. 他们正在草拟修建新路的计划。 来自《简明英汉词典》
• "Imagination is busy sketching rose-tinted pictures of joy. “飞舞驰骋的想象描绘出一幅幅玫瑰色欢乐的场景。 来自英汉文学 - 汤姆历险

45 nude   

adj.裸体的；n.裸体者，裸体艺术品

参考例句：

• It's a painting of the Duchess of Alba in the nude.这是一幅阿尔巴公爵夫人的裸体肖像画。
• She doesn't like nude swimming.她不喜欢裸泳。

46 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

• He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
• We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。

47 triumphant   

adj.胜利的，成功的；狂欢的，喜悦的

参考例句：

• The army made a triumphant entry into the enemy's capital.部队胜利地进入了敌方首都。
• There was a positively triumphant note in her voice.她的声音里带有一种极为得意的语气。

48 neatly   

adv.整洁地，干净地，灵巧地，熟练地

参考例句：

• Sailors know how to wind up a long rope neatly.水手们知道怎样把一条大绳利落地缠好。
• The child's dress is neatly gathered at the neck.那孩子的衣服在领口处打着整齐的皱褶。

49 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

• The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
• Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

50 royalty   

n.皇家，皇族

参考例句：

• She claims to be descended from royalty.她声称她是皇室后裔。
• I waited on tables，and even catered to royalty at the Royal Albert Hall.我做过服务生， 甚至在皇家阿伯特大厅侍奉过皇室的人。

51 maker   

n.制造者，制造商

参考例句：

• He is a trouble maker，You must be distant with him.他是个捣蛋鬼，你不要跟他在一起。
• A cabinet maker must be a master craftsman.家具木工必须是技艺高超的手艺人。

52 undoubtedly   

adv.确实地，无疑地

参考例句：

• It is undoubtedly she who has said that.这话明明是她说的。
• He is undoubtedly the pride of China.毫无疑问他是中国的骄傲。

53 antiquity   

n.古老；高龄；古物，古迹

参考例句：

• The museum contains the remains of Chinese antiquity.博物馆藏有中国古代的遗物。
• There are many legends about the heroes of antiquity.有许多关于古代英雄的传说。

54 purported   

adj.传说的，谣传的v.声称是…，（装得）像是…的样子( purport的过去式和过去分词 )

参考例句：

• the scene of the purported crime 传闻中的罪案发生地点
• The film purported to represent the lives of ordinary people. 这部影片声称旨在表现普通人的生活。 来自《简明英汉词典》

55 bodyguard   

n.护卫，保镖

参考例句：

• She has to have an armed bodyguard wherever she goes.她不管到哪儿都得有带武器的保镖跟从。
• The big guy standing at his side may be his bodyguard.站在他身旁的那个大个子可能是他的保镖。

56 sculptor   

n.雕刻家，雕刻家

参考例句：

• A sculptor forms her material.雕塑家把材料塑造成雕塑品。
• The sculptor rounded the clay into a sphere.那位雕塑家把黏土做成了一个球状。

57 legendary   

adj.传奇（中）的，闻名遐迩的；n.传奇（文学）

参考例句：

• Legendary stories are passed down from parents to children.传奇故事是由父母传给孩子们的。
• Odysseus was a legendary Greek hero.奥狄修斯是传说中的希腊英雄。

58 agile   

adj.敏捷的，灵活的

参考例句：

• She is such an agile dancer!她跳起舞来是那么灵巧！
• An acrobat has to be agile.杂技演员必须身手敏捷。

59 forefinger   

n.食指

参考例句：

• He pinched the leaf between his thumb and forefinger.他将叶子捏在拇指和食指之间。
• He held it between the tips of his thumb and forefinger.他用他大拇指和食指尖拿着它。

60 witty   

adj.机智的，风趣的

参考例句：

• Her witty remarks added a little salt to the conversation.她的妙语使谈话增添了一些风趣。
• He scored a bull's-eye in their argument with that witty retort.在他们的辩论中他那一句机智的反驳击中了要害。

61 precocious   

adj.早熟的；较早显出的

参考例句：

• They become precocious experts in tragedy.他们成了一批思想早熟、善写悲剧的能手。
• Margaret was always a precocious child.玛格丽特一直是个早熟的孩子。

62 pickpockets   

n.扒手( pickpocket的名词复数 )

参考例句：

• Crowded markets are a happy hunting ground for pickpockets. 拥挤的市场是扒手大展身手的好地方。
• He warned me against pickpockets. 他让我提防小偷。 来自《简明英汉词典》

63 spoke   

n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说

参考例句：

• They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
• The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。

64 lottery   

n.抽彩；碰运气的事，难于算计的事

参考例句：

• He won no less than ￡5000 in the lottery.他居然中了5000英镑的奖券。
• They thought themselves lucky in the lottery of life.他们认为自己是变幻莫测的人生中的幸运者。

65 cavalry   

n.骑兵；轻装甲部队

参考例句：

• We were taken in flank by a troop of cavalry. 我们翼侧受到一队骑兵的袭击。
• The enemy cavalry rode our men down. 敌人的骑兵撞倒了我们的人。

66 sketches   

n.草图( sketch的名词复数 )；素描；速写；梗概

参考例句：

• The artist is making sketches for his next painting. 画家正为他的下一幅作品画素描。
• You have to admit that these sketches are true to life. 你得承认这些素描很逼真。 来自《简明英汉词典》

67 joints   

接头( joint的名词复数 )； 关节； 公共场所（尤指价格低廉的饮食和娱乐场所） （非正式）； 一块烤肉 （英式英语）

参考例句：

• Expansion joints of various kinds are fitted on gas mains. 各种各样的伸缩接头被安装在煤气的总管道上了。
• Expansion joints of various kinds are fitted on steam pipes. 各种各样的伸缩接头被安装在蒸气管道上了。

68 Founder   

n.创始者，缔造者

参考例句：

• He was extolled as the founder of their Florentine school.他被称颂为佛罗伦萨画派的鼻祖。
• According to the old tradition,Romulus was the founder of Rome.按照古老的传说，罗穆卢斯是古罗马的建国者。

69 plumb   

adv.精确地，完全地；v.了解意义，测水深

参考例句：

• No one could plumb the mystery.没人能看破这秘密。
• It was unprofitable to plumb that sort of thing.这种事弄个水落石出没有什么好处。

70 entirely   

ad.全部地，完整地；完全地，彻底地

参考例句：

• The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
• His life was entirely given up to the educational work. 他的一生统统献给了教育工作。

71 inordinately   

adv.无度地，非常地

参考例句：

• But if you are determined to accumulate wealth, it isn't inordinately difficult. 不过，如果你下决心要积累财富，事情也不是太难。 来自互联网
• She was inordinately smart. 她非常聪明。 来自互联网

72 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

• She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
• These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。

73 thoroughly   

adv.完全地，彻底地，十足地

参考例句：

• The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
• The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。

74 dilating   

v.（使某物）扩大，膨胀，张大( dilate的现在分词 )

参考例句：

• Compliance is the dilating extent of elastic tissue below pressure. 顺应性是指外力作用下弹性组织的可扩张性。 来自互联网
• For dilating the bearing life, bearing should keep lubricative well. 为延长轴承寿命，轴承应保持良好的润滑状态。 来自互联网

75 bulwark   

n.堡垒，保障，防御

参考例句：

• That country is a bulwark of freedom.那个国家是自由的堡垒。
• Law and morality are the bulwark of society.法律和道德是社会的防御工具。

76 criticise   

v.批评，评论；非难

参考例句：

• Right and left have much cause to criticise government.左翼和右翼有很多理由批评政府。
• It is not your place to criticise or suggest improvements!提出批评或给予改进建议并不是你的责任！

77 honourable   

adj.可敬的；荣誉的，光荣的

参考例句：

• I don't think I am worthy of such an honourable title.这样的光荣称号，我可担当不起。
• I hope to find an honourable way of settling difficulties.我希望设法找到一个体面的办法以摆脱困境。

78 supercilious   

adj.目中无人的，高傲的；adv.高傲地；n.高傲

参考例句：

• The shop assistant was very supercilious towards me when I asked for some help.我要买东西招呼售货员时，那个售货员对我不屑一顾。
• His manner is supercilious and arrogant.他非常傲慢自大。

79 dodge   

v.闪开，躲开，避开；n.妙计，诡计

参考例句：

• A dodge behind a tree kept her from being run over.她向树后一闪，才没被车从身上辗过。
• The dodge was coopered by the police.诡计被警察粉碎了。

80 inevitable   

adj.不可避免的，必然发生的

参考例句：

• Mary was wearing her inevitable large hat.玛丽戴着她总是戴的那顶大帽子。
• The defeat had inevitable consequences for British policy.战败对英国政策不可避免地产生了影响。

81 velvet   

n.丝绒，天鹅绒；adj.丝绒制的，柔软的

参考例句：

• This material feels like velvet.这料子摸起来像丝绒。
• The new settlers wore the finest silk and velvet clothing.新来的移民穿着最华丽的丝绸和天鹅绒衣服。

82 aperitif   

n.饭前酒

参考例句：

• It is as an aperitif or with strong cheeses and desserts.此酒是开胃酒，可配合甜品及味道较浓郁的芝士食用。
• This beer is also very suitable as an aperitif.这款啤酒很适合作为开胃酒。

83 enticing   

adj.迷人的；诱人的

参考例句：

• The offer was too enticing to refuse. 这提议太有诱惑力，使人难以拒绝。
• Her neck was short but rounded and her arms plump and enticing. 她的脖子短，但浑圆可爱；两臂丰腴，也很动人。

84 toiled   

长时间或辛苦地工作( toil的过去式和过去分词 )； 艰难缓慢地移动，跋涉

参考例句：

• They toiled up the hill in the blazing sun. 他们冒着炎炎烈日艰难地一步一步爬上山冈。
• He toiled all day long but earned very little. 他整天劳碌但挣得很少。

85 graceful   

adj.优美的，优雅的；得体的

参考例句：

• His movements on the parallel bars were very graceful.他的双杠动作可帅了!
• The ballet dancer is so graceful.芭蕾舞演员的姿态是如此的优美。

86 festive   

adj.欢宴的，节日的

参考例句：

• It was Christmas and everyone was in festive mood.当时是圣诞节，每个人都沉浸在节日的欢乐中。
• We all wore festive costumes to the ball.我们都穿着节日的盛装前去参加舞会。

87 spinach   

n.菠菜

参考例句：

• Eating spinach is supposed to make you strong.据说吃菠菜能使人强壮。
• You should eat such vegetables as carrot,celery and spinach.你应该吃胡萝卜、芹菜和菠菜这类的蔬菜。

88 remonstrate   

v.抗议，规劝

参考例句：

• He remonstrated with the referee.他向裁判抗议。
• I jumped in the car and went to remonstrate.我跳进汽车去提出抗议。

89 acclaimed   

adj.受人欢迎的

参考例句：

• They acclaimed him as the best writer of the year. 他们称赞他为当年的最佳作者。
• Confuscius is acclaimed as a great thinker. 孔子被赞誉为伟大的思想家。

90 complexion   

n.肤色；情况，局面；气质，性格

参考例句：

• Red does not suit with her complexion.红色与她的肤色不协调。
• Her resignation puts a different complexion on things.她一辞职局面就全变了。

91 interval   

n.间隔，间距；幕间休息，中场休息

参考例句：

• The interval between the two trees measures 40 feet.这两棵树的间隔是40英尺。
• There was a long interval before he anwsered the telephone.隔了好久他才回了电话。

92 bruised   

[医]青肿的，瘀紫的

参考例句：

• his bruised and bloodied nose 他沾满血的青肿的鼻子
• She had slipped and badly bruised her face. 她滑了一跤，摔得鼻青脸肿。

93 promptly   

adv.及时地，敏捷地

参考例句：

• He paid the money back promptly.他立即还了钱。
• She promptly seized the opportunity his absence gave her.她立即抓住了因他不在场给她创造的机会。

94 salmon   

n.鲑，大马哈鱼，橙红色的

参考例句：

• We saw a salmon jumping in the waterfall there.我们看见一条大马哈鱼在那边瀑布中跳跃。
• Do you have any fresh salmon in at the moment?现在有新鲜大马哈鱼卖吗？

95 amiable   

adj.和蔼可亲的，友善的，亲切的

参考例句：

• She was a very kind and amiable old woman.她是个善良和气的老太太。
• We have a very amiable companionship.我们之间存在一种友好的关系。

96 eulogy   

n.颂词；颂扬

参考例句：

• He needs no eulogy from me or from any other man. 他不需要我或者任何一个人来称颂。
• Mr.Garth gave a long eulogy about their achievements in the research.加思先生对他们的研究成果大大地颂扬了一番。

97 discoursing   

演说（discourse的现在分词形式）

参考例句：

• He was discoursing to us on Keats. 他正给我们讲济慈。
• He found the time better employed in searching than in discussing, in discovering than in discoursing. 他认为与其把时间花费在你争我辩和高谈阔论上，不如用在研究和发现上。

98 extemporaneous   

adj.即席的，一时的

参考例句：

• She made an extemporaneous speech on the ceremony.她在典礼上做了一次即兴演讲。
• Nixon carried away with it all,delivered his extemporaneous toast.尼克松对一切都很满意，颇有些情不自禁地发表了他的即席祝酒词。

99 tottered   

v.走得或动得不稳( totter的过去式和过去分词 )；踉跄；蹒跚；摇摇欲坠

参考例句：

• The pile of books tottered then fell. 这堆书晃了几下，然后就倒了。 来自《简明英汉词典》
• The wounded soldier tottered to his feet. 伤员摇摇晃晃地站了起来。 来自《简明英汉词典》

100 atone   

v.赎罪，补偿

参考例句：

• He promised to atone for his crime.他承诺要赎自己的罪。
• Blood must atone for blood.血债要用血来还。

101 auction   

n.拍卖；拍卖会；vt.拍卖

参考例句：

• They've put the contents of their house up for auction.他们把房子里的东西全都拿去拍卖了。
• They bought a new minibus with the proceeds from the auction.他们用拍卖得来的钱买了一辆新面包车。

102 dealer   

n.商人，贩子

参考例句：

• The dealer spent hours bargaining for the painting.那个商人为购买那幅画花了几个小时讨价还价。
• The dealer reduced the price for cash down.这家商店对付现金的人减价优惠。

103 avowed   

adj.公开声明的，承认的v.公开声明，承认( avow的过去式和过去分词)

参考例句：

• An aide avowed that the President had known nothing of the deals. 一位助理声明，总统对这些交易一无所知。
• The party's avowed aim was to struggle against capitalist exploitation. 该党公开宣称的宗旨是与资本主义剥削斗争。 来自《简明英汉词典》

104 technically   

adv.专门地，技术上地

参考例句：

• Technically it is the most advanced equipment ever.从技术上说，这是最先进的设备。
• The tomato is technically a fruit,although it is eaten as a vegetable.严格地说，西红柿是一种水果，尽管它是当作蔬菜吃的。

105 fray   

v.争吵；打斗；磨损，磨破；n.吵架；打斗

参考例句：

• Why should you get involved in their fray?你为什么要介入他们的争吵呢？
• Tempers began to fray in the hot weather.大热天脾气烦燥。

106 rebuked   

责难或指责( rebuke的过去式和过去分词 )

参考例句：

• The company was publicly rebuked for having neglected safety procedures. 公司因忽略了安全规程而受到公开批评。
• The teacher rebuked the boy for throwing paper on the floor. 老师指责这个男孩将纸丢在地板上。

107 magistrate   

n.地方行政官，地方法官，治安官

参考例句：

• The magistrate committed him to prison for a month.法官判处他一个月监禁。
• John was fined 1000 dollars by the magistrate.约翰被地方法官罚款1000美元。

108 desperately   

adv.极度渴望地，绝望地，孤注一掷地

参考例句：

• He was desperately seeking a way to see her again.他正拼命想办法再见她一面。
• He longed desperately to be back at home.他非常渴望回家。

109 loyalty   

n.忠诚，忠心

参考例句：

• She told him the truth from a sense of loyalty.她告诉他真相是出于忠诚。
• His loyalty to his friends was never in doubt.他对朋友的一片忠心从来没受到怀疑。

110 generosity   

n.大度，慷慨，慷慨的行为

参考例句：

• We should match their generosity with our own.我们应该像他们一样慷慨大方。
• We adore them for their generosity.我们钦佩他们的慷慨。

111 tempting   

a.诱人的, 吸引人的

参考例句：

• It is tempting to idealize the past. 人都爱把过去的日子说得那么美好。
• It was a tempting offer. 这是个诱人的提议。

112 dealers   

n.商人( dealer的名词复数 )；贩毒者；毒品贩子；发牌者

参考例句：

• There was fast bidding between private collectors and dealers. 私人收藏家和交易商急速竞相喊价。
• The police were corrupt and were operating in collusion with the drug dealers. 警察腐败，与那伙毒品贩子内外勾结。

113 spun   

v.纺，杜撰，急转身

参考例句：

• His grandmother spun him a yarn at the fire.他奶奶在火炉边给他讲故事。
• Her skilful fingers spun the wool out to a fine thread.她那灵巧的手指把羊毛纺成了细毛线。

114 pointed   

adj.尖的，直截了当的

参考例句：

• He gave me a very sharp pointed pencil.他给我一支削得非常尖的铅笔。
• She wished to show Mrs.John Dashwood by this pointed invitation to her brother.她想通过对达茨伍德夫人提出直截了当的邀请向她的哥哥表示出来。

115 destined   

adj.命中注定的；(for)以…为目的地的

参考例句：

• It was destined that they would marry.他们结婚是缘分。
• The shipment is destined for America.这批货物将运往美国。

116 diplomacy   

n.外交；外交手腕，交际手腕

参考例句：

• The talks have now gone into a stage of quiet diplomacy.会谈现在已经进入了“温和外交”阶段。
• This was done through the skill in diplomacy. 这是通过外交手腕才做到的。

117 liking   

n.爱好；嗜好；喜欢

参考例句：

• The word palate also means taste or liking.Palate这个词也有“口味”或“嗜好”的意思。
• I must admit I have no liking for exaggeration.我必须承认我不喜欢夸大其词。

118 thaw   

v.（使）融化，（使）变得友善；n.融化，缓和

参考例句：

• The snow is beginning to thaw.雪已开始融化。
• The spring thaw caused heavy flooding.春天解冻引起了洪水泛滥。

119 decided   

adj.决定了的，坚决的；明显的，明确的

参考例句：

• This gave them a decided advantage over their opponents.这使他们比对手具有明显的优势。
• There is a decided difference between British and Chinese way of greeting.英国人和中国人打招呼的方式有很明显的区别。

120 redoubtable   

adj.可敬的；可怕的

参考例句：

• He is a redoubtable fighter.他是一位可敬的战士。
• Whose only defense is their will and redoubtable spirit.他们唯一的国防是他们的意志和可怕的精神。

121 dignified   

a.可敬的，高贵的

参考例句：

• Throughout his trial he maintained a dignified silence. 在整个审讯过程中，他始终沉默以保持尊严。
• He always strikes such a dignified pose before his girlfriend. 他总是在女友面前摆出这种庄严的姿态。

122 reticence   

n.沉默，含蓄

参考例句：

• He breaks out of his normal reticence and tells me the whole story.他打破了平时一贯沈默寡言的习惯，把事情原原本本都告诉了我。
• He always displays a certain reticence in discussing personal matters.他在谈论个人问题时总显得有些保留。

123 intercourse   

n.性交；交流，交往，交际

参考例句：

• The magazine becomes a cultural medium of intercourse between the two peoples.该杂志成为两民族间文化交流的媒介。
• There was close intercourse between them.他们过往很密。

124 helping   

n.食物的一份&adj.帮助人的，辅助的

参考例句：

• The poor children regularly pony up for a second helping of my hamburger. 那些可怜的孩子们总是要求我把我的汉堡包再给他们一份。
• By doing this, they may at times be helping to restore competition. 这样一来, 他在某些时候,有助于竞争的加强。

125 subscribe   

vi.(to)订阅，订购；同意；vt.捐助，赞助

参考例句：

• I heartily subscribe to that sentiment.我十分赞同那个观点。
• The magazine is trying to get more readers to subscribe.该杂志正大力发展新订户。

126 privately   

adv.以私人的身份，悄悄地，私下地

参考例句：

• Some ministers admit privately that unemployment could continue to rise.一些部长私下承认失业率可能继续升高。
• The man privately admits that his motive is profits.那人私下承认他的动机是为了牟利。

127 enthusiast   

n.热心人，热衷者

参考例句：

• He is an enthusiast about politics.他是个热衷于政治的人。
• He was an enthusiast and loved to evoke enthusiasm in others.他是一个激情昂扬的人，也热中于唤起他人心中的激情。

128 autobiography   

n.自传

参考例句：

• He published his autobiography last autumn.他去年秋天出版了自己的自传。
• His life story is recounted in two fascinating volumes of autobiography.这两卷引人入胜的自传小说详述了他的生平。

129 ardent   

adj.热情的，热烈的，强烈的，烈性的

参考例句：

• He's an ardent supporter of the local football team.他是本地足球队的热情支持者。
• Ardent expectations were held by his parents for his college career.他父母对他的大学学习抱着殷切的期望。

130 tragic   

adj.悲剧的，悲剧性的，悲惨的

参考例句：

• The effect of the pollution on the beaches is absolutely tragic.污染海滩后果可悲。
• Charles was a man doomed to tragic issues.查理是个注定不得善终的人。

131 harry   

vt.掠夺，蹂躏，使苦恼

参考例句：

• Today,people feel more hurried and harried.今天，人们感到更加忙碌和苦恼。
• Obama harried business by Healthcare Reform plan.奥巴马用医改掠夺了商界。

132 Christian   

adj.基督教徒的；n.基督教徒

参考例句：

• They always addressed each other by their Christian name.他们总是以教名互相称呼。
• His mother is a sincere Christian.他母亲是个虔诚的基督教徒。

133 obsessions   

n.使人痴迷的人（或物）( obsession的名词复数 )；着魔；困扰

参考例句：

• 95% of patients know their obsessions are irrational. 95％的病人都知道他们的痴迷是不理智的。 来自辞典例句
• Too often you get caught in your own obsessions. 所以你时常会沉迷在某个电影里。 来自互联网

134 rogue   

n.流氓；v.游手好闲

参考例句：

• The little rogue had his grandpa's glasses on.这淘气鬼带上了他祖父的眼镜。
• They defined him as a rogue.他们确定他为骗子。

135 cone   

n.圆锥体，圆锥形东西，球果

参考例句：

• Saw-dust piled up in a great cone.锯屑堆积如山。
• The police have sectioned off part of the road with traffic cone.警察用锥形路标把部分路面分隔开来。

136 squires   

n.地主，乡绅( squire的名词复数 )

参考例句：

• The family history was typical of the Catholic squires of England. 这个家族的历史，在英格兰信天主教的乡绅中是很典型的。 来自辞典例句
• By 1696, with Tory squires and Amsterdam burghers complaining about excessive taxes. 到1696年，托利党的乡绅们和阿姆斯特丹的市民都对苛捐杂税怨声载道。 来自辞典例句

137 impartial   

adj.(in,to)公正的，无偏见的

参考例句：

• He gave an impartial view of the state of affairs in Ireland.他对爱尔兰的事态发表了公正的看法。
• Careers officers offer impartial advice to all pupils.就业指导员向所有学生提供公正无私的建议。

138 crocheted   

v.用钩针编织( crochet的过去式和过去分词 )

参考例句：

• Mom and I crocheted new quilts. 我和妈妈钩织了新床罩。 来自辞典例句
• Aunt Paula crocheted a beautiful blanket for the baby. 宝拉婶婶为婴孩编织了一条美丽的毯子。 来自互联网

139 cane   

n.手杖，细长的茎，藤条；v.以杖击，以藤编制的

参考例句：

• This sugar cane is quite a sweet and juicy.这甘蔗既甜又多汁。
• English schoolmasters used to cane the boys as a punishment.英国小学老师过去常用教鞭打男学生作为惩罚。

140 amber   

n.琥珀；琥珀色；adj.琥珀制的

参考例句：

• Would you like an amber necklace for your birthday?你过生日想要一条琥珀项链吗？
• This is a piece of little amber stones.这是一块小小的琥珀化石。

141 nun   

n.修女，尼姑

参考例句：

• I can't believe that the famous singer has become a nun.我无法相信那个著名的歌星已做了修女。
• She shaved her head and became a nun.她削发为尼。

142 reassuringly   

ad.安心，可靠

参考例句：

• He patted her knee reassuringly. 他轻拍她的膝盖让她放心。
• The doctor smiled reassuringly. 医生笑了笑，让人心里很踏实。

143 wont   

adj.习惯于；v.习惯；n.习惯

参考例句：

• He was wont to say that children are lazy.他常常说小孩子们懒惰。
• It is his wont to get up early.早起是他的习惯。

144 courteously   

adv.有礼貌地，亲切地

参考例句：

• He courteously opened the door for me.他谦恭有礼地为我开门。
• Presently he rose courteously and released her.过了一会，他就很客气地站起来，让她走开。

145 Oxford   

n.牛津（英国城市）

参考例句：

• At present he has become a Professor of Chemistry at Oxford.他现在已是牛津大学的化学教授了。
• This is where the road to Oxford joins the road to London.这是去牛津的路与去伦敦的路的汇合处。

146 saluting   

v.欢迎，致敬( salute的现在分词 )；赞扬，赞颂

参考例句：

• 'Thank you kindly, sir,' replied Long John, again saluting. “万分感谢，先生。”高个子约翰说着又行了个礼。 来自英汉文学 - 金银岛
• He approached the young woman and, without saluting, began at once to converse with her. 他走近那年青女郎，马上就和她攀谈起来了，连招呼都不打。 来自辞典例句

147 detailed   

adj.详细的，详尽的，极注意细节的，完全的

参考例句：

• He had made a detailed study of the terrain.他对地形作了缜密的研究。
• A detailed list of our publications is available on request.我们的出版物有一份详细的目录备索。

148 hover   

vi.翱翔，盘旋；徘徊；彷徨，犹豫

参考例句：

• You don't hover round the table.你不要围着桌子走来走去。
• A plane is hover on our house.有一架飞机在我们的房子上盘旋。

149 moor   

n.荒野，沼泽；vt.(使)停泊；vi.停泊

参考例句：

• I decided to moor near some tourist boats.我决定在一些观光船附近停泊。
• There were hundreds of the old huts on the moor.沼地上有成百上千的古老的石屋。

150 tormenting   

使痛苦的，使苦恼的

参考例句：

• He took too much pleasure in tormenting an ugly monster called Caliban. 他喜欢一味捉弄一个名叫凯列班的丑妖怪。
• The children were scolded for tormenting animals. 孩子们因折磨动物而受到责骂。

151 tormented   

饱受折磨的

参考例句：

• The knowledge of his guilt tormented him. 知道了自己的罪责使他非常痛苦。
• He had lain awake all night, tormented by jealousy. 他彻夜未眠，深受嫉妒的折磨。

153 housekeeper   

n.管理家务的主妇，女管家

参考例句：

• A spotless stove told us that his mother is a diligent housekeeper.炉子清洁无瑕就表明他母亲是个勤劳的主妇。
• She is an economical housekeeper and feeds her family cheaply.她节约持家，一家人吃得很省。

154 linen   

n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的

参考例句：

• The worker is starching the linen.这名工人正在给亚麻布上浆。
• Fine linen and cotton fabrics were known as well as wool.精细的亚麻织品和棉织品像羊毛一样闻名遐迩。

155 chronically   

ad.长期地

参考例句：

• Similarly, any pigment nevus that is chronically irritated should be excised. 同样，凡是经常受慢性刺激的各种色素痣切勿予以切除。
• People chronically exposed to chlorine develop some degree of tolerance. 人长期接触氯气可以产生某种程度的耐受性。

156 touching   

adj.动人的，使人感伤的

参考例句：

• It was a touching sight.这是一幅动人的景象。
• His letter was touching.他的信很感人。

157 mutual   

adj.相互的，彼此的；共同的，共有的

参考例句：

• We must pull together for mutual interest.我们必须为相互的利益而通力合作。
• Mutual interests tied us together.相互的利害关系把我们联系在一起。

158 illustrated   

adj. 有插图的，列举的 动词illustrate的过去式和过去分词

参考例句：

• His lecture was illustrated with slides taken during the expedition. 他在讲演中使用了探险时拍摄到的幻灯片。
• The manufacturing Methods: Will be illustrated in the next chapter. 制作方法将在下一章说明。

159 throngs   

n.人群( throng的名词复数 )v.成群，挤满( throng的第三人称单数 )

参考例句：

• She muscled through the throngs of people, frantically searching for David. 她使劲挤过人群，拼命寻找戴维。 来自辞典例句
• Our friends threaded their way slowly through the throngs upon the Bridge. 我们这两位朋友在桥上从人群中穿过，慢慢地往前走。 来自辞典例句

160 disciples   

n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一

参考例句：

• Judas was one of the twelve disciples of Jesus. 犹大是耶稣十二门徒之一。 来自《简明英汉词典》
• "The names of the first two disciples were --" “最初的两个门徒的名字是——” 来自英汉文学 - 汤姆历险

161 vend   

v.公开表明观点，出售，贩卖

参考例句：

• Hardware Malfunction,call your hardware vend or for support.硬件故障，请让你的硬件提供商提供技术支持。
• Vend is formal and indicates the selling of small articles.Vend较正式，指出售小件商品。

162 solitary   

adj.孤独的，独立的，荒凉的；n.隐士

参考例句：

• I am rather fond of a solitary stroll in the country.我颇喜欢在乡间独自徜徉。
• The castle rises in solitary splendour on the fringe of the desert.这座城堡巍然耸立在沙漠的边际，显得十分壮美。

163 giggle   

n.痴笑，咯咯地笑；v.咯咯地笑着说

参考例句：

• Both girls began to giggle.两个女孩都咯咯地笑了起来。
• All that giggle and whisper is too much for me.我受不了那些咯咯的笑声和交头接耳的样子。

164 giggled   

v.咯咯地笑( giggle的过去式和过去分词 )

参考例句：

• The girls giggled at the joke. 女孩子们让这笑话逗得咯咯笑。
• The children giggled hysterically. 孩子们歇斯底里地傻笑。 来自《简明英汉词典》

165 automobile   

n.汽车，机动车

参考例句：

• He is repairing the brake lever of an automobile.他正在修理汽车的刹车杆。
• The automobile slowed down to go around the curves in the road.汽车在路上转弯时放慢了速度。

166 admiration   

n.钦佩，赞美，羡慕

参考例句：

• He was lost in admiration of the beauty of the scene.他对风景之美赞不绝口。
• We have a great admiration for the gold medalists.我们对金牌获得者极为敬佩。

167 thronged   

v.成群，挤满( throng的过去式和过去分词 )

参考例句：

• Mourners thronged to the funeral. 吊唁者蜂拥着前来参加葬礼。 来自《简明英汉词典》
• The department store was thronged with people. 百货商店挤满了人。 来自《现代英汉综合大词典》

168 melancholy   

n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的

参考例句：

• All at once he fell into a state of profound melancholy.他立即陷入无尽的忧思之中。
• He felt melancholy after he failed the exam.这次考试没通过，他感到很郁闷。

169 ghetto   

n.少数民族聚居区，贫民区

参考例句：

• Racism and crime still flourish in the ghetto.城市贫民区的种族主义和犯罪仍然十分猖獗。
• I saw that achievement as a possible pattern for the entire ghetto.我把获得的成就看作整个黑人区可以仿效的榜样。

170 majestically   

雄伟地； 庄重地； 威严地； 崇高地

参考例句：

• The waters of the Changjiang River rolled to the east on majestically. 雄伟的长江滚滚东流。
• Towering snowcapped peaks rise majestically. 白雪皑皑的山峰耸入云霄。

171 outspoken   

adj.直言无讳的，坦率的，坦白无隐的

参考例句：

• He was outspoken in his criticism.他在批评中直言不讳。
• She is an outspoken critic of the school system in this city.她是这座城市里学校制度的坦率的批评者。

172 dwindling   

adj.逐渐减少的v.逐渐变少或变小( dwindle的现在分词 )

参考例句：

• The number of wild animals on the earth is dwindling. 地球上野生动物的数量正日渐减少。 来自《简明英汉词典》
• He is struggling to come to terms with his dwindling authority. 他正努力适应自己权力被削弱这一局面。 来自辞典例句

173 annuity   

n.年金；养老金

参考例句：

• The personal contribution ratio is voluntary in the annuity program.企业年金中个人缴费比例是自愿的。
• He lives on his annuity after retirement.他退休后靠退休金维生。

174 strenuous   

adj.奋发的，使劲的；紧张的；热烈的，狂热的

参考例句：

• He made strenuous efforts to improve his reading. 他奋发努力提高阅读能力。
• You may run yourself down in this strenuous week.你可能会在这紧张的一周透支掉自己。

175 mote   

n.微粒；斑点

参考例句：

• Seeing the mote in one's neighbor's eye,but not the beam in one's own.能看见别人眼里的尘埃，看不见自己眼里的木头。
• The small mote on her forehead distinguishes her from her twin sister.她额头上的这个小斑点是她与其双胞胎妹妹的区别。

176 isolate   

vt.使孤立，隔离

参考例句：

• Do not isolate yourself from others.不要把自己孤立起来。
• We should never isolate ourselves from the masses.我们永远不能脱离群众。

177 dismal   

adj.阴沉的，凄凉的，令人忧郁的，差劲的

参考例句：

• That is a rather dismal melody.那是一支相当忧郁的歌曲。
• My prospects of returning to a suitable job are dismal.我重新找到一个合适的工作岗位的希望很渺茫。

178 judgment   

n.审判；判断力，识别力，看法，意见

参考例句：

• The chairman flatters himself on his judgment of people.主席自认为他审视人比别人高明。
• He's a man of excellent judgment.他眼力过人。

179 stoutish   

略胖的

参考例句：

• There was a knock on the door and a large stoutish man stepped in. 门上敲了一下，一个身材魁梧、略为发胖的男人走了进来。

180 lashes   

n.鞭挞( lash的名词复数 )；鞭子；突然猛烈的一击；急速挥动v.鞭打( lash的第三人称单数 )；煽动；紧系；怒斥

参考例句：

• Mother always lashes out food for the children's party. 孩子们聚会时，母亲总是给他们许多吃的。 来自《简明英汉词典》
• Never walk behind a horse in case it lashes out. 绝对不要跟在马后面，以防它突然猛踢。 来自《简明英汉词典》

181 passionately   

ad.热烈地，激烈地

参考例句：

• She could hate as passionately as she could love. 她能恨得咬牙切齿，也能爱得一往情深。
• He was passionately addicted to pop music. 他酷爱流行音乐。

182 permanently   

adv.永恒地，永久地，固定不变地

参考例句：

• The accident left him permanently scarred.那次事故给他留下了永久的伤疤。
• The ship is now permanently moored on the Thames in London.该船现在永久地停泊在伦敦泰晤士河边。

183 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

• Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗？
• Once the aim is fixed,we should not change it arbitrarily.目标一旦确定，我们就不应该随意改变。

184 miller   

n.磨坊主

参考例句：

• Every miller draws water to his own mill.磨坊主都往自己磨里注水。
• The skilful miller killed millions of lions with his ski.技术娴熟的磨坊主用雪橇杀死了上百万头狮子。

185 embroidering   

v.（在织物上）绣花( embroider的现在分词 )；刺绣；对…加以渲染（或修饰）；给…添枝加叶

参考例句：

• He always had a way of embroidering. 他总爱添油加醋。 来自辞典例句
• Zhao Junxin learned the craft of embroidering from his grandmother. 赵俊信从奶奶那里学到了刺绣的手艺。 来自互联网

186 drawn   

v.拖，拉，拔出；adj.憔悴的，紧张的

参考例句：

• All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
• Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。

187 intrigue   

vt.激起兴趣，迷住；vi.耍阴谋；n.阴谋，密谋

参考例句：

• Court officials will intrigue against the royal family.法院官员将密谋反对皇室。
• The royal palace was filled with intrigue.皇宫中充满了勾心斗角。

188 agitation   

n.搅动；搅拌；鼓动，煽动

参考例句：

• Small shopkeepers carried on a long agitation against the big department stores.小店主们长期以来一直在煽动人们反对大型百货商店。
• These materials require constant agitation to keep them in suspension.这些药剂要经常搅动以保持悬浮状态。

189 dismantled   

拆开( dismantle的过去式和过去分词 )； 拆卸； 废除； 取消

参考例句：

• The plant was dismantled of all its equipment and furniture. 这家工厂的设备和家具全被拆除了。
• The Japanese empire was quickly dismantled. 日本帝国很快被打垮了。

190 lucrative   

adj.赚钱的，可获利的

参考例句：

• He decided to turn his hobby into a lucrative sideline.他决定把自己的爱好变成赚钱的副业。
• It was not a lucrative profession.那是一个没有多少油水的职业。

191 descending   

n. 下行 adj. 下降的

参考例句：

• The results are expressed in descending numerical order . 结果按数字降序列出。
• The climbers stopped to orient themselves before descending the mountain. 登山者先停下来确定所在的位置，然后再下山。

192 depressed   

adj.沮丧的，抑郁的，不景气的，萧条的

参考例句：

• When he was depressed,he felt utterly divorced from reality.他心情沮丧时就感到完全脱离了现实。
• His mother was depressed by the sad news.这个坏消息使他的母亲意志消沉。

193 enquiring   

a.爱打听的，显得好奇的

参考例句：

• a child with an enquiring mind 有好奇心的孩子
• Paul darted at her sharp enquiring glances. 她的目光敏锐好奇，保罗飞快地朝她瞥了一眼。

194 incessantness   

参考例句：

195 adolescence   

n.青春期，青少年

参考例句：

• Adolescence is the process of going from childhood to maturity.青春期是从少年到成年的过渡期。
• The film is about the trials and tribulations of adolescence.这部电影讲述了青春期的麻烦和苦恼。

196 assortment   

n.分类，各色俱备之物，聚集

参考例句：

• This shop has a good assortment of goods to choose from.该店各色货物俱全，任君选择。
• She was wearing an odd assortment of clothes.她穿着奇装异服。

197 genre   

n.(文学、艺术等的)类型，体裁，风格

参考例句：

• My favorite music genre is blues.我最喜欢的音乐种类是布鲁斯音乐。
• Superficially,this Shakespeare's work seems to fit into the same genre.从表面上看， 莎士比亚的这个剧本似乎属于同一类型。

198 harp   

n.竖琴；天琴座

参考例句：

• She swept her fingers over the strings of the harp.她用手指划过竖琴的琴弦。
• He played an Irish melody on the harp.他用竖琴演奏了一首爱尔兰曲调。

199 uproar   

n.骚动，喧嚣，鼎沸

参考例句：

• She could hear the uproar in the room.她能听见房间里的吵闹声。
• His remarks threw the audience into an uproar.他的讲话使听众沸腾起来。

200 industriously   

参考例句：

• She paces the whole class in studying English industriously. 她在刻苦学习英语上给全班同学树立了榜样。
• He industriously engages in unostentatious hard work. 他勤勤恳恳，埋头苦干。

201 outraged   

a.震惊的，义愤填膺的

参考例句：

• Members of Parliament were outraged by the news of the assassination. 议会议员们被这暗杀的消息激怒了。
• He was outraged by their behavior. 他们的行为使他感到愤慨。

202 hiss   

v.发出嘶嘶声；发嘘声表示不满

参考例句：

• We can hear the hiss of air escaping from a tire.我们能听到一只轮胎的嘶嘶漏气声。
• Don't hiss at the speaker.不要嘘演讲人。

203 defenders   

n.防御者( defender的名词复数 )；守卫者；保护者；辩护者

参考例句：

• The defenders were outnumbered and had to give in. 抵抗者寡不敌众，只能投降。 来自《简明英汉词典》
• After hard fighting,the defenders were still masters of the city. 守军经过奋战仍然控制着城市。 来自《简明英汉词典》

204 literally   

adv.照字面意义，逐字地；确实

参考例句：

• He translated the passage literally.他逐字逐句地翻译这段文字。
• Sometimes she would not sit down till she was literally faint.有时候，她不走到真正要昏厥了，决不肯坐下来。

205 altercation   

n.争吵，争论

参考例句：

• Throughout the entire altercation,not one sensible word was uttered.争了半天，没有一句话是切合实际的。
• The boys had an altercation over the umpire's decision.男孩子们对裁判的判决颇有争议。

206 defiance   

n.挑战，挑衅，蔑视，违抗

参考例句：

• He climbed the ladder in defiance of the warning.他无视警告爬上了那架梯子。
• He slammed the door in a spirit of defiance.他以挑衅性的态度把门砰地一下关上。

207 villain   

n.反派演员，反面人物；恶棍；问题的起因

参考例句：

• He was cast as the villain in the play.他在戏里扮演反面角色。
• The man who played the villain acted very well.扮演恶棍的那个男演员演得很好。

208 idol   

n.偶像，红人，宠儿

参考例句：

• As an only child he was the idol of his parents.作为独子，他是父母的宠儿。
• Blind worship of this idol must be ended.对这个偶像的盲目崇拜应该结束了。

209 postal   

adj.邮政的，邮局的

参考例句：

• A postal network now covers the whole country.邮路遍及全国。
• Remember to use postal code.勿忘使用邮政编码。

210 herald   

vt.预示...的来临，预告，宣布，欢迎

参考例句：

• In England, the cuckoo is the herald of spring.在英国杜鹃鸟是报春的使者。
• Dawn is the herald of day.曙光是白昼的先驱。

211 celebrity   

n.名人，名流；著名，名声，名望

参考例句：

• Tom found himself something of a celebrity. 汤姆意识到自己已小有名气了。
• He haunted famous men, hoping to get celebrity for himself. 他常和名人在一起, 希望借此使自己获得名气。

212 entailed   

使…成为必要( entail的过去式和过去分词 )； 需要； 限定继承； 使必需

参考例句：

• The castle and the land are entailed on the eldest son. 城堡和土地限定由长子继承。
• The house and estate are entailed on the eldest daughter. 这所房子和地产限定由长女继承。

213 accomplished   

adj.有才艺的；有造诣的；达到了的

参考例句：

• Thanks to your help,we accomplished the task ahead of schedule.亏得你们帮忙,我们才提前完成了任务。
• Removal of excess heat is accomplished by means of a radiator.通过散热器完成多余热量的排出。

214 concierge   

n.管理员；门房

参考例句：

• This time the concierge was surprised to the point of bewilderment.这时候看门人惊奇到了困惑不解的地步。
• As I went into the dining-room the concierge brought me a police bulletin to fill out.我走进餐厅的时候，看门人拿来一张警察局发的表格要我填。

215 waning   

adj.（月亮）渐亏的，逐渐减弱或变小的n.月亏v.衰落( wane的现在分词 )；（月）亏；变小；变暗淡

参考例句：

• Her enthusiasm for the whole idea was waning rapidly. 她对整个想法的热情迅速冷淡了下来。
• The day is waning and the road is ending. 日暮途穷。 来自《现代汉英综合大词典》

216 sprint   

n.短距离赛跑；vi. 奋力而跑，冲刺；vt.全速跑过

参考例句：

• He put on a sprint to catch the bus.他全速奔跑以赶上公共汽车。
• The runner seemed to be rallied for a final sprint.这名赛跑者似乎在振作精神作最后的冲刺。

217 varied   

adj.多样的，多变化的

参考例句：

• The forms of art are many and varied.艺术的形式是多种多样的。
• The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。