he said very solemnly. This was Alfy Maurer an old habitué of the house. He had been there before there were these pictures, when there were only japanese prints, and he was among those who used to light matches to light up a little piece of the Cézanne portrait. Of course you can tell it is a finished picture, he used to explain to the other american painters who came and looked dubiously, you can tell because it has a frame, now whoever heard of anybody framing a canvas if the picture isn’t finished. He had followed, followed, followed always humbly always sincerely, it was he who selected the first lot of pictures for the famous Barnes collection some years later faithfully and enthusiastically. It was he who when later Barnes came to the house and waved his cheque-book said, so help me God, I didn’t bring him. Gertrude Stein who has an explosive temper, came in another evening and there were her brother, Alfy and a stranger. She did not like the stranger’s looks. Who is that, said she to Alfy. I didn’t bring him, said Alfy. He looks like a Jew, said Gertrude Stein, he is worse than that, says Alfy. But to return to that first evening. A few minutes after Ally came in there was a violent knock at the door and, dinner is ready, from Hélène. It’s funny the Picassos have not come, said they all, however we won’t wait at least Hélène won’t wait. So we went into the court and into the pavilion, and dining room and began dinner. It’s funny, said Miss Stein, Pablo is always promptness itself, he is never early and he is never late, it is his pride that punctuality is the politeness of kings, be even makes Fernande punctual. Of course he often says yes when he has no intention of doing what he says yes to, he can’t say no, no is not in his vocabulary and you have to know whether his yes means yes or means no, but when he says a yes that means yes and he did about tonight he is always punctual. These were the days before automobiles and nobody worried about accidents. We had just finished the first course when there was a quick patter of footsteps in the court and Hélène opened the door before the bell rang. Pablo and Fernande as everybody called them at that time walked in. He, small, quick moving but not restless, his eyes having a strange faculty of opening wide and drinking in what he wished to see. He had the isolation and movement of the head of a bull-fighter at the head of their procession. Fernande was a tall beautiful woman with a wonderful big hat and a very evidently new dress, they were both very fussed. I am very upset, said Pablo, but you know very well Gertrude I am never late but Fernande had ordered a dress for the vernissage tomorrow and it didn’t come. Well here you are anyway, said Miss Stein, since it’s you Hélène won’t mind. And we all sat down. I was next to Picasso who was silent and then gradually became peaceful. Alfy paid compliments to Fernande and she was soon calm and placid. After a little while I murmured to Picasso that I liked his portrait of Gertrude Stein. Yes, he said, everybody says that she does not look like it but that does not make any difference, she will, he said. The conversation soon became lively it was all about the opening day of the salon indépendant which was the great event of the year. Everybody was interested in all the scandals that would or would not break out. Picasso never exhibited but as his followers did and there were a great many stories connected with each follower the hopes and fears were vivacious.
While we were having coffee footsteps were heard in the court quite a number of footsteps and Miss Stein rose and said, don’t hurry, I have to let them in. And she left.
When we went into the atelier there were already quite a number of people in the room, scattered groups, single and couples all looking and looking. Gertrude Stein sat by the stove talking and listening and getting up to open the door and go up to various people talking and listening. She usually opened the door to the knock and the usual formula was, de la part de qui venez-vous, who is your introducer. The idea was that anybody could come but for form’s sake and in Paris you have to have a formula, everybody was supposed to be able to mention the name of somebody who had told them about it. It was a mere form, really everybody could come in and as at that time these pictures had no value and there was no social privilege attached to knowing any one there, only those came who really were interested. So as I say anybody could come in, however, there was the formula. Miss Stein once in opening the door said as she usually did by whose invitation do you come and we heard an aggrieved voice reply, but by yours, madame. He was a young man Gertrude Stein had met somewhere and with whom she had had a long conversation and to whom she had given a cordial invitation and then had as promptly forgotten.
The room was soon very very full and who were they all. Groups of hungarian painters and writers, it happened that some hungarian had once been brought and the word had spread from him throughout all Hungary, any village where there was a young man who had ambitions heard of 27 rue de Fleurus and then he lived but to get there and a great many did get there. They were always there, all sizes and shapes, all degrees of wealth and poverty, some very charming, some simply rough and every now and then a very beautiful young peasant. Then there were quantities of germans, not too popular because they tended always to want to see anything that was put away and they tended to break things and Gertrude Stein has a weakness for breakable objects, she has a horror of people who collect only the unbreakable. Then there was a fair sprinkling of americans, Mildred Aldrich would bring a group or Sayen, the electrician, or some painter and occasionally an architectural student would accidentally get there and then there were the habitués, among them Miss Mars and Miss Squires whom Gertrude Stein afterwards immortalised in her story of Miss Furr and Miss Skeene. On that first night Miss Mars and I talked of a subject then entirely new, how to make up your face. She was interested in types, she knew that there were femme decorative, femme d’intérieur and femme intrigante; there was no doubt that Fernande Picasso was a femme decorative, but what was Madame Matisse, femme d’intérieur, I said, and she was very pleased. From time to time one heard the high spanish whinnying laugh of Picasso and gay contralto outbreak of Gertrude Stein, people came and went, in and out. Miss Stein told me to sit with Fernande. Fernande was always beautiful but heavy in hand. I sat, it was my first sitting with a wife of a genius.
Before I decided to write this book my twenty-five years with Gertrude Stein, I had often said that I would write, The wives of geniuses I have sat with. I have sat with so many. I have sat with wives who were not wives, of geniuses who were real geniuses. I have sat with real wives of geniuses who were not real geniuses. I have sat with wives of geniuses, of near geniuses, of would be geniuses, in short I have sat very often and very long with many wives and wives of many geniuses.
As I was saying Fernande, who was then living with Picasso and had been with him a long time that is to say they were all twenty-four years old at that time but they had been together a long time, Fernande was the first wife of a genius I sat with and she was not the least amusing. We talked hats. Fernande had two subjects hats and perfumes. This first day we talked hats. She liked hats, she had the true french feeling about a hat, if a hat did not provoke some witticism from a man on the street the hat was not a success. Later on once in Montmartre she and I were walking together. She had on a large yellow hat and I had on a much smaller blue one. As we were walking along a workman stopped and called out, there go the sun and the moon shining together. Ah, said Fernande to me with a radiant smile, you see our hats are a success.
Miss Stein called me and said she wanted to have me meet Matisse. She was talking to a medium sized man with a reddish beard and glasses. He had a very alert although slightly heavy presence and Miss Stein and he seemed to be full of hidden meanings. As I came up I heard her say, Oh yes but it would be more difficult now. We were talking, she said, of a lunch party we had in here last year. We had just hung all the pictures and we asked all the painters. You know how painters are, I wanted to make them happy so I placed each one opposite his own picture, and they were happy so happy that we had to send out twice for more bread, when you know France you will know that that means that they were happy, because they cannot eat and drink without bread and we had to send out twice for bread so they were happy. Nobody noticed my little arrangement except Matisse and he did not until just as he left, and now he says it is a proof that I am very wicked, Matisse laughed and said, yes I know Mademoiselle Gertrude, the world is a theatre for you, but there are theatres and theatres, and when you listen so carefully to me and so attentively and do not hear a word I say then I do say that you are very wicked. Then they both began talking about the vernissage of the independent as every one else was doing and of course I did not know what it was all about. But gradually I knew and later on I will tell the story
