LIFE anything quite like it and although Sonia Delaunay was already designing scarves, this was more start- ling. It was made and designed for the Omega Workshops by Roger Fry. I have it on in the photograph of the dance in the Avenue du Maine, where Modigliani is standing in the background. In the Rue de la Gaite is the Gaite Montparnasse, a music hall rather like the " Old Bedford." At the back of the stalls are boxes. We used to go once a week. The gallery cost fifty centimes. Modigliani came with us, too. About twelve of us went one night and sat in a row on a very narrow and hard plank in the gallery. Modigliani sat on the end and pushed and pushed. We all pushed together and he fell off the end, so in disgust he left us and went to the bar. There were very funny and very vulgar revues with the usual bedroom scenes and simple- minded jokes that made the French workpeople roar with laughter. The last time I was in Paris I went there, but it had all been redecorated in horrible colours in an attempt to be very modern. One day I met Archipenko, the sculptor. He sculpted statues in tin and wood and exhibited at the Salon des Independants. He painted his statues in bright colours and had a very fine sense of colour. He was a tall man with a reddish beard and deep set eyes. I went to his studio with a sculptor whom I knew. He had a wonderful musical instrument with about twenty strings that looked like a harp. It was in- vented and made by a sailor and he had bought it and could play Russian tunes on it. Archipenko had pupils. There were two very beautiful German girls '' '