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National Portrait Society's Exhibition at the Gros-
venor Gallery. The Toiler criticized it and said,
". . . Finally was staggered by Nina Hamnett's, of
c Poetess Edith Sitwell' and c Poet Captain Osbert
Sitwell'; sister in the funniest Futurist frock, with
what someone called 'kaleidoscopic breasts,5 and
brother looking nice, in spite of all, in the pale,
dreamy blue-grey and recherche high collar and
waist of a Guard's overcoat." This I did not regard
as very serious Art criticism. The Times said, "e Miss
Edith Sitwell' is a serious work in the midst of much
frivolity'5; this was by Glutton Brock. People
spoke of the Sitwells in the same way as they did in
1911 of the Post Impressionists. In 1911 a com-
mittee of doctors, who were experts in lunacy, were
called, and the doctors assured everyone that they
were all mad and within six months would be com-
pletely forgotten, but the Sitwells persisted in the
same way as the Post Impressionists did and every-
one was much disturbed. Every time the public
thought that they had vanished from sight they
cropped up again, new poems, new books, they
were like corks floating; every time you tried to
push them down they came up and floated on the
surface. I was not considered very important, only
rather a nuisance and so nobody minded much what
I did. I was already beginning to think about
France. I could not see any way of getting back
there. I thought of Modigliani and the Rotonde
and Wassilieff. I had occasional postcards, hearing
that they were doing quite well
A Polish poet had decided to become an art