Morocco and had a great deal of talent. She worked
in the same building as Zadkine did and, as she
had to go away to the country, asked me if I would
like to take her studio, which I did. I was so
pleased to be back in Paris that, during the day-
time, I walked about by myself, visiting all the
places I had been to before the War. I went to
La Ruche and saw the studio that Edgar and I had
lived in. I wore out a pair of shoes in three weeks.
The Rotonde closed at 10.30 as the war-time regu-
lations were still enforced, so we went to people's
studios afterwards, if we did not want to go to bed,
and brought bottles with us. I found Brancusi, who
had moved to the Impasse Ronsin, and lived in a
large workshop opposite the studio, where Madame
Steinheil had lived and the tragedy had taken place.
He was pleased to see me and was just the same as
he had been before the War. He had sculpted a
bronze bird that was very beautiful It was highly
polished and shone in the corner of the studio. The
only table was made of white plaster. It was
a solid lump, round, and about four feet in dia-
meter. He asked me to come to dinner with him.
As he was very fond of cooking he said, " Mot je
diteste les restaurants, je mange chez moi, je visite le
boucher le matin et fachete les bifsteaks par le mtire"
When one dined with him one had to eat and drink
at the same time. He had marvellous burgundy
and one started with some aperitifs. As the evening
went on one got into almost a state of coma, as the
" bifsteaks " were certainly measured by metresy
and the Pommard was rather potent I had heard