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 reu 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 décorative, femme d'intérieur and femme intrigante; there was no doubt that Fernande Picasso was a femme décorative, 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 the gay contralto 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.
--Autobiography of Alice B. Toklas