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Paris. There I looked up that old-timer, Alfred Maurer, who introduced me to the formidable Monsieur Vollard, who although willing to listen remained somewhat noncommittal. My mission abroad had already been noised about and I could detect a slightly rising interest all around me. I next looked up Walter Pach, then resident in Paris, who later furnished inestimable service to our undertaking. To his wide acquaintanceship among French artists and dealers, the advantages of his linguistic abilities and general knowledge of art, should be credited a large measure of our success. He later acted as the European agent for the association and during the exhibition in America took charge of the sales staff, wrote several of the pamphlets, lectured and otherwise lent great and enthusiastic support to it all. His serious interest in art remains undiminished today, as can be witnessed by his own writings as well as his translations of the works of others. His latest achievement, a translation of the Journal of Delacroix, probably one of the most useful and seriously important books of its kind should be in the hands of ever painter.

Things got more and more exciting. We went from collection to collection, from gallery to gallery, with constantly growing success. Talk spread

in Paris. Jo Davidson introduced me to Arthur T. Aldis, who asked for our show for Chicago. One night in my hotel the magnitude and importance of the whole thing came over me. I suddenly realized that to attempt to handle it alone, without Davies, would be unfair to the project. I cabled him begging him to join me. He responded and in less than a week he arrived. The first night in the hotel we spent without sleep, going over the newly opened vista of what we could do for folks at home. It was very exciting. Then came several weeks of the most intensive canvassing. We practically lived in taxicabs. Pach introduced us to the brothers Duchamp Villon. He we saw for the first time the famous "Nude Descending a Staircase" which became the success de scandale of our exhibition in all three cities, New York, Chicago and Boston. Constantin Brancusi also was induced to agree to an American debut. Pach was left in Paris to make the final assemblage, and attend to transportation and insurance, a very tough job, which he executed as only he could.

Then with Davies to London to see Roger Fry's second Grafton Gallery show. I could see in the glint of Davies' eye we had nothing to fear by comparison. Here it might be well to say that Davies' thorough understanding of all the new