in the room, ivories, enamels, miniatures, all sorts of monstrosities from Japan, from India, from Timbuctoo . . . for all I know. . . . He pushed his condescension so far as to have the `Girl in the Hat’ brought down into the drawing-room— half length, unframed. They put her on a chair for my mother to look at. The `Byzantine Empress’ was already there, hung on the end wall—full length, gold frame weighing half a ton. My mother first overwhelms the `Master’ with thanks, and then absorbs herself in the adoration of the `Girl in the Hat.’ Then she sighs out `It should be called Diaphanit, if there is such a word. Ah! This is the last expression of modernity!