My attention was first attracted to him by the ring of his voice as he answered the question a woman near me put to him, amiably trying to start a conversation: "And may I ask, Mr. Williams, what are you in France for, Red Cross, or Y.M.C.A., or perhaps reconstruction work? I'm refugees, myself. It's always interesting to know other people's specialties. You often have so much in common. The only branches I don't know anything about are orphans and the blind."

To this the distinguished-looking, gray-haired man responded gravely, "Madame, I am in France for hats."

"Hats!" exclaimed the war-worker.

"Hats," he reaffirmed quietly.

She looked at him wildly and moved to another part of the room towards a recognizably tagged young woman in a gray uniform.

The timbre of his voice struck curiously on my ear. I cannot express its quality other than to say it made the voices of the rest of us sound like those of college professors and school-teachers; and I don't pretend to know exactly what I mean by that.

He aroused my curiosity. I wanted to investigate, so I began looking vague, letting my eyes wander, and answering at random. Presently the earnest talker holding forth to me grew indignant at my lack of attention, broke off abruptly, and went away. I turned to the man with the different voice and asked, "What in the world makes you come to France for hats, just now in the midst of the war?"

He answered with instant decision, "Because the only hats worth buying are made in Paris."

"Now? with France bleeding to death, how can they make hats, invent new fashions!"

His eye kindled. "Madame, a good French modiste on her deathbed could make a better hat than any one in New York ever could."

I pondered this. His accent was indubitably American, not to say New York. But there are cases of French people who have spent part of their childhood in the States who speak perfectly. "You must be at least partly of French extraction to be able so to understand and admire France," I ventured.

He opposed a rather startled and very emphatic negative. "Me? Not much! I'm as American as they make 'em. Born on lower Broadway and brought up in the New York public schools. I don't know anything about France, except that we have to come here to get the right styles in hats. I don't even speak any French except to say 'combien' and enough to count."

I was put off the scent entirely. "Oh, I thought from the way you spoke that you knew France well. This is your first visit, then?"

He was silent a moment, making a mental calculation.

Then he said: "This is my fifty-first visit to Paris. I have come twice a year for a little more than twenty-five years."

"Always for hats?" I queried, my imagination reeling at this vista.

"Always for hats," he said seriously.

I tried to be facetious. "Dear me! You must know all there is to know about hats."

He shook his head. "Nobody knows anything about hats." He added, very much in earnest, "Style is one of the great obscure mysteries of life."

This had always been one of my observations, but one I have petulantly and impatiently deplored. I had never thought to hear it expressed with such heartfelt gravity and weight by a man of such evident vigor of personality.

I said, laughing uneasily, "It makes one very self-conscious about one's own hat, to know oneself in the presence of such a connoisseur."

He reassured me: "Oh, I never look at hats except in the way of business." In his turn he looked vague, and let his eyes wander, evidently much bored with my remarks. In another moment he would have turned away, but just then an acquaintance came up to me, addressing me by name, and my new interlocutor broke in with a quite human eagerness, "Oh, are you Mr. John P. Hulme's niece?"

"Why, do you know my Uncle John?" I cried astonished.

"He's one of the best business friends I have," he assured me, "and I have often seen the picture of you and the children he has on his desk. You must let me go to see them. I've got grown-up children of my own. It will be a real treat to me to know some American children here."

In this casual manner, slipping in on the good graces of my little son and daughter, I entered a world the very existence of which I had never suspected, long and frequent as had been my sojourns in Paris; the world of hat-buyers. And I had for guide the very dean and master of the guild, to whom the younger aspirants looked up, whose sure, trained instinct was their despair and inspiration.

It was perhaps his influence, dominating that circle, which made them all so serious and intent on mastering their profession, so respectful of their chosen occupation, so willing to give it the very best of their judgment and taste. This was the more remarkable as, with the exception of my new friend, they were quite the opposite of serious-minded men and women, and, in the intervals of the exercise of their profession, enjoyed rather more than was good for their health, morals, and pocketbooks, the multiple occasions offered by a great city to damage those possessions. I was not at all in sympathy with what seemed to me the indifference of their relaxations in a country so stricken as France; but I could not withhold my astonished admiration for the excellent seriousness with which they approached their business. I would have blushed to disclose to them the light shallow femininity of my careless, rather slighting attitude towards "la mode." Also I was amazed at the prodigious financial importance of their operations. The sums which, without a blink, they paid out for hats, and the number of hats they thus secured and the further sums which they looked forward to paying into the coffers of the United States Customs, sounded to me as unbelievable as those nightmare calculations as to the distance of the stars from the earth or how much it has cost to build the Panama Canal.

"All that for hats!" I cried, "and every year, twice a year!"

"Oh, this is only the smallest part of what goes into hats," the expert assured me. "What I'm buying now are only single models, you understand; the successful ones, the well-chosen ones, will be copied by the hundred dozen in the States and in Canada. That chenille toque you saw me buy the other day..."

"That little, plain, ugly scrap of a thing you paid a hundred dollars for?" I asked, giddy again with the remembered shock of that price.

"Yes. Well, probably that will be very widely copied, at first in New York and then everywhere. It's a fair guess to say, that being a model that's sure to be popular, there will be at least twenty thousand toques like it sold in different places in the States for five dollars apiece."

I was staggered. "A hundred thousand dollars spent in one season, just for one out of all the different models of women's hats!" My old superficial scorn for "the style" disappeared in an alarmed dismay at its unsuspected scope. "Why, that's terrible! It's appalling! When there isn't enough money to make the schools what they ought to be, nor to take care of the sick, nor to keep up the...."

He showed an unexpected humanity. "Yes, it is awful," he agreed gravely—"very, very awful. And still more awful is the way we live right along beside such an awful force and never have the slightest idea that it rules our lives and not what we wish or decide."

For all my consternation I found this excessive. "Oh, come, it's not so bad as that!" I cried.

"Yes, it is," he assured me with his formidable quiet certainty. "Yes, it is. It goes beyond anything we can imagine. It's the greatest force in the world, this desire, this absolute necessity to be in the style. Nothing else can stand up against it for a moment, not hunger, not fear, not love, not religion. They only exist so far as they don't get in the way of being in the style. The minute they interfere with that, over they go like a pack of cards in a tornado! What do you think a man is doing when he works all his life for his family? Is he earning their livings? Not much. He's enabling them to keep in style, and if he doesn't he is a failure. What do you really want for your children? That they may grow up to develop all the best they have in them ... yes, if that doesn't prevent their being in style."

I found all this so outrageous that I could only stare a silent protest.

"I don't mean just my small part of it, hats," he explained, "although hats are always, so to speak, the crest of the tidal wave. It's everything. Style rules everything. Of course all material things, furniture, clothes, the way houses are built and gardens laid out and parks made and pictures painted. Everybody can see with his own eyes how they are all determined by whatever the style happens to be in that century or year, and not by anything we want or need. But more than that, too. Everything goes together. We talk and eat and act according to the kind of furniture we have; for instance, when rough-hewn Morris furniture was the rage and we all had to have it or dry up and blow away with envy, don't you remember how the athletic blowsy styles in clothes and manners came in too, and it was all the thing to go to a funeral in a striped shirt and yellow shoes and the girls' shirtwaists bloused over in front as though they had forgotten to tuck them in, and how bulging pompadours straggled down in every woman's eyes?"

"Do you mean," I was ready to laugh at him, "that you think that our Morris furniture influenced us so deeply as all that? Even Morris would be surprised to hear so much claimed for it."

He was scornful of my incapacity to grasp the scope of his idea. "No, Lord no! The Morris furniture hadn't anything more to do with it than a tree bent double with the storm has to do with making the wind blow. I mean that the same thing that made us mortgage our souls to have Morris furniture just then, made us also talk slang and wear yellow shoes to funerals."

"Well, what did make us?" I challenged him.

He answered monosyllabically, solemnly, with his redoubtable, arresting conviction, "The style did."

We were both silent a moment as if in the presence of Niagara or the ocean.

Then I said, in a feebler challenge, "Well, what is 'the style'?"

He professed the admirable ignorance of a wise man in the face of mystery.

"I wish I knew. It looks to me like a big current that takes in everything, that is so big we don't know it's there, just the way people didn't use to know the world was round, because it is too big to see. And it carries us along like dry leaves and where it's going to, nobody knows. We know just as much about it, as we do about where water runs underground; which is to say, nothing. But when it comes to that part of style that makes hats and dresses, there are a few people who can hold a hazel-rod and have it point downwards, and they are oftener right than the rest of us. And every one of those few is French and lives in Paris. Don't ask me why! That's the way it is. And it would be enough sight more convenient for me, let me tell you, if it were otherwise."

I understood this exclamation, having learned by this time how great an affliction to Mr. Williams personally were these semi-annual trips to France. He knew nothing of Paris outside of the great modistes' shops, and he cared less. Since he knew no French the theaters were closed to him. Since he was mildly musical (he played the violin a little) concerts helped a little to allay his ennui; but only a little. Being a family man of very domestic tastes, he took slight part in the very cheerful proceedings with which the other buyers whiled away the hours between business operations, and although he was invited to their gay suppers in expensive restaurants, he struck an austere note there, drinking only water, not smoking, and eating sparingly of simple dishes, quite evidently counting the hours till he could get back to America and to his garden in Westchester County.

In spite of this lack of appreciation of what was offered him, he was very frequently invited to the nightly feasts of his young confrÈres, and they hung about him eagerly because of their superstitious reverence for what they called his "hunch." "Whatever Grandpa says is going to go, goes," was their expressed belief. They tried by ingenious devices to exploit his scent for the style, to be within earshot when he was making selections, to suborn the milliners into showing them the models he had selected. Such crude, outright efforts at getting the better of him he defeated with a wary dexterity, getting up and leaving a shop abruptly if one of his rivals began to loiter too near him, and letting it be known that he would buy no more from any milliner who reproduced "his" models for one of the other American buyers. This last precaution was not necessary, for the sense of professional honor and jealousy is not keener among doctors themselves than among Paris fashion-makers, nor was the capacity for darkly guarding secrets more developed in Renaissance Italian poisoners than in a twentieth-century modiste's shop on the Place VendÔme. Also Mr. Williams, who had seen a whole generation of modistes grow up and disappear into old age, enjoyed the very high esteem of those quick-eyed, quick-fingered, quick-witted ladies with the wonderful simple coiffures and the wonderful simple hats. This was not solely because of the very large sums of money which were at his disposition and which he spent with Napoleonic decision and despatch. They respected his competence also. "There is one who can appreciate our work!" they said of him. "He always picks out the best. There is one who could have made hats, himself!" A characterization which the American would have repudiated with energy if he could have understood a word they were saying.

But although, as a matter of business acuteness, he refused to allow himself to be exploited in small ways by his young competitors, he was always ready to expound his philosophy to them and to lay down the general lines along which they might develop as he had. Not infrequently their elaborate dinners, where too much had been eaten and drunk by the elaborately dressed women and smooth-shaven, young-old men, ended by the question flung despairingly at Mr. Williams' impassive respectability, "Grandpa, how the dickens do you do it? Tell us!"

He always told them, at length, in detail, as long as they would listen, although they never understood one word of what he said. Hoping to catch him off his guard and to cull some valuable short-cut tip to success, they lent ears as attentive as their somewhat bemused condition would let them, as long as their patience held out.

"The trouble with most of you young people," he was wont to say, presenting as he went on the abhorrent spectacle of a man at the CafÉ Riche taking occasional sips from a glass of water, "is that you don't realize that you are up against a big thing, the biggest thing there is. You think you can just josh along somehow, pick out what looks good to you, what you think would be pretty for your best girl to wear, and have it go. Nothing like that! What you like, what you think is pretty, hasn't a thing to do with what's going to happen. What's going to happen, happens, whether anybody likes it or not, and the only thing for us to do is to keep our ears to the ground hard and try to guess three or four months sooner than most people. Nobody can guess further ahead than that and mighty few people even as far as that. Most people don't know what style is coming till it hits them in the eye. Now, to make a good guess you've got to keep your eyes open to everything, everything, and then sort of gather yourself together and listen, hold your breath and listen, as if you were eavesdropping folks who were trying to keep a secret from you; as if you had to catch a very faint A sounded way off that you could tune your own fiddle to. And you've got to get passive all over, the way the hypnotizers tell you to do, let yourself go, don't try to have any ideas of your own, don't try to swim against the current, don't try to hurry things up by swimming faster than the current. No power on earth can hurry that current, nor make it bring anything but what it's going to bring! And it's up to us, let me tell you, to take what it does bring! I've seen lots of styles that nobody liked, not the modistes who made them, not the buyers who took them to the States, not the hundreds of thousands of American women who paid out their husbands' good money to buy them. And yet those styles had just as big a vogue and lasted just as long as any others, and the buyers who tried to dodge them and who chose what looked prettier to them got everlastingly stung. And aren't there styles that everybody just hates to see disappear, comfortable, decent, becoming styles? But do they stay in, just because we'd like to have them? You know they don't.

"And it's no use trying to do anything on your own hook. There was old man Blackmar, head of the Blackmar and Jennings Ribbon Company; he could manufacture ribbons to beat any French factory going, if he got the designs from France. Every time he tried to have one designed by a perfectly good American designer, the ribbon didn't sell. It didn't look so very different, but it wouldn't sell. You'd have thought he'd have learned something out of seeing that happen every time he tried it, wouldn't you? But he never did. Why, I was honestly sorry for him, five or six years ago when all of a sudden the styles went dead against ribbons or any other trimming for hats. It pretty near ruined him, coming after the modistes had been piling everything they could buy on top of their hats. But he didn't know enough to take his medicine without making a face. He couldn't get it through his head that he was up against a bigger proposition than he was, than anybody is. He came to me and he said: 'Williams, I'll give you fifteen thousand dollars, cash, in your hand, if you'll steer things over in Paris so's to bring hat-trimmings back into style; ribbons of course if you can, but if not, most any kind of trimmings. I can alter our machines to do braids and such. This craze for just the naked hat-shapes with one little rag of an ornament, I tell you, it'll send me into the bankruptcy court.'

"I was very sorry for him and I said so, and I said I'd do anything to help him out except try to slap back the Hudson river with the flat of my hand. He said he was sick of hearing me always get off that same old guff, and if I really wanted to, I could. 'Why, they tell me every modiste in Paris calls you "uncle." With plenty of money you could get on the right side of them and get them to launch trimmed styles.'

"I just threw up my hands at that. I saw he didn't know any more about the innerds of his business than a babe unborn. I said to him: 'Why, old man, you don't suppose for a minute that the modistes in Paris invent the styles, make 'em up out of their heads? They haven't got any more to say about what it's to be than you or me. All they can do is to take the style that's going to arrive in six months, and put it into silk and felt and straw. They can't have it the way they want it any more than the priestess of something-or-other could say what she wanted, when they put her over the oracle-hole, filled her up with gas, and told her to make an oracle.'

"Blackmar was sore as a boil at me, and said if I wouldn't do it he'd give the job to Pierce. Pierce was buying for Condit and Vergary in those days. I said he could throw away all the money he wanted to, but I wouldn't help him spill it.

"Well, Pierce tried to swing the deal, bucking the universe all alone, and so proud to have the chance to. He went to all the best modistes in Paris and said he'd give—well, I'm ashamed to tell you what he gave—if they would make him models all trimmed up, heavy and expensive with handsome trimmings. Of course, at first they said they couldn't do it, the hats wouldn't be in style. And he said if they made the hats that way and sent them out with their names in gilt letters in the lining, they would be in style, would be the style. Didn't everything they made set the fashion? They tried to explain to him that that was because they took the greatest pains to make things that were in fashion, but Lord! he couldn't talk their language. He just kept on insisting and holding out those banknotes, and by and by they said, well, to get rid of him they would. And he came to my hotel and bragged all over me like a man who's cornered the wheat-market.

"They did make him trimmed models: and as they were the best modistes in the world they were as pretty hats as ever you saw. They were all trimmed up as per agreement with ribbons that would make a dead woman sit up and reach out her hand. Pierce took me into his office before they were packed, to show them to me, and he said, 'Now, Grandpa, what you got to say?' And I said, 'You let me know four months from now how much money you've made on them.'

"About six weeks after that, back in New York, I went into his office and there, by George, were all but two of his fifteen models. None of the American manufacturers would have them, not at any price. They'd send their head milliner to see them and she'd say, 'Oh, what perfectly lovely ribbon,'—but no, thanks, she didn't want to buy the model, because they wouldn't sell. They weren't what were being worn that season. Pierce said: 'Great Scott! look at the labels. They come from all the best modistes in Paris'; and she'd say she couldn't help that; if they weren't what was being worn they wouldn't sell. And before three months were up he'd given them to the janitor's little girl for dolls' clothes. There you are."

There were evident signs of inattention from his audience by this time, but he went on: "And young Hammond, he tried to tear the teeth off the buzz-saw with his fingers, too. And he got what was coming to him. He had a great idea, regular perpetual motion scheme for economy, of how he could beat the game and he hypnotized old John Harbine into standing for it. It was as simple as bread and milk. Hammond would take up a Paris modiste, somebody on a back-street somewhere, get her under contract to be 'Harbine's,' and Harbine's alone. Then they'd put her name in the hands of the best advertising agency in New York and let things rip. Well, they started out as though they were going to a fire. You couldn't see the spokes, the wheels went around so fast. The advertising people delivered the goods, put the best people on their force on the job. I remember they had one college-graduate woman that could write ads that would make you pay five dollars for a strawberry basket—once! She wrote up their great find in Paris, wrote it up like a magazine short-story—modiste who up to the time Hammond had spotted her had been so exclusive you couldn't find her with a microscope, had only worked for the pure-bloods among the French aristocracy, no mere Americans had ever known her name (you can bet your life they hadn't)—you can imagine the kind of patter, the sort of thing women suck up by the barrelful. And then, owing to unheard-of prices offered by Harbine's out of that disinterested devotion to American womanhood which is Harbine's great quality, she had finally consented to send a few hats, never more than a dozen a season, to Harbine's, where the first collection would be on exhibition March 21st, and which would be exactly copied to order in imported materials with all the inimitable chic of the original models, for such low prices as from fifteen dollars up.

"It was well done. I'm bound to admit that ad.-writer got just the right esthetic, superior tone into it. And as for Hammond, he ought to have been a stage-manager. He got some of the people back of me sort of worried. They came to me, 'Look-y here, Grandpa, sure you're not missing a point in the game? How about this Suzette Rellot person?'

"I said: 'Her real name is Marie Duval and she used to sew in linings at Reboux', that's who she is. If she could have trimmed hats you can bet your life Reboux would have developed her years ago. Reboux has candles burning in every church in Paris, praying Heaven to send her apprentices that she can do something with! And if she can't trim hats you can bet your life old man Harbine is going to lose some money, a lot of it in one clip, and he and Jimmy Hammond will part company with a bang.'

"Well, I was over here in Paris when their great opening came off. But I heard about it. Nothing lacked. They all but served free champagne. But when I went back only a month later, the talk was already going around among folks on the ins, that there was something the matter with the Rellot collection. The women weren't just crazy about the hats and the modistes wouldn't look at them. Later on, what was left of them were sent down to South America—Colombia, I think. Women just hatching out from mantillas will stand for anything with a French label on it! And that summer Jimmy Hammond decided he'd go in for life-insurance."

When he had talked as long as this I was usually the only person left listening, the rest having yawned, turned to each other, or melted away. But I listened, always, open-mouthed with astonishment and wonder. Before putting on my hats in those days I used to look at them hard, with respect, almost with alarm, feeling heavy on my head the weight of their unsuspected significance. Wondering what the great expert's opinion would be about the plain, everyday hats of ordinary women I asked him one day: "Tell me, can you descend to small beer? What do you think of the hats you see, not in those wonderful, silk-hung studios, but those you see on the heads of the women in the streets, on mine? Is this hat I have on stylish? I warn you I bought it off a counter for less than four dollars."

He answered instantly, without giving a glance at my headgear: "You are a healthy, normal woman and you're wearing it. Of course it's in style. If it weren't, and you had to wear it, you'd be sick abed."

"You exaggerate, you are always exaggerating," I protested. "You only know women who care about the styles. I never bother my head about my hats! I just walk into almost any shop and buy the first hat that doesn't make me look too queer."

"You don't have to bother yourself about it," he told me, his accent tinged with weary bitterness. "We do the bothering! Months beforehand. An army of us, able-bodied men, smart women, pretty young girls, we all of us give up our lives to fixing things so you can walk into most any shop and pick up most any hat and find it doesn't make you look too 'queer,' which is your way of saying that it doesn't make you look out of style."

"There are moments," I told him, in a half-serious indignation, "when I find you too absurd for words, the victim of the most absurd hallucinations! All this portentous talk about the world-wide conspiracy to make people keep up with the style. As if the style had any importance for sensible people!"

"If you knew more about the capital and brains that are invested in that conspiracy, you'd take it seriously, all right," he assured me with melancholy, "and as for not taking the styles seriously, how many thousand dollars would it take to pay you to go around in the street one day, just one day, in the big bustle your mother used to be ashamed to go outdoors without?"

I lost myself in horrified contemplation of the grotesque vision he had conjured up and forgot to refute him. Perhaps I couldn't.

Towards the end of his stay he was very much troubled by persistent rumors that the boat on which he was to sail would be torpedoed on the way to New York. He acknowledged, with the fatigued frankness of his sixty years past, that he was mortally afraid of the passage and that his fear would deprive him of sleep all the way over. "No sane man likes to be killed," he complained, "let alone be blown up and burned to death and drowned into the bargain! I'm a family man! I want to go on earning a living for my wife and children!"

The evening before he went away he was so fretful about this and so outspoken about his dread, that I asked him, "Why don't you wait over a boat?"

"Oh, what's the use? One boat's as likely to go down as another. And, anyhow, I've got to get home. And then come over again for the next season, curse the luck!"

I thought him again a little absurd. "Oh, come, the heavens wouldn't fall if you missed one or two seasons!"

He turned grave, and after a moment's hesitation, opened a door which I had thought locked and nailed up, and showed me that the room in his heart which I had thought was certainly empty and vacant was a queer, dimly lighted little chapel, with queer, dim little candles burning before what was recognizably an ideal.

"Oh, it's no time for anybody to lie down on the job," he said offhand. I did not dream that he was referring to the war. I had become convinced that his curious, specialized world held no place for the horror and apprehension which filled the lives of the rest of us. Nor had I ever seen him give any signs of the shocked pity which most people feel at the sight of the war-maimed men, the black-clad, white-faced war-orphans and the widows with blurred eyes. I had thought he saw in France, only and uniquely, hats. So I asked in genuine ignorance of his meaning: "How do you mean, this being no time to lie down on the job? What job?"

He sat back in his chair and looked at the ceiling; thereafter, as he talked, transferring his gaze to his finger-tips, joined with nicety. "Well, I guess I mean something about like this. If we humans are to get on at all, get any further away from having tails and living in trees, we've got to knock down the partitions and make one big room of the world, the same way each nation is one big room, with the blacksmith trading his horseshoes for clothes and not trying to be a tailor himself. Take farmers. Maybe you can't remember, but I can, when old farmers in Connecticut raised nearly every single thing they used all the year around, and were proud of being such idiots. Nowadays the Connecticut farmer don't waste his time trying to grow corn in a climate where you're liable to get frosts in early September; he leaves the farmer in Iowa to do that, and he raises the best apples in the world and with the money he makes that way, he buys him oranges that a Florida farmer has raised. It's my opinion that we've got to come to that on a big, big scale. And if we do come to it there won't be any more wars. Now, I don't know anything about anything but hats, and so I don't try to have an opinion about the League of Nations, nor how the trick is going to be turned by the statesmen—if there are any such—but if it is going to be turned, it's going to take everybody's shoulder to the wheel, you can be sure. And I've got a shoulder. What's got to be done is to get it through everybody's head that every nation ought not to learn to produce anything but what it can produce best, and that self-defense ought not to force it to make a botch of trying to do what another nation could do better. Now, one of the things that France can produce better than other people (and it happens to be the thing that I know about) is hats. I don't know whether it's because she's been at the business of running the styles so long, so much longer than anybody else so that she's got all her fibers settled together, just right to catch the note, the way the wood in an old violin trembles all over at sounds that leave the wood in the leg of a chair perfectly calm. Mind, I don't say the violin is any more important than a chair. As far as I'm concerned personally, if I had to choose I'd rather have the chair. What I'm trying to say is that they are different. And we've got to get used to the idea that because things are different it doesn't mean one is better than the other and they ought both to be like the best one. Now, maybe it's the other way around, that France has been at this business of setting styles so long because she's had the gift to begin with. Anyhow, what's sure is that they do it better, everything along that line, ribbons, braids, straws, hats, dresses, furniture, houses, parks—original designs don't come from anywhere but France. But France is at war and pretty nearly gone under. She's got to make her designs with one hand and fight for her life with the other."

He paused. "Well, I don't feel just like picking out that time to stop coming to France to get her designs and to do my part to keep up the taste for them, at home."

I found no sufficiently admiring comment to make on this, and kept a respectful silence.

He went on, rubbing his hand back and forth over his gray hair: "But all that is only my guess at it. What's my guess worth? Nothing. But it's all I've got to go by, and so I do go by it. I don't know anything about anything but hats, and I can't but just make a guess at them."

He folded his hands before him and sighed. "There is a lot too much in hats for any one man to understand."