It is easy, retrospectively, to endow one’s youth with a false precocity or a false innocence; to tamper with the dates marking one’s stature on the edge of the door. I should like to think - indeed I sometimes do think - that I decorated those rooms with Morris stuffs and Arundel prints and that my shelves we’re filled with seventeenth-century folios and French novels of the second empire in Russia-leather and watered silk. But this was not the truth. On my first afternoon I proudly hung a reproduction of Van Gogh’s Sunflowers over the fire and set up a screen, painted by Roger Fry with a Provencal landscape, which I had bought inexpensively when the Omega workshops were sold up. 我回想起來(lái)，去賦予一個(gè)人的青春虛假的早熟或是虛假的天真非常容易，去篡改門沿邊上的標(biāo)記某人身高的日期也很容易。我應(yīng)該傾向于認(rèn)為——事實(shí)上我有時(shí)的確認(rèn)為——是我用Morris材料和Arundel印花裝飾了那些房間，以及我的架子上，是我們放滿了十七世紀(jì)的稿件，還有寫(xiě)在俄羅斯皮革和波紋綢上面的法國(guó)第二帝國(guó)時(shí)期的小說(shuō)。但這并不是真相。第一天下午我洋洋得意地在壁爐上方掛上了梵高的《向日葵》的復(fù)制品，然后支起了一塊屏風(fēng)，上面是Roger Fry畫(huà)的普羅斯旺風(fēng)景畫(huà)，這畫(huà)是我在Omega工坊變賣資產(chǎn)的時(shí)候以低廉的價(jià)格入手的。