. But he could not help feeling that this presentment was the genuine, the authentic grandfather, and the everyday one merely subsidiary, not entirely conformable⁠—a sort of interim grandfather, as it were. For it was clear that the deviations and idiosyncrasies presented by his everyday appearance were due to incomplete, perhaps even unsuccessful adaptation; they were the not quite eradicable vestiges of Grandfather’s pure and genuine form. The choker collar and band, for instance, were old-fashioned; an adjective it would have been impossible to apply to that admirable article of apparel whose interim representative they were: namely, the ruff. The same was true of the outlandish top-hat Grandfather wore, with the bell-shaped crown, to which the broad-brimmed felt in the painting corresponded, only with a higher degree of actuality; and of the voluminous frock-coat, whose archetype and original was for little Hans Castorp the lace- and fur-trimmed ceremonial garment.