A bus took him to the West End, where, among the crazy coloured fountains of illumination,
It was built for a great many other people too, and, as usual, they were all there. It steamed with humanity. The marble entrance hall, piled dizzily with bonbons and cakes, was as crowed and bustling as a railway station. The gloom and grime of the streets, the raw air, all November, were at once left behind, forgotten: the atmosphere inside was golden, tropical, belonging to some high midsummer of confectionery. Disdaining the lifts, Turgis, once more excited by the sight, sound, and smell of it all, climbed the wild staircase until he reached his favourite floor, where an orchestra, led by a young Jewish violinist with wandering lustrous eyes and a passion for tremolo effects, acted as a magnet to a thousand girls. The door was swung open for him by a page; there burst, like a sugary bomb, the clatter of cups, the shrill chatter of white-and-vermilion girls, and, cleaving the golden, scented air, the sensuous clamour of the strings; and, as he stood hesitating a moment, half dazed, there came, bowing, a sleek grave man, older than he was and far more distinguished than he could ever hope to be, who murmured deferentially: "For one, sir? This way, please. " Shyly, yet proudly, Turgis followed him.
That "behind the thin marble front were concrete and steel" suggests that______.
A.modern realistic commercialism existed behind the luxurious appearance
B.there was a fundamental falseness in the style. and the appeal of the caf6
C.the architect had made a sensible blend of old and new building materials
D.the cafe was based on physical foundations and real economic strength