¶ 2 Leave a comment on paragraph 2 0 benefactors of the institution, thence into the main halls where we are all afloat admidst an ocean of genius, following as well as possible the numbers and descriptions of our French guide book of 300 pages.
¶ 3 Leave a comment on paragraph 3 0 The chilling rooms with marble floors are about as comfortable as a skating rink in Winter, but the strips of cloth a yard wide through the centre of each helps a little.
¶ 4 Leave a comment on paragraph 4 0 Knowing the extent of these halls, I am compelled to pass hastily by centuries of labor and only dwell upon those most pleasing to me or what I conceive to be the best. Many rave about the superiority of the old masters, but I spend my time among the most modern with a few exceptions. A few comparisons of the old against the “renaisance” [sic] are sufficient without making the same comparison a thousand times. Previous to the 14th century they delighted in high colors, bronze and gilt backgrounds, stiff attitudes, all pertaining to scriptural history. A larger proportion of the works of old masters, and new too, are devoted to Bible subjects. In one small room of less than 50 paintings I counted 24 paintings of the Madonna and Child. I much admire the coloring of Dolci. Rubens shows his great conceptions upon large canvass but I dislike them. Rembrandt is good, but too shady. One small room is filled with Werffs genius. All gems. All small, but excellent. Several artists were copying-
¶ 5 Leave a comment on paragraph 5 0 The following are among those most pleasing to me = Marie Angélique Kauffmann by herself- Labans distribution by Berchem- Evening landscape by Wynants Jr 4 3/4 by 6 ft- Courtly hunters by Le Moine 7 x 6- Madonna and Child by Dolci- Bethsabia (Sic) at the bath by Netscher 1 1/4 x 1 1/4- The Hermit- and the charlatan