CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

Typographical errors corrected by the etext transcriber:
us in in his favour=>us in his favour {pg xvi}
ursurped the place of higher and holier aims=>usurped the place of higher and holier aims {pg xxxiv}
Gaugin=> Gauguin {x6}
Another and even more stiking example=> Another and even more striking example {pg 8}
dry withered beach leaves=> dry withered beech leaves {pg 12}
as far as as I was able to judge=>as far as I was able to judge {pg 25}
I believe it is bettter to scrape=> I believe it is better to scrape {pg 26}
simply because it it is his nature to do so=> simply because it is his nature to do so {pg 37}
in which everything was arranged with architectual method=> in which everything was arranged with architectural method {pg 59}
he would certainly not think lighty of this talent=> he would certainly not think lightly of this talent {pg 78}
is to found on the palettes of the Dutch painters=> is to be found on the palettes of the Dutch painters {pg 92}
Everywhere a cadium yellow=> Everywhere a cadmium yellow {pg 95}
small head of of the Brittany girl=> small head of the Brittany girl {pg 127}

FOOTNOTES:

[1] 1 See “Mercure de France,” vol. 48, p. 127 (Oct. 1903), Article, “Paul’ Gauguin,” by Charles Morice.

[2] “Mercure de France,” vol. 48 (Oct. 1903), p. 127.

[3] That Vincent also often felt depressed about his work may be gathered from the following passage, taken from a letter to his brother, not included in this volume: “C’est une perspective assez triste de devoir se dire que jamais la peinture que je fais n’aura une valeur quelconque.”

[4] See Emile Bernard’s preface to his publication of Van Gogh’s letters in the “Mercure’ de France,” vol. 7, p. 324.

[5] As to how he overcame his academic period, see Meier Graefe’s work, “Impressionisten” (p. 122) where the author has some interesting things to say.

[6] “Mercure de France,” vol. 48 (1903), p. 105.

[7] The italics are mine.—A. M. L.