[18] “Impressionisten,” p. 128. By-the-bye, Meier Graefe does not say why he thinks this, nor does he reveal the source of his judgment.
[19] “Mercure’ de France,” vol. 48, p. 126.
[20] At Amsterdam. The picture here referred to, which, as far as I was able to judge, measured 10 in. by 6 in., represents a monk seated by the side of a sick or dying man’s bed.—Tr.
[21] A word suggesting bold virtuosity in expressing an impression.—Tr.
[22] The German is wanzenartig, but the above rendering gives, I think, a better idea of Van Gogh’s meaning than a literal translation would.—Tr.
[23] Van Gogh must be referring, here, to Japanese prints which have undergone a process of craping. For details of this process see “Japanese Colour Prints” by E. F. Strange (pp. 110, 111).—TR.
[24] This sentence does not seem to make sense, even in the French, without this interpolation.—Tr.
[25] The writer is undoubtedly referring to the St. Matthew in the Louvre.
[26] In the Middle Ages these were corporations consisting of all people engaged in the writing and general production of books, as at Antwerp, for instance. These guilds, which in other places, as at Bruges, were also called St. John Guilds, were often joined by the first printers, until their numbers in any particular town allowed them to form a guild of their own.—Tr.
[27] The German is “No. 30 Quadrat,” which is rendered approximately by the above.—Tr.