Introduction


In 1966 George Ehrlich rose to the rank of full professor at the University of Missouri-Kansas City, where he'd taught for twelve years and chaired the Art & Art History Department during the past two.  That spring UMKC awarded him a travel assistance grant of $500, which (along with $700+ in personal savings) was devoted to a four-week tour of artistic and architectural sites in London, Holland, Belgium, Paris, and northern France.  It was George's first trip to Europe and he undertook it on the tightest of budgets, wrestling with frequent conversions to/from pre-decimal coinage in England and pre-euro currency on the Continent.  Every penny (or equivalent) was closely accounted for—including one spent to access a public lavatory in London.

This meant George had to take the trip solo: leaving his wife and children not simply behind, but stuck in Kansas City MO as it suffered through one of the worst heat waves in history, while he traveled through cool unsummerlike weather and in Europe to boot.  "Needless to say, my envy is boundless," Mila Jean lamented in one of three plaintive airmail letters she wrote, which are included below in my collated transcription of George's personal journal and what he called his Art Record.

By way of compensation Mila Jean got to visit New York in June, but it must have been a very brief stopover, perhaps no longer than a weekend.  I have no memory of her being away; no photos or keepsakes of the trip were preserved; nor was any reference to it found, apart from an entry on a future list of "Our Trips" and a fleeting allusion in her July 7 letter to George.  Left unspoken (yet clearly evident) was his promise that amends would be made.  "I was told that I bought three years's worth" of Parisian perfume, George confided to his journal on July 19.  "It will take that much to square my absence for four weeks."

Not only did he make this European jaunt sans famille, but without a camera; yet at no point did George express a yearning to do any photography.  "I suppose I am absorbing impressions more than making notes," he remarked on July 18.  Often these impressions were gleeful or rapturous, so that he comes across like Charlie in the proverbial Chocolate Factory.  Just as often, though, there were tsks and tuts at less-than-optimal viewing conditions or linguistic challenges along the way.

One impression we readers can gain while perusing George's journals is the vast scope of knowledge needed to be professionally conversant with the history of art and architecture—which, in the end, is a worldwide pictorial record of how humanity lived and worked and dreamed and worshipped.

Thanks again to my brother Matthew for providing some of the photos, some of the copyreading, and some of the clarification.
 


A Note on the Text


To enhance online clarity I have amended some punctuation, expanded some abbreviations, standardized some capitalizations and italicizations, adjusted a few paragraph breaks, corrected a few minor misspellings, and made a number of [bracketed] addenda.

George frequently used marginal asterisks to highlight significant financial outlays, for future tax expense accounting; these asterisks sometimes appear mid-line in the transcription below.

Rather than risk entangling hyperlinks, some of the annotations below are "reruns"—or, if you prefer, interlacements.

At the time of George's Solo Jaunt he was 41 years old; Mila Jean was 34, I was nine and Matthew was three.

This webpage is best viewed on a device using the three fonts I employed: Times New Roman for George's entries, Comic Sans for Mila Jean's, and Verdana for my own.

 


        

DAILY RECORD  /  ART RECORD

EUROPEAN TRIP - 1966

George Ehrlich


INITIAL OUTLAY

AIR TRANSPORTATION                                                           $659.70
RAIL BRUSSELS TO AMIENS TO ROUEN TO PARIS              15.70
HOTELS $5/DAY PLAN   25 X 7.00                                            175.00
HOTELS IN AMIENS AND ROUEN                                             18.35
                                                                                                      $868.75

CHECKS TO BERRY WORLD TRAVEL
          #166    MAY 4, 1966 (deposit)                                             $42.50
          UMKC GRANT CHECK (re: travel)                                   500.00
          #193    JUNE 24, 1966 (balance)                                          326.25
                                                                                                      $868.75

TRAVELERS' CHECKS                                                              $450.00
          15 $10   130-670-850 to 864     150
          15 $20   287-333-181 to 195     300
          SERVICE CHARGE - COMMISSION   4.50
U.S. CASH                                                                                        50.00
                                                                                                       $500.00
 

 

SUNDAY, JUNE 26, 1966

(K.C. and London)

Scheduled to leave Kansas City on TW8 [sic] #418 at 2:45 pm for Chicago.  Arrival Chicago 4:54 pm.  Leave Chicago on BOAC #568 at 6:45 and scheduled to arrive London, Monday 9:30 am.
     In general the flight went on schedule.  In Chicago tried to call both Joe Gregg and Ted Ruhig—but no answers.  Chicago to Montreal was most pleasant.  Only two of us in our side—an art history major from Wellesley no less.  Excellent repast with wine.  Montreal hot and humid!  Plane loaded to capacity.  Received another meal (K.C. time 10 pm).  Received two hours fitful sleep only to be awakened by dawn and breakfast.

MONDAY, JUNE 27, 1966

(London)

Arrived 15 minutes late at London Airport.  Extremely long wait for passport check, cursory customs.  Exchanged three $20 travelers checks for £21 7/4 (or $59.83).  To stay at Overseas Visitors Club.
     * Expenses on the flight $3.00 (refreshments)
     * Expenses in London
               Bus to London terminal            7/
               Porter (caught me off guard)     2/
               Taxi to O.V.C.                           8/
               O.V.C. membership                 35/
               Map of London                         3/6
               6 air letters                                3/  
     *                                                        58/6

Went exploring in the neighborhood.  Mailed an air letter to Jean, had an omelette (cautious) across the street, went to the West Terminal (BEA) and there bought a Ward Lock Red Guide to London.  I can easily walk there from the "hotel" when I go to Holland.

               Use of facilities at BEA                        /1
               Ward Lock Red Guide to London    12/6
               Mid-afternoon meal                            5/ 
     *                                                                  17/7

Took a most needed 2-hour nap, then refreshed, mastered the intricacies of my nearest British W.C.
     Took extended walking tour of about two miles.  A rough triangle with Earls Court the short side, the Old Brompton Road and a return along Harrington Road, Stanhope Gardens etc. from the South Kensington Station.  Still cautious about my internals, had a Whimpy [sic] with a Pepsi * 2/6 with /6 tip.  Returned to room, studied out the best [hand] laundry arrangement with [clothes] line, etc.  Prepared for Tuesday's excursion to the National Gallery.  Plan to start on the French language review, then do laundry and to bed.  As I write this, it is 9:15 pm (still light out) which means 2:15 pm in K.C.  Perhaps by the morrow my sense of time will adjust.

[illustration of room, page 4]

ART RECORD

Major experiences were architecture via bus run to Victoria Terminal, the cab to Earls Court, and walking within the triangle formed by Earls Court, Cromwell and Old Brompton roads.
     Main reactions were to the "pile" of the Victoria [&] Albert Museum seen in passing and the significant difference between English architecture and American.  Old and new brickwork rather sensitive.  I realized, however, that my stylistic awareness for dating works of architecture would not serve me here.  I am at a loss to "pin things down" to even a century.  Saw Hogarth's house in passing; that was obviously old though the bus went by too fast to see the details.  When on foot, I could study at leisure, but it is clear a new set of benchmarks is required.  Maintenance varies tremendously, but when well kept, there is a Victorian (?) [sic] elegance I have never seen before.
     The Mews are curiosities.  I noticed, however, that the self-service laundries and cleaners are everywhere, and in anonymous international decor.  The butcher shops, however, are vintage.  The Earls Court area is very heterogeneous as to style.

TUESDAY, JUNE 28, 1966

(London)

     * Expense account
               Underground                                     2/  6
               Michelin Benelux Guide Book       18/  0
               Guide book to National Gallery        3/  6
               Museums in London                         3/  6
               Food                                             1/13/  3
               Miscellaneous                                   6/10
               Theatre                                         1/  8/  6
               + program                                          4/ 6

Arose early and after "breakfast" (continental style) excursioned via the underground to Charing Cross.  Walked toward Trafalgar Square where I saw St. Martin in the Fields.  Went in and found a service under way.  Stayed and looked at the details of the interior while seated in a pew.  Then walked the exterior.  Moved on toward Foyles Bookstore north on Charing Cross Road.  [It] was open when I arrived and browsed through the map and guidebook section.  Purchased a Michelin Benelux guide.  Returned toward National Gallery, seeing the sights.  The National Gallery occupied me until near 2 pm (open 10 am).  Went out for a change of pace and bought a ticket to Oliver at the New Theatre.  Wandered a bit and saw the 245th exhibition of the Society of British Artists.  Returned to National Gallery and then went to the 4:30 pm first performance of Oliver.  Charming and well done.  Returned to Earls Court, had a "steak" at a nearby Angus Steak House and returned to my room.  The food sat, so I suspect I'm back on track.  Called the Branyans (seems most public phones have been vandalized and so hard to find one when on the go).  Plan to see them Thursday pm.  The day was an art day, hence the bulk of experiences will be logged in the other book.  Now it is laundry time and time for bed (10:30 pm).

ART RECORD

First stop [at the National Gallery] was the early Netherlandish.  Needless to say, formidable.  From there a systematic review using a plan.  Took upwards [of] 2½ to 3 hours to cover—superficially—the collections (including the reserves).  Immediate reactions vary, but several things stick in one's mind.
     (1)  The size of many of the works!  Here we have some better impression of the scale of painting sizes.  This sense of scale [is] more noticeable than in even the Metropolitan.
     (2)  Condition of the works vary.  Major fault is the need for cleaning of major works.  The Titian Bacchus and Ariadne is very dark.  The Velazquez Rokeby Venus had just been cleaned (after 58 years in the collections?) and they left four patches of old varnish for a brief period (to come off in July) to show the condition prior to cleaning.  Now it literally glows!  I trust this means a systematic job of other key works.  Happily, many of the things I wanted to see are in fine shape.
     (3)  There is excellent provision for seats in all the galleries.  In some places, [there are] individual armchairs—and if memory serves, everywhere upholstered.  A real boon for someone like me.
     (4)  Some of the galleries have been refurbished.  New lighting and air conditioned, but the major portion still in earlier setting.
     (5)  The reserve collection is jammed into eleven rooms on the ground floor.  Each room (except one?) has dividers.  Pictures floor to ceiling everywhere.  An incredible display—enough to make a museum of consequence.

I need to return for a more selective study.

Saint Martin's-in-the-Fields
     Here the exterior was, of course, familiar.  The interior was a pleasant surprise with its ivory and gold detailing.  A handsome and subtle performace by Gibbs.

245th Exhibition of the Society of British Artists
     By and large a competent and conservative display.  Spent very little time here, mostly to see its character.  Few au courant pieces on display, but not without its "modern" touches.  The watercolors—excellent, and some of the sculpture interesting.  Made no attempt to learn more.

National Portrait Gallery
     An amazing display ranging from the Holbein cartoon for Henry VIII to a cubistic T.S. Eliot.  In between and alongside some weird things.  The Holbein has the perforations required for transfer.  Something on the order of 1,500 portraits (including busts) on display.  Did not really study anything except the Holbein cartoon.

WEDNESDAY, JUNE 29, 1966

(London)

     Partial Expenses
               Transportation           2/  3
               Publications             96/  6
               Food                          4/  5
               Umbrella               4/ 9/  6
               Miscellaneous           3/11
*                     sub-total       196/[blotch]  or $27.46
     Used $20 travelers check for the umbrella
          discounted - received $19.60 (7/ )
          check discount 40¢ (ouch)

     Total spent - accounted for    17/  2/8
     Cash on hand as of account     9/11/4
                                    total         26/14/0
                       unaccounted           1/13/4
     (Either my records lack, or I am being taken on occasion—probably both)
*    Ah ha, the theatre was 1/8/6 which just leaves 4/10 unaccounted, a reasonable figure
      Note 4/6 for programs—hence only 0/4 "missing"
               Food               1/13/0
               Tip                       5/0
               Chocolate            1/2
*                                    1/19/2
               Beer                     1/1

Had dinner across the street at an Italian restaurant.  Had veal—quite good.  Unusual item was a stewed celery.

The major events of the day centered on the British Museum.  Before arriving there I returned to Foyles to purchase additional guidebooks.  Obtained:
               Nagel's France                                                   27/6
               The Blue Guide to Belgium and Luxembourg   35/
               and Michelin Normandy                                    15/
     At the British Museum bought
               Guide to the British Museum                               3/
               Guide Map                                                           1/
               Exhibition catalogue to Viking Art                      3/
As I write this in the evening (8:30) it is still quite light out and I have the BBC playing music (on the piped-in selector).
     The British Museum is, of course, an expense all unto itself.  Commentary is in the Art Record.
     Seemed to have mastered the Underground.  A truly efficient operation, and a pleasure (so far) to use.
     Also had my first half-pint in a pub at the nearby corner.
     I seem reasonably well adjusted to the routine.  Certainly the days are remarkably occupied.  Plan to visit the Victoria and Albert tomorrow, and the Branyans in Kew Gardens in the evening.

ART RECORD

Retrospective impressions of the National Gallery
     The sight of large, complete altarpieces of many descriptions—truly impressive.  An entire room devoted to Crivelli has impressed me even more concerning that artist.
     The Masaccio Madonna badly rubbed.
     The Botticellis did not impress themselves upon me, but Piero della Francesca did—even though condition was so-so.
     The Leonardo cartoon interesting, but very hard to study in its setting—small room, reduced lighting and numerous visitors.
     The Bronzino Allegory is sparkling (cleaned recently?) but Raphael and others of this ilk still fail to move me.  I am not the logical one to teach Italian High Renaissance, that is for certain.  Perhaps the condition of the Titians, etc. is a factor.
     The Northern 15th and 16th Century works were, of course, of considerable impact.  A great deal of David, but others are also impressive.  Van Eyck and Campin are joined by their goodly company.  Oh, so nice to see van der Weyden, Bouts and the others.  Excellent Mabuse works.  A proper orientation for later in the trip.
     Mantegna and Antonello impressive.
     The Germans are dominated by the two Holbeins.  The Ambassadors is badly rubbed but a very fine piece.  The Durer (father?) a rich piece (the Van Eyck portraits seemed so small in contrast to the impression given by photos).
     The 17th Century is so richly represented.  Great works by all the key artists.  The list is a catalogue of the exhibition.
     The later periods are also represented by choice works through Cezanne.  The only gap was 18th Century French due to temporary closing of the room.
     A return visit in an afternoon near the end of the London visit is required.

The British Museum
     Visited throughout the day.  A singular experience.
     The major impressions were, interestingly enough, the master drawings (an incredible selection was on view), and the illuminated manuscripts.  The images of the Grenville Library and the King's Library will last.  In the latter, a history of printing gave me my first view of a block book.
     Considerable reconstruction and reinstallation under way.  Major loss to me, as a result, was the reduction of Greek and Roman sculpture and the Assyrian Lion Hunt behind closed doors.  The Egyptian antiquities in large quantity and compressed display was quite something.  The smaller things upstairs—including paintings and papyrus leaves, along with tomb contents—impressed me more than the "big stuff."  I feel Boston or Brooklyn does more (not better) with the big things.  Then too, I've see the Metropolitan fairly recently.
     The Ancient Near East has the Ur things Wooley found.
     The section on Greek and Roman life was beautifully displayed, and the sheer number of Greek vases was beyond reason.  I found this all "too, too much" to digest.
     British and Medieval antiquities was [sic] good fun.  The Sutton Hoo treasure was enriched by a loan exhibit of Viking art.  Very nice indeed.
     The Ilbert collection of clocks was great fun.
     Other impressions:
     To see a half dozen Claude drawings, and then "stumble on" the Liber Veritatis.
     The drawings with several Michelangelos, da Vinci, Rembrandt, Rubens, and Durer, plus oh so many others.
     The small group of Roman wall paintings was most pleasing.  The quantity of gold and silver impressive.  If this remains, what has perished?
     But the final image of the British Museum will be the tremendous display of books in the cases (and I did not see the reading room).  Considering the fact that this was but a fragment of the total—oh my.  I can now see why people "have to come here" for research.
     A truly memorable day on the heels of one.

THURSDAY, JUNE 30, 1966

(London)

Today went first to Harrods department store.  Shopped and found a lovely cashmere stole for 63/0 (or not quite $9).  I cannot guess if this is a fair price, but it is lovely.  The toy department was nothing.  I can do better elsewhere.
*     Cashed a $20 check at Harrods banking facility (the regular banks were closed at the time) and received 7/1/1 on a 25¢ discount.
*     Expenses
           Transportation      1/0
           Stole for Jean     63/0
           Publications       28/0
           Food                     8/3
           Miscellaneous        /6
                  sub-total    100/9

Went to the Victoria and Albert.  Staggering size.
*     Bought at the V.A. guide                                              1/0
       Also purchased 100 things to see in V.A.                     3/6
       The Aubrey Beardsley exhibition catalogue                8/6
       The commemorative album of the 1851 exhibition   15/0
I am intrigued to see that each of the museums, so far visited, have much renovation going on.  Where visible, the new installations are handsome.  Also a fair amount of new construction going on as well as refitting of structures.  I plan to go to London town on Saturday and am given to understand that much is under construction there.
     London is far more pleasant than New York, or should I say Manhattan.  It is scaled to human dimensions.  There is, however, an extraordinarily large number of young people in the latest fashion (if that is the word).  Much long (and often filthy) hair with an incredible variety of styling.  I noticed hairdressing (for men) establishments everywhere.  The short, short, short skirt, the bell-bottomed gay print, hip-hugging slacks.  The boots, the peek-a-boo blouses, etc., etc., are very much in evidence.  But then there are the bowler hats, and the "proper" ladies everywhere too.  I guess there is something in this rebellion against conformity, since the variety of costume and hairdos does provide more choice.  But cleanliness has merit of a practical side, and that is not uniformly observed.
*     Additional expenses
           Food                    7/1
           Transportation    3/0
           Miscellaneous   11/3
                sub-total       21/4
       Total cash expended as of end of Thursday [$]75.32
                         discounts on checks                            .82
*     Total expenditures 5 days                            [$]76.14

Went out to Kew Gardens to see the Branyans.  Had a nice visit with Helen.  Bob was in London all day engaged in study and a session with a friend on the faculty of the U of London.  Helen said he wasn't overly eager to gossip about the University and it is a long ride to see me "just before" I would catch the underground back to Earls Court.  Took them some beer.
     Tomorrow morning will be Westminster and Whitehall.  The afternoon will be the Tate.
     I've noticed that London starts late, and goes later.  When I caught the underground in the morning (about 9:15 am) it was the rush hour!

ART RECORD

Discounting the architectural scenery, as viewed while walking, the day was [spent] at the Victoria and Albert Museum.
     An incredible pile, and an even more staggering collection.  I was bowled over by the sheer magnitude.  I don't know what I expected, but 160 rooms (plus-or-minus) jammed with works.  There is no rational way to describe one's impressions except to note that there is method clearly present, and if one knows the organization of the rooms, then one can sort it out.
     There was the Beardsley exhibit on, but the informational display on printing techniques was more intriguing for me.  To see a pole mezzotint rocker and partially prepared plates, etc. was most interesting.
     Other major impressions included, believe it or not, the great Hall of Casts.  Illinois made a mistake when they destroyed theirs.
     The medieval objects, the period rooms and the tremendous quantity of sculpture.
     The architectural fragments (often large in size) was [sic] impressive.
     The departmental collections with row-on-row of cases or installations was [sic] an incredible experience.  The iron work, or the silver, or the pottery, or the tiles, or whatever.  I was truly impressed by the resource.
     The library (with 300,000 volumes) is a magnet.
     A short winter trip to the V.A. could well be more to the point than one to N.Y.  The cost extra would be about $180-200 for airfare.
     While I was beat to the socks, I managed to walk [through] every open room.  Even if many works were seen only en-masse, I have a pretty good idea of what is available, and the presentation.
     I am happy to note that here too, reinstallations are under way, and where seen, are rather effective.  A new and larger bookshop is under construction.
     The place was filled with art students doing drawings.  There are, apparently, classrooms above, and they [the students] descend on occasion.  I can't help but wonder why we don't try this, if possible, at UMKC.
     My final impression is that the Victoria and Albert is not a place for recreation ("let's take a look at the Elgin marbles" sort of place), but rather a reference-study place.  This is borne out, perhaps, by the fact that the British Museum (despite its reference library) [has] a tea-room, while the V.A. has a full-fledged cafeteria restaurant which is heavily patronized.  Are art scholars different from book scholars?

FRIDAY, JULY 1, 1966

(London)

      Expenses
           Corgi toy for Matthew          8/11     $1.25
           Transportation                      2/  6
           Admissions
                  Whitehall Baq't Hall      1/ 0
           Abbey Treasures                   2/ 0
           Publications
                  Description Jones B.H.   0/ 6
                  Tate Guide                      2/ 6
           French Phrase Book              3/ 6
           Toast Rack                           16/ 6      2.31
           Package postage                  14/ 9
           Miscellaneous                        4/ 2
*                 sub-total                       65/ 1

Took the underground to Charing Cross Station, and then on foot walked through Whitehall, stopped in the  banqueting Hall of Jones, and then on to Westminster.  Parliament is sitting, so could not tour there.  May try to see the great hall tomorrow, but that depends upon my stamina since I've scheduled St. Paul's, the Soane Museum (on foot) and thence to the Wallace Collection.
     Spent considerable time in Westminster Abbey.  Before I went there, went into St. Margaret's parish church.  Very charming.
     Westminster was jammed, and the going slow.  One interesting moment occurred when 11 am came: there was a call to prayer, and the entire place fell silent except for the disembodied (for me) voice over the loudspeakers.
     The cloisters pleased me, and so did the view of the Abbey treasures.  If the continental areas are as well organized, I shall have no trouble finding my way.  I've purchased a phrase book (French), and I practice the reading—which goes reasonably well—every night.
     From Westminster (discussed in the Art Record) I walked along Millbank to the Tate.  Had lunch there (with wine, a pleasant treat in contrast to many American customs) and then did the galleries.  Fortunately, the Tate is scaled to reasonable dimensions, and so I could carry through easily.
     From the Tate I walked to Victoria Station, there took the underground back to Earls Court.  Shopped a bit—got Matthew a car—and some wrapping material.  I wrapped some museum guides and mailed  them.  I had to place a British customs declaration on them, but I gather that they will go through O.K. if I understand the system.  If not, the loss is negligible (but they do have sentimental value).  I had hoped to lighten my bag—the silly things weigh, even if they do not cost very much.
     I have been wearing one shirt since K.C.  I wash it every evening, and it dries by morning.  For next week, I shall retire it (washed of course) and go to another.  I alternate [washing] underwear and socks.  So far all goes well on that score.
     Though I'll have some English money left over, I decided to cash another check.  I cannot be certain when the banks operate, hence I did not want to be caught short the last days here.
     I went to a Bank (Midland branch) and [for a $20 travelers check] received * 7/1/7 less 0/2 for a stamp (of some purpose).  That discounts them at 21¢ if I count the stamp.  I wonder why I did so well at the airport?  Perhaps it is a factor of amount (or possibly the man at the airport made an error).
     Went to West Terminal and confirmed my ticket to Amsterdam.  Had dinner there * 28/11.  Had a reasonable filet with salad plus two ales.  I sort of miss my cold water at my place.  Purchased a book for light reading (James Bond) * 3/6.
     On return, studied for the Holland phase; also did most of it in the Michelin.  Handles fairly easily.

ART RECORD

Began the day by walking among the government buildings in Whitehall.  Studied the Inigo Jones Banqueting Hall, and had considerable pleasure in seeing the great hall with its ceiling by Rubens.  Here, one can appreciate the scale and the function.  In contrast, the Raphael cartoons in the Victoria and Albert are big fixtures on the wall of a museum.  All in all a fine interlude.
     Parliament was in session so one could not go into any part.  The next step was St. Margaret's parish church—a charming 16th Century parish church with a good, if late, window.
     Then on to the Abbey church—Westminster.  So, my first Gothic church of consequence.  In some ways very disappointing.  The exterior is not overly exciting, and the interior has little stained glass, but a superabundance of monuments and memorials—and people—thousands.  Perhaps it is better called Commercial Gothic, though I was one of the commerce.
     The most impressive for me were the details, when I had presupposed that the grandeur of the interior was the major impact I would receive.  Among the details are many of the tombs, the Henry VII chapel vaulting, the details of both cloisters, though the smaller is later, it is charming.  The display of the Abbey treasures, rather than the room, in the Norman undercroft is memorable.  The effigies in garb have a curious impact.
     All in all Westminster was a letdown (could it be the card stall in the cloister?) or the heedless people—many English or Commonwealth—which [sic] photographed everything.
     I am now glad that I've scheduled Amiens.  Apparently Picardy is not tourist country, so maybe a day in the cathedral will pay off.
     From Westminster, went down Millbank to the Tate Gallery.  The Tate looks and feels like the museums that I know in the U.S.  Its organization is similar (except for the officious restaurant manager).  It too is undergoing reinstallations.
     Covered the gallery except for the Duchamp show.  Admission  was 5/0 and the catalogue 12/6 (although you could rent catalogues.  You paid 14/0 and received 10/0 back on return as I recall).  I've seen plenty of Duchamp, so I skipped that.
     Noticed very little American, and comparatively few continentals on display.  There was a small room devoted to Picasso, and one to Matisse, but on the whole it is an English art museum.  Here is the place, of course, for Turner.  Then there is Constable, Hogarth, Blake and the Pre-Raphaelites well represented.
     In the review of works, I can now see why Peter Lely did so well.  He was far better than his local competition.
     Hogarth (his servants were off display) did not come across as a painter of portraits.  His technique wasn't much.
     Many of the paintings on display have badly discolored varnish.
     Copley and West are in evidence, including a 1759(?) [sic] Copley.  Can this be right?
     Some artists I've not heard of, or have see[n] nothing (or little) by, were interesting.  Joseph (?) [sic] Wright has merits.
     The development of Turner is a fascinating experience.  The early Turner is dark, and his figurative pieces (this a surprise) are not his forte.  In large quantity, one can see the variability.  The Nelson Gallery's Turner stands up well.  Turner's technical problems could be seen.  Also his painting case (a pleasant surprise) was on display.  I saw some paint-bladders finally.  Also an early tube in evidence along with dry colors.  Then, of course, there were the drawings and watercolors.
     There is evidence of English interest in the Fauves in the period 1910-20.
     Constable was well represented, and there were a number of small landscape sketches in oil.
     There were good Whistlers and Sargents.
     Among the Pre-Raphaelites worth mentioning, beside the obvious ones, are Windus, Deverell, Hughes, Dyce, and Richmond.  It is interesting to contrast the Pre-Raphaelites with the rather dark, anecdotal works of their contemporaries.
     Some interesting Blake examples on exhibit.  I found him more interesting with quality to see.
     And then an excellent place to see Henry Moore.
     The op and top [sic] art was much in evidence, but not pop.  Some of the op stuff really moved—fascinating but hard on the eyes.
     A pleasant museum indeed.  Here too, Duveen gave galleries.  Oh yes, evidence of a bomb burst on west exteriors.

SATURDAY, JULY 2, 1966

(London)

      Expense Account
           Transportation               3/8
           Food                           2/7/0
           Publications
                Soane Guide             0/3
                Description Soane    3/9
           Miscellaneous               2/4
           Wallace Guide               2/6
                [subtotal]                59/7

Today went to City of London.  Walked about and saw a fairly large number of architectural items of consequence.  A number of Wren churches and various 18th and some 17th Century works.  A special treat was an 18th Century cul-de-sac (or court) off Bow Lane.  St. Paul's was most impressive inside.  Heard part of a service there.  Continued walking which took me down Fleet Street and then north on Chancery Lane to Lincoln Fields Inn.  The Soane Museum on the north side is sheer pleasure.  I was completely captivated.
     From there, took the tube to Bond Street Station on Oxford Street (massive commercial-shop center) and walked north to Manchester Square and the Wallace Collection.  Numerous 18th Century structures.  From the Wallace Collection returned to Earls Court.
     Took a late afternoon nap—all that walking—and then had dinner after writing to Jean.  Returned to quarters to read until bedtime.
     I often write in the Art Record in the early morning—when things have settled a bit in the memory.  The evenings are often spent with the guide books—as well as laundry.
     Tomorrow I shall pack and plan a final tour to include architecture in the City and a last session at the National Gallery.
     Then come Monday early (I must be at the West Terminal by 9 am) I shall be off to the Netherlands.
     I have worked each evening on the French.  The Michelin on Benelux is a major reading.  I check grammar or vocabulary in the other sources.  I am improving, but I am not slated to be a facile linguist.
     As far as I can see, the length of the London visit was just about right.  Any extra and I'd be off on out-[of-]London tours.

ART RECORD

Began by debarking at Monument for Bank Station and started a walking tour of the "Wren country."  Saw such churches at St. Stephen Walbrook, excellent interior, and the remains (?) [sic] of St. Mary Aldermary.
     Went into side areas off Bow Lane, and found a pleasant cul-de-sac or court of 18th Century structures.
     Then of course, St. Mary-le-Bow.  Interior is completely modern, but in good taste, and [I] can say that there is possibility of blending the contemporary with the past if you try.
     Other churches: St. Vedast alias Foster, St. Martin Ludgate, and St. Brides (grimy, but a lovely tower).
     Stumbled onto the structure containing Prince Henry's Room.  A happy half-timber change of pace.
     St. Paul's pleased me very much.  Here was the grand interior I missed at Westminster.  Westminster's Rood Screen and plan-organization worked against the interior volume, but here at St. Paul's I found the grandeur that I wanted.  The experience was in kind related to that when I found Richardson's Trinity Church interior and scale "quite right."  Interior and exterior, St. Paul's is a great structure.  I was there at the time of a service, was properly pleased.
     Indeed the day went well.
     Walked on from Fleet Street north through Lincoln Fields Inn area to the John Soane Museum House.  I was completely captivated.  It was a unique experience of considerable charm.  I purchased the longer description to have occasion to review the fun I had prowling the place.  This early 19th Century architect's mansion has no parallel anywhere.  I itched to put my hands on some of the books.  At least we now have facsimiles of some of them.  The attendant opened the folding doors for me in the picture gallery.  I suspect that Soane could have survived even today's drab marketplace for architecture.
     Took the tube to Bond Street at Oxford and debarked to go north to the Wallace Collection.  Manchester Square area is lovely.
     It is an obvious thing to compare the Wallace with the Frick, but really there is no comparison.  Frick's taste was made up for him.  The Wallace Collection has a different flavor.  The House is interesting, and I enjoyed reading the guide in the court.  I've become a firm believer in interior courts now that I've seen some genuine ones.  The armour, furniture and paintings are significant.  Also the Sevres, bronzes and similar items.  The guide reviews it well.  I was disturbed by the need for cleaning which many of the pictures showed.
     Special notes.  The A. van de Velde Migration of Jacob is reminiscent of Bingham's Boone and the Cumberland Gap.  For that matter, Hogarth's Election series smack of an influence on Bingham.  These [are] at the Sloane.  I must check with Ross Taggart on these.  I wonder if van de Velde's Migration had been engraved?
     Noted that the Wallace's Rubens sketch of The Defeat and Death of Maxentius had the same technique as the Nelson Gallery sketch.  I liked ours much better—no chauvinism here at all.
     Rather fatigued, I took the underground back to my room to read on what I had seen.
     All in all, a truly memorable day, perhaps one of the most pleasant since I arrived insofar as art experiences are concerned.

SUNDAY, JULY 3, 1966

(London)

      Daily Expenses
           Transportation                         5/  3
           Food                                       13/11
           Description Liesborn Altar     0/  3
           Movies (Cinema)                    4/  0
           Coins for Paul                         6/  4
           Miscellaneous                         5/  6
           Tip for Chambermaid            10/  0
                          [subtotal]                45/  3

Took off early on the morning, contrary to my last plans, and walked for three hours from the region of the Tower to Charing Cross.  Covered new terrain in contrast to yesterday.  Saw such as All Hallows Berkynkirche, St. Olave Hart Street, Mansion House, Christ Church in Grey Friars, the Guild House, the Church of the Holy Sepulchre and the Guild Church of St. Andrews.  The Churches in the Strand.  The 17th Century structure on Holborn by Greys Inn.  The Surrey and Norfolk Houses by the Embankment.
     Returned to the room for lunch and rest.  Then at 2:00 pm ventured to the National Gallery for a last tour.  From there began walking again.  There was a stop-the-war rally (re: Vietnam) sponsored by the London District of the Communist Party.  It was—of course—in Trafalgar Square.
     As I walked [I] saw the Carleton House Terrace, then over to the Mall to Buckingham Palace.  More impressive than newsreels or stills suggest.  Over to Victoria Station.  Wandered about the mainline station interior, then took in a movie.  Went to the Cameo (nearby) and saw [A] Shot in the Dark.  I had seen it before, but it was exactly the right, light stuff I wanted.  From there "home" to write letters and cards (including one to Ily Szabo with some of my unfortunate French—at least she will recognize the date, the hotel and my name).
     Then it was supper, packing time and the records.  From this it is bedtime.
     Calculate that I spent $28.33 since the last * tabulation on June 30.  Add to this 21¢ for discounting, and total is $28.57.

ART RECORD

The day was largely architecture in the area from the Tower to Trafalgar Square, from Holborn to the Embankment.  Stayed away from sections I saw yesterday.  This is a considerable area, and the walk lasted three hours.  Saw a variety of structures dating from some very early churches and a 17th Century half-timber on Holborn, to the latest and most modern buildings.  The problems of scale and texture reemphasized themselves.  I feel that there is a lack of texture mostly (and I talk here about the plasticity of surface—mouldings, pilasters, cornices, projections, rustication, etc.) in the new structures which the old ones have, and which gives them a life even beneath the grime.  Since most are not silhouetted against the sky (except for cornices and chimneys or towers) the surface is so important.
     Made a final visit to the National Gallery and studied in particular the 15th Century works (both Italian and Northern) for comparisons to the Christian for the space problem.  The closest was a fragment of a German altarpiece, the Annunciation, called the Liesborn Alterpiece.
     From the National Gallery, [I] migrated through Carleton House Terrace, thence to the Mall and Buckingham Palace.

So then for the London Phase of the trip.

 

MONDAY, JULY 4, 1966

(London and Amsterdam)

Managed to get away from Earls Court without difficulty.  I hesitated walking to the terminal with the bags.  That is a bit more than I desired.  Because of the hour, a cab was called.  My second experience with a cab in London and the first with what they call a mini-cab (we'd call them jitney).  They charge outrageously, but I was unprepared for the mini.
     At the terminal I had my last English expenses:

           Transportation                           0/  6
           Cab                                            7/  6
           Bus to Airport                           6/  0
           Two books for reading              7/  0
           Remainder of coins for Paul     2/  7
*                            [sub-total]             23/ 7   (or $3.30)

This brings the total spent to the point of $103.65 plus $1.03 for exchange and we have a total of $104.68, plus $3.30 (Monday) and we have * expended while in England a total of $107.90.

Our takeoff was delayed from London due to a foul-up in getting customs clearances for the plane.  I have no idea what this meant.  But we arrived at the Amsterdam airport (called Schiphol Airport) at about 11:50 am.  We were processed quickly and took the bus into the KLM terminal (near the Rijksmuseum).  Hailed a cab, and imagine my surprise when he more-or-less drove around the corner to the Aalders Hotel.  [in margin: 15 Jan Luykenstraat]  I am a five minute walk (by cutting across the Museum staff park area) [from the terminal].  Aalders is a small hotel, about 34 rooms.  Mine is #31 at the top and back.  A small [underlined twice] but comfortable room.  Traffic noise is fainter than the chirping of the birds.  I have French doors (instead of a window) which opens out onto a little porch.  Reminds me of the porch at 4505 Madison in K.C. where I first lived.  If I move the bed (a cot) I can open both doors wide enough so that I can sit in a chair within the opening.
     As soon as I loaded my bags (no porter) into the room (and they are right about the steep stairs in Amsterdam), I took off to the post office to purchase some air letters.  Decided then and there to give the Rijksmuseum its first go-around since it was across the street.  The Aalders is only about two blocks from the museum.  Had lunch in their very fancy restaurant.  A letter from Merrill Toms in K.C. (Belgian Consulate office) saying that I was set up for Belgium.
     Returned to the room, wrote a letter to Jean, and took off again, this time with umbrella.  By golly we had a thundershower, and I had my christening of the umbrella.  Worked well.
     Scouted the terrain around hotel and found all of the conveniences right at hand except for a launderette (which I wouldn't use anyway).  Also found the Stedelijk Museum (Van Goghmoderns) about three blocks away.  Most of the streets around here are named for artists.  Had a beer, grabbed a sandwich (had that big lunch) and now back to the room summing it up.
*   At the airport I exchanged 4/10/0 English for ƒ 44.93 Dutch and cashed a $20 check for ƒ 71.00 Dutch, the discount ƒ 1.25 Dutch.  I calculate the English at $12.60 (14¢ discount) so the entire $32.60 netted me ƒ 115.93 Dutch.  * At 28¢ a guilder this is $32.46 or a discount of 14¢.  Obviously my calculations are inexact, since I am converting and rounding off against U.S. equiv (which no one else is).  Have cashed $140 of checks.  Remaining $310 in checks.  $47 in USA.

      Expenses in Holland
           Airport bus                          ƒ 1.50
           Porter                                  ƒ 1.00
           Maps                                   ƒ 4.00
           Cab                                      ƒ 2.50
           Air letters                            ƒ 1.60
           Rijksmuseum admission     ƒ 0.50
           Lunch                                ƒ 11.30
           Rijksmuseum guide            ƒ 1.50
           Supper                                 ƒ 2.50
           Miscellaneous                      ƒ  .60
           coins for Paul                     ƒ  1.36  
                          total                    ƒ 28.36 

[illustration of room, page 17]

ART RECORD

With the hotel situation a block and a half from the Rijksmuseum, it was practical to go there soon after arrival in Amsterdam.
     The building is a big Victorian Gothic pile with a street going through the ground floor level.  The museum (and I saw only the primary collections) is beautifully organized and the displays are handled with considerable taste.  Heavily Dutch in content (do they dislike their southern neighbors so much that they won't try to collect even Memling?), what is there is splendid.  I found the medieval collections utterly charming.  Some superb carvings.  The first floor has paintings 15th-17th Century and sculpture and the decorative arts.  This occupied my first visit.  Some excellent early cut-brass chandeliers.
     Finally saw a Pieter Lastman (Mannerist) and a Hercules Seghers landscape (the latter very much in need of cleaning).
     The W.R.N.G. Rembrandt cannot be Titus.  The paintings here show a strong jaw.  Saw some atypical Rembrandts, but The Syndics and The Jewish Bride appeal far more to me than The Night Watch.  Saw a fair number of the corporation pictures of the period.  They are, in fact, impressive works.
     I find that I can make out much of the Dutch captions, even though I cannot but understand the sound of most German or English sounding words (bier for example).
     The section of Amsterdam in which I am located is late 19th and early 20th Century.  Typical tall and narrow but little else.  I did see a wonderful tile decoration in the style of Mucha on the exterior of a house, tall and female, Art Nouveau type, as a date marker (1902) at the corner of Jan Luyken Street and Van der Velde Street.

TUESDAY, JULY 5, 1966

(Amsterdam)

As I write this, I am a very tired fellow.  Began the day with a walk to the very heart of town, the Dam, and then beyond to the Central Station.  From there I moved on through the old part of Amsterdam (I had been on the Rokin and the Damrak) toward the Rembrandt Huis.  Saw the historical museum in the old East Gate as well as Rembrandt's house.  Maneuvered back toward the Rijksmuseum by a different route and arrived there three hours after I departed Aalders Hotel.  Spent time in the museum and there had lunch.  From there returned to the room for a rest.  Later went to the Stedelijk Museum (their museum of modern art).  The rest of the evening was dinner and reading (with my feet put up).
     Impressions:
     The quantity of bicycles and motorbikes is tremendous.
     The canals have ducks and debris.
     Dutch is readable—seems to be a strange combination of English and German.
     The Aalders Hotel has Art Nouveau decorations on the exterior, as do other structures in the area.
     The weather today was excellent and I cannot complain on this score.
     I confess that I am lonely.  I do miss my family and my home, but the activity of each day does a great deal to keep me from becoming maudlin.

      Expenses
           Miscellaneous             ƒ 6.40
           Admission fees           ƒ 1.75
           Food                          ƒ 19.00
                       [total]            ƒ 27.15

ART RECORD

Began the day with an extensive (three hours) walk from the hotel to the Central Station, and from there through the older portions of the city.  This included a goodly portion of the 19th Century city, and then by the Munttoren, down Rokin to the Dam, over to the Paleis, the Nieuwe Kirk, then over to the Waag, the old East Gate which is now a museum of Amsterdam history, and Jewish History as related to Amsterdam.  Continued through old sections to Rembrandt's House.  Most of the etchings I knew, though there were several large ones that surprised me.  Some drawings, but nothing exceptional.  The house must have been very elegant for its day.  The most fascinating thing for me was the 17th Century etching press which had wooden rollers, with the adjustment made with blocks and shims.  Just goes to show that we rely more on fancy machinery at times than skill.
     There were several Pieter Lastman paintings on display.
     From there walked back to the Rijksmuseum by a route different than going out.  At the Rijksmuseum, I saw a large drawing show which included all (?) [sic] of the members of the Terborch family.  Then returned to the medieval sections, and enjoyed once again the superb carvings (mostly wood) and the reliquaries, etc.  Then down to the lower level to see the decorative and 18th-19th Century paintings there.  A very rich museum in Dutch things, but not a great deal else.
     Then over to the Stedelijk Museum (after a rest) to see it.  This is their museum of modern art.  There was an interesting show Vijftig jaur Zitten (Fifty Years of Chairs).  There was a very large Dubuffet show on.  His last works look like striped and spotted Leger jigsaw puzzles scattered out.  Then a look at the permanent collection.  The Van Gogh material I had of course seen (not every piece, but the major portion) twice.  The permanent stuff otherwise was O.K.  An early Mondrian Fauve-like Mill.  There was, in contrast to the Tate, plenty of U.S. Work.  A huge and good Sam Francis, two Pollacks, plenty of Pop and Op.  As with the Rijksmuseum, beautifully installed.  A superb air of control in presentation.
     Much architecture is under reconstruction, especially the early medieval.  They know it will attract the tourists I guess.  The brickwork in Amsterdam is excellent.  Since the section I live in is c.1900, there is ample Art Nouveau in evidence; even at the top of the facade of Aalders Hotel (mine) there are two Mucha-like panels.  The total appearance suggests why the Dutch took so early to F.L. Wright.  He was in their idiom, but more daring.

WEDNESDAY, JULY 6, 1966

(Amsterdam and Haarlem)

Began the day by taking an hour-and-a-half tour of the city and harbor via one of the tour boats.  Found it interesting but not spectacular.  One can see the city, except for the harbor, better (or as well) on foot, but this was easy on the feet.
     From there, took the train to Haarlem (about fifteen minutes) and walked from the station to the Hals Museum.  Haarlem has much to recommend it in terms of the picturesque qualities.  On the return to the station, [I] managed to make a wrong turn and get lost.  The Michelin guide, which I used, has all of the streets on it, but not all are named.  Had I not gotten overconfident, the map would have kept me on path.  I was so busy looking at the sights that I failed to notice that the street curved to the left.  I started out heading north, but ended up going west.  Managed to get directions and was on my way back to Central Station Haarlem.  They collect the ticket on exit, similar to the London subway.
     From the station went to the Rijksmuseum for a final session.  From there (by now 4 pm) I returned to the hotel, there to find a most welcome letter from Jean.  First communication (other than the letter from Merrill Toms of the K.C. Belgian Consulate) from home meant a great deal.

[Postmark:]     KANSAS CITY / JUL 2 / 1966 / MO. / Hire the Handicapped / It's Good Business / 11¢ / U.S. Postage / Air Mail
[From:]            M J Ehrlich / 5505 Holmes / Kansas City, Mo. USA
[To:]                George Ehrlich / Aalder's Hotel / 15 Jan Luykenstraat 15 / Amsterdam / Holland / Please hold

[Typewritten, except where noted]

June 30, 1966  [handwritten: Thurs. 4:00 PM]

Dear old darling,
     Just got your airgram, and cheer up, you may have drizzle, inoperable WC's, and small rooms in Britain, but at least you can communicate with them (that's more than one can say for the rest of your journey).  At least the food gets better as you go along, and you can end on a grand culinary triumph!
     We are surviving pretty well (sorry about the typing, I cut my finger defrosting the refrigerator and have a kind [sic] sized bandaid on one crucial typing point).  The first day was ghastyl [sic] Ghastly!  Matthew fell out of bed twice the first night (Sunday), and had bloody cheek and nose to prove it.  Wanted no part of the new bed, but I talked him back into it and for the past two nights all is serene.  The children bicker a lot, which sends me right up the wall, and I bellow too.  Matthew seems to be taking your absence philosophically, but Paul is impossible.  Is taking the "responsibility" terribly serious, to the point where one of us has to belt him verbally once or twice a day.  ("No, you are not the head of the family.")
     All of us went to see Dr. Hildreth yesterday, and believe it or not, it was a charming experience.  That man is a whiz with children, had M. and P. helping him take X-Rays and before he was done Matthew was fighting to get into the chair.  He got examined and had his teeth cleaned, Paul too, and I too.  I had two teeth filled (not one twinge of pain), and I even paid him right then.
      My folks, of course, are being perfect bricks.  So is everyone else.  Juanita took me to the Plaza shopping, Tom paid our Bookstore bill (I'll pay him back), Marie picked us up at 8:30 this morning to go to the park [handwritten: with children], shopping, and three hours this afternoon shopping (food is really expensive) [handwritten: without children].
     Tomorrow I go to an assembly at Nelson (ugh, apparently in honor of July 4th), out to Seminar in Overland Park, and then to see Marat-Sade * [handwritten footnote: * Dawna Bentley says it's "gross & overdone"] with (get this) Ernie Painter.  She called and asked if I'd go with her.  July 4th we go back to Marie's.
     Saw Dora Pakula in Milgram's today.  She said, "Cheer up, before long, you'll begin to relish your freedom"—she is always so blunt.
     Merrill Toms called today and wanted the addresses of your hotels in London, Amsterdam, and Brussels to make sure you get the name and number of the man you are to meet.  Seems that the man never heard of the place you are supposed to have met in Brussels.  Toms is very nice (though precious).
     It is hot here [handwritten: AND HUMID!] (around both days of late), but nothing like other parts of the country.  New York City was over 100 for days on end.  Kris says it [is] overwhelming.  I heard from her again yesterday.  They are off to Maine on the 4th.
     Don't stew about things at home but for God's sake don't overdo or get sick either.  We must have many dinners out after you get back.  I'm sick of cooking for unappreciative children.
     Hope this reaches you, / Love and missing you, / [handwritten: Jean]

Have been studying the maps of Brussels, and the various guides.  I've located the street on which the hotel is located, and here there is no question but that I shall have a bit of distance to go from the Aerogare [terminal].  I did feel the fool when I found out how close I am to the KLM depot here.  I shall just walk over tomorrow a.m.  The bags are not that heavy, or the distance that far.

      Expenses
           Postage                   ƒ  1.00
           Canal trip & tip      ƒ  4.00  (too complicated to use the $5/day coupon—had to go to the center of town)
           Taxis                       ƒ  8.05
           Train (Haarlem)      ƒ  1.80
           Entrance fees          ƒ  1.50
           Food                        ƒ  9.35
           Miscellaneous         ƒ  1.60
*                       [total]       ƒ 27.20

With ƒ 32.62 in cash on hand this leaves ƒ 0.60 unaccounted for.  Considering the problems of recording everything, this isn't too bad.
     Tonight wash, pack and be ready to strike out for the KLM terminal shortly before eight.
     A bit chilly tonight.  Shall write up the Art Record and read, rather than prowl some more.

ART RECORD

Began by taking a boat tour on the canals and in the harbor.  Saw some additional (particularly fine 17th Century houses) buildings, and gained little new except a proper point of view and a better sense of the city's development.
     Took the train to Haarlem.  The use of brick is quite impressive in both traditional and modern architecture.  Use of varied colored brick, and early, a small thin brick, and brick in combination with stone very effective.  Saw, in total, three windmills.
     Haarlem was closer to the past.  I was, in fact, overly impressed by the picturesque (to almost quaint) appearance of much of it.  Walk to and from the Hals Museum.  Along the way saw the Gothic church (under restoration) and numerous other early buildings.  The narrow streets, curving, with little or no footpath [are] more a reflection of a few side courts in London than Amsterdam.  The Hals Museum, building and contents completely charmed me.  The great corporation pictures (with numbers on the figures in some) were so very good.  Others of the Dutch were very capable, but Hals (and that clever lass Judith Leyster) could bring people to life.  Rembrandt's [portraits] are so solemn.  The regents of the old men's alm house terminate the carefully planned arrangements.  A truly impressive experience.  Did see a few Flemish works, but only a few.
     I now realize how we distort our teaching of the history of art.  Between the Hals and the Rijksmuseum, I saw so much interesting 16th and 17th Century works of which I knew (and know) little, or had merely heard or read the names.  Roelant Savery for one is fascinating, and a host of interesting Mannerists.  Saw Karel van Mander for the first time.  His fame will rest on his Schildbock (spelling) [sic], not the works I saw.  The setting, the impeccable organization, the display in an authentic 17th Century setting (modernized) had considerable impact.
     Saw interiors of the Haarlem church by several artists.  Despite the opportunity to pay for a tour, I decided (from the paintings) that the experience could be waived.
     Returned to Amsterdam, where I made a final tour of the painting section 15th-17th Centuries.  Yes, Dutch painting has a great deal to it, more than we credit it (except for the 17th Century).  All in all a profitable and memorable short stay in the Netherlands.

 

THURSDAY, JULY 7, 1966

(Amsterdam and Brussels)

      Final expenses in Holland
           Bus to airport          ƒ  1.50
           Airport tax               ƒ  2.00
           Food                        ƒ  0.70
           Miscellaneous         ƒ  1.50
           Coins for Paul         ƒ  2.17
*                       [total]        ƒ  7.87
           Remaining: a 25 guilder note
           This meant total expenditures in Holland of * $25.36 + 14¢ discount on exchange for total of $25.50.

Trip to Brussels [was] routine and upon arrival exchanged the 25 guilder note and $60 in travelers checks.  Received 3,370 Belgian francs.  This computes at $67.40 using fixed figures hence the selling of U.S. [currency] is here at a premium.  We must call it * net 40¢ on the transaction.
     Arrived at Hotel Pelican (has sculptured relief pelicans in facade) to discover that no reservation had been made.  No difficulty however ($5-a-Day received castigations) and by paying 60 francs/day got a good room with a shower, toilet, douche as well as a [toilet] bowl.

      Expenses
           Train to Aerogare                         25 ƒ [sic]
           Taxi                                              35
           Room supplement/shower         360
           Ten air letters                               75
           Food                                           183
           Guide to Art Ancien Bruxelles     80
           Admission                                      5
           Miscellaneous                                5
*                           [total]                       768 [francs B.]

Did go out to the Musée Royaux des Beaux Arts Art Ancien, and gave it a quick but thorough tour.  Walked there via the Grand Place.
     On return tried to contact the Institut Royal du Patrimoine Artistique by phone but this proved to be a failure because of my language incompetency.  Needless to say, reading and speaking are two very different things.  I am developing my mono-vocabulary rapidly.
     The first day and night acclimatization is always a bit of a problem.
     Brussels, for some reason, reminds me of Manhattan.  There are profound differences, but some significant visual or sensual similarities.  Curious.
     Tomorrow I plan to go to the Tourist Station in the Gare Centrale (there is one despite the confusion—see Tours letter) and organize myself for the trips to Antwerp, Bruges and Ghent and see if I can unravel the question of what train and where to Amiens.
     There was some rain, and a chill wind at times.  Hard to believe it is July.

ART RECORD

After settling at the hotel, went for a walk to the Musée d'Art Ancien via the Grand Place.  A pleasant walk, with an image of the city strongly flavored with N.Y.  Perhaps it is the sound-level, the multiplicity of signs, and the sense of visual confusion which gives one the impression.  Even the narrow way[s] remaining from the early years have little of the "quaint" quality I remember from Haarlem (was it only yesterday?).
     The Museum of Old Art is tastefully organized, but with a number of works unlabeled.  I wonder what that signifies.
     The high point were [sic] the Dirk Bouts Judgment of Otto.  But most everything "reached" me including the two interesting pairs: 1)  Brueghel Y and E with the Y copying faithfully the design of the E; and 2)  Delacroix with his copy of Rubens.
     The large altarpieces, the Jordaens, the Rubens oil sketches all with impact.  A small but nice collection of other European [works], but as I now anticipate, major emphasis [is] on local art.  I gather that there are relatively few balanced collections in Europe—as the British National Gallery.
     My attempt to contact the
Institut Royal du Patrimoine Artistique by phone was a failure.  I got hung up on before I could obtain contact with someone who knew more English than I do French.  The language handicap is keen, but I shall turn up in person and try once again.  I may have to hire an interpreter if need be.

FRIDAY, JULY 8, 1966

(Brussels and Antwerp)

Began the day avec le petit déjeuner downstairs in the dining room.  From there decided to consult the tourist service in le gare centrale.  The woman couldn't understand why I needed help.  I knew where to go, and how to go, I had a hotel, I had train tickets for France—so what was the problem[?]  "I just wanted to clarify matters."  I guess a guy without problems who wants help meant little to her.  So I took her at her confidence and proceeded to test my ability by going immediately to Antwerp (Antwerpen-Anvers).  Since my French is shabby, I might as well place myself among Flemmings [sic].  I read the departure board, bought a ticket: une billet pour Antwerpen et retour (might as well mix the languages).  I went up to voie 5 and at 9:46 the doors shut on the whistle and away I went.
     Antwerp was a pleasant surprise and a delightful experience.  If Brussels is N.Y. in atmosphere, Antwerp seemed more like Chicago (this despite the fact that Antwerp is a major seaport).
     I walked everywhere—good old Hush Puppies—and went first to the
Musée Royal des Beaux Arts.  A very interesting museum (more complete than Brussels).  From there walked to the Grand Place.  I had a rather detailed map from their tourist office (bless these places).  In the Grand Place I sat down and had a beer (about noon) and watched the tourists.  Walked over to the Steen, a medieval fort now a museum, walked back toward the cathedral and went in.  A very nice experience within.  Very few people, the great Rubens Ascent and Descending of the cross, and to my complete pleasure a recital on the great organ.  I stood near the west entrance and looked toward the apse and let the music surround me.  A truly moving experience.
     From there, I went to Rubens's house.  A very interesting experience since I had just recently seen the Rembrandt house.  Even at his heyday, Rembrandt wasn't on the grand scale of Rubens.  Their works were in keeping.
     So from there to the railway station, caught the correct train back to Gare Nord, the one near the hotel.  Left my things at the hotel, went to an English bookstore (W.H. Smith again) and bought another French phrase book (the first was not satisfactory—nor is the second, but better) and a couple of books.  Can't stare at the walls, and I refuse to drink my way through Europe.  Have been reading the N.Y. Herald Tribune Europe edition.
     Had a sandwich and a beer and am back at the hotel.  For some reason I have little appetite.  The large meal yesterday evening merely caused churnings.  The two light meals that I got in Holland seem[ed] to suit me better.  I would rather eat more, but see little point if I do not wish it.  I feel splendid, get in much walking, and sleep reasonably well.  So there is no concern.
     With my success today in managing Antwerp, tomorrow I shall try Ghent.
     Oh yes, saw my first pissoir in action by the Antwerp cathedral.

      Expenses
           Train to Antwerp and back           104 francs B.
           Admissions                                     10
           Food                                                51
           Miscellaneous                               102
           Museum Guide for Belgium         100
*                                 [total]                    367

[illustration of room, page 25]

ART RECORD

Went to Antwerp with the principal purpose of seeing the museum there.  As with the Brussels [museum], there was no individual guide, so I now have the Musées et Églises Belges, which is a pocket-sized handbook to them all.
     The Antwerp Museum has a partial organization of major works in twelve rooms.  Covered them first.  Random observations follow.
     Saw several old copies, including one of the Ghent Altarpiece, and one of the Canon van de Paele Madonna.
     The St. Barbara panel by Van Eyck is smaller than I anticipated.  As far [as] I could tell, using a lens, the work was all by brush.
     The van der Weyden Seven Sacraments triptych is tremendous.
     The Fouquet Madonna is bigger and colder than I expected.
     Lucas van Leyden, seen again, leaves me cold, but van Orley, seen again, is worth studying.
     Roelant Savery continues to be of considerable interest.
     The Rubens sketches are marvelous.  C. de Vos (Y) has a paint technique similar to that of the Jordaens in the WRNG.  Could it be?  I can see the Jordaens coloring, but de Vos has it too.
     Saw only one painting with a similar use of perspective to WRNG Petrus Christus.  This [is] a painting by the Master of the Legend of the Magdalen, a painting of the Holy Family.  Labeled XV-XVI cent., it has no museum number (see p. 310 Belgique Art).
     Among the large groups there are many Rubens, of course, Van Dyck and Jordaens.
     Then toured the other sections.  As in Brussels, mostly Flemish.
     Down to the contemporary, i.e. 19th and 20th [Century], and I saw a good David, a self-portrait of Ingres, numerous artists I'd never heard of and a great many Ensors.  Remarkable change seen within his work.
     Rik Wouters 1882-1916 is an artist worth investigating.  He is honored here, and has much in the Fauve character.
     Then went to the heart of town, saw much old architecture.  The guild halls and the town hall, the Steen, a medieval bastion, and the cathedral.  This last, the interior very impressive.  The opportunity to see the great Rubens triptychs of the Raising of the Cross and the Deposition in the transepts, and others in place (with very few people about) had tremendous appeal.  There was an organ recital which had considerable impact.
     From there, went to the Rubens house.  Very splendid—quite impressive in fact.
     And from there back to the station for return.
     A thoroughly enjoyable experience.  Antwerp seems to have more—somehow—than Brussels.

SATURDAY, JULY 9, 1966

(Bruges and Brussels)

Went early to Bruges—that is [I] started early, but found that I had to wait on the train, having just missed one.  Train was a little late and so crowded that I had to stand the entire way.  I had not given thought to the fact that it was the weekend, and people were on the move.
     Bruges was a most interesting community, but being near the coast, rather humid.  Went immediately to the Memling Museum.  From there, wandered about ending up in the Grand Place, where a country-type market with stalls was underway.  Continued my wanderings and sitting on benches along canals.  Museums in Bruges close between 12 and 2.  Investigated most of the medieval architecture.  Was waiting at the Groeninge Museum for it to reopen.  It was small, so despite the quality of its early works [it] was quickly covered.  Back to the station for my return to Brussels.
     Bought a Herald Tribune, read it and rested.  Then out for dinner—so-so—but it stayed put since I fortified myself with Kaopectate ahead of time.  It is curious that I have little appetite.  Perhaps this is a result of eating by myself.
     I have decided that tomorrow shall be a slow day.  Reading and seeing local sights.  Monday I shall try the Institut [sic], and Tuesday go to Ghent.  Wednesday is off to Amiens.  As I become familiar with the reading of Belgian timetables I am happy to say that I have comprehended the schedule for my train to Lille.  There apparently switch to go to Amiens.
     I have comparatively little need to use my fractured French.  Since I can comprehend the signs, I rarely have to ask directions.  Waiters and ticket clerks seem anxious to use their English (which needless to say is superior by far to my wretched French).  Tomorrow at l'Institut will be the rugged test however.
     Received a letter from Jean in the early (before 8 am) mail.  She sounded a bit down, for which I cannot blame her.

[Postmark:]     KANSAS CITY, MO. / 5 JUL / 1966 / 11¢ / U.S. Postage / Air Mail
[From:]            M J Ehrlich / 5505 Holmes / Kansas City, Mo. USA
[To:]                George Ehrlich / Hotel du Pelican / 23 Rue Des Croisades / Brussels / Belgium

[Typewritten, except where noted]

July 4, 1966

Dear George,
     We are, indeed, "hanging on"; sometimes well, sometimes just barely.  The latter is usually due to my nerves.  Everyone else is faring better.  I checked at the department last week and there wasn't even any mail for you, and everyone seemed very busy and preoccupied.  Are you sure that you are as indispensible (sp?) [sic] as you think?
     We are waiting, amidst the children's bickering and the humidity, for Marie to pick us up for a few hours at her house.  The [handwritten: My] children get up between 6:00 and 7:00, closer to the former, and proceed to tease each other in varying degrees for the moments until 9:00 PM.  It is too hot to put them to bed before that.  We have had three days (counting today) of "togetherness" and I am about ready to sell both of them to the highest or even lowest bidder.  Naturally, my folks are staying at home in the basement.  But Marie has come to the rescue, bless her.  However, they [the Geruleses] are leaving next week for vacation.  My list of friends in KC is diminishing.  Actually, except for the extreme northwest area of the nation, KC isn't doing as badly as the rest of the country.  NYC around Idlewild Airport was 106° yesterday and all the northeast was over 100°.  We are only the low and middle 90°s; ugh, but have had high humidity ever since you left.
     The yard, I'm sorry to report, is in sad shape.  I tried to do some weeding, but almost keeled over after 15 minutes.  I'll try to get the Grisafe boys to mow it (or what's left of it) sometime this week (no rain).
     The wading pool hadn't been touched for days.  Paul says it's too "babyish" for him.  I could kill him; he's the one who nagged to have it put up.  I suppose it was a mistake not to send him to camp, but he still seems to like school.  Nancy and I attended a "salute to 4th of July" at Nelson School Friday morning.  All sorts of group recitations and songs.  Not too inspiring, but Paul seemed to like it.
     Ernie and I saw Marat-Sade Friday night and it was quite an experience: too long to go into here, except that it should turn over a new leaf in the Playhouse log.  By the end of the show one doesn't know whether to scream along with the actors, or laugh hysterically.  (Now we want to see Who's Afraid of Virginia Woolf? for more nerves.)  The audience, already slightly mesmerized by the heat, was in a daze, except Ed Westermann who seemed to actively loathe it [Marat-Sade].  (Mort says he thinks it'll be the greatest play in the next 50 years, but you know Mort.)  The audience became so "conditioned," it didn't even react when Marat dropped his sheet.  Not after so much screaming, pouring of pots of gore, amputations, and mauling of the leading lady.
     Mr. Hawes is pruning now.  Wish he'd come over here.  The only problem with me is "life is so daily"; there's not much to look forward to.  At least in the winter I'd have papers to grade.  I've read two novels, but usually fall asleep by 11:00.  I feel I must to keep up with the kids.
     Haven't bought anything, so you can breathe easy.  Have paid all the bills, and will mail in your paycheck tomorrow, but I couldn't locate our account number anywhere.  Where is it recorded?  Groceries are expensive, and the meat especially is not too promising.  We've eaten so many hotdogs and chips I have them coming out of my ears.  Also bacon and eggs.
     On this happy note I'll close.  Have a good time.  We appreciate the letters.  I've gotten three so far.
                                                                                    Love, [handwritten: Jean]
     [Handwritten postscript:]
     5:00 PM
     Back from Marie's early.  Matthew fussy and insistent that we go home.  [He] took short nap in "crib"—very hot in his room.  Paul whiny that 4th of July isn't what it used to be.  Luckily after we came home Mickey Beatty invited Paul over for "fireworks and rocket launchings" at his house.
     I am going to see Virginia Woolf with Ernie Painter tomorrow.  She said that if she gets too involved in the emotions, to pretend I don't know her.  Please forgive if this letter sounds complaining.  You know me and summer.
     Besides, it isn't easy being both Mom & Pop.  Matthew seems to have regressed a bit.  Sucks his thumb constantly, dirtyed [sic] his pants yesterday, & won't let me out of his sight.  Maybe it's your being gone, or maybe the age, or the weather.
                                                                                    So long for now,
                                                                                    Don't you miss us at all?
 

      Expenses
           Round trip Bruges            223 francs B.
           Admissions                        20
           Food                                 209
           Miscellaneous                    13
*                          [total]              465

ART RECORD

Spent the bulk of the day in Bruges.  Began by going to the Memling Museum.  Small, but of considerable interest.  Here, of course, are the Reliquary of St. Ursula (on a turntable vitrine) [and] the Mystic Marriage—both of these are in remarkable condition.  Then there is the Nieuwenhove Dyptych.  Very effective.  The other works were interesting but of less interest. The building itself is rather fascinating when one thinks of it as a hospital.  An 18th Century painting shows the interior in this use.
     Went then to the Grand Place (since the museums close from 12 to 2) and looked at architecture.  There is a considerable amount of early architecture and some areas, for example around the Gruuthuse Mansion, is rather like a careful setting complete with courts, bridges, etc.
     Went into Notre-Dame which is hardly a textbook Gothic church, but with few people, it had considerable charm.  It is interesting to see large brick structures, and Bruges has them.  Within, there is a Michelangelo Madonna in stone, and a labeled Caravaggio which didn't quite have it—possibly early, or repainted.
     Then finished off at the Groeninge Museum.  They very nicely placed the major early works in a series of five alcove-like rooms, with the most taste witnessed in a Belgian museum.  The building is modern and small.
     Well, the Madonna of the Canon van de Paele is everything one could want.  In beautiful condition.  The portrait of Margaret is, it seems, rubbed and lacks the punch that a van der Weyden portrait has.  The Gerard David paintings are tremendous, especially the Judgement of Cambyses and Punishment of [two names written and scratched out] Sisamnes (there, I got it).  The other works were interesting but not compelling.
     Bruges was my most impressive contact with the character of a medieval town.  It was market day in the marketplace before the Hotel de Ville (or should I use the Flemish Stadhuis?).  For some affair or other (I could not ascertain) there were banners all along and across the Steenstraat.  The congestion, the winding narrow cobbled walks, the canals all helped bring the portions of Flemish pictures (with their city scenes) alive.
     Considerable time was spent (due to some errors in planning the schedule) going and coming.
     That was the day.

SUNDAY, JULY 10, 1966

(Brussels)

The day began early and with too much noise.  A tour, housed at the Hotel du Pelican, was getting ready to leave at 8:00 am.  Lord they were noisy.  I was damned if I would "rise and shine" with them, but from six on it was fitful sleeping.
     I have seen numerous tour buses (including Brazil and Portugal).  The sight of their character[s] makes me very glad that I am on my own, even if it means lack of company.  I now know I would never "lead one."  Europe doesn't appeal that much that I would get into such a straitjacket.
     Began the day by adding Jus l'orange (18 f) to my breakfast.  Was worth it at least this once.  Despite the distance, about three kilometers, I walked to the Parc du Cinquantenaire.  Went into the Museum of Art and History—a sorry affair.  The main purpose was to locate the #1 Parc etc. which is the address of l'Institut Royal du Patrimoine Artistique.  It was quite an adventure.  The [Parc's] structures are left over from an 1880 exposition (fifty years [of] freedom) and they have been added to.  I found a #10 and a #13.  Around and around I went, and finally I found #1.  A grand new structure with a certain air of prosperity.  With this find, I bent my way back to the hotel.  Today was a long walk.
     Upon return, took a brief nap and went out to ascertain the schedules to and from Ghent.  With this in hand, returned to write up the records.
     Dinner tonight was all in French.  Granted I said little beyond oui, non, and fini, but it was done.  No English at all by the waiter.  The meal was once again so-so, though the service was elegant.  I've been eating in convenient places, and either the Belgians are lacking in demands, or the tourists (of which there are great numbers) have corrupted the kitchens.
     On the corner, a lady was cooking snails and selling them by the piece to passers-by.
     I have written out a few statements in French to cover my initial contact with the Institut tomorrow.  Hope all will go well.  At least I shall make every effort.
     I have decided that I need a small bound French dictionary.  The one I brought along is going to pieces with use.  So it goes.

*      Expenses
           Food           221 francs [B.]

ART RECORD

Went to the Museum of Art and History and saw what happened to be open.  And that is the way it is.  Parts are open on even-numbered days, parts on odd-numbered days.  Many of the works were not labeled.  This was the least impressive experience yet.
     Saw the Egyptian collection.  O.K. (with a fair number of casts) and a mockup of the tomb of Nakht (but could not go in).  Of unusual interest, however, was a terra cotta mummy case.  This I had never seen before.  Saw some odds and ends of things (and that is the only way to describe them).  There were some nice medieval chests, some good pieces of sculpture, mostly 15th Century (including Veit Stoss).  There were some nice 16th Century tapestries.
     In the process I did locate, by circling the Parc du Cinquantenaire, the Institut Royal du Patrimoine Artistique.  I trust I shall be able to communicate.
     I saw some interesting Art Nouveau on my walk to and back [from] the Parc du Cinquantenaire.  Particularly interesting was #11 Rue Ambiorix.

MONDAY, JULY 11, 1966

(Brussels)

Took off for the Institut Royal du Patrimoine Artistique at #1 Parc du Cinquantenaire.  Entered about 9 am, only to find that the two guards (why two?) did not speak English.  Fortunately I had rehearsed my opening gambit and I announced (after they told me NON to my parlez vous etc.) that I wished to visit the institute, that I was an American university professor, and was there anyone who could speak English?
     They called up and a young lady (of minor attainments in English) took charge.  She in turn conveyed me to another lady who knew a reasonable amount of English.  When this occurred (I had waved my photo of Petrus Christus for all to see) I found that I was in the Research Center for which I had been heading all along.  Eager to resolve their linguistic (?) [sic] problem, they gave me a stack of photos [of Christus works] to study and away I went to my primary task.  While studying, they contacted the lady who does public relations and was fairly adept at English.  She took me on a tour of the Institut (which houses but does not include the Research Center).  The results are described in the Art Record.
     All in all it was one of those turning point days.  My wretched French permitted me to make initial contact (when I could not over the phone, I could in person), and despite handicaps on both sides of the lingual curtain, I was able to do that which I had come to do.  A very good feeling indeed.
     I confess now that I would have been most upset had this day not turned out so well.  I do not have an inflated concept of my French (still primitive beyond description) but on my own, without help, I have been able to get around.
     The day had been a misty to rainy one, and once again the umbrella served its good purpose.  Now, late in the afternoon, the sun has broken through.
     I note that there are airline strikes in the U.S. including TWA.  I hope that all will be resolved before I arrive in Chicago on the 24th.  I gather Air France is flying, or so that was the impression I received in the Amsterdam and Brussels airports.
     I am ready to call it a trip—perhaps three weeks is a more reasonable length.  On the other hand, it is "all down hill" now.
     This part of Brussels seems to have the hotels and the tour buses.  From anywhere they come and go.  It seems to me (a lone pedestrian who is always stopped and directions asked of him—in French yet) that this tour by bus has only one advantage: you are the passenger.  But what a mechanized sort of life—phooey!
     Just returned from dinner.  First time excellent: soupe, [illegible] aux poivre, demi-bouteille white [wine].

      Expenses
           French dictionary               45 f[rancs B.]
           Miscellaneous                    81
           Food                                 270
*                                 [total]       396

ART RECORD

Made my way to #1 Parc du Cinquantenaire (about 9 am) and made contact.  Initial language difficulties overcome and I was able to proceed.
     Discovered that this Research Center on Flemish Primitive Painting is a separate operation from the Institut Royal du Patrimoine Artistique.  It is in fact two (really one) rooms which happen to be housed within the larger structure, and which receive collateral help—mainly photographic assistance.
     The Research Center is really a set of filing cases of photographs, indexes for comparison purposes, and a small but apparently very complete library on the subject of Flemish painting.  I was given the Petrus Christus photos and discovered:
     1)  There are comparatively few paintings by the artist, and not very many in any one country (much less museum).
     2)  The WRNG work is unique among the total, though the Berlin (Staatliche) La Vierge au chartreux has a similarly displaced vanishing point (or area), but this painting is but 19 cm x 14 cm.
     3)  The curious diptych (including three pictures, the upper left an Annunciation and the right half a Last Judgment) contains in the Annunciation a similar char [sic: chair? character?], but the dimensions are all wrong.  It is signed and dated 1452—so bears comparison.
     4)  There are curious works, apparently similar in about all details but not in size of a Madonna and Child in Spain.  One in Madrid Prado 49 x 34 cm, the other in Prado Ruiz collection 51 x 33.5 cm.  Both have similar poses of the Madonna and of the Child (the cross and orb are the same or close to WRNG) when compared to the WRNG painting.  The quality and relation of these two are immaterial for my purposes.
     5)  The closest possibility is the Dormition of the Virgin (which I had remembered as [being in] San Diego) which the [Research] Center listed as Washington D.C. National Gallery.  Its dimensions are 57
⅝" x 39", and since it is primarily a vertical panel could work.  WRNG vertical is 27⅜" which doubled would give 55"—giving some room for frame (rabbets and all).  The quality of the painting, as seems in the photos, is close and it is an interior and it deals with the Madonna.  The same chair and deep perspective exist.  The mounted photos list it as from the Putnam Foundation.  Whether Washington furnished the photos, or I am mistaken in my memory of its location, can at least be easily checked back in the U.S.
      6)  There is no other item worth comparing.  A curious feeling after all was said and done.  The U.S. has the largest representation of Petrus Christus.  There were some forgeries and questionable works included in the group.  It did not take long, but a conclusive visit in that I feel I am on safe ground in my pursuit.  I won't be missing some obvious work—the not-so-obvious one can accept.
     Afterwards, I was taken on a tour of the Institut proper.  Here is a government operation devoted to recording, analyzing and preserving the artistic heritage of Belgium.  It must be a unique operation (attributed [with devotion?] [sic] to the energy of the late Paul Coremans).
     I saw the laboratories (staffed by chemists) for the analysis of materials of all sorts, including architectural building materials, metal, pigments, etc.  Not only analysis but problems of preservation of stone and metal restoration were considered.  The equipment was impressive, especially the spectroscopy and chromatography.  I saw the studio where the restoration and conservation of polychromed sculpture was underway.  Then I was taken to the studios where conservation of panel paintings took place (very rare transfer—the oak holds up).  There was negative attitude toward cradles here as well.  They have taken to gluing inner members to fill in a cradle to at least make uniform the back and so the stress.  The studios for the conservation of canvas paintings was [sic] a separate area.  Then there were photo lab [sic] and a photograph collection with card file to act as an archive of all historical works of art.  I did not see the archaeological section.  The entire works is housed in a nice structure built in 1962.
     All was very impressive.
     I saw a great many women (more than men) at work.
     The inpainting is done with tempera and then oil over the tempera.  They discourage or rather are suspicious of the acrylics.  They feel that they have not received the test of time.  Also the inlays were done with brushes rather than knives.  They want to preserve texture and avoid "mirror finishes."  I saw, on a large panel, areas which had been inpainted given a uniform tool texture  |||||  in the gesso.  With the dominant vertical lighting in a European museum, this would not show.  A side or raking light would instantly show the restored areas.  The canvas studio had an enormous vacuum table.  Also curious focused-beamed double spotlights on standards.
     Everywhere the equipment was impressive, the courtesy of the highest order (I must write a letter once I am back to K.C. to thank them), and the scope of the operation most impressive.
     In answer to my query, they said that most works were sent to them by the owners (or museums) but the Institut made the decision after in situ investigation.  They did admit that their total workload was a factor which governed their intake, but on occasion special needs arose which prompted adjustments.  Apparently some museums do some of their own work, but I felt that a pursuit of this would cause me to overstay my welcome.
     A most rewarding experience.

TUESDAY, JULY 12, 1966

(Brussels and Ghent)

Began the day by buying some postcards and obtaining proper postage for them.  Tomorrow I shall complete my list of "cards to go out."  Perhaps I shall have a partial second go-around in Paris.
     Then off to a renewed visit to the Grand Place and then over, via the Galerie du Reine and the Galerie du Roi, to St. Gudule.  The covered galleries with their shops were charming.  Who is to say that there is anything new?  Ward Parkway Shopping Center be shown up as foolish! [sic]
     St. Gudule was interesting.  As things have been going for me, there was (as I entered) the completion of a service for a large number of visiting nuns.  The service, complete with the bishop, was accompanied by resounding organ music.  And so, complete with procession, panoply and sound, I stood in the background of the transept and saw a Gothic church function.  The exterior (partial scaffolding) shows much reconstruction (as do most of these structures).  The interior had much to commend it.
     Then I made my way to the Mannekin Pis.  Seemed silly not to see the original when I had seen so many reproductions.
     Returned to the hotel to prepare for the trip to Ghent.  The Ghent trip occupied the afternoon.  Ghent itself leaves me cold—very commercial and somehow cold.  It is a large city (third [largest in Belgium] I think).  But the Ghent Altarpiece in St. Bavon was worth it all.  I was very impressed.  Then after a quick go-around of the church I returned to the railway station via the Museum of Fine Arts.  From there back to the Gare Nord Brussels and the hotel.
     It is now after my dinner.  Tonight and last night were two pleasant meals.  I have heeded Jean's advice to try to eat well.  I have not sought out name places, but rather convenient restaurants whose decor and menu show promise.
     Tomorrow is moving day, so I obtained $30 worth of French francs at a travel agency (Cobeltour on the Boulevard Max).  I received 142.50 French francs, which, considering 20¢ to a franc, was a 50¢ discount.  It will be necessary to have some money on hand since the train carries me into France.
     Also purchased a large map of Paris.  I am happy to say I have located the Rue du General Lanrezac as being practically on the Place de Etoile.

      Expenses
           Cards and postage                 77 francs B.
           Miscellaneous                        55
           Food                                     250
           Admission fees                      15
           Ticket to Ghent and back     140
*                                 [total]           537

  [George did not mention receiving the letter below (which lacks a postmark, and was not kept with the other two inside his travel journal) but since it was addressed to Brussels and George wrote Mila Jean the next day, this is a convenient place to present it]
 
 

[From:]            M J Ehrlich / 5505 Holmes / Kansas City, Mo. USA
[To:]                George Ehrlich / Hotel du Pelican / 23 Rue Des Croisades / Brussels / Belgium

[Typewritten, except where noted]

July 7, 1966

Dear George,
     This may be my last letter for awhile (maybe one more in Paris) due to the situation and because I can't be very informative.  Your letters are fascinating, and I let my folks read them.  My father drinks them in with the energy of a man dying of thirst.  Says "George writes wonderful letters."  Needless to say, my envy is boundless.  Especially the bit about the weather being great.  The weather here has been beyond description, so I won't attempt it, except to say when I got around to going to bed last night quite late it was 84° with 73 percent humidity.  The kids go around 9:00 and it's around 90°.  I guess that's the worst factor in our lives.  Everyone, including people who seemingly "like hot weather" like my sister, is suffering.  Consequently all sorts of ghastly things have occurred, none of which I'll go into in detail.  After all as you said, you can't do anything about it anyway.  (One episode involved Matthew in a 48 hour situation reminiscent of last September when, you may recall, he was constipated—screams of pain, tears, cathartic, then too much, then diaherra (sp) [sic], accidents, more tears.)  Suffice it to say, be prepared for anything by the time you get back.  I may just collapse.  Oh, yes—there was another great episode involving cutting the lawn with the hand mower.  Paul wanted to tell you he was "a man now," or something.  Then there was the downstairs toilet which rejected flushing paper, etc. etc.
     Oh yes, and Tom's mother fell again, breaking her nose.  It's been one of those weeks.
     Last night we had a great Cecil B. DeMille storm.  Remember last summer, the one that hit the power lines?  Like that one.  It [the temperature] actually got in the 70's!  However, now at 9:00 AM the sun is beating down on all the wet.  Hurrah, another day of humidity.
     Ernie Painter and I saw Virginia Woolf Tuesday, and I thought it was a real triumph.  [Ernie] got too emotional to really appreciate it, I fear.  You'd never in the world believe it was Elizabeth Taylor.  Mike Nichols directed and 'twas a tour de force.  Perhaps the subject matter and dialogue were a bit hard to swallow, but technically it was one of the best movies I've ever seen.  Only one problem: Elizabeth Taylor reminded me vocally of Lina Murrish, and Sandy Dennis sounded just like Helen Branyan, and George Segal had a speech pattern like Dan Jaffe's!
     (By the way, one only smokes in movie theatres in England, not the stage shows.)
     By the way, I know your trip is not all "fun and games," but it must be wonderful to be, as I was [handwritten insert: in NYC], stimulated intellectually and seeing new things.  I am getting pretty tired of the old ones.
     Heard again from Kris who was semi-hysterical, having heard from KCK Jr. College, who demanded that she have (or take) 50 hrs of Education courses, sign a loyalty oath, etc.  It must be some dump.  Now she's thinking of chucking the whole thing.
     Must go now.  The Seminar is meeting here tomorrow, and Dee is picking me up to get supplies.  By the way, the Branyan bit sounds typical...  You probably had a better time alone with Helen.
     Love and have a good time for me, [handwritten: Jean]
     [Handwritten postscript:]
     Sorry for incoherency.  One does not concentrate these days.  One is interrupted.  That's all.
     Supposedly five airlines are going to be "struck" starting tomorrow—including TWA.  Don't know if Air France is still on or not.
     Did you include Al Varnado in your postcard list?  The address in Baton Rouge is 1350 Florida St.  I think he is there now, although I haven't heard from him in ages.  Also haven't heard from Joann.  Your mother's letters are frenetic.  They have much company these days.
     Later
     Back from an exciting trip to the store in Dee's TR-3.  Matthew was in seventh heaven.  Has been chattering about it constantly ever since.
     Am off to the Plaza for a short shopping trip.  I find I must escape this house every chance I get.
 


 

ART RECORD

Renewed my acquaintance with the structures on the Grand Place in Brussels.  Then over for a look at St. Gudule.  The church is rather interesting.  The exterior shows many signs of reconstruction (indeed scaffolding up here as [at] so many other locations).  The interior is purer insofar as it shows the accretions of the centuries.  It is interesting to note the Baroque additions (which often go rather well with the Gothic—e.g. elevated pulpits).
     Brussels has considerable architecture of interest from the late Gothic to the present.  But of particular interest today was a stroll through the mid-19th Century Galerie du Reine and Galerie due Roi.  A very intelligent and pleasant way to do things then and now.
     In Ghent it was the Van Eyck altarpiece.  It is every bit as impressive and majestic as the books lead one to expect.  It was in very excellent appearance—literally glowed.  The entire experience was most satisfying.  Here was one time when reality was bigger than expectation.  I was utterly delighted.
     In St. Bavon, near the west font, are two panels (copies) of Adam and Eve with leather garments.  Most amusing.
     The over to the Museum of Fine Arts.  Very little there of special interest. There is the curious Bosch (Christ Carrying the Cross) and a big, big Ensor drawing.  Seeing these museums, such as Bruges or Ghent (or for that matter Brussels and Antwerp) makes me ever so more appreciative for the balance and quality of the Nelson Gallery.

 

WEDNESDAY, JULY 13, 1966

(Brussels and Amiens)

Began the day by writing to Jean and a group of cards to those not yet "carded."  Then off to the Brussels Museum for a final look at the key works.
     Upon return to the hotel, where the bags were placed in waiting, I sat and read until near train time.  Boarded the train for Lille at 3:00 and we were soon off.  The trip was routine, though I did feel a bit on edge since I was trusting my reading of the notices, etc.  But all went without a hitch.  Customs on the train between Blandin and Lille was cursory—even less than at the airports.
     Since I had a train change at Lille, I was very much on the alert.  No problem.  Arrived on time in Amiens.  It was funny, I was peering out of the window, relying on my watch to tell me the time of arrival, but then I saw the cathedral from the east end.  It was a funny impact—I was very much impressed and knew I was at Amiens.
     Debarked, and then an incredible walk (rivals airports) to merely get to the exit.  I had debated walking to the hotel, but by this time I was over-tired.  Asked for a bureau de change and was informed (in French) that this was at a bank or a hotel.  Every little station in Belgium seemed to have its money changers—but not here.
     Hailed a cab—he was horrified—and we went about two blocks.  His meter hadn't clicked once.  I was pleased not to have to lug the bags; he was bound and determined to "get me."  I was prepared to offer three francs, but had only a ten franc note.  He took four francs.  He was pleased and he didn't know that I knew he had cheated me.  So, we were both content.
     The Hotel Grand is a relic out of the remarkable past.  I feel as though I am on the set of an old, old European movie.  There is a tub, so I am bound and determined to take a real soak.
     Dinner here at the hotel was ordinary.  Soup,
rib steak with fries, and a tart cost $2.80.  The wine cost 80¢.  Service included.  The dining room is a glassed-in porch affair overlooking a minuscule garden.
     As I exited, a busload of Scotsmen debarked with B-4-type bags, and berets and the damnedest burrs I've ever heard off the stage.  I couldn't help but wonder if they were back to [see] the sights of a long-ago war.  They couldn't be Battle of Somme (whose anniversary [50] this is) but maybe so.  But even if it is 1939-45, they could have been my age (now) then, and so work out.  Ah me.
     I have resolved to finish the evening with a tub and reading.  Tomorrow a.m. will be spent on the art record and drafting a part of the Christus article.  The afternoon will be at the cathedral and environs.  Then off to Rouen in the early evening.

     My last expenses in Belgium were:
           Miscellaneous                96 francs B.
           Admission                        5
           Food                               12
           Coins for Paul                18
*                         [total]           131 Belgian francs

Therefore a total of 2,885 Belgian francs spent which converts to $57.70 (or $57.30 since I gained 40¢ on * exchange) was the extra cost of Belgium.
     Exchanged 460 Belgian francs for French francs * and received 43 French francs.  This represents a discount of 60¢ on the basis of 2¢ for B f and 20¢ for F f.

      Expenses in France
           Taxi                         4 francs
           Porter                      2 francs
           Dinner                   18 francs (to be on hotel bill)
*                      [total]       24

One must watch oneself twixt the total factor between Belgian and French francs.

[illustration of room, page 35]

ART RECORD

Returned to the Museum of Fine Arts in Brussels for a second look at the major works.  On the way there saw a wonderful old 1875-ish cast iron front, the Old England store on the Rue Coudenberg.
     This time at the museum I took a careful look at the contemporary sculpture.  They have a very nice—indeed handsome group.  One very good big Henry Moore, and a couple of rather brute-like Zadkines.  Some interesting Belgian things—mostly figurative and mostly cast metal (though there was evidence of sophisticated carving in both stone and wood).
     Among the paintings of the 15th Century, I noted several with vanishing points (or areas) off to one side.  The most obvious and best case was the Trial by Fire panel of the Bouts [
Justice of Emperor] Otto pair.  However, the vertical line (on the far left) is dominated by a strong standing figure whose head is close to the vanishing point (or area).  There are also other paintings with diagonal composition, but more an isometric than vanishing point.  [Diagram] as this.  These seem to be crude, often genuinely primitive.

[diagram in Art Record page 32]

The trip to Amiens (via Lille) by train looked out over farmlands.  There was little to see from the train that would say much to me.  This was the area so badly damaged fifty years ago (and then twenty-plus).
     I did see a good church recede in the distance after we had left Arras.  Possibly it was the 13th Century church at Avesnes le Comte.  It was certainly typical Isle de France type with massive west towers.
     As we approached Amiens (according to my watch) I peered out the window to see if I could catch any signs.  There it was, seen from the east and with the radiating flying buttresses around the apse.  The cathedral at Amiens.  It was silhouetted against the sun in the west (about 6:30 pm) and it was a truly magnificent sight.  I no longer had doubts about my coming to Amiens.
     A reflection upon seeing a great deal of 15th and 16th Century Flemish art:
     We really have ignored the 16th Century (post-Brueghel) artists.  Some are excellent—for example Van Heemskerck and Pieter Aertsen or De Vos.  Mannerism when it is bad is dreadful.  But in the hands of a competent artist [it] can produce powerful results.  We act as though Brueghel was the only good landscapist after Patenier (if him) and before Claude or the Dutch such as Van Goyen.  But there is good landscape—e.g. Bril (far better than I had anticipated).  The price we've paid for our Francophilic and Italophilic art historians has been too great.  Pity.

THURSDAY, JULY 14, 1966

(Bastille Day)

(Amiens and Rouen)

At breakfast (in the lobby) I made the mistake of reading in a French paper.  Some of the Scots veterans began asking me questions in French.  I told them that I spoke English—"Oh a Yank—good."  It turns out that they were South Africans and it was the 1914-18 war.  They were here to commemorate the Battle of Delville Wood.
     Spent the morning reading—also getting ahead on the Rouen phase.
     Then about 11 am, went off to the cathedral.  What a magnificent pile it is.  Then wandered about.  Place very quiet since it was a holiday.
     Back to the hotel for lunch—too expensive but a convenient place to rest.  Read today's European edition of the N.Y. Times and learned that the dreadful heat wave continues in the U.S. (poor Jean), and that talks on the airlines strike (in U.S.) have reopened.
     Read a bit in Le Figaro (very little news of any kind).  Made reasonable headway.
     (As I write this, I see a man [old] with spats.)
     Then over to the Musée de Picardie.  A mid-19th Century pile which had many of its rooms closed.  Looked around as I went and noted how much was rebuilt recently.  Amiens must have really been raked over in the two wars.
     Returned by the cathedral—to see the facade in the sun.  Except for the miserable pigeons, a fine view indeed.
     In an hour-and-a-half I am off to Rouen (that is I go—walk—to the station).  The train is omnibus—i.e. a local.
     Before departing, the South Africans returned from their ceremonies at their battlefield.  One, a man just seventeen then (fifty years ago) recounted to me how the entire experience—to details—flooded back when he saw once again those landmarks.  As I recall, something [on] the order of 60,000 British troops were killed on the first day.  It was a strange experience seeing these men, many past seventy, with their polished medals on their jackets.  A unique sort of view for me of a piece of history.  I had just read (about two weeks ago) a book on the Battle of the Somme.  Here was not history but the immediacy of an event.  The narrative will assist in explaining "history" to students.  So in 1913 must have been the [fiftieth] reunion at Gettysburg.
     An omnibus train isn't so much slow as halting.  We finally arrived at Rouen about 9 pm (presumably about ten minutes late).
     Started walking to the hotel.  Reached #73 Rue Jean[ne] d'Arc and no hotel across the street.  That was hardly a happy moment.  Then realized that the numbers were different on each side.  Across was #90.  Finally arrived at #72.  Another Hollywood set.  The room is very grand (with curious furniture which defies easy use or description, sort of leftover Empire).  The room must be part of a suite.  Doors which are connecting on each end wall, a sense of confusion even to the bellboy.  There was neither closet nor wardrobe.  The bath is quite elegant.

[illustration of room, page 38]

      Expenses
           Food (including breakfast)              21.85 f
           Miscellaneous                                   7       
*                                   [total]                    28.85 f

ART RECORD

The main event, and a powerful one at that, was the visit to the cathedral.  Moved slowly around it, starting from the apse end.  By the time I had reached the west font, I was ready to enter.  Spent considerable time inside.  Noted the tremendous sense of space which was provided.  Interior very light and relatively uncluttered.  What glass there is, is largely contemporary and ineffective.  Some "crazy windows" made of pieces of old glass.  The placing of windows in the triforium of the choir and east sides of the transepts gives an interesting highlighting of the choir.  Reasonable from a structural point, but I cannot recall reading about this.  The 18th (?) [sic] Century rococo grillwork separating choir from ambulatory was in keeping.  "Flamboyant style?"  Also a bit of wall painting preserved in the sacristy.
     On finally exiting, I walked around the structure and then away.  What a magnificent pile of stone.  But the visual and sanitary desecration of the pigeons[!]
     Saw little other architecture of consequence: two or three other churches (one closed), another St. Remy (?) [sic] complete only through the transepts (damage or incomplete?).  A few houses, one across from the cathedral, seemed interesting.
     Then over to the mid-19th Century (1854-1862) Musée de Picardie.  Most of it closed (because of Bastille Day?).  It is a wonderful, antiquated structure.  Puvis de Chavannes very important here.  A Rodin bust and murals by Puvis (1861-82 at least).  The early paintings were open.  Little of moment but a good sampling of Ecole d'Amiens for looking at.  A nice Vouet and a very curious triptych (non-closing) of a Flemish Adoration of the Magi—15th Century.  Condition of everything—??? [sic]  The archaeological section was open.  Some very interesting Neolithic and Roman (Gallo-Roman to quote the labels) remains.  Some very nice glass—intact.  Also the medieval sculpture and artifacts [was] open.  Here some interesting but not overly unusual items.  A new thing for me was a polychrome high-relief stone sculpture with a painted background—landscape.  Gothic (16th Century?) from St. Remy.
     But the cathedral was worth it.  I have now truly experienced the ascetic but majestic grandeur of a major Gothic church.  Well worth the side excursion.

FRIDAY, JULY 15, 1966

(Rouen and Paris)

Today was one of those days which will long be remembered.  In some ways incredible.  But to begin at the beginning:
     Arose, got ready for breakfast.  It arrived promptly, but was placed on the chest of drawers.  So I moved the barrel "Empire" end table to the chair by the window and transferred everything.  In the midst of my café complet, a knock and the boy with the local newspaper avec complements l'hotel.  As with other French papers I've read, not much news but said breathlessly.
     Then packed and took off for the city of Rouen.  Spent considerable time at it, then returned to the room to get luggage in order to store by the desk.  Went then to the railway station to confirm my departure, and there (at the buffet) had lunch.  Off again on tour, but became weary and returned to hotel to rest (in lobby).  Off again to visit and to look.  Bought James Bond (in French) Dr. No to read, which I began at the hotel in the later afternoon.  Then I made my way to the station.
     I had run into a man [in] several places.  He looked familiar and I was willing to wager that he was an art historian I had seen at CAA meetings.  At the station, once again.  I was about to sound him out, but he had a sour expression to top anything I might try, so I said "What the hell."  I had enough on my mind to take on an unlikely conversation about what?
     The ride to Paris was fast, and St. Lazare station was chaotic.  Getting a cab called for a policeman to keep the crowds in order and in proper sequence.  I popped into my cab, but the driver didn't know where Rue General Lanrezac was.  I couldn't blame him considering my anguish over this, so I explained to him in my French where it was.  This done, I had a harrowing ride to the Hotel Phenix (two stars).
     I noticed a sign on the exterior explaining that English and German [were] spoken.  Hooray.  As it turned out, my French and his [the hotel clerk's] English were equivalent.  But the first item of information was that ma tante had called.  O.K.  Ily was on the ball.  But then things got complicated.  Without going into details, here it what happened.
     I was to stay this night only at a hotel down the street, Empir's Hotel.  Then I would return to the Phenix where I would have [a] room with bath.  Bon.  I was to meet my aunt at 9:00 pm at the Phenix.  So I went over to Empir's, checked it over, returned to the Phenix.  Ily turn[ed] up with a small child [named] Sylvie (some relative whose relationship is completely lost on me).
     The conversation between Ily and me was an act of considerable heroism on my part.  Ily spoke both French and Hungarian (the latter she knows less well—thirty-plus years in France) and I "spoke" French.  By golly, we communicated.
     Ily is bound and determined to stick with me the entire week.  After the initial shock wore off, I sort of welcomed the idea.  I told her (and she understood) that I was a walker, and intended to look at art and architecture.  I intended to visit Chartres and Versailles.  She was game (and a native guide has merits) and so if she can manage, so can I.  I told her to wear shoes for walking.
     I return to the Phenix on the morrow c.10 am and Ily comes to me at 11.  First stop, the Aerogare for confirmation of return.  She said she might talk a friend into taking me by car to Chartres—splendid.  She also has chilled a bottle of champagne for my visit.
     Bobby Sessler is supposed to make his appearance on Monday.  He checks in on "weekends."
     So, a wild day and I certainly am going to learn more French than I had intended.  Considering my survival to date, I should be proud.
*   In Rouen I exchanged the last of the $20 travelers checks.  Received 485 francs.  That comes out to not quite 21¢ per franc.  If I accept five francs to the dollar, that is [a] $3 lug on the $100 exchanged.

      Expenses
           Stamps                    9.50 [f]
           Stationery               1.40
           Food                       5.80
           Admissions            2.00
           Bag storage            1.00
           Miscellaneous        8.10
           Cab                         6.00       
*                [total]            33.80 f

[illustration of room, page 41]

ART RECORD

I was fairly systematic, using the Michelin guide, and saw, but not in this order, the following:
     Place du Vieux Marché, Mansion of Bourgtheroulde, the exterior of the Belfry, the Great Clock, the Cathedral at considerable length, St. Maclou, exterior of the Archbishop's Palace, the Cloisters of St. Maclou and St. Ouen at some length.  Also the Musée de Beaux-Arts and the Musée Le Secq des Tournelles.  The exterior of the Tour Jeanne d'Arc.  Also a considerable part of old Rouen.
     Observations and comments in no special order:
     Noted the cathedral had a double arcade (sort of a false gallery) between nave and side aisles, and a relatively small clerestory.  Also noted how shallow, nearly round, were the vault ribs.  The interior of the crossing [was] most interesting since there is a functioning lantern.  Some of the stained glass is quite nice.  The staircase (stone) to the Biblioteca [sic] is quite wonderful.
     The wooden architecture (and I wonder how much is as late as the 17th Century) varies in condition.  Some lean or buckle so much it is a fright.  Others seem on the immediate verge of collapsing.  Condition is probably no clue to age.  Much reconstruction and restoration going on.  A number of major structures—e.g. Palais du Justice—show much damage.  St. Maclou [was] open to the transept (saw a wonderful 12th Century model of the church at Musée Le Secq des Tournelles).
     Rouen still has many of its narrow twisting streets—gives one a curious feeling after living with U.S. gridirons.
     St. Ouen is quite impressive.  Noted the pier entasis quite clearly here.
     The museum [Musée de Beaux-Arts] is quite respectable in its collection and presentation.  There was a special Jouvenet exhibition on, and it did not particularly enhance this artist in my eyes, but gave me a good look at him.  Some of the drawings were quite good.  In general, one got the feeling of false piety and sweet zeal in the religious works.  There is logic in the organization of the painting galleries, and one can see (largely French) a nice evolution of painting through the Impressionists.  A strong collection of Gericault (who does not overwhelm me).  There are excellent groups of area ceramics and Chinese jades.  A Chausserian painting was pure expressionism (except for the color).  It was rewarding to see Poussin surrounded by many Poussinists—I can now see their cause was a hopeless one.  They have a variant of the WRNG LaTour.  It was "dirty" and I felt somehow it was inferior.  (Pride?)
     The Musée Le Secq des Tournelles (a family name) was filled primarily with ironwork.  An old church building had been converted for this purpose.  A noteworthy solution and an interesting collection.
     Rouen is still picturesque.  In this sense it reminded me of Haarlem.

SATURDAY, JULY 16, 1966

(Paris)

Empir's Hotel less friendly and less elegant than the Phenix.  Both are designated second class.  Moved back to Phenix about 10 am but room of course not ready.  Aunt Ily arrived promptly at 11 so off we went.
     We began with a promenade down the Champs-Élysées.  Then on to an autobus for a ride over to the Invalides to Air France.  Confirmed my reservation.  Then on foot to the Eiffel Tower.  Overcrowded so did not go up.  Then on foot over the Seine to the Trocadero and a snack nearby.  Then back to the hotel.
     The room (#1) has a bath, and on my checkout I shall pay $3/day for the use thereof.  For me it is worth it.

[illustration of room, page 42]

Unpacked and then, part on foot, part on autobus, over to Aunt Ily's apartment.  It is a monstrous redevelopment sort of complex (in N.Y. such as lower East Side) with many floors and I suppose many small apartments.  She has a bedroom, a living-dining room, a kitchenette and bath.  Her entire apartment could not be more than 500 square feet.  She has three locks (three different keys) on her door.  Life must be charming in Montmartre.
     I was wined and dined with excellent service and good food.  I gather that the Szabos, when he [Ily's first husband Alex] was alive, were great for parties, travel, entertainment, etc.  Now she is alone and very lonely.
     She speaks to me in Hungarian and a little French.  I speak to her in my fractured French and with my hands.  We do manage to communicate (but it isn't easy on me).  At least she knows that I can follow her, if not the other way around.
     She wishes me to eat at her house every night.  Considering the cost of restaurants, $4-5 for each good meal—swell.  I've tried the gourmet bit, and [eaten] alone it is just food.  I'll save up my enthusiasms for when Jean and I can eat out together.
     After the dinner we went out to see the Sacre Coeur.  Saw the true old Montmartre and the tourist-bait Montmartre.  It is a shabby Paris version of shabby Greenwich Village.  Lots of art on view and all that I saw [was] lousy.  Plaza Art Fair caliber or worse.
     But it was dusk and we looked south over Paris.  Very striking view.  Sacre Coeur is a good interior if a strange exterior.
     It had begun to rain in a light but constant drizzle, and so (at 9 pm) we parted, I on my metro, she on hers.  We are to meet on Sunday at Gare St. Lazare for a trip to Versailles—rain or shine.  She will pack sandwiches and we will stay the afternoon.

      Expenses are, under these circumstances, quite curious:
           Transportation       3.70 (une carnet of autobus tickets)         
           Food                      6.80
           Miscellaneous         .60  
*                  [total]         11.10 [f]

ART RECORD

Mostly architecture via foot and autobus.  With most buildings along the boulevards cleaned, there is a bright elegance to the warm ochre of the stone structures.
     The Eiffel Tower is both ugly and magnificent.  I can now easily see why the Parisians of the 1889-90 period were horrified.  But there it stands as a lasting achievement.
     The vistas, views, the squares, et. al. are très élégant, but then I saw the side streets in the Montmartre area as well.  Mission Hills and the Plaza vs. 31st and Troost.
     We did go to the Sacre Coeur.  A fine interior but the exterior is more curious than architecture of consequence.  The view of Paris is most dramatic.
     My general impression of Paris is that gained only in cities like London, New York or Chicago (not Los Angeles).  Here is a large, large city, with a very large and densely packed populace.  The streets and parks are metabolic requirements to permit breathing and circulation.  In this type of environment, 5505 Holmes is almost rural rather than suburban.

SUNDAY, JULY 17, 1966

(Paris and Versailles)

Early morning spent in writing and getting organized.  Then about 10 I began to walk toward the Gare St. Lazare.  A very slight drizzle, not enough to put up the umbrella.  Arrived about ten minutes before 11.  Could not locate Terminus Café, the meeting place designated by my Aunt Ily.  After a careful search, logic took over.  Across the street was a Grand Hotel Terminus.  So I began scouting the hotel exterior, and by its cafe was Ily.  Voila!
     We went to Versailles.  So did at least 10,000 other people by every conveyance possible.  There were more Americans than in Jefferson City or Lawrence.  The natives were recognizable—they had string bags with pieces of French bread and fruit.  Ily brought some French ham sandwiches for us.
     We did the interior thoroughly, and only a small portion of the gardens.  Skipped the Trianons all together.
     Returned to Paris and her flat.  Had dinner and I watched Broadway Serenade (Jeannette MacDonald and Lew Ayres) and Bewitched (French dubbing—excellent aping of the voice characters).  Then a return to hotel.
     The Paris Metro, of an evening, has a bouquet of garlic.
     On my excursion to Gare St. Lazare I noticed a travel agency advertising trips to Chartres.  I shall visit there tomorrow and see if a trip for Tuesday can be arranged.  Tomorrow is the Louvre for the first session.
     I weighed myself at Ily's.  With clothes (but not suit coat) it was 69 kilos.  I read this as 151.8 lbs or perhaps about 150 lbs stripped.  If so—good!

      Expenses continue to be modest:
           Transportation       5.79
           Admissions            3.00
           Food                      3.00
           Miscellaneous       2.00  
*                  [total]         13.79 [f]

I have for two days talked in a kind of weird language.  It consists of fractured French, an occasional Hungarian noun, a German verb or conjunctive and a muttered English.  I may need remedial work by the end of the week.
     By St. Cloud (on the train to Versailles) there is a tremendous view.  The cost of the housing here must be fantastic.

ART RECORD

Walked from the Etoile to Gare St. Lazare.  Paris architecture is heavily École des Beaux Arts in flavor, hence the buildings do harmonize with each other.  The main event of the day, however, was Versailles.
     We went via the train and so had an unparalleled view of Paris from St. Cloud, a suburb to the southwest.  One could easily see how Montmartre is a high point.  The panorama was very fine and the beautiful ugliness of the Tour Eiffel was even more apparent.  It really is all wrong and out of scale for the city, though some tall buildings are up, with others on the way.
     Versailles is so big that one cannot truly encompass it with either a single view or a single day.  Much refurbishing has gone on, so there is much to see, and much of it fine work.
     We began with the great state rooms.  Here I finally saw the large David [of] Napoleon crowning himself, as well as miles of other paintings (or should I say acres?).  After the tour of the great rooms, out to the gardens.  Made no attempt to cover the park, but did spend time with the formal gardens and some of the forested paths.  Then back in for the 18th Century apartments with extensive displays of paintings, particularly portraits.  Absolutely no sense in trying to review everything seen, but three particular images are the David Marat, the unfinished Serment de Jeu de Paume, and the excellent Nattier portraits.
     I was intrigued by the richness of the furnishings, the decor, etc.  The opulence was successful but there was so much of it that it no longer had impact.  The vastness of Versailles and the extent of its richness went past my threshold of perception.  Too much is too much..
     Poor Louis, Louis, and Louis.

MONDAY, JULY 18, 1966

(Paris)

The weather in Paris must be much like that I was expected to have in London.  Frequent showers, often a fine mist.  Alternately chilly and warm depending on the cloud cover.  I am adequately prepared for the weather, so I have little concern except that the rain complicates things—wet umbrella, etc.
     Arranged the tour to Chartres.  I had a choice of Wednesday or Friday, and took the former.  We leave at 9 and return about 6 that evening.
     After—went to the Louvre.  Portions were closed, but it nevertheless took three hours to walk the layout which was open.  I made little attempt to study at length.  Key works I took a bit of time to look at.  Since all museums are closed on Tuesday, I shall return Thursday, Friday and Saturday for a section each time in conjunction with a visit to one or two other smaller museums.
     In contrast to London and Amsterdam, Belgian and French museums make little attempt to ease the life of the visitors.  The buffet at the Louvre makes the Nelson Gallery's coffee lounge look like Putsch's 210.  I never did see a toilet (by sign) anywhere within.  (I did note a large public facility outside of the building.)  Ah well, this sort of info is for the Art Record.
     Then over to the museum of the Jeu de Paume.  Here [are] the Impressionists and Post-Impressionists.  Small, old, good collections, enormous crowds, badly lighted.  Then a walk which took me through the Place Vendome, to the Opera and then over to the Madeleine.  From there by Metro to Ily.  A long day.
     The French improves, but it is still a mighty chore.

      Expenses
           Excursion fee for Chartres     32.00
           Carnet of Metro tickets           1.85
           Admissions to museums          2.00
           Plan of the Louvre                   2.00
           Food                                        6.30
           Miscellaneous                         2.10  
*                                     [total]         46.25  f

ART RECORD

Spent about three to four hours in the Louvre.  Just walking the galleries took about three hours, and large sections were closed.  The Louvre is, without a question, a rich but curiously organized museum.  Granted there are severe problems in housing enormous collections, and handling the gigantic crowds.  Nevertheless, I got the impression that there is a policy to reduce comfort and convenience to a level which will keep the people moving as rapidly as possible.
     A small, nearly primitive buffet.  No evidence of a public restroom.  No convenient guidebooks or plans.  The Michelin Paris guide is sold as a guide to the museum.  Sections closed, no explanation (except that about the portion of the Grand Galerie [being] closed) given or any clear indication of how to resolve the traffic problems engendered.  On two or three occasions I almost exited the museum in an attempt to go from one section to another.  At one time I had to fish out my ticket stub to reenter; I had gone over to the postcard-slide area and was beyond the entrance post.
     But setting aside these matters—perhaps there is merit in this type of treatment, considering the size and character of the crowds—some comments on the museum collections.  They are so rich that one has to be careful not to forget to look at the building itself.  As a palace, I prefer it to Versailles.
     Using American terminology, and keyed to the Michelin floorplans, I went as follows:
     On the first floor I started with Egyptian Antiquities, then on to Greek and Roman.  I favor the Egyptian over the Greek and Roman.  Then the Oriental (or Ancient Near East).  Here is a glorious group—fantastic richness.
     Then up to the second floor and confusion since sections were closed.  Continued with Egyptian Antiquities and into Salle des Sept Cheminées, Salle[s] Henri II and Clarac (and Pavillon L'Horloge closed).  The Greek and Roman Antiquities were closed as were the north and east wings of the Cour Carrée.  Then into the Salle de L'Argenterie Greco-Roman.  Galerie d'Apollon closed.  Salle Daru.  Salle Denon.  Salle Mollien (paintings).  (The buffet is behind the Escalier Mollien.)  Then into Salle Sept Metres, Salon Carré, Salle des Etats, over to the Collection Beistegui (half open) and then into the open portion of the Grande Galerie.  Then into Salle Van Dyck, the Galerie Medicis, Cabinets Côté Tuileries (Cabinets Côté Seine closed—and here French and Flemish primitives) and so into Salle Hollandaise.  There was no way to get to the Sculpture Galleries on the first (or ground) floor.  Retraced steps and viewed the little rooms labeled Fresques de Luini, Botticelli, Fra Angelico.
     The closing of more than half of the Grand Galerie has caused considerable displacement of works, hence Salle des Etats and Salon Carré in part house works from the Grand Galerie.
     Up the Escalier du Chien to the third floor.  The reserves along the colonnade closed.  Up here [are] the 19th Century works not on display below.  The big ones below, the smaller ones above.
     So what can one say?
     I was entranced by the Marie de Medici series.  Such wonderful bombast and rich effect.  No wonder the Rubenists were able to overcome the static (and I am afraid dull) work of the Poussinists.
     The Italian Renaissance calls for isolated, austere viewing.  The Baroque is an art for crowds, noise and urban conditions.
     The big machines (Raft of the Medusa, David's Coronation of Napoleon [again], etc. etc.) are impressive.  Delacroix is better in small than big as far as I am concerned.  Durer and Holbien wonderful.
     There is no way to evaluate my procedure for looking at these things.  I suppose I am absorbing impressions more than making notes.  As for example my feeling of the cold, emotionless, and static quality of the rooms filled with Greek and Roman works.  In contrast, the severity of the Ancient Near East or Egypt has a punch despite the fragmented condition.
     The big paintings read so different[ly] when one is dwarfed by them.  In the books or slides they are busy.  Face to face and you sense a grandeur which has impact.  My aunt (at Versailles) asked if men were bigger in the 18th Century.  No, only their portraits, but that is the point.  Bigger than life and twice as impressive—but the impression is made.
     Then, after a brief rest, over to the museum of the Jeu du Paume.  Here [are] the Impressionists and Post-Impressionists.  A small, badly lighted and of course crowded museum.
     Monet comes across well.  Also Van Gogh, Bazille, and Degas.  The early figure work of Monet was interesting, as [was] the tremendous contrast between early and late Degas.  Manet seemed to have less impact than I expected.  The Luncheon on the Grass was a big painting of no particular distinction as far as I was concerned.  Olympia was interesting but only that.  The Little Fifer was the best as far as I was concerned.  Renoir was much more sensual than Manet, though not in the 1860s.  One must see them in context.  Someday, someone is going to make a proper display of the Impressionists along with the painters who were au courant with the Salons.  Perhaps side by side the image will work out.  Even at the Louvre, where there is a little of this, there is not enough.  Couture, Gerome (not a single Bouguereau did I see) to set the stage.  These men were not that bad.  I think I saw one Carolus-Duran—a good one with punch.
     We've romanticized [the Impressionists] to the point of distortion, and it will be difficult to set things straight.  One can see things better outside of France and the U.S.
     After this I went to the Place Vendome (scrubbed and gilded railings), over to the Opera (a grand impression) and down to the Madeleine.  All in all a long, tiring day.
     Tuesdays museums are closed, hence tomorrow architecture, Wednesday an excursion (via an agency) to Chartres, and back to the museums on Thursday.

TUESDAY, JULY 19, 1966

(Paris)

Spent a portion of the morning writing things up, and then off to the Ile de Citie, Ile St. Louis area.  After that (in particular Notre Dame), crossed over to the Left Bank and moved hither and yon in the area of the Pantheon.  Then over to the Luxembourg.  From there over to St. Germain des Pres.
     With that, metro over to Aunt Ily.  We in turn went over to an area near the Grand Boulevards.  There, at J.W. Chunn on Rue Richer (to which I was led) we bought perfume for Jean.  The entire transaction was for me a bit complex, but very routine for everyone else.  I was told by Ily that I had an excellent bargain.  Let us trust that Jean agrees.  I was told that I bought three years's worth.  It will take that much to square my absence for four weeks.
     We promenaded a bit in a most dense shopping area and I got trinkets for Paul and Matthew, and a large, large pencil for little Sylvie.
     At the Place Opera we boarded a bus and returned to Ily's.  I was, today, allowed to purchase a few things.
     Tomorrow, a conducted tour of Chartres.

      Expenses
           Transportation                                          3.70 f
           Food                                                       13.20
           Admissions (treasures Notre Dame)        2.00
           Miscellaneous                                          6.50  
*                                     [total]                         24.90  f
           Perfume (U.S. checks and currency)   $34.90

ART RECORD

Today was a rather gray day, with occasional rain.  Under these circumstances, I had an additional insight into the architecture of Paris.
      It is predominantly (or was) built of a warm ochre stone, which when clean is rather full of color.  The mode of design practiced by the graduates of the Ecole des Beaux Arts permitted considerable flexibility in surface treatment.  The complex roof lines with their mouldings, projections, etc. (but with most buildings related in height) provided a visually interesting sky silhouette (the only one available).  In short, I can't help but wonder if the problems of Paris suggested the architectural style and design formulas, rather than the theories hatched in the atelier.
     Even today Paris has a harmony which does not require rigid adhesance to a particular design.  The style permitted much individuality.  At any rate, the value of mouldings, sculpture, oriels, whatever, on a gray day was clear to appreciate.
     Began the day at Notre Dame.  Here, not cleaned on the exterior, and so an imposing gray pile.  There is a great deal of stained glass in Notre Dame so here was an interior quite, quite different from that of Amiens.  Very dark, so that one had to watch one's way.  Here then a different solemnity.
     Saw the (treasures!) [sic].  As far as I was concerned it wasn't much.  Primarily 19th Century items.
     The exterior of Notre Dame can be seen fairly well, especially the north side and the apse.  So I went about taking notes.
     From there, over to the Left Bank and an excursion about the Parthenon.  Here is a grand exterior, and the dome works extremely well.  Among the buildings in the immediate vicinity, the Bibliotheque Ste. Genevieve appealed to me the most, also St. Etienne.
     From there went to the Gardens of the Luxembourg and the Palace.  I am impressed by the formal parks and gardens I have seen everywhere in Europe.  Particularly the flowers are very impressive.  The Palace is properly staid, and I sat in one of the many individual chairs found in Parisian parks and looked things over.  Then over to St. Sulpice—an exterior still dark and of no great interest to me.  Finally over to St. Germain des Pres, in effect my Romanesque church for this trip.  A small, lovely interior—gaily painted, but with taste.
     Later in the afternoon we went along a good length of the Grand Boulevards, a section not traveled by me before, ending up at the Opera again.
     Wednesday is Chartres.  A canned tour, but I am now ready for one.

WEDNESDAY, JULY 20, 1966

(Paris and Chartres)

I was to appear at the Travel Agent, 115 Champs Élysées, at 9:00 am.  I did, equipped with reading material.  About 9:10 the bus picked us up and took us to the area of the Opera.  At this junction people were sorted out by objective and further divided by languages.  I, of course, was on a Chartres bus, with English and Spanish spoken.
     About ten minutes to 10, we were off (two-thirds English).  In matter of fact the guide and driver did well.  We went to Chartres via Versailles (and I saw a few things exterior missed on Sunday), then by country roads to the chauteaus of Dampierre, Rambouillet and Maintenon, then into Chartres.  Arrived about 12:15 and had lunch.  I played the game, ate at the recommended restaurant.  Too much food, but quite good.  (Also expensive.)  Then 1:30 to 4:00 at the Cathedral.  The guide made a few trivial errors, but really did quite well since he had to do everything twice (first English, then Spanish).  While the Spanish explanation went on, I did my own looking.
     We left Chartres at 4:15 and took the national road (#10) back to Paris and through the Bois de Boulogne.  Arrived back at the Opera at 5:30.  I went straight from there to Ily's apartment where I had my usual dinner.  She complained bitterly that I eat too little, and that I am skinny.  So be it.
     Each day I add a few new words in French for conversation purposes, but there is a vast difference in fending for myself and trying to discuss complex ideas concerning the usefulness and justification of Ily making a visit to the U.S. to see it in order to decide whether to try to move there.  This is hard enough in English.
     It is now arranged that Friday night, Baby (?) [sic] will come to Ily's to meet me.  I must give Ily credit, she had interpreted my situation quite well, and is doing much to help me.
     Yesterday early was my last letter to Jean.  As of the writing of this entry, no break in the strike in U.S. of TWA etc.  If there is no change by Friday a.m., I shall discuss the issue with TWA office here in Paris.

      Expenses
            Food                 13.50 f
           Tip to Guide        1.00
           Miscellaneous     1.60  
*                  [total]       16.10

My voyages have been accompanied by sleep which is somewhat fitful, and with strange dreams  At times I am searching for the words in German (which frequently I can recall when I want to say it in French—curious) during a dream.  I must hasten back to my life of happy routine.

ART RECORD

The canned tour was run with some finesse.  We went to Chartres via a "rural" path which took us by the Palace of Versailles, the Chateau at Dampierre, the one at Rambouillet, the site of the Port Royal Convent, Maintenon and then across the flat valley toward Chartres.
     The Palace of Versailles was seen (exterior of course) from points quite different from that of Sunday last.  The other chauteaus, also exterior, were interesting in that each was different from the other, especially the contrast between Dampierre and Rambouillet, the former very good late 17th Century and Rambouillet a wonder hodgepodge of styles.
     The impact of seeing Chartres at a long, long distance (as we came in from the north or the east) is telling.  It is strange that I recall nothing about the setting from my reading.  The Cathedral is on something of an escarpment, and the ground falls away to the east quite rapidly and some distance.  Hence one can see the towers and steeples from ten or twelve kilometers without difficulty and the church just grows as one gets nearer.
     Chartres (the cathedral) is every bit as exciting as pictured.  The sculpture had less impact than the entire fabric—easily seen from all points.  We did the exterior first, and here it was so obvious the caution exercised in the buttresses.  On the other hand, Chartres is wide (52' nave) and this may be a partial accounting.
     The interior is, without question, an experience not likely to be duplicated.
     The day was one where there were many cumulus clouds, and so there was a constant shifting of light.  The west windows are of course tremendous—but then they are big and the sun was directly on them during our visit.  I was surprised at the darkness of many of the windows.  The buttresses, etc. do cut down the light.  The clerestory windows (except in the apse) were hard to read simply because they are hard to read.  But the entirety was a genuine treat.  The glass does reduce the clarity of detail.  Elaborate sculptures, as on the exterior of the chancel screen, were not easily read.
     This matter of visibility has affected my understanding of the character of Gothic windows.  I had always thought of Romanesque churches as dark, but the 12th and 13th Century Gothic interiors, if they had glass, must not have been very light.  It might well be that a desire for light (as can be seen with the Vendôme chapel window, 15th Century) was a factor in the change in the windows, rather than the more complex balance of interior-exterior light ratios advanced.
     The guide did quite well, and since he had to repeat in Spanish for the other portion of the tour, I had ample time for my own looking.
     All in all, a most pleasant visual experience.

THURSDAY, JULY 21, 1966

(Paris)

Began by working on the records.  Stopped in the Tuilleries Gardens to read, and then over to the Louvre.  Began by reviewing the medieval and Renaissance sculptures, and then other sections closed on Monday.  Had lunch there, and continued with paintings.
     From the Louvre over to Ste. Chapelle and the Musée Cluny.  Returned to the room for a brief rest, and then over to Ily's.  After dinner and a bit of TV, returned to the room.
     If my calculations are correct, I can now stop doing laundry, and use the clothes still clean for the remainder of the trip.
     I am now just generally tired.  The pace has been steady and yet not hard.  I think it is the inability to really rest at night.  The beds or some such are not to my comfort.  Nevertheless I do feel fine—just sleepy.  Could it be that I am now saturated with Art?  If so, the last two days may cause an overflow of some strange sort.
     The weather continues (apparently unseasonably) cool.  Also damp.  I find myself wearing my weather coat frequently.  English weather.

      Expenses
           Transportation                      1.85 (carnet/metro)
           Food                                     6.30
           Admissions museums          3.00
           Louvre Guide                       5.00
           Miscellaneous                      2.60  
*                                     [total]     18.75  [f]

ART RECORD

Began with the Louvre.  Saw three sections closed on last Monday.  According to my aunt, there was an item on TV that so many people are on vacation that there are not enough guards to cover the entire Louvre—so some sections are opened irregularly.  The Flemish and French Primitives will be open Friday.
     I saw the Sculpture Galleries, and was truly taken with their contents.  To see so much and so much of it big and in good condition (large amounts of polychromy, etc) was a real treat.  The tomb of Philippe Pot with its mourners was one which had considerable impact.  The polychromy in good condition helped me to realize what many of the others must have looked like.  The Pilon and Goujon works were also impressive.  This section had much appeal.  The Michelangelo slaves do not carry as much impact (for me) and the late Gothic.
     I also found my first restrooms—almost hidden.
     From this section I went up and renewed acquaintance with the Medici series and the paintings on display.  Also had an opportunity to see the Beistegui Collection (part[ly] closed last Monday) of portraits, and the Gallerie d'Apollon (which closed after my visit and which was not open Monday).
     From the Louvre, went to Ste. Chapelle.  Here the glass was of major interest.  I've decided that the "Bible for the illiterate" explanation for all of the sculpture and windows, etc. is over-rationalized.  The difficulty in reading the small works suggests to me that here might be a factor in the growing monumentality of some of the designs.  Later windows are easier to read (and for that matter so are later paintings, by and large).  The multiplicity of small images is not conducive to reading (any more than small typefaces are).
     The charm of the glass—jewel-like—is akin to the charm of enamels.  Rich jewels so expressive [of] a sense of treasure, of quality.
     The architecture, though restored muchly, is of considerable interest, especially of the Gallo-Roman ruins.
     The contents are likewise impressive.  In particular I found the enamels to be of major interest.
     Some of the sculpture is charming, but I suppose it is the tapestries which bear special attention.  The museum has a bit of the hodgepodge about it due to the emphasis on small things.
     The organization of French museums seems in need of improvement.  It is difficult for me to put my finger on it, but I suspect that "showmanship" is not overly important, and there is a certain contentment to just put things out in quantity.  Labels are brief to the point of merely identification.  Handbooks or guides are of some assistance in locating things, but a sense of chronology, of focus on key items, of helping a visitor look and learn is not evident.  Perhaps I am a "bit bitter," but if Amsterdam can do it, so can other large museums.  The Louvre and the Victoria & Albert share certain characteristics.  There is perhaps a point of being too big to be useful.  It is curious, but large university libraries end up with a special undergraduate library.
     The Louvre is a research collection used for recreation.  That might explain the Louvre, but not a smaller museum.

FRIDAY, JULY 22, 1966

(Paris)

After doing chores, working on the records, I went (on foot) to TWA on the Champs Élysées.  TWA said that I should check with Air France, since it was the primary carrier.  So back up the Champs to Air France's office.  There discussed my problem (and how many others have the same problem) and she said she would request a place on a Braniff flight which leaves Chicago at 6:15 (hour and a half later than the original TWA).  There will be no way to ascertain the success of the request until I arrive in Chicago.  I can only hope that all will work out.  If not, I shall have to try a train—what complications after all is said and done.  The strike is so unlikely to resolve itself now without some sort of intervention—two weeks at loggerheads and not only the public but thousands of other employees be damned.
     After this frustrating business (it doesn't do my digestion any good) I went over to the Museum of Modern Art.  There had lunch and then over to the Musée Guimet (Oriental).  Returned (all of this on foot) to the hotel for a rest, then to the Louvre.  At the Louvre I was able finally to see that which I had been unable to see on previous visits.  This took a bit of time, and then went to Ily's apartment, since I was to meet people.  Bought the best cognac available in a small store there as a gift for Ily.
     So, at Ily's I met Baby (Violet   ?    [sic]) who is a first cousin.  Indeed, the first first cousin I have ever met.  She is the daughter of Margaret, an older sister of my mother.  Baby is perhaps 58 and a wide, voluble, loud Parisian who spoke in three languages more or less at once.  Ily at 52 is her aunt, and much nonsense about that.  Baby had a niece with her, a girl of eighteen named Judy.  Judy is related to Baby via the husband's side.  Judy, born in Budapest, left there with her parents after the [1956] Revolution, and is very much a New York teenager.  She speaks Hungarian and English fluently, and can handle French.
     It was a party, and too much so.  After the guests left, I was overfed (and foolishly I ate and drank more than I should have or knew to).  Then at the end of the meal Sylvie's mother Anna came, and we visited, and she had brought French pastries, and like a true fool I had one.  Common sense came to the fore and I rejected the melon.
     As might be expected, I awoke at six and had indigestion.  Temperance is the order of the day, and I shall tread my way carefully tonight when Ily and I shall go out to a restaurant to eat.  I have been told that the French polish off two large meals a day.  One can fell me, so the Parisian life is clearly not for me.

      Expenses
           Admissions to museums      3.00
           Lunch                                   5.00
           Cognac for Ily                    20.00
           Miscellaneous                        .60  
*                              [total]            28.60  [f]

ART RECORD

Began the art excursion by going to the Museum of Modern Art.  An attractive, well organized display running from the Post-Impressionists to contemporary.  This had much of the character of an American museum and there was a wall guide which gave one a complete tour in sequence (just follow the arrows and numbers).
     Of major interest to me was seeing many second echelon artists who flesh out the years 1890 to 1920.  The group in Brittany around Gauguin for example, or many Fauve works, particularly by Dufy (better than the later ones I think).  A goodly number of Bonnard and Vuillard.  A big, late cut and paste by Matisse was quite good, the first I had seen of this size and period.  There was a fine group of sculptures including a room of Pevsner—very nice—and Brancusi's studio reconstructed (enchanting).  Others varied, but the Zadkine brutality very evident.  Big, powerful works.
     There is a small, badly run buffet, and there I had lunch.
     Then I went over to the Musée Guimet, the Oriental collections.  As so often happens, a section (mostly Chinese sculpture) was closed at the hours of my visit.  I did see about three-quarters of the displays.  Good and extensive collections but hardly in a happy display environment.  Bad lighting in a number of the galleries.  I appreciate U.S. displays more and more.
     Returned then to the Louvre, and happily was able to see those sections closed on earlier visits.  Made my way at once to the Flemish and French Primitives.  Of major attention was the Rolin Madonna (exquisite) and the Pieta d'Avignon.  The latter has some very bad horizontal cracks in the panel.
     I marched back and forth with pleasure.  I really have a fondness for 15th Century Flemish painting.  The Parement [de] Narbonne is also impressive as are the big Fouquet portraits.
     I have noticed the paucity of German work in French and Belgian museums.  Holbein and Durer are acceptable, but very few Cranachs (and there should be many available).
     So then over to see the 18th Century paintings which are in the temporary exhibition area.  Then got into the Etruscan and Greek-Roman area on the first Étage previously closed, and into the Decorative Arts of the 17th-18th Centuries culminating in Napoleon's throne.  Saw some of the State rooms.
     I begin to revise my attitude about the Louvre and its displays, etc.  The size of the place it its greatest problem.  At first I resented the fragmentation in London, but now I'd argue for breaking up the Victoria [&] Albert.  One cannot exercise logic and intimacy within the maze of the Louvre.  They suggest breaking up the visits into sections.  Even here, this is not convenient.  The curse of being too big is the Louvre's problem.  In turn, everyone has to go to the Louvre.  In contrast the Modern was very congenial and the Guimet almost deserted.
     I cannot really say that there is an answer.  The crowds, whatever [the] hour, are overwhelming.  I never saw even the Metropolitan at this level of density.  Granted, certain areas are neglected [by visitors] (e.g. Ancient Near East) but the painting galleries are hazardous.
     I have gained additional respect for the achievements of American museums such as Cleveland or Philadelphia in reaching distinction.  I am also very proud of the Nelson Gallery.  It need not be ashamed (except in American art).  I will say that the European museums [I have] visited to date pay attention to their native art more than has the Nelson Gallery.  But even this can be rationalized in the latter's case.
     So, two more museums, and I am through for this visit.

SATURDAY, JULY 23, 1966

(Paris)

So, the last day before departure.  It is for me a welcome moment.  Regardless of the possibility of confusion and delay in Chicago, I can at least be close enough to call, to take appropriate measures to return to K.C.
     Worked on the records, and then packed.  I put nearly everything into the bag.  The briefcase will be just for immediate items.  I shall carry the weather coat, for the Paris forecast for Sunday suggests a chilly morning.  Today was sunny and quite warm.
     Progressed slowly today, partly from weariness, and from a disinterest in getting overinvolved at the end.  Went first, in the early afternoon, to the Jacquemart-Andre Museum.  Here is a curious place which added to my collection of museum experiences.  Then over to the Museum of Decorative Arts.  After a thorough review of the permanent collections [I] returned to the room to rest.  At 5:00 pm, Ily is to come and we shall go out to have dinner.
     A review of expenditures (through Friday) in France is in order.  I compute 246.14 francs or * $49.23 (20¢ to a franc) + $34.90 (U.S. for perfume) or a total of $84.13.  There is still the addition to the hotel bill.  Still on hand as of Saturday a.m.: 416.70 f (or $83.34).
     As [I was] waiting for Ily, a young man entered and turned back and said, "George."  So at last Mr. Robert Sessler.  We had a pleasant chat and then Ily turned up.  We all went out, had aperitif and then dinner.  I was happy to be the host.  Then a promenade down the Champs and farewell to Ily (who took off on the motor bus).  Bob and I returned to l'Etoile and there parted, I back to the hotel for the last evening.  My bill to be rendered before I leave.  So!

      Expenses
           Food (for three)              48.20
           Miscellaneous                   3.00  
*                          [total]             51.20 f

ART RECORD

Visited two museums today.  First the Museum Jacquement-Andre.  It is difficult to describe this.  Not so grand, or with the quality of the Wallace, or the Gardner in Boston, but an unusual private collection given to the state and still housed in a house whose date defies me.  It must be the 19th Century, but it is hard to tell.  So much is labeled only by number with or without a checklist on the wall keyed to the numbers.
     There are some fascinating items, and the quality varies.  Perhaps this, more than any other similar personal collection, gives me the idea of what the private, independent collector was like.  Gardner, Frick (and even the Wallace collection in part) show a thoughtful or a guided air.  But here was a miscellany which suggested the couple's ability and character to buy what they liked.
     The other museum was that of the Decorative Arts housed in the north extremity of the Louvre.  The collections are quite interesting but there is not much excitement in the displays, except within period rooms.  I have a strong feeling that one has to acquire a taste for Empire furnishings and decor.  I certainly do not have it (nor am I anxious to get it).  The ground floor was devoted to an exhibit of Japanese art, and I just didn't have the stamina to do it.  There are three floors of permanent displays above and that [sic] I did review.
     It is primarily French, but not exclusively.  There is much of anything and everything (other than costume) which might come within the scope of the term decorative arts.  There were swords, firearms and walking sticks (for their design rather than ability).  There are many designs for rooms and details which ranged the walls.  It is, in total, a manageable museum with late 16th through early 19th Century.  It has such [things] as Persian rugs and tiles, and some other curiosities, but all in all a partial repeat of similar sections of the Victoria and Albert.  Considering the contents and the character of display, very few people were attracted.
       So, on this quiet note I terminate the art record of my first European visit.

4:30 pm Saturday

 

SUNDAY, JULY 24, 1966

(Paris, Chicago and Kansas City)

Started off the day by getting my breakfast early.  Then paid the extra hotel bill which was 40 francs more than I had been told earlier in the week it would be.  I had a cab called (lug for this by the cab driver—which I didn't believe but wanted to get away, so—) and went to the Invalides Aerogare.  Boarded the bus and labored out to Orly.  There boarded Air France flight 31 in due time and prepared for the voyage home.
     Air France very crowded, and the stream of people to the rear for use of facilities was incredible.  To make matters worse, carts were used constantly for everything by the crew, creating fantastic bottlenecks.  I managed to doze on and off.  The lunch was merely O.K.  In Montreal we had an hour layover, and by the time I returned to my seat I felt peculiar.  I took a second Dramamine (more than eight hours had passed), skipped the cold snack and just sat.  Finally felt better.  My suspicions were that tension re: a flight on whatever out of Chicago was the problem.
     Arrived in Chicago.  Health, passport and customs were very fast, so that I was through all this in fifteen minutes.  I then hightailed it for the Braniff desk to learn if I had confirmation for the 6:45 flight.  There I was told no, but I could try standby.  It so happened that a plane for K.C. was leaving at 3:45 (Chicago [time]) and it was now 3:15.  Standbys were taken in order of time checked in, and so I took the challenge and charged over to the loading dock.  There at 3:20 and the call for standbys would be at 3:40.  Called Jean to tell her I was in Chicago and that I might be on a plane.  If I failed to get on, I would call again.  At 3:40 they began calling standbys.  Passenger Ehrlich was #5 or 6, and I tore into the plane.  I think there were one or two others after me, but no more.
     So I arrived in K.C. at 4 pm (K.C. time), actually an hour earlier than originally planned, and two-and-a-half hours earlier than my best expectations.
     Entire family there, I too weary to be a proper returnee victorious.  As things turned out, I did not have time to change my money, wash or do much else than visit the men's room in Chicago (and for free even).

     The final accounting follows:
           Hotel, extra bill for bath       160.00 f
           Taxi to Aerogare                       7.00
           Bus to Orly                               3.50
           Airport tax                              25.00
           Wine on plane                           1.40
           Miscellaneous                           3.40
*                      [total]                       200.30

           Chicago
              Extra Braniff fare               $3.15
              Drink                                    1.00
*                                                       $4.15

Still on hand (discounting some coins for Paul) on arrival in Kansas City:
             $90.00  in traveler's checks (all $10)
               37.85  cash
*         $127.85
     plus 160.00 francs (or $32.00)
     or roughly $160.00 remains out of the $500 I started with.

(N.B.  The 160.00 francs were sold to Nancy DeLaurier for $32.00—for her trip to France.)

     Total expenditures
           Preparatory to trip     $868.75
           On the trip                   340.15
*                   Total             $1,208.90

so ends the journal

[illustration: Packing Lists on inside back cover of personal journal]

 











































 


Notes

[click on the > at the end of each Note to return to its source above]
 

  Trans World Airlines (TWA) had been headquartered in KCMO until 1964, when executive offices were moved to New York City; its ticket office and accounting, credit and cargo departments remained in Kansas City until 1969.  >
  British Overseas Airways Corporation (BOAC) would merge with British European Airways (BEA) in 1971 to form British Airways.  >
  Joseph Paul Gregg (1937-1987), a KCMO native from a Mormon family, graduated from the University of Kansas City in 1959 as a speech and art history major.  Presiding over the UKC Players, he appeared in many Playhouse productions including Much Ado About Nothing (as the Messenger) and Le Bourgeois Gentilhomme (as the Philosophy Master), both with Mila Jean.  He became a librarian at the University of Chicago's Art History department and teacher of Library Science at Northeastern Illinois University before becoming co-director and founding librarian of Chicago's Gerber/Hart Library and Archives in 1981.  A prominent activist for gay rights, he was profiled by the Windy City Times shortly after dying of AIDS complications: "Joe Gregg was one of the most brilliant and encyclopedic conversationalists that I have ever known.  He could talk about movies, naval history, Africa, Renaissance art, City Hall politics, common gossip, astronomy, classical music, baseball, lesbian history, city planning, bookmaking, the history of manuscripts, and library science."  >
  Theodore Frank Ruhig (1917-2012) was George's second cousin, the son of Rose Kohn Ruhig (1895-1990) and Bela aka Ben Ruhig (1887-1966) in whose Chicago shop George's father Joseph learned the fur business before opening his own store in 1927 (as related in To Be Honest).  Well into the 21st Century, Ted Ruhig was a columnist for the Sacramento Spectrum and tireless advocate for senior rights.  "Ruhig knows no bounds," wrote the Sacramento Business Journal in 2009.  "As he notes at the end of each column, he once sued the California Department of Aging for age discrimination, and won."  >
  The Overseas Visitors Club continues to serve as "a hostel offering budget accommodation and other facilities for a variety of people" in London's Collingham Place.  >
  The United Kingdom would not switch to decimal coinage until 1971 (shortly before the Ehrlichs's trip there).  In 196
6, £sd (pounds-shillings-pence) was still the current currency: twelve pence to a shilling, twenty shillings (or 240 pence) to a pound, and twenty-one shillings to the more prestigious guinea.  "Seven and six" (seven shillings and sixpence, about one-third of a pound) was written as "7/6."  An online £sd calculator has been of help in checking George's vintage addition.  >
  George was cautiously testing his digestive system following an overseas trip to foreign parts.  >
  British European Airways (BEA) was the United Kingdom's largest domestic operator, as well as providing service to Europe, north Africa and the Middle East, until its merger with BOAC was completed in 1974.  >
  Ward Lock's popular travel guidebooks (aka Red Guides) were published from the 1870s to the 1970s.  >
  "Spending a penny" was a euphemism for making use of a public lavatory, which charged /1 (as George duly records) for the privilege.  >
  "W.C." (water closet) and "loo" (derived from Waterloo?) are British terms for both a flush toilet and the room containing it.  >
  South Kensington was part of "Bedsitter Land," where many stuccoed terraces had been converted to studio flats and hostels.  In 1962 the Daily Mail described the growth of this region and "the traged
y of the lonely girl" living there on her own (or with illegitimate children, à la Leslie Caron in The L-Shaped Room) having been "seduced by the sophistication of London into mistakes she would not make at home."  >
 
The Wimpy’s hamburger chain (named after J. Wellington Wimpy of Thimble Theatre/Popeye fame) was founded in Indiana in 1934. Twenty years later, the first Wimpy’s was opened in London; by 1971 it would be the British equivalent of McDonald’s in prevalence, price and quality.  That year on our family trip to England George would say "we found an inevitable Wimpy's for lunch—I really have to photograph at least one."  >
  Hogarth's House was the then-country retreat of artist William Hogarth in Chiswick: built in the early 18th Century and bought by the Hogarth family in 1749.  >
 
“Mews” initially meant a building where birds (particularly hawks and falcons) were confined while “mewing” or moulting. The King’s falconry birds were kept at the Royal Mews at Charing Cross from 1377 till 1537, when this became Henry VIII’s royal stables; thus the term “mews” came to be associated with housing for horses and carriages.  >
  Parts of Roman Polanski's 1965 Repulsion and Alberto Sordi's 1966 comedy Fumo di Londra (Smoke Over London aka Gray Flannels) were filmed in Earls Court.  >
  St. Martin-in-the-Fields owes its name to having been built in what was originally farmland outside the Wall of London.  The current neoclassical  church was constructed in the 1720s.  > 
 
Foyles, once the world’s largest bookstore, was "famed for its anachronistic, eccentric and sometimes infuriating business practices; so much so that it was a tourist attraction” (as per Wikipedia).  It would of course be visited more than once by the Ehrlichs in 1971.  >
  Seeking to increase demand for still-novel automobiles, the tire-manufacturing Michelin brothers published their first guides to France in 1900 and Belgium in 1904, quickly followed by the rest of western Europe and northern Africa.  The guidebooks were free of charge until 1920.  >
  Great Britain's National Gallery, one of the world's most-visited art museums, was established in 1824; its present building was designed in the 1830s.  "No other collection possesses such consistent quality, nor better tells the story of Western European painting," boasts the website ArtUK.org.  >
  Sir Charles Wyndham's New Theatre (so called because it was built behind the existing Wyndham's Theatre) opened in 1903.  Mila Jean and Kris Huffman would see Rules of the Game here on July 1, 1971.  The New Theatre would be renamed the Albery Theatre in 1973 and the Noël Coward Theatre in 2006.  >
  The Society of British Artists was established in 1823 as an alternative to the Royal Acade
my—a differentiation slightly diminished when Queen Victoria granted the society a royal charter in 1887, making it the Royal Society of British Artists (RBA).  >
  Opening at the New Theatre in 1960, Oliver! ran for a then-record 2,618 performances, and its 1968 film adaptation would win the Academy Award for Best Picture.  (During our 1971 trip I bought an ornate century-old edition of Oliver Twist at the Bermondsey Antique Market; sadly it proved to be infested with rusty mold.)  >  
  The Angus Steakhouse chain, influenced by American equivalents, opened in the early 1960s and had numerous branches in the West End to feed theatergoers.  >
  In other words, George's meal posed no challenge to his digestive system, despite the "steak" being placed within quotation marks.  >
  Robert L. Branyan (1930-2017) was a professor of history at KCU/UMKC from 1960 to 1976, chairing his department for ten years.  "Through his efforts, dozens of buildings in Kansas City were added to the National Register of Historic Places" (per his obituary).  Bob Branyan would go on to administrative positions at Central Michigan University and Penn State Schuylkill before retiring to the Lake of the Ozarks with his wife Helen Baird Branyan (born 1927).  They co-wrote the play Camden County: Our Heritage, Our Hope, which is performed annually at Camdenton MO's Dogwood Festival.  >
  Early Netherlandish or Flemish Primitive denotes Northern Renaissance artwork (c.1420s to c.1560s) in what would become Belgium; distinctly different from (though influenced by) the Italian Renaissance.  >
  New York City's Metropolitan Museum of Art, largest of its kind in the Western Hemisphere.  George, financed by a grant to research Robert Henri of the Ashcan School, visited NYC in Mar. 1962.  >
  Titian painted Bacchus and Ariadne between 1520 and 1523 for the Duke of Ferrara.  When the National Gallery removed its heavy discolored varnish during a controversial 1967-68 restoration, some of the original oil paint came off and had to be replaced.  >
  Painted between 1647 and 1651, La Venus del espejo (Venus at her Mirror or The Toilet of Venus) is Velázquez's only surviving female nude.  It came from Spain to Rokeby Park, a Yorkshire country house, in 1813.  >
  The National Gallery acquired The Rokeby Venus in 1906, sixty years before George's viewing.  >
  The works of James Gibbs (1682-1754) intermingled Italian Baroque with Palladianism.  Gibbs also designed Oxford's Radcliffe Camera and Cambridge's Senate House; his A Book of Architecture (1728) was the most widely-used pattern folio in 18th Century Britain and its colonies.  >
  Britain's National Portrait Gallery opened in 1856 and moved to the site adjoining the National Gallery forty years later.  >
  The Holbein cartoon is a fragment of a preparatory work for a 1537 portrait of Henry VIII with third wife Jane Seymour and his parents, Henry VII and Elizabeth of York.  That painting was lost in 1698's Whitehall Palace fire; the cartoon was acquired by the National Gallery in 1957.  >
  This total's final digit is heavily overwritten.  The online £sd calculator sums up George's purchases as £9 16s 7d, or 196/7.  >
  Carlo Crivelli (c.1430-c.1495) was an Italian Renaissance painter in tempera on panels with decoratively gilded backgrounds.  >
  Masaccio (Tommaso di Ser Giovanni di Simone: 1401-1428) was an Early Italian Renaissance pioneer of naturalistic techniques.  >
  Piero della Francesca (c.1415-1492), another Early Renaissance painter, was also a mathematician and master of perspective.  >
  Bronzino (Agnolo di Cosimo: 1503-1572) was the court painter to Cosimo I de' Medici, Grand Duke of Tuscany.  >
  Gerard David (Gheeraert Davit: c.1450s-1523) was a Netherlands painter of triptychs and altarpieces.  >
  Jan van Eyck (c.1390-1441) was an Early Netherlandish artist and Early Northern Renaissance innovator; some art historians claim he invented oil painting.  >
  Robert Campin (c.1375-1444) was another Early Netherlandish painter, to whom the works of an unidentified "Master of Flémalle" are usually attributed.  >
  Rogier van der Weyden (c.1400-1464), grouped with van Eyck and Campin among the Flemish Primitives, was one of the most popular and influential painters of the 15th Century.  >
  Dirk (Dieric) Bouts (c.1415-1475), another Early Netherlandish painter, was the father of Albert (Aelbrecht) Bouts (c.1452-1549) who developed a distinctively different 16th Century style.  >
  Jan Mabuse (Jan Gossaert: c.1478-1532) was a Romanist painter who introduced the style of the Italian Renaissance to the Low Countries.  >
  Andrea Mantegna (c.1431-1506), a student of archeology, took a "statuesque" sculptural approach to painting.  >
  Antonello da Messina (c.1430-1479) was an Early Italian Renaissance artist whose work shows the influence of Early Netherlandish painting.  >
  The composition of Holbein's The Ambassadors, painted in 1533, inspired his abovementioned 1537 portrait of Henry VIII.  >
  Albrecht Dürer the Elder (1427-1502) is represented in the National Gallery by a 1497 portrait of him, attributed to his son Albrecht Dürer the Younger (1471-1528).  >
  Thomas Grenville (1755-1846), a longtime Member of Parliament and briefly First Lord of the Admiralty (in 1806-07, when his father was Prime Minister), bequeathed his library of over 20,000 volumes to the British Museum.  >
  King George III's library of more than 65,000 volumes was given to the British Museum in 1823 by George IV.  In 1997 it was moved from the British Museum to a new six-story tower in the British Library.  >
  Block books, printed from woodcuts of both text and illustrations, were published in the later 15th Century as an inexpensive alternative to brand-new typeset productions.  >
  The Lion Hunt of Ashurbanipal is a group of Assyrian palace reliefs from Nineveh, carved circa 640 BC and excavated in 1852-55.  >
  Sir Charles Leonard Wooley (1880-1960) led the archaeological expeditions that did groundbreaking (so to speak) excavations of ancient Ur between 1922 and 1934.  >
  Sutton Hoo is the site of East Anglian burial grounds from the 6th and 7th Centuries.  Archaeologists began excavating here in 1938.  >
  Courtenay Adrian Ilbert (1888-1956)'s collection of clocks, watches, and related material was acquired by the British Museum in 1958.  >
  Claude Lorrain (c.1600-1682) was a leading landscape painter, draftsman and etcher of the Baroque era.  His Liber Veritatis (Book of Truth) is a lifelong record of his drawings.  >
  Harrods, whose motto is Omnia Omnibus Ubique ("All Things for All People Everywhere"), is the department store in London if not Great Britain.  >
  One has to speculate whether this Lovely Cashmere Stole was as much a peace offering as a souvenir gift for Mila Jean back in KCMO.  >
 
The Victoria & Albert Museum (V&A, or V.A. as George abbreviated it) was founded in 1852; it houses the world's largest collection of decorative arts and design in 145 galleries.  When George returned with his family in 1971 he "visited only a few of the galleries, and this unsystematically."  >
  100 Things to See in the Victoria & Albert Museum was published in 1962 by Her Majesty's Stationery Office.  >
  I.e. the City of London, its historic heart and central business district.  >
  This was the heyday of "Swinging London," when Carnaby Street and the mod subculture held sway.  In 1966 its influence had yet to make a significant impact on Kansas City MO.  >
  Here we might picture Lynn Redgrave brushing past George as she runs to wash out her brand-new 'do during the opening credits of Georgy Girl (released in Oct. 1966).  >
  Kew Gardens, the world's largest botanical collection and plant research center, was founded in 1840.  The Ehrlichs would visit it on a very hot day in July 1971>
  Mezzotint rockers are used in printmaking to create rich black tones.  A pole rocker jig is designed to alleviate wrist strain and help walk the rocker uniformly over the plate.  >
  The V&A's Hall of Casts contains plaster copies of great European statuary, intended for the benefit of 19th Century London art students.  >
  Sculptor Lorado Taft (1860-1936) campaigned to restore the Palace of Fine Arts from Chicago's 1893 Columbian Exposition as a Dream Museum, dedicated to exhibiting casts of great sculptures from all around the world.  Instead it became the Museum of Science and Industry, and Taft's revised plans to build his Dream Museum in Los Angeles came to nothing.  His widow sold more than 200 of Taft's casts to the University of Illinois at a bargain price, but the majority "seem to be lost and were almost certainly destroyed."  (Per Jacqueline Marie Musacchio's "Plaster Casts, Peepshows, and a Play: Loredo Taft's Humanized Art History for America's Schoolchildren," published in the Winter 2014 Journal of Aesthetic Education by the University of Illinois Press.)  >
  George clarified that this Corgi was not a fabric dog but a toy car: confirming that Matthew was already immersed in such items at the age of three.  During our 1971 trip to England he would acquire five more cars, plus a taxicab and a train steam engine.  >
  The Banqueting House, designed by Inigo Jones as influenced by Andrea Palladio and built 1619-22, was the only part of the Palace of Whitehall to survive its devastating fire in 1698.  >
  The British Parliament had five Orders of the Day on July 1, 1966: bills on National Insurance (Further Provisions), Employee Protections, Licensing (Certificates in Suspense, Scotland), the Port of Harwich (Road Facilities), and Ponies.  >
  Millbank, located on the Thames south of Westminster, was the home of Jenny Wren in Our Mutual Friend; she, her drunkard father, and Lizzie Hexam lived in Smith Square near St. John's, "a very hideous church with four towers at the four corners, generally resembling some petrified monster, frightful and gigantic, on its back with its legs in the air."  (A Dickens website, TheCircumlocutionOffice.com, primly notes that "tastes change and today St John’s is regarded as one of the masterpieces of English Baroque architecture.")  >
  St. Margaret's was founded by Benedictine monks in the 12th Century, to provide a simpler worship-alternative for those living near Westminster Abbey.  Rebuilt during the early Tudor era, it has several notable commemorative windows.  >
  An undercroft is a vaulted underground chamber or crypt.  The arches and columns of Westminster Abbey's undercroft are among the only traces left of Edward the Confessor's 11th Century monastery.  >
 
The Tate Gallery was founded in 1897 (on the site of the old Millbank Prison) as the National Gallery of British Art, and was renamed in 1932 after philanthropist Henry Tate.  The Ehrlichs paid the Tate a suffocatingly airless visit on June 27, 1971>
  KCMO's Nelson-Atkins Museum of Art (known in George's household as simply "the Gallery") has four works by Marcel Duchamp (1887-1968), including the print A Guest Plus a Host Equals a Ghost (1953).  >
  Sir Peter Lely (1618-1680) was the court portrait painter to Charles I, Oliver Cromwell, and Charles II; his depictions of ladies (e.g. the Windsor Beauties) tend to accentuate their cleavage.  >
  Heads of Six of Hogarth's Servants, a late work (1750s) by William Hogarth, was acquired by the Tate Gallery in 1960.  >
  John Singleton Copley (1738-1815) was a colonial American artist who became a professional portrait painter in his teens; he moved permanently to London in 1774.  His earliest work currently at the Tate dates from c.1770; perhaps George saw his Collapse of the Earl of Chatham in the House of Lords, for which a study was made not in 1759 but 1779, with the painting completed in 1781.  >
  Probably Benjamin West (1738-1820), painter of historical and religious scenes, who was the second president of the Royal Academy.  >
  Joseph Wright of Derby (1734-1797) painted contemporary scientific and industrial scenes; these would have appealed to George, who was always intrigued by the relationship of pictorial art to technological development.  >
  Nelson-Atkins has numerous works by J.M.W. Turner; I was unable to determine which might have been on loan to the Tate in 1966.  >
  Pig's bladders were used for centuries as a means of storing paint, though extracting specific amounts could be difficult (not to say messy).  The recappable tin paint tube was invented in 1841.  >
  The Pre-Raphaelites listed by George are: William Lindsay Windus (1822-1907), Walter Deverell (1827-1854), Arthur Hughes (1832-1915), William Dyce (1806-1864), and Sir William Blake Richmond (1842-1921).  >
  Joseph Duveen (1869-1939) made a tremendous fortune buying artworks from hard-up European aristocrats and reselling them to newly-rich American millionaires.  He was a benefactor to British museums and galleries, funding an extension of the Tate.  >
  The Tate Gallery was bombed multiple times in 1940-41; its walls along Atterbury Street still show pitted damage.  >
  To earn his doctorate, George had to overcome a steep linguistic hurdle: "I had never taken a course in French, and had tried to develop reading proficiency by using self-help books, and sitting in on the first-year course at KCU.  But the material on the [mandatory French] exam was in my case in history, and I was getting passages about European political history which even in English I could not fathom."  Twice failing the exam in 1956-57, he was then required to make at least a B in a sophomore-level French course before being permitted to take the test a third time
, which finally proved the charm.  >
  Following the burning of a previous St. Stephens in the 1666 Great Fire of London, Sir Christopher Wren designed the current church on Walbrook Street.  >
  Like St. Stephens Walbrook, St. Mary Aldermary was badly damaged in the Great Fire and rebuilt by Wren; but (very unusually for him) in its predecessor's Gothic style, as stipulated by the patron who funded the reconstruction.  >
  William the Conqueror commissioned a towering new church to be built c.1080 in the center of London; it was dedicated to Sancta Maria de Arcubus (St. Mary of the Arches), a name that would evolve into St. Mary-le-Bow.  Famous for its Bow Bells (within whose earshot Cockneys dwell), the church needed to be rebuilt or restored several times after various disasters, most recently the Blitz.  Equipped with a freshly-cast set of bells, St. Mary-le-Bow was reconsecrated in 1964.  >
  St. Vedast Foster Lane (aka St. Vedast-alias-Foster), St. Martin Ludgate (aka St. Martin within Ludgate), and St. Bride's (originally St. Bridget's) were among the fifty churches reconstructed by Sir Christopher Wren after the Great Fire of 1666.  >
  Number 17 Fleet Street was built in 1610 as a tavern called Prince's Arms, named in honor of King James I's son Henry, the newly-invested Prince of Wales.  It is one of the few buildings in the City of London to have survived the Great Fire and the Blitz.  >
  Boston's Trinity Church, designed by architect Henry Hobson Richardson (1838-1886) in his Richardsonian Romanesque style, was visited by George in 1961: "I must confess, it is considerably more impressive than the photos suggested. The interior was also far beyond my expectations."  >
 
Sir John Soane’s Museum is the Neoclassical architect’s former home, containing drawings and models of his projects as well as Soane's collections of art and antiquities.  The Ehrlichs visited it on June 26, 1971, when George remarked: "There, as I recall, we could traverse more in 1966 than now.  But it still remains a rather special treat of a place."  >
  Sir Richard Wallace (1818-1890) inherited an extensive selection of European art from his natural father, the Marquess of Hertford, and expanded it into one of the world's finest collections of 18th Century French pictures, porcelain and furniture.  Wallace's widow bequeathed it to the British nation in 1897
, stipulating that no item in the collection ever leave Hertford House, even for loan exhibitions.  George would revisit it on June 26, 1971>
  Industrial mogul Henry Clay Frick (1849-1919)'s Gilded Age mansion and its collection of Old Master paintings became a Manhattan art museum in the 1930s.  >
  Adriaen van de Velde (1636-1672) was a Dutch landscapist, draftsman and painter of animals; his Migration of Jacob (1663) was one of his few historical representations.  >
  George Caleb Bingham (1811-1879), Missouri politician and Luminist artist, painted Daniel Boone Escorting Settlers Through the Cumberland Gap in 1851-52.  George [Ehrlich] would publish "Bingham as Ethnographer: a Variant View of His Genre Works" in the Fall 1978 issue of American Studies.  >
  Ross Edgar Taggart Jr. (1915-1998), a Princetonian from Pittsburgh, was hired as the Nelson-Atkins registrar in 1947 and became its senior curator in 1953, overseeing the Gallery's collections till his retirement in 1983.  >
  Constantine the Great defeated Maxentius, his co-Emperor of Rome, in the 312 AD Battle of the Milvian Bridge—which, after being sabotaged by Maxentius, collapsed beneath the weight of his retreating army.  Rubens sketched and painted this scene c.1622.  >
  "I brought you a treasure," George would tell me upon his return from Europe.  This was his spare change in foreign coins, which wound up in a coffee can on a closet shelf, and vanished into oblivion soon afterward.  >
  All Hallows-by-the-Tower (aka All Hallows Barking) was called "Berkynchirche" as early as the 12th Century, to indicate the church's link to the Abbey of Barking in Essex.  Badly damaged during the Blitz, it was reconstructed and rededicated in 1957.  >
  St. Olave's Church, Hart Street is one of the smallest in the City of London, which may explain why it was spared by the Great Fire of 1666.  Samuel Pepys called it "our own church" and was buried with his wife in its nave.  >
  Mansion House, built in the Palladian style between 1739 and 1752, is the Lord Mayor of London's official residence.  >
  After Christ Church Greyfriars (another church rebuilt to Wren's design after the Great Fire) was severely damaged during the Blitz (along with seven other Wren churches), authorities decided not to reconstruct it, other than its surviving steeple.  >
  Guildhall, completed in 1440 with subsequent additions and restorations, is the City of London's ceremonial town hall.  >
  Holy Sepulchre London (aka St. Sepulchre-without-Newgate), the City of London's largest parish church, was rededicated during the Crusades to Jerusalem's Church of the Holy Sepulchre.  >
  The Church of St. Andrew, Holborn, though spared by the Great Fire of 1666, was already in poor shape and so got rebuilt by Wren along with the City of London's other churches.  >
  The two "(Traffic) Island Churches in the Strand" are St. Clement Danes and St. Mary le Strand.  The first was rebuilt by Wren, the second redesigned by James Gibbs.  >
  A crowd of 4,000 took part in a "No War in London" rally outside the United States Embassy on July 3, 1966; thirty-three demonstrators were arrested.  >
  Actually Carlton House Terrace; George must have spelled it "Carleton" from force of habit, this being his son Matthew's middle name.  >
  Newsreels were still being released in American movie theaters, and would be through 1967.  My third-grade suggestion of "the Nelson Newsreel" as our elementary school newspaper was accepted in 1964, though even then I thought it old-timey.  >
  The Polytechnic Theatre on Regent Street was the United Kingdom's first cinema, screening the Lumiere Brothers's "Cinematographe" in 1896.  It became the Cameo News Theatre in 1940, the Cameo Continental in 1947, and the Cameo-Poly in 1952.  After Classic Cinemas took over in 1967, it alternated between films and live performances until closing in 1980.  Restored in the early 2010s, it reopened as the Regent Street Cinema in 2015.  >
  1964's A Shot in the Dark was the second of the Pink Panther movie series and, in the present author's opinion, by far the best—possibly because it was adapted from an existing stage play, L'Idiote, with Inspector Clouseau replacing a clumsy Examining Magistrate (played on Broadway by William Shatner).  >
  Ily Kohn/Kun Szabo Schvartcz/Schwartz (c.1914-1998) was the youngest sibling of George's mother Matild/Mathilda, and evidently the only one—other than their brother Jenő—to survive the Holocaust.  Regrettably, most of Ily's life story went unrecorded and is irretrievable.  >
  The Annunciation is a portion of a large 1470s altarpiece from the Benedictine abbey at Liesborn in Westphalia.  >
  Per Merriam-Webster, a minicab is "a small car used as a taxicab.  Specifically, British: one that can be engaged by phone but is not licensed to cruise for customers."  >
  Schiphol, southwest of Amsterdam, became Holland's primary airport in 1949; it would expand in 1967 with a new terminal building, and today is one of the world's busiest international airports.  >
  KLM (Koninklijke Luchtvaart Maatschappij: Royal Aviation Company) is the Netherlands's flag carrier airline, and the oldest operating one (since 1919) in the world.  >
  Founded in 1798, the Rijksmuseum is Holland's national museum of Dutch arts and history.  Its current building opened in 1885.  >
  As of 2022, Hotel Aalders is still in operation at the same Amsterdam location.  Its website boasts: "Our charming 3-star hotel is located in the museumquarter [sic] and is ideally situated in the culteral [sic] centre of Amsterdam.  Just a block from Van Gogh museum and Rijksmuseum and the beautiful historic citycentre [sic], we will make sure you and your family, partner or other company will have an unforgettable experience in Amsterdam."  >
  Among the current (2022) tenants at 4505 Madison, George's first KCMO address, is the Georgous [sic] Aesthetic Bar, a clinic offering microtreatments of Botox.  >
  A carbon copy of this letter, dated June 30, 1966 and addressed c/o London's Overseas Visitor Club, was found in George's personal journal:

Dear Mr. Ehrlich:
     I am pleased to inform you that the Belgian Ministry of Foreign Affairs has informed us that Mr. Sneyers, Director of l'Institut Royal du Patrimoine Artistique, 1 Parc du Cinquantenaire, Brussels 4
(Telephone: 35.41.60 - 35.41.69), will be pleased to receive you if you will contact him on arriving in Brussels.
     The Ministry also stated that they knew of no office called Agence Touristique Centrale.
     We are sending copies of this letter to your hotels in Amsterdam and Brussels.  We trust you will have a pleasant stay in Brussels.
     Very truly yours / For the Consul General of Belgium / Merrill F. Toms / Commercial Advisor  >

  Merrill Frank Toms (1929-2020) was "a lover of books, a world traveler and a teller of stories who lit up every dinner party within reach" (per his obituary).  A KCMO native, he lived and worked in Central America for several years ("Merrill spoke Spanish like a native and was not CIA, as some suspected") before joining Kansas City's Belgian Consulate Center in 1958.  Earning a master's in library science, he worked for the Kansas City Public Library system from 1967 till his retirement in 1995.  "Merrill took a back seat to no one, and while many [of his] stories were told more than once, they were always worth hearing again."  >
  As George notes, the Stedelijk Museum is of modern and contemporary art and design.  It opened in 1895, and starting in 1958 was one of the first western European museums to collect modern and avant-garde photography  >.
  The guilder (gulden in Dutch, symbolized by the florin sign ƒ) was the Netherlands's currency till being replaced by the euro in 2002.  >
  Hans Memling (c.1430-1494) was an Early Netherlandish painter and one of the most successful artists in West Flanders, the Dutch-speaking northern region of Belgium.  >
  Pieter Lastman (1583-1633), who specialized in painting Biblical landscapes, is better remembered as Rembrandt's art teacher.  >
  Mannerism is another term for the Late Renaissance in European art, starting in the 1520s and giving way to the Baroque two centuries later.  >
  Hercules Seghers (c.1589-c.1638) was an innovative landscapist and printmaker of the Dutch Golden Age.  >
  This acronym proved baffling till additional clues led to realization that "WRNG" stood for the William Rockhill Nelson Gallery: currently the Nelson-Atkins Museum.  >
  Titus van Rijn (1641-1668) was not only Rembrandt's son but a model for several of his studies and paintings.  The Rijksmuseum has Rembrandts zoon Titus in monniksdracht (Rembrandt's Son Titus in a Monk's Habit, 1660) and the etching Titus, de zoon van de kunstenaar (Titus, the Artist's Son, c. 1656).  >
  De waardijns van het Amsterdamse lakenbereidersgilde (Syndics of the Drapers's Guild) aka De Staalmeesters (The Sampling Officials) was painted in 1662, and is familiar to smokers of Dutch Masters cigars (including Mila Jean's father Frank Smith, whose empty cigar boxes were inherited by the present author)>
  Het Joodse bruidje (The Jewish Bride) was painted in the later 1660s and given its title by a collector in the early 19th Century; the identity of the lady and her male companion (who appears to be copping a feel) have been much disputed.  Today most call them Rebecca and Isaac from the Old Testament; others have suggested Rembrandt's son Titus and his bride Magdalena van Loo (1641-1669).  >
  "Corporation paintings" were sizable works depicting members of clubs and associations, and intended for display in their meeting places.  Such a painting was commissioned c.1639 by Captain Frans Banninck/Banning Cocq and his Kloveniers (Civic Militia Guards) to hang in their banquet hall.  Completed by Rembrandt in 1642, it is commonly known as The Night Watch.  >
  Jan Luyken (1649-1712), after whom the Hotel Aalders's street was named, engraved illustrations and wrote moralistic poetry.  >
  The Amsterdam street is definitely named Van der Velde, though the family of painters were Van de Velde.  >
  The Dam is Amsterdam's town square, on the site where the original dam was built c.1270 on the river Amstel (giving Amsterdam its name).  >
  The Rokin and the Damrak are each both an avenue and a canal in the center of Amsterdam.  >
  The Munttoren (Mint Tower)'s guardhouse was used to mint silver and gold coins in 1672 during the Franco-Dutch War.  >
  The Royal Palace of Amsterdam was its Town Hall during the Dutch Golden Age; Napoleon's brother Louis turned it into a royal palace during his brief reign (1806-10) as King of Holland.  >
  The Nieuwe Kirk (New Church) was built between 1380 and 1408, then rebuilt after burning in 1645.  Maintenance became so costly that it was converted to an exhibition space in 1979, though still used for royal investitures and weddings.  >
  The Waag (Weigh House) dates to the late 15th Century, when it was St. Anthony's Gate in Amsterdam's medieval city wall; goods were weighed here during the 17th and 18th Centuries.  The Waag housed the Amsterdam Historical Museum 1926-75 and the Jewish Historical Museum 1932-87.  >
  Rembrandt lived in this house (called "a swanky mansion" by the Daily Mail in 2014) from 1639 until 1659, when he went bankrupt and was forced to sell it along with most of his paintings and antiquities.  The house became a museum in 1911 and has been reconstructed to show how it appeared in Rembrandt's day.  >
  Gerard ter Borch the Elder (1583-1662) was a Dutch Golden Age painter; his children Gerard the Younger (1617-1681), Gesina (1631-1690), Harmen (1638-1662), and Moses (1645-1667) were also artists.  >
  French painter/sculptor Jean Dubuffet (1901-1985) founded the art brut ("raw art," part of Outsider Art) movement in 1948.  >
  The works of French painter/sculptor/filmmaker Fernand Léger (1881-1955) ranged from personalized Cubism ("Tubism") to early Pop Art.  >
  Sam Francis (1923-1994) took Abstract Expressionism to an exuberant, spiritually-charged level; he was also a noted philanthropist.  >
  Dutch architect Hendrik P. Berlage (1856-1934) touted Frank Lloyd Wright's work after seeing it during an American tour in 1911.  This began a close relationship between Wright and the Dutch Modernists.  >
  Haarlem (after which the village/neighborhood in old New Amsterdam was named) is the capital of North Holland.  After World War II it lost much its industry and shipping to Amsterdam, and gained a wave of immigrants from ex-Dutch colonies in Indonesia.  >
  J. Warren Hildreth DDS (1919-2010) was the Ehrlich family dentist from the early 1960s to the mid-1980s.  While attending dental college, "he worked part-time playing jazz trumpet in clubs in the Kansas City, Mo., area and was the elevator operator at Jenkins Music Store" (per his obituary).  Originally his practice was at 5505 Brookside, just down the street from the Ehrlich Place at 5505 Holmes; later Dr. Hildreth moved it to the Ward Parkway Shopping Center, where he sometimes stretched out on the office floor for a nap between appointments.  >
  Mila Jean had dental troubles all her adult life; on one occasion I came home to find her absent and the words "FILLING FELL OUT" scrawled on the kitchen whiteboard.  >
 
Francis See "Frank" Smith (1896-1973) and Ada Louise Ludeke Smith (1907-2011).  On June 30, 1966—the same day Mila Jean wrote this letter—I produced a handwritten stab at journalism: "Daily AFTERNOON News / FLAT TIRE STOPPED / CAR / LOUISE AND FRANK SMITH / LUCKY, / HAPPENED IN GARAGE" (with a close-up drawing of a hand holding a screw:) "SMALL SCREW told story..."  >
  "Bricks" as in "helpful and reliable people."  Mila Jean always had such a support group, who were especially helpful when George was unavailable since the unmechanical Mila Jean never learned how to drive.  >
  Juanita Vaughn Darling Thomas (1919-2003) was the wife of Tom Thomas, UMKC's Director of Art Education (of whom more in the next note); they lived at 5901 Rockhill, six blocks from the Ehrlichs.  Juanita grew up deaf but gained some hearing through surgery and using aids; she attended the Kansas City Art Institute and earned her bachelor's degree from UMKC in 1967.  Around this time she and Tom got divorced; I was told about it so I "wouldn't ask where Juanita was," and had to have divorce defined for me since it was an entirely unfamiliar concept.  Juanita went on to marry Alois Ralph Curry in 1969, receive a master's in library science and work at the Mid-Continent Public Library in Independence MO, retiring as its Director of Institutional Service.  >
  Thomas Robert Thomas (1919-2000) was a graduate of the Kansas City Art Institute, where he studied under Thomas Hart Benton.  He designed and built the huge ceramic masks of Comedy and Tragedy that flanked the outdoor fireplace in front of the KCU/UMKC Playhouse.  When Tom returned to the UMKC Art Department in the 1960s, he served as its Supervisor and Director of Art Education.  (As a child I always wondered why, if both his first and last names were Thomas, his middle initial was "R.")  >
 
Marie Gerules (née Marie Caroline Light: born 1939) was the Ehrlichs's next-door neighbor at 5509 Holmes.  She was married to Walter George Gerules (1925-2006), who worked at Hallmark; they had two boys, George (born 1962) and Mark (born 1965), and a puppy called both Salty and Max.  In 1971 Marie would be enlisted to drive us to and from the airport for our trip to England, possibly because she owned a station wagon that could accommodate all our luggage.  >
  This was William Rockhill Nelson Elementary School at 5228 Charlotte, three blocks from the Ehrlich Place.  I was enrolled in a "summer demonstration school" there—not to make up a flunked fourth-grade subject, but to get me out of the Ehrlich Place and so give Mila Jean some temporary peace.  Each June and July the UMKC School of Education offered this program "to develop creative expression through art, music and writing for children aged 5 to 12."  According to a letter I wrote Grandma Ehrlich on July 24, 1966, my class hiked up to the UMKC Law School (now Cockefair Hall) and Paseo High School (now the Paseo Academy of Fine and Performing Arts) and was going to go visit the Kansas City Star (now an online newspaper).  In 1989 Nelson Elementary became the new Grant Hall for UMKC's Conservatory of Music and Dance, which went on to merge with the Theater Department in 2019.  >
  The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade debuted in 1963; a film adaptation would be made in 1967.  The 1966 UMKC Summer Repertory production was guest-directed by Rod Alexander of Dartmouth.  >
  Dawna Lynne Bentley (born 1947) graduated in 1965 from Raytown Senior High, where she was Secretary of the Drama Club and appeared as Mrs. Smith in Meet Me in St. Louis.  In 1966 she was the UMKC Summer Repertory's assistant box office manager.  As Dawna Welborn she would become a costume manager and director at the Worlds of Fun amusement park.  >
  Ernestine Naomi McGrew, born in 1921, was Secretary of the Art Honor Society at KCMO's Southwest High School and worked as an artist in a publishing company after marrying Winston Allen Painter in 1942.  In 1966 Ernie earned a bachelor's degree from the UMKC College of Arts and Sciences; and on Nov. 17, 1967 she became the second Mrs. Thomas R. Thomas, living at 5903 Charlotte—a block away from Juanita, who remained at 5901 Rockhill.  Ernie and Tom later moved to Eureka Springs AR; she died there in 1976, and Tom went on to marry Georgene Giltner Hill (1920-2009).  >
  Dora Kaplan Pakula (1908-1998) was the wife of the Ehrlich family pediatrician, Dr. Sidney Pakula (1905-1991).  They lived across the street from Nelson Elementary at 5225 Charlotte, which I as a kindergartener insisted would be handy despite being reminded that Dr. Pakula's office was a considerable ways off on 63rd Street.  >
  In the 1960s the Ehrlichs's principal grocery shopping was done at the Milgram's at 1215 E. 47th, north of the UMKC campus; it had a vending machine where you could purchase comic books for a dime and two pennies.  In mid-1966 a Kroger's opened at 54th and Troost (as I noted in my July 24th letter to Grandma Ehrlich), within easy walking distance of home.  Today it is the Rockhurst University Community Center; while East 47th Street and the surrounding neighborhood have been so completely transformed that Google Maps can no longer find the old Milgram's location.  >
 
Mila Jean first met Evelyn “Kris” Huffman during a 1959 KCU Playhouse production of Le Bourgeois Gentilhomme, in which they portrayed Dorimène and Lucile respectively.  They remained close friends for over half a century, though Mila Jean would sometimes grumble that Kris (an indefatigable traveler) was “never home.”  Among my early memories is Mila’s relishful reading aloud of Kris’s out-of-town letters, each ending in some sort of migratory cliffhanger.  >
  Tracking urban development through changes in a city's architecture was of cardinal interest to George, and would result in his monumental (so to speak) Kansas City, Missouri: An Architectural History (published 1979, revised edition 1992).  >
  Haarlem's Frans Hals Museum was originally an Oude Mannenhuis or Old Men's Almhouse founded in 1609; the museum was founded in 1862.  >
  Frans Hals the Elder (c.1582-1666) was a Haarlem-based Dutch Golden Age painter known for the lively realism of his large group portraits.  >
  After her death, the cheerful paintings of Judith Jans Leyster (1609-1660) were attributed to Frans Hals or Leyster's husband Jan Miense Molenaer (1610-1668) until she was rediscovered in the late 19th Century.  >
  The Hals Museum's entrance hall features Frans Hals's portraits of the almshouse regents, along with a statue of an old man holding a poorbox (useful for reminding visitors to shell out donations).  >
  Roelant Savery (1576-1639) was a Dutch Golden Age painter and court artist to two Holy Roman Emperors; he is best remembered for his illustrations of the soon-to-be extinct dodo bird.  >
  Karel van Mander (1548-1606) was a Flemish art historian and theoretician as well as a painter and poet.  His Schilder-Boeck, published in 1604, is a principal source on 15th and 16th Century artists of the Low Countries.  >
  The Hotel du Pelican was located at 23-25 Rue des Croisades (Crusades Street) and 16-18 Rue du Marche (Market Street).  >
  George succumbed to habit here and indicated florins again instead of Belgian francs (which, like the Dutch guilders, would be replaced by euros in 2002).  >
  The Musées royaux des Beaux-Arts de Belgique (Royal Museums of Fine Arts of Belgium) are a group of six institutions in Brussels.  The Musée royal d'art ancien (Royal Museum of Ancient Art), now called the Musée Oldmasters, was founded by Napoleon Bonaparte in 1801.  >
  The Grand Place is Brussels's central square, and also served as a major marketplace till 1959 (its Dutch name is Grote Markt).  >
  The Institut Royal du Patrimoine Artistique (Royal Institute for Cultural Heritage) originated in 1948 as the Central Iconographic Archives of National Art and the Central Laboratory of Belgian Museums.  It received its present name in 1957; its institutional building—the first ever designed to promote interdisciplinary art—was completed in 1963.  >
  The Gare Centrale or Brussels Central Station is one of Belgium's principal railway hubs.  >
  Bouts's Justice of Emperor Otto III is a diptych—Beheading of the Innocent Count and Ordeal (or Trial) by Fire—created as instructive tableaux for the new City Hall of Leuven.  Two more panels were planned but Bouts died before they could be painted.  >
  Pieter Brueghel the Younger (1564-1638) and his father Pieter Bruegel (with or without an "h") the Elder (c.1525-1569).  Pieter Sr. has been called the greatest Flemish painter of the 16th Century, a significant and innovative Renaissance artist.  As George noted, Pieter Jr. was a prolific copier of his father's works.  >
  Jacob Jordaens (1593-1678) was a prominent Flemish Baroque painter and tapestry designer, influenced by Rubens and the Brueghel family.  >
  Antwerpen and Anvers are respectively the Dutch and French names for Antwerp, which may have been derived from the Frankish ando + werpen: an artificial mound thrown up as a defense against Low Country floodwater.  >
  Historically speaking, everyone living in Flanders were Flemings regardless of whether they spoke French or Flemish (aka "Southern Dutch").  The latter outnumber the former in Belgium.  >
  Voie de gare: station track.  >
  Hush Puppies (always purchased at Steve's Shoes in The Landing shopping center) were standard Sixties footwear in the Ehrlich household.  >
  Antwerp's Royal Academy of Fine Arts, founded in 1663, is one of Europe's oldest institutes for artistic, architectural, and design training.  Its gallery collection became the Royal Museum of Fine Arts.  >
  Het Steen ("The Rock") was built in the early 13th Century as a gateway to the castle of the Dukes of Brabant.  It became an archaeological museum in 1890.  >
  Antwerp's Cathedral of Our Lady, built between 1352 and 1521, endured several bouts with fire and iconoclasm; it would be completely restored between 1965 and 1993.  >
  The Raising [or Elevation] of the Cross is a large triptych, and The Descent from the Cross the central panel of another triptych; both were painted by Rubens in the early 1610s.  Napoleon confiscated them for the Louvre in 1794; after his fall they were returned to Antwerp in 1815.  >
 
W.H. Smith was the world’s first chain of bookshops, whose nine-digit code for referencing titles was adopted as the international ISBN standard.  Along with books, it sold “entertainment products” and so was a favorite place for Matthew and I to visit during our trip to England in 1971.  >
  The New York Herald, which began publishing a Paris edition in 1887, merged with the New York Tribune in 1924 to become the Herald Tribune; its European edition was the principal newspaper for American expatriates.  (And Fulbright scholars: Mila Jean mentioned it several times during her Year Abroad in 1954-55.)  After the New York edition ceased publication in 1966, the International Herald Tribune continued until 2013, when it was submerged into the New York Times>
  The first public urinals were introduced by Parisian city officials in the 1830s.  >
  No vintage guidebook with the title Belgian Museums and Churches was locatable online in 2022.  >
  The Adoration of the Mystic Lamb (aka the Ghent Altarpiece) was created by Jan and Hubert van Eyck in 1432.  It was stolen by Nazi Germany in 1942 and recovered in 1945, as portrayed in the 2014 film The Monuments Men.  >
  The Virgin and Child with Canon van der Paele was painted in the 1430s by Jan van Eyck; it features his patron Joris van der Paele (c.1370-1443), a scribe in the papal chancery.  >
  Saint Barbara was created by Jan van Eyck in 1437; art historians have long debated whether it's an unusually refined drawing or a detailed preparation for an unfinished painting.  >
  Rogier van der Weyden and his workshop created the Seven Sacraments altarpiece in the later 1440s.  >
  Virgin and Child Surrounded by Angels, which depicts a nursing Madonna, is the separated right panel of the Melun Diptych created c.1452 by French court painter Jean Fouquet (c.1420-1481).  >
  Lucas van Leyden (1494-1533) was an engraver, printmaker, and genre painter.  >
  The Van Orleys were a dynastic family of Flemish artists, including Bernard (c.1488-1541) and the brothers Richard (1663-1732) and Jan (1665-1735).  >
  Cornelis de Vos (1584-1651) was a portrait painter, draftsman, art dealer, and collaborator with Rubens.  He had six children, but the only reference I could find to a Cornelis the Younger (born c.1629) was an appearance in his father's Self-Portrait of the Artist with his Wife Suzanne Cock and their Children (painted in the 1630s).  >
  Petrus Christus (c.1410s-c.1475) was an Early Netherlandish painter influenced by Van Eyck and Van der Weyden.  After Van Eyck's death, Christus was the leading painter in Bruges before Hans Memling settled there.  Though an innovator with linear perspective, Christus was forgotten till rediscovery in the 19th Century.  His Virgin and Child in a Domestic Interior (painted in the 1460s) was purchased by the Nelson Gallery in 1956 >
  The unidentified Master of the Legend of the Magdalen was an Early Netherlandish painter, chiefly known for an altarpiece showing scenes from the life of Mary Magdalen.  There was also a Master of the Mansi Magdalen (c.1490-1530) who worked in Antwerp.  >
  James Ensor (1860-1949) was an innovative and sometimes scandalous Belgian painter, printmaker, and musician, associated with the artistic group Les XX.  >
  Hendrik (Rik) Wouters was a sculptor, painter, and etcher whose work resembled that of Cézanne and Matisse.  >
  Bruges, "the Venice of the North," is the capital of West Flanders and known for its picturesque canals.  >
  Named for Hans Memling, the Memling Museum is in the chapel of St. John's Hospital, a medieval healthcare center and one of the oldest of its kind in Europe.  >
  The Groeninge Museum, Bruges's municipal gallery, was built on the site of Eekhout Abbey.  >
  Growing up in the Ehrlich household, nausea was endurable because a spoonful of delicious Coke syrup would be administered to soothe it.  "The runs," however, were extra-dreaded due to the home remedy being Kaopectate—liquefied clay.  >
  Though understandable in retrospect, at the time I was deeply indignant that while I'd had to wait till the age of nine to stay up till 9:00 pm, Matthew was handed the same privilege at the age of three.  >
  In 1959 Mila Jean's parents moved from their two-story home at 3908 College to a little pink cottage at 6611 College, where regular meals were eaten in the compact kitchen.  Family gatherings took place in the immaculate basement, which had the added summertime advantage of being the coolest room in the house.  >
  I began going to Outer Seattle for temperate summer vacations in 1984, then for mild-mannered winter breaks in 1987, and finally permanent residence (away from KCMO's climatic extremes) in 1988.  >
  Idlewild (New York International) Airport had been renamed after John F. Kennedy following his 1963 assassination, but its old name remained in use.  >
  Mila Jean would fret over the state of 5505's lawns till the end of her life.  On Sep. 18, 1966 a truck would skid and topple the maple tree on our parkway; but since that was considered city property, we got no recompense for its loss.  >
  The Grisafes, Sam (1911-1999) and Marjorie (1925-2002), lived at 5536 Charlotte on the opposite side of our block.  They suffered a double loss in 1964: eldest son Salvatore (Sammy Joe: born 1946) was killed trying to protect two women from assault, followed by youngest son Joseph Patrick (born 1958) dying aged only six.  The surviving Grisafe sons, Paul (born 1951) and Tom (born 1953) must have been in the lawncare business during the summer of 1966.  >
  I was sent to Swope Park's Rocky Point day camp for the first time in 1966, and had always thought this happened in June before George's departure; but it must have been in August after his return.  (Rocky Point is still in business, having been "utilized as a summer day camp for kids for generations": per a webpage about KCMO conservation.)  >
  Nelson Elementary's salute to Independence Day was featured (with a photo) in the July 1, 1966 Kansas City Star, which noted that each class presented a patriotic song or reading.  >
  This was the film version starring Richard Burton as George and Elizabeth Taylor as Martha.  The Kansas City Star reviewed it favorably on July 3, 1966.  >
  Edwin Jurgen Friedrich Wilhelm Westermann (familiarly known as Ed: 1913-2003) came from Colorado to KCU in 1946, chairing the Department of History and later serving as Dean of the College of Arts and Sciences from 1960 to 1973.  I would take Dr. Westermann's Tudor-Stuart History course in 1976.  >
  J. [for Jones] Morton Walker (1920-2002) was a professor of theater at KCU/UMKC and technical director of its Playhouse, as well as co-founding the Missouri Repertory and Kansas City Lyric Theaters.  In 1955 Mort introduced George to Mila Jean, "who has been abroad," after her Fulbright Year Abroad.  (He should not be confused with Beetle Bailey creator Mort Walker, who grew up in KCMO, worked for Hallmark, and attended the University of Missouri.)  >
  Perceval H. "Pete" Hawes (1898-1982) and his wife Helen (1901-1977) lived across the street from the Ehrlichs at 5506 Holmes.  Their role as the neighborhood's Aged Couple would gradually be assumed by George and Mila Jean.  >
  Mila Jean began teaching part-time at UMKC in 1964 and kept at it till 2000, shifting from English to Theater classes as time went by.  >
  Michael L. "Mickey" Beatty (born 1955) was a classmate of mine at Nelson Elementary; we shared an interest in Project Gemini, which launched ten manned space missions during 1965-66.  On June 25th we and other pupils attended the wedding of our fourth grade teacher Maureen Smith (who was young and lovely but strict) to William Neu at St. Peter's Catholic Church; I recall Mickey taking careful notes about the ceremony.  He was the son of Max Allen Beatty (1929-2018), professor and scenic designer in UMKC's Theater Department from 1963 to 1993.  Mickey would go on to become a sculptor and studio division head of the Visual Arts Department at Worcester MA's College of the Holy Cross.  >
  Hans Memling created the Shrine of St. Ursula c.1489 as a reliquary for Ursula's martyred-virgin relics.  >
  A vitrine is a glass display case.  >
  The Mystic Marriage of St. Catherine was painted by Hans Memling c.1480; St. Catherine of Alexandria was another virgin martyr, tortured on an iron-spiked wheel for declaring herself married to Jesus.  >
  The Diptych of Maarten van Nieuwenhove was painted by Hans Memling in 1487.  The left panel shows the Virgin and Child; the right shows Maarten van Nieuwenhove, who commissioned the work and would later be Mayor of Bruges.  >
  St. John's would remain an active hospital for another decade, not moving to a modern healthcare building until 1977.  >
  Once the home of the medieval Lords of Gruuthuse, this mansion was restored in the late 19th Century and became a museum.  >
  Bruges's Church of Our Lady has one of the tallest brickwork towers in the world.  >
  Michelangelo's Madonna of Bruges was sculpted in 1501-04, not long after his Pietà, to which it has some similarities.  >
  The Judgement of Cambyses is a 1498 diptych by Gerard David, commissioned for the deputy burgomaster's office in the Bruges town hall.  Its right panel depicts the flaying of Sisamnes, a corrupt Persian judge.  >
  "Park of the Fiftieth Anniversary" (of the 1830 Belgian Revolution against the United Kingdom of the Netherlands); commissioned for Brussels's commemorative 1880 National Exhibition.  >
  This may have been the hardbound Cassell's New French-English English-French Dictionary that George bought in July 1949 and presented to me in Oct. 1971; it has typewritten lists of verbs and suffixes pasted inside its covers.  (Alas, I always lacked the mental wherewithal to learn more than the odd phrase in any foreign language.)  >
  The Musée Art & Histoire at Cinquantenaire Park, one of the largest museums of this sort in Europe, includes collections on classical antiquity and Belgian archaeology.  >
  Nakht (c.14th Century BC) was a scribe and astronomer from the time of Pharaoh Thutmose IV; he was interred in the Theban Necropolis.  >
  Veit Stoss (c.1440s-1533) was a preeminent sculptor and woodcarver of 16th Century Germany.  >
  This glossy photo, labeled "56-51 Painting-Flemish / Petrus Christus (Ca. 1410-1472) / 'Madonna and Child in a Gothic Room and St. Joseph in the Distance' / Oil on panel, 27 3/8" x 20" [handwritten: 69.5 x 50.8 cm] / (Nelson Fund) / Collection / William Rockhill Nelson Gallery of Art / Atkins Museum of Fine Arts / Kansas City Missouri," was found tucked inside George's Art Record journal.  (Hopefully it's not been out on loan since 1966, with overdue return fees mounting up in the meantime.)  The original painting, done 1460-67, can be viewed in color here>
  On July 8 the International Association of Machinists went on strike against five major carriers—Eastern, National, Northwest, TWA, and United—shutting down more than half of American air service during the peak of summer travel season.  This, the largest strike in airline history, would not be resolved until Aug. 19.  >
  In 1985 I landed in a similar situation, fortunately before my trip actually commenced: I'd booked a direct flight from KCMO to Seattle on United, which went on strike in May; by June most other airlines were taking United tickets on standby only—except for TWA, so I booked with them instead and got to travel west to Seattle via an eastern hop to St. Louis.  >
  This is one of various traits I inherited from George.  Even during my first visits to Seattle, a pedestrian stranger in town, passers-by would stop me to ask for directions: "You look like you know where you're going," one of them remarked.  >
  Aux poivre: with pepper.  Steak dishes are often served aux poivre, but George overwrote his main course's title into indecipherability.  >
  The Berlin State Museums (Staatliche Museen zu Berlin) have Christus's Portrait of a Young Woman (c.1470), but that measures 29 cm x 22.5, not 19 x 14.  >
  Belgian historian Jean Lejeune wrote a 1955 article, "La Premier des Petrus Christus et 'La Vierge au Chartreux,'" but searching for an English title The Virgin of the Carthusians brings up only Portrait of a Carthusian (male monk) which Christus painted in 1446.  This hangs in New York's Metropolitan Museum of Art, not the Staatliche; and measures 29.2 x 21.6 cm, not 19 x 14.  >
  Madonna and Child (aka The Virgin and Child: c.1450-60) at Madrid's Museo del Prado.  This version's title characters have some features in common with the one at Nelson-Atkins.  >
  Christus's Dormition of the Virgin (aka Death of the Virgin: 1460-65), previously at the San Diego Gallery of Fine Arts, is now at San Diego's Timken Museum (established in 1965).  >
  A rabbet is a groove creating a lip along the edge of a piece of wood, such as a frame.  "Rabbet depth" is the amount of space available for fitting in a canvas or other artwork.  >
  The Putnam Foundation was founded in San Diego in 1951 to manage the art collection of inventor/philanthropist Henry W. Putnam (1825-1915) and his nieces.  This collection is now housed in the Timken Museum.  >
  Paul Bernard Coremans (1908-1965), founder and first director of the Royal Institute for Cultural Heritage, was innovatively scientific in the field of artistic conservation.  >
  George would very likely have enjoyed a career working at such an institute, combining his loves of art, technology, and historic preservation.  (Also there'd have been no student papers to grade.)  >
  These glazed shopping arcades are two of the Royal Saint-Hubert Galleries (the third being the Galerie des Princes) built in 1846-47.  >
  Brussels's Church of St. Michael and St. Gudula (Gudule in French) was completed in the 15th Century and given cathedral status in 1962.  >
  Ward Parkway was (and may still be) the poshest landscaped boulevard in KCMO.  The Ward Parkway Shopping Center opened near its southern terminus in 1959 as a two-story mall "for the leisurely luxury shopper"; it was anchored by a Montgomery Ward department store.  >
  The Manneken Pis (Little Pissing Man) fountain is considered a symbol of "Belgitude."  After the 1618-19 original was stolen in 1965, a replica was installed; then the original was found in the Charleroi Canal and returned to Brussels on June 27, 1966, shortly before George's visit.  The original underwent restoration and was installed in the Brussels City Museum.  >
  Ghent is the capital of East Flanders and, as George noted, the third largest city in Belgium after Brussels and Antwerp.  In 1340 it was the birthplace of John of "Gaunt," founder of the English House of Lancaster; his enemies claimed John was the son of a Ghent butcher, not King Edward III.  >
  St. Bavo's Cathedral, built between the 13th and 16th Centuries, was associated with the Chapter of Saint-Bevon after the 1539 dissolution of the Abbey of St. Bavo.  >
  Renamed after Charles de Gaulle in 1970, the Place de l'Étoile (Square of the Star) is the hub of twelve Parisian avenues.  >
  Mila Jean's mother Ada Louise would gripe that she and father Frank never went anywhere on vacations except back to their native Ohio; yet on at least one occasion they visited Chicago and on another Niagara Falls.  >
  Mellie Agnes aka Mildred Aileen Smith Nash (1918-2017): for whom Mila Jean, even when aged eighty-plus, would always be the baby sister.  Mellie worked with the Girl Scouts for twenty years, served as a regent with the Daughters of the American Revolution, and indulged lifelong loves of travel, gardening, and genealogy.  She never lost her fearless tenacity: once while lunching with friends at McDonalds in 2007 she suffered a heart attack, but said nothing about it (so as not to alarm anyone) and later drove herself to the doctor.  >
  Evidently the Grisafe boys weren't available, so I was pressed into service to mow our yards using an old-school push cutter.  5505's hilly front lawn posed an extra challenge, and would continue to do so even after we graduated to a gas-powered mower.  >
  Lina Murrish (1926-2015) "was active in the theater, with a special fondness for and knowledge of Shakespeare.  She performed at the Pasadena Playhouse and assisted with productions of several plays at UMKC.  She taught English, Speech and Drama over her long career at UMKC and KCKCC" [Kansas City Kansas Community College: per her obituary].  >
  Daniel Freeman Jaffe (1933-2020) was a widely-published poet and managing editor of BkMk Press as well as a professor of English at UMKC.  Included in the Dan Jaffe Collection at the UMKC Libraries is communal poetry from the Artists in Schools program: "remnants of the legacy of souls transformed through the direction in finding one's thoughts and giving them life by putting pen to paper."  >
  Thalia Carstenson "Dee" Brown (1932-2020), a KCMO native, returned to town in 1966 and lived at 5740 Central, down the block from Kris Huffman at 5701.  While earning a bachelor's degree in Sociology at UMKC, Dee "volunteered for community groups, including co-managing an interracial Fellowship House community center.  She and the family ran the KC office of Eugene McCarthy’s presidential campaign and she often hosted 'seminars' with friends to discuss current events" (per her obituary).  Dee moved to Colorado in 1971 and became a psychotherapist specializing in addiction and trauma abuse, sponsoring many members of Alcoholics Anonymous.  >
  Alban Fordesh Varnado (1920-2015) hailed from Baton Rouge; he earned his bachelor's, master's, and doctorate from Louisiana State, to which he returned in 1959 after five years of teaching Theater at KCU and directing productions at its Playhouse.  His retirement years were spent in San Antonio volunteering for the American Red Cross.  When I was a child he was "Uncle Al," and I assumed he was Dad's brother.  >
  Joann Elizabeth Stegman (born 1931) became lifelong friends with Mila Jean when both were in KCU's A Capella Choir in 1951.  Joann would go on to New York, Europe, and the Far East as the wife of Jean Soulier, France's ambassador to Thailand and Indonesia; but she and Mila Jean would maintain their bond for over half a century.  >
  The Triumph TR3 was a British sports car produced from 1955 to 1962.  (In Colorado, Dee Brown would drive up the mountains in a Fiat 124.)  >
  Though Matthew was only three years old at the time, this remains a vivid memory: "I remember being absolutely terrified the first time I rode in [Dee's TR3] because the rain top was off and I almost certainly had never been in a convertible before.  The second ride had the rain top on, and that must have been when I was in 'seventh heaven.'"  >
  The Country Club Plaza, just north of Brush Creek, is KCMO's most upscale shopping district.  (In 1966, however, it still included a Woolworths and a bowling alley.)  >
  Ghent's Museum of Fine Arts, the oldest in Belgium, was established in 1798.  Its online slogan is "From Bosch to Magritte."  >
  The 16th Century Christ Carrying the Cross, notable for its surrounding crowd of grotesque faces, is nowadays attributed to a follower of Bosch rather than Hieronymus himself.  >
  Lille is the capital of Hauts-de-France in French Flanders, the nation's northernmost region; it was created in 2014 when Picardy merged with Nord-Pas-de-Calais.  >
  Blandin is a small village in southeast France, far from where George was journeying that day; but the name is clearly written in his journal.  >
  Foreign currencies were exchanged at a bureau de change: obviously very busy places in pre-euro days.  >
  Now known as the Grand Hotel de l'Univers, it is described as "located in the heart of Amiens, just 350 feet from the train station" and offers "soundproof rooms within easy reach of Jules Verne House Museum."  >
  The Ehrlich bathroom at 5505 Holmes lacked a standup shower but boasted an unusually deep tub, which was entirely to George's liking; he would not hear of it being replaced through decades of household renovations.  >
  The canvas B‑4 military garment bag was developed in 1941 for Army Air Force officers; George had one during his service in World War II.  >
  There is an envelope of "Petrus Christus—Basic Notes" in the George Ehrlich Papers, but no record of a published article in his bibliography.  >
  Bracketed by George in the original journal.  >
  The Old England department store was in an Art Nouveau building constructed in 1898-99.  Since 2000 this has been the home of Brussels's Musical Instruments Museum.  >
  Ossip Zadkine (1890-1967) began as a Cubist before developing a style of sculpture influenced by Greek and African art.  >
  Amiens was right on the Western Front through most of World War I, and suffered accordingly.  Reconstruction was not yet complete when World War II began and dealt even more more damage.  >
  The Church of St. Nicholas in Avesnes le Comte has a 12th Century apse.  >
  Île-de-France is the region surrounding Paris, with an outer perimeter holding fast to its rural roots.  >
  The Cathedral Basilica of Our Lady of Amiens is the largest cathedral in France: a 13th Century High Gothic structure twice the size of Notre-Dame de Paris.  >
  Maarten van Heemskerck (1498-1574) was an Italian-influenced Dutch painter and designer of engravings.  >
  "Lange Piet"/"Long Pete" Aertsen (1508-1575) was a Dutch Mannerist painter of monumental genre scenes.  >
  Joachim Patinir/Patenier (c.1480-1524) was a pioneering panoramic landscapist of the Flemish Renaissance.  >
  Jan van Goyen (1596-1656) was a prolific and influential Dutch landscapist who specialized in naturalistic scenes.  >
  Two Bril brothers, Matthijs (1550-1583) and Paul (1554-1626), were Flemish landscape painters who worked in Rome.  >
  The Battle of Delville Wood was part of what might be called the Megabattle of the Somme.  The 1st South African Infantry Brigade, fighting as part of the 9th Scottish Division, captured Delville Wood on July 15, 1916 and held it for four days despite heavy casualties.  >
  Le Figaro, founded in 1826, is the oldest national newspaper in France.  >
  Bracketed by George in the original journal.  >
  The Musée de Picardie, one of France's largest regional museums, is in a Second Empire style building constructed between 1855 and 1867.  >
  Matthew commented: "At some point I remember Dad mentioning a book he had bought in Europe about the First World War and being so appalled by the hubris and stupidity of the military leadership on both sides that he left the book behind in a hotel.  I'm guessing this is the same book he mentions here."  >
  The University of Buffalo's James Joyce Collection includes a page of Finnegans Wake emendations written in July 1925 on "a loose sheet of Grand Hôtel de la Poste, Rouen, stationery."  >
  A triforium is a gallery or arcade across the nave, choir, and transepts of a church.  >
  Pierre Puvis de Chavannes (1824-1898) painted monumental frescoes on the Musée de Picardie's main staircase and first floor galleries.  >
  Simon Vouet (1590-1649), court painter to King Louis XIII, introduced Italian Baroque painting to France.  >
  At the Rouen railway station on July 15 George sat for a four-picture snapshot-strip: the only photos he took during his month in Europe.  ("'Do it yourself' photography is the same the world over," remarks the caption in the Ehrlich photo album.)  >
  Published in 1958, Dr. No was Ian Fleming's sixth James Bond novel but the first to be adapted into a film (1962).  >
  The College Art Association of America was founded in 1911 to promote the visual arts "and their understanding through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners."  George was deeply involved in its endeavors; his regular attendance at its annual conference often meant he was out of town on his Jan. 28th birthday.  >
  The Gare Sainte-Lazare is the third busiest railway station in Paris.  >
  The Rue du Général Lanrezac, a side street one block from the Arc de Triomphe, was named after Charles Lanrezac (1852-1925) who commanded the French Fifth Army in World War I until being dismissed before the Battle of the Marne.  >
  As of 2022 the Hotel Phenix is not only still in business at 5 Rue du Général Lanrezac, but has advanced to an average three-and-a-half stars (out of five) in online ratings.  >
  The 1953 Nagel Travel Guide Paris and Its Environs mentioned Empir's Hotel at 3 Rue Montenotte.  Today (2022) this is the Best Western Empire Elyseés.  >
  Sylvie Ladner (born c.1960?) is described in an Ehrlich photo album as "the daughter of a first cousin who was no longer with us."  Since George would meet Sylvie's mother Anna on July 22, this absent cousin was presumably male.  (See the next note for further presumptions.)  >
  Ily and Mathilda's father Móric Kohn/Kun died c.1930 in Cluj, Romania (formerly Kolozsvár, Hungary).  George, then aged about five, remembered his sister Martha bursting into tears at the news, and Mathilda lighting a candle—highly unusual in their nonobservant Jewish household.  Ily, Móric's youngest child, would have been fifteen or sixteen at the time; her mother Berta had died in 1917.  It might be supposed that Ily joined her sister Margit and brother-in-law Imre Ladner in Paris, where the Ladners and their daughter had moved in 1923 shortly before the Ehrlichs left Cluj for Chicago.  We might further deduce that in Paris the Ladners had a second child—a son, who would've been a contemporary of 1925-born George—and that this son went on to marry Anna, sire Sylvie, and be "no longer with us" by 1966.  >
  Robert Michael Sessler (born 1946) was the son of Violet Evelyn Ruhig Sessler (born 1915) and Albert Bela Sessler (1906-1978). 
Evelyn, older sister of Ted Ruhig, was the eldest of the Hungarian-American generation of which her second cousin George (born 1925) was the youngest; she and husband Albert visited the Ehrlichs in London during our 1971 trip.  Bob Sessler would become Director of the Aging and Adult Services Bureau in Contra Costa County CA, and co-found the local Meals on Wheels service.  >
  One of the definitions of "lug" (a term George used more than once) is "an exaction of money," as used in the phrase put the lug on.  >
  Rouen's Old Market Place, where Joan of Arc was burned at the stake in 1431.  >
  Hôtel de Bourgtheroulde, a Flamboyant Gothic mansion designed in the 15th Century, is now a luxury hotel in Rouen.  >
  The Gros-Horloge, a 14th Century astronomical clock topped by a belfry holding Rouen's town bells.  >
  The Rouen Cathedral, built over the course of eight centuries, has three towers in three different architectural styles.  >
  Rouen's Church of Saint Maclou was begun in 1436 during the Late Gothic period, and completed in 1521 during the Renaissance.  >
  Joan of Arc's final trial was held in Rouen's Archiepiscopal Palace.  >
  Saint-Ouen Abbey was completed in the 15th Century Flamboyant Gothic style.  It was suppressed as a Benedictine monastery during the French Revolution, and is currently used for concerts and exhibitions.  >
  Although one of Joan of Arc's trials was held at Rouen Castle, she was not imprisoned in its donjon (despite its being called the Tour Jeanne d'Arc) but in a neighboring, now-destroyed tower.  >
  Rouen's ornate Gothic Law Courts were heavily bombed during World War II, and had to be restored from a gutted shell.  >
  An entasis is a slightly convex curve given to the shaft of a straight column or pier, to correct an illusion of concavity.  >
  The Musée de Beaux-Arts de Rouen was established after the French Revolution; its present building was built between 1877 and 1888.  >
  Jean-Baptiste Jouvenet (1644-1717) painted religious subjects in a naturalistic style, unusual for the time.  >
  Théodore Géricault (1791-1824), a pioneer of Romantic painting and lithography, is best known for his The Raft of the Medusa.  >
  The only reference to Chausserian I was able to find is in a 1968 interview with sculptor Peter Agostini (1913-1993) for the Archives of American Art.  Agostini spoke of "his role in the introduction of the work of contemporary European artists (Chausserian, Gauthier, Modrian) to the American group" of Abstract Expressionists, whom Agostini later rejected.  >
  Nicolas Poussin (1594-1665) founded the French Classical tradition of painting, though his working life was spent in Rome.  >
  Henri Fantin-Latour (1836-1904) specialized in floral paintings, group portraits, and depictions of nude women.  The Nelson-Atkins Museum currently has ten of his works, mostly from the third category.  >
  As George notes, the Musée Le Secq des Tournelles is devoted to the art of wrought ironwork.  Its collection was begun by Jean-Louis-Henri Le Secq Destournelles (1818–1882), a painter and pioneering photographer; it was housed in the 15th Century Church of Saint-Laurant in 1921.  >
  The Air France ticket agency and museum are at the Aérogare des Invalides ("Airport of the Disabled": so named for being in the neighborhood of Louis XIV's hospital for infirm soldiers).  >
  The Szabo apartment was at 4 Rue Gustave-Rouanet, a seven-story building built in 1932, on a street named after a French journalist (1855-1927) who was municipal councilor of the 18th arrondissement.  >
  The Sacré-Coeur Basilica was constructed between 1875 and 1914 at the summit of the Montmartre, the highest point in Paris.  This church was resented by leftists since it not only represented penance for the 1871 Paris Commune, but was built on a site where thousands of Communards had been massacred; it would be occupied by radical demonstrators in 1971.  >
  The 35th annual Plaza Art Fair would be held Sep. 16-18, 1966 in the Sears parking lot on the Country Club Plaza, with more than 250 artists displaying their wares.  "No cocktails or canapes are served, but if you get hungry there are two popcorn concessions and a soft drink and hot dog stand, plus a place to buy balloons."  >
  In this context, a carnet is a book of public transport tickets.  >
  Mission Hills, in Johnson Country KS across the state line from KCMO, is (as of 2019) the third-wealthiest municipality in the United States.  Contrariwise, 31st and Troost—once the site of the Second Church of Christian Science (demolished in 1955)—was a rundown red-light district in 1966 and decayed further over subsequent decades; efforts have recently been mounted to redevelop it.  >
  The Grand Hotel Terminus was built in 1888-89 to accommodate foreign visitors to the Paris Great Exhibition; Gustave Eiffel announced its opening from atop his Tower.  Since 2015 this "palace of 500 bedrooms," renovated and meticulously restored, has been called the Hilton Paris Opera.  >
  Jefferson City is the capital of Missouri; Lawrence is the home of the University of Kansas (which, being only forty-odd miles west of KCMO, is rooted for by more Kansas Citians than the distant University of Missouri).  >
  Saint-Cloud, a western suburb of Paris, is one of France's wealthiest communities.  >
  During the 19th Century the École des Beaux-Arts taught an architectural style which added Renaissance and Baroque elements to Neoclassicism.  This became the standard for governmental and institutional buildings in Europe and America.  >
  Jacques-Louis David (1748-1825), painter of the Coronation of Napoleon (1807) and Death of Marat (1793), left unfinished a depiction of Le Serment du Jeu de Paume (The Tennis Court Oath) he worked on between 1790 and 1794.  >
  Jean-Marc Nattier (1685-1766) was famous for painting the ladies of Louis XV's court as Greco-Roman mythological figures.  >
  Louis XIII replaced a small hunting lodge with a chateau in the 1630's; Louis XIV expanded this into the Palace of Versailles and moved his court there in 1682; his great-grandson Louis XV made it the seat of government in 1722.  Louis XVI and the royal family were compelled to return to Paris from Versailles when the French Revolution began in 1789.  >
  In the 1950s and '60s, Putsch's 210 on the Country Club Plaza was KCMO's premier restaurant.  (The same family also operated a less-ritzy Plaza cafeteria and coffee shop.)  >
  Built as a tennis court in 1861, the Galerie Nationale du Jeu de Paume became an independent art gallery in 1922 and focused on the avant-garde starting with 1937's Exposition Internationale.  Between 1947 and 1986 it housed the Musée du Jeu de Paume, an Impressionist extension of the Louvre.  Since 1991 it has concentrated on contemporary art.  >
  Place Vendôme is a public square at the start of the ultrafashionable Rue de la Paix.  >
  L'église Sainte-Marie-Madeleine was built as a Roman temple to glorify the army of Napoleon; after his fall it became a Catholic church dedicated to Mary Magdalene.  >
  After a few sentences George reverted to French terminology, written rapidly in a travel-weary hand and with some misspellings; his Louvre laundry list of salles visited was a challenge to decipher.  >
  In France and most of Europe this is called the "ground floor," and the level above it "the first floor."  Here George does use American terminology, calling them the "first" and "second" floor respectively.  >
  Over half a century has passed since George's first visit to the Louvre, but confusion still reigns there.  Colorful floor maps, available at the Louvre website and elsewhere online, use variant systems of room numbering (double-digit vs. triple-digit) for the same salle.  The only comprehensive room-roster I could find was in Paul Vitry's The Louvre Museum: A General Guide to the Collections, published by Albert Morancé in 1922.  "Anyone who has only an hour or two to spare should give up all idea of seeing the whole of the Louvre," Vitry advised; "his best plan would be to follow the programme mapped out for Crowned Heads during a short stay in Paris."
     Some notes on the second- (aka first-) floor salles listed by George:  The seven chimneys have long since been removed from the Salle des Sept-Cheminées.  The Pavillon de l’Horloge has an early 19th Century clock (horloge) on its attic level.  The Cour Carrée (Square Court) evolved from the original 13th Century fortress Louvre.  L'Argenterie Greco-Roman features the Boscoreale Treasure of silver and gold found near Pompeii.  France's surviving Crown Jewels are on display in the Galerie d'Apollon.  The Salles Daru, Denon, and Mollien are "Red Rooms" (per the color of their walls) housing some of the Louvre's largest masterpiece paintings.  Titian is the most-mentioned artist in the Galerie de Sept Mètres (meters, not masters).  Italian Renaissance paintings are displayed in the Salon Carré.  The Salle des Etats, designed to accommodate Napoleon III's legislative meetings, is the largest in the Louvre.  Carlos de Beistegui (1863-1953) donated a large collection of paintings in 1942.  The "côté" indicates whether the Cabinets are on the Tuileries side or the Seine side.  And the saucy-sounding Salle Hollandaise is simply the Dutch Room.  >
  The Escalier du Chien (Stairway of the Dog) was named for a Egyptian statue that would later be moved to another part of the Louvre.  >
  "The end of the [17th] century saw the outbreak of a struggle between academicism ... and the color values of Flemish painting," wrote Michel Gallet in his 1966 guide to The Louvre (published by Exclusiveté vilo).  "The triumph of the Rubenists over the Poussinists was the triumph of feeling over intellect.  It set the independent art of the 18th century on new paths."  >
  Bracketed by George in the original journal.  >
  Jean Frédéric Bazille (1841-1870) was a French Impressionist painter who died young in the Franco-Prussian War.  >
  Thomas Couture (1815-1879) was both a history painter and art teacher; his pupils included Manet, Fantin-Latour, and Puvis de Chavannes.  >
  Jean-Léon Gérôme (1824-1904) was an academic painter, sculptor, and teacher of art to Mary Cassatt, Thomas Eakins, and many others.  >
  As the ultimate Salon painter of the 19th Century, William-Adolphe Bouguereau (1825-1905) was despised by the avant-garde, particularly Gauguin who said his female nudes belonged in a brothel.  Bouguereau regained favor during the late 20th Century, thanks to resurgent interest in realistic (not to mention voluptuous) figure painting.  >
  Charles Auguste Émile Durand (aka Carolus-Duran: 1837-1917) specialized in painting stylish high society.  >
  Île de la Cité and Île Saint-Louis are two islands in the Seine; bridges to and from them link the Left and Right Banks of Paris.  >
  J.W. Chunn's at 43 Rue Richer was a notable Paris parfumerie.  A 1962 travel column by Inez Robb said "one can arrange to turn a girl loose in Givenchy's or J.W. Chunn's or Lanvin's as a bon voyage gesture, if the giver is a sure 'nuf sweet sugar daddy."  >
  Adhesance: French for adherence.  >
  The Bibliothèque Sainte-Geneviève, a public library across the square from the Pantheon, was built between 1838 and 1851.  >
  Saint-Étienne-du-Mont, built between 1494 and 1624, is a church containing the shrine of St. Geneviève, patron saint of Paris.  >
  The Church of Saint-Sulpice is the second-largest in Paris, edged out sizewise by Notre Dame; it was built between 1646 and 1870.  >
  The Abbey of Saint-Germain-des-Prés was founded in the 6th Century and disbanded during the French Revolution; its church remains in service, albeit on a square now named after Jean-Paul Sartre and Simone de Beauvoir.  >
  Dampierre is a Baroque castle with an ornamental moat; Rambouillet, though Marie Antoinette dismissed it a "Gothic toadhouse," was used as the summer home of the Presidents of France; and Maintenon was the private residence (and namesake) of Louis XIV's secret second wife.  >
  The Cathedral of Notre-Dame de Chartres, built between 1194 and 1220, was deemed "the high point of French Gothic art" by UNESCO.  >
  The Bois de Boulogne is one of the largest public parks in Paris; for many years it was a haven for robbers.  >
  Ily visited the United States in early 1967, reuniting with her big sister Mathilda for the first time since 1923.  Whether or not she ever seriously considered moving to America, Ily returned to Paris and married Charles Schvartcz (whose sister Georgette spelled her surname "Schwartz"); they lived at 21 Rue de la Vega, where Charles died in 2005.  "He was ill and sad, his wife died ... and he could not accept that,” said Georgette.  >
  The Sainte-Chapelle is a 13th Century Gothic chapel in the royal palace on the Île de la Cité.  >
  The Musée de Cluny, built on the site of 3rd Century Gallo-Roman thermal baths, is the French national museum of the Middle Ages.  >
  Philippe Pot (1428-1493) was the Grand Seneschal of Burgundy under King Louis XI; his tomb effigy is borne by eight life-sized pleurants (mourning pallbearers).  >
  Germain Pilon (c.1525-1590) was a Renaissance sculptor known for his funerary monuments.  >
  Jean Goujon (c.1510-c.1565) was court sculptor to King Henry II; as a Huguenot, he fled France in 1562.  >
  Michelangelo's Dying Slave and Rebellious Slave (1513-16) were intended for the tomb of Pope Julius II.  >
  George wrote this as
"Bestéque"; had he not earlier referred to the Beistegui Collection I might never have found the correct spelling, since Vitry's General Guide was published before its donation.  >
  During the early 1960s the airline industry invested heavily in jet technology, with several years of flat wages for mechanics and ground service workers who now sought their share of recent corporate profits.  President Lyndon Johnson sought to intervene in the strike and announced a settlement at the end of July, but the union overwhelmingly rejected it.  The final agreement would include a cost-of-living clause and be a considerable improvement on LBJ's proposed settlement.  >
  Established in 1961, the Musée d'Art Moderne de Paris occupies a wing of the Palais de Tokyo built for the 1937 International Exhibition of Arts and Technology.  >
  The Guimet Museum has one of the largest collections of Far Eastern art outside Asia; it was founded in 1879 and moved from Lyons to Paris a decade later.  >
  Bébi ("her real name is Violet") was the daughter of Mathilda Ehrlich's sister Margit/Margaret and her husband Imre Ladner.  She makes numerous appearances in Chapters 4 through 7 of To Be Honest>
  Here George either misinterpreted or was misled: his sister Martha's diary, a prime source for To Be Honest, states that Martha (born Sep. 28, 1919) was six weeks older than Bébi, meaning they were both 47 in July 1966.  A photo of Bébi, inscribed to Matyu néninek and Jozsi bácsinak (Aunt Matty and Uncle Joe), was dated Oct. 26, 1935—shortly before (or possibly on?) her sixteenth birthday.  >
  Raoul Dufy (1877-1953) was a Fauvist painter, printmaker, illustrator, draftsman and designer.  >
  Pierre Bonnard (1867-1947) was a leading member of the Post-Impressionist group called Les Nabis (the Prophets) who synthesized symbols and metaphors into their paintings.  >
  The works of Jean-Édouard Vuillard (1868-1940), another member of Les Nabis, were strongly influenced by Japanese woodblock prints.  >
  Antoine Pevsner (1886-1962), a pioneer of Constructivism and Kinetic Art, moved from his native Russia to Paris in 1923.  >
  The Romanian-born Constantin Brâncuși (1876-1957) was one of the foremost Modernist abstract sculptors and woodcarvers.  >
  The Madonna of Chancellor Rolin, painted by Jan van Eyck c.1435, shows Mary presenting Baby Jesus to Nicolas Rolin (1376-1462), Chancellor to Duke Phillip III of Burgundy.  >
  Art critic Edward Lucie-Smith called the Pietà of Villeneuve-lès-Avignon "perhaps the greatest masterpiece produced in France in the 15th century."  >
  The Parement de Narbonne is a painted silk altarcloth from the 14th Century.  >
  The Cranach family—Lucas the Elder (c.1472-1553) and his sons Hans (c.1513-1537) and Lucas the Younger (1515-1586)—were German Renaissance painters and portraitists.  >
  In his 1922 General Guide, Paul Vitry wrote:

  There is naturally some little confusion in the arrangement of the collections in a palace such as the Louvre, which was not constructed to house them.  Room after room, in the course of the last century, has been taken over for the purpose.  Every possible attempt is made to minimize this drawback, in so far as the premises and the variety of the collections allow.  An attentive visitor, who has become familiar with the Museum, ends by finding his way about easily enough.  He even comes to like the diversity and complexity when he has won the key to it.  It is our aim to lighten the task of those who are not as yet accustomed to the building, and are puzzled by its intricate arrangement as well as by the profusion of its display.  We shall therefore make our topographical information fit in with a logically-planned series of visits to the collections, according to the historical development of the schools or of the different arts.  >  

  The next day, July 24, I wrote Grandma Ehrlich that "Dad was supposed to come home at 5:30 ... but might be home Monday or Tuesday ... P.S. Dad might not be home Mon. or Tues.  He’s on a plane to Chicago and we don’t know how he’s coming home."  >
  The Musée Jacquemart-André opened in 1913 to display the fine art collection of husband-and-wife Édouard André (1833-1894) and Nélie Jacquemart (1841-1912) in their Paris mansion (which appears in the 1958 musical Gigi).  >
  The Musée des Arts Décoratifs was founded in 1905.  Not long before George's visit, it held a retrospective exhibition of design between the World Wars ("Les Années '25'," Mar. 3 to May 16, 1966) where the term Art Deco was used for the first time.  >
  Isabella Stewart Gardner (1840-1924), a patron of the arts and renowned for her unconventional behavior (e.g. wearing an "Oh You Red Sox" headband to a Boston Symphony Orchestra concert), built her namesake museum in the style of a 15th Century Venetian palazzo; it opened in 1903.  >
  Édouard André's "mansion of grand proportions" was designed by Henri Parent (1819-1895: known for his luxurious creations) and built between 1869 and 1875.  >
  In 1966 Orly was the chief airport in Paris and Air France's primary hub for flights to overseas destinations.  >
  I ran a similar gauntlet in 1984, returning to KCMO from my first trip to Seattle.  Departure from Sea-Tac Airport was delayed waiting for the Frontier plane to arrive, then by boarding passengers, then by soliciting departees due to overbooking, then by the last-to-board passenger bringing a computer monitor too large for the overhead bin.  Once in the air, the plane strained to catch up to schedule but was buffeted by turbulent rainclouds, finally arriving in Denver a few minutes after my connection to Kansas City had departed.  I hurried ahead of the crowd to the Frontier counter and got assigned to a United flight due to depart in ten minutes—from the other end of the Denver airport, which felt like the far side of the Rocky Mountains as I sprinted there at full speed with all my luggage in hand.  I wound up at the United gate gasping and sweating, only to find the flight to KCMO had been delayed by rain.  Squeezing at last into the United plane, I made it to Kansas City International where I was to have met George and Mila Jean; they, bewildered by my non-appearance on the Frontier connection and receiving no notice in those pre-cellphone days, had given up and gone home.  I traipsed across the KCI terminal to book passage on a bus, which of course was just about to leave; I was the last to board it, having not had time even to stop by a water fountain.  Parched with thirst, I and my luggage at last trudged home from the Country Club Plaza through a typical Kansas City summer evening, vowing to never go through an experience like that again.  (But, naturally, I would.)  >
  Nancy Gibbon DeLaurier (1924-2019) was the UMKC Art & Art History Department's Slide and Photographs Curator for 27 years, spearheading efforts to gain professional status for what became the Visual Resources Association.  (She also hosted the annual Art Department picnic at the DeLaurier home near Sni-a-Bar Road.)  >
  I felt very filial when I discovered George's meticulous Packing Lists ("suitcase," "briefcase," "on person") compiled on the inside back cover of his personal journal, since I had assembled similar (though less clearly printed) lists for my own travels by air between 1984 and 2016.  >
 


List of Illustrations

●  Berry World Travel agency invoice
●  Overseas Visitors Club card, London
●  Illustration of room at Overseas Visitors Club, page 4 of journal
●  Hotel Aalders card, Amsterdam
●  Hotel Aalders, Amsterdam
●  Illustration of room at Hotel Aalders, page 17 of journal
●  Hotel du Pelican, Brussels
●  The Nelson Gallery's Madonna and Child in a Gothic Room and St. Joseph in the Distance by Petrus Christus
●  Illustration of room at Hotel du Pelican, page 25 of journal
●  Illustration of room at Hotel Grand in Amiens, page 35 of journal
●  Diagram of diagonal compositions, page 32 of Art Record
●  Illustration of room at Grand Hotel de Le Poste, Rouen, page 38 of journal
●  4-pic strip of George in the Rouen railway station, July 15, 1966
●  Illustration of room at Empir's Hotel, Paris, page 41 of journal
●  Phenix Hotel card, Paris
●  Illustration of room at Phenix Hotel, page 42 of journal
●  The Kohn/Kun family in Cluj, 1925: father Móric and children Ily, Jenő, Elza, Rosza
●  Violet "Bébi" Ladner in 1935
●  George and his Aunt Ily, 1966
●  Sylvie Ladner and Ily
●  Alex and Ily Szabo
●  Mathilda Ehrlich reunited with Ily in 1967
●  George's plane ticket home, July 24, 1966
●  On standby for Braniff, July 24, 1966
●  George's packing lists: suitcase, briefcase, on person
 



A Split Infinitive Production
Copyright © 2022 by P. S. Ehrlich


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