Introduction


 

 

 


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.

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.  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 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 Michaelangelos, 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 vlumes) 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 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 19m10-20.
     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 P.R. 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 a become 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 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 titak us $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 Aalder 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 Gogh - moderns) 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 US. 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, thee 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 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 "The room (#5) Hotel du Pelican," 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 trup 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 (18f) 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 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 Ambroux.

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 ths 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 happened to be housed  within the larger structure (and which received collateral help—mainly photographic assistance.
     The Research Center os really a set of filing cases of photographs, indexes for comparison purposes, and a small but apparently very complete library on t he subject of Flemish painting.  I was given the Petrus Christus photos and discovered:
     1)  There are comparively 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 dyptych (including three pictures, the upper left an annunciation and the right half a last judgment) contains in the annunciation a similar char [sic], 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 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 is 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 P.C. [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.  Nit 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 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

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 show 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

 

 

 

 

 

 

 

 

 

 

 

 

 



















 


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 till 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) 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 current currency: 12 pence to a shilling, 20 shillings (or 240 pence) to a pound, and 21 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 great 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 toilet, 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 Earl's 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; it 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.  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 a 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.  >
  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 repainted.  >
  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 its 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.  >
  The 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 of 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 as 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 1906-07, 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.  >
  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.  >
  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 the Ehrlichs's 1971 trip to England he would acquire five more cars, plus a taxicab and 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 Provisionys), 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 Gallery 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 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 neo-classical 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.  >
  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 circa 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 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.1915-1998) 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 (unproofed?) website boasts: "Our charming 3-star hotel is located in the museumquarter 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, 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 to his retirement in 1995.  "Merrill took a back seat to no one, and while many stories were told more than once, they were always worth hearing again.  He was a raconteur."  >
  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, dating from the 1520s till 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 its recurrence in July 8th's entries, where additional clues led to my determination 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 Aalder'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, 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 away 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.  At 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 school program 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.  According to a letter I wrote Grandma Ehrlich on July 24, 1966, my summer school 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; its old building at 18th and Grand has been redeveloped as "Grand Place").  As for Nelson, in 1989 it became the new Grant Hall for UMKC's Conservatory of Music and Dance (now simply the Conservatory, having merged 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; it would be adapted into a film version 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 World of Fun amusement park.  >
  Ernestine Naomi McGrew was born in 1921; at Southwest High School she was Secretary of the Art Honor Society, 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.  (Whether any of this led to Mila Jean prefacing Ernie's name with "(get this)" in her letter to George can now, of course, only be guessed.)  Ernie moved with Tom to Eureka Springs AR and died there in 1976; 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 way 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.  Then in July 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 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.  >
  Dieric Bouts the Elder (c.1415-1475) was an Early Netherlandish painter influenced by Van der Weyden and Van Eyck.  His Justice of Emperor Otto III is a diptych—Beheading of the Innocent Count and Ordeal 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 (no "h") the Elder (c.1525-1569).  Elder has been called the greatest Flemish painter of the 16th Century, a significant and innovative Renaissance artist.  As George noted, Younger 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.  >
  Belgian Museums and Churches: no guidebook with that specific title is 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 includes 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 de Vos 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.  >
  "The Venice of the North," Bruges 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 such in Europe.  >
  The Groeninge Museum, Bruges's municipal gallery, is 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.  >
  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 had to be done in the immaculate basement, which had the added summertime advantage of being the coolest place in the house.  >
  I began going to Outer Seattle for temperate summer vacations in 1984, mild-mannered winter breaks in 1987, and permanent residence (away from KCMO's climate extremities) 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 the Ehrlich parkway; since this 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 the Ehrlichs's 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 two surviving Grisafe sons, Paul (born 1951) and Tom (born 1953) must have been in the summer lawncare business in 1966.  >
  I was sent to Swope Park's Rocky Point day camp for the first time in 1966, and 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.)  >
  This was the film version starring Richard Burton and Elizabeth Taylor as George and 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 had 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 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, with 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 have 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.)  >
  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.  >
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List of Illustrations

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


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