1. Theo had influenza and a fever. The family were alarmed, because little more than a year before he had been dangerously ill. Mr van Gogh wrote: ‘To our great sorrow I heard yesterday from Uncle Cor, whom I met at Princenhage, that you are not well and were staying indoors and were feverish. I’m glad that you immediately stayed at home, and I cannot urge you too strongly to be careful. You once suffered from it so terribly, and many people have been so hard hit by it these days. Poor chap! How sorry I am and how I hope that we’ll soon hear something from you. It’s a comfort to think that good Miss Roos is so conscientious – and that you will be sensible enough to spare yourself, if that is necessary’ (FR b961, 9 January 1877). His concern – which was nothing out of the ordinary – was unwarranted: ten days later Theo was fully recovered (FR b963, 19 January 1877).

2. On Monday, 7 January, Vincent travelled from Etten to Amsterdam (FR b960), stopping off at The Hague, where he met Theo, who later informed his parents that the visit had gone well (FR b961 and b966); Lies reacted somewhat scornfully: ‘And so the church-trotter has been to see you. It was certainly a treat to see him again ... And I must also tell you that Vincent gave me a serious scolding, because I was so worldly. Well, if he is godly, I hope never to become it, and you?’ (FR b962 to Theo, 13 January 1877).

3. For reasons of health, Uncle Vincent van Gogh and Aunt Cornelie left the Netherlands on 10 January for the town of Menton in the south of France (FR b961 and b964).

4. Owing to the holidays and the necessity of standing in for a colleague, Mr van Gogh had had to preach nearly every day for the past several weeks (FR b960); cf. also letter 138.

5. Charles Rochussen, Une soirée chez un diplomate. Fin du 18e siècle (A diplomatic soirée. End 18th century), 1877 (present whereabouts unknown). This watercolour was described as follows: ‘In a richly decorated and furnished room four diplomats have gathered around a gaming table. Their game is interrupted for a moment by a servant who brings one of them a sealed envelope, which the other three regard with veiled curiosity, as though trying to divine its contents. A servant stands near the fireplace. In an adjoining room: ladies and gentlemen, officers, invited guests. A magnificent, highly polished watercolour of extraordinary characterization, as much in the details as in the players’ heads.’ See Franken and Obreen 1894, p. 126, cat. no. 843.

6. Lectures on art, illustrated by examples, were given at regular intervals at artists’ societies. Anton Mauve was to speak on Thursday, 10 January at Arti et Amicitiae, Rokin 112. See Groot and De Vries 1990, p. 80.

7. The brothers’ visit to Anton Mauve could have taken place on Monday, 7 January, when Vincent was in The Hague, or during his stay there shortly before Christmas 1877, when he travelled to Etten via The Hague; see n. 2 and letter 138, l. 41.

8. It cannot be said with certainty which work by Hendrik Valkenburg is intended here. A painting that comes close to Van Gogh’s description is the undated Twente interior (Warffum, R. de Boer Collection). Ill. 1398

9. Auguste-Paul-Charles Anastasi made a lithograph after Théodore Rousseau, Four dans Les Landes (Oven in Les Landes). It also occurs in a scrapbook in the estate (Amsterdam, Van Gogh Museum, t*1487, 10). Ill. 1866

10. It is not clear which reproduction Van Gogh is referring to. Although J.H. Weissenbruch painted a number of canals with tow-paths, the depiction referred to here is most likely a print after either View of the Trekvliet (1870), or View near the Geestbrug (1868). Another possibility is the lithograph Molen langs de Trekvaart

(Mill by the Trekvaart); see letter 11, n. 16.

11. The sales trip undertaken to interest booksellers, print dealers and art galleries in Goupil & Cie’s products.

12. Prints after Ary Scheffer’s Christus Consolator

and Christus Remunerator

(see letter 85, n. 7), of which Theo had found two sets; see letter 137.

13. Van Gogh is probably referring to the poem ‘Le retour des champs (à François Millet)’ (Returning from the fields (to François Millet)). See Breton 1875, pp. 51-53.

14. Jean Léon Gérôme, Phryné before the Areopagus, 1861 (Hamburg, Kunsthalle). A photograph of the painting Phryné before the tribunal (no. 562), one of the pictures published by Goupil & Cie, appeared in L’Oeuvre de J.-L. Gérôme (Paris n.d.), and was sold separately in the ‘Musée Goupil’ series. However, because Van Gogh mentions a ‘statue’ a few lines later, as well as ‘that statue after Gérôme’, he is more likely referring to the scaled-down bronze reproduction of a marble which Jean Alexandre Joseph Falguière made after Gérôme’s painting (Baltimore, Museum of Art). Ill. 131

. A replica was put on the market by Goupil, and it is possible that Uncle Cor owned one. See Ackerman 1986, pp. 54-55, 59, 210-211, 308, cat. no. 132 and cat. no. S.2. At the exhibition held to mark the opening of Goupil’s London branch in 1875 (see letter 29), the sculpture by Prosper d’Epinay after Gérôme’s Phryné was on display. See The Art Journal 14 (1875), NS, pp. 245-246.

15. It is not known which Parker Van Gogh is referring to. There are several possibilities, including Matthew Parker, Elizabethan Archbishop of Canterbury, General William Parker and the art historian John Henry Parker, as well as John Parker, the father of the family with whom Van Gogh boarded in Kennington. In connection with Thomas a Kempis, the first-mentioned Parker seems the most likely candidate. Matthew Parker represented the classical Anglican standpoint, midway between Rome and Geneva, and stressed the importance of the traditions of the old church. Since 1835 the Parker Society, which was named after him, has devoted itself to reissuing the source material connected with the English Reformation.