1. Theo had sent Vincent prints after Millet’s Diggers , The sower , Winter: The plain of Chailly and The four times of the day ; see letter 805, nn. 7-10.

2. Evening (after Millet) (F 647 / JH 1834 ), after the print Evening in the series The four times of the day.

3. Diggers (after Millet) (F 648 / JH 1833 ).

4. The end of the day (after Millet) (F 649 / JH 1835 ), after the print The end of the day in the series The four times of the day.

5. Sower (after Millet) (F 689 / JH 1836 ). The canvas measures 64 x 55 cm (no. 15 canvas), the other three works were no. 30 canvases (72 x 92 cm). The second version, mentioned in letter 850 of 1 February 1890, was F 690 / JH 1837 . See exhib. cat. Paris 1998, p. 123 and Homburg 1996, pp. 91-92. For another interpretation, see cat. Otterlo 2003, pp. 338-339.

6. Rain (F 650 / JH 1839 ).

7. This refers to the same painting mentioned in ll. 113-115: The garden of the asylum (F 660 / JH 1849 ). See Hendriks and Van Tilborgh 2001, pp. 155-156.

8. The garden of the asylum (‘Leaf-fall’) (F 651 / JH 1844 ).

9. Theo wrote this in letter 813.

10. Van Gogh had promised his mother and Willemien seven paintings; see letter 811.

11. View of the asylum with a pine tree (F 653 / JH 1840 ). According to De la Faille 1970, the canvas was in the possession of Dr Joseph Peyron (this should be Théophile Peyron).

12. Gauguin had been with De Haan in Le Pouldu since 2 October, and would not return to Paris until 8 February 1890. See Gauguin lettres 1983, p. 137, and letter 852. Bernard was in Paris from September to December 1889. See exhib. cat. Mannheim 1990, pp. 98-99.

13. This refers to the order placed in ll. 1*-3, which is no longer extant.

14. Eugène Delacroix, Jacob wrestling with the angel, 1855-1861, a mural in the Church of Saint-Sulpice in Paris. Ill. 71 .

15. It cannot be ascertained which work or works by Delacroix Van Gogh is referring to here. Two paintings are known with the title Cliffs: the panel Cliffs near Fécamp, 1854? (present whereabouts unknown) and the painting Cliffs at Etretat: the Porte d’Aval, 1849? (present whereabouts unknown). See Johnson 1981-1989, vol. 3, pp. 256, 293-294, cat. nos. 488, L210.

16. Theo had written about Delacroix’s flower studies (see letter 781, n. 1).

17. The garden of the asylum (F 660 / JH 1849 ) measures 73 x 92.5 cm. See Hendriks and Van Tilborgh 2001, p. 155.

18. ‘The previous ones’ refer to the ‘studies drawn with long, sinuous lines’ (ll. 100 ff.) from the previous consignment of paintings (regarding this consignment, see letter 806). Vincent is presumably reacting here to Theo’s cautious criticism (voiced in letter 813) of the new canvases, such as Starry night (F 612 / JH 1731 ) and The Alpilles with a hut (F 622 / JH 1766 ). ‘The previous ones’ was previously thought to refer to the paintings Trees in the garden of the asylum (F 642 / JH 1798 ) and Pine trees in the garden of the asylum (F 643 / JH 1799 ), described in letter 810. See Hendriks and Van Tilborgh 2001, p. 155 (n. 84).