[Art Galleries of Europe; John Lewis Roget (1828-1908), 'Thesaurus compiler, Artist & Art Historian', son of P.M. Roget] Part pilgrimage through the Art Galleries of France and Belgium, part travel journal.

See images (not quite full pages). [Notebook; Art in Europe] 1872 Holland | Belgium | [Meuse?] | Paris, from one end of the notebook he travels from place to place i.e. part travel journal (Belgium, Holland, France) but including a tour of Art Galleries, often discussing individual paintings [that are presumably on display] in detail ranging from brief to lengthy comment, layout and buildings, along with more conventional diary entries giving information (architectural, etc) about the places visited or passed through, starting in Antwerp, [paginated] 87pp., AND from the other end, itinerary with exhaustive details of expenses while travelling, [not paginated], 15pp. inc. inside front cover, marbled bds, partly detached, contents in good condition, writing often scrawl.A. E.g. Brussels, lists (with information) of pictures in the Musee Moderne, 9pp., followed by information about M. [Gustave]Couteaux's collection of modern pictures, Musee Wiertz, Zoological Gardens. Long alphabetical list of paintings in the Musee Luxembourg, Paris, including a particularly substantial comment on Delacroix, pp.72/3: After first astonishment at his showy force, I though[t] him over-rated; seeing him defective in drawing, and in his colour, particularly his flesh, untrue to nature, and apparently more anxious for fine contrasts than for truth. It is only occasionally, too, as in the old woman looking up in the foreground of (66) [added in pencil 'that he gives much facial expression]. But his force & richness are so great that I cannot help acknowledging him a painter of high powers. His [colr?] & chiaroscuro combined have some smack of Spagneletto. But his masterly small sketches in pencil (266) & his (262) water colour lion's head show what his mode of expression was. His paintings are [living?] opposite Ingre's [sic], & it is interesting to compare them. One can see how distasteful each must have been to the other.B. Eg. Reims, commenting architecturally on the Cathedral, the street layout (arcades), but adding German troops here in plenty - fine looking fellows, reflecting the consequences of the Franco-Prussian War. Later comment on Soissons, No German troops here.Art Collections listed some with extensive comments include: (Brussels) Musee Moderne (9 pages); M. Couteaux's collection of modern pictures; Notre Dame de la Chapelle; Palais de Justice; Musee Royale; Musee Wiertz; Musee Moderne; (The Hague) Exhibition of Modern Pictures; The Musee inc. Rubens, Holbein; Mr. Hoffmann's collection; (Haarlem) Pavilion, 4pp.; Town Hall Musee; (Amsterdam) Musee; Exhibition of Old Masters at the Soc 'Arti et Amicitiae', 3pp.; Musee van der Hoop (mainly a listing), 3pp.; (Paris) Musee de Luxembourg, 11pp, basic alphabetical list minimal but sometimes pointed comment; the Louvre (most famous exhibits, lots of commentary, 7.5pp). THE END.Itinerary includes minor places (not listed) but basically Antwerp, Brussels, The Hague, Haarlem, Amsterdam, Aix-la-Chapelle, Liege, Namur, Dinant, Givet, Mezieres, Reims, Soissons, Paris.