I GROUP 1) OSTADE^a {Rustic Couple Dancing} (vital ecstasy) [The Jubilee] Jan Steen^b. The painter's family 2) WATTEAU^c {French Comedy} (Les comédiens Francais) (The comedian, later the harlekin, the [play as] Pierrot expression of vitality, {refined} [later tragic)] W: Love in Italian comedy 3) RENOIR^d {Breakfeast [sic.] by the River} (Chicago) Les Canotiers à Chatouse (The union of nature and society: The discovery of nature as life-power) 4) RUYSDAEL^e {Ruins of Egmont (Chicago)} Jacob. Edge of a Wood (The power of nature itself. The tree and the power of treehood) 5) MONET^f {Argenteuil (Chicago)} Claude, Waterloo Bridge, London (The positivistic stream of {nature} consciousness in the vision of the subject) 6) A. BRONZINO^g Portrait of {a Lady} Eleonora de Medici (The meaning of the portrait. Expression of the unique individuality) 7) J. SARGENT^h {Mrs. Dyer (Chicago)} Portrait of Henry James (The approximation to the photographic truth) 8) MONETⁱ {St. Lazare (Chicago)} Unloading The cargo (Technique not only tool but also creation. Romanticism of technique)

II GROUP Rembrandt^j: Selfportrait. The end of a period. Tragic personality 9) CEZANNE^k Stillife {(Cézanne^l and Uhde^m or Hoffmannⁿ)} The cosmic character of the still life in Cézanne^o. "The metaphysics of the thing") 10) BRAQUE^p Stillife (Reduction to elements, but 2 dimensional and in this sense symbolic) 11) Jean LURCAT ^q{Cloud} Le Cidre (Cosmic by destruction of the surface. The demonic element, horror and fascination) 12) Chicrico ^r{Soothsayer's Recompense} Melancholy and mystery of a street. (The productions of the unconscious (surrealistic combination of disrupted pieces of rea- lity 13) TANGUY^s {Parallels} Heredity of acquired charac- teristics No definition, but more connotation (Phantastic potentialities) 14) ROUAULT^t {Clowns} Circus trio The metaphysics of the harlequin. [melancholic and even tragic vitality (continued)

II GROUP (continued) Feininger^u 15) BECKMANN ^vOld Actress (The problem of the expressionistic por- trait: Similarity and expression) 16) PICASSO^x Three Musicians Chirico^y: The consoler The question of the divinity of the human face and its analysis. 17) PICASSO^z Guernica The Protestant religious picture. 18) PICASSO^aa Geurnica (detail)     "      19) FEININGER ^abBridge Elements of the technical tool as cosmic forms

III GROUP 20) GIOTTO^ac {Pieta} St. Francis and the birds (Substance and form. But subjective piety The synthesis in Giotto^ad. 21) MASACCIO^ae {Birth of St. John} Tribute money. {Over stress} The majesty of the human form. 22) BELLINI^af {Baptism of Christ} Madonna {with} and child The principle of immanence of the infinite in the finite and the divinity of man as the microcosm. 23) RAPHAEL^ag Madonna {of the Chair} Colonna Loss of religious significance in the human relations. 24) REN^ahI {Baptism of Christ} Magdalen The "kitsch" and the modern churches {[25) REMBRANDT ^aiMannoha, Sacrifice} {Intensive subjective piety]} v. Uhde^aj: The Christ with the peasants.

III GROUP (continued) {26) REMBRANDT ^akSelfportrait} {The history of the individual personality} {in his relation to the meaning of life} 27) MANET ^alThe Mocking of Christ The great gap between Rembrandt^am and the year 1900.

IV GROUP 28) BOSCH ^anTemptation of Saint Anthony The demonic surrealism used for the holy legend. 29) GRECO ^aqSaint Martin (Chicago) The winding up from humanity to the transcendent: Produced ecstasy. 30) GRECO^ar {Feast in the House of Simon (Chicago)} Christ, driving the traders from the temple The same in a group. But the huma- nistic basis remains (barock, counter-Reformation) Rembrand^as: Daniel's dream, Subjective piety 31) NOLDE ^at{Prophet} The last supper The attempt to use ecstatic expressionist forms for the religious content. 32) DERAIN^ax Last Supper (Chicago)     "      33) CHIRICO^az Evangelival Stillife Symbols in disruption. 34) PICASSO^bb, Cruzifixion     "     " Rouault^bc: On the way to the Church      "     Head of Christ. [Is it as genuine as his harle- quins?]