Viewing page 24 of 47

522  

Thursday, May 5  Nice.

Took a morning stroll & took the morning's tour of Nice from 10 to 12.30 It is a lovely city. Italian architecture - it belonged to the Italians until Napoleon's time. The sixth largest city of France with a population (winter time) of 250,000. As many as 400,000 with the tourist trade in the summer season
Went to le Mont-Baron, Cimiez (Arènes Romaines et Monastère, Rimiez, la Cascade de Gairaut, Eglise Russe) Nice also has a picturesque old quarter. Combines, mountains, sea, old architecture & the charm of carefree way of life.

Afternoon at 2 o'clock, the tour, till 6.30, to Saint-Paul. This was par Saint-Laurant-du-Var, Gattières, Saint-Jeannet to Vence to visit the Chapelle du Rosaire, conçue et dessinée par Matisse. Afterwards to Saint Paul a beautiful, old town, high in the mountains, wonderful to paint & with lovely shops to appeal to the tourist trade.



523
  
Vence   }
Matisse }  Thursday May 5. Saint-Paul.

(From Vence) & Saint=Paul, we returned to Nice par La Colle-sur-Loup, la basse Vallée du Loup, Roquefort-les-Pins, Villeneuve - Loubet and Cagnes.

Stopped again for a snack & went to see the movie, 'Pain, Amour et Jalousie' with Lolobrigida. Good, amusing characters - well acted & well done.

Bathed, packed & wrote these seven pages - Thought to be in bed by 11.  It is now one o'clock. 

Notes on color- 
Ochre background with wash of light & dark grey. Black line drawing.

Background of creamish white over palest sienna with pale ochre coming thru as well.

Black line, heightened by painted grey shadow

White is always greyed with umber.

Pale Rose umber, umber grey, dark brown line.

Pale cream, ochre, pale orange, greyed umber, grey.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact transcribe@si.edu.