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such a lot about these.  Fra A's not because I like them better, not as well as many others, but because they are representative of this kind of thing—  It is a little sad to think that all this [[strikethrough]] kind of thing [[/strikethrough]] is over and that it would be as silly to try to do this kind of thing now, as for a grown man to prophecy in baby-talk.

Holbein's portraits and Durer's [[Dürer]] and Lorenzo di Credi's, are more 'grown up', but one cannot conceive of more learning, subtlety, [[underlined]] frankness [[/underlined]], and unconsciousness—

They appear to think that anything [[strikethrough]] less [[/strikethrough]] than their careful work would be an injustice to art and their sitter.  They had never seen [[underlined]] pictures [[/underlined]] only [[underlined]] people [[/underlined]].  And when they sat down to paint a man they made him hair for hair, and from his brain to his tiny wrinkles in his lips just as he was.  Luckily for us he was more than often a man 


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well very polite but there was such a lot of red tape, and I suppose they thought, as usual, that we were too 'young and fair' to be real artists—  

I longed to draw aside a curtain and show them Harry and Etta or Fanny Cochran, but we got it, after all, and have been free now to several places - which would have cost us a franc apiece.    I went to the Uffizi alone - with my Baedaeker [[Baedeker]] & note book, and did'nt have any sensations of aloneness as one meets only Americans and English, beside the guards, and they the A's and E's are not surprised to see a lone female—    That Fra Angelico of ours is a beautiful copy,- and quite as beatified in my mind as the originals, only the originals, only the originals are a little less labored, & more spontaneous in the painting of the faces—

There is one of Fra A's - a marriage of the Virgin where all the faces are not more than ½ inch long—  They stand in a court or garden of a little marble Villa with a high wall at one side, over which we see blue sky—  Some 

Transcription Notes:
Fanny Travis Cochran