fifty-one rooms, and the doors already open
A hundred and sixty-two paintings, prints and drawings — Giotto, Fra Angelico, Van Eyck, Bellini, Giorgione, Leonardo, Botticelli, Bosch, Dürer, Titian, Veronese, Holbein, Bruegel, Caravaggio, Hals, Rubens, Velázquez, Vermeer, Rembrandt, Ruisdael, Canaletto, Watteau, Uccello, Altdorfer, Panini, Boucher, Fragonard, Hubert Robert, Reynolds, Gainsborough, Stubbs, Lawrence, El Greco, Goya, Hokusai, Friedrich, Constable, Turner, Cole, Corot, Courbet, Daumier, Church, Bierstadt, Rosa Bonheur, Ingres, Rossetti, Burne-Jones, Kramskoi, Hassam, Shishkin, Levitan, Vrubel, Repin, Monet, Morisot, Pissarro, Caillebotte, Cézanne, Sargent, Van Gogh, Gauguin, Klimt. You come in off the street into a twelve-metre vestibule, and through it into the Great Hall — fifteen metres across, eight to the ceiling, and holding nothing at all. Fourteen more rooms stand empty and waiting: a hall eleven metres high for tapestries, a gallery sixteen metres long for the casts, two courts under glass, and a room built to hold a temple.
hanging the pictures
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