But though sobad a painter, he had a very delicate feeling for art, and to go with him topicture-galleries was a rare treat. His enthusiasm was sincere and hiscriticism acute. He was catholic. He had not only a true appreciation of theold masters, but sympathy with the moderns. He was quick to discover talent,and his praise was generous. I think I have never known a man whose judgmentwas surer. And he was better educated than most painters. He was not, like mostof them, ignorant of kindred arts, and his taste for music and literature gavedepth and variety to his comprehension of painting. To a young man like myselfhis advice and guidance were of incomparable value.

When I leftRome I corresponded with him, and about once in two months received from himlong letters in queer English, which brought before me vividly his spluttering,enthusiastic, gesticulating conversation. Some time before I went to Paris hehad married an Englishwoman, and was now settled in a studio in Montmartre. Ihad not seen him for four years, and had never met his wife.

但是施特略夫虽然是一个不高明的画家，对艺术却有敏锐的鉴赏力，同他一起参观画廊是一种很难得的享受。他的热情是真实的，评论是深刻的。施特略夫是个天主教徒，他不仅对古典派的绘画大师由衷赞赏，对于现代派画家也颇表同情。他善于发掘有才能的新人，从不吝惜自己的赞誉。我认为在我见到的人中，再没有谁比他的判断更为中肯的了。他比大多数画家都更有修养，也不象他们那样对其他艺术那样无知。他对音乐和文学的鉴赏力使他对绘画的理解既深刻又不拘于一格。对于象我这样的年轻人，他的诱导是极其可贵的。

我离开罗马后同他继续有书信往来，每两个月左右我就接到他用怪里怪气的英语写的一封长信。他谈话时那种又急切又热情、双手挥舞的神情总是跃然纸上。在我去巴黎前不久，他同一个英国女人结了婚，在蒙特玛特尔区一间画室里安了家。我已经有四年没有同他见面了，她的妻子我还从来没见过。