[2] In his first published work, Vore oldeforældres land (1910), he maintained that Norwegian artists of the 18th and 19th century had reacquired a feeling of nature that was lost in the Renessance.

[2] Schnitler had, according to the literary scholar Ottar Grepstad, timed the release of that work, so that it could be read before the centennial anniversary of the 1814 constitution.

Et norsk militæranlæg fra rokokotiden (1914) he maintained that the architecture of the naval base Fredriksvern was governed by Baroque ideals.

He eventually released the work Norske haver i gammel og ny tid (1916) in two volumes, chapters of which were translated into Swedish.

In the same year he published Malerkunsten i Norge i det attende aarhundre, which was a systemic treatment of 18th-century paintings in Norway.

He also wrote a few entries on Norwegian artists in the encyclopaedias Allgemeines Lexikon der bildenden Künstler and Norsk biografisk leksikon.