Public Galleries of Art are now regarded by the most enlightened men,
and the wisest legislators, as of incalculable benefit to every
civilized country. (See vol. i., page 6, of this work.)
They communicate to the mind, through the eye, "the accumulated wisdom
of ages," relative to every form of beauty, in the most rapid and
captivating manner. If such institutions are important in Europe,
abounding in works of art, how much more so in our country, separated as
it is by the broad Atlantic from the artistic world, which few
comparatively can ever visit: many of our young artists, for the want of
such an institution, are obliged to grope their way in the dark, and to
spend months and years to find out a few simple principles of art.
A distinguished professor, high in public estimation, has declared that
the formation of such an institution in this country, however important
and desirable it may be, is almost hopeless. He founds his opinion on
the difficulty of obtaining the authenticated works of the great
masters, and the enormous prices they now command in Europe. The writer
ventures to declare it as his long cherished opinion that a United
States National Gallery is entirely practicable, as far as all useful
purposes are concerned; and at a tithe of the cost of such institutions
in Europe. In the present state of the Fine Arts in our country, we
should not attempt to emulate European magnificence, but utility. The
"course of empire is westward," and in the course of time, as wealth and
taste increases, sale will be sought here, as now in England, for many
works of the highest art. It is also to be hoped that some public
benefactors will rise to our assistance. After the foundation of the
institution, it may be extended according to the taste and wants of the
country; professorships may be added, and the rarest works purchased.
When the country can and will afford it, no price should be regarded too
great for a perfect masterpiece of art, as a model in a national
collection. To begin, the Gallery should contain,
1st. A complete library of all standard works on Art, historical and
illustrative, in every language.
2d. A collection of the masterpieces of engraving; these should be
mounted on linen, numbered, bound, described and criticised.
3d. A complete collection of casts of medals and antique gems, where the
originals cannot be obtained. There are about 70,000 antique medals of
high importance to art. (See Numismatics, vol. iii., p. 269, of this work.) These casts could easily be obtained through our
diplomatic agents; they should be taken in Plaster of Paris or Sulphur,
double--i.e., the reverse and obverse,--classified, catalogued,
described, and arranged in cases covered with plate glass, for their
preservation.
4th. A collection of plaster casts of all the best works of sculpture,
particularly of the antique. Correct casts of the Elgin marbles are sold
by the British Museum at a very reasonable price, and in this case
would doubtless be presented to the institution.
5th. A collection of Paintings. This is the most difficult part of the
project, yet practicable. Masterpieces of the art only should be
admitted, but historical authenticity disregarded. The works of the
great masters have been so closely imitated, that there are no certain
marks of authenticity, where the history of the picture cannot be
traced. (See Spooner's Dictionary of Painters, etc., Introduction, and
Table of Imitators.) Half the pictures in foreign collections cannot be
authenticated, and many of those which are, are not the best productions
of the master, nor worthy of the places they occupy. (See Mrs. Jameson's
Hand-Book to the Public Galleries in and near London; also the
Catalogues of the various Public Galleries of Europe.) Therefore,
instead of paying 5,000 or 10,000 guineas for an authenticated piece by
a certain master, as is sometimes done in Europe, competent and _true_
men should be appointed to select capital works, executed in the style
of the great masters. Many such can be had in this country as well as in
Europe, at moderate prices.
6th. The Institution should be located in New York, as the most
convenient place, and as the great centre of commerce, where artists
could most readily dispose of their works. For this favor, the city
would doubtless donate the ground, and her citizens make liberal
contributions. The edifice should be built fire-proof, and three
stories high--the upper with a skylight, for the gallery of paintings.
Such an institution need not be very expensive; yet it would afford the
elements for the instruction and accomplishment of the painter, the
engraver, the sculptor, the architect, the connoisseur, the
archæologist, and the public at large; it would be the means of
awakening and developing the sleeping genius of many men, to the honor,
glory, and advantage of their country, which, without it, must sleep on
forever. See vol. ii., pp. 149 and 155, and vol. iii., p. 265
of this work.