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Paulin-Desormeaux, entitled, Musée Industriel.-Description complète de l'exposition des produits de l'industrie Française faite en 1834 ;* and a more popular and amusing account of it, in a series of five papers, by M. Jules Janin, in the 5th vol. of the Revue de Paris, new series. The official account, admirably drawn up by the Baron Charles Dupin, Vice President and Reporter of the Central Jury, has been published under the title of Rapport du Jury Central sur les Produits de l'Industrie Française exposés en 1834.† This, as might be expected, is beyond comparison the most valuable.

In the introduction to this Report, M. Dupin alludes to the apparent carelessness of England to avail herself of the advantages of such an exhibition, and contrasts it with the readiness with which it has been imitated by most of the other states of Europe. I think the passage significant, and give it in the author's own words:

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"Ainsi," says M. Dupin, "l'éclat toujours croissant des expositions de notre industrie a frappé les états étrangers. Presque tous, en Europe, ont voulu suivre ce brillant exemple, même ceux qui semblent le moins progressifs. L'Autriche et l'Espagne, le Piémont et le Portugal, les Deux Siciles et les Pays Bas, la Prusse et la Bavière, la Hollande et la Danemarck, la Suède et la Russe, ont établi des expositions nationales dont elles ont reconnu l'avantage, et que, pour ce motif, elles ont rendue périodiques.

"L'Angleterre seule, en Europe, se croit trop riche et trop supérieure, pour avoir recours à de semblables stimulants. Elle déprécie, elle dédaigne ces efforts; elle semble fermer les yeux, mais elle les ouvre profondément sur des tentatives propres à diminuer l'inégalité des industries nationales; et, par conséquent, à faire disparaître la suprématie d'une seule sur toutes les autres."

Note E. Picture and Sculpture Galleries, their construction and

arrangement, p. 126.

On the construction and arrangement of the GLYPTOTHECA and PINACOTHECA Of Munich, the Baron von Klenze, their architect, thus expressed himself:-" In the galleries of Munich I thought it was essential to separate the statues and the pictures, because they differ so much in the light and other circumstances which they require, that it is difficult to unite them in the same building without sacrificing the one to the other.

"The gallery of sculpture I thought it desirable to arrange historically. There were two modes of arrangement hitherto pursued; the one mythological or ideal, the other historical. I thought it right to follow the historical plan. I began with the Egyptian, because from the Egyptian the Greek art sprang. Then, after the Egyptian room, the hall for the

* 8vo. Paris, 1834-5. † 3 tom. 8vo. Paris, 1836-7.

Tom. 1, p. ix.

ancient Greek or Archaic sculpture, which is the second room. The third room is the school of Egina; here we have the famous Egina Marbles. Next comes the room for the school and times of Phidias. Then two rooms for the most beautiful Greek epochs; after that, three rooms in which there are no statues, but which are richly painted in fresco, with the history of the ancient gods and heroes, to refresh the eye, after having seen the Egyptian and Greek sculptures, with the sight of colours again.

"After these rooms we enter the second gallery of sculpture, beginning with a room in which there are heroes and other celebrated persons. Here we begin the Roman art, which is contained in two very large rooms. Then we come to the last room in which are placed some modern statues from the revival to our own times, in order to show how ancient art has entered into modern art. With respect to the collection of the statues, my object has been to light them all from one side only; and the principle on which I have differed from all the museums hitherto constructed, is in the employing of colour as a ground for the statues, instead of a dirty grey wall. I have put the deepest and richest colours, so that all the statues have the appearance of being new and fresh, being relieved by the depth of the background. The ceilings also are very rich being decorated with gilded stucco; and the floors too are very ornamental. In arranging the works of antiquity, you must not hesitate to show them in contrast with richness of colour. In the Roman hall, where the sculptures are all of deep-coloured marble, the walls, on the contrary, are of a light colour.

"The gallery of paintings (or Pinacotheca) is destined to receive all those objects of art which are represented on a plain surface, that is, those which have no relief, as pictures, drawings, engravings enamels, glasspaintings, mosaics, &c. The first floor contains the pictures, and the entrance or ground floor, the other objects.

The

"The pictures are placed according to the schools. I wished to allow the possibility of arriving at any particular school without passing through another, and for this purpose I have a corridor running the whole length of the building, which communicates with each separate room. large pictures are in very large rooms lighted from above; the smaller pictures are in small rooms, lighted with a side light from the north; such is the general disposition. The rooms are so arranged that the spectator is not annoyed by reflected lights, but wherever he stands he sees the pictures without any reflection.

"With regard to the classification of the pictures, there is first a large ante-chamber which is very richly ornamented, but only with white and gold. It contains six large portraits of the founders of the gallery. There

A plan which within the last few months has been imitated in the Elgin Gallery at the British Museum.

is a room attached for restoring pictures, and for copying, on special permission being given to take down a picture from the walls of the gallery for that purpose. It serves also for the exhibition of pictures newly acquired. The first large room is for the ancient Flemish school, with three smaller rooms attached for the smaller pictures; after that, a great room for the ancient German school, with four small rooms; then, three large rooms for the more recent Flemish school, with ten small rooms; then, a room for the French and Spanish schools; then, three large rooms-one of them 93 feet long, for the several Italian schools, and three small rooms for the smaller pictures. There are other rooms attached for the subor

dinate purposes of the gallery.

"On the entrance floor, there is a gallery for engravings; another for original drawings of the great masters; there is a considerable space for ancient paintings, such as the terra-cotta vases, and the mosaics; and the other rooms are for paintings executed by means of fire, as glass, porcelain, enamels, &c."

I conclude this account with a few lines from the accomplished pen of Mrs. Jameson, who has described the Pinakothek as she saw it prior to its completion.

"The corridor or loggia," she says, "is four hundred feet in length, and lighted by twenty-five arched windows, which, by the way, command a splendid prospect bounded by the far-off mountains of the Tyrol. The wall opposite to these windows is divided into twenty-five corresponding compartments, arched, and each surmounted by a dome; these compartments are painted in fresco with arabesques While every arch and

cupola contains (also in fresco) scenes from the life of some great painter, arranged chronologically: thus, in fact, exhibiting a graphic history of the rise and progress of modern painting, from Cimabue to Rubens.

"Of the series of frescos, a few only are finished, from which, however, a very satisfactory idea may be formed of the whole design. The first cupola is painted from a poem of A. W. Schlegel, Der Bund der Kirche mit den Künsten. [The alliance between the church and the arts.] The second cupola represents the Crusades, because from those wild expeditions . . . arose the regeneration of art in Europe. With the third cupola commences the series of painters. In the arch, or lunette, is represented the Madonna of Cimabue carried in triumphal procession through the streets of Florence to the church of Santa Maria Novella; and in the dome above, various scenes from the painter's life. In the next cupola is the history of Giotto; then follows Angelico da Fiesole, who, partly from humility and partly frem love of art, refused to be made Archbishop of Florence; then, fourthly, Masaccio: fifthly, Bellini, who in one com

The conclusion of this anecdote in the life of a prince among paintersbut too little known in England-is so honorable to his memory, that I am tempted to supply Mrs. Jameson's omission. Nicholas V. (for whom Angelico had painted in fresco the chapel of the Holy Sacrament at Rome),

partment is represented painting the favorite Sultana of Mahomet II. Several of the succeeding cupolas still remain blank, so we pass them over and arrive at Leonardo da Vinci painting Queen Joanna of Arragon; then Michael Angelo meditating the design of Saint Peter's; then the history of Raffaelle; in the dome are various scenes from his life; the lunette represents his death; he is extended on a couch beside which sits his virago love, the Fornarina, ‘in disperato dolor;' Pope Leo X. and Cardinal Bembo are looking on overwhelmed with grief; in the background is the Transfiguration. . . The series of the Italian painters will

end with the Caracci. Those of the German painters will begin with Van Eyck and end with Rubens. . .

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"Though the general decoration of this gallery was planned by Cornelius, the designs for particular parts, and the direction of the whole, have been confided to Zimmermann, who is assisted in the execution by five other painters.

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"Such, then, is the general plan of the Pinakothek, the national gallery of Bavaria. I make no comment, except that I felt and recognized in every part the presence of a directing mind, and the absence of all narrow views, all truckling to the interests, or tastes, or prejudices, or convenience of any particular class of persons. An honest anxiety for the glory of art and the benefit of the public-not the caprices of the king, nor the individual vanity of the architect—has been the moving principle throughout.”*

perceiving the fervour of his piety and the greatness of his mind, had determined to make him Archbishop of Florence, but he, when apprised of this intention, besought the Pope to change it, not deeming himself equal to the task, ("Perocche," says Vasari, “non si senitiva atto a governar popoli ;") adding that in his own order there was a monk fearing God, able to govern men, and a lover of the poor (un frate amorevole de poveri, dottisimo di governo e timorate di Dio), better deserving to be invested with such a dignity. Angelico's request was complied with, and thus the humble painter had the glory of placing on the archiepiscopal throne of Florence, a prelate who filled it with the greatest honour, and whom the Roman church still venerates as Saint Antonine.

Giovanni Santi Tosini, afterwards Fra Angelico da Fiesole, and known in Italy as il Beato, was born at Mugello in 1387 and died at Rome in 1455. The greater part of his life was passed in the celebrated convent of Saint Mark, at Florence, (afterwards made illustrious by such men as Savonarola and Fra Bartolomeo) where he first began to be a painter. His character may be learnt from one line of his biography: "Non fece mai crocifisso," says Vasari, "che non si bagnasse le gote di lagrime." Such a man could not paint otherwise than well. Perhaps his best known work is the magnificent Crowning of the Virgin, now in the western wing of the Louvre, and long since engraved and published with a descriptive text by August von Schlegel. (Paris, 1816, fol.)

* Visits and Sketches at Home and Abroad, vol. 2, pp. 42-7.

Honour be to Germany, and especial honour to Louis of Bavaria, for provisions such as these for calling forth the highest powers of German artists. The sowing has been liberal, and already the harvest is abundant. What a contrast does all this present to the National Gallery of England!

Note F. Catalogues of Museums and Galleries, p. 131.

On the Catalogues of two Museums, in Paris and in Berlin.

I confine this note to a very brief statement of the peculiar characteristics of two foreign catalogues:-the one, of the now dispersed* Musée des Monumens Français at Paris; the other of the existing public collection of pictures at Berlin. A good catalogue reflects the collection itself. To describe the arrangement of one is to describe both.

M. Lenoir's catalogue of the French Musée des Monumens comprises eight main divisions:

1. A general chronological arrangement of monuments of all ages and countries, from the early Celtic and Gothic, to the advanced art of the periods of Louis XII., Francis I., and Henry II.; the decline under Louis XIV., and his successor; and the partial revival in 1780-90.

2. Architectural and sculptural remains of the thirteenth century, exclusively.

3. The same of the fourteenth century.

4, 5, 6, 7, 8. The same of the fifteenth, sixteenth, seventeenth, eighteenth, and nineteenth centuries. Each room being itself constructed and adorned in the prevalent style of its epoch.

This catalogue further contains an alphabetical list of the artists whose works were found in the museum, with a tabular view of the dates and places of their births and deaths, &c.; it also contains succinct historical and biographical notes on the persons and events to which the monuments relate; a review of the progress of the arts in France; a chronological notice of French costumes, and affords, in fact, a concise and graphic view of the history of the French nation.

Dr. Waagen's Catalogue of the Berlin Museum of paintings is based on a chronological arrangement carried out into schools, by subdivision:— His first period is to the year of Christ, 600

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