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This catalogue, the details of which appear to me to be excellent, aflords a clear idea of the succession of schools, and of the dates of birth and death, and the chief circumstances of the life, of each artist; it includes well-devised indexes, and a map of the arrangement of the galleries, wbich gives a synoptical view of the history of the arts at a glance.

of the conscientious and artist-like manner in which the plan is worked out, the following sketch of the first division (abtheilung) may give some idea.

Introduction. On the chief epochs in the bistory of modern painting. Div. 1. ITALIAN SCHOOLS :-Class 1. Venetians :-Formation of school.

Masters—description of pictures-
subject and character, whence ob-

2. Lombards
» 3. Middle Italians.

4. Imitators.
5. Caracci.
6. Academics.

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Note G. Effect of Free Exhibitions, p. 215.


• The committee contemplate no part of the experience of the past year with so much satisfaction, as the success that has rewarded their attempt to bring the poorest classes of the community into connexion with the pure and exalting influences to which this building is devoted. Their faith in the good feeling of the public, and in the aptitude of all minds—even the lowest—to receive refined and elevating impressions, bas not disappointed them. Your museum has been crowded monthly, by thousands, whose eyes fell for the first time upon whole kingdoms of nature, and with whom no previous knowledge or familiarity broke the effect [?] of freshness and wonder. During the last year the first Monday in every month has been a public day. The numbers availing themselves of this privilege, and showing their appreciation of it, have been as follow : Jan. 120 Feb, 350 March,

1,500) 1839 April, 2,500 May, 4,480 June, 3,280

>Total 41,101.
July 5,335 August, 4,656 Sept. 2,620
7,060 Nov.

4,000 Dec. 5,260)
5,500 Feb.

11,360* (March,t 5,380) 1840

Total 28,524. April, 6,284]


, 6,5281

* On the second Monday in the month-the day of Her Majesty's marriage.

† The numbers within brackets are added to those in the report from subsequent information.

“ The uniform propriety and intelligent curiosity of these vast multitudes demonstrate that nothing is wanting but the opportunity of forming tastes, and a generous and respectful sympathy manifested towards them, to take away from the English people that character of rudeness and insensibility to the beauties of nature and art wbich has so long been a national opprobrium. In opening these opportunities to the labouring classes, this institution cannot but feel that it occupies the place of a public benefactor and instructor, awakening in uncultivated minds feelings and ideas calculated to soften the rudeness of manners, and to increase the bappiness and the virtue of life. With the sense of beauty and wonder dead in the mind, the poor man lives in a mean and ungraced world.”

Note H. Encouragement of Historical Art by Voluntary

Associations, p. 242.

UND WESTPHALEN. 1. In Halberstadt Cathedral: Christ and Peter on the sea, in oil, by

Götting. 2. In the Town Museum of Cologne : The Israelites in exile, in oil,

by BEN DEMANN. 3. In the Protestant Church at Arnsberg; The Resurrection of Christ,

an altar-piece, by Deger. 4. In the Parish Church of Königsteele : The Adoration of the Shep

herds, in oil, by ZIMMERMANN. 5. In Saint Andrew's Church, at Dusseldorf: The Holy Virgin with the

Christ-child, etc., in fresco, by MückE. 6. In the Town Museum of Cologne : A Lion Fight, in oil, by

MEISTER. 7. In the Church of Dülmen: Christ in Mary's Bosom, in oil, by

W. SCHADOW. 8. In the Parish Church of Dreis-on-the-Mosel : Saint Martin as

Bishop, an altar-piece, by GÖTTING. 9. In the Parish Church of Ebrenbreitstein: The Invention of the Cross,

an altar-piece, in fresco, by SETTĘGAST. 10. In Saint Andrew's Church: Christ in the Temple, an altar-piece, by

HÜBNER. 11. In the same Church : The Queen of Heaven with the Christ-child,

an altar-piece, by DeGER. Besides partial contributions towards 12. The Restoration of the Altar of the Church of the Sisters of Mercy,

at Coblentz, to which W. SCHADOW had presented bis altar-piece

The Queen of Heaven ; and 14. The Commission of a large Historical Picture of The last Syrian

Christians, by STIELCKE, for the Town Museum of Königsberg.


Academy, Royal. See Royal Academy.
America, reform of its patent laws, App. note B*
Art Unions. See Berlin, Edinburgh, London, Munich, Paris. Their origin,

objects, and history, 239; suggestions for their improvement, 253.
Berlin, Art Union of, 241.
British Artists, Society of See Society of British Artists.
British Institution for promoting the Fine Arts in the United Kingdom,

its plan and progress, 254.
British Museum, its present constitution and management, 132; Trustees,

ib.; Departmental organization, 134; Library, 139; Catalogues and
synopsis, 139 ; Casts from marbles, 141; Parliamentary grant,—neces-

sity for its extension, ib.
Byron, correspondence respecting the admission his statue into West-

minster Abbey, 209.
Catalogues of public collections, hints respecting, App. note F.
Churches, Altar-pieces in-propriety and advantages of their employment,

Commission on historical monuments. See France.
Commons, House of; its select committee on arts and manufactures-
analysis of their report, 13.

Select Committee on British Museum, recommendations con-
tained in their report, 132.
Competitions for public works, 219; for the new Royal Exchange, ib.;

for the Nelson testimonial, 223; Report made to the Institute of British
Architects on regulation of competitions, 229; suggestions for their
improvement, 230.

See French Architects.
Copyright, its nature, 43.

in books, existing statutes respecting, 49; necessity and means
of their improvement, 92; Mr. Talfourd's bill thereon, ib.

in prints, existing statutes respecting, 50; necessity and means
of their improvement, 65.

in works of sculpture, existing statutes respecting, 51 ; neces-
sity and means of their improvement, 66.

in patterns, existing statutes respecting, 54; necessity and
means of their improvement, 67; Mr. Poulett Thomson's bill thereon, 81.
See France.

tribunals, App. note C.
Edinburgh, its society for the encouragement of the Fine Arts in

Scotland, 244.
Education, National, connexion of the Fine Arts therewith, 265; duties

of the State in relation thereto, 266; insufficiency of merely voluntary
efforts to improve it, 269; claims of the Church, 272; objects of State
interposition, 278; school rates-Lord Brougham's bill, 281 ; distri.
bution of Parliamentary grants, 279; inspection, 282; instructions to
inspectors, 284 ; evidence as to present character of instruction afforded
in schools aided by the public money, 286; normal schools, 290 ;
elevation of the schoolmaster-its necessity and means, 296 ; legislative
interposition, 303; failure of the educational provisions of the Factories

Act, ib.; Grammar-schools' Bill, 306, note.
English Art, its general character, 26.
Excise duties affecting the arts of design, on bricks, 85; on paper, 86;

on glass, 87.
Exposition de l'Industrie Nationale. See France.
France, its manufactures as compared with English manufactures in point

of design, 24 ; its law of copyright in patterns, 68; its copyright tri-
bunals-Conseils des Prud'hommes, 70; its commission on historical
monuments, 115.

France, its Exposition of National Industry, App. note D. ; its law of

copyright in books, App. 352.
French Architects, their competition for the monument of General Foy,

German Art Unions, instances of their encouragement of historical art,

App. 374.
Glyptotheca of Munich. See Munich.
Government, British, its duties in respect of the fine arts, 31; and past

neglect of them, 37.
Historical Painting and Sculpture, necessity and means of their public

encouragement, 185.
Houses of Parliament, opportunities afforded by their erection, for the

encouragement of historical painting and sculpture, 33t.
Italian Art, causes of its revival, 29.
Kunstverein fur die Rheinlande und Westphalen, 242,
Letters Patent. See Patents for Inventions.
London, Art Union of, its plan and progress, 2 17.
Lyons, its copyright tribunals, 63; its school of arts, 103,
Monuments in Churches, their proper character, 207.
Munich, picture and sculpture gallery of, App. 368; Art Union of, 242.
Museum, British, see British Museum.
Museum of British History, want thereof, 114.
Museums of ornamental art, should be established in connexion with

schools of design, 10).
National Gallery of England, its constitution and management, 118;

improvements suggested, 131.
Netherlands, copyright in, App. 352
Paris, its Société des Amis des Arts, 239,
Patents for Inventions, existing state of the law respecting, 57; Mr.

Mackinnon's Bill thereon, 72 ; remedies sugges 74; Lord Brough-
am's Act, App. 355.

American law respecting. See America.
Patterns. See Copyright. France.
Pinacotheca of Munich. See Munich.
Post-office Reform, its bearings on artistic and educational progress, 90.
Prussia, copyright in, App. 35).
Public galleries of art, importance of, 107; nature of those most wanted

in England, 109; best means of establisbing them, 112.
Raffaelle's Cartoons, propriety of removing them from Hampton Court

palace to London, 126.
Reformation, its effects on the arts of design in England, 204.
Royal Academy of Arts, its constitution and management, 129, 153; sug.

gestions for its improvement, 177.
Russia, copyright in, App. 352.
Schools of Design, 97; plan and progress of the central school established
by the Government at Somerset House, 100; suggestions for its im-

provement, 10); necessity of local schools in manufacturing districts, ib.
Scotland, Society for the Encouragement of the Fine Arts in. See! Edinburgh.
Society for the Encouragement of British Art, its plan and progress, 246.

for the Encouragement of Vocal Music .. 340.

for Promoting Free Access to National Monuments, 213.
of British Artists, 256.

for the Encouragement of the Fine Arts in Scotland. See Edin.
Spain, copyright in, App. 351.
Verein der Kunstfreunde im Preussischen Staate. See Berlin.


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