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 HUI.I.BTIN No. One.— OFFICES OF THE PROPAGANDA FOR THE NATIONAL GALLERY, 
 
 Glovkr Building, 1419 F Street, Washington, D. C, anu the Pompeia, Saratoga Springs, N. Y, 
 
 PRICE, FIFTY CENTS. 
 
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 ("opyright of Design by 
 
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 Franklin W. Smith, of Boston, 
 
 with Rknwick, Aspinwall & Russell, Aicliitects, 
 
 New York iSyo. 
 
 ••: ••• 
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 Copyriglit of Title and ProspectLis by 
 Fkanki.in W. Smith, 
 
 Gibson Bros., 
 
 printers and bookbinders, 
 
 washington, d. c. 
 
 • 
 
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Note. — This publication is in advocacy of a National Educational Institution, 
 in which Art shall attract by beauty and illumination, thus stimulating inquiry ; 
 and AcTUAi.rrv of the environment of historical incidents in their order, impress 
 and intensify memory. 
 
 Its aim is for an intellectual incitant of the people, initiative of study to the 
 unlearned, and contributing to scholarship a vast and systematic treasure-house of 
 material. 
 
 Its plan is prospective of continuous growth from its popular benefits. 
 
 The expedients suggested invite discussion for their improvement. 
 
 1^" /;/ behalf, therefore, of the public welfare, the reader is solicited to aid 
 in "The Propaganda" hereinafter devised. (See page los). 
 
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 Park areas adjacent to 
 American Galleries assign- 
 ed to pre-historic remains 
 of the American Conti- 
 nents, reproductions of 
 Azttc Temples, Dwellings, 
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A NATIONAL GALLERY OF HISTORY AND Aftf. 
 
 ILLUSTRATIONS. 
 
 Pages. 
 
 No. 1. 
 
 No. 2. 
 No. 3. 
 No. 4. 
 ,No. 5. 
 No. 6. 
 No. 7. 
 No. 8. 
 No. 9. 
 No. 10. 
 No. 1 1. 
 No. 12. 
 Nos. 14, 
 No. 13. 
 No. 19. 
 
 'Cover — Elevation of Parthenonic Temples upon Ob- 
 servatory Site, from Pennsylvania Avenue. 
 Elevation of Columbian Temple and American 
 Galleries, from entrance to the Forum. 
 
 Frontispiece — The Parthenon, 
 
 Title page — Ornament from a Spanish Gateway, 
 
 General view of Galleries, 
 
 Ground Plan of Historical Temples and Galleries, 
 Plan of Washington, in perspective, .... 
 
 Plan of Washington, 
 
 Restoration of Roman Forum, 
 
 Model of the Porta Maggiore, Rome, 
 Model of Mickelgate Bar, York, England, . 
 Models of Chinese Pagoda and Giotto's Campanile, 
 The " Pompeia," Saratoga Springs, reproduction, 
 15, 16, 17, 18 — Interiors of the " Pompeia," 
 
 Ground Plan of the Pompeia, 
 
 Restoration of the Temple of Jupiter, Pompeii, . 
 
 2 
 3 
 4 
 
 6 
 
 7 
 
 10 
 12 
 12 
 12 
 
 '3 
 14-16 
 
 '7 
 20 
 
 Illustrations of Foreign Museums. 
 Nos. 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, ^o, . . . 21-28 
 
 Drawings by Messrs. Renwick, y4spinwall & Russell, Archts. 
 
 Nos. 31-42, inclusive, 29-;7 
 
 Illustrations of Modern Constructions in Concrete. 
 Nos. 43, 44, 45, 46, 47, 48, 49, 50, S2, .... 18-47 
 
 No. 53. Part of Roman Forum restored — Canina, ... 48 
 
 Architectural Illustrations of Temples, Monuments, Dwell- 
 ings, etc. — Ancient and Medievval — such as should be 
 reproduced in the Courts or Galleries, upon the full or 
 a reduced scale. 
 
 Nos. 54, 55, 56, 63-74, 86-ios, ...'... 49-75 
 Nos. 112, 113, 114, 115, 116, 80-84 
 
 Illustrations for Historical Paintings, from Pinelli's Istoria 
 
 Roniana. 
 Nos. 57, 58, 59, 60, 61, 62, Si-53 
 
 Subjects for illustration of Interior Architecture, and Civil 
 
 and Domestic Life and Manners — Renaissance. 
 Nos. 106, 107, 108, 109, 110, III, 76-79 
 
 Pages. 
 Example for Panoramic Painting of the Architectural Aspect 
 
 of Cities in different ages. 
 No. 85. Paris in the time of Francis First, .... 63 
 
 Specimen Chart for Object Illustration. 
 No. 70. The World's Monuments, from Kensington Museum, . 58 
 
 Allegorical Illuslrations of the Ceramic Art of all Nations 
 
 (America excepted), Paris Exhibition, i8y8. 
 Nos. 75 to 84, inclusive. Grafito Tiles, by Solon, ... 62 
 
 Illustrations of the Roman and Saracenic Courts, with Re- 
 productions OF Buildings and Monuments. 
 Nos. 90-94, 66-68 
 
 Illustrations of the Temples and Dwellings of Mankind — 
 Modern — proposed for gradual reproduction in Ihe Park 
 ISTORIA, along the Avenue to the Forum, with interior 
 illustration.* 
 
 Nos. 117-123, inclusive, 
 
 . 85-89 
 
 Nos. 124, 125. Photographs (for this use) near the Naval Ob- 
 servatory, 00-91 
 
 Nos. 126, 127, 128. Decorations of the Baths of Titus, and 
 
 Raphael's 1-oggie of the Vatican, 94-96 
 
 Nos. 129, 130. Pre-historic remains in Central America, . . 97 
 
 Nos. 131, n2. Addenda — Giacommelli's illustrations of Mich- 
 
 elet's Bird, 99 
 
 No. n5. llUistratlon of details in fine sand concrete, . . 102 
 
 No. 134. Reproduction of tracery from the Alhambra; Court of 
 
 Villa Zorayda, 104 
 
 Nos. 135, 136, 137, 138. Pennsylvania Avenue in May, 1891. 
 
 Bulletin No. 2, 106-108 
 
 Nos. 139, 140. Paris in 1852 and 1862. Bulletin No. 2, . 109 
 
 No. 141. Rossini's restoration of the Villa of Mecenas, . . 110 
 No. 142. Rossini's restoration of the Temple of Fortune-Pre- 
 
 neste, no 
 
 No. 143. Canina's restoration of the Circus Maximus, with 
 
 added motifs, 1 1 1 
 
 No. 144. Suggestion for Colonnades through the Union and 
 
 National Avenues, in 
 
 No. 145. A Map, Cover 
 
 *The reproductions proposed, of course, do not imagine tlie entire and costly interior ornament, mosaics, etc. Building space will 
 be demanded for the various nation.alities; and materi.ils, for instance, may as well be arranged in the forms of St. Sophia, or San Salute, as in 
 improvised designs. Of such structures as the Taj, an effective portion or fayade would be given. 
 
 |^"The illustrations are marked R, as advised for reproduction on full scale, and M, for models. 
 
 For these illustr.ations the anthor is indebted beyond the previous acknowledgment to the Architectural Works of Fergusson, Viollet le 
 Due, Owen, and Rosengarten; to Turner's History of Art (London); to Amil's Espaiia Historica; Haghe's Sketches in Belgium; Mijller's Age 
 of Francis First; The London Builder; Pinelli's Istoria Romana; Canina's L'Architetura Romano; Rossini's Antichita dei Contorni di Roma; 
 Owen's Architecture; The Washington Board of Trade for Plans of Washington, and other various sources as quoted. 
 
The Author Solicits the Reader to Delay Conclusions upon this 
 
 PLAN AND PROSPECTUS 
 
 Until Investigation of the Following Data and the Requirements Anticipated. 
 
 It is believed that these considerations will counteract any impulsive impression of an excessive scale of plan, 
 and that they will prove — 
 
 First: — That while the design is surpassingly grand in architectural effect, and may appear exaggerated 
 above probable demand, it is in fact only proportionate in area to the capacity of existing institutions. 
 
 Second: — That the apparent vastness of the structure is the effect of only one-story galleries (with basements) 
 upon terraces, giving unequalled grandeur to the mass, and suggesting excessive cost; while, in tact, from its 
 simplicity of form and internal vacuity, it will not cost the half of corresponding cubical area in other National 
 constructions, with their usual heights, successive stories, internal divisions, and lavish ornamentation. 
 
 Third: — That the galleries as designed are not only the most economical for great accommodation, but are 
 best adapted to the uses demanded; their arrangement around open courts being essential for the new and 
 extraordinary facilities proposed for a modern and advanced institution — that should forecast the needs of 
 100,000,000 population, in oceanic separation from all remains of former civilizations. Three of the most 
 novel and important of these provisions contemplated are: 
 
 A. Galleries for illustrations in chronological order, of the events of historic periods and nationalities, by 
 paintings in series, and by replica of artistic and archaeological material upon ample scale. 
 
 B. Galleries, likewise, of casts and models of all architectural orders and National styles, of statuary, inscrip- 
 tions, bas-reliefs, etc., more systematic in arrangement and extensive in range than any now in existence. 
 
 C. Reproductions in full size, in the courts of the respective galleries of historic nationalities; of their 
 remaining monuments; and reproductions of temples, dwellings, tombs, etc., typical of their religion, life, 
 manners, and art. 
 
 Fourth : — That this asserted economy in construction will result from the use of the material and methods 
 advised, viz : of sand-Roman-cement-concrete, moulded in repetition of the simple forms delineated, at much less 
 cost than of ordinary brickwork: — the advantages of said material and the feasibility of said methods being 
 illustrated from both ancient and late modern practice. This opinion has also the concurrent judgment of the 
 eminent architectural firm associated with the author in this publication. The argument for concrete is by no means 
 based upon its comparative cheapness alone. On the contrary, it is believed to be better in view of all requirements 
 involved than any stone. An experimental construction is proposed ; then, if marble or stone may be deemed pref- 
 erable, either should be used, regardless of cost. The United States of America can afford the best facilities the 
 world offers for such important and enduring interests. 
 
 Fifth:— That the aggregation of material proposed to be gradually obtained is inexpensive in comparison 
 to the cost of original art and antiquarian treasures, while as valuable in practical use. Masterpieces and gems 
 of art, it may be anticipated, will steadily accrue to National ownership from individual generosity and such 
 foundations as the Corcoran Gallery and the various Metropolitan museums. 
 
No. 8. RESIOKMION OK THE KOMAN FORUM BY C. R. COCKERELL, 
 
 ACKNOWLEDGMENT. 
 
 I am indebted to the co-operation and architectural ability of Mr. James Ren- 
 wick and his partners, Messrs. Renwick, Aspinwall and Russell, New York, for the 
 superb drawings illustrating my imaginative description of The National Gallery. 
 
 Mr. Renwick's national reputation as architect of the Cathedral in New York, 
 of the Smithsonian Institution and Corcoran Art Gallery in Washington, of Vassar 
 College, etc., etc., dates from his first and monumental work, Grace Church, N. Y., 
 1843; 
 
 The history of the design is as follows : 
 
 In April, 1890, Mr. Renwick, Senior, listened to the substance of this paper in 
 St. Augustine with a responsive interest that enlisted its repetition to his partners 
 in New York. The firm then offered to illustrate my conception of the buildings 
 gratuitously. Hence, the grand drawing, ground plan, details of illustrative build- 
 ings, etc., which have employed for six months the best talent of their office, at a 
 cost to them above fifteen hundred dollars, are the results. 
 
 With the superb restoration of the Roman Forum, by Cockerell, which I 
 fortunatelj^ found in London (the grandest that has ever been conceived), was the 
 architectural reproduction by Canina. 
 
 The Temple of Jove, upon the Capitoline Hill, with terraced sub-constructions, 
 gave me the conception of temples upon a height surmounting ranges of galleries 
 and porticoes. The restorations of the Villa of Hadrian, by Rossini, and, finally, 
 the late elaborate reproduction of Rome with a Triumph of Constantine, by Pro- 
 fessors Buhlman and Wagner, of Munich, aided tlie imposing realization. 
 
 We borrow from classic Greece its splendid architecture that it may challenge 
 
 all criticism. 
 
 Franklin W. Smith. 
 
 Villa Zorayj>a, 
 St. Augustine, April 13, i8gt. 
 
PREFATORY 
 
 TO A 
 
 PROSPECTUS FOR A NATIONAL GALLERY, 
 
 BY 
 
 FRANKLIN W. SMITH, of boston. 
 
 THE following paper is an imaginative consummation of what modern philosophy would 
 name a mental evolution. Its substance is by no means an impulsive vision nor the 
 exaggeration of a dream. Its inception and development have been through a period of forty 
 years of considerable study, travel, and practical {amateur) experience in architectural design, 
 modelling, and construction. 
 
 In warrant for the prominence now given to it, the appearance of a personalty is unavoidable- 
 It involves a sketch somewhat autobiographical to show the origin and growth of a conception 
 which has now taken shape in the magnificent drawing herein reproduced, and the details of an 
 institution described. 
 
 In 185 r the writer made his first tour of European travel after examination of the first World's 
 Exposition in London. Returning home, impressions of places and objects revived with covetous 
 yearnings for their more substantial resemblance than the poor pictures of the time. It was before 
 the application of Daguerre's invention to the modern treasure of photography. This desire was 
 satisfied in good degree by the pleasure of construction of models, in the intervals of leisure from 
 mercantile life. For instance : Topographical, of Jerusalem ; of localities in Wittenberg, hallowed 
 by the history of Luther, Melancthon, and Frederick the Elector ; of feudal architecture, in the 
 Mickelgate Bar of York ; of classic, in the Porta Maggiore, Rome ; of historical structures : 
 Queen Mary's Palace of Holyrood ; the Castle of Wartburg (Luther's Patmos) ; Kenilworth 
 Hall ; the Campanile of Giotto ; a Chinese Pagoda, &c. 
 
 Meanwhile, to this date, during sixteen visits, some sufficiently prolonged to admit of a 
 general conception and comparison of foreign museums and galleries, he has craved for his 
 
12 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 countrym^ aiKT-'hiMlei^ the transfer to our land of thousands of reproductions that could be 
 inirnp4ji^|£jy'jc33tn^tarcied at comparative trifling cost if halls were ready to receive them. 
 
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 F. W. SMITH MOD. 1851, 
 
 No 9. — PHOTOGRAPH OF MODEL OF THK PORTA MAGOIORE, ROME, SHOWING j^^ |y , 
 THE AQUEDUCTS OF CLAUDIUS ABOVE THE GATEWAYS WITH 
 INSCRIPTIONS OF THEIR RESTORATION BY VESPASIAN AND TITUS. R. 
 
 F. W. SMrTH, MOO. 1851. . 
 -PHOTOGRAPH OF MODEL OF MICKELGATE BAR, YORK, ENGLANP. WITH 
 NO. 0, A CONTRAST OF CLASSIC AND FEUDAL ARCHITECTURE. R. 
 
 In the models mentioned he anticipated by a generation, 
 ihe idea now richly initiated by the Metropolitan Miiseum- 
 in New York through the beneficence of the Willard be 
 quest. 
 
 But miniature models only stimulated an impatience for 
 architectural reproduction on a full scale. This was inten- 
 sified in Spain, within the Alhambra, and subsequently 
 gratified by the application of some of its forms and traceries 
 to a Moorish Court in St. Augustine. 
 
 The enjoyment to himself and others resulting from this 
 surrounding, suggested another indulgence, in the reproduc- 
 tion of a Roman house — the house of Pansa, in Pompeii — at 
 Saratoga Springs. 
 
 In two 3^ears this has been accomplished successfully 
 upon full scale, about 200 feet by 75 feet — 15,000 square feet ; 
 much larger and far more completely than the two illustrations 
 previously attempted at Sydenham and Aschafifenburg ; that 
 of King Ludwig, of Bavaria, measuring only 7,000 square 
 feet. The Chateau of Prince Napoleon, in Paris, can only be 
 called Pompeian for its decorations. 
 
 F. W. EMITH, MOD. 1iit.U-1873. 
 
 No. II. — PHOTOGRAPHS OF MODELS OF CHINESE 
 FAOODA ANC THE CAMPANILE OF GIOTTO, FLORENCE. M. 
 
THE POMPEIAN REPRODUCTION AT SARATOGA SPRINGS. 
 
 13 
 
 The success of this Archaeological Museum is evidence of the educational value of such 
 reproductions and of their popular interest. 
 
 It has demonstrated the feasibility of their creation. It 
 stimulated courage for this advocacy of their extensive mul- 
 tiplication under National supervision. 
 
 Several illustrations of the interiors and ornamentation 
 of " The Pompeia " are inserted with the following statements 
 in support of the above opinions. 
 
 During eight months since its completion, without any 
 previous announcement, and with ignorance on the part of 
 many of " what is a Pompeian House," it has been visited by 
 over 24,000 people, whose stay has averaged between two 
 and three hours. The most intelligent ; classic professors 
 and other scholars, have made it a daily resort. 
 
 Over 700 teachers of the American Institute of Instruc- 
 tion and the New York State Teachers' Association found 
 edifying entertainment therein. It was a memorable grati- 
 fication when the young ladies of Vassar College, with their 
 zealous Professors, came for a day's study by a special train 
 of the N. Y. Central Railroad. 
 
 The Presbyterian Convention gave an evening to the 
 Pompeia. Some of its clergy were interested to read a silent 
 lesson from history, in the replica of the exquisite bronze 
 tripod found before the Temple of Isis, whereon Greek 
 ornamentation combined with the Egyptian Sphinx ; show- 
 ing that pagan faiths were in dissolution and coalescence at the dawn of Christianity, that a cen- 
 tury previous had been in deadly antagonism. 
 
 But these instances are of the scholarly class. The curiosity, if not the comprehension, of 
 less intelligent observers has been as intently awakened. 
 
 A young ladv came with an excursion from a western town in New York State to Saratoga. 
 She stayed the entire day in the Pompeia, remarking as she left : " If I never come again to 
 Saratoga I .shall not regret this time, for I can see other large hotels, but not again a Pompeia." 
 
 A foreigner, evidentl}- a workman, as he departed, said to the janitor: "I have bought the 
 book " (Bulwer's Last Days of Pompeii) ; " my boy will read to me the story and then I will 
 know all about it." 
 
 These relations will be kindly accepted for their purpose, as has been said, to demonstrate 
 the benefits, inestimable and innumerable, to flow forth upon the nation, were a grand S3^stem of 
 illustration, realistic and beautiful, supplied to the people at the Capital. 
 
 FRANKLIN W. 6MITH, ARCHITECr. 
 
 No. 12. — FROM THE "POMPEIA," SARATOGA SPRINGS, 
 
 U. S. A. ; A REPRODUCTION OF THE HOUSE OF PANSA, AT 
 
 POMPEII, BURIED BY VESUVIUS, A. D. 79; AN ANGLE OF 
 
 THE SOLARIUM, OR ROOF-GARDEN. R. 
 
 There are few more impressive instances of a conscientious and self denying struggle for 
 knowledge, in preparation for a service of supreme importance to the American people, than the 
 
M 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 economical travel of teachers to Europe. When an excursion party jostles the costumes of the 
 
 wealthy in foreign pal- 
 aces, among them will be 
 seen the intelligent faces 
 of earnest women seizing 
 with all their souls the 
 memorable but flitting 
 impressions of the mo- 
 ment. My sympathies 
 have been moved as I 
 have seen the teacher's 
 glance wrested from the 
 most thrilling and in- 
 structive obj ect - lessons 
 in existence by the sum- 
 mons of the guide to 
 " pass on ! " What econ- 
 omies and computations 
 secured that brief visit 
 after years of hope and 
 
 FRANKLIN W. SMITH, ARCHT. 
 
 No. 14. — INTERIOR OF THE POMPEIA. VIEW FROM THE AlKIUM. K. aUtlClpatlOU ! 
 
 A sad story is related that two sisters, teachers, some years since, were on a E\iropean round 
 
 No. 15. — THE POMPEIA. VIEW OF HORTUS AND SUMMER TRICLINIUM. R. 
 
 FRANKLIN W. 6MITH , ARCHT. 
 
THE BENEFITS OF A NATIONAL INSTITUTE OF ILLUSTRATION. 
 
 »5 
 
 when the insolvency of their banker left them strangers, with bnt money enough to take a second- 
 class passage homeward immediately. From 
 the anxiety and sorrow, added to xmdue effort 
 of a delicate constitution, one sister died on the 
 passage and was buried at sea. 
 
 Few communities in the United States, 
 rejoicing in the mental acquisitions of their 
 children, realize their indebtedness to those 
 hardly-earned travels of their teachers. Were 
 their reflex benefits appreciated, towns would, 
 by subscription, send teachers, and parishes, 
 preachers abroad. An inspiration from monu- 
 ments of past civilizations would henceforth 
 vivify their conceptions, to be transferred to a 
 new generation. Yet, returned from the one 
 grand travel experience of their lives, they thirst 
 for farther study of such treasures, and deplore 
 the barrenness of their country of all like ma- 
 terial. 
 
 It is, therefore, from both experience and 
 
 No. 16. THE I'OMl'tlA. 
 
 No. 17. — TH£ HOMPEIA. VltW OK THE TABLINUM. 
 
 F. W. SMITH ARCHT. 
 
 F. W. SMITH. ARCHT. 
 
 VIEW 01 IIUILIOTHECA, V\ I I H S( RIM.\, E IL. R. 
 
 observation at home and 
 abroad, that I have craved 
 for my country the im- 
 mediate inauguration of 
 a Grand National Insti- 
 tute of Illustration. It 
 would be a boon of price- 
 less satisfaction to the 
 graduates of colleges and 
 seminaries ; to yoiiths, 
 graduates of high 
 schools, in Boston, Chi- 
 cago, and San Francisco, 
 in their aim toward far- 
 ther learning. The want 
 is now described by one 
 who has keenly realized 
 it, having been taught in 
 a day when no lessons in 
 drawing were given in 
 
i6 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 the Boston High School ; when there was no Lawrence Scientific School in Harvard University ; 
 no Massachusetts Institute of Technology ; no school of Architecture in Columbia College. 
 
 It is time that, upon a scale worthy the greatness of our country and the vast aggregate of 
 its wealth, the pursuit of knowledge and the patronage of art shall be facilitated. 
 
 The new fleet of our Nav}' could be loaded rapidly and cheaply with simulations of 
 archeological and architectural treasures, such as are listed in the following pages. Reproduc- 
 tions and models, topographical, antiquarian, and architectural, can be made on the spot. 
 Buildings, counterparts of ancient and modern national styles, are readily constructed. They 
 have been repeatedly built and destroyed in successive International Expositions. 
 
 No. l8. — THK POMPEIA. VIEW OF PINACOTHECA AND PERISTYLIUM. 
 
 FRANKLIN W. SWITHf ARCHT. 
 
 The prediction is here confidently recorded, that if Government shall begin such construc- 
 tions and acquisitions, not a decade will pass before buildings as extensive as those depicted, 
 will overflow with their treasures, and the institution will be the object of national pride and 
 support. 
 
 Finally, not in apology, but in satisfaction, a farther reason is given for this agitation of a 
 new and important sphere of governmental responsibility and beneficence. 
 
 The first exhibition of the grand drawing was to a gentleman in New York eminent in the 
 promotion of art by personal labor and liberality. At the first glance he said, " You are a 
 hundred years before your time! " The reply was, " Wait for a conference and you will alter 
 your judgment." After explanation of the scheme, he was asked: "If the Roman Court, as 
 represented in the drawing, could be supplied and filled as proposed, do you not believe that 
 all the others would follow ? " He replied, "Yes, I believe they would — quite rapidly." He 
 
THE POMPEIA: A REPRODUCTION OF THE HOUSE OF PANSA. 
 
 No. 13.— GROUND PLAN OF R. added 
 
 17 
 
 THE POMPEIA. 
 
 SARATOGA SPRINGS. 
 
 N.Y. D.Sj\. 
 
 J 
 
 GALLEBT 
 
 illustrations' or history, art. 
 
 ARCHITECTUBE. 
 
 KJ 
 
 LARAniUM. 
 
 iVSTVS. 
 
 IS 
 
 □ is 
 
 3 3t 
 3 a 
 
 
 sis 
 
 5"o'n 
 n "i » 
 
 H _ -< 
 e * 
 
 rtr-^ 
 
 14 
 CUll.NA. 
 
 CBcuis. 
 
 I 13 
 
 BALNCIUM. 
 
 CUBICt'LOM 
 
 • • ♦ • 
 
 ? 
 
 • i • 
 
 • • • • 
 
 PERISTYUDM. 
 
 TABLINUM. 
 
 ALA. 
 
 1 
 
 Of".. 
 
 ss 
 
 »»»»«»« 
 
 I'l 
 
 1 
 
 • 
 
 
 • 
 
 
 
 IMPLirviUM. 
 
 
 # 
 
 
 • 
 
 
 K-K-XvWK'M-Xv:-:-: 
 
 __. 
 
 I _ 
 
 PnOTHYBUM. 
 
 J„„^,y:i,r,.-.-. mr ' 
 
 , " But this enterprise hangs 
 upon your life." This remark has 
 impressively followed the writer. In 
 the possibility that his suggestions may 
 be somewhat in advance of old insti- 
 tutions, and in consciousness that they 
 may die at any time with their pos- 
 sessor, he resolved upon this published 
 record. 
 
 While it invites discussion of the 
 practical expedients, it pretends to no 
 precise knowledge of the technique in 
 art. 
 
 In a rapid survey of the course of 
 human intellect through the ages, it 
 can give but a glance at some of its 
 relics left upon the highways. A bal- 
 loonist, in his flight over Washington, 
 could not accurately measure the dis- 
 tance of its Monument from the Cap- 
 itol, nor could the artist, from free-hand 
 sketches along the Atlantic coast, sup- 
 ply precise charts of its shores. 
 
 FRANKUN W SMITH AflCHT. 
 
A National Gallery a National Necessity. 
 
 Promote, as an object of primary importance, institutions for the general difliision of knowledge. In proportion 
 as the structure of a Government gives force to public opinion, it should be enlightened. — Washington. 
 
 Knowledge is the only fountain, both of the love and the principles of human liberty. — VViiissiKu. 
 
 A RECENT Britisn Tory critic of "The Great Republic," sums up the "America of 
 to-day " as " the apotheosis of Philistinism ; where the people are drunk with 
 materialism, and wealth is a curse instead of a blessing." 
 
 The malevolence of such an utterance is apparent and destroys its force. Yet it will be 
 admitted that the genius and energy of our people should be diverted somewhat from financial 
 to mental acquisition. 
 
 Hitherto the brain power and industry of Americans have been zealously devoted to the 
 gain of material riches, in which they have surpassed their progenitors and contemporaries ; 
 but although at an average of greater general intelligence than foreign nationalities, yet in the 
 finer and artistic intuitions we are not their equals. This disparity has been inevitable in the 
 lack of environment to stimulate a more refined cultivation. Americans have subdued a 
 wilderness from its wilds, while Europeans have dwelt among the monuments and treasures 
 of former civilizations. 
 
 It is rightfully argued that the present rapid accumulation of wealth is ominous of the 
 luxurious. dissipation that sapped the life of former empires. The fierce pursuit of mercenary 
 gain undermines integrity and debases the moral standard. 
 
 Americans, as " heirs of all the ages," should vindicate the responsibility of their 
 inheritance. 
 
 What constitutes a State.? 
 Not high-raised battlement or labour'd mound, 
 
 Thick wall or moated Gate ; 
 Not cities proud with spires and turrets crown'd ; 
 
 Not bays and broad-arm'd ports, 
 Where laughing at the storm, rich Navies ride; 
 
 Not starred and spangled courts. 
 Where low-brow'd baseness wafts perfume to pride. 
 
 No: — Men, high-minded MEN, 
 With powers as far above dull brutes endued, 
 
 In forest, brake or den, 
 As beasts excel cold rocks and brambles rude. 
 
 — Sir W. Jones. 
 The present aggregate of our National wealth is admitted by statisticians* to be the 
 
 • See Addenda 1, 
 
A NATIONAL GALLERY A NATIONAL NfiCESSlTY. 
 
 19 
 
 greatest in the world. It will prove to have been an unhealthful growth without equal mental 
 and moral elevation ; a disastrous prosperity, if " while wealth accumulates, men decay." 
 
 To counteract such tendencies, there must be enterprising, wise and grand instrumen- 
 talities. 
 
 To the measureless storage capacity for merchandise through the land, there is needed one 
 extensive addition at the Capital for the world's educational objects. Hitherto we have had 
 only reports of their silent lessons to travellers, instead of the fulness of their inspiration and 
 revelation in actual presence. 
 
 An institution to cover this deficit is the only one of like corresponding importance that 
 has not been initiated by our Government. It is an impressive fact, in proof of its necessity, 
 that we are the only power, great or minor, like even Sweden and Denmark, that has not long 
 since created its National Gallery, and supported it by liberal expenditure. 
 
 The indifference and inaction of the people of the United States in this matter, in contrast 
 with the zeal of other nations, are powerfully set forth in the report of Mr. W. W. Story (the 
 American-sculptor-artist-author, at Rome), as U. S. Commissioner to the Paris Exposition of 
 1878. Extracts therefrom are annexed, as a fitting prelude upon the importance of the matter 
 herein discussed. 
 
 A National Gallery a National Necessity. 
 
 Extracts from the Report of the U. S. Commissioner W. W, Story, Resident at Rome, on the 
 
 French Exposition of 1878. 
 
 * * * America is the only nation which, as a na- 
 tion, has done nothing to acknowledge the claims of art. 
 Earnest efforts have been made in some of the principal 
 cities of the United States, and Museums have been 
 founded by private munificer.ee, wliich, as far as their 
 funds will allow, are endeavoring to supply the .nbsence 
 of all action by the nation. But these are all local in 
 their character. They are not national institutions. No 
 great national academy or museum of art exists to con- 
 fer honors and rewards, to educate students, or to im- 
 prove the public tastes. The American artist therefore 
 is forced to expatriate himself for study. * * * . 
 
 * * * If we are a great country, as justly we claim 
 to be, let us behave like a great country. Is it creditable 
 for us, with all our wealth and prosperity, to be without 
 a great national museum and academy of art, such as is 
 to be found in every great capital in Europe.' How can 
 we expect to take rank with the great nations of Europe 
 when neither our nation itself nor any State or city in the 
 Union possesses a gallery of art of which any second-rate 
 government in Europe would not be ashamed.' While we 
 have nothing, can we without mortification look at the 
 magnificent collections abroad and consider the munificent 
 
 manner in which they are supported and constantly en- 
 riched by public grants.' In England, besides the treas- 
 ures of private collections, there is the National Gallery, 
 rich in the most splendid works of the greatest painters ; 
 the British Museum, adorned with the noblest relics of 
 antique sculpture, vases, gems, terra-cotta ornaments, 
 bronzes ; the Kensington Museum, a storehouse of treas- 
 ures of the media3val world and of the Renaissance. 
 Costly as these collections are, they are constantly en- 
 larged by munificent grants from Parliament. Not a 
 year passes that conspicuous sums are not paid to secure 
 still additional treasures. It suffices that England knows 
 that anything of real value and excellence is to be pro- 
 cured, and her purse-strings are liberally opened to ob- 
 tain it. Not only this, large sums of money are con- 
 stantly granted to explore the soil of ancient Greece antl 
 to unearth the masterpieces of antique sculpture and 
 architecture. There is no corner of the world where 
 she is not prying, regardless of cost, to discover valua- 
 ble relics of the ancient world of art. Under her 
 auspices the soil of Halicarnassus yielded up the last 
 sculpture of the famous Mausoleum. The Parthenon 
 conceded to her its glorious but defaced works. To her 
 
20 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 liberality, enterprise, and determination we owe it that 
 we still liave the massive sculpture and cuneiform in- 
 scriptions of Nineveh — the Phigalean marbles. Besides 
 these great museums, it was under her patronage tliat 
 the Royal Academy was founded as a national insti- 
 tution. 
 
 Not far behind her is France, with her magnificent 
 galleries of sculpture and painting, covering acres of 
 ground ; with her academies of art, science, and litera- 
 ture, whose hard-won honors are coveted throughout 
 the world ; with her annual prizes to those who distin- 
 guish themselves in art, her golden medals of merit, her 
 *' Prix de Rome." In no grudging spirit she expends 
 from the public purse large annual sums to add to her 
 already rich collections of art, and has built the great 
 palace of the Trocadero as a permanent gallery of retro- 
 spective art. This she has done to show the world 
 that the Republic does not intend to be behind the 
 Empire in the liberal fostering' of art. Nor can it Ije 
 said that all the galleries of Europe are the accumula- 
 tions of the past only, and that it would be impossible 
 for us even to attempt a rivalship in this regard with the 
 nations of Europe. The Kensington Museum iind this 
 very palace of the Trocadero, among others, are a proof 
 of the contrary ; and still more have we an example in 
 Munich of what a large and generous spirit can do in 
 our day. It is within our own recent memory that King 
 
 Louis founded the Glytothek and Pinacothek there, and 
 created and developed a new school of art. This at least 
 is certain, that we never shall make any progress towards 
 having a great national museum or academy or school of 
 art until vvc begin in earnest. Up to the present day we 
 have not begun. How, then, can we expect to have a 
 national character in our art.' * * • 
 
 As I lingered in the Trocadero day after day I could 
 not but sigh to think how utterly America is wanting in 
 all these ancient spoils of time and art. How slight is 
 the national interest in all such treasures.'' * * » 
 
 We as a nation have built our house. It is useful. It 
 is commodious. To its practical departments we have 
 given much tlionght. But art, as yet, has no place in it. 
 
 * * * We talk perpetually of our being a new country. 
 
 * * * A new country forsooth ! as if any people of 
 Anglo-Saxon origin — with all of its world of inherited 
 literature behind it ; with all its history stretching back 
 in direct line two thousand years; with all its religion 
 and law derived from tlie past— could possibly be called 
 young. We are one of the most luxurious nations in 
 the world; one of the most developed in all that relates 
 to convenience and the practical requirements of life ; 
 one of the most accomplished in all the so-called useful 
 and mechanical arts ; but in art we have accomplished 
 little, because we have desired little. Use has its build- 
 ings and habitations, but beauty has not yet its temple. 
 
 No. 19. — FROM A COPY OF A RESTORATION (paI:JT1!Jg) OF THF. TEMPLE OF JUPITER, POMPEII, WITH A 
 ROMAN SACRIFICE. ORIGINAL 1!Y PROF. FISCHETTI, OF NAPLES. R. 
 
Foreign Galleries and Museums. 
 
 By the disposition of a stupendous wisdom, moulding together the great, mysterious incorporation of the human 
 race, the whole, at one time, is never old, or middle-aged, or young ; but, in a condition of unchangeable constancy, 
 moves on through the varied tenor of perpetual Decay, Fall, Renovation, and Progression. — Burke. 
 
 A BRIEF analysis of the contents of foreign galleries and museums will more clearly 
 reveal our National destitution. It will also indicate the elimination desirable for a 
 new, systematic institution in a utilitarian age, the extent and kind of accommodation 
 demanded, and the 
 adaptation thereto of 
 the design submitted. 
 Those treasures are 
 the accumulation of 
 centuries by conquest, 
 purchase, bequest, or 
 
 pillage. They are, 
 therefore, the result 
 of no prior selection 
 or pre -conceived ar- 
 rang'ement. T h e v ^°- -°- — exterior of the trocadero galleries, paris. 
 
 present no broad generalization of the progress of history and art, such as is practicable by 
 
 commencement de novo. With 
 a vast multiplicity of objects, it 
 will be seen they are incom- 
 plete and disjointed, for facile 
 object lessons of their story of 
 the past in its continuit}'. 
 
 In order of extent and value 
 foreign galleries may for our 
 purpose take the following 
 rank : The Vatican ; the Pitti 
 and Uffizi Galleries; the Lou- 
 vre ; the Galleries of Munich, 
 Dresden, St. Petersburg, Ber- 
 lin, London, Naples, and Ver- 
 sailles ; the halls of the British 
 Museum ; the School of Fine 
 Arts, in Paris ; the Cluny ; the 
 hemicycle of the Trocadero; 
 
 No. 21. 
 
 -interior op the trocadero gallery of retrospective architecture, with full size 
 
 PORTAL of cathedral OF AMIENS- 
 
22 
 
 A NATIONAI, (JAl.LERY OF HISTORY AXD ART. 
 
 the Bavariau National Museum ; and lastly, yet pre-eminently, the South Kensington Museum, 
 of London, as the most modern, practical, and progressive, and therefore most analogous to 
 
 the scheme advised. 
 
 Returning to the Vatican, we 
 observe vast and incomparable 
 remains of classic sculpture, ex' 
 humed from the ancient Roman 
 Empire. They comprise archi- 
 tectural fragments : statues of 
 mythological gods, Greek and 
 Roman celebrities, bas-reliefs, 
 sarcophagi, vases, inscriptions 
 etc., all readil}^ reproduced in 
 casts, but all relating to Greek 
 and Roman history. 
 
 The pictures of the Vatican 
 
 Gallery are limited in number — 
 
 relating to church history and 
 
 tradition. To this summary 
 
 should be added the frescoes on 
 
 the Loggie of Raphael ; an aggregation of pagan and Christian symbolism, enriched with 
 
 Greek ornamentation, mostly 
 
 original in the Baths of Titus. 
 
 These treasures offer un- 
 equalled material for the study 
 of classic life, history, and art, 
 though in the fragmentary man- 
 ner of a museum ; not in order 
 of subject or of age. The paint- 
 ings are reverenced as master- 
 pieces — a reverence that perhaps 
 has exaggerated their merit — 
 through the halo of sacred 
 corona. They are unsatisfactory 
 in color, especially the frescoes, 
 which are too faded for distinct 
 
 recognition.* The magnificent No. 23.-gr^co-roman room, British museum. 
 
 No. 22. — TROCADERO 0ALL1.RY. ARCHITECTURAL CASTS. 
 
 ♦ " There can be no doubt that while these frescoes continued in their perfection there was nothing else to be compai-ed with 
 the magnificent and solemn beauty of this (the Sistine) Chapel. But melhink.s I have seen hardly anything else so foilurn and 
 depressing as it is now— all dusty, dusky, and dim; even the very lights having passed into darkness, and shadows into utter black- 
 ness." — Ha-Mthorue. 
 
FOREIGN MUSEUMS AND GALLERIES. 
 
 25 
 
 reproductions of the latter on copper, under the patronage of Popes Clement XII, XIII, and 
 XIV, are of more practical value in study of design. 
 
 The Pitti and Ufl&zi Galleries, of Florence, are immense collections of paintings, covering 
 all subjects and periods from the dawn of mediaeval art. The same is true of the picture 
 galleries of Paris, Munich, Dresden, and Berlin. From these many canvasses w^ould be rejected 
 in choice of a practical working gallery for modern work.* Thousands of pictures have places 
 simply by right of possession, 
 as items in collections purchased 
 entire, or else for the sole in- 
 terest of age. 
 
 Even if all were of high execu- 
 tion, they are in cumbersome 
 superfluity of religioiis themes. 
 They are the remains of dark ages, 
 when church dogmas and tradi- 
 tions held entire sway over the 
 human mind ; when the religious 
 sentiment could find no expression 
 other than architecture, sculpture, 
 and painting. 
 
 Victor Hugo, in " Notre 'Dame 
 de Paris," makes the archdeacon 
 
 Ko. 
 
 -HALLS OF THE CLUNY MUSEUM, I'ARIS. 
 
 of the abbey turn from an open bible, fresh from the new press of Guttenberg, to the spires 
 of the cathedral, and utter the knell of that form of religious expression and power, " Ceci tuera 
 celay With the printing press passed away the sacredness of countless rude representations 
 that had served their purpose in a darkened age. 
 
 The Louvre is like the galleries of Florence, an enormous aggregate of paintings without 
 order of subject or date, and also a very considerable collection of architectural fragments and 
 curios in all departments of knowledge. But these also are by no means as complete as they 
 might be in their delineation of the great historic periods. 
 
 Incongruity of subjects results inevitably from the arrangement by schools, as generally 
 m European galleries. For instance, the Salon Carr6 has the " Marriage at Cana," by Paul 
 Veronese ; introducing Francis I, Charles V, the Court Jester, etc.; with two works of Titian ; 
 his mistress and The Entombment. 
 
 An attempted historical series — The Rubens ; of Marie de Medicis — 23 pictures, illustrative 
 
 •507 paintings in the Pitti Gallery, of Florence, including ten ceilings mythological, are in subject as follows: 
 Portraits, unknown, 94; Portraits, known, 7S, ......... 172 
 
 Scriptural, 73 ; Holy Families, 45 ; Saints, 6S; Virgins, 55 241 
 
 Fanciful, or Landscape, 59; Allegorical, 17; Mythological, 15 91 
 
 Historical, only 3 (viz : Oath of Cataline, Cleopatra, Death of Lucretius) 3 
 
 S07 
 
24 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 of her life and reign, are an aggregation of mythology and allegory. Thus, No. 440, " The 
 Marriage at Lyons ;" — The city of Lyons seated in a car drawn by two lions ; — Henry dnd 
 Marie represented as Jupiter and Juno. 
 
 The Glyptothek (for sculptures), and the Old and New Pinakothek, of Munich, are excep- 
 tionally choice collections of art of different periods ; the sculpture being in halls apart for 
 
 distinct periods of the history of art. It is vain to 
 seek realistic history depicted in series. A grand 
 work, " The Triumph of Germanicus," and Kaul- 
 bach's " Destruction of Jerusalem," are the only his- 
 torical subjects among 150 masterpieces. 
 
 The Dresden Gallery, one of the finest and 
 largest in Europe (about 2,500 paintings), has a 
 proportion of religious subjects like that enumerated 
 from the Pitti Gallery. They are of exceeding 
 value ; by old masters whose themes were exclu- 
 sively sacred. 
 
 The Madrid Gallery is a noted exception to those 
 above cited, as a selection of the greatest masters, 
 surpassing all others in rarity, variety, and richness, 
 for the number on its catalogue. It is unrivalled in 
 treasures, exclusive of mediocrity. 
 
 The picture galleries of Versailles may well 
 bear upon their pediments " To the glorification of 
 France." Therein are ranged miles of panoramic 
 paintings of the military triumphs of France ; and 
 in exaltation of its rulers. Tiresome in their repe- 
 titions of armies and war paraphernalia in collision 
 and confusion ; a few would suffice for all, except 
 for divers names of the many claimed fields of glory. The style of these works, however, is 
 a model for the scheme proposed for our country, as will be further particularized. One 
 essential element for permanent approbation they lack — truthfulness. When the surrender at 
 Yorktown is set forth as General Rochambeau giving final orders for attack, while Washington 
 stands aside humbly in the door of his tent, the license of art has been transgressed. 
 
 In the academies of Sweden and Denmark are found model institutions for the encourage- 
 ment of art in select specimens of all schools ; but above all for commendation, their provision 
 for free education of talented applicants at the expense of the State. Not only do the govern- 
 ments train them to highest proficiency, but they afterwards patronize them in purchases for 
 the galleries. The national purse also sends pupils abroad for study. Hence, Swedes and 
 Danes have taken highest rank on the continent in decorative departments of art, an-d fill many 
 continental professorships. Prof Nordenberg, at the head of the Dusseldorf Academy, is a 
 Swede. These facts will furnish suggestions in the latter details of our subject. 
 
 No. 25. — A PAVILION OF THE LOUVRE, PARIS. 
 
FOREIGN MUSEUMS AND GALLERIES. 
 
 25 
 
 The Bavarian National Museum, the hemicycle of the Trocadero, and the Cluny of Paris, 
 have enviable material for elimination. 
 
 The first of these contains objects of art and mechanism in great variety from the Roman 
 period to the present day, systematically and chronologically arranged. The halls have 
 frescoes illustrative of Bava- 
 rian history, and are filled with 
 wares, implements, casts, tapes- 
 tries, furniture, architectural 
 fragments, glass, reproductions, 
 carvings, weapons, costumes, 
 armor, musical instruments, 
 models of ships, buildings, 
 fortifications, and cities, ce- 
 ramics, textiles, laces, bronzes, 
 vessels in silver, cabinets, 
 mosaics, ivories, forgings, 
 reliquaries, enamels, charts, 
 parchments, altars, bas-reliefs, 
 coins, medals, lochs, toys. 
 
 The mention of toys in this 
 connection savors of burlesque. 
 Yet the lead toys found in the No. 26.- exterior of the louvre, paris. 
 
 foundations of Roman houses indicate the forms of Roman armor. Jewelry in the Roman Mu- 
 seum at Homburg, from the Prstorian camp on the Saalburg, betokens the national symbolism. 
 
 Such valuables are con- 
 stantly brought to light ; 
 and are in the market b}' 
 reliable antiquaries. In 
 this Institution we have 
 one of the most admir- 
 able examples for some 
 departments of the pro- 
 posed Institute. 
 
 The British Museum 
 is, in the first place, a 
 library of unrivalled 
 value. Its invaluable 
 collection of marbles and 
 casts is very incomplete 
 in chronological arrange- 
 No. 27. — GALLERY OF AioLLo, IN THE LOUVRE, PARIS. mcut for lack of arca. 
 
26 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 Its caves have been packed for a quarter of a century with original remains ; stored for want of 
 room. Casts of these have been exhibited for the first time in other countries, as was the fact 
 with bas-reliefs for a Roman altar in the Pompeian House at Saratoga. 
 
 The Trocadero has an exhibit hitherto unequalled of architectural ornament of the middle 
 ages ; comprising, in full proportion and detail, casts of portals, columns, pulpits, capitals, screens, 
 caryatides, gargoyles, etc., etc., of the most elaborate execution. 
 
 Finally, the Kensington Museum in London surpasses all others for its object lessons in art. 
 
 It is a magnificent creation ; com- 
 menced with the profits of the 
 World's Fair, in Hyde Park, in 
 1851, of 150,000 pounds .sterling. 
 Its benefits have been so con- 
 spicuous that it commands the 
 unanimous support of the king- 
 dom. Even in such lavish outlay 
 as majolica plates at 2,000 to 
 3,000 guineas: 10,000 to 15,000 
 dollars each. It is the grandest 
 triumph of the intellectual enter- 
 prise of the British Nation. It 
 is steadily enlarged by the de- 
 mands iipon it. Vast piles are 
 succeeding each other to receive 
 the overflow of its acquisitions. 
 Its entire scheme may well be 
 adopted by our country, and as we shall argue, enlarged ; perhaps with greater economy in some 
 departments of costly curios and greater expenditure in others, demanded by the industrious status 
 of our people. Its predominance is in its objects of ornamental art as applicable to manufactures. 
 Wide as is its scope, and marvelously rich and extensive as are its collections, it is yet short of 
 the facilities demanded. 
 
 It is to be supplemented by the Imperial Institute, in honor of the Victorian Jubilee, the 
 specialties of which have not yet been declared. 
 
 As the Kensington Museum is the most modern, most extensive and prosperous of institutions 
 with its purposes, and therefore supplies the most valuable example for repetition, I sent to London 
 for the best publication upon its history and development. It was a pleasant surprise to receive 
 from the bookseller " Travels in South Kensington," by M. D. Conway, a familiar American 
 name. It is an instructive and elegant resume of the origin and present wealth of the Museum. 
 The author will be gratified to know that his work may aid in preparation for like " travels " by 
 his countrymen through their National Gallery. 
 
 To Mr. Conway is due acknowledgment for additional details, as follows : 
 
 The buildings resulting from the appropriation of $5,000,000 now contain collections worth 
 
 No. 28.— SCHOOL OF FINE ARTS, PARIS. HALL OF CASTS. 
 
THE SOUTH KENSINGTON MUSEUM, LONDON. 
 
 27 
 
 SOUTH KENSINGTON MUSEUM. 
 
 GROUND PLAN. 
 
 at least $20,000,000. Added to purchases by the Government there have been unceasing donations 
 of invaluable private collections, which " gravitate to it, and the buildings are constantly 
 expanding." At this point it is impressive to place the ground plan of the present constructions. 
 It shows a prospective embarrassment for space in an early future, beyond all possibility of 
 permanent order and system ; as anticipated in the plan for the National Gallery. 
 More than 1,000,000 people visit the Museum annually. 
 
 In 1844 there were but three Museums of like character in Great Britain ; now they are in 
 every large town. Roman remains 
 
 are being uncovered and preserved P hTJ] 1 1 "" 3l 
 
 throughout England. 
 
 The Museum received a donation 
 of 4,854 engravings from the Louvre. 
 
 A novel and enterprising provision 
 is of Circulating Museums from the 
 Kensington : collections being sent 
 abroad in the country to awaken 
 curiosity and study. In responsive 
 return, the Museum has constantly 
 Loan Collections on Exhibition^ bring- 
 ing perpetual variety and novelty 
 that secure repeated visitation. 
 
 Mr. Conway makes this interesting 
 record for encouragement in this be- 
 ginning : "I remarked to a gentle- 
 man connected with the Museum at 
 its origin, that I had heard various 
 American gentlemen inquiring 
 whether such an institution might 
 not exist in their own country, and he 
 said : ' Let them plant the thing and it can't help growing, and most likely beyond their powers — 
 •as it has been almost beyond ours — to keep up with it.' " Farther valuable encouraging and 
 advisory statements are given that will be important for future reference. 
 
 Sir Sydney Waterlow* remarked last winter in St. Augustine, that Mr. Cole (now Sir Henry 
 Cole, K. C. B.) was thought visionary, as doubtless he anticipated, when first he agitated his 
 conception for the Museum, as a wise departure and complement beyond the British Museum, 
 then assumed to be the ne plus ultra. Afterwards there were reports of competition by the latter 
 in purchases. Now, as the result of the increased craving for knowledge, both institutions are 
 struggling with the vastness of their accretions and activities. The National History Department 
 of the British Museum has been removed to a new and immense structure in South Kensington. 
 The grand system of the service and Art Department of the Kensington Museum for the 
 
 No. 29. — GROUND PLAN OF KENSINGTON MUSEUM. 
 
 ♦The recent munificent donor of Waterlow Park to London. 
 
28 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 promotion of instruction therein throughout the kingdom by monetary grants in aid of " local 
 efforts for founding scholarships and exhibitions," or " in aid of a new building or the adaptation 
 of any existing building," will ultimately be imitated in our country. The Museum disburses 
 the principal part of the $1,500,000, annually appropriated by the British Government for its 
 support, in these subsidies for instruction. 
 
 It is a confident prediction that our nation will rapidly awaken to its interests, and with such 
 
 energy in execution that not another 
 generation will pass until all that is 
 herein cited shall be in active benefi- 
 cence, to keep pace henceforth with 
 incessant progress. 
 
 Its citation as an example is empha- 
 sized ; for its inception, its rapid expan- 
 sion and present magnitude demonstrate 
 that in the vastness of the Institution 
 herein advocated, from the wealth, 
 progress, intelligence and promise of 
 our nation, there is nothing chimerical. 
 From the above review of foreign art 
 and antiquarian collections abroad, it is 
 seen that none of them supply illustrations of the historic periods of the human race, seriatim. 
 One only attempts it for a single nation, and almost exclusively in the line of military glory, 
 that of Versailles. The etchings of its paintings are properly styled " Gallerie Historique de 
 Versailles.^'' 
 
 A survey of material in Europe makes apparent the impossibility of duplication. If therefore 
 there can be no substitution, Americans must forever be deprived of educational facilities common 
 to European communities. 
 
 Upon study of this contingency, the writer believes that the deprivation can be practically 
 compensated, and that by practical employment of art ; by liberal importation of casts and models 
 and especially by ingenuity in restoration of monuments and structures, the illustration of the 
 past, may be amplified and enlivened in the New World to a grandeur and usefulness beyond all 
 precedents. 
 
 We will now in imagination construct American National Galleries, and then by its further 
 aid forecast their occupation. 
 
 No. 30. — DESIGN FOR NEW BRITISH IMPERIAL INSTITUTE. 
 
No. 31.— TRIPLE RANGES OF GALLERIES PROPOSED I THE CENTRAL, LIKE THE LOUVRE, FOR PICTURES; THE CORRIDORS, LIKE THE VATICAN, FOR SCULPTURE, MODELS, 
 
 SLABS, ETC., ETC. 
 
 Description of the Design and Plan. 
 
 I shall . . . straight conduct )c to a hill-side, where I will point ye out the right path of a virtuous and 
 noble education ; laborious, indeed, at the first ascent, but else so smooth, so green, so full of goodly prospect, and 
 melodious sounds on every side, that the iiarp of Orpheus was not more charming. — Milton. 
 
 Earth proudly wears the Parthenon as the best gem upon her zone. — Emeu.son. 
 
 Since it (architecture) is music in space, as it were a frozen music. — Sciielling. 
 
 THE National Gallery of the American Republic, it is proposed, shall surpass in architectural 
 grandeur and extent all similar constnictions ; but while grandly monumental in eflfect 
 it shall be thoroughly utilitarian as an educational institution. All expenditure in its creation 
 will be in economical use for intellectual elevation of the people. 
 
 Crowning a height is represented the Parthenon, one-half greater than the original at Athens, 
 surrounded by ranges of Temples''' of the same pure and stately order, all for commemoration of 
 the discovery and history of the Western Hemisphere, and of the United States of America. 
 
 Upon the terrace in front should stand a colossal statue of Columbus, as did the great 
 " Chryselphantine " statue of Athena upon the Acropolis.f 
 
 Stretching away at the right and the left of this commemorative temple will be vast colon- 
 nades for the promenade of the people, that they may look down upon the " marble population " 
 of the great and good of the nation, as did the Greeks upon their gods and heroes. 
 
 The irregular constructions that covered the steep hills of Rome are herein replaced by 
 galleries and porticoes, as systematic and beautiful in aspect as they will have been unsurpassed 
 in extent. J 
 
 * At the angle of vision from Pennsylvania Avenue, if upon the site of the Observatory, the facade will be a continuous colon- 
 nade of 750 feet ; precisely that of the entire front of the Capitol. 
 
 t The Acropolis was the museum of art of the Athenian people. 
 
 The Parthenon was finished 436 B. C. It was 230 by 100 feet wide. The columns were 6 feet 2 inches in diameter at the base 
 and 34 feet high. 
 
 t See Addenda 2. 
 
30 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 Descending from the esplanade of the Pantheon, successive terraces support galleries and 
 
 courts proportioned to the extent and impor- 
 tance of historic periods and races, for orderly 
 delineation of life and art thi-ough the ages — 
 Egyptian, Greek, Assyrian, Persian, Roman, 
 Byzantine, Renaissance, Arabic, Gothic, 
 Moorish, Spanish, and East Indian. 
 
 These will present the amazing grandeur 
 that arose from the Forum of Rome to the 
 summit of the Capitoline Hill. From their 
 base extends a PYa Sacra, through memorial 
 columns and arches. 
 
 This sketch limners a vision of the splendor 
 of Athens in the Periclean age ; for it is an 
 appropriate fact to recall that the structures 
 which were the glory of all antiquity, which 
 have been models for all subsequent ages as 
 combining " a perfection of solemn and won- 
 drous harmony," were from the impulsion 
 of a democracy, conceived and wrought under 
 one master, Phidias, in the time of Pericles, 
 in a period of thirteen years. 
 
 It will be a transcendent honor for our Re- 
 public if it shall celebrate a century of progress 
 by creations which shall win from posterity the tribute of Demosthenes to the Athenians : 
 
 Our ancestors were inspired not by the desire of wealth, but by the love of glory ; and, therefore, they have left 
 us immortal possessions — the memory of illustrious deeds and the beauty of the works consecrated to them. 
 
 Five centuries later Plutarch wrote : 
 
 These works appear at the present time fresh and newly wrought ; they seem to wear the bloom of perpetual 
 youth ; its glow untouched by time, as if they breathed the breath of immortality and had a soul that age could never 
 reach. 
 
 A Park, " Istoria," outside the walls of the historical group should receive liberally examples 
 of modern dwellings of mankind. Thus the idea of Monsieur Gamier of recreating actually the 
 " Habitations of men in all ages," imagined by Viollet le Due, the chief attraction of the late 
 French Exposition, will be far more completely and permanently developed. 
 
 In these courts should be reproduced structures typical of the highest development in the 
 respective styles. The Byzantine of St. Sophia, the Gothic of the Campo Santo, the tracery of 
 the Alhambra, and the pierced screen-work of the Taj, will be grouped in superb proximity, and 
 with effective contrast to the overshadowing dignity and grandeur of the classic orders.^' 
 
 ♦This variety' may suggest incongruities of mixed architecture. The proposed height of the galleries with their basements will 
 screen the contents of each court, in the silhouette of the sky line, except with domes, towers, and columns, which can be selected to 
 enhance the general effect. 
 
 No. 32. — THE COLONNADE OF THE FORUM OF POMPEII, RESTORED; AN ILLUS- 
 TRATION OF THOSE OF THE PARTHENONIC TEMPLES. 
 
DESCRIPTION OF THE DESIGN AND PLAN. 
 
 31 
 
 %f ^ I.'.l\ ^, M",i, 
 
 No. 3^. — A CONSTRUCTIONAL SF.CTiON OP T!i>-: ( iAI.LHRlES. 
 
 P-, A. AND P., ARCHTS. 
 
 Ill the enclosures of the galleries should be placed reproductions herein described, and casts 
 in concrete of antiquarian remains. For instance, the early Christian crosses of lona and other 
 places in England and Ireland, full-sized specimens of rich fountains, cloisters, the gorgeous 
 portals of Spain, etc., etc. The eifect may be superb, mingled with verdure and herbage. 
 
 Reproductions of the divers na- 
 tionalities should serve as museums 
 of their life, manners,- industries, 
 etc. 
 
 Houses of the ancients should be 
 reproduced, like the Pompeian home 
 at Pansa, at Saratoga, with apart- 
 ments revealing their domestic life, 
 manners, religious symbolism, art 
 industries, etc. 
 
 Instead of a house of Pansa, a 
 dwelling from a small provincial 
 city, there should be recreated the 
 House of Glaucus, as elaborated by 
 Mazois, a Roman palace of great extent and grandeur that would moderate our estimate of 
 modern attainments. It would reveal the excellence of art and the splendor even of domestic 
 architecture that were annihilated by the deluge of Northern Barbarians upon the Roman world, 
 as was Pompeii entombed by Vesuvius. Such realistic revelations would be tangible to those 
 ignorant of the glowing pages of Gibbon, and waken curiosity to hunt the facts of history. 
 
 A mediaeval castle should 
 have its banqueting hall, and 
 gather the a r m s , furniture, 
 metal work, etc., of its age. 
 Indian gorgeousness should be 
 shown with the traceried orna- 
 mentation of the Orient, and 
 the Pacific Isles should be re- 
 vealed in the barbarism which 
 is rapidly becoming extinct. 
 
 The Kensington Museum 
 has original interiors of rooms 
 from Cairo and Damascus, with 
 their jalousies and lattices, but 
 miserably placed in a dark, low, narrow, and crowded hall. Instead of two rooms, the National 
 Gallery of the United States should have a house of full proportions, with all the elaboration of 
 oriental handiwork, and the gorgeousness of the harem. 
 
 In such details Europe would have no advantage. By proper juxtaposition of articles only 
 
 No. 14. KOMAN PANTHEON AND LtCTURE HALLS. 
 
 R., A. AND R., ARCHTS. 
 
32 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 is their purpose revealed. The Moucharabieh^ that screens the women of the East, may as well 
 be bought in Cairo for Washington as for London. In the show-case of a museum objects are 
 often meaningless that would have great interest in proper environment. 
 
 These creations would be the utmost possible compensation to the great majority of the 
 
 people, who in the limits 
 of economy cannot range 
 the earth for either study 
 or pastime. 
 
 They would be substitu- 
 tions for the monuments 
 of the old world, which are 
 themes for admiration and 
 romance. By their combi- 
 nation in respective sur- 
 roundings they would out- 
 weigh all existing works 
 for the inspiration and 
 stimulus of genius. 
 
 For the accommodation 
 of the constructions above 
 proposed 220 acres of land should be provided. It is believed that the expediency of such appro- 
 priation is clearly vindicated by the facts, comparisons, and statistics appended. 
 
 It is seen that the constructions, with the courts they enclose, require large area. Yet they 
 are of simple and uniform design, of economical form, and cheap, yet enduring, material ; and 
 are without external ornamentation. 
 
 The plan provides for 20,000 feet range of picture galleries, and 40,000 feet range of corridors 
 for statuary, casts, models, etc., — a surface of no acres ; 40 acres of which within the boundarj^ 
 walls are left for gardens, fountains, etc., until demanded for illustrative buildings from time to 
 time as means may be provided, or individual generosity create them. 
 
 The area under roof proposed is, 
 
 The area of open courts for historical reproductions, ...... 
 
 The area external to the Temples for American prehistoric reproductions, for sur- 
 rounding avenues, etc., say, .......... 
 
 ^"i'r^^mk^ 
 
 No. 35. — GREEK THEATRE. 
 
 
 R. , A. AND R., ARCHTS. 
 
 35 acres. 
 
 40 " 
 
 35 
 
 no 
 
 For the Park, ISTORIA, through which should be a noble avenue to the galleries, 
 and in which should be placed topographical models in full size (like the 
 Roman Baths at Badenweiler, as hereinafter described in detail of reproduc- 
 tions proposed), and the Habitations of Man in modern days, 
 
 Area of the block indicated on plan, 
 
 no 
 
 220 
 
DESCRIPTION OI<^ THE DESIGN AND PLAN. 
 
 33 
 
 •,\tt»mwiV*atft)>^wi"fe'rw: 
 
 £;!? ^ 
 
 |B'»^^.j7P'(»^«OOKV»*4 
 
 No. 56. AN EXTERIOR ANGLE TOWER. 
 
 The galleries are of one story (v. p. 29), with basements. 
 
 The central, or picture galleries, have top light, and may be the counterpart of the Louvre ; 
 
 the corridors would have side light as ,. ■ 
 
 in the Vatican. 
 
 When the 20,000 feet range of 
 picture galleries is divided among 
 twelve periods or nationalities, an aver- 
 age of about 1,000 feet to each, with 
 allowances for entrances, alcoves for 
 seats, etc., it will be seen to be a min- 
 imum estimate, especially for the his 
 torical series of paintings and other 
 pictorial object lessons hereinafter pro- 
 posed. 
 
 The corridors (halls for casts, 
 models, and the field covered by the 
 Bavarian National Museum above cited) 
 will rapidly overflow in accord with all 
 precedents. 
 
 The basement stories throughout the structures will be indispensable. Extensive shops 
 
 would be required for the multiplication of all 
 objects practicable for distribution to local in- 
 stitutions throughout the land, as now such 
 treasures are distributed by England and 
 France.* 
 
 There would be a chief moulder and staff, 
 as at the Louvre ; potteries and kilns for terra 
 cotta ; photograph and electrotype depart- 
 ments ; modellers in clay, plaster, and wood ; 
 receiving and shipping offices, store rooms, 
 guardians' quarters, etc., etc. 
 
 It is claimed as a special merit of the present 
 design that it provides for future enlargement 
 sT in harmony, both architectural and practical, 
 with the existing buildings, and without dis- 
 turbance of all previous material for rearrange- 
 ment with accessions. 
 
 * It was a mortification to find the aieliers of the moulenr-en-c/ief of the Louvre, and even the half-underground passages thereto, 
 crowded with cases for American institutions and citizens of casts to be imported at an expense of loo per cent, with the tariff tax. 
 These long since should have been supplied from our National Institutions. It was a greater aggravation to the writer to be taxed 
 forty and sixty per centum upon bronzes, terra cottas, etc., for importation o{ replica from Pompeii, and to be assessed likewise upon 
 architectural models for the Pompeia from the British Museum, the Louvre, and Ecole des Beaux Arts, of Paris. It is to be hoped that 
 such fines upon artistic and educational work for our country will soon be relieved, and that art luill be free. 
 
 R., A. & R., ARCHTS. 
 
 No. 37. — ENTRANCE PAVILION IN COLONNADE. 
 
34 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 % 
 
 ito 
 
 The ground plan of the Kensington Museum — crowded, awkward, irregular — is already ob- 
 structive by its limits, as stated in its 
 publications. 
 
 Extracts from " The Preface " of a 
 " Catalogue of the Casts from the Antique 
 in the South Kensington Museum : " — 
 
 The principal objects aimed at in the formation 
 of the historically arranged Museum of Casts from 
 the antique are : — 
 
 I. To give the artist the opportunity of studying 
 the best representatives of the difterent periods of 
 Greek Art. 
 
 II. To provide the Archaeologist with the indis- 
 pensable means of studying his science and of 
 illustrating his lectincs. 
 
 III. Relates to advantages afforded to students. 
 IV; To inform Amateurs who are about to visit 
 
 foreign Museums where the best remains of an- 
 cient plastic art are to be found. ( Wc would 
 bring casts of all these " best remains" at once 
 to our National Gallery.') 
 
 V. Relates to the educational influence upon the 
 
 -5?^" 
 
 GOODHUE, DEL. 
 
 No. 38.— COURT OF THE LIONS, ALHAMBRA, FOR ARABIC COURT. 
 
 public. 
 
 But an explanatory note adds an important caution. Although the catalogue ttumbers but 
 2JI specimens of the thousands that can be cheaply commanded., and refers students to foreign Mu- 
 seums for others, yet the area is confusedly crowded. It is said : 
 
 The arrangement is in the main clironological. We say in the main, because the gallery assigned to the 
 collection does not admit of this arrangement being rigidly adhered to. Tlie larger reliefs have had to be placed 
 out of their proper sequence on the walls as suitable space, considerations of light, etc., determined. 
 
 The government of the British Museum is embarrassed with its riches in the Townley mar- 
 bles and other accumulations. The building that was supposed ample for the library and natural 
 history collection and museum must be given only to books. 
 
 The museums of Boston and New York have made their moderate growth in about 30 
 years for the lack of space. Immediately that an addition is obtained it is filled. The contents 
 of the Cluuy and the Trocadero Museums crowd their premises. 
 
 Versailles, almost exclusively a gallery of paintings, has a range of 1,300 feet, repeated 
 probably ten times, say 13,000 feet on different floors, and by the side walls of apartments built 
 for bed-chambers, ball-rooms, and banqueting halls ; yet it is compactly filled. Its historical 
 series numbers 1,204 paintings, probably requiring two miles in range for proper exhibition. The 
 National Library of France covers 3^ acres, demanded for books and their use. The new Na- 
 tional Library at Washington covers 4 acres in a plot of 6 acres of ground. 
 
 The School of Fine Arts, in Paris, has its dark attics packed under rafters to the eaves with 
 
THE AMPLE AREA DEMANDED. 
 
 35 
 
 No. 39. TAJ MtHAL lOK MOGUL Col K 
 
 GOODHUE, DEL. 
 
 valuable casts, tliat can only be selected by the croucliing of the purchaser with the dim light of 
 
 a candle. 
 
 The catalogue of the Louvre objects, moulded for sale, numbers 1,169 specimens, and includes 
 
 Egyptian, Assyrian, 
 
 Ninevite, and Pheni- 
 
 cian relics, as well as 
 
 classic and modem. 
 
 In the latter it is rich 
 
 of the French School, 
 
 Jean Goujon, German 
 
 Pilon, etc. 
 
 B r u c c i a n i , of ^ 
 
 London, offers 1,489 
 
 specimens upon sale, 
 
 beside the catalogue 
 
 of the British Mu- 
 se u m of reproduc- 
 tions of ancient niar- 
 
 bles, bronzes, etc., 
 
 Egyptian, Assyrian, 
 
 and the famous fragments of the Parthenon, the Mausoleum of Halicarnassus, etc., etc. 
 
 The Assyrian sculptures number 60 slabs, averaging about 30 square feet each of surface. 
 
 These figures illustrate the capacity demanded for such exhibitions, even in fragments. 
 
 These 60 bas-reliefs, many of them 7 to 8 feet in length, are offered for 308 pounds, $1,540, 
 
 packed for shipment. 
 
 The Vatican contains a museum of 20 courts. It is an irregular mass of buildings, covering 
 
 a space 1,200 feet 
 long by 1,000 feet 
 broad, of several 
 stories. The build- 
 ings enlarged in 
 emergency are ver^' 
 irregular in plan. 
 
 Its galleries of vast 
 extent are filled with 
 but one class of arch- 
 aeological remains. 
 Before reaching the 
 main entrance a cor- 
 ridor 2,000 feet in 
 
 ■i^:.ii.^ -.♦:!:-• I»it4r ' 
 
 t 
 
 'r^s^; 
 
 v^ii. 
 
 ■;>ie;-CiOTi ;ic-M.'M ' 
 
 RENWICK. ASriNWALL i HUS8ELL, ARCHTS. 
 
 No. 40, — GOTHIC HALL IN GOTHIC COUR L. 
 
 length is walled, with ancient Pagan and Christian inscriptions. This exceeds in length the 
 
3^ 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 entire range of galleries proposed for the illustration of Roman history ; but the plan provides 
 
 on either side the same range for the casts of statuary and divers objects. 
 
 The galleries should also be utilized extensively for topographical models of the Acropolis, 
 
 the Forum, etc., etc. These are the most tangi- 
 ble realizations possible of the relative size and 
 position of objects. 
 
 The model of the Pueblo of Zuny, in the 
 Smithsonian Institution, is an admirable specimen 
 of such works. It is upon a small scale, yet it 
 measures 18' 6" x 9' 6".' Beueath are boxes of 
 implements and potter}^ that should be seen with 
 it ; unopened, for want of space. The cast of the 
 Aztec Sacrificial Stone, in the Smithsonian In- 
 stitution, measures 10 feet in diameter, and the 
 calendar is 12 feet wide. Such models are not 
 costly, and for them a large area should be 
 anticipated. 
 
 The walls of the corridors should supply ample 
 space also for casts of inscriptions. Most liberal 
 selections should be brought from the Christian 
 Museum of the Lateran, founded as lately as 
 Pius IX ; its Christian sarcophagi of the 4th and 
 
 5th centuries ; its inscriptions and paintings from the catacombs. Pictures of these in books give 
 
 no such vivid impressions as exact counterparts in size, color, and perspective. Such thrilling 
 
 memorials of eras from which 
 
 flowed and widened the tides of r >■. ..^.v^. ;-.:,,. .^-,.;-^, .,„... , . . .■■ . .. ... . — — — — — — ■ .,..-., .>..-- i --. v:i:i!i,:cf:: ' ^i;ssism m 
 
 modern civilizations should be ! 
 
 precisely duplicated. 
 
 Systematic search for in- 
 scriptions, etc., is now made 
 
 with great zeal throughout the 
 
 territory of ancient Greece. Cy- 
 
 rene, Halicarnassus, Rhodes, and 
 
 Ephesus, and other places, have 
 
 been explored by the English ; 
 
 Athens by Greeks and English ; 
 
 Olympia by Greeks and Germans ; 
 
 Cyprus by Genl. Cesnola, and 
 
 other sites by French and 
 
 P.J A. 4 R., ARCHTS. 
 No. 41. — PAKT OF ENTRANCE COLONNADE, WITH ARTIKICIAL LAKE. 
 
 LINCOLN -AftCH 
 
 RENWICK, ASPtNWALL 4 RUSSELL, ARCHTS 
 
 No. 42. — THE LINCOLN ARCH. 
 
 Germans. 
 
 The American School at Athens, it was expected, would secure the concession of an explora- 
 
COMPARISONS WITH FOREIGN GALLERIES. 37 
 
 tion of Delphos. Unfortunately, the subscription of 80,000 dollars was too late, and the French 
 secured the opportunity. 
 
 There are now preserved from 20,000 to 30,000 Greek inscriptions, from which most valuable 
 literarj' and archaeological data have been secured. It is, indeed, to be desired that Americans 
 may yet secure a share of these scholastic records and relics. 
 
 In farther vindication of the scale for the National Gallery, comparative measurements 
 and areas are given. 
 
 The Capitol of the United States has a frontage of 751 feet by 324 feet ; covering with porti- 
 coes and steps 153,112 square feet, or 3^^ acres. 
 The American Parthenon (upon the plan) covers with its porticoes 200 feet 
 
 by 450 feet, ........... 90,000 square feet. 
 
 The American Galleries surrounding it at their base, with porticoes, cover 165,000 
 
 255,000 
 But the walls of these buildings enclose only 132,125 square feet, or less than three (3) 
 acres. 
 
 The parallelogram of the old and new Louvre of Paris covers 2,640 feet (more than half a 
 mile) by 1,008 feet in width. With the Tuileries, the buildings covered 24 acres — an area 
 repeated more than four times in different floors — that is, there must have been more than 100 
 acres of flooring. Deducting the portions used for Governmental Departments there must be a 
 much larger area of gallery and museum space occupied than in the American Institute 
 designed. Yet its halls are packed ; its basements crowded with its ateliers and storage. 
 
 And this, it should be remembered, is but one of the French museums, beside Versailles, the 
 Cluuy, the Luxembourg, etc., etc. 
 
 Part of the American galleries and corridors will be demanded for the extraordinary remains 
 of Aztec and pre-historic races. Already a lady of scholarly interests in Boston is filling a pri- 
 vate store-house with antiquities from Arizona. 
 
 The illustrations of Roman History, proposed for a historical series of paintings, would 
 need a range of 800 feet; yet they descend only to the death of Antony, B. C. 30. 
 
 The Art Gallery of The Hermitage, St. Petersburg, measures 515 feet by 375 feet. Its 
 two floors, therefore, equal 5,150 feet of range of galleries, 75 feet in width. The Palais de 
 rindustrie, Paris, for exhibition of works of art, is 800 feet long and 115 feet high. 
 
 It is not expected that the entire range of buildings would be immediately completed. 
 But the above facts prove that the vast galleries proposed are no exaggeration for the inevitable 
 demand. The experience of all existing similar institutions vitidicates their necessity. 
 
 It is not necessary to detail designs and contents for the Modern Dwellings of Mankind, 
 which should have place in the Park ISTORIA. Their attractions and instructive interest 
 have been demonstrated in successive Expositions. They should be constructed more grandly 
 and substantially than the cheap imitations built only for a season. Selections of appropriate 
 subjects are illustrated with the statement that follows, upon the educational facilities of the 
 Institute. 
 
Ancient and Modern Concrete Construction— Its Advantages. 
 
 In strength and durability no masonry, however hard the stone or large the blocks, could ever equal these Roman 
 walls of concrete ; for each wall was one perfect coherent mass, and could only be destroyed by a laborious process 
 like that of quarrying hard stone from its native bed. — Encyclopcedia Britannica. 
 
 IT is self-evident that the structures of a National Gallery should be : — 
 First. Imperishable by fire or decay. 
 
 Second. Impervious to moisture or vermin. 
 
 Third. Independent of external repairs. 
 
 These are essentials. 
 
 Most desirable for permanent satisfaction is an architecture of standard purity in design ; 
 of dignity* and beauty in effect. 
 
 These essential requirements must be found in the nature of the material. Alone to be 
 named for these qualities are: i. Stone or marble; 2. Brick; 3. Concrete. 
 
 They are named in the order of general popularity, but in the reverse order of real value. 
 
 Experience has demonstrated that their order of merit for the above requirements is : 
 I. Concrete; 2. Brick; 3. Stone or marble. 
 
 After the fire in Chicago, a commission investigated the comparative fire-proof qualities of 
 material in the ruins, and reported their order as : i. Concrete; 2. Brick; 3. Stone. The Bos- 
 ton fire swept streets of granite blocks into ruins, even more quickly than if they had been of 
 wood. Sheets of flame spread over ranges of granite warehouses ; slates flew into fragments ; 
 the iron beams and girders warped and bent, while the stone blocks cracked, tumbling the 
 so-called fire-proof piles into heaps of ruins before the wooden floor beams were half consumed. 
 
 By concrete is' commonly understood a conglomerate of broken stone or gravel, sand, and 
 cement, according to the formulas of Gen. Gilmore and other authorities. For the use herein 
 debated for constructions above ground, is intended a finer concrete of sand only with Portland 
 cement^ as more dense, therefore less porous, and presenting a finer and more uniform surface 
 and tint than the coarser mixture. Facts are appended in demonstration of the values in ordi- 
 nary concretes both in ancient and modern use. For foundations it is universally accepted as 
 of greatest value. Fortifications and large structures of the highest class, the Washington Mon- 
 ument, the Bartholdi Statue, etc., are based on concrete. The Hotel Metropole, London, has a 
 foundation of concrete, re-enforced by "sixty-five miles of band iron." 
 
 * " Sublimity is nearly impossible in brickwork. The smallness of the material is such a manifest incongruity with largeness of 
 parts that even the Romans, though they tried hard, could never quite overcome the difficulty."— Ferguson. 
 
 "The ancients used brick, cased over with plaster as smooth as glass." — Rollin. Such was the construction of the Baths of 
 Caracalla, etc.: vast and magnificent piles. It is to be regretted that the late national buildings along the future Park, from the 
 Capitol to the Potomac, do not rise in grandeur above the factories of Lowell in the poverty of their brick walls. 
 
EXAMPLES OF CONCRETE CONSTRUCTION. 
 
 39 
 
 But in walls above ground there is less familiarity with its use and custom excites timidity 
 in its adoption. 
 
 The sand and Portland cement concrete proposed was the material used in the construc- 
 tion of the Villa /Jorayda and the Hotel Casa-Monica * in St. Augustine, there with a fraction 
 of " coquina " or shell. It was employed in the Pompeia at Saratoga Springs, on the exterior 
 wall and for pavement, and in the interior for columns, architraves, etc. It has been used suffi- 
 
 FRASKLIN W. 8WtTH, ARCHITECr, 
 No. 4-,. VILLA ZORAYDA. THE HIRST CONCRETH BUILDING IN ST. AUGUSTINE. I 882. 
 
 ciently to demonstrate its solidity and strength ; its increasing hardness beyond any natural 
 stone ; its resistance to cold at i6 degrees below zero ; its capability to receive any required tint 
 in color except white, and its cheapness against brickwork. 
 
 This use of concrete has lately been familiar in cities for pavements, which are exposed to 
 the most severe action of frost.f Fortunately the latitude of Washington, with its gentle climate, 
 dispenses with much expense against this risk. 
 
 * The original name of this construction is recalled for its significance and tender historical associations. " Casa "—'house ; 
 "Monica"— the name of the mother of St. Augustine. Vide " T/ie Cori/essious of St. Augiis/iHe" in allusion to her death. 
 
 t Washington and other cities are being paved largely with a coarse concrete, in place.of gran.ite and North River slate. 
 
 The approaches to the new Armorj at Saratoga Springs, the terrace rail and terminijl posts, the curbing and twelve-inch water- 
 way will be constructed 0/ the best Portland cement and gravel ; I. e., concrete. The same material is used in the construction of 
 over 200 miles of sidewalks in Minneapolis, and stands the temperature of 40 degrees beloiu zero without cracking or springing. But 
 as above stated, the concrete for walls above ground would be of much finer and stronger components. 
 
40 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 In its adoption we are returning not only to the examples of the ancients but of modern 
 Europe, where dwellings, bridges, and aqueducts are entirely built thereof. 
 
 The New Mausoleum Company, of Brooklyn, have plans prepared for a structure of marble 
 
 and concrete 350 feet square, three stories below 
 ground, and two or three stories above ground, with 
 a tower 160 feet in height and on the main floor a 
 memorial hall. 
 
 Concrete was the most important of all the materials used 
 by the Romans. 
 
 * * * Large spaces were covered with vaults and 
 domes, cast in a senii-fluid concrete. * » * Xhe enormous 
 vaults of the great thermae, and the like, cover their spaces with 
 one solid mass like a metal lid, giving the form but not the prin- 
 ciple of the arch, and thus allowing the vault to be set on walls., 
 which would have been at once thrust apart, had they been sub- 
 jected to the immense leverage which a true arched vault con- 
 stantly exerts on its imposts. * * * 
 
 Massive walls were cast in a mould ; a sort of box of planks 
 held by upright timbers into which the semi-fluid mass was 
 poured. When this was set, the timbers were removed and 
 refixed on the top of the concrete wall ; then fresh concrete was 
 poured in, and this process was repeated till the wall was raised 
 to the required height. In some cases the whole wall to the top 
 was cast in this way and the brick facing was omitted ; /. c, the 
 building was wholly of concrete. * * * About 3 feet high 
 appears to have been the average amount of wall raised in a day. 
 
 No. 44. VkSIIBULt, ZUKAYDA. 
 
 A reference to Fig. 51 of the Casa-Monica in construction, will show how precisely Roman 
 concrete methods, as above described, were illustrated upon a large scale in 1887. 
 
 The enormous dome of the Pantheon, 142' 6" in space, is cast in concrete ; being one solid mass, it covers the 
 building like a shell : free from any lateral thrust at the haunches. The walls 
 of the Pantheon are of concrete, with a facing of bricks. Steps in the Forum 
 had concrete coves, which remain. Pedestal coves of concrete also remain. 
 The circular podium around the temple of Vesta, about ten feet high, of 
 concrete, still exists. The great platform in Nero's palace and the pyramid 
 of Cestius are other of the many remains of concrete in ancient Rome. — En- 
 cyclopedia Britannica^ last edition. 
 
 In the recent extension of the Via Nazionale in Rome, 
 the concrete foundations of the house of Sallust were encoun- 
 tered, and it was necessary to blast them with dynamite. 
 
 The opinion of Mr. James Renwick upon the expediency 
 of the use of concrete for the National Gallery is stated, as 
 follows : 
 
 F. W. S., ARCHT. 
 No. 45. — ZORAYDA. THE KIRST CONCRETE ARCH IN 
 ST. AUGUSTINE. 
 
ENDORbBMENT OF CONCRETE AS A MATERIAL. 4I 
 
 Renwick, Aspinwall & Russell, Architects, 
 
 71 Broadway, New York, January 21, 1891. 
 Franklin W. Smith, Esq. 
 
 My Dear Sir : In answer to yours of the loth, in which you desire me to give an opinion as to the value of 
 concrete, or B^ton, as it is called by the French, as a building material, and a history of its use, I would state that 
 concrete was used by the Romans, and also in small quantities by the architects of the Middle Ages. In modern times, 
 owing to the discovery of cements and hydraulic limes and the perfection of these manufactures, it has been used much 
 more than previously, and this is due to its great value in moist as well as dry foundations, and also to the fact that it 
 will set under water, and for building j^urposes because it is more durable than sandstones, and as durable as marble 
 or granite. Concrete is composed either of a mixture of hydraulic lime, cement, and sand, or of cement and sand and 
 broken stone, or broken bricks or gravel. 
 
 Its use for foundations is now almost universal. For superstructures it has also been -largely used. The B^ton 
 Coignet has been extensively used in France in the great aqueduct which supplies Paris, in which it is carried across 
 the depression in the woods at Fontainbleau by arches of B^ton, one of which, of 80 or more feet in span, crosses the 
 public highway. A churcli lias also been built of it from foundation to the top of the spire, and hoxses, pavements of 
 streets, and the cavalry barracks at Paris arc also made of this material. 
 
 In Germany many houses arc built of it entirely, with the steps of the same material. The great breakwaters in 
 the Mediterranean at Alexandria and Port Said are of concrete, which is made in the form of a cube of about 6 feet 
 6 inches and thrown into the sea. 
 
 In this country B6ton Coignet was used by me for all the interior walls of the Cathedral of New York, except 
 the columns and traceries, which are of marble, and was exposed for years to the action of the weather without damage. 
 Many houses, also, are faced with this material, colored to resemble brown stone. The arch in Prospect Park, in 
 Brooklyn, is also of this material, and the underpinning of many of the bridges on the Erie Railroad, the masonry of 
 which has been damaged by floods, in which it was very successful. 
 
 The material of which it is proposed to build the galleries of Istoria is better than this, as it is made of 
 Portland cement and not of hydraulic lime and sand. It will stand a very great pressure and is stronger than many 
 building stones; it can be made in any color, except white. It has been used with great success in St. Augustine, 
 where there is not other material easily procurable which is dinable, and it ought to be used much more largely, as it 
 is, in addition to its durability, the cheapest known material. If mixed by machinery, the walls of a building can be 
 built for 32 cents a cubic foot; more than ten cents less than common brickwork. For columns, cornices, doors, 
 windows, and all mouldings and ornaments, its relative expense is at least from J to J^ that of cut stone, as after the 
 moulds are made, the whole work can be done by unskilled labor. For a great public building, such as the National 
 Gallery, it is, therefore, the most economical material that can be used. 
 
 With regard to the height and dimensions of the galleries, I would advise a basement from 10 to 15 feet high, 
 depending upon the position chosen for the building, with the galleries above it, which should be from 30 to 40 feet in 
 width. As the plan is drawn with colonnades for statuary, etc., on each side of the galleries, this will keep all 
 objects of interest on the same level. The basements can be used for workshops and apartments for the officers and 
 employes of the institution, and in some cases may be omitted if the ground on which the building is placed requires 
 it. I have no doubt, in my own mind, that this plan is the most convenient and best adapted to the purposes for 
 which the building is to be used. • * * 
 
 Yours truly, 
 
 * [Signed] JAMES RENWICK. 
 
 The massive and extensive concrete residence of Mr. W. E. Ward, of the iron manufactur- 
 ing firm, Russell, Burdsdall & Ward, Port Chester, N. Y., of which illustrations are annexed, is 
 a scientific and practical proof of the adaptation of the material to general construction. 
 
 *A farther extract from the letter of Mr. Renwick is placed with the consideration of cost. 
 
42 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 Before the commencement of the work, Mr. Ward made tests and experiments with the 
 material at large expenditure of thought, time, and money. These investigations were made 
 
 No. 46. ZORAYDA, INTERIOR. A MONOLITH OK CONCRETE. WALLS AND GALLERIES OK CONCRETE. ARCHES KACED WITH TRACERIES OK THE ALHAMBRA. 
 
 in 1871-1872, and published in "Transactions of the American Society of Mechanical Engi- 
 neers," at the regular meeting in Cleveland, O., 1883. The following is an extract from the 
 report : 
 
 When all doubts were removed concerning the reliability of the several combinations of materials required in the 
 construction, a building, embracing the following radical, new features, was erected (during four years, 1S73-1S77), 
 for dwelling purposes, near Port Chester, N. Y. : Not only the external and internal walls, cornices^ and towers 
 of the building were constructed of beton, but all of the beams, floors, and roofs were exclusively made of be ton, 
 re-enforced with light iron beams and rods. 
 
 Furthermore, all the closets, stairs, balconies, and porticoes, with their supporting columns, were moulded 
 from the same material. The only wood in the whole structure being window-sashes and doors, with their frames, 
 moss boards, and the stair rails, thus excluding everything of a combustible nature from the main construction. 
 
A RESIDENCE BUILT OF CONCRETE. 
 
 43 
 
 B6ton can be used in any form of construction, and is able to serve the requirements of any architectural or deco- 
 rative effects, etc., etc. 
 
 On the 26th of January last, I wrote Mr. Ward asking whether he had discovered any cause 
 for qualifying his judgment as 
 to the value of beton for a reli- 
 able building material. 
 
 He replied February 3, as 
 follows : 
 
 No, sir. I have not found through 
 experience and close observation any 
 reason for qualifying my opinions of the 
 superior excellence of beton as a first- 
 class building material ; and only won- 
 der that after the complete success of 
 my big experiment, the building public 
 are so slow in adopting it more gen- 
 erally. 
 
 In a subsequent letter 
 (March 7, 1891), Mr. Ward 
 wrote : 
 
 I am unable to emphasize its 
 
 •. . 1 -^ I No. 47. — CONCRETE RESIDENCE OF MR. W. E. WARD, PORT CHESTER, N. Y. l87?-l877. 
 
 merits as Strongly as it deserves. ^' ' ■ ■^, "• 'o/^ loy/. 
 
 For such a structure as you propose to build, and as you aim to realize equal duration in all parts, I would 
 certainly construct the roof out of tiie same material. 
 
 Mr. Ward made his roof of large slabs of concrete resting on the supporting walls with 
 
 paper (slip) joints, to admit of expan- 
 sion and contraction. 
 
 The history of the extensive con- 
 crete constructions in St. Augustine 
 is interesting, and the facts involved 
 therein are conclusive as to the ex- 
 pediency of its use for the National 
 Gallery. In the winter of 1882, 
 while in Spain, I decided to build a 
 winter home in St. Augustine after 
 the model which the experience of 
 centuries had proved desirable in 
 semi-tropical countries. 
 
 An oriental house of wood would 
 be an anachronism ; yet there was no 
 stone in Florida. To freight it from 
 the North would be an extrava- 
 gance. At Vevay, on Lake Geneva, subsequently, the dilemma of material was relieved. In 
 
 No 4S. — INTERIOR Oh MR. WARD'S HOUSE. ELOOR, WALLS, AND CEILING OF CONCRETE. 
 
44 
 
 A NATIONAL GALLERY OF* HiSTORV ANt) ART. 
 
 the neighborhood a chateau was in construction. Concrete partition walls four inches thick were 
 being cast of the rubbish, bricks, etc., left from the main walls, in a wooden boxing.* Near by 
 Grecian balusters were being cast of fine sand and cement in iron moulds, very rapidly, with 
 unskilled and cheap labor. The problem was solved. I saw henceforth an age of stone for 
 St. Augustine instead of pitch-pine wood. 
 
 FHANKLIN W. EMITH, ARCHITECT 
 
 No. 49.— THE " CASA-MONICA," ST. AUGUSTINE. CONCRETE OF SEA SAND WITH PORTLAND CEMENT. 
 
 In the following December, with a Boston mason, experiments were made, and the first concrete 
 blocks of Coquina sand and Portland cement were cast in St. Augustine for the Villa Zorayda. 
 They are preserved as valuable relics. Then the first course around the lines of the dwelling 
 herein depicted was laid in planks 10 inches high, and filled with the mixture. In two days a 
 range of handsome smooth stone was revealed. It was followed by another immediately, and 
 these layers hardened sufficiently to allow the raising of the walls a course every other day. The 
 partition walls were cast in with the main walls in even courses, also the arches of the court, so 
 that the building is practically a monolith. Arches like the first cast, as seen in the illustration 
 (pl- 45). were re-enforced and anchored to the walls by round iron rods. The outer walls were 
 cored with an air-ch amber, by a board buried in the boxing and then raised, like a boat's centre- 
 
 * " Even party walls of small rooms " (of Roman houses) " are not built solid, but have a concrete core faced with brick trian- 
 gles about three inches \on'fi " —Eucyclopcedia Britannica. 
 
THE HOTEL CASA-MONICA, OP CONCRETE. 
 
 45 
 
 F. W, SMITH, ARCHT. 
 
 board, before the concrete hardened. In thirty days the walls were as hard as any building stone, 
 and in a year as defiant of a drill as granite. 
 
 The result is a building that can hardly be excelled for durability, solidity, and richness in 
 effect, dryness, and fire-proof qualities. Fireplaces cast in concrete have withstood to the date of 
 this writing occasional 
 fires, during eight win- 
 ters , of live-oak wood, 
 without as much impres- 
 sion as would have been 
 made upon fire-brick. 
 
 The famous and ex- 
 tensive constructions of 
 concrete in St. Augustine 
 followed, and now it is in 
 universal use, not only for 
 first-class and rich build- 
 ings, but for fence posts, 
 sidewalks, chimney flues, 
 etc., etc.; and the piers 
 
 beneath the poor man's No. 50.-THE " casa-mon,ca " m construction. 
 
 cottage, formerly built of 
 
 bricks from the North at double the cost. 
 
 The Casa-Monica, of which illustrations are annexed, stands as a superb illustration of con- 
 crete. A facade of above 400 feet, a tower of 100 feet in height, balconies, arches, cornices, battle- 
 ments, etc., etc., are a homogeneous mass of solid and elegant stone. It was a new departure in this 
 building to use the sea sand simply dredged from the flats of the harbor, having not more than 
 one-tenth of the coquina. It was found that the finer the material the more dense and uniform 
 in color the result. This building challenges comparison with any in the United States for the 
 desiderata of a first-class stone construction, and especially with its ornamentation and impressive 
 grandeur, illustrating the Spanish castellated and the Hispano-Moresque forms — -for its cost. 
 
 The Museum of the Stanford University, California, next to the Memorial Chapel, will be the most important 
 edifice on the grounds. It will be 300 feet in lengtJi, three stories in height^ and the entire structure from founda- 
 tion up — walls, Jloors. and roof — is to be of concrete and twisted iron. The whole edifice to be moulded into a 
 single monolithic structure, without seam, break, or joint. The bars of iron embedded in the concrete are immova- 
 bly held at every point by the enveloping material, and thus impart their own tensile strength to the concrete, which 
 obviates the necessity for great thickness or heavy weight, especially since it is found that bars of iron, subjected to 
 cold twisting, gain largely in tensile strength. 
 
 I^^Thus a precursor of what is proposed for the National Gallery is precisely 
 to illustrate the present theory in advance, by the liberality and independent 
 enterprise op Senator Stanford. 
 
 Stones placed in contact with merely joints of mortar have no bond, such as exists in con- 
 crete held throughout an entire range by embedded iron. The former will not resist settle- 
 
4^ A NATIONAL GALLERY OF HISTORY AND ARf . 
 
 ment of sections or the shocks of earthquakes ; the latter, better than any known material or 
 expedient, will resist both. Doubtless this was one reason for the adoption of concrete^ re-enforced 
 by iron, for the Stanford Museum. 
 
 It may.be observed that the fagade of the Villa ^orayda (Fig. 44) is nearly in three detached 
 sections. If really separate, the least jar of earthquake or the slightest settlement would be 
 made apparent. For security against either, the sections are bound by imbedded railroad bars 
 through the entire width of the building. Considering that earthquakes have shattered a city 
 as near to Washington as Charleston, this contingency, not anticipated at the commencement 
 of the Capitol, is worth consideration. The writer hopes to set up in Washington within a few 
 months, specimen columns, cast in concrete, that will be their own evidence of the qualities 
 asserted, viz., that such construction is monolithic, homogeneous ; that it increases its tensile 
 and crushing strength continuously with time, and that it can take readily, cheaply, and per- 
 manently, any precise tint demanded for beauty, except white. 
 
 It will be said that such material is an imitation of stone. It is, in fact, a stone, although 
 of artificial creation. 
 
 Unquestionably, as Ferguson has stated, value enters into our conception of greatness and 
 richness. The semblance of the Koh-i-noor, be it absolutely indistinguishable in its precision, 
 cannot satiate our curiosity to look upon the great original diamond. But in wise use of our 
 capital we shall not rival motfarchical ambition. 
 
 Fortunately the essential elements desired — sublimity and duration as its complement — 
 are both supplied b}' the modern perfection of cement in its chemical affinity, producing rock. 
 
 In all great imitative creations we satisfj' ourselves with slight semblances compulsivel3^ A 
 painting is but a thin and perishable phantom of the everlasting hill or the ocean that rollest 
 now, "Such as creation's dawn beheld." 
 
 The Dome of the Invalides is only a film of gold in thickness ; but Dr. Holmes overheard 
 Sirius mistaking the gilded Dome of the Capitol of Massachusetts, in Boston, as a stranded 
 satellite that had lost its way. 
 
 The Athenians were content with a plating of real substance for th e colossal ivory and gold 
 statue of Athena in the front chamber of the Parthenon ; yet that and the Olympian Jupiter 
 have ranked as the grandest human conceptions realized in art. 
 
 The Warrior Goddess was made of plates of ivory upon a core of wood or stone for the flesh 
 parts, on which was laid the drapery, etc., of gold. Previous to Phidias, colossal statues, when 
 not of bronze, had head, hands, and feet of marble, while the body was of wood. Yet to the 
 great masters of Greece " doth mankind owe its knowledge of the beautiful." 
 
 Terra Cotta is a moulded material, but is now an established artistic resource, and has 
 gained general acceptance since its first prominent use of late years in the exterior bas-reliefs 
 of the Boston Art Museum. To the aesthetic sense a moulded bas-relief is a greater contrariety 
 in sculpture than a moulded brick or moulded plinth in architecture. 
 
 The magnificence of Rome, enduring through the ages, even in its ruins, was original in 
 brick and concrete to a great extent. Augustus, it is written, found Rome of stone, and left it 
 in marble. Its stone was principally artificial ; its marble was a plating upon walls of brick or 
 concrete. 
 
COMPARATIVE ECONOMY OF CONCRETE. 
 
 47 
 
 " Even marble buildings were usually coated with a thin layer of fine white stucco, nearly as 
 hard and durable as the marble itself- a practice also employed in the finest buildings of the 
 Greeks — probably because it formed a more absorbent ground for decoration. 
 " Stone columns coated in this way were called coliimtice dcalbatceT 
 
 The exterior of the Taj at Agra and the interior of the Alhambra at Granada are generally 
 admitted to be the most fascinatingly beautiful in the world. The latter has exhausted superla- 
 tives of admiration from Irving to Amicis. Its exquisite traceries have stood in full relief for more 
 than five centuries (the Court of the Lions in the open air), yet it is of stucco. Exact counterparts 
 of the "glories " of art can be had only for the world in substitutes of plaster. Assuming that 
 the above evidence demonstrates that concrete supplies, better than stone, the essentials for con- 
 structions required, the economical result is extraordinary. 
 
 Brickwork in Washington has advanced 
 in cost to $9.72, say $10.00 per cubic }'ard, 
 owing to the exhaustion of good clay in the 
 vicinit}-. Mr. Renwick's estimate of the 
 cost of concrete (22 cents per cubic foot) is 
 $5.94, sa}^ $6.00 per cubic yard. 
 
 A comparison of the cost of cut stone 
 or marble, especiall}' in large blocks, will 
 show an enormous saving. The marble 
 columns of the Capitol, including base and 
 capital, are 30 feet 4^ inches in height. 
 The shafts are 24 feet 10 inches by 3 feet 
 in diameter, in one block. 
 
 Mr. Edward Clark, Architect of the 
 Capitol, writes: "According to my recollec- 
 tion the cost of each column, including cajj 
 and base, was, approximately, $3,000.00." 
 
 The Roman Doric order would be, 
 consistently, cast in concrete by sections. 
 After the expense of the mould $100 each 
 would be a liberal estimate for the cost of 
 columns of the dimensions above stated. 
 
 Granite! [columns, [one-half the size of 
 those required for the Columbian Parthenon, would cost at Westerly, R. I., $996.50, say, 
 $1,000.00. These would be about 3 feet in diameter and should not cost, as above stated, over 
 $100.00 in concrete. 
 
 An. approximate estimate, without calculation of details from experience and the above data, 
 for the group of buildings of the Historical Galleries would be — 
 
 In concrete, $10,000,000.00 
 
 In marble or granite .... $40,000,000.00. 
 
 No. 52 
 
 -MOORISH ARCHES IN THE COURT OF VILLA ZORAYDA, SHOWING THE 
 ALHAMBRESQUE TRACERY. 
 
No. 53. — THE ENRICHMENT OF THE KOMAN FORUM FROM THE RESTORATION UY CANINA; TYPICAL OF FUTURE COMMEMORATION BY THE PEOPLE 
 
 OP AMERICAN PATRIOTISM AND PATRONAGE OF ART. 
 
 The Contents of the National Galleries and their Courts. 
 
 Diffused knowledge immortalizes itself. — Sir James Mackintosh. 
 
 Knowledge is of two kinds. We know a subject ourselves, or we know where we can find information upon it. 
 
 — Samuel Johnson. 
 History hath triumphed over time, which, besides it, nothing but eternity hath triumphed over. 
 
 — Sir Walter Raleigh. 
 
 WB have in imagination provided commemorative Temples of History, and Galleries for illus- 
 tration of the highest attainments of art. No institution upon a system as comprehen- 
 sive at the outset has hitherto been attempted. It is claimed to be a new departure in accord with 
 the progressive and utilitarian spirit of the age. 
 
 Such advance is demanded in these days in all intellectual as well as material interests. 
 Old University systems have yielded to the eclectic demands of a practical era.* Technologi- 
 
 ♦ Thoroughly in Bympathy with these ideas is the present University extension movement; a new, broad, and promising educa- 
 tional instrumentality by which the latest results in the fields of art, science, and philosophy are to be carried to the general public. 
 In this as in other enterprises of high scholarship, America cannot claim priority. For fifteen years it has been promoted in England 
 under the lead of Dr. Moulton, of Cambridge. 
 
 Lately, lectures have been given by Professors of Princeton, Columbia, Yale, and Harvard, on various subjects, in New York 
 and Brooklyn; Professor Marquand, of Princeton, lecturing on Archaeology. These valuable services are stimulating a demand for 
 the grand Institute of Illustration, herein proposed, as essential to inquiry. 
 
 In the same direction of zeal for diffusion of knowledge is the plan of the new University of Chicago, for work throughout the 
 year, by lectures in and about the citjr. 
 
THE COLUMniAN PARTHENON. 
 
 49 
 
 No. 54. — GREEK MAUSOLEUM OF HALICARNASSUS. RESTORATION. M. 
 
 cal institutions supplant, for special vocations, the old classic routine, that the student may go 
 directly to the goal. We seek to arrange collateral information along his path. The advantage 
 for America is, that in her youth and 
 wealth she is not encumbered by cus- 
 tom and routine. The Kensington 
 Museum, as we have shown, is proof 
 of the possibility of modern improve- 
 ments in aid of archaeology and art. 
 
 The proposed National Gallery 
 of History and Art,* it is believed, 
 would excel both in materials and 
 methods any existing institution. 
 
 It would draw from analogous 
 organizations of the Old World all 
 details applicable to its purposes, and 
 it would add others of special value to 
 Americans, as a new nation in a new 
 world, isolated from all original re- 
 mains. 
 
 The system of illustration ad- 
 vised is claimed also to be compara- 
 tively, with its attractions, its promised influences and results, more economical than previous 
 historical and artistic collections. 
 
 For apprehension of the scheme, the reader is invited to enter the structures, in imagination 
 completed, and forecast their occupation and use. 
 
 Like the Parthenon on the Acropolis, and the Temple of Jove on the Capitoline Hill, the 
 monument to Columbus dominates a height before the American Capitol ; its counterpart in 
 prominent magnificence. 
 
 This grand temple we devote to commemoration of the discovery of the Western Hemisphere 
 as a Columbian memorial.f Its central hall should be walled with frescoes representing the enter- 
 prise of Columbus — from his beggary at the gate of the monastery, through his vicissitudes of 
 disappointment, heroism, danger, triumph, persecution, and death.| 
 
 The extraordinary Chautauqua educational organizations and assemblies have preceded these movements, in facilitating popular 
 education, not only of youth but the people. 
 
 On the i6th of June, an amphitheatre of massive stone, 200 feet in diameter, with capacity for an audience of 7,000, and a Hall of 
 Philosophy, are to be dedicated by " The National Glen Echo Chautauqua," on the banks of the Potomac, four miles from Washing- 
 ton, to " Educational opportunities for all, everyvfhere, through all of life." 
 
 The promotion of a National Gallery simultaneously therewith is an " Echo " of its broad and beneficent announcement. 
 
 ♦The idea of congregating the two objects of history and art is a good one, for many of our people who are crude in art matters 
 aie earnest and appreciative on matters of history. — " Gath," in the Philadelphia Inquirer. 
 
 t See Addenda 4. 
 
 t The Columbian series described is typical of the general result, which it is the aim of this paper to describe, viz : 
 
 Ax Institute of Illustration, by paintings in chronological series, accurately revealing historical events, and 
 BY other collateral objects and devices. 
 
50 
 
 A NATIONAL GALLERY OK HISTORY AND ART. 
 
 We place there with the portrayals of his 
 
 No. 55. CLOISTER NARANCO. SPANISH COURT. R. 
 
 bronze doors in the Capitol. But an event of 
 torical range and result than any 
 ever wrought by one of the human 
 race, should claim colossal, not min- 
 iature, representation.* 
 
 There is no such distinct and 
 realistic presentation of a great his- 
 torical cycle in all the galleries of 
 Europe. If the compartments of 
 ceilings in the Vatican or the Louvre 
 be cited to the contrary, it will be 
 remembered that the details are in 
 such distant positions, and in such 
 subjection to adjacent ornamentation 
 that the observer abandons the effort ■ 
 even to identify the subject from his 
 
 history, portraits of his sovereigns, of his friend 
 the Monk Marchena, his companions, 
 and others of early navigators. There 
 should be models of his ships, the 
 Santa Maria, the Pinta, and the Nina ; 
 resemblances of memorial objects from 
 Spain, and reproductions of the imple- 
 ments and scientific appliances of his 
 age. 
 
 The galleries of Spain will furnish a 
 full series illustrating these incidents 
 and events, although it is surprising to 
 find that they are scattered through the 
 various cities. Nowhere is placed a con- 
 secutive, pictorial record of the proudest 
 fact in her history. 
 
 These incidents are illustrated on 
 
 such surpassing heroism, and of more vast his- 
 
 No 56. —STAIRCASE, TOLEDO. SPANISH COURT. R. 
 
 * I confess discontent with dwarfed ideals in sculpture of great souls and great events. The Rogers bronze doors are in imita- 
 tion of the Ghiberti panels in Florence. When Michael Angelo said that " the gates of the Baptistery were fit for the gates of Para- 
 dise," he must have rated their detail of execution, not their dignity of dimension. He wrought " the grand, the terrible, and bold," 
 in the " Armory of Nature." His creations — Day and Night, Night and Morning — are giants, and yet more colossal were his David 
 and Moses. 
 
 At the risk of heresy to old-time admiration, I acknowledge impatience with toy-like representations of the Creation and Fall; 
 of Moses receiving the law from Jehovah ; of the history of the Saviour of mankind and His Apostles. 
 
 I cannot, without disclaimer of irreverence, stoop to find Columbus with his globe debating with the Dominicans the balance of 
 Creation— a figure of twelve inches, down, down to nearly the level and dust of the pavement— with features utterly indistinguishable. 
 
 A Colossus at the junction of the Missouri with the Mississippi, in the heart of the American continent, would be in more con- 
 sistent proportion. 
 
HISTORICAL PAIMTINGS IN CHRONOLOGtCAL SERIES. 
 
 St 
 Gen- 
 
 No. 57. — TRIUMPH OF ROMULUS, B. C. 74O. R. 
 
 guide-book. There are none but fragmentary efforts at continuity except at Versailles, 
 erally, facts are overlaid with al- 
 legory for ornament, in indiffer- 
 ence to their importance, from 
 which it is difficult to extricate 
 them. 
 
 Thus an Institute would 
 have a clear field for the conse- 
 cration of art, in a revival of the 
 past, more vivid, intelligible, and 
 impressive to the people than has 
 yet been developed. Let the 
 stories of history be tangibly set 
 forth in truthfulness, not in 
 poetic ideality ; in actual conti- 
 nuity, not in fragmentary fan- 
 cies ; in satisfaction of curiosity 
 (the only true stimulus to intelli- 
 gence), not in isolation, that is 
 discouraging to the ignorant, revealing to him no end from a beginning. 
 
 For this consummation the subject must be grasped as a whole. Given an area for 
 
 representation, and a subject, the 
 historian must mark the salient, 
 critical, objective, and final data; 
 must recreate the characters and 
 their surroundings by all written 
 and antiquarian material ; then 
 the artist must give them life 
 and power in semblance of form 
 and color. 
 
 Since the above was written I 
 have received from London, 
 Pinelli's " Istoria Romana," giv- 
 ing 102 engravings of Roman 
 History in illustration of Rol- 
 lin,''" from the time of Romulus 
 and Remus to the Emperors. 
 These could be enlarged by the 
 camera, and would need only the 
 
 No. 5S.- 
 
 -LUCIUS JUNIUS BRUTUS CONDEMNS HIS SONS TO DEATH FOR CONbPlRACV TO RESTORE TAR- 
 OyiN TO THE THRONE, B. C. 5OO. R. 
 
 * 'ilie edition of Rollin, illustiatod by these poweifiil dnnvinjjs, is in the Library of Congress. Histoire Romaine, Depuis la 
 Foii'.Uition de Rome, Jiisqu'a hi Bataille d'Actium. Paris, 174S. 16 vols. 
 
52 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 No. S9. M. CORIOLANUS, CONDEMNED TO EXlLt, I'LEADS AGAINST THE SEMLNCE BY WOUNDS IN 
 
 WAR FOR HIS COUNTRY, B. C. 47O. R. 
 
 colorist to complete an attractive and vivid series for popular study. Six of the series are here 
 
 given in illustration of the whole. 
 Imagine this svxggestion real- 
 ized in a grand hall, walled 
 with truthful and life-like por- 
 trayals of the great eras and 
 decisive incidents of Roman his- 
 tory ; * the connection of the 
 facts revealed being fully ex- 
 plained by accompanying text ; 
 these representations being again 
 multiplied by photo-reductions 
 for inexpensive hand-books of 
 history, such as are now pub- 
 lished by the Kensington Mu- 
 seum upon its treasures of art ! 
 Imagine the Greek, Byzantine, 
 Renaissance, and other Galleries 
 also thus illumined by re-crea- 
 tions of the critical and crucial experiences of their nationalities, that marked their transitions 
 
 to conquest and defeat, great- 
 ness and decay ! Thus more 
 
 effective object-lessons than 
 
 have ever before been devised 
 
 would be scattered broadcast 
 
 from the Capital of the nation 
 
 to the homes of its people. 
 
 The Gallery would issue 
 
 text-books to the adults of 
 
 the nation. 
 
 This practical, unpoetic 
 
 employment of art, rather 
 
 than for the play of imagi- 
 nation, m a y invite criticism 
 
 from connoisseurs whose ideal 
 
 demands perfection, and who 
 
 are hypercritical of all but 
 
 recognized masters. 
 
 ♦Extensive ranges of paintings may recall to many the exhaustive prostration of the round thhough Versailles, where fatigue 
 dissipates all pleasure before half the course is made, and from which there is no retreat. 
 
 When Americans have their own galleries, far excelling in interest and instruction those of Europe, as they may, they will not 
 be limited to a day's visit in a continuous drive; and they will utilize elevators, automatic tramways, and perambulators; and study as 
 they travel in luxury and ease. 
 
 T-io. 6o.^R0MAN WOMEN GIVE THEIR JEWELS FOR DEl-ENCE OF ROME AGAINST THE GAULS, B. C. 35O. R. 
 
HISTORICAL PAINTINGS IN CHRONOLOGICAL SERIES. 
 
 Such aestheticism is incompatible with the aim of the proposed Institute, 
 that the world can never paint 
 its history at the cost of " The 
 Angelus," nor would it be desir. 
 able in the microscopic detail of 
 Meissonier's Napoleon in 1814 — 
 30 inches by 20 inches — sold for 
 170,000 dollars, or 283 dollars 
 per square inch. 
 
 It is vain to expect that our 
 Government will in this genera- 
 tion purchase such treasures ; 
 that the agent of the American 
 National Gallery will appear in 
 competition with Emperors of 
 Russia and France for a Murillo 
 Madonna, sold for 315,000 francs. 
 
 It is 
 
 55 
 apparent 
 
 No. 01.- 
 
 THh DEATH Of KEUULUS BY TOKTURE UPON HIS RETUKli AS I'KlSi^i.L;; 1 T.O.M H!S E.MBaSSY 
 TO ROME, WHERE HE URGED WAR WITH CARTHAGE, B. C. 256. R. 
 
 The great majority of the people 
 
 cannot appreciate such values. 
 
 Fortunately, the small minority who can indulge a limitless enthusiasm are increasing the private 
 
 ownership of masterpieces froin 
 their surplus of wealth. 
 
 Thence they will gravitate to 
 public possession by gifts such 
 as those from the late Mr. Cor- 
 coran, Messrs. Marquand and 
 Walters, and bequests like that 
 of Miss Catherine Wolfe. Thus 
 the Corcoran Gallery"^' and other 
 Metropolitan collections will 
 hold the costly gems of art. 
 They will be to the great practi- 
 c a 1 institution herein advised 
 what the gems of the Green 
 Vaults of Dresdenf are to casts 
 in the Trocadero or the Kensing- 
 
 No 62. ■ 
 
 -HAMILCAR, THE CARTHAGENIAN GENERAL, DEMANDS OF HIS SON, HANNIBAL, AN OATH OF 
 PERPETUAL ENMITY TO ROME, B. C. 238. R. 
 
 ton, or to the instructive potteries 
 of Egypt and Etruria, which are 
 far more important as models of design or for interpretation of history. 
 
 *The Corcoran G.illerj, in Washington, is a most attractive popular selection of works of meritorious art, in tlie variety and 
 interest of its subjects, as well as for beauties brought from nature and life to fascinate the eye. 
 
 t The Green Vaults of Dresden contain an immense collection of precious stones, pearls, works of art in gold, silver, amber, 
 ivory, and rock crystal. It has the largest known onyx, valued at 30,000 dollars. 
 
54 
 
 A NATIONAL GALlERY OF HIStORV AND ART. 
 
 The genius of art as adapted to this age cannot be more clearly set forth than in the com- 
 ments of Monsieur Phillipe Gille on the 
 exhibit of the late French Exposition.* 
 He writes thus : 
 
 The 19th century is insatiable in the mattei 
 of knowledge, comparison, and generalization 
 in all things. The taste for art is, in these days, 
 merely one special branch of universal curiosity. 
 In the eyes of the thoughtful public, a figure or 
 a picture, a statue or a group, has gradually lost 
 its subjective interest, which has become sec- 
 ondary to its value as an ethnological or his- 
 torical record. Landscape, for instance, English, 
 
 , :, ,^ .^^^^^^^^^^L, French, German, African, or Asiatic, takes the 
 
 i <tfj<if ii^iiiiii,iii I i^mi I iiBBi^BiHBIBillHiiilMiiiiiiimiiniin"*™"" '"'''"'"""""""'""- 
 
 place of descriptive geography. 
 
 Genre, finding its subjects in the most dis- 
 similar countries, represents with the charm of relief and color the manners and customs of the human race. 
 
 No. 65. — EGYPTIAN TEMPLE AT PHIL.€. R. IN PART. 
 
 This realism, in accord with the practical spirit of the age, must be the standard for his- 
 torical art work of a popular — that is, a people's — 
 institution. 
 
 Accuracy and beauty in execution are not less 
 to be demanded than in the creations of idealists. 
 The frescoes, lavished in German galleries, should 
 be exemplars for the manipulation in distemper, 
 and for oil work, the panoramic force and literalness 
 of Horace Vernet. 
 
 The sensible conclusions of Monsieur Gille 
 may be extended to all the technical subdivisions 
 of knowledge.f The artist has no need to resort 
 to the creations of his fancy for his highest inspira- 
 tions. Realism in subject, through fidelity to nature 
 in accessories, are not less the charm of Claude; 
 Corot, or Millet, than their success with atmosphere 
 and color. In fact, it is the pathos in realism — the 
 worship of the peasant — the unison of the soul with 
 the imaginary bell-strokes of the Angelus, that has 
 won for the latter pre-eminent adnairation. 
 
 The learned Professors of the Institute who 
 shall prescribe the incidents of history to be delin- 
 eated set-iatim must inevitably utilize every depart- 
 ment of art. 
 
 No. 64. — CORINTHIAN DETAILS. R. 
 
 * See Addenda 3. 
 
 fFor farther discussion of the literal utilization of art for educational use, see Addenda 3. 
 
REALISTIC EMPLOYMENT OF ART. 
 
 55 
 
 No. 65. — CLOISTERS OF SAN PAOLO, ROME. MEDl/EVAL COURT. R. 
 
 The liunian figure in perfection of form and action takes early position in subjects of the 
 Greek and Roman periods. 
 
 Nor will the Muse of History 
 dwell only on the spiritual or the 
 stern and powerful elements that 
 have wrought or warred through 
 the mythology or conquests of the 
 ancients. Coming downward from 
 the iron-disciplined Spartans, we 
 shall meet the religious inspiration 
 of saints ; the romance and chivalry 
 of Minnesingers and Troubadours. 
 
 The theory for the Institute 
 would not be a rigid and dry ex- 
 hibit of facts by schoolmen, but to 
 command all resources of art, to 
 clothe them with beauty and en- 
 chant attention in study. 
 
 It is an age of illumination and object teaching, that may be applied with unequalled facility 
 in a national agency for dissemination of knowledge. 
 
 These frescoes and canvasses should be the works of American artists under guidance of the 
 
 highest existing talent. Europe 
 should supply its ability for precep- 
 tors, as Switzerland gave Agassiz to 
 Harvard University. 
 
 In our imaginary assignment of 
 the Columbian Temple to its com- 
 memorative use, we behold it filled 
 with graphic pictures and tokens of 
 events which it would forever freshen 
 to succeeding generations. 
 
 The surrounding ranges of tem- 
 ples we appropriate, in like manner, 
 to the history and archaeology of 
 the American Republic ; to the por- 
 traiture of its founders, patriots, 
 defenders, and all who should be 
 
 No. 66. — CAZA ZAPORTA. SPANISH COURT. R. 
 
 emblazoned on its tablets of fame. 
 
 The American Galleries would receive the full series in portraiture of Presidents of the 
 
56 
 
 A NATIONAL GALLERY OF HISTORY AND ARr. 
 
 United States. Beneath or around them should be panels illustrative of their rise to their great 
 
 distinction. This should be a grand saloon — to be 
 known as The Hall of the Presidents.* 
 
 Upon the terraces that cover the hillsides are ranged 
 picture galleries, with corridors on either side, propor- 
 tioned in extent to the importance of historic periods 
 and races. The galleries will receive chronological 
 series of paintings, like that of Roman history de- 
 scribed, and the corridors all collateral illustration pos- 
 sible from the plastic art. These enclose courts for 
 reproduction of monuments and structures to complete 
 the delineation of human life and .development by all 
 available material. Egyptian, Greek, Roman, Persian, 
 Byzantine, Assyrian, Renaissance, Mediaeval, Arabic, 
 Gothic, Moorish, Spanish, and East Indian Courts 
 should contain monuments or relics of the highest 
 attainment of their civilizations. 
 
 This picture may appear too grand for realization. 
 
 Its entire practicability will be argued under the 
 
 specialty of architectural reproductions proposed^ 
 
 as the most effective and progressive feature 'for our 
 
 ., _, National Gallery. 
 
 No. 07, — GOTHIC PORTAL, BEAUVAIS. R. AS ABOVE FOR "^ 
 
 GOTHIC COURT. 
 
 We have assigned our central ranges of galleries 
 to historical and commemorative paintings. 
 
 These should be supplemented by collections to utmost extent of all illustration by engrav- 
 ing, photography, etc.jf that would perfect the scheme of Pictorial, Historic, and Art Illus- 
 tration, if thoroughly indexed. 
 
 This suggestion I would strongly emphasize as the conviction of considerable observation 
 and experience. The material abounds in all European collections ; yet in practical uselessness 
 because nowhere catalogued by subjects. The National Library of Paris holds 1,320,000 engrav- 
 ings, arranged under the names of the designers. In like manner the Louvre Museum has 
 36,000 specimens of engravings, and the Vatican as many, that can only be approached with 
 difficulty. 
 
 •In the year of the Victorian Jubilee, after witnessing the pageant in London, the author was, with fellow-passengers Irom the 
 coach, walking up hills in the Lalce region. In the company were two persons of East Indian complexion ; an Indian Prince and his 
 servant. The former had been one of the gorgeous oriental escort of the Queen. In conversation that followed, he said : " I am 
 greatly disappointed that my associate will not return with me across the United States to India. I want, above all, to visit the peo- 
 ple who have chosen good rulers by popular vote for loo years." 
 
 fMr. SpofFord, Librarian of Congress, states that "by the silent operation of the copyright law for twenty years past, the Library 
 of Congress has accumulated, without a dollar of expense to the Government, over 500,000 works of graphic art, embracing line engrav- 
 ings, mezzotints, lithographs, etc., etc. It is proposed to have in the new Library Building an Art Gallery, 250 feet by 35 feet, for 
 exhibition of the progress of art in this direction since 1870." 
 
 This is most interesting and desirable, but has no relation to the above plan of reproduction of foreign and antiquarian art. 
 
REALISTIC EMPLOYMENT OF ART. 
 
 57 
 
 The British Museum has commenced publication of Catalogues of its Engravings, by three 
 royal octavo volumes on Caricature. The details are 
 fully described of each picture ; for instance, by Ho- 
 garth, of the persons, motives, etc., etc., of the scene; 
 but there is no index to subjects, as political, domestic, 
 etc., or as of jurisprudence, religion, etc. Thus these 
 vast collections are of less practical utility than a tithe 
 of their number, made facile to examination. 
 
 By photography these selections from the great 
 European accumulations can be duplicated. If then 
 indexed by their subject, author and date, as are modern 
 libraries, all previous artistic conceptions of a period, 
 or a race, or a biography, would be immediately avail- 
 able to the scholar, the author, architect, and artist. 
 
 Such an index of the Institute would more than 
 parallel that of Dr. Poole to Periodical Literature ; a 
 life work of inestimable value in modern study ; a guide 
 in a labyrinth ; an evolution of order out of chaos. By 
 such an accomplishment the Institute would surpass in 
 usefulness all other collections, that might hold a greater 
 aggregate of material. 
 
 As collateral to the above pictorial lessons from 
 history, there should be wall charts of the progress of 
 civilization ; and its geographical demarcations at divers 
 
 No. 68 
 
 M. 
 
 No. 69.— JAINA TEMPLE OF VINALA SALE, 1 3TH CENTURY. 
 
 R. 
 
 PAVILION, HULLABEED. INDIAN COURT. 
 
 periods. For instance, we should 
 define the contemporary bounds 
 of Latin, Greek, and Oriental 
 civilization. The large painting 
 of the Kensington Museum in 
 comparison of the dimensions 
 and architecture of the grandest 
 buildings of the world, is an ex- 
 cellent specimen of such illus- 
 tration. This expedient of plac- 
 ing statistics in diagrams has 
 been actively applied in a late 
 Census of the United States. 
 
 The history of the migration, 
 increase and improvement of 
 earth's population ; the rise and 
 decline of Empires, might be 
 thus graphically delineated, giv- 
 
58 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
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RfeAtlsTic Employment of art. 
 
 59 
 
 ing life to dry statistics and elucidating to the eye historical events. These themes present a 
 field for prize competitions in ingenuity and scholarship. 
 
 Collateral with painting, the plastic art is an indispen- 
 sable appliance for illustrative objects and examples. Its 
 facility, perfection and cheapness are unsurpassed by any 
 process of human skill that relates to the refinements of 
 life. It will produce with absolute truthfulness the features 
 of a colossal sphinx, or the microscopic lineaments upon 
 a coin. No expenditure for the objects sought in these 
 papers will yield more tangible and remunerative results 
 than purchases of casts. 
 
 The great museums of Europe allow no vacancies in 
 their collections of all desirable specimens. Within a few 
 years the School of Fine Arts of Paris has added a grand 
 hall for models ; some of enormous proportions. Its cata- 
 logue has 2,943 numbers for sale. The collection includes 
 Statues, Busts, Masks, Anatomical Fragments, Bas-reliefs, 
 Animals, Arms and Armor, Altars, Cameos, Candelabra, In- 
 scriptions, Lamps, Ornaments, Plaques, Saddlery, Vases, 
 
 Ecclesiastical Stalls, 
 
 EiS52 
 
 No. 72. — PILLAR, TSCHULTRIE. R. 
 
 etc., etc., in the 
 Greek, Roman, By- 
 zantine, Gothic, No. 71. — BALCONY, BENARES. R. 
 
 Renaissance and Modern styles. 
 
 Beside these are architectural models in full propor- 
 tion as seen in Fig. 28, p. 26. The values appended 
 show the cheapness with which art-casts may be lavishly 
 supplied. 
 
 Prices are as follows : For 10 Statues, 4 feet 2 inches 
 and upward, 26 francs, average; 236 Busts and Heads, 
 assorted sizes, 9 francs. Bas-reliefs are of great im- 
 portance, not only as models, for design, but for their 
 historical records and illustration. The collection num- 
 bers 578 specimens at a cost of 40 francs each on the 
 average. To this is added 60 per cent, for packing and 
 shipping expenses. For all educational use casts are 
 absolutely as good as originals. An eminent Professor 
 of Architecture in one of our chief Universities re- 
 marked, in accordance with these recommendations, 
 that he would restrict a National Institution to casts of 
 
 antiquarian remains, considering the fictitious value of originals in comparison. 
 
^ A NATIONAL GALLERY OF HISTORY AND ART. 
 
 The Royal Museum of Berlin, in the impossibility of purchase of originals, decided tc» obtain 
 
 casts of all the masterpieces of 
 sculpture in the world. It haS 
 2,271 specimens. 
 
 In nine years the Museum of 
 the Trocadero in Paris has 
 gathered its splendid exhibit in 
 casts of architectural styles. 
 
 The Louvre and the British 
 Museum, in aid of art universally, 
 offer extensive lists of objects for 
 sale in replication. The English 
 people having supplied money 
 without stint for the acquisition 
 of ancient remains, now offer 
 
 No. 73. — TOPE OF SANCHI, BUDDHIST SHRINE, 6tH CENTURY. M. 
 
 counterparts to the world at a tithe of their cost. 
 
 The Parthenon Sculptures cost, in 1816, $175,000. The Phigalian marbles cost, in 1815- 
 1816, $95,000. In sculpture of archaic interest the Museum is unrivalled. The wonderful gain 
 to human knowledge revealed by its acquisitions is impressively stated in the introduction to its 
 catalogue, thus : 
 
 The colossal bulls and long extent of sculptured slabs covered with inscriptions, which ornamented the palace of 
 Sennacherib, the records of Assyrian history inscribed in cuneiform character on sun-dried bricks, unearthed by Mr. 
 Layard, with ivories, bronze vases, and numerous other objects, brought together within the Museum walls, have been 
 the means, in a great measure, of restoring the history and realizing the grandeur and advanced civilization of an ancient 
 empire, the memory of which had been almost lost. 
 
 Again it says : 
 
 Here are stored rather than exhibited very interesting monuments of antiquity, Indian sculptures, Mexican 
 antiquities, many Roman sepulchres, Greek and other inscriptions in large numbers, and other precious remains. 
 
 It is in view of such abundance of instructive and impressive records of the past, that the 
 design provides a large area for its reception, and that this appeal is made for its early transfer 
 to our shores. 
 
 Over against the pictured events of history which we have imagined, brought out in train, 
 should be all existing busts of the rulers, scholars, philosophers, poets, navigators, inventors, 
 artists, and others who impressed themselves upon the passing eras. 
 
 Adjacent should be replica of inscriptions, sculptures, tombs, altars, etc., etc., which throw 
 light upon the dim traces of time. 
 
 To facilitate modem art and architecture, all the masterpieces of ancient sculpture and all 
 examples of ancient orders should be placed in sight of the American student at home. A hall 
 would be grandly beautiful and inspiring if the orders were ranged in accuracy of detail from 
 base to apex of pediment, with good extent of entablature. An avenue of such re-creations of full 
 proportions would indicate the transitions from race to race; the Egyptian to the Greek— the 
 
C6INS, CERAMICS, ARMOR, FURNITURE, ETC. 6 1 
 
 Greek to the Roman. (See Fig. 63, p. 54.) Models to scale, of course, must suffice for the 
 generality of notable constructions ; such as are now being gained, of exquisite workmanship, to 
 the Metropolitan Museum of Art, New York, from the Willard bequest; but for the full inspira- 
 tion of their greatness and force, some great monuments should be revived in the dignity of 
 original stature or proportion. 
 
 In comparison with Europe the poverty of such material in our country is deplorable. The 
 recent addition to the Boston Art Museum of Casts, to a total of 777, valued at $50,000, is a wel- 
 come gain; and it is cheering to learn of a subscription of $100,000 to raise the New York list 
 from 168 specimens; but the Nation should at once command for its Capital all of such available 
 object-lessons from the past, to be re-distributed thence to local centres of learning throughout 
 the land. 
 
 There is no need to enumerate in detail other archaeological material of Museums essential 
 to the National Gallery — ^coins, ceramics, armor, furniture, bronzes, metal work, etc., etc. 
 
 Our country will reap the advantages of late inventive skill in all mechanical processes for 
 their reproduction. 
 
 The electrotype process in its high development will supply not only the coinage of all 
 periods and nations extant in the vast collection of the British Museum, a service to knowledge 
 greatly enjoyed by its venerable numismatist, Mr. Ready ; but by the same application of chem- 
 istry and galvanism, Messrs. Elkington & Co., of London, will supply large reproductions, such 
 as The Regalia from the Tower of London ; of Gold and Silver services from Windsor Castle ; 
 of Old English plate from Knole. The Corcoran Catalogue now has 139 specimens of electro- 
 type reproductions by Christofle & Co., of Paris, and Elkington & Co., of London, including the 
 Treasures of Hildesheim, the Pompeian Toilet, and Monument to Frederick the Great. 
 
 The South Kensington Museum and the Arundel Society of London have contracted with 
 Elkington & Co. for reproductions, in fictile ivory, of all their carved ivory objects, in aggregate 
 of immense value. These replica are for all uses as good as the originals. The catalogue con- 
 tains hundreds of articles dating through the past eighteen centuries — caskets, panels, book- 
 covers, tablets, shrines, diptichs, etc., etc. 
 
 The recital made of abundant material that is at once available vindicates the scale herein 
 advocated in immediate constructions for a National Gallery of History and Art, to be an Insti- 
 tute of Illustration. 
 
 The following design could be admirably utilized as a pavilion in the park ISTORIA. 
 
 JSjo. 74. HALL, PALACE OF ALLAHABAD. INDIAN COURT 
 
62 
 
 No. 7S. 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 No. 76 No. 77 
 
 No 78 
 
 iNo. 03. 
 
 No. li,^, 
 
 CERAMICS. ALLEGORICAL TILES OF THE NATIONS BY SOLON. EXPOSITION, PARIS, 187S. 
 
MONUMENTS AND BUILDINGS FOR REPRODUCTION. 
 
 No. 8s.— PARIS IN THE TIME OF FRANCIS FIRST. 
 
 Note. — It will be observed that several illustrations preceding are of reproductions advised in tlie next division of the subject, 
 it being impossible to place them always with the descriptive text. 
 
 Fig. 85 is an admirable example for panoramic painting of the architectural aspect of cities in different ages. This remarkable 
 restoration is photographed from a large drawing (12 in. by 42 in.) published by The Builder, London, 1S89, with a key plate to 102 
 objects. These will be revealed by a magnifying glass. In 18SS a similar plate was published of London in the time of Henry VIII. 
 The port, " St. Bernard," an illustration for the Medixval Court, is above the title in the foreground. 
 
 The Third of the novel and important provisions for this scheme of a National Gallery 
 is described in the Introduction as follows : 
 
 Reproductions i* full size in the Courts 
 of the respective Galleries of Historic Nationalities 
 of their remaining monuments ; and reproductions 
 of temples^ dwellings^ tombs ^ etc.,, typical of their 
 religion,, life., manners and art. 
 
 I believe this recommendation, if realized, will 
 prove the most popular and impressive feature 
 of the institution. 
 
 The reconstructions in the first Crystal Pal- 
 ace at Sydenham of small courts of various st3'les, 
 Egyptian, Pompeian, Moorish, Mediaeval and 
 Italian, by Wm. Owen Jones, Architect, were 
 unquestionably the most attractive and effective 
 impressions from the past upon observers, of all 
 the material exhibited. 
 
 The houses of all nations, by Monsieur Gar- 
 nier, in the late French Exposition, are reported 
 in all accounts therefrom as of the same superlative 
 interest. 
 
 The success of the Pompeia as an object-lesson 
 of Roman Art, Architecture, Mythology, Life and 
 Manners, is a precedent for an extensive elabora- 
 tion of the idea, through the fields of archaeology. Hitherto Museums and Galleries have 
 attempted only the elucidation of fragments exhumed from antiquity ; exhibiting the bones, 
 
 No. 80. INIHKIOR CI' AN tljYPTlAH I'ALACt. 
 
64 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 
 — 'I^rii -1" 
 
 rarely even a skeleton, of ancient life. With the light of modern investigation thrown upon 
 monuments of past ages ; by the interpretation of their records, unlocked from mystery on 
 
 the clay cylinders of Nimroud, and the Ro- 
 setta Stone, the environment of former races 
 has been revealed to the scholar and detailed 
 in books. 
 
 By these data fractured ruins may be 
 readjusted; the voids supplied; the walls 
 raised; the roof or dome, towers, spire or pin- 
 nacle restored ; the altars placed ; pictured 
 worship or conflict ; domestic pursuit or lux- 
 ury ; the joys of life, the ceremonies of death ; 
 may be re-created and we move among the 
 forerunners of civilization. 
 
 It has been the general opinion of trav- 
 elled visitors to the Pompeia, that they received 
 a more vivid conception of Roman life and its 
 surroundings from this reconstruction, than 
 had ever been gained- from the ruins of Pom- 
 peii, or the multiplied objects therefrom in the 
 show-cases of the Naples Museum. Anti- 
 quaries and scholars also have said that their 
 imaginations of the reality, vividly described in the romance of Bulwer and the critical text- 
 book of Becker, had never given a comprehension, such as was obtained from a circuit through 
 the halls, apartments and gardens of the house of Pansa ; in which Jove and Melpomene, 
 Victory and Ariadne, Bacchantes and Genii, the household gods and family scrtHia^ the pool 
 of the Atrium and the foliage of the Peristylium ; the altar for the Lares, and the reclining 
 couch of the Triclinium, are all in juxtaposition, amid their imposing surroundings of stately 
 columns and gorgeous decorations. 
 
 This last allusion recalls an incident apposite to this argument. Among the 378 visitors 
 of the Presbyterian Convention, was an eminent President of a Seminary, and Professor in 
 Theology. He greatly enjoyed the practical experiment with the writer of reclining at a feast, 
 like a Roman, on the couch of the Triclinium. The description of the posture from Classical 
 Dictionaries was more clearly indicated by a painting of a Feast of Genii, from Herculaneum, 
 reproduced on the walls by Pascal, of Paris, who went to Pompeii for study of the subject, and 
 by a copy of Boulanger's Feast of Lticullus. 
 
 Others of the company personated the servitors. The final impression was to this effect : 
 "For twenty years I have taught what has been dimly apprehended by me — the luxury 
 of the Roman Feast, in recumbent positions of the guests. I have hardly conceived them as 
 comfortable, but now I realize all the ease, luxury, and revelry of a symposium."* 
 
 •The illustration from Viollet le Due of a Greek symposium (Fig. 89) is awkwardly defective in the absence of the round pillows 
 on which the guests rested upon the elbow. Monsieur le Due was as rapid in execution as Dore, and in this instance he overlooked 
 an essential appliance. In the Pompeia they are simulated from the picture above mentioned from Herculaneum. (See page 65.) 
 
 No. 87. WKD'S-EYE VlhW OK AN EGYl'TIAN I'AI.ACh. R. 
 
CASTS AND MODELS IN KENSINGTON MUSEUM. 
 
 65 
 
 List from Kensington Museum. 
 
 Annexed is a partial list of the casts and models of the Kensington Musenni. They 
 are extremely interesting and valuable. They should all be provided, and very many in 
 addition to stimulate the genius of our people. 
 
 partial list of casts and MODELS IN THE ARCHITECTURAL COURT OF THE KENSINGTON MUSEUM. 
 
 The Rood Loft from the Cathedral of Bdis-le-Diic. 
 
 Doorways of Rochester and Norwicli Cathedrals. 
 
 The Prentice Pillar — Rosslyn Chapel. 
 
 Recumbent Figures of Henry VII and Qiieen Eleanor. 
 
 Cloister at Toledo. 
 
 The Tabernacle of St. Leonard at Lean. 
 
 Baptismal Font, from Hal, Belgium (A. D. 1444). 
 
 Borgnival Monument. 
 
 Font at Liege. 
 
 Spanish-Moorish Arch from Toledo. 
 
 Arabesque Cupboard from Toledo. 
 
 Monument of Frederick the Great, Berlin. 
 
 The Piierta Delia Gloria of the Cathedral of Santiago. 
 
 Choir Stalls at Ulm. 
 
 Minstrels' Gallery — Exeter Cathedral. 
 
 Chimney-pieces from Tattershall Castle. 
 
 Chimney-piece from France; by Germain Pilon. 
 
 The Schreyer Monument at Nuremberg. 
 
 Lion of Brunswick. 
 
 The Trajan Column at Rome (in two portions). 
 
 Chimney-piece from the Palais de Justice, Bruges. 
 
 Doors of Augsburg and Hildesheim Cathedrals. 
 
 Corona, or Chandelier, from the Cathedral of Hildesheim. 
 
 Fountain, with Perseus and Medusa, from Munich. 
 
 Candlestick at Milan Cathedral. 
 
 Shrine of St. Sebald, by Peter Vischer. 
 
 Tomb of Count Hennenberg, by Peter Vischer. 
 
 Font at Hildesheim. 
 
 Wrought-iron Screens, from Hampton Court. 
 
 Florentine and Venetian Fountains. 
 
 Chapel, Reredos, and Arched Recess, from Church of 
 
 Santa Chiara (Florence). 
 Doorways from a Church at Genoa. 
 Terra-Cotta Busts of 15th Century. 
 Doorway of a Palace at Genoa. 
 The Gherardini Models. 
 Stone Chimney-pieces. 
 
 Altar-piece and Tabernacle from San Girolamo at Fiesole. 
 The Ghiberti Gates. 
 Panels from the Campo Santo. 
 
 Following this list I give a selection of structures and objects recommended for full re- 
 production, like the Pompeia; in confidence that it can all be accomplished with equal facility 
 
 No. 88. ATRIUM OF A GREEK HOUSE. R. 
 
 No. 89, — TRICLINIUM OF A GREEK HOUSE. R. 
 
 and thoroughness, and comparatively, with the advantageous results, at very nioderate expense. 
 
66 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 For architectural grandeur ; as an inspiring ideal ; as pre-eminently commemorative of 
 the most powerful impulsive actiou of man since the Christian era : — let the Parthenon as 
 
 a Columbian Temple, 
 rise on an Acropolis, in 
 the perfection of its dig- 
 nity, unity, and beauty .''' 
 Let it be surrounded by 
 like constructious. The 
 Greek Federation of 
 States centered t la e i r 
 reverence and admira- 
 tion about their common 
 Temple. The Ameri- 
 can Union should raise 
 V a grander votive shrine 
 
 No. 90. — THE ROMAN COURT OF THE NATIONAL GALLERY. A FREE-HAND SKETCH, NOT IN ACCURATE SCALE OK ° 
 
 PERSPECTIVE, SIMPLY TO ILLUSTRATE REPRODUCTIONS THEREIN OF A POMPEIAN HOUSE, COLUMBARIUM, ETC., ETC. T \_q thoSC who COUCcivcd 
 
 its origin and guided its growth, and greater temples for the perpetuation of its history ; as 
 the Republic of the United States is vaster than the Achaian League. 
 
 One of the principal functions of Greek art was to adorn the earthly habitation of the immortal gods — the Greek 
 Temple, whose grandeur and harmonious beauty make it one of the greatest achievements of the human intellect, 
 the glory of all succeeding ages.f 
 
 It is, therefore, because it is an expression of the highest aspiration of the human soul 
 toward "The Unknown God," that I can not enjoy a miniature of the Parthenon. Models 
 are invaluable for realism of examples in architectural study. 
 
 But, however exact the imitation of details, I can not with pleasure look downward, 
 beneath my stature, upon a dwarfed Parthenon; rather, heavenward along its massive, but 
 uplifting lines, for the attributes of power and beauty that it was created to express. We 
 should range its colonnade against the western horizon of the National Capital as a counterpart 
 to the stately dome upon the east : the one expressive of the highest legislative wisdom, the 
 other of the resultant intellectual development of a nation. 
 
 Reproductions Proposed. 
 In the Roman Court, as seen in the illustration Fig. 90.J 
 
 I. The Cabin of the Aboriginal Latians, modeled from the examples on cinerary urns found 
 near Alba. 
 
 *The Pantheon at Athens brings before our eyes the age of Pericles more clearly in all its perfection than any written page. — i 
 Fkrgusson. (See Addenda No. 5.) 
 
 t The introduction to the Catalogue of Casts from the Antique in the South Kensington Museum by Mr. Walter C. Perry, from 
 which I quote, offers great temptation to extended extracts from its clear exposition of the inspiration, beauty, and perfection of 
 Greek art. 
 
 J The two illustrations of the Roman and Arabic Courts, it will be observed, are not in exact perspective. They are photographed 
 from free-hand sketches by Pascal, hurriedly made for this publication. They are merely for illustration, like a blackboard figure 
 in chalk of a geometrical diagram. 
 
REPRODUCTIONS IN ROMAN COURT. 
 
 (^1 
 
 2. Specimens of the Cloacae Maxima and other Roman masonry. 
 
 3. A replication of a section in the catacombs, with burial niches and altar, with inscriptions. 
 
 4. The Porta Maggiore, full 
 size. (See Fig. 9, p. 12). 
 
 5. A specimen of the ruins of 
 Pompeii, with a portion of lava road- 
 bed, a fountain, etc. 
 
 6. The Roman Palace of Scau- 
 rus, see pages 31 and 68. 
 
 7. Trajan's Column — full size. 
 
 The cast in the Kensington Mu- 
 seum is in plaster, in halves. The 
 Roman Court in our plan can receive 
 it in full size and grandeur in the 
 open air. It can be readily construc- 
 ted of concrete, a core being cast for 
 the shaft and the sections of relief work cemented thereto 
 
 No. 91. 
 
 -A ROMAN COLUMBARIUM. 
 
 R. 
 
 8. Restoration of the Temple of Jupiter iu Pompeii, see illustration, page 20. 
 
 9. Two or more Tombs from the Appian Way, with its pavements precisely imitated. 
 
 10. A Columbarium ; — the receptacle for the cinerary urns containing the ashes of the 
 
 dead (Fig. 91). Casts from many of the ornate 
 originals in the British Museum, to fill the 
 niches in the walls, will be beautiful art-models, 
 and interesting for their memorial inscriptions. 
 
 Among these suggestive re-creations there 
 should be — 
 
 II. A Rostra; its columns adorned with 
 beaks of galleys and Roman standards ; — 
 their proud initials S. P. Q. R.; their Eagles 
 and triumphal wreaths. 
 
 Bunsen considered that the Rostra of the 
 forum was a "circular building, raised on arches, 
 with a platform on top bordered by a parapet, 
 the access to it being by two flights of steps, 
 one on each side." 
 
 I can imagine the inspiration to the Pro- 
 fessor, speaking to the thousand excursionists, 
 No. 92.-THE CATACOMBS, ROME. R. cducators froui the East or the West, in sight 
 
 of these realistic images — in memoriam of the Rise, Greatness and Ruin of Rome. 
 
 The six acres enclosed by the galleries would contain these and others that might be desi- 
 rable. 
 
68 
 
 A NATIONAL CalLeRY OP HlSTOkY AND ART. 
 
 i 
 
 1^^^ 
 
 X 
 
 T 
 
 ornannQ 
 
 ti: 
 
 -.gq— r r-mnn-irrmm-T 
 
 Trt 
 
 
 From experience with the Porapeia, I estimate that the above could be reproduced entirely 
 
 for $650,000. The Roman House will 
 be the most costly object of the list. 
 I would add to these in the park 
 " ISTORIA," outside the walls of the 
 Historical Galleries (if there were not 
 sufficient area in the Roman Court), two 
 other important reproductions, viz : 
 
 1. A portion of the remains of the 
 Praetorian Camp of the Romans, now 
 carefully preserved on the heights of 
 the Saalburg in Germany. 
 
 2. A full reconstruction of the 
 Roman Baths, at Badenweiler, in the 
 Black Forest. The Prsetorian Camp 
 could be laid out on half scale. It would 
 be built of brick of Roman pattern ; 
 about 10 in. x 10 in. x i^. It would 
 give insight of the strength of Roman 
 fortifications on the line of the Taunus 
 range, against northern barbarians ; of 
 the discipline of their armies, and the 
 mathematical prevision of movement 
 which then, as in modern times, made 
 legions invincible. 
 
 The Baths at Badenweiler, discovered in 1784, are the most complete that remain from 
 the Roman domain, al- 
 though smaller than the 
 ruins of those of Diocle- 
 tian, Caracalla, and Titus 
 at Rome. In a rich edi- 
 t i o n of Vitruvius, the 
 authoritative Roman ar- 
 chitect, whose works are 
 extant, there is a full 
 plan of these baths. 
 Their length is 345 feet; 
 breadth 106. Partitions, 
 floors, steps, etc., are well 
 preserved. Canina also 
 (Architecturra Romana, 
 V. 3) gives the ground plan. In concrete they could be reproduced cheaply and with 
 
 No. ()}. — GROUND PLAN'oF^THE ROMAN PALACE OF SCAURUS. M. 
 
 No. 94.- 
 
 -SKETCH LIKE No. 90 FOR ILLUSTRATION OF MOORISH COURT, WITH REPRODUCTIONS; COURT OF THE 
 LIONS, ALHAMBRA, MOSQUE OF CORDOVA, MOSQUE AT CAIRO, ETC., ETC., ETC. 
 
REPRODUCTIONS IN MOORISH COURT. 6g 
 
 facility. By pliotograplis of the walls and apartments with a scale ; and by specimens of 
 
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 M"^ 
 
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 m 
 
 M|Otff|y8iStWj<BpW 9 L3 
 
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 K (^»l 
 
 riwll P^l lor'^ra 
 
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 m^ 
 
 1 pf>!i 1 y^a^l 1 l^lfc ^9aw 
 
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 No. 95. — INSCRIPTIONS FROM THE ALHAMBRA: " THERE IS NO 
 CONQUEROR BUT GOD." R. 
 
 brick, stone, and mortar from the rnins 
 to match the colors, all details could be 
 accurately depicted. 
 
 These constructions, with the sym- 
 bols, objects, weapons, utensils, and 
 ornaments which would appropriately 
 find place therein, would impressively 
 reveal the actualities of Roman worship, 
 
 No. 97. — MOSQUE OF CORDOVA. R. IN PART. 
 
 No. '96. — PUERTO DEl'sOL. GATE OF THE SUN. TOLEDO, SPAIN. 
 
 war, domestic life, art, and manufacture. 
 
 Thus would history be verified, 
 and art [resuscitated with the mean- 
 ing and beauty of their origin. The 
 utilisation of the Roman Court as 
 described, is an example for others 
 indicated upon the Ground Plan. 
 
 The Greek Court should en- 
 close an Agora, according to Vitru- 
 vius, with its double colonnades, its 
 Curia (Senate House), Basilica, al- 
 tars, and statues. Its Doric style 
 would be in harmonious effect with 
 the surmounting Parthenon and its 
 Roman modification in the opposite 
 Court. 
 
70 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 Such surroundings would be an inspiration to archaeological and classic research, and stimu- 
 late zeal for American participation in present Greek explorations, which are yielding splendid 
 results.* 
 
 The wonderful Mausoleum of Halicarnassus (page 49) may yet reappear as a monument 
 to an American Mausolus — Croesus. The Caryatides of the Erechtheum ; indeed, the triple 
 temples that composed that structure, illustrating the freedom and picturesqueness with which 
 the Greeks applied their exact and stately architecture, should be added entire. 
 
 The Moorish Court (Fig. 94), should contain, as represented, a fraction of the Mosque 
 
 of Cordova; the Court of the Lions, from the 
 Alhambra, with the Puerto del Sol (Gate of 
 the Sun), at Toledo, for its entrance. (See 
 pages 34, 69.) 
 
 It is proposed that the angle towers (Fig. 
 36) at the boundaries of the Courts, which by 
 the scale will be about 75 feet square, shall 
 contain casts or reconstructions of famous 
 monuments or fragments of the richest con- 
 structions of the adjacent styles. Thus the 
 wonderfully rich piers of Burgos Cathedral 
 (Fig. 99), the Gothic Portal of Beauvais (Fig. 
 67), and the Norman Gate at Bristol (Fig. 
 112), would make superb terminals for vistas 
 of the galleries. 
 
 The Mediaeval and Renaissance 
 Courts will inherit an embarrassment of 
 riches from the monuments, dwellings and 
 relics remaining unharmed by time or human 
 despoilers. 
 
 The abundance of superb material is a perplexity of choice. That the illustrations of these 
 eras may be apart and continuous, they are placed throughout the next division of the subject. 
 
 In the Castle from the Rhine (Fig. 98), which we have placed upon the banks of the 
 Potomac, there must be the Baronial Hall (see illustrations of the time of Francis First), which 
 should contain the actualities of interiors portrayed on pages 76, ']'], and 78. The Gate of 
 St. Bernard, with its conical tourelles, should be entered across its moat under a port- 
 cullis. 
 
 Fragmentary illustrations of ancient art are of the highest importance in suggestion of 
 forms to students, and in aid of architectural design ; but they tell no story, suggest no idea, give 
 substance to no imagination, or reality to any description of the history or purpose of the struc- 
 tures from which they are detached. 
 
 No. 08. — MEDI/EVAL CASTLE OF RHEINSTEIN FOR THE SOUTHERN ANCLE OF 
 LINE OF GALLERY ON THE POTOMAC. R. 
 
 • See first vol. of "Antike Denkmaler." Berlin : 63 plates. 
 
REPRODUCTIONS FOR GOTHIC COURT. 
 
 71 
 
 It is entirely practicable to effect thorough representation of the environment of historic 
 personages and incidents, so that the force of those characters and the consequences of those 
 occurrences shall be vividly imprinted upon the observer. 
 
 In such precise faithfulness and for such intellectual results, there should be re-created 
 from time to time actualities, exterior 
 and interior of monuments, houses, 
 rooms, etc., associated with events that 
 were greatly consequential to the hu- 
 man race. The field is the wide range 
 of historic association ; but those of pre- 
 eminent importance, of which the orig- 
 inal relics remain as patterns, are not 
 very numerous. 
 
 There might be reconstructed after 
 the originals — 
 
 1. Luther's Home in the Castle on 
 the Heights of the Wartburg, his Pat- 
 mos, where he was concealed for years 
 as the Knight George. 
 
 2. i ne xlall 01 the (jirondms, and No. ^c). — piers in burgos cathedral, such reproductions should fill the angle 
 ,, ,, .-.. A.' • 1 towers, 75 feet by 75 feet, making superb termination of the vistas 
 
 the cell ot Mane Antoinette m the thrpugh the galleries, r. 
 
 round towers of the Conciergerie. 
 
 3. The cell of Savonarola. 
 
 4. The chamber of Mary, Queen of Scots, as left in Holyrood Castle. 
 
 5. The House of Peter the Great, at Saardam, in Holland, where he wrought at shipbuilding. 
 
 6. The House of Shakespeare. 
 
 7. The House of Mozart. 
 
 8. The House of Michael Angelo. 
 
 9. The House of Melancthon. 
 
 10. Rooms in London Tower. 
 
 11. The Room of Philip II, in the Escurial. 
 
 12. The Mamertine Prison at Rome, etc., etc., etc. 
 
 The buildings identified with the personages would receive the special illustrations of their 
 history and deeds. Herein would be a splendid and exhaustless field for future individual liber- 
 ality, wherein the wealthy and cultured could rear their monuments of personal interest and 
 bequests of materialized knowledge to posterity. 
 
 Let it be remembered that the outlay and construction herein described have been repeatedly 
 equalled at late world's expositions. 
 
 The Ground Plan assigns celebrated buildings, St. Sophia, Byzantine ; San Salute, 
 Renaissance, etc., to their respective courts. The buildings that will be demanded for the 
 lecture halls, competitive exhibitions, etc., may as well be in typical as imaginary forms. 
 
72 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 It is hardly necessary to explain that the plan proposed is simply suggestive — illustrative of 
 
 the wide scope of illustration — not the 
 fixed details or objects. These would be 
 controlled by various considerations, the 
 grade and contour of ground, etc., etc. 
 But the system described^ of Courts^ for 
 the great divisions of history to contain 
 their respective architectural styles or re- 
 mains, is advocated strongly as far in ad- 
 vance for instruction and entertainment 
 all exhibits yet devised. 
 
 For the Indian Court : 
 The elaborateness of East India 
 temples (Figs. 39, 68, 69, 71, 72, 73, 74) 
 would forbid, probably, their reproduc- 
 tion in full detail. Upon a reduced scale, 
 sections of such structures could be re- 
 peated that would convey all information 
 revealed by the entire structures. Ori- 
 
 ^^'^^--^- 
 
 mk 
 
 No. 100. — ASSYRIAN INTERIOR. A THRONE ROOM. R. 
 
 ental architecture had not the expression of the classic ; 
 nor the perfection of form, which is the consummation 
 of beauty. Its marvelous handiwork is the result 
 mainly of continuous labor still miserably paid, so that 
 with the present facilities of intercourse, rich and ex- 
 tensive fragmentary specimens could be commanded. 
 
 The Gothic Court should reproduce cloisters in 
 beauty and variety. The Campo Santo, of Pisa, the 
 window of Melrose Abbey, etc., etc., could enhance the 
 verdure enclosed with exquisite effect. 
 
 In a review of the fragmentary remains of the ancient 
 world for these imaginary reconstructions, I have found 
 none that might be undertaken with greater zest and 
 confidence of success than the Assyrian. 
 
 The exterior (Fig. loi), and the interior of an Assy- 
 rian Throne-Room (Fig. 100), would be imposing sub- 
 jects. " The Assyrian architecture," says Fergusson, 
 " was palatial, while that of the Greeks was templar. 
 It was gay with color, and of such dazzling magnifi- 
 cence that the inhabitants of Athens were led into 
 hyperbole in records of its splendor. Remains have 
 now been recovered to such an extent as enables us to 
 
 No. 101. — EXTERIOR OF AN ASSYRIAN PALACE. 
 
ASSYRIAN REPRODUCTIONS. 
 
 73 
 
 restore their buildings almost as certainly as we can those of the temples of Greece and Rome 
 or any of the great nations of antiquity." 
 
 The huge sculptures exhumed by Layard and Botta and brought at enormous cost to the 
 British Museum are cheaply available by its liberality. Sixty slabs, reproductions, measuring 
 seven feet in length on an average, that would cover an area 300 feet long by 6 feet high, are 
 offered in the catalogue of 
 Brucciani for ;!^3o8, costing, 
 probably, in Washington, 
 $3,000. Their interest 
 would be vastly enhanced if 
 surrounding the grand hall 
 depicted, crested with the 
 giraffa or an architectural 
 symbol of flame (descended 
 through the ages of fi r e - 
 worship) and covered with 
 its roof of cedar. 
 
 In our imaginary repro- 
 ductions thus far, examples 
 o f Egyptian architecture, 
 the earliest and most sublime '^°- ioj.-propyl/hum-pylons. 
 
 works of man, are unapproached. Their vastness of scale would conflict with the moderate 
 classic elevations of the Historical Galleries, and therefore no area can be assigned to them 
 within the Courts. 
 
 Fortunately, on the reclaimed marshes, joining the desired site for the Gallery, there is an 
 appropriate site and a superb opportunity for these colossal monuments. 
 
 Substituting the Potomac for the Nile we would rear upon its banks an Egyptian Propy- 
 L^UM flanked by Pylons. (See Fig. 102.) These should be approached by an'AvENUE OF 
 Sphinxes from the base of the Washington Monument. Its exit through the gateway upon the 
 river would be a magnificent entrance to the proposed ornamental bridge to the Arlington shore. 
 This conception can be powerfully and cheaply realized in concrete. The columns and pylons 
 would be hollow. The latter, having a sunken glass roof, could be fitted in its interior as a 
 gallery of Egyptian illustration. 
 
 The sphinxes can also be readily reproduced. 
 
 This design probably embodies the most sublime architectural effect possible to be created at 
 the base of the Washington obelisk ; in itself a pure Egyptian form that would make a fitting 
 and harmonious terminal opposite the Propylaeum. 
 
 The Egyptians built, not for exquisite detail but for duration. 
 
 They understood better than any other nation how to make their colossi and avenues of sphinxes group them- 
 selves into parts of one grand design. With the most brilliant coloring they thus harmonized sculpture, painting, and 
 architecture into one great whole, unsurpassed by anything the world has seen during the thirty centuries of struggle 
 and aspiration that have elapsed since the brilliant days of the great kingdom of the Pharaohs. 
 
74 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 No. 103. — THE SPHINXES OF WADl SEBUA. 
 
 We have borrowed their commemorative form, the obelisk, " simple, erect, sublime," for a 
 
 memorial to the Father of our 
 Country. At its base may be ef- 
 fectively and appropriately added 
 their material expression of dura- 
 tion — the sphinx — placidly immo- 
 bile as the Olympian God ; dream- 
 ingly observant of its own exist- 
 ence, passing onward through 
 30 centuries, but as a mote upon 
 the current of an eternity " without 
 beginning of days or end of years." 
 Imagination may picture 
 glowingly to the eye of the mind 
 this vast pile, darkening by its 
 stately mass the setting sun, whose 
 rays gleam upon the rippling river 
 through the majestic portals, while 
 
 Eastward, they " linger and play upon the summit " that inspires faith in a long future for the 
 
 work of Washington. 
 
 Midway on the line of the Avenue of Sphinxes should open, at right angles, an approach 
 
 to the Propylon and Court 
 
 of the Temple of Medinet- 
 
 Habou, Thebes (Fig. 104). 
 
 Front of the Propylon should 
 
 be placed the two Colossi of 
 
 Rhamses the Great, which 
 
 were reproduced full size in 
 
 the Crystal Palace in 1851. 
 
 The Propylon is seen on the 
 
 right of the picture. It is 107 
 
 feet wide. The Caryatides 
 
 on the rear wall are 26 feet 4 
 
 inches in height, the base 2 
 
 feet 3 inches, the entablature 
 
 8 feet 9 inches, making the 
 
 height of the structure 37 feet 
 
 6 inches. All this could read- 
 ily be done, true in color, 
 
 exact in relief, indestructibly 
 
 and cheaply, in concrete, 
 
 No. 104. — EGYPTIAN TEMPLE OF MEDINET. R. IN PART. 
 
EGYPTIAN REPRODUCTIONS ON THE LOWLANDS OF THE POTOMAC. 
 
 75 
 
 On the opposite side of the Avenue should open an approach to a topographical recon- 
 struction of the three great pyramids of Gizeh, on a scale of dignity, but altogether subsidiary 
 to the effect of the Washington obelisk. 
 
 There could not be devised, I believe, a more impressive and ornamental use of the 
 uninteresting flats recovered from the Potomac, than the elevation thereupon of the simple, 
 but exquisite, upward lines of the pyramids; those " mighty royal tombs;" " eternal dwell- 
 ings of the dead ; " " the oldest, largest, and most mysterious of all the monuments of man's 
 art now existing." 
 
 The models would be hollow, to save needless material. By electric light, this interior 
 space could be thoroughly utilized. In one, the King's Chamber (34 feet 3 inches by 17 feet 
 I inch) and passage thereto should be accurately illustrated, with their walls and roofs of 
 splendid slabs of polished granite, but this would not at all necessitate a solid construction of 
 the remaining mass. 
 
 One pyramid should show the exterior surface in its pristine beauty, reveled with polished 
 stones; the others in their present 
 spoliated condition, with courses of 
 steps. In concrete, the exact pro- 
 portion of the enormous blocks in 
 the pyramids, and the vast blocks 
 which formed the avenue of ap- 
 proach exciting the wonder of 
 Herodotus, could be precisely du- 
 plicated. Near by the model of 
 the Pyramid of Cheops* should 
 be cast a full model (hollow) in 
 concrete, of the largest quarried 
 stone in the world, at Baalbec, 71 
 feet long by 14 feet high by 13 No. lo^;.— pyramids of gizeh. 
 
 feet wide. Among these objects, and fringing the banks of the Potomac, should wave masses 
 of the reedy lotus with its superb lilies. The plantation of Mr. Sturtevant at Bordentown, N. J., 
 should be repeated, with appropriate surroundings. 
 
 Does this seem chimerical ? On the contrary, let it be remembered that the cubical con- 
 tents required for an imposing scale has many a time been buried in concrete and forgotten 
 beneath fortifications, the Bartholdi Statue, etc., etc. Precisely this method of illustration in 
 more complex forms has been applied to geological illustrations in the grounds of Sydenham 
 Palace, reproducing the scenery of ante-Silurian ages, with mammoth forms of animal life. 
 
 In Rome we visit the Pyramid of Caius Cestius, the tomb of a tribune of the people, built, 
 according to its record, in 330 days. It is 116 feet high, 98 feet square at base, faced with mar- 
 ble. The cost of this tomb of an individual to-day, would be more than that of the three effect- 
 ive models of the Pyramids of Gizeh above described, of larger dimensions in concrete. 
 
 ♦The largest was 760 feet square, 484 feet high, covering more than 13 acres, twice the area of St. Peter's. 
 
The Administration of the National Gallery : Its Methods and Facilities for the 
 
 Dissemination of Knowledge. 
 
 The only freedom worth possessing is that which gives enlargement to a people's energy, intellect, and virtues. 
 The savage boasts of his freedom ; but what is it worth.? — Channing. 
 
 AS ultimately to constitute one of the most extensive and useful departments under govern- 
 mental control, the direction of the National Gallery should be secured forever to a 
 Regency corresponding to that of the Smithsonian Institution. Its " establishment " consists of 
 the President and Vice-President of the United States, the members of the Cabinet, the Chief 
 Justice of the United States, an official of Washington, and " honorary members, as they may 
 elect." The third section names the officials and designates the sections of the country from 
 which the Regents shall be chosen. For the National Gallery the latter class should include 
 Presidents of Universities in the District of Columbia, the Chancellor of the Smithsonian Insti- 
 tution, and other prominent educators from the States. 
 
 EJC^IUf In supposition that the Galleries have been provided, and that they have received sufficient 
 material for the commencement of its activities, we will anticipate its beneficent and expansive 
 results. 
 
 First. — Lectures : There would be employment for a staff of able professors in history^ art, 
 
 and archcBology. 
 Intelligent students of the silent relics 
 and restorations from the past, to interpret 
 the lessons they reveal, to unite facts in the 
 chain of evidence, to explain the wide scope 
 of their revelations ; — would be demanded. 
 Therefore the plan provides lecture halls for 
 each section of historical material. 
 
 Our country may find some compensation 
 for its long and utter deprivation of such 
 facilities, in its opportunity to begin with all 
 the appliances which experience has proved to 
 be expedient. No foreign institution covering 
 the whole field of exhibits has any such pro- 
 vision for their public and scholarly elucida- 
 tion. When the Institute is organized lec- 
 tures upon the various historical courts should 
 be delivered constantly throughout the year ; 
 so that excursionists from the entire country 
 could always find instructors at their posts. 
 In 1882 Mr, Edward A. Bond, Principal 
 
 No. 100. — TOWN HALL, ANTWKh 
 
 Librarian of the British Museum, reported as follows 
 
 Note.— Through this paper are inserted illustrations of appropriate objects and structures for reproductions, and interesting 
 subjects for historical paintings of the Mediaval and Renaissance periods. 
 
LEcTUftES. 
 
 77 
 
 Educational Uses of the Museum. — In concluding this general review of the gradual formation of the different 
 collections, it may be held excusable to point out that they are exhibited not as mere objects of curiosity or of passing 
 
 interest, but as means of direct instruction - -• ■ - - - -- ,, 
 
 in art, archaeology, and natural science. 
 It would seem, however, that this truth is 
 far from being recognized. As yet, but 
 few are the occasions when a lecture or a 
 demonstration is offered to a school or 
 class brought to a particular gallery for 
 instruction. 
 
 If lessons could be given to students 
 from the visible objects and specimens ex- 
 hibited in the Museum, it cannot be 
 doubted that a more living interest in the 
 sciences they illustrate would be awakened, 
 than can be excited by the more usual 
 modes of teaching from the book. 
 
 Until this metiiod is generally fol- 
 lowed it cannot be said that the British 
 Museum or other kindred institutions are 
 properl)' appreciated, or made to assist as 
 they ought the progress of education. 
 
 R. 
 
 No. 107. — SALON, HONTAINEBLtAU. 
 
 In 1888 the Librarian enforced the importance of Lectures thus: * * * " The Trustees have not the power to 
 institute a system of teaching from the collections further than by means of printed catalogues and guides. A few very 
 valuable lectures have of late been given on Antiquities, • » • and it may be hoped that increased attention to 
 the study will lead to an extension of this method of utilizing the collections." 
 
 It would be difficult to write more appositely in commendation of the scheme herein set forth. 
 
 Unhappily for the Librarian's recommendation at home, the cold, crowded halls of the 
 
 British Museum are insufficient 
 for the material they have to ex- 
 hibit. The sentence previous to 
 the above extracts deplores the 
 crowded state of " the basement " 
 " from want of exhibiting space," 
 where are "stored, rather than 
 exhibited, very interesting monu- 
 ments of antiquity — Roman sep- 
 ulchres, Greek inscriptions, etc., 
 etc." There can be no accom- 
 modation for lectures in connec- 
 tion with the present exhibition 
 halls. 
 
 The following is an announce- 
 ment of Lectures at South Ken- 
 sington : 
 
 No. 108. — CHAMBER AT AlZREY. 
 
7a 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 A course of twelve lectures on anatomy as applicable to tiie arts is given in each term. The Spring course may 
 be attended by ladies. Fee for the course, 6s. ; for a single lecture, is. A course of forty lectures on the " Historical 
 Development of Ornamental Art" is given each year. The public is admitted on payment of J'^s. for the complete 
 annual course ; lo.?. for the course of twenty lectures each term ; or is. each lecture. Other lectures will be delivered 
 occasionally and duly announced. 
 
 Application for admission, prospectuses, or other information should be made at the schools. 
 
 There is an annual examination for prizes in all schools of art, and a national competition. 
 
 Second. — Publications : Illustrated., instructive . 
 
 The Gallery, as it practically develops into an Institute of Illustration, will publish hand- 
 books, critical and explanatory 
 of each department, like those 
 of the Kensington Museum on 
 Spanish art, Persian art, on Fur- 
 niture, etc., etc. 
 
 The following is an entry 
 in the Guide to the South Ken- 
 sington Museum on the copious 
 list of its publications : 
 
 Handbooks. — Handbooks of Indus- 
 trial Art, edited by William Maskell, 
 M. A. Textile fabrics, ivories, majol- 
 ica, furniture, musical instruments, 
 bronzes, glass, gold- and silversmiths' 
 work. With numerous illustrations. 
 Compiled from the introductions to the 
 
 No. lOQ.— OALLEKY OF FRANCIS FIRST, FONTAiNEBLEAu. R. larger works ou thc samc subjYcts uamcd 
 
 above. \s. each ; in cloth, is. 6d. 
 
 This is a specimen announce- 
 ment of a list of sixt}' publications 
 " for sale at the Catalogue stall." 
 Other titles are, " The Trojan 
 Column as reproduced in the Mu- 
 seum," "Fictile Ivories,"' " Monu- 
 ments of Early Christian Art," 
 " Manual of Design," etc., etc. 
 
 All the material thus made 
 available to the people could be 
 quickly supplied from our National 
 Gallery; and, moreover, the novel 
 expedients above provided will 
 supply matter more attractive for 
 such publications than any exist- 
 ing institution, viz. : the full repro- 
 ductions of buildings and contents No. i io.-chamber of mar.e de medicis. r. 
 
 
 
 
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 proposed, and the consecutive series of historical pictures. 
 
PUBLICATIONS— DISTRIBUTION OF REPRODUCTIONS. 
 
 79 
 
 Each restoration of an ancient or modern building would demand its illustrated catalogue 
 like that of The Pompeia, of which 75,000 have been circulated in a year, and which is now called 
 for as a text-book in colleges. 
 
 What more effective historical lessons can be suggested than a book with photogravures 
 of the 102 illustrations of Roman History, by Pinelli, each 
 with sufficient text to explain its meaning; and these re- 
 presentations imprinted on the memory from paintings, with 
 the characters to life in size and with their original acces- 
 sories ? 
 
 These text-books, catalogues, and all essays, treatises, 
 etc., emanating from the professors of the institute would 
 be sold at the lowest minimum of cost for widest possible 
 circulation. 
 
 Photographs in like manner would be for sale of all 
 interesting objects, as in the museums of Europe. These 
 would furnish to all minor collections fac shniles of the 
 objects in the National Gallery to the extent of their finan- 
 cial resources. Incidentally, publications and photographs 
 would supply exchanges with other institutions upon the 
 plan advocated by Monsieur Vattemare a generation ago. 
 
 The King of the Belgians commanded an historical 
 painting of great value, upon an incident of national history, 
 and the engraving of it in best execution ; then impressions 
 were sold at a nominal price, that lowly homes of his sub- 
 jects could be adorned with a work elevating in influence 
 toward patriotism and culture. 
 
 In like manner from the National Capital there may 
 issue to distant hamlets portrayals of the national history, impressing the youth of the nation 
 with its crises and triumphs, from Washington at Trenton to Lincoln at Gettysburg. 
 
 This suggestion of publications for other institutions indicates another result of the greatest 
 importance to the entire country, viz. : 
 
 Third. — Reproductions of all objects practicuble by casts, electrotypes, etc., etc. 
 
 The facilities offered by foreign institutions for the distribution of counterparts of their objects 
 have been already recited. Our country is to this date entirely dependent upon them. The art 
 museums of our cities and colleges, trifling as are the largest of them in comparison with the material 
 available, are all now dependent upon foreign importations at excessive extra expense. Why should 
 this continue ? Why should not our Government establish its central depository of models from 
 which should be supplied to all applicants replica at minimum cost? 
 
 The plan of the National Gallery provides for basement shops beneath all the halls for such 
 purposes. The plastic establishments for casts, potteries and kilns for terra cottas, laboratories 
 for electrotypes, etc., etc, mentioned as to be provided, should cheapen to the utmost art products 
 
 No. III. 
 
 COURT IN THE PALACE OF THE INFANTA, 
 ZARAGOSSA, SPAIN. R. 
 
8o 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 for the nation. At this writing I read of a visit of Directors of the New York Museum to the 
 Slater Museum for examination of an importation by the latter, in view of an expenditure of 
 50,000 dollars for casts. 
 
 Considering their cheapness the nation should at once supply all that are desirable to itself at 
 
 its Capital, and then establish facilities by 
 which communities throughout the land may 
 have the choice of all for their use at the 
 least expense. 
 
 An illustration of the zeal with which 
 the British Government seeks its antiquarian 
 materials is a published " minute " of corre- 
 spondence of Earl Granville, 1864, of the 
 Com. of Council on Education, with the Sec- 
 retary of State for Foreign Affairs, soliciting 
 his oihcial aid through Her Majesty's repre- 
 sentatives at Dresden, Paris, Rome, etc., in 
 procuring information as to objects of fine art 
 or art workmanship, that copies may be ob- 
 tained. The vigor of the search which was 
 " instructed " b3'^ Lord John Russell is indi- 
 cated by this schedule : 
 
 A, The private collections of the Sover- 
 eign and in Royal Palaces. 
 
 B. The state or public collections. 
 
 C. The collections of the church, in the treasuries of cathedrals, churches, monasteries, etc. 
 
 D. The collections of towns, guilds, municipalities, in their halls. 
 
 E. Well-known collections of private individuals which are heirlooms of permanent collections. 
 In the report of the Kensington Museum of 1864 it is stated " Arrangements now exist by 
 
 which every object of the art collections may be copied by some one of the many processes." 
 
 The United States cannot claim equality in intellectual enterprise with the European powers 
 until they enter the competition for its rewards. 
 
 Fourth. — The Institute would maintain an efficient Bureau of Information and Correspondence. 
 This department would not only facilitate the examination of the collections, but it would 
 answer inquiries and obtain models or drawings, as desired, of other relevant objects. It would 
 investigate for parties at a distance by its indexed catalogue of engravings above proposed^ illustra- 
 tions in the lines of their designs or investigations, besides the catalogues of specimens held by 
 the Gallery ; returning descriptions thereof, or photographs if desired. 
 
 Those who have had the tedious and unsatisfactory experience of a search in the large libra- 
 ries of our cities and colleges for art illustrations of a special theme will appreciate the superlative 
 usefulness of such collateral aid. If the duplicates or photographs of foreign collections are largely 
 
 No I 12. — NORMAN GATE, COLLEGE GREEN, BRISTOL, ENGLAND." 
 
 R. 
 
,,.^iiMgav>Wiitb''^tW.^mti|<>jiiiij^iw iiuM|ijP.iw .L ;ji-i. 
 
 DISTRIBUTIONS OF REPRODUCTIONS— PATRONAGE OF ART. 8l 
 
 obtained, and thoroughly indexed, as is essential to their use, this Bureau of Information would be 
 easily organized ; and it would be a help to scholarly and artistic labors unequalled of its kind. 
 
 The liberal system of the Boston Public Library 
 in these regards is, in many details, a model for all 
 literary institutions. 
 
 It issues not only catalogues, but bulletins upon 
 various subjects as guides to readers and investi- 
 gators. 
 
 It employs assistants to answer literary inquiries, 
 either in person or by correspondence. It invites re- 
 quests for the purchase of books — new, rare, or for 
 special use. It maintains its agents in Europe to 
 answer requisitions. The poor student may apply 
 for foreign volumes upon his special topic, and upon 
 their receipt a notification will be sent to him. It 
 places its catalogues and an express service at branch 
 ofiices for the few leisure hours of the mechanic. 
 Above all, it trusts the people. From its beginning, 
 despite predictions of robbery and damage, it has 
 loaned its books to them in their homes. For thirty 
 years they have demonstrated their integrity ; the 
 annual loss and injury having been trifling. Its staff no. ii3.-german cloth, hall brunswick. r. 
 
 numbers nearly one hundred and fifty persons ; its annual expense is something over one 
 hundred thousand dollars. No tax upon the citizens is more cheerfully accepted. 
 
 These details are appropriate to the prospectus here discussed. By similar methods the In- 
 stitute should spread forth its facilities and multiply its benefits. It should be the servant, 
 diligent and painstaking, of the most distant American citizen. 
 
 Fifth. — Grandly beneficent and stimulating to the culture of the nation would be the patronage 
 of art by the National Gallery. 
 
 This would result first by its orders for the series of historical paintings described. The 
 method for their acquisition has already been indicated. It involves the employment of preceptors, 
 both of general scholarship and artistic manipulation ; the one to supply the data, the other to 
 direct their acceptable artistic representation. 
 
 Naturally from this demand would follow competitions in design. These should be an annual 
 incident of the Institute of the greatest public interest. They would necessitate a Salon of public 
 exhibition of cartoons and an award of prizes. Art would be consecrated to patriotism ; its works 
 would be diverted to heroic inspirations, rather than as at present, almost entirely to fanciful, 
 romantic, airy, and intangible creations.* 
 
 *I cut from the issue of the N. Y. Times, of the date of this writing (April 26), a report of the exhibits at the next Salon : 
 "The list of pictures opens with Bougereau's ' Cupid in a Storm ;' ' Love as a child, shivering in the rain,' etc., etc. We must pity 
 him and hasten on ! We proceed to read : Pelouse, ' The Morning Dew;' Fleury, ' A Billet-doux;' Marquan, ' A Siren's Sleeping- 
 place ;' ' Birth of the Pearl ;' and ' Toilet of Ganswinthe.' " 
 
 Of 58 pictures recited but 3 have any relation to History or Knowledge, viz., Lauren's Visit of Louis XVI to the Hotel de Ville, 
 
82 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 This comment would in no wise disparage sentiment and imagination in art. Delicacy and 
 
 spirituality everywhere environ us in Nature. 
 
 The zephjT that fans us, the sun-rays and 
 clouds, make the glory and beauty of the heavens ; 
 the ethereal world of artist life, and of his imi- 
 tative ambition. In the spiritual and poetic 
 impulses of his nature, he animates that airy 
 creation with angels and fairies, and would fain 
 bring them down to earth and enliven haunts of 
 Nature for their Paradise. 
 
 These are the fields and the only fields 
 for some artistic souls, that may well be styled 
 " impressionists," and when they can seize upon 
 and fix their visions, art is in its most fascinating 
 realm. 
 
 But there is prose as well as poetry in life ; 
 there is conflict as well as romance ; there is the 
 clash of arms as well as the sigh of the lover; 
 and for the strength of the race, mental and moral, 
 art should be somewhat diverted from sentimental 
 to actual relations. 
 
 Our country needs its aid in reproducing ac- 
 tualities of its past histor}^ that shall imprint 
 upon the national character integrity, patriotism, and the heroic virtues upon which its existence 
 depends. 
 
 Sixth. — Aid lo tnechanical and decorative arts ivill be one of the most practical and valuable 
 
 functions of the Gallery and Institute. 
 When as completely organized and equipped as the South Kensington Museum, the Ameri- 
 can National Gallery will accomplish for the people of the United States, the incalculable benefits 
 of the former to the British nation. The mere recital of its administrative appliances will indicate 
 their scope and influence. 
 
 Its Science and Art Department issues its " Science Directory " of instruction in twenty-four 
 branches. 
 
 No. 114. — GARDEN, CHATEAU CAILLON. R. 
 
 a painting 30 feet by 12 feet, and Roy's pictures of " The Reveille of Solferino" and " The Infantry of 1835." The latter reveal a suc- 
 cessor in subjects to Meissonier. 
 
 The exhibits of American artists number 54. The subjects are almost entirely fanciful and imaginary, save a few portraits and 
 landscapes. Mr. Weeks exhibits his realistic and beautiful Oriental scenes; Mr. Humphrey Moore, of New York, a scene in the 
 Alhambra, and Mr. Clinton Peters, "A twilight scene in the streets of Paris, 15th Century." These clothe facts in beauty and truth, 
 and are contributions to knowledge, for which they have this expression of indebtedness. 
 
 In the same issue it is stated that the art-dealer Gill, of Springfield, Mass., has sold, from his last collection of American pic- 
 tures, 60 canvasses. The first named is Warren Shepard's " Kearsarge and Alabama," for $1,200. The others named are all fanciful : 
 "Snow-Flakes;" "Coming," etc. 
 
 Mr. Shepard's patriotic choice of subject merited this appreciative notice. 
 
PAtRONACiE OF ART. 
 
 83 
 
 It gives grants of money in aid of local efforts to establisli schools. 
 
 It aids students also by money rewards for high attainments. 
 
 It grants in aid of new buildings for Schools of Science at the rate of 2s. 6d. per square foot 
 of internal area, and toward laboratories, etc., etc. 
 
 It maintains Elementary Day-Schools. 
 
 It instructs in Art at the National Art Training School. 
 
 It aids local Art Classes by grants to Local Art Com- 
 mittees. 
 
 Its Loan Collections in London, and Circulating Mu- 
 seums through the Kingdom, previously cited, have stimu- 
 lated public interest until now permanent galleries are 
 established in the principal cities. 
 
 The result of its forty years operations has been such 
 an impetus to British decorative art and architecture that 
 the nation is now the peer of Germany and France in 
 many departments in which, previously, it was an inferior. 
 
 European nations, not content with their accumula- 
 tions of past centuries, have followed the example of the 
 Kensington Museum. The Austrian Museum of Art, 
 founded 1863, and the Germanic Museum, at Nuremberg, 
 for promotion of German historical research, greatly en- 
 larged since 1865, are evidences of their zeal. 
 
 Paris, in addition to its famous galleries, has its Musee 
 des Arts Decoratifs, with corresponding and interchanging 
 museums in the larger cities. Eight thousand students 
 attend lectures in Paris. In the Ecole des Beaux Arts there are twenty-one professors of the 
 highest rank. 
 
 It is unpleasant to contrast with these facts that, in these lines of investigation, our country 
 has at its Capital attempted nothing. 
 
 To the beneficence of an Englishman we are indebted for an institution of which we may 
 be proud — the Smithsonian. It has won position for ability and efficiency equal to all other 
 scientific organizations of the world. 
 
 But its labor, in its technical and philosophical nature, is in distinct demarcation from the 
 field designated for the proposed institution.* 
 
 * It covers the ethnology, ornithology, geology, etc. ; the entire natural history of our territory. It explores, analyzes, and 
 reveals the mineral treasures of our land. It pursues with the keenest scientific observation the animalculiE that may infect the air, 
 the water, or the products of our country. It is now crowded with material gathered in the exploration and development of our terri- 
 tories. 
 
 It should have the proposed New National Museum to receive collections that have of late been refused ; and large appropri- 
 ations of money for its worthy uses. 
 
 In enthusiasm for the purpose of its organization, its Regency will eagerly endorse this proposed institution, as a complement 
 to their own for the " dissemination of knowledge among men." 
 
 The National Museum at Washington covers 2.35 acres, and is one of the best structures in the world for its purposes. The 
 
84 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 Seventh. — Employment of a refined and educatwftal nature for men and women would result 
 
 upon a, large scale from the activities of the Institute. 
 At the outset, the constructions would employ ordinary and mechanical labor. 
 In the operation and expansion of its educational work, thousands would be demanded, in 
 various pursuits : antiquaries, curators, artists, sculptors, photographers, electrotypers, printers, 
 
 binders, moulders in cement, plaster, clay 
 and wax, attendants, clerks, guides, gar- 
 deners, joiners, watchmen, pages, janitors, 
 laborers, etc., etc., these for various spheres 
 to aid the highest administrative ability in 
 art and scholarship. 
 
 If the Boston Public Library employs 
 150 persons, in stimulating knowledge 
 from its one resource — books — the material 
 herein pre-supposed would demand thou- 
 sands, in the care, increase, and utilijiation 
 of its material, and in efficient service of 
 its 10,000,000 clients. Such a pay-roll 
 would be unsurpassed, in compensating 
 beneficence, in the files of the National 
 Treasury. What contrast to the oppressive 
 and exhaustive burdens upon European 
 nations for the maintenance of armies in 
 idleness ! 
 
 It is related that Louis XVI employed 
 30,000 soldiers upon the pleasure parks of 
 his royal domain at Versailles. It is a direful necessity that the nation must now appropriate 
 $30,000,000 to warlike defences ; although a satisfaction that the disbursement gives employment 
 to artisans, and that war ships may also continue to others a support. What greater return 
 would flow from an expenditure that maintained a proportionate establishment for the mental 
 elevation of the people I 
 
 accumulations of material for its purposes now awaiting space for exhibition demand a duplicate of the present building, for which 
 plans are prepared. But to show how completely distinct its useful fields of study and illustration are from the proposed National 
 Gallery, the following statement is quoted from President J. C. Welling, LL. D., of the Columbian University, Washington: 
 
 " The National Museum has twenty-two distinct scientific departments under its jurisdiction : The departments of comparative 
 anatomy, of mammals, of birds, of reptiles, of fishes, of moUusks, of insects, of marine invertebrates, of plants, of fossil vertebrates, of 
 paleozoic fossil invertebrates, of mesozoic fossil invertebrates, of cenozoic fossil invertebrates, of fossil plants, of geology and petrol- 
 ogy, of mineralogy, of metallurgy and mining, of prehistoric archceology, of ethnology, of oriental antiquities, of American aboriginal 
 pottery, of arts and industries, comprising under these last-named heads numismatics, graphic arts, foods, textiles, fisheries, historical 
 relics, materia medica, naval architecture, history of transportation, etc., etc., etc. 
 
 " Each of these departments is placed under a curator, and is provided with the necessary appliances for original research ; and 
 these appliances are yearly increasing in completeness and efficiency." 
 
 No. 1 It). — GATE OH ST. BERNARD, FROM " PARIS IN THE TIME OF FRANCIS FIRST.'' 
 FOR NORTHERN ANGLE ON THE POTOMAC. R. 
 
Estimated Cost of the' Galleries-a Central and most Advantageous Site in 
 
 Washington ; now Unimproved and Cheaply Available— 
 
 The Future of Washington. 
 
 In America, literature and the elegant arts must grow up side by side with the coarser plants of daily necessity. 
 
 ■ — Irving. 
 Young America will soon be what Athens was. — Wendell Phillips. 
 
 The true grandeur of humanity is in moral elevation, sustained, enlightened, and decorated by the intellect 
 of man. — ^Charles Sumner. 
 
 THE building of the Casa-Monica involved all the data pertaining to the cost of concrete 
 construction. That structure has now stood 
 four years with increase of solidity and enhance- 
 ment of beauty in color. 
 
 The Pompeia has supplied an example, in a 
 finer mixture of sand and concrete only, upon the 
 lines of the Roman Doric order ; precisely the 
 material and forms proposed in the design herewith 
 submitted.* 
 
 The cost at Washington will be considerably less 
 than at St. Augustine by the saving in shipment of 
 cement the long distance to Florida. For sand, there 
 would be a water transportation directly to a site 
 upon the Potomac. These are the cheapest possible 
 conditions. 
 
 As authoritative from an architect of fifty years' No. 1 17.— .talian palace (gandagni), Florence, r. 
 
 practice, and in the practical use of beton (concrete) in the Cathedral of New York, the estimated 
 cost of Mr. James Renwick from his above-quoted letter is. appended : 
 
 With regard to the cost of the galleries and corner towers, it will of course be dependent on the favorable or un- 
 favorable position on which the building is located. 
 
 I have made the following estimate for 100 feet of the Gallery with a basement ten feet high and foundations 
 carried five feet below the surface of the ground. The galleries are thirty-two feet high and thirty-five feet wide, and 
 the colonnades twenty-five feet high and thirteen feet broad each, and the building is supposed to stand on level ground : 
 The estimate is as follows : 
 Excavation, 1,700 cubic yards ........ . $800 00 
 
 Concrete in whole building, 48,650 cubic feet, at 25 cents, . . . 12,16300 
 
 Models of columns, etc., . . ........ 2,000 00 
 
 Iron beams, 34,250 pounds, at 5 cents, ....... 1,80000 
 
 7,600 feet of roof and skylight, . ........ 7,600 00 
 
 20 windows in basement, . ......... 500 00 
 
 \ of corner towers, estimated at, ........ . 6,000 00 
 
 Heating by steam, ............ 500 00 
 
 Total cost of loo feet of Gallery, $315363 00 
 
 This is probably a safe estimate within 7 per cent. 
 
 Yours truly, 
 
 (Signed) James Renwick. 
 
 * Addenda No. 6, as to concrete. 
 
 Note. — Through this paper illustrations of various temples and dwellings of mankind are inserted, which are imagined grad- 
 ually to find place with others in the Park ISTORIA, or be modelled for the galleries. 
 
86 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 The item of models in the above estimate may be averaged over i,ooo feet of galleries, but the 
 
 above figures make the cost of 20,000 
 feet range of galleries ; that is, all 
 upon the ground plan, angle towers 
 included, complete, about $6,000,000. 
 It is estimated that $4,000,000 ad- 
 ditional would construct the Parthe- 
 nonic Temples and many other histori- 
 cal buildings and objects. 
 
 One million dollars ($1,000,000) 
 will construct the Roman and Greek 
 Galleries, and another will richly sup- 
 ply them with illustrative material of 
 the greatest educational value. Could 
 this specimen be accomplished, public 
 interest would quickly demand the 
 entirety. 
 
 Mr. Conway quotes encourage- 
 ment for such a beginning. "I re- 
 marked," he writes, " to a gentleman connected with the Kensington Museum at its origin, that 
 I had heard various American gentlemen inquiring whether such an institution might not exist 
 in their own country," and he said : " Let them plant the thing and it can't help growing, and 
 most likely beyond their powers — as it has been almost beyond ours — to keep up with it." 
 
 It seems almost needless to argue as to the ability of the country to command at once the 
 entire work, and hasten to the present generation its resultant benefits. 
 
 It would be less than the cost of the United States Capitol, of the Brooklyn Bridge, of the 
 State House of New York, or of the City Hall of Philadelphia.* 
 
 The above estimate, as is seen, is for buildings only. The cost of land can be merely 
 supposed, as it is contingent upon location. 
 
 When the first paper in behalf of the National Gallery was prepared, it was assumed, in 
 ignorance of the contrary, that the institution must be placed in the suburbs of Washington. 
 It was suggested that a land syndicate would give 250 acres from a tract of, say, 1,000 acres, for 
 
 No. 118. — ^JAPANESK I'AVILION AND DWELLINGS. R. 
 
 •The Grand Opera House, Paris, cost $9,000,000. 
 
 The Capitol has cost $17,000,000. 
 
 The new State, War and Navy Buildings, $10,000,000. 
 
 The new building for the Congressional Library is to cost $6,000,000. 
 
 Chicago spent last year $59,000,000 on buildings that on one side of a street would extend over fifty miles. New York 
 spent $74,900,812. 
 
 The combined expenditure of the United States and foreign countries for the Columbian Exposition is estimated at $40,000,000. 
 
 The appropriations of the last Congress will amount to j5i, 000,000,000 for two years. 
 
 The cost of the ship of war, the Ohio, for one year of service, was $220,000; of Harvard College, $47,935. In other words, the 
 annual sum lavished on a single ship of the line equals that paid for four institutions like Harvard University. — The True Grandeur 
 of Na I ions, Stimtier's Oration, July 4, /8jo. 
 
A CENTRAL AND MOST ADVANTAGEOUS SITE IN WASHINGTON. 
 
 87 
 
 the enhancement in value of the remainder. Inquiry at Washington of owners of extensive 
 tracts emphatically confirmed the opinion.* 
 
 This anticipated provision of land gratis 
 was stated in the "Brief" upon the National 
 Gallery prepared for the press at its first pre- 
 sentation in Washington in December, 1890. 
 It brought a gratifying surprise from Col. An- 
 derson, secretary of the Washington Board of 
 Trade, viz : that the best possible site was avail- 
 able in the premises of the National Observatory 
 upon the Potomac, and the adjacent block, as 
 indicated upon the plans of Washington. This 
 site was described as follows, in his argument be- 
 fore the Senate Committee upon a World's Ex- 
 position, January 10, 1890: 
 
 One of the most important features is an easily acces- 
 sible site, and to illustrate the wonderful advantages Wash- 
 ington has in this respect over all otlier cities, I invite your '^°- ' 19— Chinese dwelling, interior. R. 
 attention to the accomiianying diagram illustrating the last-mentioned site. (This was the plan, Fig. 7.) 
 
 The existing park extending from the Capitol 
 to the Monument and Executive Mansion contains 
 three hundred acres. Over seven hundred more 
 acres will soon be added by the reclamation of the 
 Potomac Flats, and two hundred and twenty 
 more can l)c added by using the grounds of the 
 Observatory, which is soon to be removed, and 
 by cotidemning the adjoining and comparatively 
 unimproved property between F and B streets, 
 and the State Department and Observatory. 
 These two hundred and twenty acres arc above 
 the Jtood line, well adapted to drainage and most 
 desirable for permanent buildings. All stieet- 
 car lines converge toward or run parallel with it. 
 All steam lines from the North, South, and West 
 enter it, except the B. & O. R.R., and that adjoins 
 it. The Potomac River faces it. All of the prin- 
 cipal hotels (indicated upon the diagram by the 
 round dots) are so near this park that not even a 
 
 No. 120. — CHINESE DWELLING. EXTERIOR. R. . . . i i ^ i -i t^ • -.i ■ ,^ 
 
 street car is needed to reach it. It is within five 
 minutes' walk, not only of these hotels, but of the principal boarding-houses. 
 
 *The author is advised by prominent residents of Washington to make the following statement, in consideration of the specula- 
 tive interest frequently associated with enterprises affecting values of adjacent real estate, viz : That he does not own a foot of land 
 in^the city of Washington or its neighborhood, nor has he any intention of such ownership, and that he is not acquainted with the 
 proprietor of any land west of the Treasury Department. Fortunately, the Observatory tract, if condemned at once by the Govern- 
 ment, is beyond speculative monopoly, while its boundaries prevent any realization of increased value except along F street on the 
 north ; all which line is now held by many individual owners in homestead. The tract is bounded on the west by the Potomac river; 
 on the east and southby Government Parks. 
 
 
 
88 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 Attention is invited to the important fact that vessels can land and unload their freights at wharves immediately 
 adjoining the grounds. 
 
 i 
 
 No. 121. — NORWEGIAN CHURCH, HITTERDAL. I 2TH CENTURY. M. 
 
 The Observatory occupies, I am told, about 25 acres of this tract, which are now being 
 
 vacated. It rises to 96 feet above the Potomac ; six 
 feet above the level of the floor of the Rotunda 
 of the Capitol. From this it slopes to the Potomac 
 on the west, and the Presidential grounds on the 
 east. Topographically, the tract is all that could be 
 desired for a realization of the design for the Gallery. 
 It is of the highest importance that the Gallery 
 should be centrally located in the National Metropo- 
 lis. Its attractions would invite the longest stay 
 possible by the people who would come from afar to 
 study and enjoy them, and who would suffer both 
 in time and money, by travel to it, if at a distance in 
 the suburbs. 
 
 The British Museum and the Kensington are in 
 the heart of London ; and the Louvre, Luxemburg, 
 
 Ecole des Beaux Arts, Luxemburg and Cluny Museums are likewise in the centre of Paris. 
 
 A University may well be located in retirement, 
 
 but a Museum should be directly in the public 
 
 pathway. Nothing more could be desired in this 
 
 regard for the Gallery, than the Observatory site, 
 
 adjoining the Executive and Departmental Build- 
 ings. 
 
 The remainder of the tract eastward to 17th 
 
 street, described by the Secretary of the Board of 
 
 Trade in the note appended, is now in the unsightly 
 
 condition pictured from photographs herewith. A 
 
 portion of it is the common dumping ground of the 
 
 city. The tract is held by very many owners, and 
 
 can never be redeemed from its present shabbiness 
 
 except by a general condemnation. Since it ad- 
 joins the grounds of the Executive Mansion and 
 
 the Washington Monument, such action seems in- 
 evitable, and the more speedily it is accomplished, 
 
 the less will be the draft upon the National 
 
 Treasury. 
 
 It is a remarkably encouraging fact toward 
 
 this enterprise, that the site of the Observatory 
 
 Buildings is now graded and terraced, precisely as wanted for the Columbian and American 
 
 No. 122. — RUSSIAN CATHEDRAL, VASSILI BLANKSKENCY, 
 I 6th CENTURY. M. 
 
THE FUTURE OF WASHINGTON. 89 
 
 Temples. The area within the walls is about 19 acres, with 1,100 feet range north and 
 south, ample to contain the dominant structures. In a twelvemonth, their magnificent ele- 
 vation might be added to the' architectural grandeur of the National Capital.* 
 
 Such a result would stimulate the patriotic pride 
 of the nation in the seat of its representative authority. 
 
 The location of the Capital was originally in com- 
 promise of competition between States for its possession. 
 Situated on the midway line of the North and the 
 South, its improvement was retarded for three-quarters 
 of a century by the sectional conflicts which culminated 
 in civil war. The final adjustment re-established a faith 
 in the permanency of the Union, that was expressed in 
 the immediate aggrandizement of Washington. 
 
 The original magnificent scale of the French En- 
 gineer, L'Enfant, the friend of General Washington, 
 after the general plan of Versailles, as proportionate to 
 the future of the Republic, was found to be none too 
 grand, but only commensurate with its promise. 
 
 The Capitol was enlarged in grandeur, rivalling all 
 governmental structures of the world. Secretary Seward 
 pronounced it unequalled, after his tour around the world. 
 Its classic style, appropriate for the dignity of legislative 
 uses, accords with that of its counterpart advocated. 
 
 The shaft of the monumental obelisk that had stayed incomplete for 21 years, as if uncertain 
 of its story of success or failure to posterity, was carried to its apex, above all human constructions. 
 
 Executive departments were established in stateliness of constructions and extent of capacity, 
 prophetic of the expansion of the nation, whose will and power they administered. 
 
 Liberal appropriations were applied to the transformation of Washington from its previous 
 forlorn aspect of indifierence and neglect. 
 
 When the representatives of States that had been at war reassembled for restoration of their 
 legislative halls to service of peace and good-will, social reconciliation and amenities replaced per- 
 sonal animosities and assaults. A cordiality in private life ensued that has made Washington 
 exceptional for hospitality. 
 
 * Since the above was prepared for the press, the following gratifying announcement is made : 
 
 " The Corcoran Art Gallery has bought a large piece of land in Washington on New York avenue and Seventeenth street, run- 
 ning through to E street. It is an irregular plot, having 340 feet on the Avenue, 260 on Seventeenth street, and 292 on E street. The 
 cost of this land was $154,022, and only the absolute need of the gallery for a larger building would have induced the trustees to spend 
 so much on a new site. The constant rise of price in real estate at the Capital is another reason for immediate action." 
 
 The propertv described is in the front, easterly line of the block suggested for the National Gallery; opposite the extension of 
 the grounds of the Executive Mansion (v. Plans, Figs. 6 and 7). The Corcoran Gallery, to continue for generations, as we hope, 
 to gather the gems of art, will thus be located at the entrance of our supposed Park Istoria. If the Government secures, as it ought, 
 the block of 220 acres, then the Corcoran Gallery will be provided for future expansion without further expenditure for land. 
 
 It is an opportune encouragement that the trustees have located precisely where the theory of the present scheme would have 
 chosen. 
 
 No. liV EGVI'TIAN MOSC^lh OH KAILHKV 
 
90 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 Increased expenditure for scientific and literary interests attracted hither appreciative patrons 
 to enjo}^ them. Washington became the centre of American historical material, to which rich 
 accessions were made by purchase of the Force and other private collections. These increasing 
 intellectual resources have drawn to it a residential class of affluent and scholarly people, who find 
 it more congenial than any other American city. 
 
 It is now assured to be a continental focus of refined, intelligent society, secure from the 
 turmoil and obstructions of commerce and the discords of manufacturing communities. 
 
 These influences have combined to stimulate the growth and adornment of the Capital 
 at an unprecedented rate. Washington is rapidly centralizing within itself both the federal 
 and popular sentiment of the American people. \\s, forty-four allied sovereignties consolidate 
 therein the great functions which they have delegated for common weal and defence. The 
 
 PHOTO. BY M. B. BRADY, WASHIKGTON, MAY, 1891. 
 
 No. 124.— VIEW OF LAND EASTWARD FROM NAVAL OBSERVATORY. 
 
 constituents of these States recognize that the incidents of their local history and ancestral 
 pride, the crises of Bunker Hill, Yorktown, and New Orleans, aggregate in an example of 
 world-wide beneficence beneath the dome of their National Legislature. 
 
 Never in the history of mankind has a city been favored with a fairer and more potential 
 promise. 
 
 Founded upon the popular devotion of 65,000,000 people, the material exponent of their union 
 in liberty and fraternity, it will inevitably reflect their interest and liberality. They are proud 
 of its elevation upon the common foundation of their political system : — a universal elementary 
 education ; as the sanctuary of their charter of freedom, a national constitution ; — of its multi- 
 plied charms of rural beauty ; its facilities for rational enjoyment of social life. This legitimate 
 pride will constitute an important element in the patriotism that must defend the national life. 
 It will be wise to stimulate such national ambition ; to foster rivalry with the old nations in all 
 intellectual expedients that shall parallel an advance in the science of government. 
 
THE FUTURE OF WASHINGTON. 
 
 91 
 
 Washington must become a glory of the Republic beyond its possession of [national force ; 
 in its resources for knowedge, its grandeur of art and architecture. As the Hellenes material- 
 ized their intellectual conceptions and aspirations on the Acropolis, Americans will henceforth 
 
 PHOro. BY M. B. BRADY, WASHINGTON, MAY, IB! 
 
 No. 123.— VIEW OF THE CENTRAL PORTION OF LAND BETWEEN THE OBSERVATORY AND GROUNDS OF THE EXECUTIVE 
 
 MANSION; AT PRESENT RECEIVING THE RUBBISH OF THE CITY. 
 
 centralize the illustration of their achievements and aims in the National Capital. They will 
 fear its counterpart in a complete and harmonious temple of knowledge. 
 
 The time has come for its commencement. The desire for knowledge by the people waits 
 for the use of their abundant wealth to aid its acquisition.* 
 
 * It is repellant to place in such connection the mercenary advantages that would result. We will leave to the financier and in- 
 vestor calculations as to the pecuniary result to real estate owners in Washington, and holders of securities upon railroads diverging 
 therefrom, when Washington shall have become "both the Berlin and Paris of America," in its attraction thither of thousands of resi- 
 dent scholars and students by the unequalled advantages of its National Gallery. When many more thousands shall flow to it from all 
 sections of the country, as the richest centre of the world for practical and diversified object-illustration. 
 
 Transportation companies, land holders, tradesmen, may readily figure that they will receive in return more than the inter- 
 est of the investment. 
 
 The enormous advance in Washington real estate the last ten years is a basis for prophecy of the future. 
 
 In t86o its population was 6t,i22. In 1890, 220,000. 
 
Ways and Means for the National Callery. 
 
 If a man do not erect in this age liis own tomb ere he dies, he shall live no longer in monument than the liell 
 rings and the widow weeps. — Shakespeare. 
 
 Who that surveys this span of earth we press. 
 This speck of life in Time's great wilderness, 
 This narrow isthmus 'twixt two boundless seas, 
 The past, the future, two eternities ! 
 Would sully the bright spot, or leave it bare. 
 When he might build him a proud temple there, 
 A name, that long shall hallow all its space. 
 And be each purer soul's high resting-place ! 
 
 — Moore. 
 
 THE first announcement of this enterprise to the public was by a brief of this paper prepared 
 for a meeting of Congressional Press Correspondents, at the Arlington Hotel, Washington, 
 December 27, 1890. From that summary several of the largest journals of the country published 
 copious details, with strong commendation of the object. • 
 
 These articles caused mention of the matter from Maine to Shasta, California, and Oshkosh, 
 Wisconsin, without unfavorable comment from seventy notices received, except in three or four 
 instances. These few considered the extent of the constructions excessive, but with good reason, 
 in misapprehension of the plan. They assumed that the whole area was to be covered by roofs, 
 whereas the open courts of three to six acres each, require forty acres. This misconception sug- 
 gested the evidence given, that all the floor-area upon the plan, if ultimately provided, will be less 
 than that of single constructions in Europe. 
 
 One journal comments thus : 
 
 " The plan for a National Art Gallery * * * is altogether too ambitious for a Republican form of gov- 
 ernment." 
 
 Shall the richest nation of the world, claiming the highest average intelligence, supply them- 
 selves with less intellectual facilities than those of other nations — the legacies of monarchical 
 institutions ? The Periclean age of Greece and the Augustan age of Rome, the glory of one and 
 the grandeur of the other, rose upon a basis of republican institutions. 
 
 The splendor and extent of the French Exposition of 1889, surpassing all its predecessors 
 despite the non-concurrence of neighboring sovereigns, united the enthusiasm of the people. It 
 wrought its richest result to the nation in the firm establishment and recognition of its repiiblican 
 government. 
 
 This argument is relevant to the problem of Ways and Means for the establishment and main- 
 tenance upon the largest scale of a National Gallery. History has demonstrated that an intelli- 
 gent people, aspiring to intellectual elevation, will command all possible aid from their unstinted 
 resources. When the people are " enflamed with the study of learning and the admiration of 
 
TME desirable; site, Cheaply available. 93 
 
 virtue,*' when they seize upon the promise and crave the pleasure of mental cultivation, their leg- 
 islators will voice their eagerness and supply the means. The aggregate voluntary expenditure 
 of the nation — State, municipal and private — for educational purposes has steadily increased. 
 
 One year's interest on the appropriations of the 50th Congress, at 2^ per cent., would sup- 
 ply 25,000,000 dollars : ample to build and equip the needed Institution. The appropriations of 
 the 50th Congress for War and Navy purposes were over 100,000,000 dollars. 
 
 Were the entire cost of the National Gallery voted at the next session, not an individual in 
 the nation would be conscious of the fact as affecting his property or income. 
 
 New York subscribed 5,000,000 for a Columbian Exposition. The appropriation of 20,000,000 
 dollars during five or ten years from the National Treasury is a trifle in comparison. The latter 
 would be for an enduring result ; the former was for the temporary show of a season. 
 
 Information of the Observatory site and the coincidence of its early abandonment for the 
 new premises awaiting occupation, give great encouragement for its immediate appropriation to 
 the National Gallery. It is intended that the first petition to the Committee on Public Buildings 
 and Grounds of the next Congress, shall be for the assignment of that estate for the American 
 temples. 
 
 At the same time it will be asked that the entire area between B and F streets, of about 220 
 acres, or between B and E streets, of about 190 acres, be condemned, as were the lands for the 
 Zoological Park,* for the site of a National Gallery, according to this Prospectus.f 
 
 For the Government ownership of 220 acres it is necessary to buy only 105^ acres, valued 
 for taxation, with improvements, at $1,421,345.00; 114% acres being covered by streets, reserva- 
 tions, and the Observatory site. 
 
 For the acquisition of the block to E street, 192 acres, there must be bought only 771^ acres, 
 valued at $604,300.00. This tract is appraised at an average of 18 cents per square foot. The 
 entire tract is appraised at an average of 31 cents per square foot. 
 
 As stated, it had been supposed impossible to obtain the large area demanded centrally 
 located in Washington. 
 
 Although the land might be offered as a gift by a syndicate, the history of Congressional aid 
 to patriotic or literary objects, until their usefulness and popularity had been established, was a 
 discouragement. 
 
 The Washington Monument was 36 years in construction, at a cost of $1,100,000; being 
 untouched for 20 years. 
 
 The Smithsonian bequest was accepted in 1836. Eleven years passed before the buildings 
 were commenced, and nine years before they were completed at a cost of $450,000. 
 
 It required eight years to obtain a site for the Library of Congress, though the necessity was 
 urgent. 
 
 * See Addenda 6. Condemnation of Zoological Park. 
 
 t Of course this would be with the exemption of the late purchase by the Corcoran trustees ; but th» Government would wisely 
 " condemn " also their estate; refund to them the amount paid for it, and then give them their land with an addition, that the new 
 buildings should not be upon the street line (17th). They should have more ample area for ornamental grounds and future enlarge 
 ment; and that their architectural design could accord with the National Gallery. Government should give the Corcoran Gallery al 
 the land it requires, and the 154,600 dollars paid from its endowment for land should be devoted to purchases of pictures. 
 
94 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 From these examples this generation might despair of a National Gallery. Therefore it was 
 proposed in the " Brief" to the press, that individual or popular contributions be solicited for the 
 beginning. 
 
 This suggestion was misapprehended as intending a dependence of the National Gallery 
 entirely upon popular support ; which is plainly impracticable. It will doubtless be assumed by 
 the Government as soon as its resultant benefits to the nation, from an experimental beginning, 
 shall have been thoroughly demonstrated, and public desire for its completion shall be manifested.* 
 Popular appreciation of such institutions has of late greatly advanced, and an approach to 
 Congress in their behalf at present is more hopeful than in the past. 
 
 The last Congress made one record of prompt and unanimous action for the people's pros- 
 pective satisfaction, greatly to its honor. It is a precedent quite unusual of patriotic suppression 
 of partisanship that may be an example, illustrious in future imitation. 
 
 On the 23d of August, 1890, the Committee on Public Lands of the House of Representa- 
 tives reported a bill " to set apart 
 a certain tract of land in Califor- 
 nia known as the Yosemite Val- 
 ley forever as a public Park." 
 It was passed the same day 
 without a division. On the 25th 
 of August the bill was referred 
 to the Sen. Com. on Pviblic 
 Lands. It was returned to the 
 Senate on the 8th September, and 
 passed without debate in 14 days 
 from its report to the House. 
 
 That bill preserved for the 
 nation groves of the gigantic Se- 
 quoia trees from the axe of the 
 
 No. 126. — MERCANTE's BATHS OF TITUS. THE MARRIAGE. "• WOodmen 
 
 The enterprise herein commended to legislative adoption and maintenance will plant " all 
 manner of trees " of knowledge, in more than restoration of the classic groves of Hellenic phil- 
 osophy, that shall yield the richest fruitage of ancient art and wisdom, enhanced in the light of 
 modem development. 
 
 It will be a demonstration of the intelligence that underlies American institutions, if such 
 beneficent aims can be as quickly promoted with zeal and unanimity by their representatives. 
 
 If the petition to Congress for the site of a National Gallery could be supplemented by the 
 offer of citizens to contribute 500,000 or 1,000,000 dollars for construction of the Parthenonic 
 temples or the Roman and Greek galleries, in illustration of the plan, there would be great 
 assurance of its rapid completion. 
 
 * Addenda 8. 
 
A POPULAR CONSTITUENCY. 
 
 95 
 
 We may reasonably hope that when all the features of this desirable Institution shall be 
 clearly set forth to the attention of the many of our countrymen who have now a surplus of 
 wealth, that at least ten will be found who will contribute their $100,000 each ; thus supplying 
 the million dollars demanded. 
 
 To THEIR ENDURING HONOR THE CoURTS WOULD CONTAIN MONUMENTS TO 
 
 TEN WISE MEN OF THE DAY. 
 
 But as the aim of this Institution is for the good of the people, their interest should be 
 secured by contributory participation in its creation. 
 
 This Institute must have a National constituency : 
 
 First. FOUNDERS should have record ; — those who give or 
 bequeath $100,000 or upwards. 
 
 Second. BENEFACTORS; — those who give or bequeath $1,000 
 or upwards.* 
 
 Third. PATRONS ; — those who give $100 or upwards. 
 
 Fourth. MEMBERS ; — those who contribute $10 or upwards. 
 
 Fifth. DONORS; — those who give or bequeath paintings, or 
 objects in furtherance of its aims. 
 
 All these should receive a copy of the Annual Report of the 
 Institute, with attractive illustrations of its recent additions. 
 
 I am eager to follow these suggestions by a first appropriation to 
 the Gallery of a manuscript portion of the Bible in Latin of the 14th 
 century, bound in wood with heavy chain attached ; such a Bible 
 chained to a post, was read by Luther in his monastery. Secondly, 
 of the models above mentioned, and thirdly, of 1,000 interesting 
 historic and architectural engravings. 
 
 These shall include, first, the grand restorations of the Forum 
 by Cockerill and Canina, which gave the conception of the building ; 
 also a rare series from copper of Mercante's frescoes in the baths 
 of Titus, from which Raphael drew, to a great extent, his designs 
 for the Loggie of the Vatican. Supplementing these shall be 
 the superb plates from copper published by Popes Clement XIII and XIV, covering 200 
 square feet of engraving, showing all the details of the Loggie by Raphael and his pupils — a 
 work of rarity and value. Also Roman engravings of Rossini and Piranesi, including the 
 latter's Magnificentia Romanorum. 
 
 * The Catalogue of the British Museum constantly rehearses the " List of Benefectors," beginning with 1753. Sir John Cot- 
 ton, Bart. " The collection of Manuscripts and Charters formed bjhis grandfather." It includes mention of single articles, as — 1885. — 
 Lord Hillingdon, Marble figure of a Bull from Athens. 18S5.— T. A. E. Addington, Esq., A large collection of rubbings from 
 English monumental brasses. And, also, 1879. — William White, Esq. (by bequest), £65,411 stg. for building a Gallery for the 
 Mausoleum Sculptures. The Marquise Viscont Arconati has lately willed to the Louvre and Cluny Museums 1,600,000 dollars, the 
 interest to be expended for works of art. This is only one of many recent gifts made in republican France, the greatest being that of 
 the park, palace, and art treasures of Chantilly, by the Count de Paris. 
 
 No. 127. — FROM Raphael's dhcorations 
 
 OF THE LOGGIE OF THE VATICAN. 
 
96 
 
 A NATIONAL GALLERY OF HISTORY AND ART. 
 
 Pinelli's ISTORIA Romana above described awaits opportunity of use, in transfer to the walls 
 of the Roman gallery as the first historical series. 
 
 In contrast to these will be the luxurious " Coronation of George IV." It includes a series 
 of portraits in gorgeous costumes of the nobility of England. 
 
 Guizot has defined civilization " as the grand emporium of the people, in which all the wealth, 
 
 all the elements of its life are stored up ; 
 something for nations to transmit from age 
 to age." 
 
 Such civilization demands that the peo- 
 ple who will soon commemorate an era pre- 
 eminent in human progress, and the natal 
 fact of its existence, should mark the event 
 by a national memorial — in magnificence 
 
 unsurpassed, in practical usefulness un- 
 equalled. 
 
 Consider its moral grandeur! In the 
 philosophy of history it is an epoch — at once 
 the midway halt and the new, hopeful start- 
 ing point of the human race ; the lifting of 
 the gates of the West for exit of crowded 
 and contentious nations to another hemi- 
 sphere, for their expansion and development. 
 It opened a vista of infinitely greater intel- 
 lectual than material progress. Freed from bondage, with a printing press for universal and 
 immortal utterance, the mind of man was to germinate in thought and magnify in power, for the 
 continuous elevation of humanity. 
 
 The Institution herein advised should commemorate that era as a monumental aspiration of 
 " good will to men." In the scope of its record of the history of mankind ; in the breadth of its 
 beneficence and the perpetuity of its results, it may stand as a monument unparalleled to the 
 intelligence, refinement, enterprise, and force of a democracy. 
 
 If on the 14th of October, 1892, the corner-stone of a National Gallery of the United States 
 "for the dissemination of knowledge among men" can be laid by Presidents of the oldest Colleges 
 in each of the United States, simultaneously through electric signal, with the dedication of the 
 World's Fair by the President at Chicago ; in memorial of the blessings that have accumulated 
 upon them as chief inheritors of the legacy of Columbus to the world ; and in magnanimous 
 purpose that these blessings shall be multiplied to posterity, then government by and for the 
 people will have had new vindication for the hope of the nations who aspire to it. 
 
 The Institution will have thus a memorable and appropriate origin. It will mark the second 
 century of the Republic as passing onward toward nobler aims than mere financial and material 
 a-ggregsition ; its entrance upon a purer, happier, reflective life, that will calm unrest that now 
 incites to anarchy. 
 
 The writer believes that if the enterprise above set forth shall become a reality, it will pro- 
 
 No. 128.— CEILING FROM MERCANTe's DECORATIONS OF THE BATHS 0F_T1TUS, 
 
 ROME, 1774. 
 
CONCLUSION. 
 
 97 
 
 mote such progress ; and perpetuate from generation to generation, the richest moral, mental, 
 social and political benefit to the people. 
 
 If its prosecution may not be as rapid as appears to him practicable, he may at least have 
 incited a primary motion toward an ultimate evolution. 
 
 Seventy years ago, the minister of a quiet country parish in Massachusetts made a Fourth 
 of July oration, with the following exordium : 
 
 " Doubtless each mote that floats in the atmosphere does its part toward the maintainance of the balance of 
 creation. It may be, therefore, that the eflbrt of this occasion, despite the insignificance of the speaker, but considering 
 the greatness of the theme, may not be wholly lost." 
 
 In conclusion, it is hoped that an intense interest for the realization of this conception will 
 induce a kindly judgment of the personal prominence that was inevitable for its full presentation. 
 Suggestions in improvement will be welcomed. 
 Address — " The Pompeia," Franklin W. Smith, 
 
 Saratoga Springs, N. Y., St. Augustine, Fi,a., 
 
 May to December. December to May. 
 
 Note — 
 
 " The study of the ancient .irchitectural remains ol 
 Central America," says Fergusson, " is the only means we 
 know of by which the ancient history of the country can be 
 recovered from the darkness which now enshrouds it, and 
 the connection of the Old World with the New — if any ex- 
 isted—can be traced." 
 
 s.y?Bt»a» 
 
 % t Si % 
 
 No. 12y. — ELEVATION OH PART OT PALACE AT ZAVr, YUCATAN. 
 
 The Smithsonian Institution has prosecuted scien- 
 tific investigation of this important subject, especially in 
 its relation to American ethnology, and the National 
 Museum has extensive collections of American archa;- 
 ological material waiting space for exhibition. 
 
 Therefore, in the above resume, this field has had 
 only brief consideration, v. p. 37. 
 
 No. 130. — ELEVATION OF TEOCALLl (mOUND FOR SACRIFICE) AT PALENQUE, YUCATAN. 
 
' ADDENDA. 
 
 No. I. 
 
 The present aggregate of our national -wealth is admitted by 
 statisticians to be the greatest in the world (/. 18.) 
 
 " Mulhall estimates the accumulated wealth of Great 
 Britain at 8,96o,ooo,cxx) pounds in 18S0, and that of the 
 United States at 7,880,000,000 pounds in iSSo. 
 
 " If he had followed the American census returns his 
 value for 1880 would have been 25 per cent, larger (or 
 1 1 ,200,000,000 pounds). The country whose population 
 has been developed within 280 years does already one- 
 third of the world's mining, one-fourth of its manufac- 
 turing, and one- fifth of its agriculture ; and at least one- 
 sixth of the world's wealth is already concentrated in the 
 strips of territory in Central North America, which is the 
 home of the United States." — Encyclopwda Brltajt- 
 nica. 
 
 " The per capita indebtedness of the United States 
 amounts to $25.00 ; that of Great Britain to $87.00 ; that 
 of France to $175.00; while that of Australia is no less 
 than $250.00." 
 
 The reliability of Mulhall's statistics is debated, be- 
 cause largely based upon supposititious data ; since 
 Great Britain and no other powers enter into no such 
 minute census details as the United States. There is, 
 however, another basis of comparison that has been proven 
 to be reliable. 
 
 Political economists have agreed with statisticians that 
 the production of iron is a gauge of the material pro- 
 gress of a nation. England dates her rapid development 
 of wealth from the working of her mines of coal and iron. 
 Iron is " the source and badge of national power." By this 
 standard of greatness the prestige of Great Britain has 
 passed to the United States. 
 
 In 1890 the production of pig iron in the United States 
 was 1, 200,000 tons gross larger than in Great Britain ; and 
 60,000 tons greater than that of great Britain in 1882, 
 which was its year of largest production. 
 
 With such resources of wealth, the Republic should vie 
 with the mother country in resources of intelligence. 
 
 No. 2. 
 
 The National Gallery of the American Republic., it is proposed, 
 shall surpass in architectural grandeur all similar construc- 
 tions [J). 29). 
 
 The constructions represented in the design probably 
 cover a larger area than any previous group of buildings 
 for a special use ; and although their cost will be less 
 than that of several palaces. Oriental and European, 
 (if built of concrete), their architectural effect will never 
 have been equalled. 
 
 " The palace temple of Karnac," says Fergusson, " is 
 probably the grandest effort for architectural magnificence 
 ever produced by the hand of man." Its area was 1,200 
 
 feet by 360 feet, about 10 acres; but a large portion of 
 this was uncovered by buildings. Its great hypostile hall 
 is internally 340 feet by 170 feet, or 88,000 square feet. 
 
 The Moorish Palace of Zahra, near Cordova, described 
 it is believed reliably by Moorish writers, enclosed an 
 area of 4,000 feet by 2,200 feet; but the greater part of 
 this was in gardens. It had 4,300 columns. 
 
 The Escurial, usually considered the largest of such 
 constructions since its date, covers 740 feet by 580 feet 
 externally, or nearly 10 acres ; but there are interior open 
 courts. The main building is of six stories, so that its 
 acreage of flooring is immense, far surpassing that of the 
 proposed galleries. 
 
 In architectural effect it expresses the repulsive and 
 obdurate traits of its tyrant-projector, who proposed it to 
 be a religious symbol of the gridiron of St. Lawrence. 
 
 No. 3. 
 
 The genius of Art adapted to this age cannot be more clearly 
 set forth than in the comments of Monsieur Phillipc Gillc on 
 the Exhibit of the late French Exposition (/. 54). 
 
 Upon reflection it may be seen that Nature offers utmost 
 range of sentiment, under commonplace names of her 
 creatures or the scientific divisions of her realm. 
 
 Michelet has invested " The Bird" with such poetry 
 of life, both in description and delineation, that whoever 
 has read his fascinating pages, illumined by the art of 
 Giacomelli, almost recognizes henceforth the bird upon 
 the wing as the messenger of the fairies.' He finds all 
 human characteristics and impulses ; courage, tenderness ; 
 energy, patience ; dignity, selfishness ; intelligence, cun- 
 ning; love, revenge, in full play from within the soul or 
 instinct of the feathered tribe. Hence the varied power 
 and beauty that he sees and portrays from their daily life : 
 the eagle upon the mountain top challenging with fixed 
 eye the blaze of the rising sun ; the humming-bird, flitting 
 from flower to flower ; the vulture of the desert and the 
 tender cooing of the dove. Thus, too, Chateaubriand, 
 as he nestles the wild duck under the mossy bank, by the 
 rippling stream, screened in her retreat by the drapery of 
 the waving vines hung on " her distaffs of purple reeds." 
 
 If, therefore, should be assigned to artists for the Insti- 
 •tute, the cold stifl' class — ornithology — awakening recol- 
 lections of birds, packed closely in technical classification, 
 as essential for the profound investigations of science, 
 there might be an electric shock to artistic sensibilities. 
 
 But let us imagine a grand hall in the Institute devoted 
 not to Ornithology, but to the Birds of the United States 
 of America. It is with an arched ceiling for skies in 
 sections of different tone, in accord with the regions of 
 varied landscape beneath. In these sections are portrayed 
 
ADDENDA. 
 
 99 
 
 
 truthfully their varied haunts. These would present the 
 widest contrasts in Nature : the mountain top ; the ocean 
 shore ; forests of oak and pine ; jungles of the palmetto 
 and magnolia ; fruits and flowers of the North and South ; 
 
 the rustic covert of the 
 partridge ; the shallow 
 lakelet of the heron. 
 What could be more 
 fascinating to the eye 
 than "The Bird" 
 painted in life and airy 
 motion in the verdant 
 or wild surroundings 
 that Nature has fitted 
 for its Paradise ? 
 
 In the villa of Dio- 
 med at Pompeii there 
 remains on the walls 
 of the bath-room a 
 decoration of fish, dis- 
 porting in the depths 
 of the sea. It attracts 
 especial admiration in 
 the reproduction a t 
 Saratoga and has been 
 noted for many repe- 
 titions. 
 
 It is a hint in the line 
 o f these suggestions. 
 The fish of America 
 might thus be dis- 
 played in their waters, 
 practically as well for 
 general observation, as 
 by the great cost of 
 aquaria. A continuous 
 series would be a bril- 
 liant decoration for a 
 gallery. 
 
 Again, I imagine an 
 assignment t o artists 
 for prize competitions 
 in Cartoons of the 
 Latitudes of the 
 United States for the National Gallery. 
 
 What scope, what contrast, what grandeur, what 
 beauty, what titanic strength, what utmost attenuity : 
 what icy death pulses, what rampant verdure, would be 
 covered under this dry geographical title given as a theme 
 to sensitive artists ! 
 
 When they began their travels for the various re- 
 gions for a congenial theme, they would realize that 
 the commission offered them the range of the world for 
 material in composition. 
 
 The Glaciers of Alaska ; the peaks and ranges of the 
 Rocky Mountains ; the canyons of the Nevadas ; the 
 Geysers of the Yellowstone ; the plains of Kansas ; the 
 
 131. — OIACOMELLl S ILLUSTRATIONS. 
 
 cataract of Niagara ; the hills of the Adirondacks ; the 
 valleys of the Mohawk ; the forests of pine at the North ; 
 of oaks at the South ; the farms of varied culture of New 
 England ; the cotton and rice plantations of Louisiana ; 
 from the apple tree to the palm tree ; the home of the 
 seal on the ice float to the haunt of the chamelion in 
 thickets of perpetual summer. 
 
 All this may be realistic and truthful in illustration of 
 the wonders of our domain, and yet challenge all the 
 fancy and poetry of an artist in soul. 
 
 It may be said that these are merely the past and pres- 
 ent universal subjects of art. This is true, with a difTer- 
 
 132. — GIACOMELLl's ILLUSTRATIONS. 
 
 ence ; the difference is in their orderly and illustrative 
 combination. The theory of the Institute is an assign- 
 ment for an ultimate series of representations that shall 
 gradually yield a consecutive display of the resources of 
 the national domain for educational use. 
 
lOO 
 
 ADDENDA. 
 
 Our flight with the birds was an apparent diversion 
 from the utilitarianism which is set forth as the basis for 
 the Institute. 
 
 On the contrary, it illustrates that a National Gallery 
 of Painting in progressive illustration of History, of 
 American development or natural resources, covers all 
 conceivable themes for inspiration in art. 
 
 Galleries of paintings thus described plainly cannot 
 be of that high execution which is demanded (but rarely 
 obtained) for dilettanti in Art. They cannot cost like 
 the paintings in the Rotunda of the Capitol ; for instance, 
 the apotheosis of Washington on the canopy of the Dome, 
 $39,500 ; which is 205 feet from the pavement, almost be- 
 yond visual interpretation ; or the eight very interesting 
 historical panels — enjoyed by all visitors — which cost from 
 $10,000 to $15,000 apiece. These are very large — iS 
 feet by 12 feet — 216 square feet. For a series 6 feet by 
 9 feet, or 54 square feet, would suffice. While there is 
 not this disproportion in the cost of smaller canvasses, 
 still there would be but one-fourth of the manipulation, 
 and compositions would be less crowded with figures. 
 There is at present a class of artists in Europe, German 
 and French, most skilful in precisely the style of work 
 demanded. They have won highest honors as exhibitors 
 at Salons. The powerful execution of the series above 
 mentioned of the "Triumph of Constantine " proves 
 their ability. They have illustrated Bavarian history on 
 the walls of their National Museum. They have re- 
 decorated with great spirit and beauty the restored halls 
 of the Wartburg. The work of Pascal, of Paris, in the 
 Pompeia is an appropriate illustration of this style. Few 
 would be so hypercritical as to say that such illustrations 
 wei-e not satisfactory and allowable for instructive repre- 
 sentation. They are accepted for such use throughout 
 Germany and France — centres of art criticism. The 
 masses who in America are to enjoy them do not yet 
 comprehend chicaro-scuro or identify pre-Raphaelitism ; 
 but, given one decadeof influence from a National Gallery 
 with ample resources, and a more general familiarity with 
 the technicalities of art will be the evidence of its educa- 
 tional power. For high art the Corcoran and other 
 select and costly selections would supply examples. 
 
 There are., it is said, in this country at present, 
 foreign artists of great ability and experience in the 
 style of work demanded for a National Gallery of 
 Illustration, ivho could be admirable preceptors for 
 American students. 
 
 The Germans and French to-day revel in art, and at 
 an average of excellence. When 20,000 pictures are 
 offered to the French Salon, and 6,000 found annually 
 worthy of display, it proves that pictures average there 
 less than the prices demanded in the United States. 
 
 This argument may be disparaged as a cheapening of 
 artistic talent. It should not be so considered, for in the 
 true mercantile relation (and that is the practical question) 
 it favors ultimately the talent involved. Prices for art 
 
 work have risen to a factitious extent from the exagger- 
 ated figures obtained for famous deceased masters ; but 
 excessive prices for works of a practical character and 
 meritorious but not superlative worth check the demand. 
 
 In failure to receive the costliest appreciation artists 
 are discouraged and discontented. 
 
 It will be of invaluable service to them when a National 
 collection has developed employment because of the 
 interest and popularity of its subjects. 
 
 When the Galleries have received their series, illumin- 
 ating the respective historical cycles, very many artists 
 will be employed upon copies for other institutions that 
 will multiply throughout the country. 
 
 Other topics than political history, art and architect- 
 ure may be cited, of great interest to the people, that 
 should be thus connectedly, pictorially and objectively 
 illustrated. 
 
 A hall might contain The Story of the Book. 
 
 Tiie paintings in series would commence with the ini- 
 tial eflbrts of man to record his mental action to the eye. 
 They would exhibit the various material devised to re- 
 ceive the divers symbols and letters of the human race. 
 Far backward would appear the papyri of Egypt, now 
 freely reproduced in fac simile by the Louvre in Paris. 
 The parchments and tablets of Romans, the palm-leaf 
 books of the East Indians, would be intermediate to the 
 appearance of the printed books. At this point will be 
 recalled the Plantin Museum at Antwerp, in extent and 
 interest unrivalled at present, for the orderly revelation of 
 the arts of printing and engraving, down to the present 
 wonderful development of lithography in colors and photo- 
 gravure. All this could be quickly commanded if 
 money, not to a great amount, was provided. 
 
 The Story of the Plow ; or, Progress in Pro- 
 ductions for the Subsistence of Man, would furnish 
 a varied, beautiful and attractive series of pictorial in- 
 struction. Beginning with the crooked root plow and the 
 herds of the patriarchal age, it would end with trans- 
 scripts of agricultural scenes with the magical appliances 
 of American invention, which by commercial intercourse 
 are multiplying and distributing food products through- 
 out the world. 
 
 No. 4. 
 
 The grand Temple ive devote to the Commemoration of the Dis- 
 covery of the Western Hemisphere as a Columbian Memo- 
 rial {p. 49). 
 
 The classification of the Latin-American Department 
 for the World's Columbian Exposition, by Mr. William 
 E. Curtis, in charge, is an admirable detail of exhibits ap- 
 propriate to the National Parthenon. It is too extensive 
 for quotation, beyond the general captions, viz : — 
 
 A. Geological knowledge and the science of naviga- 
 tion at the time of Columbus. (Illustrated by 
 maps, charts, instruments, models, etc.) 
 
ADDENDA. 
 
 lOl 
 
 B. The Court of Ferdinand and Isabella. Portraits 
 
 of the principal personages and of those who 
 aided Columbus. 
 
 C. Illustrations of the life-history of Columbus, in 
 
 paintings, models and photographs. 
 
 D. Relics of Columbus and his family ; in originals, 
 
 ox fac simile or replica, of armor, arms, letters, 
 instruments, etc. 
 
 E. The voyages of Columbus ; by charts, models, 
 
 engravings, etc. 
 Then follow consecutive illustrations of 
 
 1. Epoch of the Conquest of Mexico. 
 
 2. Epoch of the Conquest of Peru. 
 
 3. The Colonial Period under Spanish Rule. 
 
 4. The Liberation of the Provinces and the Establish- 
 
 ment of the several Republics. 
 A few years since the writer selected in Spain photo- 
 graphs of thirteen paintings scattered in various galleries, 
 illustrative of the history of the enterprise of Columbus. 
 In Paris he commissioned two painters of recognized 
 ability, who for several years had exhibited at the Salon : 
 Pascal, for scenery and accessories, and Bernard for figures 
 and portraits ; to copy these photographs on large can- 
 vasses. Unfortunately, Bernard was summoned to the 
 army and his work was incomplete. The drawing of the 
 originals was precisely followed, although in two or three 
 of the number it was crude. Yet the series as a whole 
 was interesting and instructive, because historical ; in 
 part contemporaneous and illustrative. It is proposed 
 now to have them finished and made a portion of the 
 Columbian Exposition. 
 
 No. 5. 
 
 The annexed gratifying response from a scholarly 
 friend, an ardent student of classic art and Egyptology 
 in their ancient domains, suggests a brilliant and beauti- 
 ful eflect upon the Parthenonic temples : 
 
 Mii.WAUKiE, June 16, '91. 
 
 " The proof-sheets were of the greatest interest. The 
 style of architecture is, in my opinion, the only one for 
 so grand an institution. A great dome in the centre 
 would not so readily convey the meaning of the institution. 
 
 " It is very beautiful that, in reverence, the true master- 
 piece of architecture should dominate your grand monu- 
 ment to culture, as from the Acropolis, learning, like the 
 rays of the sun, was spread over the earth. 
 
 '" The grandeur of the contour of the Greek temple 
 upon a height will contrast superbly against the blue sky. 
 
 " The latest researches have revealed that the tinting 
 of marble walls and pillars, the gilding of capitals and 
 groups in pediments of temples, were common practices 
 of the Greeks. The French have discovered that some 
 of their greatest treasures of antique sculpture were 
 tinted. 
 
 " A friend of mine. Prof. Otto, of Berlin, has made 
 a beautiful marble piece— the Greek Slave— which is 
 tinted, and has been accepted and now stands in the Na- 
 tional Gallery of Berlin. 
 
 " A reproduction of color of ycvn; grand te;Ti4)les in 
 light tints, and the gilding, of thq Q^pjtals,. as lately 
 successfully accomplished m, tQc &\x\?. />cad.=>my or ?Ja- 
 tional Pantheon at Athens, would greatly add to the 
 grandeur of the whole. 
 
 " Yours, most truly, 
 
 "(Signed) Ferdinand Meinkcke." 
 
 A Memorandum from an Albanian. 
 
 Less than twenty years ago a Swede began in Stock- 
 holm a modest museum to contain only articles illustrat- 
 ing the past and present of Scandinavia. His devotion, 
 followed by the enthusiastic support of his countrymen, 
 have filled to overflowing five successive buildings. 
 
 The life-size groups, showing costumes and customs 
 and historical events, the antiquities, curios, art products, 
 and collections manifold, giving the life and manners of 
 the northwest of Europe (and all brought together during 
 these two decades) , almost passes belief. There is noth- 
 ing more unique or interesting in the Old World. It is 
 an object-lesson to young and old, and all in an out-of- 
 the-way corner of the world, with no constant current 
 of tourists or rich government or nobility to back it. 
 
 Local pride and a wish to educate the rising genera- 
 tion did it all. 
 
 And what is true of Sweden is true of every other 
 country — of almost every city and town — in Europe. 
 The writer has visited museums in Japan and China, 
 Burma, India, Persia, Tin-key — even in Africa. The 
 U. S. A. alone has little use for museums. What will 
 the American public of 1991 say of this day and genera- 
 tion.? G. D. M. 
 
 No. 6. 
 
 "T/ie Poinpeia has supplied an example, in a finer mixture of 
 sand and concrete only, upon the lines of the Roman Doric 
 order, precisely the material and forms proposed in the de- 
 sign herezvith submitted" {p. 85). 
 
 The Pompeia offers not one example only, but many 
 illustrations of the use of concrete. Its pavement, in 
 part ; its columns ; architraves ; wall surfaces, in part, 
 both exterior and interior, are of sand concrete. 
 
 These have withstood the severe frosts (20° to 25° 
 below zero) of two winters in Saratoga absolutely unaf- 
 fected, except to increased hardness. The fa9ade is a 
 concrete facing upon brick precisely upon the Roman 
 method ; and all its lines and angles are as perfect as 
 when finished in 1SS9. 
 
 Blocks of the material left upon the ground since that 
 date show no eflect whatever by temperature or storms, 
 more than granite or marble. In fact, many stones used 
 for building purposes in the United States cleave by 
 frosts. The steps upon the east front of the Capitol are 
 wrecked by lateral cleavage in seams, and must soon be 
 restored. Concrete staircases may be seen in Geneva, 
 Switzerland, for ascents from the streets, as solid and 
 homogeneous as flint. 
 
I02 
 
 ADDENDA. 
 
 The ar.aexed jiiustvalionproves the availability of fine 
 conpret? .for;ori,iaKipntal,5letails. It shows a chimney 
 and mantel' v.'ith supporting brackets, all of fine, washed 
 sand and cement. 
 
 The Caryatides are of Florentine carved walnut. The 
 tiles (Spanish, from Valencia) are set in the concrete. 
 
 This material can claim no patent right. It is as old 
 as Roman construction, and long familiar in our country 
 
 a general or special term, for an assessment of the value 
 of such land, » * » and the said court is hereby 
 authorized and required, upon such application, without 
 delay, to notify the owners and occupants of the land and 
 to ascertain and assess the value of the land so selected 
 and condemned by appointing three commissioners to 
 appraise the value or values thereof, and to return the 
 appraisement to the court ; and when the values of such 
 land are thus ascertained, and the President shall deem 
 
 No. 133. — A CHIMNEY AND MANTEL-PIECE OF CONCRETE IN THE DRAWING-ROOM OF THE 
 HOTEL CASA-MONICA, ST. AUGUSTINE. 
 
 in coarse work. But its use for fine details with a pur- 
 pose of utmost endurance, has slight precedent previous 
 to its introduction in St. Augustine. 
 
 No. 7. 
 
 Government will be asked to condemn the entire area betmeen 
 B and F streets, or bet-weeu B and E streets, as were the 
 lands for the Zoological Park (f. 93). 
 
 Extracts from act for the establishment of a Zoological 
 Park (Approved March 2, 1S89) : 
 
 " Sec. 4. * * * That in order to establish a zoolo- 
 gical park in the District of Columbia, » » * a 
 commission shall- be constituted. 
 
 That the said commission shall cause to be made a 
 careful map of said zoological park ; * * * and 
 the several tracts and parcels of land embraced in such 
 zoological park shall be held as condemned for public 
 uses, subject to the payment of just compensation. * » * 
 
 That if the said commission shall be unable to purchase 
 any portion of the land so selected and condemned within 
 thirty days after such condemnation, by agreement with 
 the respective owners, at the price approved by the Presi- 
 dent of the United States, it shall, at the expiration of 
 such period of thirty days, make application to the su- 
 preme court of the District of Columbia, by petition, at 
 
 the same reasonable, said values shall be paid to the 
 owner or owners, and the United States shall be deemed 
 to have a valid title to said lands. 
 
 No. 8. 
 
 The National Gallery -will " doubtless be assumed by the Gov- 
 ernment as soon as its resultant benefits from an experimental 
 beginning shall be manifested." (/. 94.) 
 
 If the Greek, Roman, and Saracenic Galleries could 
 be built, and some important reproductions with rich 
 decorations, supplement in the Courts the series of histor- 
 ical paintings and casts, public satisfaction would ensure 
 the rapid completion of the scheme. 
 
 The fascination of such systematic and complete ob- 
 ject-lessons from history, especially with the present 
 stimulus to a higher general education,* can be with 
 difliiculty imagined. Their efficiency would depend 
 largely upon the tact as well as the talent of .the profes- 
 
 * There is something intensely pathetic in the hunger for cul- 
 ture of tens of thousands of Americans, in summer schools all 
 over the land, sitting patiently absorbing wisdom in hot weather 
 from lectures on ethics and literature and science, etc. — Boston 
 Transcript, fuly, i8<^i. 
 
ADDENDA. 
 
 103 
 
 sors who should have in charge their elucidation. They 
 should have an enthusiasm for their work ; glowing in 
 sympathy with the earnest, and attracting the indifferent 
 to the delights of knowledge. The realism should be 
 made as vivid as possible. 
 
 Intelligent visitors to the Pompeia have frequently ad- 
 vised that attendants should be in costume.* A lover of 
 the classics, with whom Seneca is a daily companion, 
 desires that it shall be occupied by Italians, who, in old 
 Roman garb, shall move through its halls and dine in 
 recumbency upon the couches of the Triclinium. At 
 first the idea savored of the theatrical, but reflection is 
 in favor of its expediency. The stage is claimed as an 
 educational instrumentality for its presentations of ancient 
 life. The surroundings herein proposed would far ex- 
 ceed in force and truthfulness the passing trivial effects 
 of the modern stage, that must be seasoned with incon- 
 gruous ballet. 
 
 Given a range of effective paintings of Roman devel- 
 opment, grandeur, and decay ; adjacent a temple and the 
 grand house of a Senator, peopled with accurate imper- 
 sonations of ancient occupants ; these surrounded by 
 other reconstructions illustrative of the genius and power 
 which wrought their prototypes ; through and among 
 these halls and structures will pass crowds of comers 
 from Maine, Ohio, California ; excursions of teachers 
 from Wisconsin and Virginia.! With illustrated text- 
 books in hand, they follow a speaker discoursing upon the 
 facts illustrated and the deductions of political and moral 
 philosopiiy. I pre-suppose this professor to be a rare 
 man ; grand in physique ; able in knowledge ; energetic 
 and benevolent in impulse; of utterance effective with 
 unction ; not monotonous in the Castanet tones of a show- 
 man. Robed in the inimitably graceful folds of the 
 toga, he leads the crowd of eager listeners at length to the 
 Rostra. From its platform he tells them that on such a 
 standing place were debated the conquests and crises of 
 the Roman Empire and Republic. 
 
 In sonorous Latin he quotes from Cicero against Cata- 
 line, and then translates to his hearers the magnificent 
 patriotism and dignity of the oration : 
 
 " Long since, oh Cataline ! ought the Consul to have doomed 
 thy life a forfeit to thy country. * * * There was — there was 
 
 * During the ownership by Prince Napoleon of the Chateau 
 in Paris (misnamed Pompeian — as it was Pompeian only in its 
 decorations), the troupe of the Theatre Francais reproduced 
 Roman tableaux in the Atrium before the Emperor Napoleon. 
 The scene was perpetuated by an engraving with an enthusiastic 
 description by Gautier. He wrote, in opening — " Antiquity is 
 the eternal source of youth of the human soul ;" and in clos- 
 ing — " That nocturnal f^te was the horizon opened upon the 
 past, the eloquent history of departed worlds." 
 
 t Fair Teachers at the White House. — The public recep- 
 tion of the President yesterday was attended by 2,000 people, 
 principally school teachers from New York, New Jersey, and the 
 New England States, on an excursion to Washington. The 
 scene in the great East room was animated. The President 
 shook each visitor by the hand,— Wcf/li'igton Post, January /, 
 i8gi. 
 
 a time, when such was the spirit of Rome, that the resentment 
 of her magnanimous sons more sternly crushed the Roman 
 traitor than the most inveterate enemy." 
 
 Again, I follow a Greek professor through the Grecian 
 Galleries and Courts. He talks before paintings of Mara- 
 thon, of Thermopyla;, of the Acropolis. He courses 
 with his hearers the Colonnades of the Agora to the 
 Senate House. 
 
 He is a native Greek ; a splendid scholar ; a naturalized 
 American citizen. His garb exhibits the Amictus ; — 
 the chitoti, the tunica, and the graceful ckalmys.* Proud 
 of the name of his race as that of Pericles, of Socrates 
 and Plato, he tells his hearers that in halls of such form 
 the Greeks of old listened to their orators. In his native 
 mellifluous tongue he recites — 
 
 Demosthenes against the Crown, 
 
 "Athens was never known to live in a slavish though secure 
 obedience to unjust and arbitrary power. No! our whole his- 
 tory is one series of noble contests for pre-eminence." * * * 
 
 " No, my countrymen ! it cannot be you have acted wrong, in 
 encountering danger bravely for the liberty and safety of all 
 Greece. * » * No ! by all those illustrious sons of Athens 
 whose remains lie deposited in the public monuments." 
 
 Lord Bolingbroke quotes Dyonisius, of Halicarnassus, 
 that " History is philosophy teaching by examples." 
 When philosophy is seated at the National Capital, draw- 
 ing from history such stimulating examples from the 
 past, the youtli of the Republic will be advanced toward 
 the noblest patriotism. 
 
 The annexed plate indicates the facility with which 
 sections of the Alhambra could be reconstructed, in all 
 the splendor of Arabesques blazoned in red, blue, and 
 gold, with their oriental accessories of fountains and 
 flowers, palms, and pomegranates. Therein Americans 
 might read in thrilling reality Irving's sketch of Columbus, 
 '' taking his modest stand in a remote corner, tlie humble 
 and neglected spectator of the pageant " of the thanks- 
 giving mass of Ferdinand and Isabella and their conquer- 
 ing host ; flaunting in triumph their crosses and croziers, 
 with proud armorial ensigns and banners, in the Moslem 
 halls. Despite the repulse of his appeal to the sover- 
 eigns in camps before Granada, the enthusiast dreamed 
 of a conquest before which the capture of the Moorish 
 stronghold should shrink to insignificance. 
 
 Again, in imagination, we enter the restored Saracenic 
 Court. Its colonnades of light and graceful arches are 
 enlaced in endless intricacy, yet without one hint of form 
 from nature — obediently to the Koran — to make no imi- 
 tation of the works of the Creator. It is mid-day, and 
 the Muezzin is called in Arabic from the minaret. 
 
 Standing in the simulated pulpit of the Mosque of Cor- 
 dova, or in the Court of the Alhambra, a lecturer sketches 
 the rise of Islamism upon the plains of Arabia, " a little 
 cloud like a man's hand ;" its outburst into a cyclonic 
 
 * On the bronze Apollo of the British Museum, the chalmys 
 (scarf) hangs gracefully from the arm. 
 
I04 
 
 ADDENDA. 
 
 deluge of tiirbaned Turks, that swept across Africa into 
 Spain, and scaled the Pyrenees to the critical field of 
 Poitiers. There the sword of Charles Martel saved the 
 ancestry of modern Europe from extinction in butchery, 
 or the imbecility of nothingness ; — day-dreams of houris 
 in the Mahommedan paradise ; — a crisis only comparable 
 to that of victory by the Spanish Armada, which would 
 have eclipsed in darkness the renaissance of the human 
 intellect. 
 
 This realism of historical facts would incite inquiry. 
 Curiosity, the keenest stimulant of knowledge, would 
 impatiently follow Islamism along the centuries. In the 
 Mediasval Galleries students would join the crusaders 
 before Jerusalem, Acre, and Damascus. They would 
 eagerly study before the pictured surrender of Granada, 
 and the last stand of the Moors at Malaga before their 
 final merciless expulsion from Europe. 
 
 Such instruction, interest, and beauty the nation can 
 
 speedily prepare in 
 good measure tor itself 
 and for posterity. 
 
 Science, capital, en- 
 ergy, inventive skill, 
 have, for a century, 
 been lavished upon 
 material development. 
 
 Their creations are 
 ' trans -continental rail- 
 roads, factories, mines ; 
 mountains have been 
 scaled ; rivers have 
 been spanned. A 
 tunnel of the Hudson, 
 at an estimate of 50,- 
 000,000 dollars, ex- 
 cites no surprise as 
 chimerical ; but is in 
 competition for an in- 
 vestment. 
 
 Resultant gains are 
 now lavished upon 
 Babel - like structures 
 for bankers; palaces 
 for business, palaces 
 for hotels, palaces for 
 private luxury and dis- 
 play. 
 
 Aoir, 7nay not a 
 small fraction of this 
 ivealth be devoted 
 ■with like ability and 
 ingenuity, to 
 
 A Nationai, Temple 
 oi' Knowledge .'' 
 
 No. 134. — COURT OF THK MOORISH VILLA ZORAYDA, WITH ALHAMBRESQUE TRACERY. 
 
A PROPAGANDA FOR THE NATIONAL GALLERY. 
 
 \T7HEN an eminent ex-Senator and ex-Diplomat of the United States saw the 
 design for the National Gallery, he said with emphasis, " You should organize 
 a Propaganda." 
 
 To him the author is indebted for the word, forcibly expressing its definition, 
 "to spread from person to person." It implies conviction of a truth and zeal in its 
 agitation. 
 
 The people of the United States are accustomed to propagandism bf public inter- 
 ests. In belief that this Prospectus is in the field of practical wisdom, — " that which 
 is most proper, most conducive to prosperity and happiness," — there is confidence in 
 its popular promotion. 
 
 A voluntary Propaganda is therefore solicited. Especially are all educators, all 
 lovers of knowledge and art, all public-spirited citizens who strive for the highest 
 intelligence of the people as the security for free institutions, invited to stimulate 
 public opinion toward legislation for a National Gallery. 
 
 This book will be widely distributed GRATIS to all members of Congress ; to 
 the Press; to Colleges, Academies, Superintendents of Schools, Art Associations, etc., 
 etc., also to individuals of philanthropic reputation. 
 
 Editors are kindly solicited to mail to the Washington office as above, two copies 
 of any references to this Prospectus for preservation. 
 
 Individuals who may receive the book will gratify the undersigned by returning 
 to him- an aeknoivledgm,ent of its receipt ; and they will farther encourage his effort by 
 the purchase of two or more copies for presentation to others. It will be of most service 
 in the Propaganda, if copies are sent to other places than the T^esidences of the donors. 
 
 J8®" Single copies will be sold at 50 cents each, postpaid. 
 
 25 copies will be sold (in envelopes ready for the mail) for $10.00. 
 
 A record of all purchasers of 25 copies and upwards will be made as of the 
 original PROPAGANDISTS OF THE NATIONAL GALLERY. 
 
 A merchant of New York is the first on this list, by an order for 100 copies, 
 and a young man, a student in Andover (Mass.) Seminary, is successful in his wish 
 to be the first applicant for membership, on record for enrollment, when a responsible 
 organization is established by Act of Congress. 
 
 As rapidly as practicable, the Prospectus will be placed on sale with prominent 
 booksellers and art dealers in cities and towns. 
 
 Orders can be addressed to the Offices of the Propaganda, 1419 F Street, Wash- 
 ington, D. C, and The Pompeia, Saratoga Springs, N, Y.; the latter only from May 
 to November. 
 
 FRANKLIN W. SMITH. 
 
THK PROPAGANDA FOR THE NATIONAL GALLERY. 
 
 BULLETIN No. 2. 
 
 A DESIGN AND PROSPECTUS 
 
 FOR 
 
 A UNION AVENUE FROM THE EXECUTIVE MANSION, 
 
 AND 
 
 A NATIONAL AVENUE FROM A NATIONAL CxALLERY, 
 
 TO THH 
 
 NATIONAL CAPITOL. 
 
 BY 
 
 FRANKLIN W. SMITH. 
 
 TO BK ISSUED AS SOON AS ll.MJSTRATIVK AND DETAIL DRAWINGS CAN BE PREPARED. 
 
 THE grandeur of the preceding design would have miserable contrast in the meanness and 
 shabbiness of its approach by Pennsylvania Avenue, the width of which now aggravates 
 the unsightly vista to the Capitol. The movement of trade northward has lessened its commer- 
 cial value, and its tenantry has declined to uncomely pursuits. 
 
 The stranger views the towering dome against the sky with admiration, but his impression 
 of its sublimity is marred by side-shows advertising— " /^Y«^.?, Liquors^ and Cigars ;^'' ^'' Rooms at 
 ^o cents ;^'' ''''Hot soup^ j cents a plate ;^^ "Ci-abs and clams in every style ;'''' ''''French drip coffee, 5 
 cents ; " ''''Lager, 5 cents.'''' 
 
 No. ni. — VIEW ON PENNSYLVAN'IA A\UNL:h;, WASHINGTON, SOUTH SIDE. 
 
 PHOTO BY H. B. BRAOV. MAY. 1891. 
 
lOJ 
 
 These economical caterers fill a useful place in the social system, supplying the wayfarer 
 who must hoard his pennies, and meeting the needs of philosophers who, like Dr. Franklin, in 
 penury, perambulate with " a roll under each arm ; " but their premises do not accord with the 
 magnificent colonnade that ranges beyond them against the eastern sky. 
 
 The annexed illustrations, taken in Maj^ last for the present use, display the motley an- 
 
 No. l-,6. — VIEW ON nENNSYLVANlA AVENUE, SOUTH SIDE, NEAR BOTANICAL GARDEN. 
 
 f-HOTO br M. 6. a«ADf. MAY, 1891. 
 
 nouncements that line the grand (!) Avenue: ^''Lard and Hams ; '''' '■''Sample Room;'''' '■'■ Shooting 
 Gallery;''' ''^ Plumbing^' etc., etc. 
 
 PHOTO BY t*.ti&, BRADY. MAY, 1B91. 
 
 No. 137. THE REAR OF PREMISES AT THE N.E. CORNER OF PENNSYLVANIA AVENUE. THE FRONT OF THE ESTATE IS BEFORE 
 
 THE NAVAL MONU.MENT ANt) THE PRINCIPAL ENTRANCE TO THE GROUNDS OF THE CAPITOL ON THE WEST. 
 
io8 
 
 For years past public sentiment has voiced public expectation that the southern side of the 
 Avenue must at some time be vacated in part, that the Mall may be carried through to the Poto- 
 mac. Yet, lately, block 323 has been bought for a city Post-OflEce, which, if built, will be an 
 obstruction to a full renovation. 
 
 Pennsylvania Avenue will ultimately be Haussmanized ; the more speedily the more eco- 
 nomicall}'', and, it may be, the more profitably, to the National Treasury. A prompt and effective 
 stroke of Napoleonic legislation is demanded. 
 
 Fig. 140 is from a sketch made by Gustave Dor(5 for Messrs. Hachette a few daj^s before the 
 destruction of the premises in 1862. On the site of the Rue des Feves now stands the vast 
 caserne^ fronting the palace of Justice, on the magnificent Boulevard Sebastopol, walled with 
 
 PHOTO BY M. B. BRADY. MAY, 18B1. 
 No. 138. — THE BLOCK ON NORTH SIDE OF PENNSYLVANIA AVENUE BETWEEN I3TH AND I4TH STREETS. 
 
 superb structures for three miles. In 1852, precisely such wretched houses, in chaotic mass, filled 
 the narrow streets on the site of 'the modern extension of the Louvre and the Rue Rivoli. Fifty 
 thousand population there lived in a dark labyrinth of disease and crime. The wand of Hauss-^ 
 man swept it away as rubbish, and in six years replaced it by the scene of Fig. 140. The new 
 Rue Rivoli swallowed up more than 500 old houses in 30 pestilential streets and alleys. Its 
 reconstruction cost over 16,000,000 dollars. 
 
 This was only one of many magical transformations that in one decade made Paris the most 
 splendid city of the world. The Faubourg St. Antoine received 1,300 new houses. The Boule- 
 vards Haussman, Malesherbes, de L'Imperatrice, de 1 'Opera, and other superb streets, were built 
 in rapid succession. As a result, the people were better housed, and sanitary advantages equalled 
 the architectural adornment. 
 
 Whatever may have been the demerits of the second empire, historians will place the con- 
 structional regeneration of Paris to its honor. 
 
I09 
 
 Stick reconstruction^ to a very small -extent in comparison^ is 
 ington on economical considerations. 
 
 A plan is clearly defined in the mind of the 
 writer by which — 
 
 First. Pennsylvania Avenue, between the 
 Treasury and the Capitol, would be redeemed 
 from unsightliness and be made worthy of its 
 tertnini. 
 
 Second. A Union Avenue would run from 
 the Capitol to the lawn south of the White 
 House, the site, it is supposed, of a new Execu- 
 tive Mansion. It would be on the line of the 
 present Ohio Avenue, extended eastward and 
 deflected northward. 
 
 Third. A National Avenue would pass 
 upon a line central under the Dome of the Capi- 
 tol to the proposed Columbian Parthenon on 
 Observatory Hill. With stately constructions 
 throughout the Avenues, the architectural vistas 
 (especially that of the National Avenue) would 
 be of unsurpassed magnificence. 
 
 This scheme would involve the condemna- 
 tion of the north side of Pennsylvania Avenue 
 (as shown on the map, cover), and to the south- 
 
 immediately demanded for Wash- 
 Paris, 1852. 
 
 Paris, 1862. 
 
 N0.T4O. — THE RUE RUULi. 
 
 No. W). — THE RUE DES FEVES. GUSTAVE DORE. l8s2. 
 
 ward line of the Mall. 
 The Baltimore and Poto- 
 mac R.R. Station would 
 be transferred southward 
 and the market north- 
 ward, more conveniently 
 to the residential centre. 
 The blocks fronting the 
 present City Hall should 
 all be cleared (as shown 
 by shading on the map) 
 for the proper surround- 
 ing of a new and suitable 
 structure. It will be ob- 
 served that south of 
 Pennsylvania Avenue 
 the property condemned 
 is comparatively of small 
 
no 
 
 extent and value. The National Avenue would be almost entirely within present Government 
 ownership. 
 
 The opinion is confidently expressed that these improvements can be effected at a large 
 profit to the National Treasury that could be appropriated to a Natiojial Gallery. 
 
 The land thus cleared would be newly plotted for grand constructions with superb fa(;ades in 
 
 columnar style, af- 
 ording great ac- 
 commodations i n 
 attractive apart- 
 ments, colonnaded 
 around interior 
 courts and gardens. 
 Such properties 
 would find imme- 
 diate and remunerative occupation. In a competitive sale they would command great values 
 from the capitalists of the country and the world. One such block would furnish more and 
 better accommodation than all the assorted and inferior buildings that now deface the Avenue. 
 When Washington shall have its National Gallery, these structures will find occupants in 
 thousands of resident students and of visitors from the entire Union. From the sites thus pro- 
 vided, Government would take those preferable for public buildings demanded. 
 
 The present valuation of real estate on Pennsylvania Avenue from the Treasury Department 
 to the Capitol is 
 
 No. 141. — Rossini's restoration of the villa of meC/ENas, with additions by f. w. smith. 
 
 >-^^f -'^!« liti 'i H.:1 
 
 but $3,744,587 for 
 land, and $6,278,- 
 087 with improve- 
 ments. This, prob- 
 ably, is much less 
 than would be al- 
 lowed on appraisal. 
 The enhancement 
 of land values upon 
 the reconstruction 
 proposed would 
 greatly exceed the 
 worth of buildings 
 destroyed. 
 
 When a new 
 Executive r e s i - 
 dential mansion is 
 
 built, the present building will probably be assigned to business purposes, save the East Room 
 and the President's office, to be preserved for ever for their historical interest. The offices in 
 
 No. 142. — Rossini's restoration of the villa ok cassius, with additions by f. w. smi^h. 
 
Ill 
 
 
 
 illUj,. 
 
 
 f - n D Q rjh^_a_a£^i^i^:::.^:.zi^s 
 
 
 Z 
 
 
 "'- -- 
 
 
 No. 14';. — canina's restoration of circl's maximus with added motifs by f. w. smith. 
 
 which the martyr Presidents, Lincoln and Garfield, wrought for their country should be per- 
 petually " hushed 
 in solemn black." 
 
 Figures 141, 
 142, 143, 144, are 
 hints of the effec- 
 tive results im- 
 agined; motifs for 
 study and combina- 
 tion in design. 
 
 In this brief 
 announcement, o f 
 course, only such 
 hints are at- 
 tempted ; but a 
 few details deemed 
 essential are added, 
 viz : 
 
 1. The remov- 
 al of all trees from 
 these two grand Avenues which obstruct the architectural vistas. 
 
 2. The substitution therefor of colonnades, about 20 feet wide, at some distance from the 
 facades of the buildings. These would afford delightful promenades, always sheltered from rain 
 and sun, such as are enjoyed in European capitals — Paris, Turin, etc. The esplanade above, with 
 the porticoes, balconies, and colonnades, to be combined in the structures adjacent, would afford 
 
 V a s t accommoda- 
 tions for the in- 
 creasing thousands 
 who in the future 
 will throng the 
 Capital on inaug- 
 ural and other cere- 
 monial occasions. 
 
 I imagine these 
 Avenues in c i r - 
 cuitous connection,, 
 grander than that 
 of ancient Palmyra, 
 through which 
 
 No. 144. — suggestion for colonnades through union and national avenues, f. w s.MiTH, DESS. rode Zenobia to the 
 
 ^^^^ 
 
 'ir" " f " ■ 
 
 i.-:yi-> rr.-: -r..:.,--^-:!;-'- I'T-ITT—TTT: T 
 
 ■ r^-^'>fif"^Tf■^firfTril^n^^ff^•'•~1^^"'^^ 
 
 
 
 1 
 
 
112 
 
 Temple of Helios, the Sun God — the handsomest, bravest, most learned, most prudent of women — 
 in the combined pomp of Roman and Oriental ceremony and display. 
 
 As in Palmyra, they would be flanked by colonnades and projecting porticoes, the friezes and 
 pediments bearing in letters of golden bronze the farewell injunctions of Washington to future 
 generations of the Republic ; the benign utterances of lyincoln, and other like inspirations to 
 wisdom and patriotism from departed statesmen and heroes of the nation. Votive columns would 
 rise to their honor, like that to Oranes in the Palmyrene Capital : " By the Senate and the people : 
 as a lover of his country, and in every regard deservdng well of his country and of the immortal 
 Gods." 
 
 But towering above the colonnades of Palmyra on the National Avenues of the modern 
 Republic, would appear practical constmctions to be profitably utilized^ beyond Grecian and 
 Roman proportions, and borrowing their dignity, symmetry, and beauty. 
 
 Such designs will have the same facility and economy of concrete construction, with the 
 same accuracy of architectural requirements, as hereinbefore described for the National 
 Gallery. 
 
 The Circus Maximus of Rome received 150,000 people, who thronged from the utmost 
 limits of the Empire to witness games in honor of the gods. 
 
 By intelligent and enterprising legislation the circuit of a Union and National Avenue is 
 an easy possibility, that shall place in grand array a far greater throng of American citizens to 
 hail the inauguration of President Good-Man in 1901 ; the first on the list ofi the Tv^Ei^TiKi'ii 
 Century. 
 
 Note. — On the plan it will be noticed that the north side of F street, west of the War and Navy buildings, is also marked for 
 condemnation. It is with the imagined substitution of a grand structure for the ex/tibitioji oftuorkiiig models of American inventions 
 in place of the unsightly Winder Building; and beyond of other large residental blocks for the staff and resident students of the 
 (future) National Gallery. It would doubtless be a profitable operation to the National Treasury if the entire area north to Pennsyl- 
 vania Avenue were condemned, replotted, and sold for ornamental constructions with prescribed plans and specifications. 
 
 BULLETIN No. 3. 
 
 If time and ability for study and travel are allowed to the writer^ including an examination of 
 Assyrian Antiquities in Europe^ and^ if possible^ a journey to their 07'iginal sites in the East, there 
 will be published 
 
 A DESIGN FOR A RE-CONSTRUCTION OF THE ASSYRIAN THRONE ROOM (see page 72), 
 
 as proposed for the National Gallery, with full-page colored illustrations; also descriptive and pic- 
 torial details upon an enlarged scale of other reproductions advised. 
 
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THIS BOOK IS DUE ON THE LAST DATE 
 STAMPED BELOW 
 
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 THIS BOOK ON THE DATE DUE. THE PENALTY 
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 OVERDUE. 
 
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 FED 6 1967 3 3 
 
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 REC. CIR. APR 5~T^J 
 
 W0V03 1986 
 
 LD 21-95»n-7,'37 
 
858834 
 
 THE UNIVERSITY OF CALIFORNIA UBRARY 
 
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