Galleries and Cabinets of Art in Great Britain, Etc
By Forming a Supplemental Volume to the “Treasures of Art in Great Britain.” 8vo. London. 1857.
THE Manchester Exhibition, although containing a vast number of works of Art, displayed but a small portion of the treasures of painting and sculpture scattered through Great Britain, in the city and country houses of the upper classes. Every year is adding greatly to the number and value of both private and public galleries in England. It is but three years since Dr. Waagen published his three
ponderous volumes on the “ Treasures of Art in Great Britain,” and he has already found new material for a fourth, not less cumbrous than its predecessors. The larger part of this last volume is, indeed, composed of descriptions of galleries existing at the time of the publication of his first work, but the most interesting portion of it relates to the acquisitions that have been made within the last three years.
A better taste, and a truer appreciation of the relative merits of works of Art, prevails in England now than at any previous time, and the recent acquisitions are distinguished not more by their number than by their intrinsic value. The National Gallery has at last begun to make its purchases upon a systematic plan, and is endeavoring to form such a collection as shall exhibit the historic progress of the various schools of painting. The late additions to it have been of peculiar interest in this view; including some very admirable pictures by masters whose works are rare and of real importance. Among them are very noble works of some of the chief earlier Florentine, Umbrian, and Venetian masters; especially a beautiful picture by Benozzo Gozzoli, (the Virgin enthroned with the infant Saviour in her arms and surrounded by Saints,)—a thoroughly characteristic specimen of Giovanni Bellini, (also a Virgin holding the Child,) in which the deep, fervent, and tender spirit, the manly feeling, and the unsurpassed purity of color of this great master are well shown,—and one of the finest existing pictures of Perugino, the three lower and principal compartments of an altarpiece painted for the Certosa at Pavia. We know, indeed, no work by the master of Raphael to be set above this. Two of the best pictures of Paul Veronese have also just been added to the National Gallery.
Still more important are the recent private purchases. The Duke of Northumberland procured in Rome, in 1856, the whole of Camuccini’s famous collection. It contained seventy-four pictures, and many of them of great value. Among them was a small, but precious picture by Giotto,—a beautiful little Raphael,—three undoubted works of Titian,—and, most precious of all, a picture, formerly in the Ludovisi collection, painted jointly by Giovanni Bellini and Titian. It is the Descent of the Gods to taste the Fruits of the Earth, half-comic in conception, but remarkable for the grace of some of its figures; the landscape is by Titian, and Dr. Waagen says, justly, that “it is, without comparison, the finest that up to that period had ever been painted,”—and we would add, few finer have been painted since.
Meanwhile Sir Charles Eastlake has obtained a picture by Mantegna, and another by Bellini, both of which rank very high among the works of these masters, and both in excellent condition. And Mr. Alexander Barker, whose collection is becoming one of the best selected and most interesting in England, has purchased several pictures of great value, especially one by Verocchio, the master of Leonardo da Vinci, which Dr. Waagen speaks of as “ the most important picture I know by this rare master." Mr. Barker has also made an addition to his collection so recent as not to he described even in this last volume of the “ Art Treasures,” but which is of unsurpassed interest. He has purchased from the Manfrini Gallery at Venice, a gallery which has long been famous as containing some of the best works of the Venetian school, eighteen of its best pictures, and was lately in treaty for a still larger number. He has already secured Titian’s portrait of Ariosto, Giorgione’s portrait of a woman with a guitar, and other works by these masters, by Palma Vecchio, Giovanni Bellini, and other chief Venetian painters. We trust that he may bring to England (if it must leave Venice) Bellini's St. Jerome, a picture of the most precious character.
This catalogue, long as it already is, by no means completes the list of the last three years’ gains of pictures for England. Such a record shows how compact with treasures the little island is becoming. And meanwhile, what is America doing in this way ? The overestimate of the importance and value of Mr. Belmont's collection in New York shows how far the American public yet is from knowing its own ignorance and poverty in respect to Art.
No praise can be given to the execution of Dr. Waagen’s book. His descriptions of pictures are rarely characteristic; his tone and standard of judgment are worthless ; his style of writing is poor; his inaccuracies frequent; and his flunkeyism intolerable. It would be an excellent undertaking for a competent person, using Dr. Waagen’s book as a basis, to compress the account of the principal private galleries, those which really contain pictures of value, into one small and portable volume,—to serve as a handbook for travellers in England, as well as for a guide to the present place of pictures interesting in the history of artists and of Art. Such a volume, if well done, would he of vastly more value than these heavy four. The usual delightful liberality of English collectors in opening their galleries to the public on certain days would make such a volume something more than a mere tantalizing exposition of treasures that could not be seen, and would render it, to all lovers of Art, an indispensable companion in England. We may add that this liberality might be imitated with advantage by the directors of some collections in which the public have a greater claim. We tried once in vain to get sight of the portraits of Alleyn and Burbage at Dulwich College, and were prevented from seeing the Hogarths in the Sloane Museum by the length of time required for the preliminary ceremonies.