On the Old Road, Vol. 2 | Page 2

as a thing to be contemplated separately in the room, and not as a part of the room. As a part of the room, of course, modern sculpture might be added; but I have never thought that it would be necessary.
You do not consider that sculpture would be a repose after contemplating painting for some time?--I should not feel it so myself.
116. Dean of St. Paul's. When you speak of removing the sculpture of the British Museum, and of uniting it with the pictures of the National Gallery, do you comprehend the whole range of the sculpture in the British Museum, commencing with the Egyptian, and going down through its regular series of gradation to the decline of the art?--Yes, because my great hope respecting the National Gallery is, that it may become a perfectly consecutive chronological arrangement, and it seems to me that it is one of the chief characteristics of a National Gallery that it should be so.
Then you consider that one great excellence of the collection at the British Museum is, that it does present that sort of history of the art of sculpture?--I consider it rather its weakness that it does not.
Then you would go down further?--I would.
You are perhaps acquainted with the ivories which have been recently purchased there?--I am not.
Supposing there were a fine collection of Byzantine ivories, you would consider that they were an important link in the general history?--Certainly.
Would you unite the whole of that Pagan sculpture with what you call the later Christian art of Painting?--I should be glad to see it done--that is to say, I should be glad to see the galleries of painting and sculpture collaterally placed, and the gallery of sculpture beginning with the Pagan art, and proceeding to the Christian art, but not necessarily associating the painting with the sculpture of each epoch; because the painting is so deficient in many of the periods where the sculpture is rich, that you could not carry them on collaterally--you must have your painting gallery and your sculpture gallery.
You would be sorry to take any portion of the sculpture from the collection in the British Museum, and to associate it with any collection of painting?--Yes, I should think it highly inexpedient. My whole object would be that it might be associated with a larger collection, a collection from other periods, and not be subdivided. And it seems to be one of the chief reasons advanced in order to justify removing that collection, that it cannot be much more enlarged--that you cannot at present put other sculpture with it.
Supposing that the collection of ancient Pagan art could not be united with the National Gallery of pictures, with which would you associate the medi?val sculpture, supposing we were to retain any considerable amount of sculpture?--With the painting.
The medi?val art you would associate with the painting, supposing you could not put the whole together?--Yes.
117. Chairman. Do you approve of protecting pictures by glass?--Yes, in every case. I do not know of what size a pane of glass can be manufactured, but I have never seen a picture so large but that I should be glad to see it under glass. Even supposing it were possible, which I suppose it is not, the great Paul Veronese, in the gallery of the Louvre, I think would be more beautiful under glass.
Independently of the preservation?--Independently of the preservation, I think it would be more beautiful. It gives an especial delicacy to light colors, and does little harm to dark colors--that is, it benefits delicate pictures most, and its injury is only to very dark pictures.
Have you ever considered the propriety of covering the sculpture with glass?--I have never considered it. I did not know until a very few days ago that sculpture was injured by exposure to our climate and our smoke.
Professor Faraday. But you would cover the pictures, independently of the preservation, you would cover them absolutely for the artistic effect, the improvement of the picture?--Not necessarily so, because to some persons there might be an objectionable character in having to avoid the reflection more scrupulously than otherwise. I should not press for it on that head only. The advantage gained is not a great one; it is only felt by very delicate eyes. As far as I know, many persons would not perceive that there was a difference, and that is caused by the very slight color in the glass, which, perhaps, some persons might think it expedient to avoid altogether.
Do you put it down to the absolute tint in the glass like a glazing, or do you put it down to a sort of reflection? Is the effect referable to the color in the glass, or to some kind of optic action, which the most transparent glass might produce?--I do not know;