The pictures purchased under the new regime have been of a very important character. In 1855 and 1856 twenty-six pictures were bought, bnt among these, and forming parts of collections, were seven which were not placed in the National Gallery; five being deposited in the National Gallery of Ireland. and two sold at Christie's with the Krtiger pictures, under authority of an Act of Parliament (passed in June, 1856) which empowered the trustees and directors " to dispose of such works as may have been purchased or bequeathed. but should be con sidered unfit or not required for a national collection ;" thus enabling the authorities to deal for the purchase of collections of pictures with much more freedom than hitherto. Among the works retained, two were by Bkntiyelli ; one by Ifantegna ; one, an altarpiece grandly painted. and of very large size, by Paolo Veronese; one a ' Virgin adoring the Infant Christ,' a masterpiece of I'ictro Perugino, obtained for 35711.; the rest were chiefly by early Italian masters. But the new system was seen in its full flow in 1S57, when no fewer than forty pictures were added to the collection by purchase. Of these the Lernbanli-Baldi collection of early Italian (chiefly Tuscan) masters, comprised thirty-one pictures, and was obtained for 7035/. Other pur chases were two pictnrea by Quintin Mntsys, and one each by Lucas Cranach, John Van Eyck. Cirulamo Eoinanino (an altar-piece in five compartments), and Norgognone ; a Virgin and Child by Chirlandajo, and the master work of Antonio Pollajuolo (for which the sum of 3571/. was paidi—all, therefore, early works. and especially valuable as ill strative of the historical progress of painting. But there was one picture purchased this year, the value of which was wholly different This was the large and magnificent painting of the Family of Darius at the Feet of Alexander,' by Paolo Veronese, one of the most famous works' of this great master, and, indeed, one of tho most famous pictures in existence. It was purchased of the Count Pisani, for an ancestor of whom it was painted, and in whose family it had renetited to the time of its purchase. Its cost was 13,6.50/., a very largo sum for a mingle picture ; but it must be remembered that works of such a character are becoming constantly more difficult to procure, and con sequently when any one is offered for sale, the agents of the various royal and national collections are eager competitors for its purchase, and the price is proportionately raised. Be the price as it may, this is unquestionably the moat important single picture added to the gallery since it formation; mid this, and the other pictures bought since the reconstitution of the gallery, are evidence of the advantages likely to accrue from a systematic search for works of a suitable character. rather than patiently waiting for them to offer themselves for approval.
During 1858, only eight pictures were bought, not exclusively, but still chiefly early works, the most important being a Deposition in the Tomb' by Marco Pahnezzano. a ' Virgin and Christ' by Cima da Conesliano, another by Marco &mai, and portraits by Antony Moro and 3Ioretto. In 1859 the purchases of the early masters were com paratively few. Eight pictures were bought in all : among them being a' Pieta; by Carlo Crevelli ; a ' Madonna and Child Enthroned,' by Ireviso, and another by Lorenzo Costa ; a pair of ' Landscapes with Waterfalls; by Ituyadael (cost 22501.); and ' The Infancy of Jupiter,' by Giulio Romano (welt 9201). In 1860 was purchased, at a cost. of 92051, the entire collection of M. Beaucousin, of Paris, consisting of 46 pictures, of which 35 were retained for the National Gallery, in cluding small specimens by C hirlandajo, Giulio Romano, Lorenzo di Credi. Bronzino, Roger Van der Weyden, and other nuted masters of various achouls—none of them works of the highest order, but several very (laminable examples of the respective masters.
Thus after an existence of thirty six years the National Gallery, exclusive of the Vernon and the Turner collections, comprises 420 pictnres ; of which 203 have been purchased at a cost of 184,5001. (in which however Is included the 22 pictures placed in the Dublin National Gallery), and 217 presented or bequeathed. Of these 350 belong to foreign schools, and 70 are by British artists. The latter have been, for the most part, donation; and are hardly looked upon as belonging to the National Gal cry, which by the trustees has always been regarded na specially devoted to the worice of the old maaters. The building known as the National Gallery is Indeed entirely appropriated to the foreign schools; the British paintings, after having been for some years hung in 31arlborough House, being now all removed—with the exception of the two landscapes by Turner, which. by the terms of the bequest, must be placed alongside two of the Claudea—to n building constructed for their reception contiguous to the South Kensington Museum.
In extent the national collection in far inferior to several of the other mama] collections of Europe, and oven to sonic of the private col lections in our own country. Mr. Wornurn has, in his admirable Catalogue of the National Gallery,' given from their respective catalogues the numbers of several of these collections. It will suffice to mention, for the sake of comparison, that in the Louvre there aro upwards of 1800 paintings, of which 543 are Italian ; the Dresden Gallery has 2000; the Museo of the Prieto at Madrid, 1833; the Berlin Gallery contains about 1350; in the Belvedere at Vienna there are upwards of 130.0; in the Imperial Gallery of Florence upwards of 1200; and in the new Pinacothek, Munich. about 1270. To the number in the Louvre might also be added the 3000 paintings at Versailles (to say nothing of those in the Luxembourg), all by native artists, and illus trative of event in the national history; as, On the other band, to exhibit the extent of our own pictorial wealth, wo might add to the Nati•mal Gallery those In the Vernon, Turner, and Sheep alsenks collections, numbering in ell 490 paintings by British artist.,. If these collections were In-ought together, the National Gallery would comprise upwards of 900 picture*: or without the Sheepshanks col leetion, which perhaps cannot be reckoned a part of the National Gallery, it would number 670 picture*.
But looking at our National Gallery as a collection of paintings by the old masters, we may. whilst admitting its inferiority to the great continental galleries, regard its actual state with some complacency, consideration being had to the period of its formation, and the subsequent political and other circumstances which have interfered with its development. Taking the " Tabular View of the Schools of Painting as represented by the Pictures in the National Gallery" in the official catalogue as our guide, we find that although many of the mere eminent painters of the several schools are unreprcatnted, or repre sented very inadequately, there are examples of the art, and for the most part, of the beat period, of almost every school. Thus, adopting the classification of the' Tabular View,' we find that there are of the Tuscan or Florentine school 57 examples; of the Umbrian, ti; of the Romagna 1 ; of the Roman, 17 ; of the Venetian, 50; of the Melton, 3; Bolognese, 34 ; Fermrese, 9 ; Parmese (Lombard), 7; Cremonese (Lombard), 1 ; Milaoeso (Lombardi, 1; Neapolitan, 3; Greek or Byzantine, 1 ; Flemish, 35; Dutch, 44; German, 21 ; Spaniel], 6; and French, 34.