SOUTH KENSINGTON MUSEUM. The formation of a national Museum of Ornamental Art was commenced on a very small scale in 1838. Originally intended merely as an adjunct to the Central School of Design, its progress was comparatively slow. By the Great Exhibi tion of 1851, however, not only was attention directed strongly to the necessity of forming a more comprehensive museum for the especial use of manufacturers and art workmen, and which should at the same time serve to interest and instruct the public generally ; but it was also seen that the exhibition afforded a singularly favourable opportunity for securing the nucleus of such a museum. A selection of objects was accordingly made from the Indian, Continental, and British sections, and along with the articles previously purchased for the Museum of the gchooleof Design, exhibited to the public In a suite of rooms appropriated to the purpose in Marlborough House. The Museum of Ornamental Art thus formed, was in the following years considerably increased by the purchase of the collection of porcelain and pottery of Mr. Bandinell, and by extensive purchases made at the Bernal sale. In 1857 the museum, which had been placed under the Department of Science and Art [SCIENCE AND ART, DEPARTMENT or) WM removed to the iron building erected by the Commissioners of t the Exhibition of 1851, on the ground purchased by them at South Kensington. The Museum of Ornamental Art has since been very largely increased, and other collections have been added to it, and the whole has been incor porated into what is officially designated the South Kensington Museum of .Science and Art ; buildings of a permanent character having been at different times added to the original iron structure to meet the growing requirements of the case.
As at present constituted, the South Kensington Museum consists of three distinct divisions ; those, namely, of Ornamental Art ; of Fine Art ; and of Science. In the Companion to the Almanac for 1S61 is given a full analysis of the 31useurn, to which we refer for further details, contenting ourselves with giving here a brief statement of its general character.
The Museum of Ornamental Art, as it formed the foundation, may still be regarded as the distinctive feature, of the South Kensington Museum. Although intended primarily to aid the Schools of Design, and to improve the manufactures of the country, it has of late years, in a great measure, to use the words of its director, "settled itself into lifedireval Art," or rather the art of the medittral and renaissance periods. Within these limits it is, however, very comprehensive in its range, and articles have been sought out for purchase with great industry and judgment. Tho Museum of Ornamental Art is arranged in eighteen classes :—(1) Sculpture, in which are many exquisite specimens of Italian architectural sculpture of the renaissance period, carvings in wood, ivory, bone, &c., including some admirable works by
Fiammingo, with some important examples of artists of an earlier period ; bronzes and terra-cottas and models, among which are some by Michel Angelo. (2) Glyptic and Numismatic Art, including gems, medals, and seals. (3) Mosaics, Marquetry, &c. (4) Painting, almost exclusively of a decorative character. (5) Japanned or Lacquered Work. (6) Glass Painting—comprising Italian, German, and Flemish examples from the 13th century to the decline of the art, with a few of recent execution. (7) Enamels on Metal, an extremely choice and valuable collection, especially rich in early German ehamplevd works, and the much-prized Limoges enamels, and including also some into resting specimens of modern Indian and Chinese work. (8) Pottery, as a whole, one of the finest collections in Europe, including a few examples of Egyptian, Greek, Etruscan, and other antique ware; Hispano-Moresco ware; early Italian enamelled and incised ware ; an almost matchless collection of Oubbio and other lustred wares, and Majolica of the various Italian manufactories ; modern reproductions; Persian painted ware; Morocco enamelled earthenware ; Palissy, Nevem, and other French glazed and enamelled earthenware ; Delft, old German, Dutch, and Flemish stoneware; old Saxon red stone ware; Hindoo and other Oriental earthenware; Oriental porcelain (China and Japan); Dresden and other German porcelain ; old Sevres; modern Sevres; French porcelain of various manufactories ; Dutch, Spanish, and Portuguese, Swiss, Danish, and Russian 18th century porcelain; old English earthenware, stoneware, and porcelain, &c., of all the principal varieties (including a fine collection of old Wedgwood), and English and Foreign modern porcelain, earthenware, biscuit, Pailan, &c. ‘9) Glass Manufactures, including a very choice selection of old Venetian, German, and French glass, and a few examples of modern glass, chiefly French and English. (10) Works in Metal, comprising wrought-iron coffers, fic.; locksmith's work ; instru ments; knives, forks, spoons, fie.; firedogs and stoves; candlesticks, chandeliers. fie.; antique Greek and Roman ornamental bronzes; Oriental bronze vessels; metal household utensils ; mediaeval ecclesi astical utensils; modern bronze vessels ; goldsmiths work both ancient and modern ; damascene work ; nielli. (11) Watch and Clock Work. (12) Jewellery and personal ornaments in the precious metals, ancient, teedireval, modern, and Oriental (13) Arms, Armour, and Accoutre ments. (14) Furniture, Upholstery, fic., including a singularly interest ing variety of old Italian cassone or marriage chests, carved cabinets, mirrors, &c. (15) Leather Work. (16) Basket Work. (17) Textile Fabries,—as might be anticipated in a British Museum of Ornamental Art, the most extensive collection of the kind extant. (18) Bookbind ing and Book Decoration generally.