|
|
|
|
|
|
II
THE NATIONAL GALLERY1
[1852]
To the Editor of the “Times”
1. Sir,-I trust that the excitement which has been caused by the alleged destruction of some of the most important pictures in the National Gallery will not be without results, whatever may be the facts of the case with respect to the works in question. Under the name of “restoration,” the ruin of the noblest architecture and painting is constant throughout Europe. We shall show ourselves wiser than our neighbours2 if the loss of two Claudes and the injury of a Paul Veronese3 induce us to pay so much attention to the preservation of ancient art as may prevent it from becoming a disputed question in future whether they are indeed pictures which we possess or their skeletons.
2. As to the facts in the present instance, I can give no opinion. Sir Charles Eastlake and Mr. Uwins4 know more than I of oil paintings in general, and have far more profound respect for those of Claude in particular. I do not suppose they would have taken from him his golden
1 [From the Times, December 29, 1852; the letter was headed as above: see above, Introduction, p. lix.]
2 [See above, p. 398 n.]
3 [Claude’s “Marriage of Isaac and Rebecca” (No. 12), and his “Queen of Sheba” picture (No. 14, Seaport, with figures). The only pictures of Veronese which the Gallery at this time contained, were the “Consecration of St. Nicholas” (No.26), and the “Rape of Europa” (No. 97). It is the former of these two that is here spoken of as injured. Much evidence was taken by the Select Committee of 1853 on the “restoration” of these pictures in the preceding year.]
4 [Mr. Thomas Uwins, R.A., had succeeded Sir Charles Eastlake as Keeper of the National Gallery in 1847; and resigned, in part owing to hostile criticism, in 1855.]
407
|
|
|
[Version 0.04: March 2008]
