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each School; and then, as he makes his survey of the rooms devoted to the several Schools, note the numbers on the frames, and refer to the Numerical Catalogue following the series of introductions. On the other hand, the visitor who does not care to use the Handbook in this way has only to skip the preliminary chapters, and to pass at once, as he finds himself before this picture or that, to the Numerical Catalogue. For the convenience, again, of visitors or students desiring to find the works of some particular painter, the full and detailed Index of Painters, first introduced in the Third Edition, has here been retained. References to all the pictures by each painter, and to the page where some account of his life and work is given, will be found in this Index. Finally, a concise Numerical Index is given, wherein the reader may find at once the particulars of acquisition, the provenance, and other circumstances regarding every picture (by a foreign artist) in the possession of the National Gallery, wherever deposited.

       History of the National Gallery.– "For the purposes of the general student, the National Gallery is now," said Mr. Ruskin in 1888, "without question the most important collection of paintings in Europe." Forty years before he said of the same Gallery that it was "an European jest." The growth of the Gallery from jest to glory2 may be traced in the final index to this book, where the pictures are enumerated in the order of their acquisition. Many incidents connected with the acquisition of particular pictures will also be found chronicled in the Catalogue3; but it may here be interesting to summarise the history of the institution. The National Gallery of England dates from the year 1824, when the Angerstein Collection of thirty-eight pictures was purchased. They were exhibited for some years in Mr. Angerstein's house in Pall Mall; for it was not till 1832 that the building in which the collection is now deposited was begun. This building, which was designed expressly for the purpose by William Wilkins, R.A., was opened to the public in 1838.4 At that time, however, the Gallery comprised only six rooms, the remaining space in the building being devoted to the Royal Academy of Arts – whose inscription may still be seen above a disused doorway to the right of the main entrance. In 1860 the first enlargement was made – consisting of one new room. In 1869 the Royal Academy removed to Burlington House, and five more rooms were gained for the National Gallery. In 1876 the so-called "New Wing" was added, erected from a design by E. M. Barry, R.A. In that year the whole collection was for the first time housed under a single roof. The English School had, since its increase in 1847 by the Vernon gift, been exhibited first at Marlborough House (up to 1859), and afterwards at South Kensington. In 1884 a further addition of five rooms was commenced under the superintendence of Sir John Taylor, of Her Majesty's Office of Works; these rooms (numbered I., II., III., V., VI. on the plan), with a new staircase and other improvements, were opened to the public in 1887; and the Gallery then consisted of twenty-two rooms, besides ample accommodation for the offices of the Director and the convenience of the students.5 A further extension of the Gallery, on the site of St. George's Barracks, was completed in 1911; this consisted of six new rooms.6 At the same time the older portions of the building were reconstructed, in order to make it fire-proof. The rearrangement of the Gallery is described below (p. xxv).

      Growth of the Collection.– This growth in the Galleries has, however, barely sufficed to keep pace with the growth of the pictures. In 1838 the total number of national pictures was still only 150. In 1875 the number was 926. In 1911 the number of pictures, etc. (exclusive of the Turner water-colours) vested in the Trustees of the Gallery was nearly 2870. This result has been due to the combination of private generosity and State aid which is characteristic of our country. The Vernon gift of English pictures in 1847 added over 150 at a stroke. Ten years later Turner's bequest added (besides some 19,000 drawings in various stages of completion) 100 pictures. In 1876 the Wynn Ellis gift of foreign pictures added nearly another hundred. In 1910 the bequest of Mr. George Salting added 192 pictures (160 foreign and 32 British). Particulars of other gifts and bequests may be gathered from the Appendix. Parliamentary grants have of late years been supplemented by private subscriptions and bequests. In 1890 Messrs. N. M. Rothschild and Sons, Sir Edward Guinness, Bart. (now Lord Iveagh), and Mr. Charles Cotes, each contributed £10,000 towards the purchase of three important pictures (1314-5-6); whilst in 1904, Mr. Astor, Mr. Beit, Lord Burton, Lord Iveagh, Mr. Pierpont Morgan, and Lady Wantage subscribed £21,000 to supplement a Government grant for the purchase of Titian's "Portrait of Ariosto" (1944). In 1903 a "National Art-Collections Fund" was established for organising private benefactions to the Galleries and Museums of the United Kingdom; it was through this agency that the famous "Venus" by Velazquez (2057), in 1906, and the still more famous "Christina, Duchess of Milan," by Holbein (2475), in 1909, were added to the National Gallery. The same Fund contributed also to the purchase in 1911, of the Castle Howard Mabuse (2790). Mr. Francis Clarke bequeathed £23,104, and Mr. T. D. Lewis £10,000, the interest upon which sums was to be expended in pictures. Mr. R. C. Wheeler left a sum of £2655, the interest on which was to purchase English pictures. Mr. J. L. Walker left £10,000, not to form a fund, but to be spent on "a picture or pictures." In 1903 a large bequest was made to the Gallery by Colonel Temple West. The will was disputed; but by the settlement ultimately effected (1907, 1908) a sum of £99,909 was received, of which the interest is available for the purchase of pictures. In 1906 Mr. C. E. G. Mackerell made a bequest, and this will also was disputed. By the settlement (1908) a sum of £2859 was received, and a further sum will be forthcoming at the expiration of certain life-interests, of which sums, again, the interest will be available for the purchase of pictures. Appendix II. shows the pictures acquired from these several funds. This growth of the Gallery by private gift and public expenditure concurrently accords with the manner of its birth. One of the factors which decided Lord Liverpool in favour of the purchase of Mr. Angerstein's Collection was the generous offer of a private citizen – Sir George Beaumont.

       Value of the Pictures.– Sir George's gift, as we shall see from a little story attaching to one of his pictures (61), was not of that which cost him nothing in the giving. The generosity of private donors, which that little story places in so pleasing and even pathetic a light, has been accompanied by public expenditure at once liberal and prudent. The total cost of the collection so far has been about £900,0007; at present prices there is little doubt that the pictures so acquired could be sold for several times that sum. It will be seen in the following pages that there have been some bad bargains; but these mostly belong to the period when responsibility was divided, in an undefined way, between the Trustees and the Keeper. The present organisation of the Gallery dates from 1855, when, as the result of several Commissions and Committees, a Treasury Minute was drawn up – appointing a Director to preside over the Gallery, and placing an annual grant of money at his disposal.8 The curious reader may trace the use of this discretion made by successive Directors in the table of prices given in the final index – a table which would afford material for an instructive history of recent fashions in art. The annual grant has from time to time been supplemented by special grants, of which the most notable were those for the Peel Collection, the Blenheim pictures, the Longford Castle pictures, two new Rembrandts (1674-5), Titian's "Ariosto" (1944), Holbein's "Duchess of Milan" (2475), and Mabuse's "Adoration of the Magi" (2790) respectively. The Peel Collection consisted of seventy-seven pictures. The vote was proposed in the House of Commons on March 20, 1871, and in supporting it the late Sir W. H. Gregory (one of the Trustees of the Gallery) alluded to "the additional interest connected with the collection, for it was the labour of love of one of our greatest English Statesmen, and it was gratifying to see that the taste of the amateur was on a par with the sagacity of the minister, for throughout this large collection there could hardly be named more than two or three pictures which were not of the very highest order of merit." The price paid for this collection, £70,000, was exceedingly moderate.9 The "princely" price given for the two Blenheim pictures is more open to exception; but if the price was unprecedented, so also was the sale of so superb a Raphael in the present day unprecedented.

       Features of the Collection.– The result of the expenditure with which successive Parliaments have thus supplemented

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