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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1913 edition. Excerpt: ... no longer conveniently keep, every noble work by the artists of former ages, which by any casualty, after long remaining on the walls of some ancient building, should be again thrown upon the world. "But what have we done -- numerous as our people are, and so rich as to be contentedly cheated and plundered, what have we done toward founding such a repository? We have hardly made a step toward it. Yet, beyond the sea there is the little kingdom of Saxony, which, with an area less than that of Massachusetts, and a population but little larger, possesses a Museum of the Fine Arts marvellously rich, which no man who visits the continent of Europe is willing to own that he has not seen. There is Spain, a third-rate power of Europe and poor besides, with a Museum of Fine Arts at her capital, the opulence and extent of which absolutely bewilder the visitor. I will not speak of France or of England, conquering nations, which have gathered their treasures of art in part from regions overrun by their armies; nor yet of Italy, the fortunate inheritor of so many glorious productions of her own artists. But there are Holland and Belgium, kingdoms almost too small to be heeded by the greater powers of Europe in the consultations which decide the destinies of nations, and these little kingdoms have their public collections of art, the resort of admiring visitors from all parts of the civilized world. "But in our country, when the owner of a private gallery of art desires to leave his treasures where they can be seen by the public, he looks in vain for any institution to which he can send them. A public-spirited citizen desires to employ a favorite artist upon some great historical picture; here are no walls on which it can hang in the public sight. A...
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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Winifred E. Howe's 1913 account of The Metropolitan Museum of Art's history, its founders, and trustees communicates the remarkable circumstances that led to the Museum's transformation into one of the most prestigious art museums in the world. The history begins with an account of the earliest art institutions of New York City (such as the Tammany Society and the New York Academy of Fine Arts) and goes on to describe the Museum's period of organization following the end of the Civil War. Howe details the movement of the Museum from its original downtown building to its current location in Central Park, the museum building's construction and subsequent additions, the organization of the museum's administration, and the continued expansion of the museum through the presidency of J. Pierpont Morgan.