SOME AMERICAN MUSEUMS.
BY CLARENCE COOK.
Under this heading it is intended to give in successive numbers of The Chautauquan descriptions of the principal Art Museums of our country: The Museum of Fine Arts in Boston, the Metropolitan Museum of Art in New York, the Pennsylvania Academy of the Fine Arts in Philadelphia, and the Corcoran Art Gallery in Washington. We begin in the present number with the Boston Museum.
In the year 1870 the trustees of the Boston Museum of Fine Arts were organized under a charter from the Massachusetts legislature. It was not, however, until 1876 that a building was erected in which the pictures, casts, antiquities, engravings and objects of curiosity which formed the nucleus of its present extensive collections could be exhibited to the public.
Up to the time when the first portion of the present building was erected, the amateur or the student of the fine arts in Boston or its neighborhood had been obliged to take a good deal of trouble, and to spend much time, if he would see the few objects that existed there—in public institutions or in private houses—in the domain of painting, sculpture, antiquities, or in that of the minor arts—now classed together in popular speech under the incorrect title of bric-a-brac.
Beside the permanent exhibition of the pictures which belonged to it, the Athenæum Library had generously devoted some of its rooms every season for several successive years to the exhibition of pictures painted by American artists, an exhibition answering to those held yearly by the National Academy of Design and the Pennsylvania Academy of the Fine Arts. Beside these regular exhibitions, there had been many occasional ones of importance, such as that of the Spanish pictures belonging to the Duc de Montpensier, which gave to those of us who had not visited Europe, the opportunity of seeing respectable specimens of the works of Zurbaran, Herrera, Morales, Murillo, Ribalta and Velasquez. There was also in the Athenæum a small but well selected collection of plaster-casts of antique sculpture, so that for a long time this institution was an art center of no little value and importance. The Athenæum was not, however, an art institution, but a library, and the time came when the increase of the library made it necessary to give up its art collections and devote all its space to books.
The collections of the Athenæum were the most important, both in number and in value, to be found in Boston, but there were many interesting objects scattered about which it was felt would be of much greater service to the community if they could be brought together under one roof, and made to work in common for the education of the whole community. The late Francis C. Gray had bequeathed to Harvard College his large and valuable collection of engravings together with a fund for its maintenance, and it was found that its usefulness, whether for purposes of enjoyment or as a means of education was very much restricted by its being so far away from the capital. Yet it had been impossible to find a proper place for it in Boston, and it therefore remained shut up in Cambridge. The Institute of Technology had formed, under the direction of Prof. William R. Ware, a collection of architectural ornament, but as this was lodged in the Institute building it could only be seen and studied at such times as suited the convenience of the professors and their pupils. The Social Science Association had called the attention of the public to the need that existed of a large and complete collection of casts of antique sculpture. But—what to do with such a collection, could it be brought together?
In a city like Boston, a want so deeply felt could not long remain unsatisfied, and the matter having been widely discussed, and a general interest created in the public mind, the first steps were taken with generous unanimity, and as has been stated, a charter was procured from the legislature, the Museum was organized by the naming of trustees, and the city having given a site, no difficulty was met with in raising a subscription of $261,000 toward a building. The plans of Messrs. Sturgis and Brigham, submitted in competition, were selected, and on the 3d of July, 1876, one wing of the front of the building was opened to the public. This was filled by the collections of the Athenæum, and by the Gray collection of engravings, both permanently loaned to the Museum, by the casts of antique sculptures purchased with funds bequeathed by the late Charles Sumner, the Egyptian collections presented by Mr. C. Granville Way, and valuable gifts from Mr. Lawrence and other persons. The space at the disposal of the trustees was soon overcrowded, and in 1878 a fresh subscription of $126,000 having been raised, the front was completed and opened to the public in 1879. At the present time of writing the need is seriously felt for more room, and it is hoped that the means may soon be provided for taking a third step toward the completion of the original plan of the building.
The building containing the collections of the Boston Museum of Fine Art is constructed of red brick and terra cotta on a basement of granite. It stands in the new quarter of the city, and is built like all other structures in that part of the city, on piles. It is rather ornate in its character, and compared with its massive neighbor, Trinity Church, has a somewhat effeminate look, but it is solidly built, and planned with great good sense, and with a steady view to convenience. On entering, the visitor finds himself in a large hall, in the center of which rises an ample staircase conducting to the second floor. At the right and left are doorways leading to the rooms containing the casts from antique sculpture. By taking either of these doorways we can make the circuit of the whole series of apartments, but as the present arrangement is only temporary, awaiting the completion of the building for a logical disposition of the material, it may be better to pass at once to the rear of the hall, and taking the door at the left hand, enter