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origin, progress, and culmination of Italian Art from the thirteenth
to the seventeenth century, in such chronological order as should show
the sequence and affiliation of the various schools and the various
motive and inspiration that were operative in them. To quote his own
language, Mr. Jarves began his undertaking with no "expectation of
acquiring masterpieces, or many, if any, of those specimens upon which
the reputation of the great masters is based. These are in the main
either fixtures in their native localities or permanently absorbed
into the great galleries of Europe; and America may scarcely hope ever
to possess such. He did propose, however, to get together a collection
which should _fairly_ represent the varied qualities of the masters
themselves, and the phases of inspiration, religious, aesthetic, or
naturalistic, by which they were actuated. And he claims now to have
succeeded in this to an extent which in the outset he did not dare to
hope, and to have secured for the collection the approving verdict of
European taste and connoisseurship in the recognition of it as a
_valuable historical gallery of original paintings of the epochs and
schools they claim to represent_.

"In putting forward this claim, he does it in full view of the
character of the criticism and doubts such an assumption naturally
begets. The public are right in doubting; and they should not be
convinced except upon sound evidence. Therefore, while he
unhesitatingly claims for the collection the foregoing character, he
expects and invites from the public the fullest measure of impartial
and intelligent criticism.

"The object of the collection is a nucleus for an American Gallery, to
be established in the most fitting place and upon a broad basis,
sufficient to gratify and improve every variety of taste and to
advance the aesthetic culture of the people.

"With this aim, he has declined repeated overtures pecuniarily
advantageous to divert it in whole or part to other purposes; and in
bringing it to America at his own risk and expense, it is solely to
test the disposition of the public to second such a project. If it
meet their approbation, the means best adapted for the purpose are to
be maturely considered; but if otherwise, it is his intention to
return the gallery to Europe.

"It is a simple question, whether, after having had the opportunity of
becoming acquainted with the collection and his object in making it,
the America