lved upon me,
and which is not without interest for this Academy. My great
predecessor, much to my regret, left in my hands the appointment of a
successor to Sir Frederick Burton. That has cost me probably more
trouble and travail than any other act of this young administration.
[Laughter.] I have sought, and I have abundantly received, counsels, and
it is after long consideration, and with the most earnest and
conscientious desire to do not what is most agreeable to individuals
themselves, but what is best for art in general, that I have nominated
Mr. Poynter to succeed Sir Frederick Burton. [Cheers.]

I have at the same time made a change in the minute relating to the
conditions of that post, which to a greater extent than was formerly the
case associates the trustees of the National Gallery in the work of
selection with the new director. The trustees have been hitherto rather
those flies on the wheel of which we read in ancient fable. It is now
proposed to make them working wheels, and to make them work well and
co-operatively with the new director. ["Hear! Hear!"] I hope that this
arrangement will be satisfactory in its results. But, Mr. President, I
have long thought, as an individual, that the task of a Minister or of a
Government in co-operating with the Royal Academy, and with those who
have art at heart, ought not to end with a mere appointment of this
description. I take a larger view of the responsibilities of my office,
and I should be glad to offer to you with great respect a few
suggestions that have recently occurred to me with regard to the present
position of English art, which I regard with some misgivings.

There is, first, the subject of portraiture. I am deeply concerned for
the future condition of portrait-painting. It is not, as you may
imagine, with any distrust whatever of those distinguished men who take
a part in that branch of art; it is much more for the subjects that I am
concerned. [Laughter.] And it is not so much with the subjects as with
that important part of the subject which was illustrated in the famous
work "Sartor Resartus," by the great Carlyle, that I chiefly trouble
myself. How can it be that any man should make a decent portrait of his
fellow-man in these days? No one can entertain so vindictive a hatred of
his fellow-creature as to wish to paint him in the costume in which I
am now addressing you. [Laughter.] I believe that that costume is
practically dropped for all purpose