ologically (_cf._ 132). Mediaeval sculpture should go with
painting, if it is found impossible to combine art of all ages.

117-8. Pictures should be protected by glass in every case. It
makes them more beautiful, independently of the
preservation,--Glass is not merely expedient, but
essential.--Pictures are permanently injured by dirt.

119-20-21. First-rate large pictures should have a room to
themselves, and a gallery round them.--Pictures must be hung on a
line with the eye.--In one, or at most two, lines.--In the Salon
Carre at the Louvre the effect is magnificent, but details of
pictures cannot be seen.

122. Galleries should be decorated not splendidly, but pleasantly.

123. Great importance of chronological arrangement. Art the truest
history (_cf._ 125 and 132).

124. Best works of inferior artists to be secured.

125. All the works of a painter, however incongruous their
subjects, to be exhibited in juxtaposition.

126. Love of detail in pictures among workmen.--Great refinement of
their perceptions.

127. Accessibility of new National Gallery.

128. There should be two galleries--one containing gems, placed in
as _safe_ a position as possible; the other containing works good,
but inferior to the highest, and located solely with a view to
accessibility.

129. Impossible to protect _sculpture_ from London atmosphere.

130. Inferior gallery would be useful as an instructor.--In this
respect superior to the great gallery.

131-32. _Copies_ of paintings much to be deprecated.

133. Good collection of casts a valuable addition to a national
gallery.--Also architectural fragments and illustrations.--And
everything which involves art.

134. If it is impossible to combine works of art of all ages, the
Pagan and Christian division is the best.--"Christian" art
including _all_ art subsequent to the birth of Christ.

135. Great importance of arranging and setting off sculpture.

136. Recent purchase by Government of the great Paul Veronese.

137. "Restoring" abroad.

138. Witness is Master of the Elementary and Landscape School of
Drawing at the Working Men's College in Great Ormond
Street.--Progress made by students highly satisfactory.

FOOTNOTES:

[Footnote 1: This evidence, given by Mr. Ruskin as sta