We proceed to consider Mr Dyce’s pamphlet, or letter—happily not very long—for we have seldom met with so much serious nonsense in so few pages. He blunders on the very threshold of his work; for, as shown, he makes extensiveness a characteristic, whereas it must be but the accident of finding good things to collect. He considers it as a museum, having evidently in view a collection of curiosities, the thing above all others a National Gallery should not be. “Then, again, as every collection has in view some definite purpose, the systematic fulfilment of that purpose on the most enlarged basis—in other words, systematic arrangement, and a _wholeness_ or completeness in relation to its particular purpose, seem necessary to the idea of a national collection.” Words, words, words! all to envelop a commonplace truth that no one need be told. Of course, every man, woman, and child, having a “purpose,” should suit the matter in hand to it. If the man had been destined to manufacture small-clothes instead of writing about art, he wouldn’t begin at the wrong end, and stitch on the buttons before he had cut out his shapes. Of course, he would have had his arrangement and his “chronological” measure too, and not put the boy’s fit on the aged father. There is no end to writing in this style; there may be, if a writer pleases, miles of verbiage before reaching a place of rest or tolerable entertainment, without any prospect of the journey’s end. Then he goes on thinking, and “thinks” what nobody ever doubted: “I think we may assume that a public museum ought to fulfil its purpose” (so ought a pipkin)—but more—“and, secondly, that the objects contained in it ought not merely to be coextensive with that purpose, but illustrate it with the greatest possible fulness and variety; that is to say, the collection ought to be at once extensive and complete.” Extensive and complete—or we would put it plainly, as with regard to the pipkin, that care should be taken that as much be put into it as it will hold without boiling over, preserving in the simmering every variety in the broth—the meat, the bone, the fat, and the vegetables. Notwithstanding this his very clear explanation, he immediately again gravely asks, “But what are we to understand by the completeness of a collection of pictures?” The reply to this question (a reply which may well astonish any inquirer) “depends upon the view we take of its purpose;” that is, to pursue our illustrations, whether the small-clothes be to be made for grandson or grandfather; whether the pipkin is to hold porridge for breakfast, or broth for supper. “Now all, I imagine, will agree, that the object of our National Gallery is, to afford instruction and enjoyment” (a discovery which he very shortly annihilates, by taking out the enjoyment, and making the instruction doubtful); “that it is, or ought to be, an institution where the learned study art, and the unlearned