Do you think that a very interesting supplementary exhibition might be got up, say at Trafalgar Square, and retained there?--Yes, and all the more useful because you would put few works, and you could make it complete in series--and because, on a small scale, you would have the entire series. By selecting a few works, you would have an epitome of the Grand Gallery, the divisions of the chronology being all within the compartment of a wall, which in the great Gallery would be in a separate division of the building. 131. _Mr. Cockerell._ Do you contemplate the possibility of excellent copies being exhibited of the most excellent works both of sculpture and of painting?--I have not contemplated that possibility. I have a great horror of copies of any kind, except only of sculpture. I have great fear of copies of painting; I think people generally catch the worst parts of the painting and leave the best. But you would select the artist who should make the copy. There are persons whose whole talent is concentrated in the power of imitation of a given picture, and a great talent it is.--I have never in my life seen a good copy of a good picture. _Chairman._ Have you not seen any of the German copies of some of the great Italian masters, which are generally esteemed very admirable works?--I have not much studied the works of the copyists; I have not observed them much, never having yet found an exception to that rule which I have mentioned. When I came across a copyist in the Gallery of the Vatican, or in the Gallery at Florence, I had a horror of the mischief, and the scandal and the libel upon the master, from the supposition that such a thing as that in any way resembled his work, and the harm that it would do to the populace among whom it was shown. _Mr. Richmond._ You look upon it as you would upon coining bad money and circulating it, doing mischief?--Yes, it is mischievous. _Mr. Cockerell._ But you admit engravings--you admit photographs of these works, which are imitations in another language?--Yes; in abstract terms, they are rather descriptions of the paintings than copies--they are rather measures and definitions of them--they are hints and tables of the pictures, rather than copies of them; they do not pretend to the same excellence in any way. You speak as a connoisseur; how would the common eye of the public agree with you in that opinion?--I think it would not agree with me. Nevertheless, if I were taking some of my workmen into the National Gallery, I should soon have some hope of making them understand in what excellence consisted, if I could point to a genuine work; but I should have no such hope if I had only copies of these pictures. 132. Do you hold much to the archaeological, chronological, and historical series and teaching of pictures?--Yes.