Are you of opinion that that is essential to the creative teaching, with reference to our future schools?--No. I should think not essential at all. The teaching of the future artist, I should think, might be accomplished by very few pictures of the class which that particular artist wished to study. I think that the chronological arrangement is in no-wise connected with the general efficiency of the gallery as a matter of study for the artist, but very much so as a means of study, not for persons interested in painting merely, but for those who wish to examine the general history of nations; and I think that painting should be considered by that class of persons as containing precious evidence. It would be part of the philosopher's work to examine the art of a nation as well as its poetry. You consider that art speaks a language and tells a tale which no written document can effect?--Yes, and far more precious; the whole soul of a nation generally goes with its art. It may be urged by an ambitious king to become a warrior nation. It may be trained by a single leader to become a _great_ warrior nation, and its character at that time may materially depend upon that one man, but in its art all the mind of the nation is more or less expressed: it can be said, that was what the peasant sought to when he went into the city to the cathedral in the morning--that was the sort of book the poor person read or learned in--the sort of picture he prayed to. All which involves infinitely more important considerations than common history. 133. _Dean of St. Paul's._ When you speak of your objections to copies of pictures, do you carry that objection to casts of sculpture?--Not at all. Supposing there could be no complete union of the great works of sculpture in a country with the great works of painting in that country, would you consider that a good selection of casts comprising the great remains of sculpture of all ages would be an important addition to a public gallery?--I should be very glad to see it. If you could not have it of originals, you would wish very much to have a complete collection of casts, of course selected from all the finest sculptures in the world?--Certainly. _Mr. Richmond._ Would you do the same with architecture--would you collect the remains of architecture, as far as they are to be collected, and unite them with sculpture and painting?--I should think that architecture consisted, as far as it was portable, very much in sculpture. In saying that, I mean, that in the different branches of sculpture architecture is involved--that is to say, you would have the statues belonging to such and such a division of a building. Then if you had casts of those statues, you would necessarily have those casts placed exactly in the same position as the original statues--it involves the buildings surrounding them and the elevation--it involves the whole architecture.