It might easily have been shown that it was not the intention of the founders of the Royal Academy that it should thus degenerate into a private undertaking. The encouragement which George III. gave to the scheme was given on the ground that “he considered the culture of the arts as a national concern,” and in the instrument presented for his signature it is said that the great utility of such an institution has been fully and clearly demonstrated. Moreover, in the catalogue of the first national exhibition the demand of payment at the doors was made a subject of apology, and the only excuse was that no other means could be discovered of preventing the entry of improper persons. But although the public and national character of the undertaking was clearly acknowledged at that time, a very few years sufficed to prove that the constitution of the Academy was unfavourable to the right interpretation of its duties. When the Academy was founded the English did not possess a National Gallery, and Barry, who perceived the use of such a collection of the Masters of Art in forming and educating the taste both of art students and the public, proposed to his fellow-members of the Academy that they should devote a portion of their surplus funds on the purchase of pictures by the Old Masters. But the Academy rejected this proposal as promptly as they had discarded the idea of a closer connection with the nation. That the imperfections of the institution were clearly perceived by distinguished artists who afterwards became members of the body, is not disputed. Before the Commission of 1863 Mr. G. F. Watts expressed himself in no uncertain terms. “It seems to me,” he said, “that there must be some defect. If it were extremely anxious to develop taste or encourage art I think that some means would have been found. A merchant finds means if he wants to improve his commercial arrangements. Whatever a man wishes to do, he finds a way of doing it more or less satisfactorily. But I do not see that the Royal Academy has done anything whatever.” And again, in relation to public taste and its guidance in all that concerns the erection of public monuments or public buildings, Mr. Watts says, “It seems to be a monstrous thing that the Royal Academy has had no voice in this matter.” And further, referring to independent efforts for the encouragement of public schemes of mural decoration, he most emphatically declares, “I think it ought to have occurred to the Academy, as a body of men having the direction of art and taste, many years before it occurred to the Prince Consort; and I think also that, when the initiative was taken, the Academy ought to have adopted the movement and have given it every advantage possible.”