the same artist. He considers it a wanton
waste of the national money to have spent it
in those works; especially when the country
is already in possession of the picture of
Perseus and Andromeda, presented by
William IV.

Professor Waghorn inquiring if Mr. Fudge
has done insulting the memory of Guido? the
Eye-witness replies that he has done for the
present, as he finds that the other works by
this master in the gallery, including a daub
called the Ecce Homo, another daub, entitled
The Coronation of the Virgin, and a third of a
depressing nature, representing St. Jerome
usefully employed in hammering his breast with
a stone, came into the possession of the country
by gift or bequest.

Sir George Beaumont is understood at this
juncture to murmur a request that he may be
removed and decent interment accorded to him.
(Evidence resumed.)

Mr. Fudge finds, on reference to the
catalogue, that two pictures under the name of
Titian, numbered 224 and 635, were
purchased, the first in the year 1852, the second
in this present 1860. He considers that neither
of these works was wanted, and that a collection
in which the splendid picture of Bacchus and
Ariadne is to be found, does not stand in need
of such an addition as the very indifferent
performance now placed next to it. Such
purchases as these were again an inexcusable waste
of the public money.

Dr. Waghorn remarks, that perhaps Mr.
Fudge objects to the portrait of Ariosto, by the
master some of whose works he has presumed to
disparage?

The Eye-witness replies, that he considers
the portrait of Ariosto by TITIAN, which has
just been added to the collection, to be one of
the most remarkable and interesting pictures in
the National Gallery. The acquiring of such a
work might possibly justify the purchase of
those pictures, which were inevitable parts of
the same "lot." If this excuse were offered,
witness would allow it, but it would not justify
the authorities in keeping such unwelcome
parts of their bargain. If any pictures were
obliged to be purchased under such circumstances,
the unwelcome parts of the "lot"
should be resold, or, if nobody could be found
to buy them, should be put away, and hidden
from human eyes.

A Juryman —- Why?

Witness —— Because the presence of bad
pictures among good, impairs very seriously the
aspect of the whole collection, and by adding
to the number of objects which solicit the eye,
fatigues the visitor to the gallery, and confuses
him in an unnecessary degree.

Professor Waghorn at this point interposed
and said that he thought the manner of
arranging his evidence which Professor Fudge
had adopted, was likely to lead to confusion
and that it would be better if he took a chronological
view of the different art purchases made
by the committee, and examined the additions to
the national collection which had been effected
each succeeding year.

The Eye-witness had no objection to such an
arrangement. There was no occasion to revert
to some of the earlier purchases which had been
already alluded to. The ANGERSTEIN Gallery
formed the nucleus of the collection; it was
unnecessary to criticise it. In the year 1825,
succeeding that of the opening of the National
Gallery at Mr. Angerstein's house, a bad
CORREGGIO of a Holy Family was added to the
collection. It is separated from other similar
subjects in the catalogue description by the
distinction of a " toilet basket" in the
foreround, but as the only discernible contents of
the said basket are some enormous gardening
shears, there seems reason to doubt the
propriety of this description, as there certainly is
the judiciousness of the purchase. A picture
ay ANNIBALE CARACCI, a magnificent TITIAN,
of Bacchus and Ariadne, and a group of
Bachanalian Miscreants dancing, a good specimen
of NICOLO POUSSIN, came into the possession of
ihe country; and in 1834 another CORREGIO,
Mercury instructing Cupid in the presence of
Venus, and yet another and an especially bad
one called the Ecce Homo. In 1837, a Holy
Family byMuRiLLO, the Brazen Serpent (a
purchase alluded to above, as of doubtful wisdom),
and a SALVATOR ROSA, were bought by the
Trustees; and in 1839, the St. Catherine of
RAPHAEL. The country (supposing it wanted
one) was already in possession of a Holy
Family by MAZZOLLINI, bequeathed by the REV.
W. H. CARR. There is a certain amount of
deception about this picture; for, in another
Holy Family by GAROFALO, a very evil saint
who is kneeling in the foreground of each of
these gems, and whose villanous face is too
terrible to be mistaken, is in one case called St.
Nicholas, and in the other St. Francis.

Sir George Beaumont at this point in the
evidence remarked, that there must be some
mistake here, and he wishes he could consult
the deceased CARR upon the subject. Was it
possible he could do so? Did there happen to
be a Medium among the Jury?

The Eye-witness replied that if there were, he
should challenge that juryman, and demand his
withdrawal. After a discussion of some warmth,
and after Professor Waghorn had with some
difficulty succeeded in restoring order, the
evidence was again resumed.

Mr. Fudge then details purchases made
since 1840; but when he comes to the Temptation
of St. Anthony, by CARACCI, and explains
that the "temptations" held out to the saint in
this picture are—- a demon with four fingers and
no thumb, a lion with horns, a dragon, upside
down, making a face, and a Fury, holding a
serpent by the tip of its tail Sir George Beaumont
wishes to know whether Mr. Fudge is
aiming—————

Yes, Mr. Fudge again interrupts, he is aiming
at saying most decidedly that there are too
many Caraccis in the National Gallery; and
that the purchase of this new one, though only