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These appended parts will bear the numbers 12 bis, 24 bis, 36 bis, etc., and will be the same price as the others, the surplus of the text occasioning the same expense as that of an ordinary part consisting of six plates. It is also in these parts that the notices will be given upon the schools and collections which were promised in the prospectus.

The editors of the Museum eagerly embrace this opportunity to return their thanks to the public for the favorable reception given to their work, and to assure them of their unremitting efforts to continue it with the same care as they have hitherto done. They are desirous also of acknowledging the obligations they are under to several persons who have readily afforded them the aid of their intelligence and counsel. On some occasions they have made use of the notes collected by the late M. Joseph Lavallée, formerly secretary of the administration of the Paris Museum.

The designs of several compositions that have never been engraved, have arrived from different foreign countries, and if the parts already published have presented pictures of the first merit, those to come will possess equal interest by offering to the view subjects unknown to most of the subscribers.

Some persons have imagined that our work might be considered a continuation of the Annales du Musée et de l'École moderne des Beaux-Arts, published by the late M. Landon; and others have regarded it as a mere copy of that publication. Both these opinions are erroneous.

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and if the parts already published do contain some pictures which have likewise appeared in M. Landon's work, it is because in some cases we both have derived our information from the same source; but even in these instances we have neither copied the engravings nor the text of the Annales du Musée.

In M. Landon's work there are several architectural plans, large vignettes, and designs that have appeared at the Exhibitions; but it contains none of the pictures of the foreign museums, except some of those which political occurrences brought for a short time to Paris. In our Museum, on the contrary, all the collections of Europe will be laid under contribution, and subscribers will find in the MUSEUM OF PAINTINGS AND SCULPTURE a selection of the pictures and statues of the most celebrated galleries and the most humble collections, provided that the composition is fine, the artist has merit, and the work is authentic.

It will therefore be in reality an EUROPEAN MUSEUM, AN UNIVERSAL GALLERY, since, in the perusal of the parts, the traveller will refresh his memory by a view of the most remarkable objects he may have seen at the Museum of the Vatican, that of the Capitol, and in the churches of Rome; at the Museum of Naples, in the gallery of Florence, in the cities of Bologna, Parma and Modena, in the palace of St. Mark at Venice, in the gallery of the Belvidere, and in those of prince Esterhazy and the prince de Liechtenstein at Vienna; in the Dresden gallery, so rich in Italian pictures by the acquisition of the duke of Modena's collection; in the glyptographic and pynacographic

ADVERTISEMENT.

collections of Munich, which now contain the pictures of the Dusseldorff gallery, formed with such great care by the elector palatine, as well as in the extensive collection of pictures that embellish the palace of Schleisheim. He will also find in it pictures of the highest merit, taken from the gallery of Sans-Souci and the new palace at Potsdam, as well as some of those of the ancient Italian school, collected at such immense expence by M. Soly, and recently purchased by the king of Prussia. He will likewise meet with pictures of the Museums of Amsterdam and the Hague. England also will furnish her contingent, and in the work will figure some antiques taken from the British Museum and the galleries of the duke of Bedford and the marquis of Lansdown; the king's pictures at BuckinghamHouse and Windsor Castle, and some of those of the marquis of Stafford's and Earl-Grosvenor's collections.

France, in her turn, will not be forgotten. The work will present the most important objects in the Museums of the Louvre and the Luxembourg, as well as several pictures of the galleries of the duchess of Berry, the duke of Orleans and marshal Soult, duke of Dalmatia; the cabinet of the marquis de Sommariva, and other collections.

AVIS.

L'étendue que doit avoir cet ouvrage, la variété des objets qui doivent le composer, et la manière dont se fait la publication, n'ayant pu permettre d'adopter une méthode quelconque de classification, on a eu soin, au contraire, de donner ensemble des compositions d'école et de nature différentes. Ainsi qu'on l'a déjà fait, on continuera par la suite à placer dans chaque livraison un tableau de l'école d'Italie, un de l'une des écoles germaines, un des écoles françaises ancienne et moderne, puis une statue; enfin la sixième planche se trouvera alternativement de l'une ou de l'autre des classes précédemment indiquées.

C'est donc presque le hasard qui donne l'ordre dans lequel paraissent les planches, et il ne peut être considéré comme une classification convenable aux souscripteurs : nous pensons bien que la plupart d'entre eux ne laisseront pas l'ouvrage tel qu'il a paru; les uns, probablement, le rangeront par ordre de maîtres, d'autres placeront les tableaux comme ils se trouvent dans les galeries publiques ou dans les cabinets particuliers dont ils font partie, d'autres enfin voudront peut-être classer les sujets par matière, et former ainsi une histoire sainte, une histoire profane, ou bien une histoire de la fable.

Pour établir ces diverses classifications, on sera dans

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