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The extent that will be given to this work, the variety of the objects of which it will be composed, and the manner in which its publication is effected, having rendered it impossible for any method of classification to be adopted, care has been taken, on the contrary, to give together compositions of the different schools and of different kinds. The plan already pursued will herefore be continued, namely, in each part will be given a picture of the Italian school; one of one of the German schools; one each of the ancient and modern French schools; next å statue; and the sixth plate will be alternately of one or the other of the above mentioned classes.
The order in which the plates will appear therefore will be in a great degree the result of chance, and cannot be considered as a classification suited to subscribers. We are of opinion that most of them will not leave the work in the same state as it is published; some, probably,
it in the order of masters; others will place the pictures according to the public galleries or private cabinets of which they form a part, and others again will perhaps class them according to the nature of the subjects, and thus form a sacred history, a profane history, or
In order to form these divers classifications, it will be necessary to unstitch the parts and take out the engra
even a fabulous history.
vings from their cover. If then an accident should occur to derange the order that may have been adopted; or if it be wished to change the method to which preference may at first have been given, it would be a tiresome task to assort the notices with the engravings to which they belong. With a view to obviate this inconvenience, care has been taken to place at the bottom of the page, on the right, a number which is the same on the engraving and the notice. This number, which merely indicates the order in which the plate appeared, will be useful, Istly, to ascertain whether there are errors; 2dly, to apply for errors to be rectified in case there are any; 3dly, to serve for reference, in case of necessity, from one notice to another; 4thly, to give a more precise and clear indication in the tables that will be published at the end of the work.
As to the capital letter which sometimes follows this number, it is a mark customary in typography to assist in finding out and classing the whole sheets; but can in no case be of service to subscribers.
It is likewise necessary to announce that each temporary volume will consist of twelve parts and an appendix, which, to complete the volume, will contain three portraits of painters with an historical and critical notice upon each of them; and moreover two tables, the one in the order of the parts, and the other in alphabetical order, in which will be given the designation of the subjects, the NAMES OF ARTISTS and those of the galleries or collections. Similar appendixes will be published after the twentyfourth
part, the thirty-sixth, and so on, after each multiple of the number twelve.
These appended parts will hear 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. Our Museum is formed upon a plan altogether different ;
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 Mu
on the contrary, all the collections of Europe will he 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