d4 Mr Wilson on the Propriety of Forming 



mental design is chiefly to be attributed to the adherence of 

 French workmen to models of the most tasteful description. 



After the Italian victories of I'rance had filled her palaces 

 with monuments of ancient art, these effected a revolution in 

 her taste, as complete as that which had previously taken place 

 in her government. French art was then clad in an imitation 

 of the garb of that of classic times. 



At the last peace, France restored her ill-gotten spoils to the 

 original proprietors ; but the French Government perceiving 

 the benefit which had resulted to art in general from the pos- 

 session of these monuments, determined that, although the origi- 

 nals were lost to France, faithful copies should be preserved ; and 

 that the whole country might benefit, and that those who could 

 not visit the capital might have an opportunity of seeing pure 

 models, an establishment was formed in Paris, where, a plenti- 

 ful stock of moulds being accumulated from the best statues 

 and other sculptures of antiquity, the whole of France has been 

 supplied for years with casts at a comparatively cheap rate. 

 The advantages of such a plan being amply demonstrated by 

 the result, the French continue adding immensely to their col- 

 lection of moulds, both of statues, bas reliefs, and architectural 

 ornaments. In 1836 they spent in Florence alone, the great 

 sum of 14,000 dollars, equal to L.8111 Sterling or thereabouts. 



The artizan, when he wants to aid his invention, can easily 

 procure from the Louvre, at a cheap rate, such classic models 

 as suit his purpose. The advantages to artists of procuring 

 casts of statues, &c., from the very best works of antiquity, are 

 obvious. Schools are rapidly supplied, — private dwellings are 

 decorated with casts, — the constant aspect of such models 

 amongst a people highly civilized, and whose minds are in an 

 active state, must conduce to the dissemination of taste. 



The importance of good models to the welfare of art, and to 

 the general diffusion of taste, is a simple truth which does not 

 require so many pages to prove ; yet, plain as this truth may 

 appear, no pains have been taken to place such models before the 

 British public : on the contrary, our national collections have 

 been shut against all but the wealthy, by the extravagant fees 

 demanded at the doors, and even in those establishments to 



