STUDIES ON MUSEUMS AND KINDKED INSTITUTIONS. 449 



and extensive collection of .scariiban, also a large collection of nephrites," 

 117 in number (Plate 23), which is, perhaps, only excelled by the col- 

 lection of Mr. Bishop in the Metropolitan Museum of Art in New 

 York City. Industrial arts are also notabh' represented. 



The principal attraction of the museum, however, is the gallery of 

 paintings, with some 500 pictures l\y over 300 artists, part of which, 

 indeed, are only lent, but most of them will later become the property 

 of the institute. Among them are several pictures for which the for- 

 mer owners paid $30,000 to $40,000, and many for which $10,000 to 

 $20,000 were paid, almost all being large gifts or legacies. While 

 with us most collectors sell their i)ictures already during their life- 

 time, or their heirs do it after their death, the rich Americans take 

 pride in bequeathing theirs to a public institution. 



The modern portion of the collection, especially pictures of the 

 School of Fountainebleau, has hardly its equal in P^urope, only the New 

 York collections (see pp. 345, 350) being compara))le with it. Of French 

 artists there are exhibited Benjamin-Constant, Besnard, Rosa Bonheur 

 (3), Bonnat, Bouguereau (3), Jules Breton (6), Cabanel, Cazin (6), 

 Corot (S), Courbet, Couture, Daubigny (7), Decamps (3), Degas, Dela- 

 croix (4), Detaille, Diaz (8), Jules Dupre (9), Fragonard, Fromentin 

 (3), Gerome (2), Greuze, Gudin, Hebert, Henner (2), Isabey (2), Jacques 

 (4), Lhermitte (3), van Marcke, Meissonier (2), Michel, Millet (3), 

 Monet, de Neuville (3), Puvis de Chavannes, Robert, Rousseau (5), 

 Roybet, Troj^on (9), Ziem, and 31 other masters. 



Of American artists I will name (partly represented by free-hand 

 drawings, etchings, etc.,) Abbey (2), Bierstadt, Blum (3), Bridgman (2), 

 Bristol, Bursh (2), H. and W. Chase (3), Church (5), Thomas Cole, 

 Cox, Dannat, Charles Davis, Durand, P^lliott, Fuller, Gibson, Gifl'ord, 

 de Haas, Thomas A. and B. Harrison, Hart, Hitchcock, G. Inness (8), 

 G. Inness, jr.; Kappes (2), Leutze, Lungren, Martin, Murphy, Neal, 

 Parsons (4), Pearce, Pennell (4), Reinhart (3), Richards, Sargent, Shir- 

 law (5), Stuart, Thayer, Vedder, Weeks, and J. A. M. Whistler.* 



Among the recent painters of other nations tliata^-e exhibited (partly 

 in free-hand drawings) are the following: A. andO. Achenbach, Brozik, 

 Chierici, Constable (2), Fortuny y Carbo, Gainsborough, Griitzner 

 (2), Israels (2), Jettel (3), Knaus, Koekkoek (4), Lawrence, Lenbach 



«This collection was presented in 1900, together with oil paintings, water colors, 

 porcelains, crystals, etc., 1,300 objects in all, vaUied at $800,000. See the catalogue 

 of The Nickerson (Collection, 147 pages, with over 1,000 numbers. 



&The American artists are treated by R. Muther in his Geschichte der Malerei ini 

 XTX .Tahrhundert, ITT, 1894, pp. 866-405. He makes much use therein of K. Koeh- 

 ler's article in Kmi.sf fi'ir Al/e, 8th year, 1898, pp. 225, 241, and 257: Die Entwicklun<i 

 der Sch()nen Kiinste in den Vereinigten Staaten von Nordamerika, and closes with 

 the words, "America, therefore, has an art. * * * The American, artists are the 

 most modern of the moderns." Except in art I'irclcs very little is known among us 

 of these things in America. 

 NAT MUS 1903 29 



