NATIONAL GALLERY 



NATIONAL HYMNS 



Viiionnl Uallrry, tin- princi|>al depository of 

 the picture* belonging to tin- British nation. The 

 present building, which was intended to accommo- 

 date the Royal. \cadcmv ami National Gallery, stands 

 in Trafalgar Square, London, ami wax lini-hed in 

 1838 at a coot of 100,000, but wan enlarged in 

 1861, in IHO'J, in 1876, ami in 1887. The nucleus 

 of the National Gallery was the Angerslein collec- 

 tinn <>f thirty eight pictures, purchase*! in 1824 for 

 97,000, and a OOMMtnbll HIIIII is now annually 

 voted by parliament fur the purpose of adding to it, 

 the estimate* for 1889-00 showing an expenditure 

 of I4.4>7. I'll' 1 collection is most valuable to the 

 student of art, and occupies more than twenty-two 

 rooms. The various early and late Italian schools 

 are extensively illustrated ; there are good examples 

 of the chief representatives of Italian art, as 

 Raphael, Correggio, Paul Veronese. ^ There are a 

 few good examples of Murillo and Velasquez and 

 the Spani-li school ; ami the great Dutch and 

 Flemish painters, Rembrandt, KuU'iis, Van Dyck, 

 and the othem, are well represented. The last 

 extensive bequest in the department of the ' foreign 

 schools' was that of Mr \\ynn Ellis in 1876, com- 

 prising ninety-four pictures. In the department 

 of the ' British and modern schools ' the largest 

 additions as vet made by private munificence are 

 the gift of Mr Robert Vernon in 1847, OOMtrtfaf 

 of 157 pictures, and the bequest of Joseph M. \V. 

 Turner, R.A., in 1856, embracing 105 works in oil 

 and an immense numlier in water-colours and pencil 

 by his own hand. The entire collection now con- 

 sists of over 1280 pictures. There are catalogues 

 to the Gallery by Blackburn (1877, 1879), E. T. 

 Cook (3d ed. 1890), and others, and the Pail Mall's 

 Half holidays at the National Gallery ( 1890). The 

 Royal Academy of Art*, which used to have its 

 headnnarters here, is now established at Burling- 

 ton Hoii"- 



The NATIONAL PORTRAIT GALLERY, founded 

 in 1856, was established at South Kensington in 

 1869, but removed on loan to the Bethnal Green 

 Museum in 1885. Hence it was finally transferred 

 in 1896, to occupy a handsome suite of buildings 

 erected for it at the rear of the National Gallery. 

 There is an admirable catalogue by the first 

 director. Sir George Scharf. K.C.B. (1820-95). 



There are also National Galleries of Art in Edin- 

 burgh and Dublin ; the great public collections of 

 Paris, Berlin, Dresden, Munich, Florence, Rome, 

 &c. are mentioned in the articles on those cities. 



National Guard, an organisation for local 

 defence, :it tin- dispo-al of the municipalities, not of 

 the crown. Such a burgher guard had long existed 

 in many French towns, hut it was introduced into 

 Paris only in July 1789, during the Revolution, 

 when the revolutionary leaders decreed the forma- 

 tion of ii national guard for Paris of 48,000 citizens ; 

 and ere long there were 300,000 for the kingdom. 

 During the revolutionary excesses they were Home- 

 times supine, sometimes they withstood the more 

 violent insurrectionists. In 1794 they were the mo-t 

 devoted adherent* of Robespierre. In 1795 they 

 Misted in disarming the people, and were them'. 

 elves reorganised HO as to exclude turbulent 

 element*, none but men of substance tieing allowed 

 to serve ; they even Itecame royalist in feeling, ami, 

 rebelling against the convention, were defeated by 

 Napoleon and the regular army, and practically 

 ceased to exist. Napoleon re established a national 

 guard or militia, but, after various- vicissitude* in 

 1814, 1830. ami 1845, it has l~-en wholly super- 

 seded by the military reorganisation since 1870. 



National Hymns. The origin of the English 

 national anthem has Keen a subject of controvei-\ 

 since the end of the 18th century, and is still in- 

 volved in obscurity. ' God save the King ' was first 



in the llarm<inin . I //y/cvrmi of 1742, with- 

 out mime of author or com]H>ser, varying slightly 

 from the present version; and in 1745, during the 

 Scottish relielliun, it Ix-camc widely known, versions 

 nt it being sung nightly lit Drury I-ane and Covciit 

 Garden Theatres with great applause. Of the 

 numerous claims to its pan ntage, the view sup- 

 ported by most, and by several eminent writers, 

 attributes it, both words and music, to ll> n:\ 

 Carey (Q.V.), the popular song writer, aliout 1740. 

 The evidence for this i* given in ('happeU's I'ojmlar 

 Music of the Olden Time, and Chr\samler'n Jtilir- 

 barker, vol. i. But Mr W. H. Cummings, who 

 thoroughly beat out the subject in a series of 

 ]ia|H-is in the Musical Tititcs in 1878, entitled to the 

 greatest weight, considers this evidence unreliable ; 

 and he arrives at the conclusion that the music 

 has been adopted (but when, and by whom, we 

 shall probably never know) from an 'Ayre' by 

 I)r John Hull (q.v.), found (without words) in a 

 rulleetjon of music by him once in the hands of 

 I)r Kitchener, afterwards of Richard Clark, the 

 original of wliich seems to have disappeared. See 

 also a paper by Major Crawford in the dictionary 

 of Ilymnology (1891 ), by the Rev. John Julian. 



The hymn was translated into German by Hein- 

 rich Harries, a Holstein clergyman, and sung to 

 the original air at a birthday celebration in honour 

 of the king of Denmark in 17!M) ; and an adapta- 

 tion from these words, made in ITit.'t by Dr B. G. 

 Schumacher, lieginning ' Heil dir im Siegerkranz,' 

 has ever since been in use as the Prussian 

 national hymn. It called forth the admiration 

 of Beethoven and Haydn, and moved the latter 

 to compose the Austrian national hymn, which 

 was first sung on the Kmperor Franz's birthday 

 in 1797. The words now used, lieginning, '(Jolt 

 erhalte Franz den Kaiser,' are by Karon Xedlitz; 

 the original words were by Hauschka. The Hun- 

 garians have two national hymns the Sztfzat 

 ('The Appeal'), l>eginning, 'Be true to the land 

 of thy birth,' written by Vorosmarty (1800-55), 

 the creator of Hungarian poetry of the Romantic 

 school, and composed by Benjamin Egressy, an 

 actor and eminent composer of sacred music ; and 

 the Magyar Hymnus:, written bv Kolcsey and com- 

 posed by Francis Erkel. The Riikoczy march, by 

 an unknown comiioecr, dates from the end of the 

 17th century. The simple and dignified Russian 

 national anthem dates from 1830, and is the 

 work of General Alexis Lwoff (1790-1870). Of 

 the Danish national hymn, ' Kong Christian,' the 

 word- are by Ewald ami the music by Johann 

 Ernst Hartmann (172(1-91). There are several 

 claimants to the honour of being the Norwegian 

 national hymn, of which may lie mentioned 

 ' Sonner af Norge," written about the beginning of 

 the 19th ccnlurv, music by C. Blom ; and the 

 modern ' Ja, vi pinker dette Landet ' ( Yes, we love 

 this land), words by Bjornson, music by R, Nord- 

 raak. The Swedish hymn, ' King Karl, the young 

 hero,' was written bv Esaias Turner ( 1782-"l846). 

 The Dutch national hvmn, ' men Neerlandsch 

 Bloed,' was written by Henrik Tollens ( 1780-1856), 

 and composed by .1. \V. \Vilms. ' I .a Itrabanconne,' 

 the Belgian revolutionary song of 1830, was written 

 by Jenneval, a Brussels actor, and composed by 

 Campenhont. The 'Marseillaise' (q.v.) of the 

 French was written and composed in 1792 by 

 Claude Joseph Kuu-.-t .!. Lisle ( 1760-1836), and re- 

 ceived its name from lx>ing sung by the volunteers 

 from Marseilles who took part in the movements 

 in Paris in that year. Various doubts have '1 

 thrown on DC Lisle's authorship of the tune, but 

 these were finally disposed of bv a pamphlet written 

 by hi* nephew in 1865. The PoriofflieM ' llymno 

 constitucional' was composed by Horn Pedro I., 

 emperor of Brazil. Though scarcely to be classi- 



