CATALOGUE 
 
 OF TEE 
 
 I X M D ® 0 T 0 @ IN) 
 
 NEW-FORK GALLERY OF THE FIE ARTS. 
 
 NOW OPEN, 
 
 15 THE 
 
 LARGE SALOON OF THE NATIONAL ACADEMY OF DESIGN, 
 
 CORNER OF BROADWAY AND LEONARD-STREET. 
 
 NEW-YORK : 
 
 JAMES VAN NORDEN & CO., PRINTERS, 
 No. 60 William-Street. 
 
 1 8 4 4. 
 
JONATHAN STURGES, President. 
 F. W. EDMONDS, Vice-President. 
 THOMAS H. FAILE, Treasurer. 
 WILLIAM H. JOHNSON, Secretary. 
 
 €xanWvt (ttommtttee. 
 
 HORATIO ALLEN, JAMES McCULLOUGH, 
 
 CHARLES M. LEUPP, JOHN H. AUSTEN, 
 
 HENRY S. MULLIGAN. 
 
 <&XVLBtet8. 
 
 WILLIAM H. APPLETON, 
 HORATIO ALLEN, 
 JOHN H. AUSTEN, 
 JAMES BROWN, 
 WILLIAM C. BRYANT, 
 WILLIAM B. CROSBY, 
 THOMAS S. CUMMINGS, 
 WILLIAM S. CONELY, 
 STEPHEN M. CHESTER, 
 PETER COOPER, 
 J. A. CLARK, 
 ORVILLE DEWEY, 
 CHARLES DENISON, 
 FREDERICK DE PEYSTER, 
 NICHOLAS DEAN, 
 FRANCIS W. EDMONDS, 
 ROBERT ELDER, 
 THOMAS H. FAILE, 
 WALTER C. GREEN, 
 GEORGE GRUNDY, 
 RICHARD IRVIN, 
 WILLIAM H. JOHNSON, 
 WILLIAM KENT, 
 JAMES G. KING, 
 SHEPHERD KNAPP, 
 
 CHARLES M. LEUPP, 
 R. E. LOCKWOOD, 
 JOSEPH N. LORD, 
 CHARLES E. MILNOR, 
 ROBERT B. MINTURN, 
 HENRY S. MULLIGAN, 
 STEWART C. MARSH, 
 HAMILTON MURRAY, 
 JAMES McCULLOUGH, 
 LORA NASH, 
 ALFRED PELL, 
 ELEAZER PARMLY, 
 J. SMYTH ROGERS, 
 PETER A. SCHERMERHORNE, 
 JONATHAN STURGES, 
 *WILLIAM L. STONE, 
 BENJAMIN D. SILLIMAN, 
 FRANCIS SKIDDY, 
 CHARLES A. STETSON, 
 MOSES TAYLOR, 
 THOMAS TILESTON, 
 JAMES WARREN, Jr, 
 FREDERICK H. WOLCOTT, 
 JOHN WILEY, 
 JACOB A. WESTERVELT. 
 
 " Deceased. 
 
REMARKS. 
 
 On presenting to the public the first exhibition of the New- York 
 Gallery of Fine Arts, it is proper to state the objects which its found- 
 ers had in view in establishing the institution. A permanent Gallery of 
 Paintings, Sculpture and Engravings, is the ornament of almost 
 every city of the world that equals in population the city of New- 
 York. That New- York, with her wealth, enterprise and general 
 intelligence, should be destitute of one of the features which indi- 
 cate, in other cities, a liberal and refined people, has been a source 
 of regret and mortification to all who feel a just pride in her cha- 
 racter and prosperity. To supply this want, attempts have been 
 made, without success, by many able and intelligent individuals; 
 but recently an opportunity was presented for securing this desirable 
 result. 
 
 Several years since the late Luman Reed, distinguished as a mer- 
 chant, and the enlightened promoter of the arts, commenced the 
 formation of a private Gallery. The ardent and generous friend 
 of our own artists, he intended it should be emphatically a Gallery 
 of American Art. He had adorned it with the productions of the 
 genius and skill of a number of our most eminent artists, and had 
 formed a collection unequalled in our city, when death, in the midst 
 of his career, put an end to the grand object he had in view. On 
 the walls of our exhibition are seen the evidences of his judg- 
 ment and generosity. 
 
 In the settlement of his estate, consequent to his decease, it 
 became necessary to make some disposition of this collection. To 
 separate and disperse it, piece by piece, was like tearing down, stone 
 by stone, a monument erected by taste and liberality. It was a 
 painful idea to all who had been in any way connected or associa- 
 ted with him — to his fellow merchant — to his family and friends — 
 
4 
 
 to the artist and lover of the arts. To keep the collection entire, to 
 retain it in our city, to make it the foundation of a great Gallery of 
 Art, and at the same time a monument to the memory of Luman 
 Reed, was the united wish of all. A plan was suggested, which met 
 the approbation of all ; and taste and wealth, gratitude, respect and 
 affection united in its accomplishment. 
 
 Accordingly an Association was formed, measures immediately 
 adopted for raising the necessary funds, which were successful, and 
 the "Reed Collection" is now the property of the Association. 
 
 It must be borne in mind, however, that this is but the commence- 
 ment of a Gallery which it is believed will grow with the growth 
 of the city, until it shall become worthy of the city of New- York. 
 
 One of the most attractive exhibitions in London is that of the 
 *' National Gallery." It was founded in 1823, when Parliament 
 voted £57,000 for the purchase of the Angerstein collection, con- 
 sisting of thirty-eight pictures. In 1825, £15,000 more were 
 voted for an additional purchase of four pictures, making over 
 three hundred and fifty thousand dollars for forty-two pictures. 
 These high prices should not discourage us ; they were paid, not 
 solely because the paintings were of extraordinary merit and beauty, 
 masterpieces of genius, but an immense additional value was 
 attached to them because they were painted very many years pre- 
 vious ; that from the hands which executed them there could be no 
 more originals, and were consequently eagerly sought after by the 
 wealth and royalty of Europe. 
 
 In 1836 the catalogue of the National Gallery numbered 114 
 pictures; of these, 69 had been added by bequest or donation. 
 Among the principal donors are the names of Sir Geo. Beaumont, 
 Rev. Holwell Carr, the Marquis of Stafford, Earl of Liverpool, 
 Rev. W. Long and William Wilkins, Esq. 
 
 The New-York Gallery of the Fine Arts commences, it is be- 
 lieved, under auspices quite as favourable as those of the celebrated 
 Gallery of the British metropolis, and may we not hope that the 
 friends of the Fine Arts here will do as the friends of the Fine Arts 
 have done in London ? Already indeed has the example been fol- 
 lowed by several of our most distinguished artists — Messrs. Ingham, 
 Cole, Durand, Chapman, Edmonds, Mount and Cummings — who have 
 presented or liberally offered to enrich our Gallery with the pro- 
 ductions of their genius and skill. 
 
5 
 
 It may not be out of place here to refer to the fact, that by the 
 constitution the trustees are restricted from creating any liability on 
 the part of the Association, and that they cannot in any way 
 dispose of any of its property. A work of Art presented, must ever 
 form a part of the Gallery, and can never be alienated. 
 
 It is hoped that this Gallery will plead its own cause with 
 those who visit it. But it may not be improper to suggest to 
 them its need of the public patronage, and to desire them to apprize 
 their friends of the extremely easy terms on which its advantages, 
 both present and prospective, may be enjoyed ; prospective as well 
 as present, for no assessments or taxes are ever to be imposed on 
 the shareholders. And yet the objects are as great as the means 
 are humble. A Gallery of Art in a city, is a source of refinement ; 
 nay, more, it is a stronghold of virtue. It opens a fountain of pure 
 and improving pleasure to the stranger, to the idler, to the young, 
 to our families, to our children. Call it a lounge, if you please ; let 
 it catch the idle hours or arrest the weary step ; yet idling and re- 
 laxation here, can hardly fail to be improvement. Pictures of fai^ 
 and spiritual beauty, forms of majestic virtue, portraitures of hero- 
 ism and patriotism, shall lift the thoughts above their wonted range, 
 to nobleness and sanctity. Soft and dreamy landscapes shall draw 
 away the mind from " cankering care" and the choking dust of the 
 street, and carry it back to the scenes of childhood and innocence. 
 Common life shall be depicted and spiritualized upon these walls. 
 Parents will bring their children here and explain to them the 
 "Course of Empire," and tell them stories of other lands. 
 
 We are speaking, perhaps, scarcely with the gravity that becomes 
 a statement like this ; but so persuaded are we of the beneficial and 
 beautiful influences to be exerted by such an institution, that we can 
 hardly restrain our language within the limits of statistical propriety. 
 There is nothing that our country lacks so much as the refining in- 
 fluence of Art. And we feel sure that we may commend the 
 undertaking to build up a Gallery of Art in this city, to the support 
 and patronage of our people. 
 
CONTRIBUTORS 
 
 To the 'present Exhibition, by Donations or Loans of 
 Paintings or Engravings. 
 
 THOMAS COLE, 
 A. B. DURAND, 
 THOS. H. FAILE, 
 FAMILY OF MR. REED, 
 CHARLES C. INGHAM, 
 
 CHARLES M. LEUPP, 
 JOSEPH N. LORD, 
 HENRY S. MULLIGAN, 
 MRS. MARY REED, 
 JONATHAN STURGES. 
 
CATALOGUE 
 
 BZBIBISIOH 
 
 Nero-SJork (ftallera of tl)c fine QVrt0, 
 
 NO. SUBJECTS OF THE PAINTINGS. ARTIST. 
 
 1. Portrait of the late Luman Reed, - A. B. Durand. 
 
 Presented to the Gallery by the Artist. 
 
 2. A Magdalen, - after Correggio. 
 
 (Reed collection.) 
 
 3. An Allegory — Death and Immortality — An- 
 
 tique, - Italian School. 
 
 (Reed collection.) 
 
 4. View from Froster Hill, England, - A. Richardson. 
 
 (Reed collection.) 
 
 5. St. Cecilia, (copy from original by Carlo Dolce, 
 
 in the Dresden Gallery,) - - Koffman. 
 
 This copy took the prize at the Dresden Exhibi- 
 tion. Loaned to the Gallery by Mrs. Mary Reed. 
 
 6. Landscape, - - - Dutch School. 
 
 (Reed collection.) 
 
 7. Mischief in the Pantry, - - F. W. Edmonds. 
 
 Loaned to the Gallery by J. Sturges. 
 
 8. Boy fallen asleep over his dinner, - - Philip. 
 
 (Reed collection.) 
 
3 
 
 NO. SUBJECTS OF THE PAINTINGS. ARTIST. 
 
 9. Madonna, Infant and Saint Ann, - Italian School 
 
 (Reed collection.) 
 
 10. Mother, Child and Butterfly, - - G. W. Flagg. 
 
 (Reed collection.) 
 
 11. Interior — Dutch Apothecary's Shop, - Dutch School. 
 
 (Reed collection.) 
 
 12. Portrait of President Monroe, - A. B. Durand. 
 
 From the original, by Stuart, in possession of 
 , Baltimore, Md. (Reed collection.) 
 
 13 Pan and Midas, . - - Goltzius. 
 
 (Reed collection.) 
 
 " The Course of Empire," - - Thomas Cole. 
 
 A series of five pictures, illustrating a nation's rise, 
 progress, greatness, decline and fall, and the conse- 
 quent changes in the same landscape. 
 
 Note. — The isolated rock crowning a precipitous hill, in the 
 distance, identifies the scene in each of the series, but the obser- 
 ver's position varies in the several pictures. 
 
 " First freedom and then glory, when that fails, 
 Wealth, vice, corruption." 
 
 [first of the series.] 
 14. The " Savage State," or * Commencement of Empire." 
 
 The sun is rising from the sea, over a wild scene of 
 rocks, forests and mountains, dissipating the clouds 
 and darkness of night. Man, attired in skins, is seen 
 engaged in the wild dance and the chase, the character- 
 istic occupations of the savage life. In this picture, 
 we have the first rudiments of society. Men have 
 banded together for mutual aid. The useful arts 
 have commenced in the construction of the canoe, 
 the weapon and the hut, and we may imagine the 
 germs of two of the fine arts, Music and Poetry, in 
 the singing usually accompanying the dance of the 
 savage. The empire is asserted, to a limited extent, 
 over sea, land and the animal kingdom. It is the sea- 
 son of Spring, — the morning of the nation's existence. 
 
9 
 
 NO. SUBJECTS OF THE PAINTINGS. ARTIST. 
 
 [second OF THE SERIES.] 
 
 15. " The Arcadian," or " Pastoral State." 
 
 Ages have passed, a change has been wrought in 
 the scene — man has subjugated " the untra eked and 
 rude." We now see the shepherd and his flocks, the 
 ploughman upturning the soil, and the wafting sail, — 
 by the shore a village, and on the hill the ascending 
 smoke of sacrifice. In this picture, we have agricul- 
 ture, commerce and religion. In the aged man des- 
 cribing the mathematical figure, — the rude attempt of 
 the boy in drawing, — in the female figure with the 
 distaff, — the vessel on the stocks, — in the primitive 
 temple and the dance of the peasants to the music of 
 the pipe, we have evidence of the advance made in 
 science, in the useful and the fine arts. 
 
 It is early summer, and the sun has ascended mid- 
 way to the meridian. 
 
 [third op the series.] 
 
 16. " The Consummation of Empire." 
 
 The rude village has become a magnificent city. 
 From the bay — now a capacious harbour, with pliari 
 at the entrance and thronged with war galleys and 
 barks with silken sails, — ascend piles of architecture, 
 temples, domes and collonades. The massive bridge, 
 the streets and squares lined with palaces and adorned 
 with statuary, clustered columns and sparkling foun- 
 tains, are crowded with gorgeous pageants and trium- 
 phal processions. It is a day of triumph — man has 
 conquered man — nations have been subjugated. By 
 wealth and power, knowledge, art and taste, man has 
 achieved the summit of human grandeur. 
 
 The sun is near the meridian. 
 
 [fourth of the series.] 
 
 17. "Destruction." 
 
 Ages may have passed since the scene of glory. 
 Luxury has enervated, vice has debased, and the 
 strength of the mighty nation has consumed away. 
 A barbarous enemy sacks the city. The heavens are 
 darkened by a tempest, and the storm of war rages 
 beneath, amid falling walls and collonades, and the 
 flames of temples and palaces. 
 
 2 
 
10 
 
 18. " Desolation." 
 
 subjects of the paintings, 
 [fifth of the series.] 
 
 The moon ascends the twilight sky near where the 
 sun rose in the first picture. The last rays of the 
 departed sun illumine a lonely column of the once 
 proud city, on whose capital the heron has built her 
 a nest. The shades of evening steal over shattered 
 and ivy-grown ruins. The steep promontory, with 
 its insulated rock, still rears against the sky unmoved, 
 unchanged, but violence and time have crumbled the 
 works of man, and art is again resolving into elemen- 
 tal nature. The gorgeous pageant has passed — the 
 roar of battle has ceased — the multitude has sunk in 
 the dust — the empire is extinct. (Reed collection.) 
 
 19. The Wood-Choppers Boy, - - G. W. Flagg. 
 
 (Reed collection.) 
 
 20. Portrait of President Adams, (John Quincy,) A. B. Durcrnd. 
 
 Original ; taken from life in 1834. 
 (Reed collection.) 
 
 21. Assumption of the Virgin, - Annibale Caracci. 
 
 (Reed collection.) 
 
 22. The Nun, - Flagg. 
 
 (Reed collection.) 
 
 23. The Match Girl, (London,) - - Flagg. 
 
 (Reed collection.) 
 
 24. Miniature — Dutch Enamel. 
 
 (Reed collection.) 
 
 25. The Old Fiddler, - - - after Teniers. 
 
 (Reed collection.) 
 
 26. Sleeping Female, - - - Flagg. 
 
 (Reed collection.) 
 
 27. Portrait of a Young Lady, taken in 1608, Flemish School. 
 
 (Reed collection.) 
 
 28. The Chess Players— Check mate, - 6. W. Flagg. 
 
 (Reed collection.) 
 
 29. Summer Sunset, - T. Cole. 
 
 (Reed collection.) 
 
11 
 
 SUBJECTS OF THE PAINTINGS. 
 
 30. The Cavalier and Lady ; copy from original, 
 
 by Metzu, in the gallery of the Louvre, 
 
 Paris, - - A. B. Durand. 
 
 Loaned to the Gallery by J. Sturges. 
 
 31. Autumn Scene — Cor way Peak — White Moun- 
 
 tains — New-Hampshire, - T. Cole. 
 
 (Reed collection.) 
 
 32. Wrath of Peter Stuyvesant on - learning the 
 
 capture, by treachery, of Fort Casimir, 
 
 A. B. Durand. 
 
 il On receiving these direful tidings, the valiant 
 Peter started from his seat, dashed the pipe he was 
 smoking against the back of the chimney — thrust a 
 prodigious quid of tobacco into his left cheek — pulied 
 up his galligaskins, and strode up and clown the room, 
 humming, as was customary with him when in a pas- 
 sion, a hideous northwest ditty." 
 
 Knickerbocker's New- York, Book vi. Chap. 2. 
 (Reed collection.) 
 
 33. The Truant Gamblers, - - W. S. Mount. 
 
 (Reed collection.) 
 
 34. Landscape — Composition Italian Scenery, T. Cole. 
 
 u O, Italy, how beautiful thou art ! 
 Yet I could weep, for thou art lying, alas, 
 Low in the dust, and they who come admire thee, 
 As we admire the beautiful in death." 
 
 Rogers' Italy. 
 
 (Reed collection.) 
 
 35. The Goblet and Lemon, 
 
 (Reed collection.) 
 
 36. Rebecca, - 
 
 (Reed collection.) 
 
 37. Boors gambling, 
 
 (Reed collection.) 
 
 38. Miniature— Dutch Enamel. 
 
 (Reed collection.) 
 
 Van Aelst. 
 Flagg. 
 
 after Tenters. 
 
12 
 
 NO. SUBJECTS OF THE PAINTINGS. ARTIST. 
 
 39. Portrait of President Madison, - A. B. Durand. 
 
 From the original, by Stuart, at Bowdoin College, 
 Maine. (Reed collection.) 
 
 40. The Farm Yard, - A. B. Durand. 
 
 Loaned to the Gallery by T. H. Faile. 
 
 41. Falstaff, enacting Henry IV. - G. W. Flagg. 
 
 Pririce Henry. — Do thou stand for my father, and 
 examine me upon the particulars of my life. 
 
 Falstaff. — Shall I % content : — this chair shall be my 
 state, — this dagger my sceptre, and this cushion my 
 crown. 
 
 King Henry IV., Part i., Act ii., Scene 4. 
 (Reed collection.) 
 
 42. The Stranded Ship, - - A. B. Durand. 
 
 Where, hapless bark, are they who furled the sail, 
 
 When o'er thee burst the fury of the gale ? 
 
 Where they, who grasped the shrouds with desperate hand, 
 
 When the mad billow flung thee on the land ? 
 
 Do these blue waves that now in sunshine leap, 
 
 Roll o'er their corses far within the deep ? 
 
 (Suggested by the picture.) 
 
 Loaned to the gallery by Hy. S. Mulligan. 
 
 43. The Huntsman's Tent — game and dogs after 
 
 a hunt, - Fyt. 
 
 (Reed collection.) 
 
 44. Dance on the Battery, - - A. B. Durand. 
 
 " It would have done one's heart good, also, to 
 have seen the valiant Peter, seated among the old 
 burghers and their wives of a Saturday afternoon, 
 under the great trees that spread their shade over the 
 Battery, watching the young men and women as they 
 danced on the green. Once, it is true, the harmony 
 of the meeting was rather interrupted. A young 
 vrouw,of great figure in the gay world, and who having 
 lately come from Holland, of course led the fashions 
 in the city, made her appearance in not more than 
 half a dozen petticoats, and these, too, of most alarm- 
 ing shortness. An universal whisper ran through the 
 assemblv, the old ladies all felt shocked in the ex- 
 
13 
 
 NO. SUBJECTS OF THE PAINTINGS. ARTIST. 
 
 treme, the young ladies blushed, and felt excessively 
 for the " poor thing" — the whole assembly was 
 thrown into great admiration, several grave country 
 members were not a little moved, and the good Peter 
 himself, who was a man of unparalleled modesty, 
 felt himself grievously scandalized." 
 
 Knickerbocker's New-York,Vo\. ii., Book vii., Ch. 1. 
 
 Loaned to the Gallery by T. H. Faile. 
 
 45. Lady and Parrot, - - - Flagg. 
 
 (Reed collection.) 
 
 46. Prattsville, Greene County, N. Y., - D, Huntington. 
 
 Loaned to the Gallery by Chas. M. Leupp. 
 
 47. Portrait of President Jackson, - A. B.Durand. 
 
 Original ; taken from life in 1835. 
 (Reed collection.) 
 
 48. Portrait of Mrs. Washington, wife of Washing- 
 
 ton, - - - A. B. Durand. 
 
 From the original, by Stuart, in the Boston 
 Athenaeum. (Reed collection.) 
 
 49. Dogs fighting, 
 
 (Reed collection.) 
 
 50. The Pedlar displaying his Wares, 
 
 (Reed collection.) 
 
 51. Murder of the Princes, 
 
 ENTER TYRREL. 
 
 " Tyr. — The tyrannous and bloody act is done ; 
 
 The most arch deed of piteous massacre, 
 That ever yet this land was guilty of. 
 Dighton and Forrest, whom I did suborn 
 To do this piece of ruthless butchery, 
 Albeit they were flesh'd villains, bloody dogs, 
 Melting with tenderness and mild compassion, 
 Wept like two children in their death's sad story. 
 - 0 thus, quoth Dighton, lay the gentle babes. 
 
 Thus, thus, quoth Forrest, girdling one another 
 Within their alabaster innocent arms : 
 Their lips were four red roses on a stalk, 
 Which in their summer beauty, kiss'd each other. 
 A booh of prayers on their pillow lay : 
 Which once, quoth Forrest, almost changed my mind ; 
 But, O, the Devil, — there the villain stopp'd : 
 
 Morland. 
 A. B. Durand. 
 G. W. Flags:. 
 
14 
 
 NO. SUBJECTS OF THE PAINTINGS. ARTIST. 
 
 When Dighton thus told on, — toe smothered 
 The most replenished sweet viork of nature, 
 That, from the prime creation, ere she framed." 
 
 King Richard III., Act iv., Scene 3. 
 
 (Reed collection.) 
 
 52. The Bashful Cousin, - - - F. W. Edmonds. 
 
 Loaned to the Gallery by J. Sturges. 
 
 53. Portrait of President Jefferson, - A. B. Durand. 
 
 From the original, in the possession of his daugh- 
 ter, Mrs. Randolph, by Stuart. 
 
 54. A Sibyl, - - - - H.P. Grey. 
 
 Loaned to the Gallery by J. Sturges. 
 
 55. Madonna and Infant, - - Early style of Raphael. 
 
 (Reed collection.) 
 
 56. Washington, - - - A. B. Durand. 
 
 From the standard original, by Stuart, in the Gal- 
 lery of the Boston Athenaeum. (Reed collection.) 
 
 57. The Little Savoyard, - Flagg. 
 
 (Reed collection.) 
 
 58. The Vale and Temple of Segestae, Sicily, T. Cole. 
 
 11 Midway between Palermo and Segestae, the 
 broad slopes of an ample valley lie before the traveller. 
 In the depth is a river meandering among fragrant 
 oleanders, — on the left the valley is intersected by a 
 range of distant mountains ; on the right is a beauti- 
 ful bay of the Mediterranean. Across the vnlley the 
 mountains form a green amphitheatre, and high in a 
 remote part is seen the Temple of Segestae." — Notes 
 of the Artist, made in a tour in Sicily. 
 
 Presented to the Gallery by the Artist. 
 
 59. Portrait of President Adams, (the elder,) A. B. Durand. 
 
 From the original, by Stuart, in possession of his 
 son, John Quincy Adams. (Reed collection.) 
 
15 
 
 SUBJECTS OF THE PAINTINGS. 
 
 60. Copy of a Figure in a Group, by Titian, in the 
 
 Borghese Palace, Rome, - A. B. Durand. 
 
 Loaned to the Gallery by J. Sturges. 
 
 61. Lady Jane Grey preparing for execution, G. W. Flagg. 
 
 " After uttering these words, she caused herself to 
 be disrobed by her women ; and with a steady serene 
 countenance submitted herself to the executioner." 
 
 Hume, Chap, xxxvi. 
 (Reed collection.) 
 
 62. The Bargaining, - - - W. 8. Mount 
 
 " Seth suspended for a moment the whittling his 
 twig, and there seemed a crisis in the argument — a 
 silent pause — when a shrill voice from the front gate 
 adjourned the meeting instanter. It was the voice 
 of Aunt Nabby herself, breathing authority and hos- 
 pitality — Joshua, come to dinner, and bring the folks 
 along with you." 
 
 Jack Downing' s Journal — N. Y. Gazette, Oct. 28, 1835. 
 (Reed collection.) 
 
 63. Wreath of Flowers encircling Holy Family — 
 
 Antique, - Italian School. 
 
 (Reed collection.) 
 
 64. Landscape, - Flemish School. 
 
 (Reed collection.) 
 
 65. View on Catskill Creek, - - T. Cole. 
 
 (Reed collection.) 
 
 66. Marine View, - Birch. 
 
 (Reed collection.) 
 
 67. Hebrew Women borrowing the Jewels of the 
 
 Egyptians, - - J. G. Chapman. 
 
 " And the Children of Israel did according to the 
 word of Moses : and they borrowed of the Egyp- 
 tians jewels of silver, and jewels of gold, and rai- 
 ment : and the Lord gave the people favour in the 
 sight of the Egyptians, so that they lent unto them 
 such things as they required : and they spoiled the 
 Egyptians." — Exodus, xii., 35, 36. 
 
 Loaned to the Gallery by J. Sturges. 
 
16 
 
 NO. SUBJECTS OF THE PAINTINGS. ARTIST. 
 
 68. Lafayette, - - - - C. C. Ingham. 
 
 Painted from life in 1325, and is the original head 
 from which was made the full length for the state, now 
 in the State Department, Albany. 
 
 Presented to the Gallery by the Artist. 
 
 69. Wreath of Flowers, encircling Coat of Arms 
 
 and Miniature of Duke of Austria, 
 (1658,) - F. Marrel. 
 
 (Reed collection.) 
 
 70. Moonlight, T. Cole. 
 
 (Reed collection.) 
 
 71. The American Boy's Inheritance, - F. W. Edmonds. 
 
 The Bible, a brave heart and a mother's blessing. 
 Loaned to the Gallery by J. N. Lord. 
 
 72. Old English Sportsman, - Morland. 
 
 (Reed collection.) 
 
 73. View near Bridgeport, Connecticut, - Richardson. 
 
 (Reed collection.) 
 
 74. The Day Dream, - - - - C. C. Ingham. 
 
 Loaned to the Gallery by the Artist. 
 
CATALOGUE OF ENGRAVINGS. 
 
 NO. SUBJECTS AND PAINTERS. ENGRAVER. 
 
 80. Count D'Harcourt, - Mas son. 
 
 From a Portrait by Mignard ; mentioned in the " Engraver's 
 Manual" as " a masterpiece." 
 
 81. Earl Temple, W. Dickinson. 
 
 From a Portrait by Sir Joshua Reynolds. 
 
 82. Napoleon, from Gerard, - - Desnoyers. 
 
 83. Louis XVIII. do. - do. 
 
 84. " La Maitresse du Titien," painted by Titian, Forster. 
 
 85. Aurora, ----- VoZpato. 
 
 From a fresco painting in the Villa Ludovisi, by Guercino ; 
 the rival of Guido's Aurora, and one of the most admired 
 frescoes in Rome. 
 
 86. Beatification of the Virgin, by Guido, - Bettelini. 
 
 87. Roman Ladies presenting their Jewels to de- 
 
 fray the expenses of the War, - Marchetti. 
 
 From a much admired painting by Camuccini. 
 
 88. Christ raising the Widow's Son, by Agostino 
 
 Caracci, - Folo. 
 
 The engravings, from No. 89 to No. 107, inclusive, are of the 
 celebrated frescoes of Raphael, in the Halls of the Vatican. 
 
 89. Baptism of Constantine, the first Christian 
 
 Emperor, by Pope Silvester, - Salandri. 
 
 3 
 
38 
 
 *0. SUBJECTS AND PAINTERS. ENGRAVER. 
 
 90. Address of Constantine before his battle with 
 
 Maxentius, - Salandri. 
 
 Rajjjiael has taken the moment when the Cross appears in 
 the air supported by Angels. 
 
 91. The School of Athens, - Volpato. 
 
 The scene is laid in a magnificent building, imitated from 
 the original designs for St. Peter's, made by Bramante and 
 Michael Angelo. Though called the school of Athens, it re- 
 presents philosophy in general, and is, in expression and scho- 
 lastic knowledge, a wonderful work; each philosopher, by his 
 postures and gestures, characterizing his peculiar doctrines and 
 opinions. In the centre are Plato and Aristotle. The style 
 and attitude of Plato denote that he taught of immortality. 
 Pythagoras has his hands concealed in his mantle, referring to 
 the secrecy he enjoined. The figure leaning on a column is 
 Parmenides, and near him sits his adopted son Zeno, Socrates, 
 known by his face, is talking with his fingers to Alcibiades, in 
 armour. Thales, the geometrician, is supposed to be walking. 
 Xenophon appears to be calling to a youthful figure, his son 
 Gryilus. Epicurus is crowned with vine leaves. Diogenes, 
 with his cup, is seen on the second step. Below him is Bra- 
 mante, as Archimedes, tracing an hexagonal figure. The 
 crowned figure, holding a globe, is Alphonso of Arragon, as 
 Zoroaster, conversing with two persons, whose portraits are 
 those of Raphael, and his master Perugino. The statues and 
 bassi-relievi are emblematical of the different schools of phi- 
 losophy, and the picture, in point of composition, is considered 
 a masterpiece. 
 
 92. Theology, - Volpato. 
 
 This has also been entitled the " Dispute of the Sacrament." 
 In the upper part are the Trinity, Madonna, and St. John the 
 Baptist. Below are Saints Gregorio, Ambrozio, Augustin, 
 Domenico, Bonaventura, and Jerome. The first four as 
 Fathers of the Church, seated at each side of the altar, are 
 discoursing on the Holy Sacrament. These heads are thought 
 to be peculiarly fine. 
 
 93. Key to the above. 
 
 94. Conflagration, - Volpato. 
 
 A fire happening at Rome in the time of Leo IV., he ordered 
 Raphael to make it the subject of a picture. The artist has 
 made it somewhat classical by introducing a scene at the burn- 
 
19 
 
 SUBJECTS AND PAINTERS. 
 
 ing of Troy, described by the Roman poet— iEneas bearing the 
 aged Anchises, Creusa and the little Arcanius. The tumult and 
 high wind raised by the fire, are expressed with great effect. 
 The rescue of the father, the person sliding down a wall and 
 the woman carrying water on her head, with the fine figure of 
 a female in an imploring attitude, in the foreground, are much 
 admired. 
 
 95. Repulse of Attila, - Volpato. 
 
 This picture, celebrated for its composition and grouping, 
 represents Attila, King of the Huns, in his advance against 
 Rome, discovering St. Peter and St. Paul descending to arrest 
 his progress. Raphael has chosen the moment when the 
 Apostles are first discovered by Attila alone. 
 
 96. Key to the above. 
 
 97. Battle of Constantine, fought against Maxen- 
 
 tius, A. D. 312, - - - Fahri. 
 
 According to general opinion, this is one of the finest pic- 
 tures in the first class of great works. The most striking 
 groups are an old soldier raising his dying son, — two soldiers 
 fighting in the same part, and Maxentius in the Tiber, vainly 
 struggling to extricate himself, 
 
 98. Miracle of Bolsena, - - Morghen. 
 
 The heads of the Pope, Cardinals and Priests saying mass, 
 are much admired. 
 
 99. Mount Parnassus, -• Volpato. 
 
 At the entrance of a grotto is Sappho. The most promi- 
 nent of the four figures near her is Pindar, conversing with 
 Corinna, who points with two of her fingers to Archilochus. 
 Petrarch wears a monastic hood. The elevation of Homer, on 
 a level with Apollo and the Muses, shows that he has no rival. 
 Raphael has made the leaves of his laurel crown take the 
 shape of luminous rays, like the garland of Apollo. Not far 
 from Homer stands Virgil pointing to the epic muse. Looking 
 at Virgil, and standing below him, is Dante, and behind Virgil 
 is Ariosto. Raphael has placed the violin, an invention of his 
 own time, in the hands of Apollo. The person looking at a 
 gigantic figure below him is Horace. 
 
 100. Key to the above. 
 
20 
 
 NO. SUBJECTS AND PAINTERS. ENGRAVER. 
 
 101. Donation of Patrimony to the Church by 
 
 Constantine, - Fabri. 
 
 The composition is admired. The episodes deserve notice, 
 namely : — soldiers driving back the spectators — the beggar — 
 father and son — child on a dog, &c. 
 
 102. Overthrow of Heliodorus, King of Syria, - Volpato. 
 
 Who came to pillage the temple at Jerusalem, by two angels 
 and a warrior, sent at the intercession of Onias, the high priest, 
 as recorded in the second Book of Maccabees. This is ex- 
 tremely admired, especially the angels, who are pursuing 
 Heliodorus with such rapidity, that they seem to fly. The 
 warrior on horseback is strikingly fine. The temple appears 
 swept of the people in a moment, while in the background 
 Onias is discovered at the altar invoking Heaven. 
 
 103. Key to 102. 
 
 104. Justification of Leo III., ... Fabri. 
 
 Swearing before Charlemagne that he was not guilty of the 
 crimes laid to his charge by those who wished to depose him. 
 The composuion of this work is much admired. 
 
 105. Deliverance of St. Peter, - - Volpato. 
 
 The manner in which the lights are managed in this picture 
 is considered inimitable. 
 
 106. Victory of Leo IV. over the Saracens at Ostia, Fabri. 
 
 107. Coronation of Leo III. by Charlemagne, - Fabri. 
 
 The above form a part of a collection of about two hundred 
 and fifty engravings, presented to the Gallery by the family 
 of Mr. Reed. The collection comprises many rare and valu- 
 able engravings by eminent artists of celebrated pictures of the 
 first masters, from the earlier stage of the art, about the year 
 1500, to those of our own time. 
 
CONSTITUTION 
 
 OF THE 
 
 NEW-YORK GALLERY OF THE FINE ARTS. 
 
 ARTICLE I. 
 TITLE AND OBJECT. 
 
 1. This Association shall be entitled The New-York Gallery 
 of the Fine Arts. 
 
 2. Its object is to establish in the city of New- York a permanent 
 Gallery of Paintings, Statuary and other Works of Art. 
 
 3. The Gallery shall consist of works of art belonging to the 
 Association, and of such others as shall be loaned for exhibition 
 with the approbation of the Executive Committee : and in no case 
 shall any work be exhibited for the purposes of sale. 
 
 4. Works of Art will be received as donations, and placed in the 
 Gallery, provided the Trustees approve the same. Any person 
 bestowing any work of art, which shall be accepted, shall receive a 
 vote of thanks from the Trustees, and a certificate of membership 
 for life. 
 
 ARTICLE II. 
 members. 
 
 1. The payment of one dollar, and the subscription of this Con- 
 stitution, shall constitute the person making such payment and 
 subscription a member for life. 
 
 2. Each member shall receive a certificate of membership, which 
 shall entitle him to free admission to the Gallery for life, whenever 
 it is open. 
 
22 
 
 3. The certificates of membership shall not be transferable, and 
 all rights conferred thereby, shall attach solely to the person named 
 therein, and shall expire with his life. 
 
 ARTICLE III. 
 
 TRUSTEES. 
 
 1. There shall be a board of fifty Trustees. 
 
 2. (Names of first Board of Trustees, already mentioned.) 
 
 3. Fifteen shall constitute a quorum for the transaction of busi- 
 ness. 
 
 4. The Trustees shall have power to fill vacancies in their own 
 body, to elect from their own number all officers and committees, 
 and the same at pleasure to remove : to make such by-laws and 
 regulations for the management of the business of the Association, 
 and for the preservation, increase and exhibition of the Gallery, 
 as they may deem expedient : to revoke and alter the same at 
 pleasure : to purchase, for cash only, the paintings collected by the 
 late Luman Reed, Esq., and such other paintings and works of art 
 as they may deem advisable : to procure, for cash only, such lands 
 and buildings as will furnish suitable rooms for the exhibition of the 
 Gallery, and in the mean time to make such arrangements for the 
 exhibition, consistent with this constitution, as they may deem ex- 
 pedient : to designate such persons as they may deem proper, to 
 whom shall be conveyed the premises procured for the Association; 
 to obtain a charter of incorporation : to delegate to officers and 
 committees such powers and duties as they may deem expedient : 
 and in general, to manage all the affairs of the Association. 
 
 5. The Trustees shall have no power either to create any debt or 
 liability on the part of the Association ; or to sell, exchange or lend 
 any of its works of art ; or to do any thing by which any of its 
 property can be encumbered ; or to impose any assessment on its 
 members. 
 
 6. The Trustees shall meet annually, on the fourth day of Janu- 
 ary ; or if that day fall on Sunday, then on the fifth. 
 
 7. All meetings shall be held in the city of New- York. 
 
23 
 
 8. Any ten of the Trustees may require the Secretary to call a 
 meeting of the Board, at such time and place as they shall appoint, 
 by a written request signed by them, and specifying the objects for 
 which the meeting is called ; and no other business shall be transacted 
 at such meeting. 
 
 ARTICLE IV. 
 
 OFFICERS. 
 
 1. At their Annual Meeting in January the Trustees shall elect 
 from their own number, 
 
 A President, 
 A Vice President, 
 A Treasurer, 
 A Secretary. 
 
 2. Should an election not be had at the time appointed, the same 
 may be had at a meeting of the Trustees, to be specially called for 
 that purpose. 
 
 3. Such officers shall be chosen by ballot, and a majority of the 
 votes given shall constitute a choice. 
 
 4. Such officers shall hold their offices until their successors arft 
 elected, unless in the mean time removed by the Board. 
 
 5. The officers shall perform such duties as usually appertain to 
 their offices, and as shall be prescribed by the Trustees. 
 
 6. The Treasurer shall lay before the Trustees, at their annual 
 meeting in January, a full statement of the accounts of the Associa- 
 tion during the past year, which shall be accompanied by vouchers, 
 and audited by the Executive Committee. . 
 
 7. The Secretary shall inform each Trustee of every meeting of 
 the Board, by notice properly addressed, and put into the post-office 
 at least three days before such meeting. 
 
 8. In notices of special meetings he shall mention the objects for 
 which they are called. 
 
 9. This Constitution shall not be altered or amended unless by a 
 vote of a majority of the Trustees, at a meeting called for that 
 special purpose, and a notice of such alteration or amendment given 
 in writing at least two weeks previous to such special meeting. 
 
24 
 
 ARTICLE V. 
 THE EXECUTIVE COMMITTEE. 
 
 1. The Trustees shall, at the annual meeting in January, elect 
 frorn their own body five persons, who, with the officers, shall con- 
 stitute the Executive Committee. 
 
 2. Should such election not be had at the time above provided, 
 the same may be had at a meeting of the Trustees to be specially 
 called for that purpose. 
 
 3. Such election shall be by ballot, and a majority of the votes 
 given shall constitute a choice. 
 
 4. The Executive Committee shall hold their offices until their 
 successors are elected, unless previously removed by the Board. 
 
 5. When the Board of Trustees are not in session, the Executive 
 Committee shall have and exercise all the powers of the Board, 
 subject to its supervision and control. 
 
 6. The Executive Committee shall, at the annual meeting of the 
 Trustees in January, lay before them a full report of ail their pro- 
 ceedings during the past year. 
 
 7. The Executive Committee shall keep all the property of the 
 Association fully insured. 
 
 I