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Iding's sentiments are on record. In a letter to the Ilea in finer
of the 23d of March, 18,30, he says—" A. very beautiful pie-
turn, supposed by the poisesser to be an Andrea Mantegna,
was put up for public auction, in London, .a fe*
weeks ago. Mr. Morris Moore, as soon as he saw it, knew
what it was, in fact, a remarkably fine Raphael. Fortu-
nately for him, nobody else thirst think so. I say knew,
44e;oftusa-- judging not by my own impressions, which are
Worth nathing, but by the Opinions of persons whom• I know
to he co iapetent have no doubt -myself that the, picture
Will, ore long,' he generally acknowledged and established
not only as-an eisquestionabie Raphael, but as an unusually
fine.specimeu, in unusually good preservation, and not the
less .recuerkehleier the boa.utY of the subject and the
treatment than fur the painting or drawing." Mr. Sped-
ding's testimony, thou, is valuable not puly on account of
his own impressiens, but because ho backs it by the opi-
nions of parsons whom he knows to, be competent. The
editor of the E'xamincr comments on his letter thus—
" We recommend it to the dieectors of the National Gal-
lery. The picture to which reference is made ought un.-
questionably to have been purchased for that Collection.
We care not whether or • not it be finally admitted as a
ftaffaelle. We have seen it; and can confidently say that
its intrinsic claims and consummate merit as a specimen of
the period to which it belongs, entitle it to a place among
the great masters an.: '°lides to our knowledge and appre-
ciation of early art." Apia; I might cite one member
of the Legislature who said, that "if he possessed fifty
votes, he would give them all to place the Apollo and
Marayas in the National Gallery;' another, that I " de-
'served & Vote of thanks for having proved to the world
that Englishmen can appreciate such works ;" to which he
added with emphasis ; "it would have been a disgrace to
the nation had a foreigner been the purchaser of that
picture.
But Mr, Stirling requires "constituted" authority.
Hera, then; are five more Trustees to catalogue among his
" foolish friends." Lord Lansdowne and Mr. Rogers
Isreatly extolled the " Apollo and Marysas." Mr. Thomas
Bating has on various occasions expressed his admiration
of it, nod has said that it is "always a treat to see it
again." Sir James Graham, aftei extolling its ,beauty
gcnezally, pronounced the " ,„„,p o" the " most God--
dike figura he had seen ;" while dr. Gladstone thought
the picture "such a work as one could wish Ra-
phael hal painted," and regretted that it did not rest with
bins "to lend it the authority it deserved." Subsequently,
gr. Gladstone lieceme Chancellor of the Exchequer, and
ex-officio a Trustee. But when presumptively—l say pre-
sumptively, for on no terms, I repeat, would' have treated
with the actual managers of the National Gallery—it did
rest with him to lend to the " Apollo and Marsyas" the
,authority it deserved, he proved his consistency and his
financial tact, by expending 3,000/. upon his unknown
Germans, the ;Yon Wardens, Von Liesborns, and " Tom
Rings," and that aseetic Lambert, whootccording to the
Esetlake-Wornam 'catalogue, was so devout a worshipper
of the mystical " Three," that three wives and three
families were the reward of his " sanctimonious rhetoric,"
and who, to believe the same authority, had a knack of
" executing- his pictures"—and why. not his families ?
"in a manner somewhat peculiar to himself." Were we
a Pagan nation, and the strange edifice in Trafalgar-
square the temple of our God, although we could
not expect much grace for the architecture, yet those
votive ' daubs to say nothing of their suggestiveness
of the sacred geese, might attest our island piety,
or the chaste and recondite yearnings of the Chief MYsti-
tier, but in this age of- income-tax and Tractarian light it
bean hard upon au orthodox and not indocile people to be
mulcted for the symbols of au exploded creed. One more
" conitituted authority" and I have dome with the " foolish
friends" of= my " doubted or doubtful Raffaello." In 1851,
Um. Stirling's client, Herr Mttedler himself, more than
once saw the " Apollo and Marsyas," and, after some
persuasion from me, became one of the most vehement of
its panegyrists, and a true believer in it 83 a Raphael.
Awl this brings me to a curious instance of German Art-
criticism. Dr. Waagen, as he is called, was then in London.
Herr giindler expressed the greatest desire that the Doctor
should sea my picture, assuring me, at the same time, that
from his report he would come prepared to agree with us.
But the German Doctor, according to Heir Miindler,
wished to see the picture and to give no opinion upon it.
If he disagreed with me, I might attack him ; if the re-
verse, he might be placed in an unpleasant p)sition with
his fdends, my opponents. and their patrons. • I could not
consent to such terms. His very silence would be used as
a weapon against me. I was at a loss to conceive why a
learned German Doctor should trouble himself about any
attack from an ignorant Englishman. I said that Dr.
Waagen should sea the "Apollo and Marsyas" as often as
he liked, but on condition that after a reasonable time he
should pronounce a decided opinion upon it. All I would
promise was, that if the Doctor agreed with me, whatever
course I might adopt iu the other case, I would never
quote his authority.
Since the "Apollo and Marsyas" became mine, Sir 0.
Ea4tlake has laid out 14,0J0/. iu pictures, including his
" Adoration of the Magi." Let no one prematurely ask
how many pictures he has secured which it would be a
treat to see again ;" how many, such as "one could wish
Raphael had painted ;" how many " God-like figures."
As Mr. Vernon says, "Let him have a fair trial, and he
will prove himself more worthy of public confidence than
the recent unfortunate purchase of the ' Adoration of the
Magi,' which has justly caused so much sensation, would
make him appear tp be." "Pellegrina Morosiui, a young
woman of considerable embonpoint "—whom Sir C. East-
lake,lactiording to page 56 of his last report, hall just se-
cured for the Trustees, has yet to make her appearance !

By H. T. STAINTON.
Longman, Brown, Green, and Longmaus.

COMPLETION OF TIIFi TRAVELLER'S' LIB :ARY,
In 25-Volumes, price Five Guineas, in cloth.
On the 31st inst.,
In I Gmo.,
J price 2s. 6d:cloth; or In 2 parts, price Is. each,
pSSAY on the LIFE and GENIUS of
THO3I.IB:FULLER: Wit-, Feiections from his Writings.
• By HENRY ROGERS.
Forming Volume L. or Parts 101 and 102 of the " Traveller's
Library," and c ,mpleting the series.
v.* % clasdifled Catalogue of the contents of the " Traveller's
Library" may be had of Me srs. Longman and Co., and of all
Booksellers.

London: Longman, Brown, Green, and Longmans.

GUILDHALL, May 10,1856.--The Committee
for Letting- the City's Lands will meet at Guildhall on WED-
NESDAY, the 21st instant, at One o'clock precisely, to receive Pro.:
posals for Leases; in lots, of sev,-ral Houses and Premises, No. 1'23,
Fenchurch-street, No. 8, Billiter•square, and a workshop in Cull, r-
court, Fenchurch-street ; No. 1, Banner-street, Finsbury, Nos. 1,2,
3. St. Luke's-passage adjoining, Nos. 47 and 48, and Nos. 64 t 71,
Banner-s net ; No. 2, Artillery-court. Chiswell•streer, .Nos. 28 to 31,
Mark-street, Nos. 1 to 4, and a workshop, in Mark-;dace, No. 24,
Aratthew-street, No. 58. Great Leonard-street, Nos. 102 and 103,
Paul-street, and No 4. I to 20, Pant-square, Finsbury, and Nos. 4,5,
G, 7, P.uteher-row, Batcliff.

Plans of the property may be seen, and further particulars end
forms of tender obtained at the Architect's Office, Guildhall.

FE RD IN IND'BLIARD, Comptroller.

27, Soho-square, April 30.

" AN. UNSCRUPULOUS FOE."
I have said that the " Apollo and Marsyas" was sold at
Messrs. Christie and Manson's on the 2d of March, 1850.
It had been pointed out to Sir C. Eastlake while on view.
Three acquaintances of mine were in the auction-room at
the same time as he was. One of them exchanged some
remarks with him about the picture, but he treated it as
unworthy- of particular notice. We shall see how his per-
ceptions were q sickened. At this time Sir C. Eastlake
held no official appointment at the National Gallery. He
hail resigned the Keepership since two years and a-half,
but he maintained a secret influence there under the pre-
text of revising the official catalogue. Thus, he was still
the final authority for the nomenclature of the pictures.
The Minutes of the Tiustees of 1817-52, pp.2B-9, show that
he interfered in other ways also with the National Gallery.
Moreover, he was, and is still, besides his I,ooo'. a year as Di-
rector of the National Gallery—in the receipt of 7001. a year
as Secretary to the " Royal Commission for the Promotion
of Art." Had he comprehended the value of the "Apollo and
Marsyas," it would have been his duty, as a highly-salaried
officer " for the promotion of art," to apprise the Govern-
ment of the possibility of obtaining it for the nation. But
the unfitness of Lord Palmerston's "undoubtedly fit
triend " comes to the rescue. Sir C. Eastlake stands ac-
quitted of inattention to his duty for reasons that must
satisfy even the most captious objector. First, it was his
interest to obtain for the nation so consummate a work ;
secondly, as he speculates in pictures as well as paints
them, he would, at the worst, have perceived the thrift of
alempting '4O secure it for himself.
It has been stated that evidence upon evidence has accu-
mulated to confirm my judgment respecting the " Apollo
and Marsyas." For instance, Raphael's monogram, R.V.
—RAPHA.EL VRBINAS —has been discovered in certain
golden dots on the border of the quiver at the feet of the
Apollo; the dots standing for the high lights of a relieved
ornament. This signature is peculiarly interesting from
its serving the double purpose of representing at once the
name of the master and a feature of the design. I quote
it for no more than its worth, and, though a feature of the
design, rate it as evidence extrinsic, in contradistinction to
the evidence of art. But the extrinsic evidence which
eclipsosallotherisßaphael'soriginaldrawing for the picture.
That drawing is in the Accademia I. It. delle Belli Arti at
Venice, where is preserved one of the most important collec-
tions of Raphael drawings extant. Until a recent date the
" Apollo and Marsyas" drawing hang with the rest of the
Collection in a room set apart for ancient drawings. Friends
of mine, now in London, saw it there within the last five
years. But "an unscrupulous foe" also had heard of that
drawing. In the autumn of 1832 Sir C. Eastlake appears
in Venice, and as a liberally-paid functionary for the Pro-
motion of Art in England manifests a singular interest in
it. The drawing disappears, and is smuggled into the
private room of Signor Salvatico, the Director. For some
time I remained ignorant of this startling coincidence.
Judging it important to bring the picture and the drawing
side by side, as it were, and so put the seal to one of the
most striking incidents in the history of art, I asked
an acquaintance in March, 1851, to request an Eng-
lish friend resident at Venice to obtain a photograph of
the drawing. This request was met by a rude refusal.
In May, 1854, another Englishman, resident at Venice,
made a second application on my behalf. Again a refusal,
but this time civil, and coupled with the information that
two demands for a photograph had already been made ;
the one on my account, above-mentioned, though for whom
was unknown to the Director; the other by Sir C. Bastlake.
The Director refused the photograph on the ground that
he " stood pledged to Sir C. Eastlake" not to let any per-
son have a photograph of that drawing until Sir C. East-
lake himself had had one. Strange ! that he who had
cared so little for the picture should so bestir himself about
the drawing. After some ur,iing the photograph was pro-
mised, but it never came. The pledge to Sir C. Eastlake
had to be kept. In theaututnn of 1851, another acquaintance
about to proceed to Venice with a friend who holds an im-
portant office at the British Museum, undertook to pro-
cure the coveted photograph. Lest he might be discour-
aged from the undertaking, I abstained, from mentioning
the result of former attempts. These gentlemen were four
days in Venice, but although they repeatedly applied,
and although the official title of the one was put forward
for that express object, they Were unable to obtain a sight
either of the drawing or of the Director. They learnt, ho %!-
ever, from an officer of the Accademia dells Belle Arti,
that a photograph of the " Apollo and 3/lamp's" drawing
had been taken, but that it was useless for them to apply
for one, as the " Presidents dell'Accademta R.eale delle
Belle Arti di Londra," that is, Sir C. Eastlake, was the only
person through whom a photograph could be obtained.
About this period Sir C. Eastlake again appears in Venice.
The National Gallery job was about to pass its first stage.
Those clandestine arrangements, which subsequently Lord
Palmerston twice repudiated in Parliament, were on the
eve of consummation. A corroboration of my judgment
on so great a question as the givingto the world a Raphael,
might, just then, prove inconvenient. During 1854 I made
a fourth attempt. In that year Professor Boehm, the Direc-
tor of the Academy of Me:Whets of Vienna, and one of the
most eminent connoisseurs of ancient paintings and draw-
ing, in Europe, was sent to Milan by the. Austrian Go-
vernment, as Commissioner to examine Leonardo da
Vinci's " Cenacolo," and to report upon its condition.
Having heard of my picture, he availed himself of
his journey to Lombardy to visit Venice anti in-
spect the drawing. As I was acquainted with his
sons, I thought this an auspicious moment for
obtaining what I desired. A letter was accordingly de-,
spatched to urge my wishes. But Professor Boehm had
kindly anticipated them by requesting Signor Salvatico to
let him have a photograph of the drawing. To an Am.
Ulan functionary of Professor Boehm's standing a ready
compliance was, of course, expressed. The result of this
demand, as well as the character of the drawing, is de-
scribed by Professor Boehm himself. Towards the end of
July, 1855. I received the following communication in
Italian. The original was published in the Morning
Advertiser on the let of September, and in Bell's Weekly
Messenger on the Bth.

" Vienna, Li 22, Luglio, 1855.
" Pregiatissinio Signore—With regard to your question
whether the drawing in the collection of the Accademia delle
Belle Arti, at 'Venice, of which you paesess a painting—the

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painting of which you sad,.
ing by Raphael or not, I have the Jnour to declare,,,t, .161
that without doubt I hold it as suck. That drawing is *l—
aical. inform, and of the youthful age of Raphael That*.
*nonce of Perugia° is still perceptible in it, but, at the sane
time, a tendency to emancipate himself from -the usual and
kffaritable manner of his master, in search of the Beautiful
and the Sublime.
" I have begged of the Marchese Salvatico, both by word
of mouth and in writing, that he would forward me a pho•
tograph of it, but, in defiance of his most positive promises,
I have not been able to obtain it. Most sorry, therefore; not
tote able to meet your desire except by this letter, instead
of by the above-mentioned phoSograph, I subscribe myself
with esteem,

"GILTS, DAN. BOEHM,
" Direttore dell Accademia degli Incisori di Zecea,
ed I. R. Incisors di Camera.
Mr. Morris Moore."
A fifth attempt was less unsuccessful. After fourteen
months, in May, 1855, through the interest of another ac-
queintance, and, I believe, the influence of .the English
Consul at Venice, a feeble copy by hand of the " Apollo
and Marsyas" drawing was extorted from the Venetian
Director ;. I say extorted, for he had pushed opposition to
the very verge of suppression. Further he durst not ven-
ture. Too many eyes had seen the drawing before it had
grown to its present importance. Yet tile photograph was
still withheld, because that alone could give the lines of
Raphael, and these alone I wanted. But falsehood was
now enlisted to maintain the pact with our Presidential
Secretary for the Promotion of Art and National Gallery
Director. Now, the drawing was " too indistinct for the
operation ;" " too indistinct" to allow the convicter of a
German nominee the means of vindicating, by Raphael's
own handwriting. the accuracy of his judgment and the
Arf-criticism of England, but not " too indistinct" for
the photograph which had already in the autumn of 1854
been taken for the private use, as it is asserted, of Sir C.
Eastlake and Buckingham Palace. I made this state-
ment respecting Sir C. Eastlake and the " Apollo and
Marsyas" drawing on the 27th of August and on the
Ist and Bth of September last, in the f-omit:9 Adver-
tiser and Bell's Weekly Messenger. I forwarded Sir
C. Eastlake a copy of the papers. A few words more,
and I quit this humiliating episode, and with it the
Vernon " man above all sordid considerations ;" the Eleho
most estimable, amiable, and thorough. gentleman,"
whose " acquaintance is a pleasure ;" the Baring " Direc-
tor, of knoWleige, taste, and discretion, upon whom
perfect reliance can bo placert"—the Gladstone-cum-Stir-
ling man " whose name requires no testimony tha t
the first 'could render," and who, to believe the
other, has been " sufficiently defended " the Otway
" honourable man," and Palmerston's " friend," " tbe di-
rector of high.character, undoubtedly fit to hold the office
entrusted to him."* Of all men, lam the one whom Sir
C. E tatlake is most deeply interested in .thwarting ; the-7.
man whose good name he has most reason to dread. Twice
have I been instrumental in driving him from the National
Gallery, once froth the Keepership, for his Vandalisms in
ISM, and again from the es-officio Trusteeship, for their
revival in 1832. Success to me is defeat to him. Under such
circumstances, who can doubt that could the "Apollo and
Marsyas" drawing have served any other purpose than to
confirm my judgment, the Secretary for the Promotion of
Art, instead of so carefully taking means to prevent its
publication, would have stretched a point "in the in-
terests of truth and for the welfare of the community" to
have made even a prodigal distribution of the photograph?
It is notorious that on my account, and on my ac-
count alone, did the Government for nearly two years sub-
sequent to the publication of the Report of the Committee
of 1853, hesitate to " Reconstitute the Establishment of the
National Gallery." It is equally notorious that on my
account alone did the Palmerston Government, on the 22d
of April, and again on the 23d of June, 1855, uncondition-
ally deny the appointments, they had made on the 27th o f
March.. Mark how our servants justify our confidence !
In June, 1851, Lord Elcho, then a Lord of the Treasury
in the Aberdeen-Palmerston Ministry, said to Mr. Hurl-
stone, the President of the Society of British Artists—
"We know that Mr. Morris Moore is the man for the
Directorship of the National Gallery, but we will not ap-
point him because he has given us so much offence." They
have their convictions, then, as to who is competent, but"
slaves to their own passions and to a vicious influence, they
crown the most incompetent. Yet these are the men who
denounce me as "personal !" Lord Elcho owes it to the
public to explain that offence. I will meet him on
that ground.; One thing I have earned by my plain speaking
on the 17th. The calumny of "disappointed competitor-
ship" has at times made me pause. A fitting occasion to
answer it appeared never to arrive. Uttered by the Prime
Minister, for his position, if not for the man, it was at
length worthy of my notice. I met the calumny and
strangled it. He must be a bold man who would now do.
nounce me as one with whom self-interest has greater
weight than truth or the welfare of the community.
MORRIS MOORE.

* Debate on the Estimates, for the National Gallery
during 1856-7, April 7th. •
t The statement respecting Lord Elcho and Mr. Hurl-
stone was published on the 20th of October, by Mr. Barnes,
a barrister of Lincoln's-inn. A copy of it was forwarded
to each. It has never been denied.