New-York tribune., 1905-04-24
THE ABERDEEN GALLERY.
4 Good Example Set By an old
Scottish University TOscn.
Aberdeen. Aprll o.

y.
A languishing. half equipped. badly supported
art institution has received a touch OF life from
the enthusiasm OF a leader OF men, The ADer-
6een Art Gallery was built by public subscrip-
ton twenty years ago and connected with the
Gray School OF Art. hut for long Period no.
body IN the old university took a serious view
OF Il. nor seemed 10 know what TO do with IT,
II was a modest little structure in italian
Renaissance in front OF the Robert Gordon COL
lege on School HIll. and exhibitions OF oils and
water colors were sometimes Leld there by the
Aberdeen Artists Society. but there were no
permanent collections CT educational value.
shrewd. practical men laughed at it as a poor
investment, and the empty gallery Has consid-
cred proof that Aberdeen could never become
an art centre. although two seulptors. William
Brodie and Sir John Steel. had lived there for a
season. ana group OF painters. comprising
George jameson. John Phillip. Sir George Reid,
william Dyce and Robert Brough had been
Identified with the town. Dignity was impaired
10 the gallery when the Macdonald collection
OF modern paintings. with unique series Of
portraits OF artists painted mainly by them
selves. passed into the possession Of the city,
but II was not until Mr.. James Murray became
chairman Of the art gallery committed about
three years ago. that there We're unnlistakable
signs Of an awakening OF public interest in the
institution. He began with courses Of lectures
By experts subjects likely 10 draw audiences,
ana he has ended by remodeling and enlarging
the gallery and stocking It with a collection Of
casts representing the history OF sculpture. He
has carried the public with him and convinced
Abe-donians that they now have an institution
OF great practical utility, which ought 10 be
permanently maintained and generously sup
ported by the ratepayers for IL is not merely a
series OF exhibition rooms where amateurs can
display crude work. hut also a school where
masterpieces car be studied in perfection OF
line and modelling.
Nr Murray. being a man OF wealth, has been
a generous patron OF the Art Gallery: but that
is 2 small matter in comparison with his success
in imparting his own enthusiasm for art TO all
classes. He has taken advice and carried out
other mems ideas. and consequently he has not
been reproached with riding his hobby 10
death. When Dr. John F. White suggested that
a sculpture gallery with casts would be more
useful than ordinary picture gallery and
museum, he accepted the idea and called
public meeting for consideration of the project
Every obstacle was overcome by his persistent
energy. The additional land required for the
enlarged structure came from the college; a
.ocal charity trust was induced TO provide two
thirds OF the building fund Of 80, 600: and when
the remainder was subscribed he appealed sue
1essfuny TO many as 1GO residents and
patrons 10 supply the casts. which Mr.. Martin.
Of the Victoria and Albert Museum, considered
essential 10 a comprehensive exposition of the
art Of sculpture He left details TO others, and
did not argue fine points with specialists; and,
without seeking 10 have his way in minor
matters. he never relaxed his efforts 10 carry
out the project as whole. With flexible
architect and with the efficient cooperation Of
6essor Ramsay and Mr.. Martin. he has COM
pleted public work without exciting jealousy
or creating resistance in any quarter. Having
set the new gallery in order. he has invited a
distinguished company OF experts from the Con-
tneutal museums. art critics. sculptors painters
and men OF letters 10 the opening ceremonies,
bringing them from London by a special train
and entertaining them with lavish hospitality
for three days; and the handsome old granite
city has suddenly awakened 20 the fact that it
now has unique facilities for art study and IS
famous. Happy is the community which has a
man like Mr.. Murray. endowed with talents for
leadership and with the incompatible gift OF
exciting enthusiasm
The sombre If elegant, exterior Of the A5er-
5een Art Gallery hardly prepares the visitor for
the stately splendors Of the vestibule and cen
tral statuary court The groined arches of the
from British and Scandinavian quarries. with
the distinctive hue and grain Of each stone
brought out by the polishers art The floor Of
the central court Is laid in white marble, and il
is surrounded by an arched and vaulted coister
or colonnade. There are eighteen granite Ionic
pillars with bronze capitals. supporting arches
on which q balustraded balcony is carried
around the four walls. The archivolt and cor
nice lines follow those OF the Palazzo Vecchio, in
Florence; the marble balustrade is copied from
the cathedral at SpoletO; and above the bal
sony the frieze reproduces the professions Of the
Parthenon frieze in the British Museum. With
the blues. dull reds and grays Of the granite
pillars with walls piastered in dove colored
marble and panelled with rose red canvas, and
with soft cream paint and hangings Of pale
green linen, the effects OF color are rich ana
harmonious. A large oval dome Of glass in
the ceiling lights the quadrangle Of eighteen life
sized statues under the arches. The incompara-
lie Venus ot Milo has the place Of honor; and
towering above her, in the balcony, is the head
ess Victory found at Olympus thirty years ago
and ranged about her the classic Apollo of
the National Museum Rome; the graceful Ar
tennis Of the Dresden Gallery, caryatid from
he Acropolis and another from the Erechtheum
the Capitoine Antinous the Vatican Niobid
the Ponpeian Doryphorus OF Polycletus. in the
Museum OF Naples, the EIernes Of the Belvedere