New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-10-15
The Altman Bequest.

Inc git 10 the metropolitan Museum annouhceu
through the filing of the will Of the late Benjamin
Altman appeals to the Imagination In more ways
than Interest is at excited in the par
ticular masterpieces of painting and other works
of art which now, through his munifcence become
public property. But reflection these gives way
to larger thoughts on the broad significance OF what
one more great American collector has done for his
countrymen. This gift to the museum, to the city,
is really gift to the United States. 1t supplies
rich commentary on the short sightedness of those
quaint individuals. in and out Of politics. who have
compelled their more enlightened fellows actually
to fight for free art. Is 1t not ridiculous to think
of our ever having been willing to place obstacles
in the way Of those wealthy patrons of art whose
treasures often ultimately placed where all
may delight in them?
Mr. Altman. as a collector. kept himself to him.
self He showed his possessions to few. and he was
even indsposed to permit much information about
them to get abroad. Only once that we recall
did he consent to lend anything for public exhibit
ton. Then, the occasion of the Hudson-Fulton
celebration he contributed TO the historic show at
the museum His early vermeer. the famous
Sleeping Girl" made Of the most important
Incidents of the whole affair In general his pic'
ures are practically unknown here save by repuie
but In that regard their rank is as secure as it
lofty.
He was one Of those connoisseurs who go not fOy
quantity but for quality not alone for the great
but for the truly great and representative example
The Altman Rembrandts make a collection by them
selves and one OF them, the prodigious "Old Woman
Cutting Her Nails" Is unique In this study Of an
utterly prosaic subject the Dutch master put form
his full strength and fairly transmogrifed his
material: 1t is akin to Greek sculpture in the
grandeur with which It invests the human form
Some amateurs might have baked at the theme
Mr. Altman knew better. He bought pictures when
he thought them beautiful and not from any SEMI
mental interest. In all the long list of the rare
canvases and panels that he brought together list
embracing the respondent names of Mantegna anl
velasquez, Ddrer and Hobein Van Dyke and Halls
Botticelli and many others, there is nothing. We
believe which is not OF the highest artistic valu
The collection is in fact, an exquisite whole.
AS 1t passes into the keeping Of the museum, ac
companed by a enthusiastically generous endow-
ment the trustees of that institution must begin to
wonder II Aladdin's lamp has not been placed in
their hands. A body Of paintings, porceains rugs
and other gems, which, housed by themselves, would
have made gallery in this city comparable to the
Wallace Collection in London, is flung as 1t were
into the great stream of benefactions that for some
years now has been steadily flowing into the vast
building in Central Park. Already we have one Of
the great museums Of the world, and to Judge from
this latest bequest its future promises almost in
credible things. Historians will find In its growth
evidences Of public education and taste; they will
recognize in It, perhaps, kind of monument to
American culture. But they will see in the mu-
scum, too. extraordinary testimony to the depth
and fervor of American patriotism, to the public
spirit which more than anything else ennobes
mans career. 1t was fine thing that Benjamin
Altman could care as he cared. amid all the exac-
tlons OF merchants busy life. for beauty and Tor
genius 1t was, If anything, finer for him to have
conceived the thought of sharing with the people his
Joy in art and of handing down his priceless works
from generation to generations