Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07
By Leila Mechlin.

~ CnaC OF the late Andrew w
4 \ Mellon, was the collection OF
"a paintings by great masters Of Eu-
ropean school given by Ralph Cross
johnson Of this city in June, 1919.
These paintings. now included in
the National Collection of Fine Arts,
Of which the Smithsonian Insti-
tuition is custodian, were assembled by
Mr.. johnson during long period OF
years, with discrimination and the ut
most care. Some of them, If not all,
would conform to the standard set for
the National Gallery of Art by the Mel
Ion Collection, but it is at present
taken for granted that the donor de-
sired them kept together and shown
as an entity. They are. and have been
virtually ever since their presentation,
on view in one Of the small. improvised
galleries on the main floor of the Nat
ural History Building of the United
States National Museum, Tenth street
and Constitution avenue NV, where,
save for overcrowding, they appear to
excellent advantage.
Mr.. johnson was native OF Maine,
graduate Of Harvard College and
Harvard Law School, and member
Of the bar Of the District Of Columbia
as we'll as that of the State of his
birth. A man of means, he Travelled
extensively in Europe as we'll as this
country, and the paintings he acquired
reflect not only his interest in the
field of art, but experience gained
through contact with the masterpieces
of the world. He possessed many Of
the characteristics ascribed to those OF
his State He was reticent, talked lit
tie, held positive opinions, was unyield-
ing in his convictions, and, with all,
a good bargainer. knowing full well
the worth Of what he bought. But he
was. and none who knew him can
gainsay it, an enthusiastic lover of art.
nUR1NG his lifetime the paintings
that he acquired were kept in his
home on street between Seventeenth
and Eighteenth streets NV. They
were virtually never shown IN public
exhibitions, but as each acquisition
was made, sympathetic friends were
summoned to see them, and rejoice
with him. Such summons were man.
datory and morable-like invita-
tons to meet royalty. The latest ar
rival would be on an easel in one of
the drawing rooms in precisely the
right light; the chair for the visitor
granted an audience was in exactly
the correct place for perfect inspec-
ton. Very little was said; one just
looked and learned. Occasionally the
silence would be broken by signifi-
cant remark on the part of the host
and owner; one was encouraged to
voice ones impressions - but rarely
could for awe and admiration. Thus
the writer recalls having first seen
some of the works included in the
Ralph Cross johnson Collection, now
the property of the Nation. But not
all the pictures acquired were retained
In some instances, after being tested
out, they were passed on and replaced.
That is collecting at its best.
Mr.. johnson, more than most col
lectors of his like, bought pictures
rather than names. It is an interest,"
ing and notable fact that the paint
ings in this collection are not pedi-
greed. The history of their several
ownerships is not given. OF none ap-
parently can it be said purchased
from the painter by Blank. later in
the Lord This and Baron That COL
lections" And only by such pedigrees
can authenticity be established on an
unshakable foundation. Obviously this
affects market values. but it in no wise
lessons intrinsic merit.
IF A painting is as good as Rem
brandt it really does not matter,
to those who view it for delight and
inspiration, whether it was actually
painted by the great master or some
one else. Provided, of course, that it
Is not modern imitation which will
not stand up against the ravages of
time. But pedigree or no, there are
certain paintings in the Ralph Cross
johnson Collection that even the most
astute authorities are more than will
ing to take on faith and acclaim as the
works of the masters to whom they
are ascribed Such is the canvas en-
titled Ruins and Figures" by Fran
cesco Guard of the Venetian school of
the 18th century, and such, likewise
to name two outstanding examples
Is the portrait of Archibald Skirving
by Sir Henry Raeburn
The Guard has been borrowed
upon several occasions since it came
into the possession of the Nation for
notable exhibitions in other cities,
selected by leading experts to ex-
emplify only the best. 1t is a very
handsome composition, rendered with
great breadth as we'll as richness of
color. The light of the great Venetian
school, which seemed to have flicked
out hundred years before the birth
OF Guard, 1ared up again in his
century and with sufficient strength,
Bernhard BerenSon says ito ignite
the torch that is burning steadily
now" Guard was, it will be remem-
bered, the pupil or follower of Canale-
or Canaletto as he is better konwn-
and second example in the johnson
collection. View in Rome, With the
Church of Ara Coeli," is more in the
spirit and style of his master 1t is
a very engaging work painted with
great minuteness and accuracy. But
in addition to these virtues it has a
quality which is rare-especially so
at the time it was painted-that of
sunlight sifted through atmosphere
in such wise that it beautified every
thing upon which it falls. There is
q loneliness in this painting of an
cient, well-built walls and walks that
fairly transports the observer to other
worlds. Also 1t proves that one may
be meticulous without being dull.
OBVIOUSLY, however, the Ruins"
constitutes a more impressive
canvas. Guard undoubtedly had AN
eye for the picturesque" and was one
of the first to rejoice as a painter in
instantaneous effects" With him
the world of art began edging a bit
awav from nature though rsinp her