The Scottish National Portrait Gallery
To-day, the Scottish National Portrait Gallery, which has been erected in Queen Street, Edinburgh, is to be formally opened by the Secretary for Scotland, the Marquis of Lothian. The history of the building affords an excellent illustration of two things – first, the neglect by the Government of Scottish art, of which Scotland has a right to complain; and, secondly, the happy fact that there are Scotsmen to be found ready to redeem, by well-disposed munificence, such official shortcomings.
The new Gallery has been erected at the cost of a private anonymous donor, whose contribution towards it must amount, to little less than £50,000.
The style of architecture adopted is the secular Gothic of the Fourteenth Century, and when the whole façade, with its flanking towers and spires, and binding ornamental parapet is completed, the building will be recognised as a notable and interesting addiction to the architecture of the city.
The architect in selecting this particular style was guided by considerations alike of utility and beauty – this phase of the Gothic readily lending itself to the providing of sufficient window openings for such of the galleries as required to be lighted from the side.
On Saturday the representatives of the Scottish Press had an opportunity of inspecting the Portrait Gallery, and of noting the collection of portraits which has been got together in the double gallery on the first floor. In its new home the Portrait Gallery opens under the most promising anspices.
One was very much pleased with the interesting and picturesque character of the gallery; and the excellent manner in which the portraits in various mediums have been displayed.
Oak screens running out at right angles from the windows, both on the north and south sides, have been introduced with good effect; at the base of the piers of the arches there are glass cases with medallions and works of art of a similar description, and at various points in the rooms busts on pedestals of a chocolate colour are happily disposed.
The walls of the gallery, it will be noted, are in a green grey tint, and the beams of the roof in a soft flat red. A standpoint from which an excellent view of the gallery may be obtained is at the north-east corner-the straight line of vision through the central archway carrying the eye to Raeburn’s splendid picture of the youthful Professor John Wilson standing by the side of his brown horse.
The catalogue prepared by Mr John M. Grey, the curator of the Gallery, shows that already that the board are the possessors of 324 portraits of various kinds, and that they are the custodians of 71 others which have been granted to them on loan.
A number of these are exhibited in the new gallery for the first time, the whole forming and interesting collection of men and women who have been distinguished in some way in connection with the Government, law, literature, or art of the country. The loan portraits are for the most