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no more beautiful passion--than the passion for collecting works of art. Of all passions it is the purest. It matters little to the man possessed of it whether he collects for the State or for himself. The gallery is his child, and all his time and energy are given to the enrichment and service of _his_ gallery. The gallery is his one thought. He will lie awake at night to better think out his plans for the capture of some treasure on which he has set his heart. He will get up in the middle of the night, and walk about the gallery, considering some project for improved arrangements. To realise the meaning of the passion for collecting, it is necessary to have known a real collector, and intimately, for collectors do not wear their hearts on their sleeve. With the indifferent they are indifferent; but they are quick to detect the one man or woman who sympathises, who understands; and they select with eagerness this one from the crowd. But perhaps the collector never really reveals himself except to a fellow-collector, and to appreciate the strength and humanity of the passion it is necessary to have seen Duret and Goncourt explaining a new Japanesery which one of them has just acquired. The partial love which a corporation may feel for its collection is very different from the undivided strength of the collector's love of his gallery. And even if we were to admit the possibility of an ideal corporation consisting of men perfectly conversant with art, and animated with passion equal to the collector's passion, the history of its labour would still be written in the words "vexatious discussion and lost chances". The rule that no picture is to be purchased until it has been seen and approved of by the corporation forbids all extraordinary chances, and the unique and only moment is lost in foolish formulae. The machinery is too cumbersome; and chances of sale-rooms cannot be seized; it is instinct and not reason that decides the collector, and no dozen or twenty men can ever be got to immediately agree.


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