Mr. Jarves’s object has been to form a gallery that should exhibit the origin, progress, and culmination of Italian Art from the thirteenth to the seventeenth century, in such chronological order as should show the sequence and affiliation of the various schools and the various motive and inspiration that were operative in them.  To quote his own language, Mr. Jarves began his undertaking with no “expectation of acquiring masterpieces, or many, if any, of those specimens upon which the reputation of the great masters is based.  These are in the main either fixtures in their native localities or permanently absorbed into the great galleries of Europe; and America may scarcely hope ever to possess such.  He did propose, however, to get together a collection which should fairly represent the varied qualities of the masters themselves, and the phases of inspiration, religious, aesthetic, or naturalistic, by which they were actuated.  And he claims now to have succeeded in this to an extent which in the outset he did not dare to hope, and to have secured for the collection the approving verdict of European taste and connoisseurship in the recognition of it as a valuable historical gallery of original paintings of the epochs and schools they claim to represent.

“In putting forward this claim, he does it in full view of the character of the criticism and doubts such an assumption naturally begets.  The public are right in doubting; and they should not be convinced except upon sound evidence.  Therefore, while he unhesitatingly claims for the collection the foregoing character, he expects and invites from the public the fullest measure of impartial and intelligent criticism.

“The object of the collection is a nucleus for an American Gallery, to be established in the most fitting place and upon a broad basis, sufficient to gratify and improve every variety of taste and to advance the aesthetic culture of the people.

“With this aim, he has declined repeated overtures pecuniarily advantageous to divert it in whole or part to other purposes; and in bringing it to America at his own risk and expense, it is solely to test the disposition of the public to second such a project.  If it meet their approbation, the means best adapted for the purpose are to be maturely considered; but if otherwise, it is his intention to return the gallery to Europe.

“It is a simple question, whether, after having had the opportunity of becoming acquainted with the collection and his object in making it, the American public will sustain perfect this humble beginning of a Public Gallery of Art, or abandon the formation of one to future chances, when the difficulties will be much greater and the opportunities for success much fewer.  It must be considered, that, at this moment, while genuine works of Art are growing more and more difficult to be procured, the rivalry of public and private collectors is rapidly increasing.