By the arrangement proposed, a space of 3,300 square feet will be available for exhibiting drawings of the old masters; and these rooms will be entered at once from the entrance-hall, by an ascending staircase, by which the disagreeable impression above alluded to would be avoided.
The proposed changes would also greatly benefit both the exhibitions and the schools of the Royal Academy. They would increase and improve the exhibiting space; giving five large rooms, instead of seven small ones, as at present: two large rooms being obtained by the suppression of four small ones. (See Figs. 1 and 2.) The Royal Academy, at present, has a room appropriated to sculpture, which has long been designated "the Cellar," and in which works are deposited, rather than exhibited: the loss of such a room is almost a gain. Next, it would lose the dark little octagon room; which, after many efforts to make it a room for exhibition, has lapsed into the condition of an ante-room, containing a few prints. The other two rooms suppressed by the new plan are the two small side rooms at present appropriated to the architectural drawings and the miniatures; though they are confessedly far too small for their purpose.
The distribution of the increased space available for the exhibitions of the Royal Academy might be as follows:—The first great room at the top of the new staircase might be devoted to the sculptors; visitors would then pass through it, and examine the works of sculpture, instead of having to diverge to a "cellar," as at present, or quitting the Exhibition without seeing the sculpture, as many do. As the entrance would be in the centre of the building, and lighted from the top, the sculpture might be arranged in two noble semicircles, forming a grand art entrance into the collections, and giving that importance to the sculpture which it deserves. The sculptors would thus at least double the number of their visitors. From this room the visitors would proceed into the next, where the space on the left might be devoted to architectural drawings, and that on the right to miniatures and water-colour paintings. These works, especially the architectural, would be appropriately placed, and the miniatures and pictures in water-colours would gain in richness by being viewed after the colourless marbles, and before the eye had become accustomed to the fuller richness of the paintings in oil. After thus greatly improving the exhibitions of sculpture, architecture, and water-colour paintings, there would still remain the same amount of exhibiting space as at present for oil pictures. Thus far the change is clearly a great gain to all the exhibitors.
The advantages that would accrue to the students of the Royal Academy have now to be considered, and are, perhaps, even still more important. It is hardly known to the world outside that in the schools of the Royal Academy almost all the rising artists of the country receive a free education in art. At present, however, the schools are subject to the disadvantage of being closed during the months when the exhibition is open. This has long been deplored, equally by the students and acade-
