[Illustration:  LORD ROSEBERY

(ARCHIBALD PHILIP PRIMROSE)

Photogravure after a photograph from life]

There is one function, however, which has already devolved upon me, and which is not without interest for this Academy.  My great predecessor, much to my regret, left in my hands the appointment of a successor to Sir Frederick Burton.  That has cost me probably more trouble and travail than any other act of this young administration. [Laughter.] I have sought, and I have abundantly received, counsels, and it is after long consideration, and with the most earnest and conscientious desire to do not what is most agreeable to individuals themselves, but what is best for art in general, that I have nominated Mr. Poynter to succeed Sir Frederick Burton. [Cheers.]

I have at the same time made a change in the minute relating to the conditions of that post, which to a greater extent than was formerly the case associates the trustees of the National Gallery in the work of selection with the new director.  The trustees have been hitherto rather those flies on the wheel of which we read in ancient fable.  It is now proposed to make them working wheels, and to make them work well and co-operatively with the new director. ["Hear!  Hear!”] I hope that this arrangement will be satisfactory in its results.  But, Mr. President, I have long thought, as an individual, that the task of a Minister or of a Government in co-operating with the Royal Academy, and with those who have art at heart, ought not to end with a mere appointment of this description.  I take a larger view of the responsibilities of my office, and I should be glad to offer to you with great respect a few suggestions that have recently occurred to me with regard to the present position of English art, which I regard with some misgivings.

There is, first, the subject of portraiture.  I am deeply concerned for the future condition of portrait-painting.  It is not, as you may imagine, with any distrust whatever of those distinguished men who take a part in that branch of art; it is much more for the subjects that I am concerned. [Laughter.] And it is not so much with the subjects as with that important part of the subject which was illustrated in the famous work “Sartor Resartus,” by the great Carlyle, that I chiefly trouble myself.  How can it be that any man should make a decent portrait of his fellow-man in these days?  No one can entertain so vindictive a hatred of his fellow-creature as to wish to paint him in the costume in which I am now addressing you. [Laughter.] I believe that that costume is practically dropped for all purposes of portraiture; and if that be so, in what costume is the Englishman of the present century to descend to remotest posterity through the vehicle of the gifted artists whom I see around me?  We are not all sufficiently fortunate to be the Chancellor of the University. [Laughter and cheers.] We have not always even the happy chance to be a municipal dignitary, with a costume which I will not at present characterize. [Laughter.] We are not all of us masters of hounds; and I think that the robes of a peer, unattractive in their aesthetic aspect, have lost something of their popularity. [Laughter.] Again, the black velvet coat, with which we are accustomed to associate deep thought and artistic instincts, has become a little faded. [Laughter.]