The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe.
The Bavarian royal collection (now in the Alte Pinakothek, Munich) opened to the public in 1779, that of the Medici in Florence around 1789 (as the Uffizi Gallery), and the Museum Français at the Louvre was formed out of the former French royal collection in 1793.
Great Britain, however, did not follow other European countries, and the British Royal Collection still remains in the sovereign's possession.
In 1777 the British government had the opportunity to buy an art collection of international stature, when the descendants of Sir Robert Walpole put his collection up for sale.
The MP John Wilkes argued for the government to buy this "invaluable treasure" and suggested that it be housed in "a noble gallery... to be built in the spacious garden of the British Museum" Nothing came of Wilkes's appeal and 20 years later the collection was bought in its entirety by Catherine the Great; it is now to be found in the State Hermitage Museum in St Petersburg.

A plan to acquire 150 paintings from the Orléans collection, which had been brought to London for sale in 1798, also failed, despite the interest of both the King and the Prime Minister, Pitt the Younger.
The twenty-five paintings from that collection now in the Gallery, including "NG1", arrived later by a variety of routes.
In 1799 the dealer Noel Desenfans offered a ready-made national collection to the British government; he and his partner Sir Francis Bourgeois had assembled it for the king of Poland, before the Third Partition in 1795 abolished Polish independence.
This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, on his death.
The collection opened in 1814 in Britain's first purpose-built public gallery, the Dulwich Picture Gallery.
The Scottish dealer William Buchanan and the collector Joseph Count Truchsess, both formed art collections expressly as the basis for a future national collection, but their respective offers (both made in 1803) were also declined.

Following the Walpole sale many artists, including James Barry and John Flaxman, had made renewed calls for the establishment of a National Gallery, arguing that a British school of painting could only flourish if it had access to the canon of European painting.
The British Institution, founded in 1805 by a group of aristocratic connoisseurs, attempted to address this situation.
The members lent works to exhibitions that changed annually, while an art school was held in the summer months.
However, as the paintings that were lent were often mediocre, some artists resented the Institution and saw it as a racket for the gentry to increase the sale prices of their Old Master paintings.
One of the Institution's founding members, Sir George Beaumont, Bt, would eventually play a major role in the National Gallery's foundation by offering a gift of 16 paintings.

In 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein.
Angerstein was a Russian-born émigré banker based in London; his collection numbered 38 paintings, including works by Raphael and Hogarth's Marriage à-la-mode series.
On 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection.
The appeal was given added impetus by Beaumont's offer, which came with two conditions: that the government buy Angerstein's collection, and that a suitable building was to be found.
The unexpected repayment of a war debt by Austria finally moved the government to buy Angerstein's collection, for £57,000.
The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe. The Bavarian royal collection (now in the Alte Pinakothek, Munich) opened to the public in 1779, that of the Medici in Florence around 1789 (as the Uffizi Gallery), and the Museum Français at the Louvre was formed out of the former French royal collection in 1793. Great Britain, however, did not follow other European countries, and the British Royal Collection still remains in the sovereign's possession. In 1777 the British government had the opportunity to buy an art collection of international stature, when the descendants of Sir Robert Walpole put his collection up for sale. The MP John Wilkes argued for the government to buy this "invaluable treasure" and suggested that it be housed in "a noble gallery... to be built in the spacious garden of the British Museum" Nothing came of Wilkes's appeal and 20 years later the collection was bought in its entirety by Catherine the Great; it is now to be found in the State Hermitage Museum in St Petersburg.
A plan to acquire 150 paintings from the Orléans collection, which had been brought to London for sale in 1798, also failed, despite the interest of both the King and the Prime Minister, Pitt the Younger. The twenty-five paintings from that collection now in the Gallery, including "NG1", arrived later by a variety of routes. In 1799 the dealer Noel Desenfans offered a ready-made national collection to the British government; he and his partner Sir Francis Bourgeois had assembled it for the king of Poland, before the Third Partition in 1795 abolished Polish independence. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, on his death. The collection opened in 1814 in Britain's first purpose-built public gallery, the Dulwich Picture Gallery. The Scottish dealer William Buchanan and the collector Joseph Count Truchsess, both formed art collections expressly as the basis for a future national collection, but their respective offers (both made in 1803) were also declined.
Following the Walpole sale many artists, including James Barry and John Flaxman, had made renewed calls for the establishment of a National Gallery, arguing that a British school of painting could only flourish if it had access to the canon of European painting. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, attempted to address this situation. The members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some artists resented the Institution and saw it as a racket for the gentry to increase the sale prices of their Old Master paintings. One of the Institution's founding members, Sir George Beaumont, Bt, would eventually play a major role in the National Gallery's foundation by offering a gift of 16 paintings.
In 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London; his collection numbered 38 paintings, including works by Raphael and Hogarth's Marriage à-la-mode series. On 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumont's offer, which came with two conditions: that the government buy Angerstein's collection, and that a suitable building was to be found. The unexpected repayment of a war debt by Austria finally moved the government to buy Angerstein's collection, for £57,000.
National Gallery