2) In the theocratic cultures: the objects collection is realized in temples, graves, palaces of the domineering class: priests and kings. There are luxury objects, exponents of the cult in inaccessible places for those who do not belong at the proper level of the service: you watch of the temples, fall down, thesauroi. The useful, rich and luxury thing there is exponent of the civil and/or religious cult or of the booties of war. Asurbanipal moved from Egypt Nínive two obelisks and 32 statues, which it placed before the Assur door so that the people was admiring them: the admiration and ostentation like expression of the power.

There is admired the skill, the size, the difficulty, the matter, the forms, but the iconographic contents are understood, neither the myths, nor dogmas, because there are qualities added to the cultural function.

3) The period helenístico reaffirms this "artistic" extra cost, restoring the taste for the artificial thing, artificiado, appliance, and adds a new value: the historicity. The admiration for the works and monuments of a people or past culture that is considered to be worth admiring, imitating and copying. There arises the copy, the proposal like model, the reproduction, the review and, especially, the search and collection of the objects. The object acquires value if the same, technical, material, formal, for the author, for the oddness, for the ancient thing and for the historical thing.

4) The Roman world confirms even more these values and the sense of the collecting increases. Plundering, booty of war, cultural and social prestige, expression to be able, capital investment, bought of the art, copies. The terms are born: Museum (building dedicated to the Muses in Alexandria for Ptolomeo), art gallery (Vitruvio, c. VI), dactiloteca (Plinio). The concept of public museum is born when Marco Agripa exhibits in the Pantheon pillaged and requisitioned works, restoring the public cultural heritage and his exhibition.

5) The Christianity and the Middle Age inherit the didactic - religious character of the image. The objects are used in the liturgy and are astonished for his wealth and function. Wealth + function = art. Beautiful (pulchrum) is equivalent to rich, and the objects keep in vestries, Schazkammer, diacónicon and próthesis, like reservations in cases of need that sometimes are pillaged by the barbarian invaders, or sold like help to the Crusades. The useless objects burn themselves or are buried in sacredly, not musean. The historicity is false because the ancient thing is considered to be a pagan and is destroyed, and only it happens in some cases of review of the classic antiquity as regards the idea of Empire: Teodorico, Carlomagno, Federico II (…).

6) During the late Gothic period, the establishment of the life in the city and the urban culture, the increasing commerce and the incipient bourgeoisie, there are the bases of a new court, religious, clerical and bourgeois collecting. The taste is born for the profane thing, for the mundane life, and the comfort. The art is an ornament of the life again and the objects appreciate for his characteristics more than only for his function: the miniatures (Burgundy, duke of Berry), the sillerías of the choirs (the compassion and his profane topics), the matters of hunts (shop windows, walls, carpets), the pictures or engravings (xylography, printing). The book is like a museum (word + image), the called "galaxy Gutenberg" or the first revolution icónica. The images reproduction produces the socialization of the art.

7) The humanism renews the ancient concept of the collecting. The art objects, especially those of the sacred antiquity, take didactic value as the letters. The letters are a cannon and, like the parallel lives (Plutarch / Talker), they turn into model. To assemble objects of the antiquity is an expression to be able, culture and wealth. There are three classes of museums: natural (ruins), deprived, and ideals (Hipnorotomachia). The creators theorize to justify what they do. The picture is a section in the visual pyramid (Alberti), the painting is a thing mentally (Tawny); "I do with the brain and not with the hands" (Miguel Angel). It is the Golden Age of the collections, later transformed into museums: Vatican, Uffizi, Louvre, London, Berlin, Vienna, Prague...

8) The collecting increases during the XVIIth and XVIIIth centuries due to the bourgeoisie in increase, the monopoly of the absolute monarchies and the centralization of the power, the catholic or Protestant Church that they control the art with the Inquisition in the dogmatic rigor.

France uses the collecting as an expression of the monarchy and his ministers (Richelieu, Mazarino). Colbert inaugurates the principal gallery of the Louvre and directs the Academy. The art is the visual instrument of the monarchical ideology and the aristocracy, and the bourgeoisie assumes the style imposed by the court. The academy supports the monopoly of the art education. The artistic production is normalized: one teaches to do art. Many Italian collections happen to France or to England: Mantegna, Perugino...

Felipe III and IV enrich the real collections and Velázquez is going to Italy to buy, according to the real taste. The Church accumulates in his churches and convents big quantity of works dispersed or collected later by the amortization (a third of the Spanish population during the epoch of Felipe III they are religious).

The scholars of the XVIIIth century, or big connoisseurs, the enciclopedismo, the culture of the lounges, increase the collecting (Shaftesbury, Burlington, Walpole buy in the whole Europe). The traveling nobility buys works of Botticelli, Mantegna, Rafael, Tawny, Ticiano, Velázquez, Murillo.

9) XIXth - XX.th centuries - The archaeological discoveries of Herculano and Pompeii discover the antiquity (Winckelmann). The romanticism revalues the Middle Age, the Christian and oriental art; Ruskin imposes the interest in the primitive ones: the prerrafaelistas, the symbolism.

There enters the panorama the dealer or American buyer, who perhaps is not understood, but it has money and longs for the culture that it left in the European continent. He wants to reaffirm his prestige in the western ambience with collections and museums: Norton (teacher of Berenson), Walters (shut up in boxes), Mellon, Morgan, Rockefeller.

The dealer is born, the auction, the clandestine rooms, the manipulation, the false restorations or falsificantes. There is born the art as object of value. An art there is what costs money and it is convenient to preserve and to collect (…).

EVALUATION OF THE COLLECTING

1) The collecting demonstrates that the possession of the work is exclusive and not shared.

2) The collecting is an expression of the domineering power: Church, monarchy, bourgeoisie, capitalism. The collecting affects in the ideological orientation of the culture. On having been in hands of a power domineeringly, economically and politically, it controls, directs and selects the objects from his tastes and criteria, which tend to be more qualitative than quantitative; more of extra cost than of functions. The images realized by mechanical procedures (engraving, machines, photos, movies, television, laser...) suppose an attainable multiplication for many and therefore a democratization of the art. This process multiplicante or divulging (to vulgarize the objects possession) drives to the promotion and evaluation of qualitative elements, or extra cost that the quantitative factor or multiplier compensate.

The result is that the quality has to be opposed to the quantity. This quality will be identified by the object conditions museado or collected, suitably only for few ones for the high price that must be offered.

The functional, manufactured sacred object, it transforms in object of museum or collection if it keeps on being manual, personal, rare, strange, useless, without function..., mythologized. The quantified object that sells, consumes and produces benefits, is rejected: his destination is not the museum, but the dump.

What the man realizes ends in the hell of the dump, if it is an object of use and made consumption; in the purgatory of a collection, if it is souvenir, memory, interesting, curious object; or in the paradise of a museum if the object is useless, not made, but manualizado, not reproducible and accompanied by a very well-known name, and of high price.

3) The collecting imposes all the values sobreañadidos of the art objects: antiquity (skill skates, series, manualidad, exoticism, function), responsibility and price. The museum, since we will see, is the heir of these evaluations.

EVALUATION OF THE OBJECTS OF ART

The inability to define the artisticidad of an object produced by the man, and that we call conditionally an art, does that the works of art are valued according to not artistic criteria or esthetic sobreañadidos, especially after the collected work or museada and out of his context, it has lost his functionality. Hence almost all the values sobreañadidos have been born for reasons of the collecting, of the commerce of the art and as a result of the museography.

1) The antiquity: the historical reflection forces us to consider the ancient value of an object if it has more than 75-100 years. On this evaluation there has been constructed the whole channel of the commerce of the art of the antiquarians. But the antiquity must not make a mistake with the historicity of an object: the first one is a chronological value and the second one a cultural value (popularly it expresses itself with the saying "not everything old is ancient").

Of ancient other considerations join the value: the origin of the object, because of his owner or exceptional or rare culture; the exoticism and the oddness as for little frequency of the guy or model; the series o belonging to a finished or not set; the unicidad opposed to the multiplicity in the shape of copy or reproduction; the integrity of the entire preserved object, partially or restored. An object is considered to be complete and marketable if it preserves more than 25 % of his first and original integrity. These considerations are evaluations, especially, of mercantile and commercial type.

2) The responsibility. The recognition of the author of the piece, with signature or without her, increases the evaluation of the work, that every time more of the author depends, since the Renaissance men advise to sign the works. Teacher, workshop, school are staggered values of more at least in such a way that the autentificación of the signature or falsification of the same one provokes a scandal, although more in the commercial world that in the creative one, but it affects also the museográfico.

3) The final price of the piece depends on two previous ones and on the importance that wants to be offered by the specializing criticism. The price does that the fiction reaches translatable numbers of the following form: the more expensive is a piece, the more artistic it seems. The value of the investment and commerce of the art rests in this beginning: it is an art what costs money and is revalued. The artist triumphs when it has reached certain prices. The reference "value of sales" is the scale of the success of the artist.

The work of art, in his real sense, nothing has to do with the price, because it has no purchasing power. It is possible to steal as maximum, a work, but it is not possible to sell. That's why the art history, the other way round that the commerce of the art, has to be based on different evaluations: the art has cultural, esthetic and historical value (…)